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IT'S VERY NICE TO SEE ALL OF YOU HERE.
THANK YOU FOR ATTENDING IN COLLABORATION WITH THE HASTINGS ON HUDSON LIBRARY.
THE COUNTRY DANCERS OF WESTCHESTER ARE DELIGHTED TO BRING YOU THIS AFTERNOON OF ENGLISH COUNTRY DANCING TO PAY TRIBUTE TO THE GREAT NOVELIST JANE AUSTIN.
THIS WOULD'VE BEEN, OR LAST DECEMBER, WOULD'VE BEEN THE 250TH ANNIVERSARY OF HER BIRTH.
LET'S, UH, WELCOME THE MEMBERS OF OUR BAND TODAY, PETER ROBERTS ON PIANO.
DOMINIC LAND DOWN VIOLIN AND SUE POLANSKI ON PIANO ON CLARINET.
COULD YOU PLEASE RAISE YOUR HANDS IF YOU'VE READ EITHER THE LETTERS OR THE NOVELS OF JANE AUSTEN? OH MY GOD, WE HAVE SUCH AN EDUCATED AUDIENCE,
THAT MEANS YOU MAY RECOGNIZE THE QUOTATION, UH, THAT, UM, REGINA WILL READ TO YOU IF REGINA IS HERE.
REGINA, ARE YOU IN THE ROOM? OH, SHE WENT OUT.
LOOKS LIKE I'LL HAVE TO READ IT FOR HER.
OR UNLESS DEBBIE, UM, CAN GET A HOLD OF HER.
WOULD YOU LIKE TO TAKE THE MIC AND READ YOUR QUOTE FROM JANE AUSTEN TO GET US IN THE MOOD? YEAH.
SO THIS IS FROM PRIDE AND PREJUDICE.
I BELIEVE PAUL SAID THAT ALL THE QUOTES WERE ABOUT DANCING IN PRIDE AND PREJUDICE.
SO WILLIAM LUCAS ADDRESSES MR. DARCY WITH THE WORD, THESE WORDS ABOUT DANCING.
WHAT A CHARMING AMUSEMENT FOR YOUNG PEOPLE.
THERE IS NOTHING LIKE DANCING AFTER ALL.
I CONSIDER IT AS ONE OF THE FIRST REFINEMENTS OF A POLISHED SOCIETY.
WE HOPE YOU FIND THIS AFTERNOON'S FESTIVITIES.
DOESN'T IT FEEL LIKE SHE JUST STEPPED OUT OF A JANE AUSTEN NOVEL? JUST TO READ THAT.
SO, WE'RE GOING TO BEGIN TODAY WITH A DEMONSTRATION OF A DANCE CALLED, PARDON ME, TRIP TO TUM BRIDGE.
UH, IT WAS PUBLISHED IN 1791 WHEN, UH, AUSTIN WAS JUST 16 YEARS OLD.
UH, AND THEN WE'LL INVITE YOU AND A PARTNER THAT OF YOUR CHOOSING TO JOIN US IN A LARGE CIRCLE DANCE FOR, UM, A DANCE.
THE ONLY DANCE ACTUALLY THAT WAS MENTIONED IN THE JANE AUSTEN NOVELS BY NAME
UM, WE'LL TEACH IT THOROUGHLY.
IT'S VERY EASY, AND YOU'LL BE SURE TO ENJOY IT.
UM, TRIP TO TUM BRIDGE IS A THREE COUPLE SET DANCE.
THE COUPLE'S NUMBER OFF ONE, TWO, AND THREE, AND WE DANCE IT THROUGH THREE TIMES EACH COUPLE GETTING THE STARRING ROW, UH, ROLE BECAUSE AT THE END OF THE CHOREOGRAPHY, THERE'S A LITTLE, UM, DEVICE IN THE CHOREOGRAPHY WE CALL A PROGRESSION IN WHICH THE DANCERS CHANGE LOCATION IN THE SET.
SO A NEW NUMBER, ONE COUPLE IS AT THE TOP.
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WHY DON'T WE HAVE OUR DEMONSTRATION SET? TAKE THEIR PLACES AND WE WILL START BY HEARING A BIT OF THE TUNE FOR A TRIP TO TUNBRIDGE.COULD WE HEAR THE FIRST, UH, A MUSIC PLEASE? THANK YOU.
AND YOU'LL NOTICE THAT THERE IS, UM, A VERY, UM, ENTICING AND SOMETIMES FLIRTATIOUS, UH, CONNECTIONS AMONG THE DANCERS, UH, BOTH WITH THEIR HANDS AND THEIR EYES.
SO THE DANCE BEGINS AND WE'LL, UH, I'LL JUST TALK THROUGH THE FIRST MOVEMENT AND THEN CALL THE DANCE THROUGH THE FIRST ROUND.
THE DANCE BEGINS WITH THE FIRST COUPLE CASTING BELOW THE STANDING THIRD COUPLE, NOTICING EACH OTHER AND CASTING BACK.
SO THREE TIMES THROUGH, PLEASE WITH THE MUSIC.
FIRST COUPLE CAST, CAST BACK, LEAD DOWN THE CENTER.
CHANGE HANDS, SKIP BACK, CAST OFF.
FIRST CORNER'S, RIGHT HAND, SECOND CORNER'S, RIGHT HAND LINES LEAD AWAY.
CAST BACK, LEAD DOWN THE CENTER.
CHANGE HANDS, SKIP BACK, CAST OFF.
TWOS LEAD UP EVERYTHING BY THE RIGHT, RIGHT HAND.
SECOND CORNER, RIGHT LINES LEAD AWAY.
WAVE ONE'S CAST A BIG HAND FOR OUR DANCER.
AND NOW IF OUR EXPERIENCED DANCERS WOULD REACH OUT TO THE AUDIENCE AND FOLKS, TAKE A PARTNER AND MAKE A BIG CIRCLE AROUND THE ROOM, WE CAN CLOSE THE CIRCLE AT THE TOP.
SO RAISE YOUR HANDS IF YOU'RE TOO CROWDED.
UH, WELL, LET'S TRY TO EVEN THE SPACE OUT A LITTLE BIT.
THEY'RE CROWDED AT THE BOTTOM, SO WE'LL TIGHTEN UP A LITTLE AT THE TOP.
NOW LET GO OF HANDS AND LET'S LISTEN FOR A MOMENT.
IS, UH, IS DEBBIE QUINN HERE? YEAH.
SO, AS I MENTIONED, THIS IS THE ONLY DANCE, UM, IDENTIFIED BY NAME, UH, IN AUSTIN'S NOVELS.
AND DEBBIE IS GOING TO READ US A QUOTATION FROM PRIDE AND PREJUDICE IS MENTIONED IN CHAPTER THREE OF PRIDE AND PREJUDICE.
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ALLUDES TO IT IN HER BREATHLESS DESCRIPTION OF HOW THE HANDSOME FRIEND OF THE PROUD MR. DARCY, YOU CAN'T HEAR CLOSE TO THE MICROPHONE.UH, FRIEND OF THE PROUD MR. DARCY, NAMELY MR. BINGLEY HAD ADMIRED THE ELDEST DAUGHTER, JANE BENNETT.
ACCORDING TO MRS. BENNETT, BINGLEY SEEMED QUITE STRUCK WITH HER AS SHE WAS GOING DOWN THE DANCE.
SO HE INQUIRED WHO SHE WAS AND GOT INTRODUCED AND ASKED HER FOR THE NEXT TWO.
AND THE TWO FIFTH DANCES WITH JANE AGAIN, AND THE TWO SIXTH WITH LIZZIE AND LA THANK YOU.
YOU GO THAT WAY BECAUSE OF THE WATER.
SO WE'RE FACING INTO THE CENTER OF THE CIRCLE, AND WE HAVE OUR PARTNER'S HANDS, OKAY? WE HAVE OUR PARTNER'S HANDS.
AND YOU CAN LET GO OF YOUR NEIGHBOR'S HANDS JUST FOR A MOMENT.
LET GO OF YOUR NEIGHBOR'S HANDS, BUT KEEP YOUR PARTNER'S HANDS.
KEEP YOUR PARTNER'S HANDS, YOUR PARTNER.
YOU HAVE TO REMEMBER WHO YOU DANCE, WHO ASKED YOU TO DANCE.
SO AS THE TWO OF YOU, YOUR, YOU AND YOUR PARTNER FACE INTO THE CENTER OF THE SET, THE DANCER WHO'S LE WHO'S ON THE LEFT, WHO'S LEFT HAND IS FREE.
YOU'D BE DANCING THE TRADITIONAL MEN'S ROLE.
SO TEAM A, YOU'VE JUST RAISED YOUR HAND.
IF YOUR PARTNER, UM, IF YOU'RE ON THE RIGHT OF YOUR PARTNER AND YOUR RIGHT HAND IS FREE, RAISE YOUR RIGHT HAND AND REPEAT AFTER ME.
I SWEAR TO TELL THE WHOLE TRUTH.
NO, SORRY, THAT'S THE WRONG SCRIPT.
AND THIS WILL BECOME VERY USEFUL, UM, IN THE, IN THE, UH, CHORUS OF THIS DANCE.
SO THIS IS A DANCE THAT WAS PUBLISHED, UM, IN 1789.
IT HAS AN INTRODUCTORY FIGURE FOLLOWED BY A CHORUS.
THE INTRODUCTORY FIGURE IS ALWAYS THE SAME, AND WE'VE SIMPLIFIED THE DANCE, UH, TO MAKE IT, UM, ACCESSIBLE TO US MODERN DANCERS.
SO I'D LIKE YOU TO TAKE HANDS IN A LARGE RING AND COULD WE HAVE TWO A MUSICS? YOU'RE WITH THE MUSIC, YOU'RE GOING TO GO INTO THE CENTER AND THEN FALL BACK AND DIDN'T DO THAT AGAIN.
NOW,
SINGLE FILE COUNTERCLOCKWISE ALONG THE INSIDE OF THE CIRCLE.
WE'LL, WE'LL DO IT WITH MUSIC.
OH, UM, I, I LEFT OUT ONE PART OF THE INTRODUCTION, BUT, UM,
HERE'S THE CHORUS, HERE'S THE CHORUS.
TEAM A MEMBERS FACE COUNTERCLOCKWISE.
YOU ARE IN TO WALK COUNTERCLOCKWISE ALONG THE INSIDE OF THE CIRCLE.
EIGHT STEPS, GO 1, 2, 3, 4, 5, 6, REVERSE DIRECTION.
AND COME ON BACK TO YOUR PARTNER.
TURN RIGHT HAND, ONES ROUND WITH YOUR PARTNER.
TURN RIGHT HAND ALL THE WAY ROUND AND WITH YOUR PARTNER, TURN LEFT HAND ALL THE WAY ROUND AND END IN THE BIG CIRCLE READY FOR THE INTRODUCTION.
DID THAT FEEL ALL RIGHT? ARE YOU GOOD? THEN WE'LL DO THAT MUCH OF THE DANCE WITH MUSIC.
SO WITH THE MUSIC INTO THE, INTO THE CENTER AND BACK THAT AGAIN, KEEP HANDS IN THE BIG CIRCLE, CIRCLE TO THE LEFT, BACK TO THE RIGHT, THE TEAM STAY STILL A TEAM MARCH COUNTERCLOCKWISE.
COME ON BACK TO YOUR PARTNER PARTNER'S.
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LEFT HAND ALL THE WAY.MAKE A BIG RING AND WE HOLD IT HERE.
ARE YOU IN A BIG RIG? HANDS WITH YOUR PARTNER AND WITH YOUR NEIGHBOR? NOW WE DO ALL THAT AGAIN, BUT THE B TEAM GETS THE CHORUS.
SO INTO THE CENTER AND BACK, 1, 2, 3, 4, FALL BACK THAT AGAIN.
1, 2, 3, 4, FALL BACK CIRCLE TO THE LEFT IN A BIG CIRCLE.
AND BACK TO THE RIGHT FIVE, SIX.
NOW A TEAM MEMBERS, YOU STAND STILL AND THE B TEAM MEMBERS, YOU MARCH COUNTERCLOCKWISE ON THE INSIDE OF THE CIRCLE AND THEN REVERSE DIRECTION BACK TO YOUR PARTNER.
TURN YOUR PARTNER RIGHT HAND ALL THE WAY, TURN YOUR PARTNER, LEFT HAND ALL THE WAY.
MAKE A BIG RING AND YOU'RE READY FOR THE NEXT INTRODUCTION.
SO NOW WE'VE DANCED THE ENTIRE SEQUENCE OF FIGURES AND WE WILL DANCE THAT ENTIRE SEQUENCE OF FIGURES TWICE.
NOW, WHAT WOULD JANE AUSTIN HAVE BEEN DOING WHILE SHE WAS MARCHING COUNTERCLOCKWISE ALONG THE INSIDE OF THE CIRCLE? SHE WOULD'VE BEEN LOOKING FOR HER NEXT PARTNER.
MAYBE SOMEBODY WILL SMILE AT YOU.
THAT AGAIN, BIG CIRCLE TO THE LEFT BACK, RIGHT? B TEAM STANDS STILL A TEAM VOUCH, COUNTER CLOCKWISE, A TEAM RATHER COME BACK.
PARTNERS RIGHT HAND, LEFT HAND, MAKE A BIG RING INTO THE CENTER.
THAT AGAIN, BIG CIRCLE TO THE LEFT TO THE RIGHT, BEATING BACK TO YOUR PARTNER, RIGHT HAND, BIG CIRCLE IN THE CENTER THAT AGAIN, CIRCLE TO THE LEFT, TO THE RIGHT, THE TEAM STANDS STILL 18 MARCH BACK TO YOUR PARTNER.
RIGHT HAND TURN, LEFT HAND, TURN INTO THE CENTER THAT AGAIN, AND CIRCLE TO THE LEFT, BACK TO THE RIGHT.
A BIG, A BIG HAND FOR OUR MUSIC,
OKAY, WHY DON'T WE TAKE WHAT'S HAPPENING TO MY MIC HERE.
I HAVE A QUESTION ABOUT, OKAY, IS IT ALWAYS, YOU SHOULD KNOW THAT YOU START EITHER WITH THE LEFT, YOUR RIGHT FOOT SO THAT EVERYBODY BEAUTIFUL OR IS THAT NOT PART OF THE, IN SOME DANCES, IT MATTERS A GREAT DEAL IN MANY OF OUR DANCERS AND MOST OF OUR DANCES AS WE DANCE THEM IN A MODERN TIME, IT DOES NOT MATTER.
BUT I WILL SAY THAT BY AND LARGE IT IS RIGHT FOOT PRIORITY.
THAT IS TO SAY WE START OFF ON THE RIGHT FOOT.
THIS WILL BECOME USEFUL WHEN WE LEARN, UM, A, A FIGURE CALLED SETTING, WHICH WE WILL LEARN SHORTLY.
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NOW, IT'S OUR ACCUSTOMED TO CHANGE PARTNERS AFTER EACH DANCE.SO, OR KEEP THE PARTNER YOU HAVE, AND I'D LIKE YOU TO MAKE LONG LINES OF DANCERS.
SOME OF YOU WILL BE FACING THE YELLOW WALL, THE WALL WITH THE YELLOW PAPER, AND SOME WILL FACE THE BLUE WALL.
QUESTION DOES A B MATTER RIGHT NOW? BY CONVENTION, THE MEN WOULD HAVE THEIR BACKS TO THE BLUE WALL AND THE WOMEN AND WOULD BE FACING THE YELLOW, THE YELLOW WALL.
AND BY CON BY CONVENTION, THE WOMEN HAVE THEIR BACKS TO THE YELLOW AND WOULD BE FACING THE BLUE.
NOW I'D LIKE YOU TO DO THE FOLLOWING.
STARTING AT THE TOP OF THE SET, WHICH IS CLOSEST TO ME AT THE, UH, WHERE THE CALLER IS, I'D LIKE YOU TO TAKE HANDS AND RINGS OF FOUR DANCERS.
TAKE HANDS AND RINGS OF FOUR DANCERS.
AND IF YOU'RE CROWDED, THOSE PEOPLE AT THE BOTTOM OF THE SET SHOULD MOVE DOWN JUST A LITTLE BIT TO GIVE YOURSELVES SOME ROOM.
COULD YOU MOVE DOWN AND MAKE SURE PEOPLE HAVE ROOM? THANK YOU.
THEY'LL GET IN, THEY'LL GET IN.
NOW IN THESE SMALL SETS, THE, THESE LONG LINES OF DANCERS ARE CALLED THE GENERAL SET.
AND THESE SMALL GROUPS OF FOUR DANCERS ARE CALLED THE MINOR SET.
AND EACH ROUND OF THE DANCE YOU CAN LET GO OF HANDS.
EACH ROUND OF THE DANCE HAPPENS WITHIN THE MINOR SET.
AND AT THE END OF THE ROUND OF THE DANCE, YOU AND YOUR NEIGHBOR IN LINE, IN YOUR OWN MINOR SET WILL CHANGE PLACES.
IF YOU'RE CLOSEST TO ME IN YOUR MINOR SET, RAISE YOUR HANDS, OKAY, YOU ARE COUPLE.
NUMBER ONE, THAT DOESN'T MEAN YOU'RE ALWAYS NUMBER ONE, NOT IN LIFE OR IN DANCE, BUT YOU WILL WORK YOUR WAY DOWN THE LINE AS COUPLE.
NUMBER ONE, DOING THE COUPLE NUMBER ONE'S ROLE EACH TIME.
AND YOU'LL STAND OUT AT THE BOTTOM WHEN YOU REACH THERE, WHICH THE PEOPLE AT THE VERY TOP OF THE LINE NEVER WILL BECAUSE IT'S REALLY A LOT OF MUSIC.
UM, YOU'LL STAY NUMBER TWO UNTIL YOU GET TO THE TOP OF THE HALL.
OKAY? LET'S IDENTIFY, UH, THE, THE FOLKS THAT ARE SET ACROSS FROM YOU IS YOUR PARTNER NEXT TO YOU IN LINE IS YOUR NEIGHBOR.
OH, THAT'S SUCH A HASTINGS ON HUDSON THING TO DO.
YEAH, WE'RE GONNA CHANGE THE BATTERIES HERE.
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OKAY, NOW THERE'S ONE OTHER, UM, DANCER IN YOUR MINOR SET.WE HAVE TO IDENTIFY ON THE DIAGONAL.
THAT IS YOUR CORNER WAVE AT THE CORNER, PLEASE.
OKAY, SO THIS DANCE IS A DANCE, IT'S CALLED MUTUAL LOVE.
IT WAS PUBLISHED IN SEVENTEEN SEVENTY SEVEN, TWO YEARS AFTER AUSTIN'S BIRTH.
I THINK THE TITLE IS AN APT PAIRING OF THE ACTIVITY OF DANCING WITH THE DRAMAS OF LOVE THAT PERMEATE AUSTIN'S NOVELS.
SHE'S QUITE DIRECT ABOUT THIS CONNECTION.
FOR INSTANCE, AS EARLY AS CHAPTER THREE OF PRIDE AND PREJUDICE, SHE HAS MRS. BENNETT CONTEMPLATE THE MARITAL PROSPECTS OF THE HANDSOME MR. BINGLEY ATTENDING THE NEXT NETHERFIELD BALL.
AUSTIN WRITES, MR. BINGLEY MEANT TO BE AT THE NEXT ASSEMBLY WITH A LARGE PARTY.
NOTHING COULD BE MORE DELIGHTFUL TO BE FOND OF DANCING WAS A CERTAIN STEP TOWARD FALLING IN LOVE.
SO YOU'VE JUST HEARD A BIT OF THE MUSIC AND UM, I'M GONNA COME OUT ON THE FLOOR AND WE'RE GOING TO SHOW YOU THE, UH, THE FIRST MOVE OF THIS DANCE.
IT BEGINS WITH DANCING ALL THE WAY AROUND.
OH NO, I
AND THEN YOU TURN YOUR PARTNER HALFWAY AGAIN.
THE DANCERS ON THE BLUE SIDE LEAVE THEIR PARTNER HALFWAY AROUND ALL THE WAY AROUND.
SO DANCERS ON THE BLUE SIDE, TAKE YOUR NEIGHBOR'S HAND, TAKE YOUR NEIGHBOR'S HAND.
AND WITH THE NUMBER ONE DANCER, THE FIRST MAN IN THE LEAD, YOU'LL LEAD ALL THE WAY AROUND YOUR STANDING PARTNERS CLOCKWISE.
TWO HAND TURN HALFWAY WITH YOUR PARTNER AND HOLD IT HERE.
OKAY, NOW YOU'VE SWITCHED SIDES, CORRECT? YOU'RE ALL ON THE OTHER SIDE.
THE DANCERS ON THE BLUE SIDE, THOSE WHO ARE DANCING THE WOMEN'S ROLE.
TAKE YOUR NEIGHBOR'S INSIDE HAND AND LEAD AROUND YOUR STANDING PARTNERS CLOCKWISE ALL THE WAY.
NOW, SOME OF YOU ARE PRETENDING THAT WE'RE ACTUALLY IN THE 19TH OR THE 18TH CENTURY WHEN THINGS WERE A LOT SLOWER.
BUT ACTUALLY YOU, YOU DO HAVE TO MOVE IN THIS, YOU KNOW, LOVE MOVES QUICKLY.
SO WE'RE GONNA DO ALL THAT AGAIN.
WE'LL DO IT WITH MUSIC AT THE SAME TEMPO.
ON THE BLUE SIDE, THE MEN WALL, THE MEN'S WALL, TAKING YOUR INSIDE, YOUR NEIGHBOR'S INSIDE HAND AND LEADING CLOCKWISE AROUND YOUR PARTNERS.
YOU HAVE ACTUALLY 12 STEPS TO DO THIS.
IF YOU'RE COUNTING, MOST OF US DON'T.
TWO HAND TURN HALFWAY, THE OTHER DANCERS DANCE ROUND.
FIRST WOMAN IN THE LEAD, PARTNERS TURN HALFWAY.
NOW IT IS USEFUL TO HAVE A, UM, AN EMERGENCY PLAN, ESPECIALLY WHEN THERE'S A STORM COMING.
SO IF YOU GET LOST, JUST COME BACK
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TO THIS HOME PLACE.JUST COME BACK TO THIS HOME PLACE.
OH LORD, WHAT'S GOING ON WITH THIS MIC? THAT'S OKAY.
SO NOW WE HAVE TO SHOW, UM, SHOW OFF A LITTLE BIT.
THE FIRST COUPLE, FIRST COUPLE FACE DOWN, THAT'S AWAY FROM ME.
AND TAKE YOUR PARTNER'S HAND, YOU LEAD DOWN THE CENTER.
YEAH, CHANGE HANDS, COME BACK TO HOME.
PLACE SEPARATE FROM EACH OTHER.
GO DOWN THE OUTSIDE OF YOUR LINE AND END UP IN SECOND PLACE.
AND THE TWOS MOVE UP ONE PLACE AND THE TWOS MOVE UP.
ARE THE TWOS NOW ABOVE THEIR ONES ARE THE ONES NOW BELOW THEIR TWOS.
BUT WE'RE NOT FINISHED WITH THE DANCE YET.
SO PARTNERS, UM, MAYBE ORALLY AND I WILL SHOW THIS SHOULDER, SHOULDER BACK TO BACK.
CAN YOU TRY THAT BACK TO BACK WITH YOUR PARTNER LEFT SHOULDER OVER AND RIGHT SHOULDER BACK.
OKAY, LET'S HAVE EVERYBODY COME HOME AND WE'LL WALK THE FIRST ROUND OF THE DANCE.
BEFORE WE WALK IT, I WANT YOU TO TAKE YOUR CORNER'S RIGHT HAND, TAKE YOUR CORNER'S RIGHT HAND.
THIS IS CALLED A RIGHT HAND STAR.
THIS IS CALLED A LEFT HAND STAR.
AND WE WILL INSERT THOSE STARS INTO THE DANCE.
THE DANCERS ON THE MEN'S WALL, THE BLUE WALL DANCE ROUND.
YOUR STANDING PARTNERS TWO HANDS HALFWAY, THE OTHER DANCERS TAKE YOUR NEIGHBOR'S HAND DANCE ROUTE TWO HANDS HALFWAY.
NOW TAKE YOUR CORNER'S HAND BY THE RIGHT AND WE DO STAR ONCE, ROUND STAR, RIGHT? YEAH.
NOW REMEMBER FIRST COUPLE, YOU LED DOWN THE CENTER AND YOU, AND YOU CAST WELL THAT WAS JUST PRACTICE FOR THE NEXT TIME.
OKAY? UM, I'M JUST GONNA ASK YOU TO CAST AND THE TWOS WILL LEAD UP.
SO ONE'S FACE ME AND DANCE DOWN THE OUTSIDE.
YEAH, BUT DEAL DANCE DOWN THE OUTSIDE ON YOUR OWN SIDE.
COME BACK, PLEASE COME BACK PLEASE.
BECAUSE I, I LEFT OUT SOMETHING, I LEFT OUT SOMETHING.
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SO OUT OF THE LEFT HAND STAR, BACK TO BACK.DO YOU? BUT LET THEM BUT, AND NO.
I'M GETTING YOU ALL READY FOR THE NEXT FEW DANCES.
NOW THE ONES CAST AND THE TWOS LEAD UP.
FROM THIS NEW PLACE WITH YOUR NEW NEIGHBORS.
FIRST COUPLE, RAISE YOUR HAND PLEASE.
SECOND COUPLE RAISE YOUR HANDS.
YOU ARE DANCING WITH NEW NEIGHBORS.
WE HAVE A COUPLE OUT AT THE TOP AND A POSSIBLY A COUPLE OUT AT THE BOTTOM.
SO WE'RE GOING TO WALK THE DANCE AGAIN WITH OUR NEW NEIGHBORS.
TAKE YOUR INSIDE, YOUR NEIGHBOR'S INSIDE HAND IF YOU'RE ON THE BLUE WALL, IF YOU'RE ON THE MEN'S SIDE AND DANCE ROUND YOUR STANDING NEIGHBOR.
TWO AS PARTNERS, TWO HANDS HALFWAY, THE OTHERS DANCE ROUND AND YOUR HOME GOOD.
IF YOU GET LOST, CALL 9 1 1 OR JUST GET HOME.
WE'RE GOING TO DO THAT AGAIN WITH THESE NEW NEIGHBORS JUST TO PRACTICE.
SO IF YOU'RE ON THE BLUE SIDE OF THE OF THE ROOM, TAKE THAT NEIGHBOR'S HAND AND DANCE AROUND TWO WAYS PLEASE.
HALFWAY THERE PARTNERS, TWO HANDS, HALF THE OTHERS DANCE AROUND, TWO HANDS HALF.
NOW PARTNER'S LEFT SHOULDER, BACK TO BACK.
THE ONES CAST AND THE TWOS LEAD UP.
TAKE HANDS FORWARD FROM THIS NEW PLACE.
WE HAVE NEW PEOPLE COMING IN AT THE ENDS WE GOING SHOW YOU THE WHOLE PATTERN OF, BUT BEFORE WE DO THE WHOLE, WE'RE GONNA SHOW YOU WHAT ONES ABOVE FACE UP THE AWAY FROM EACH OTHER DOWN THEIR OWN LINE.
AND THE TWOS LEAD UP THE OFF DOWN THE OUTSIDE BECAUSE EVEN IN LAWS, ALRIGHT, ONCE THROUGH THE MUSIC, ONCE THROUGH, ALL RIGHT, NOW YOU'VE SEEN THE WHOLE PATTERN AND YOU'VE WALKED IT.
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THOSE ON THE GENTLEMAN'S SIDE, YOU'RE GOING TO START THE DANCE.LISTEN, IF YOU'RE ON THE YELLOW SIDE OF THE ROOM, UM, LINE UP ON THIS TOP COUPLE PLEASE SO THAT YOU DON'T CRASH INTO THE MUSIC OR THE CHAIRS.
REAL THING WITH THE MUSIC, YOU GET TWO NOTE INTRODUCTION AND THE MEN ON THE BLUE SIDE LEAD AROUND THEIR STANDING PARTNERS.
TWO HANDS, HALF WOMEN WITH YOUR NEIGHBOR LEADS.
READ AROUND TWO HANDS, HALF STAR, RIGHT WITH YOUR CORNER STAR RIGHT BACK BY THE LEFT PARTNERS BACK TO BACK, LEFT SHOULDER ONE'S CAST TWO'S LEAD UP ON THE MEN'S SIDE, LEAD AROUND.
WELL YOU KNOW, THAT'S HOW LOVE GOES
OKAY, UM, WE HAVE A COUPLE OUT AT THE TOP.
SAM, YOU'RE STILL ONES CORRECT.
TAKE HANDS SWORE WITH THE NEXT COUPLE, SAM, WITH THE NEXT COUPLE TAKE HANDS SWORE FROM THIS LOCATION ALL THE WAY DOWN.
DO YOU STILL HAVE YOUR SAME NUMBERS? GOOD.
WE'RE GOING TO PRACTICE THE CAST.
WE'RE GOING TO PRACTICE THE CAST.
YOU STAY WITH THIS ORIGINAL STAY WITH THIS SET THAT YOU'RE WITH NOW.
I'D LIKE US TO PRACTICE THE CAST.
THE CAST IS THE PROGRESSION THAT GETS THE TWOS IN THE NU IN THE NUMBER ONE COUPLES PLACE AND THE ONES IN THE NUMBER TWO COUPLE'S PLACE SO THAT YOU CAN DANCE WITH A NEW NEIGHBOR IN THE NEXT ROUND.
AND THIS NEW NEIGHBOR DOESN'T KNOW ANY OF THE MISTAKES THAT YOU MADE IN THE LAST ROUND.
SO EVERYBODY PLEASE FACE UP, FACE UP TOWARD ME.
JUST FACE UP TWOS, TAKE YOUR PARTNER'S INSIDE HAND ONES SMILE AT YOUR PARTNER, EVEN IF YOU'RE MARRIED.
FIRST COUPLE SEPARATE AND GO TO SECOND PLACE.
QUESTION, DO THE TWOS EVER CAST WHEN THEY BECOME ONES?
NOW TAKE HANDS FOR FROM THIS NEW PLACE YOU HAVE NEW NEIGHBORS.
WE HAVE A COUPLE COMING IN AT THE TOP.
FIRST MAN IN EACH SET, RAISE YOUR HAND.
YOU ARE GOING TO LEAD THE FIRST DANCE ROUND.
WE HAVE TO BE ABLE TO COUNT TO TWO.
SO YOU ARE GOING TO LEAD THE SECOND DANCE ROUND.
LET'S WALK THE DANCE ONE MORE TIME FROM HERE WE'LL DO IT WITH MUSIC.
COULD I HAVE TWO A'S AND TWO B'S PLEASE WITH THE MUSIC? FIRST MAN LEAD YOUR PARTNER.
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TWO HANDS, HALF FIRST WOMAN WITH YOUR NEIGHBOR ALL THE WAY.TWO HANDS, HALF STAR, RIGHT WITH YOUR CORNER STAR, RIGHT OTHER RIGHT BACK BY THE LEFT, LEFT SHOULDER.
BACK TO BACK WITH YOUR PARTNER ONE'S CAST TWO'S LEAD UP.
TAKE HEADS FORWARD FROM THIS NEW PLACE.
OKAY, NOW I'M GONNA CHALLENGE YOU ALL.
I WANT YOU TO GO BACK ONE PLACE.
ONE PLACE WHERE WE STARTED THAT LAST ROUND.
GO BACK TO WE STARTED THE LAST ROUND.
SHE KNOWS SHE KNOWS WHAT SHE'S DOING.
MUTUAL, MUTUAL LOVE FOR REAL WITH THE MUSIC.
BY THE WAY, IF YOU DO A RIGHT SHOULDER, BACK TO BACK INSTEAD OF A LEFT SHOULDER, BACK TO BACK, YOU DON'T GET REFRESHMENTS.
IS THE LEFT SHOULDER'S A LITTLE EASIER? SO WITH THE MUSIC NOT TOO FAST, PLEASE FIRST MAN LEAD YOUR PARTNER PARTNERS.
FIRST WOMAN LEAD, YOUR NEIGHBOR, YOUR NEIGHBOR.
TWO HANDS HALFWAY STAR RIGHT BACK BY THE LEFT, LEFT SHOULDER BACK TO BACK WITH YOUR PARTNER ONE'S CAST TWO LEAD UP.
FIRST MAN, LEAD YOUR NEIGHBOR.
FIRST WOMAN, LEAD YOUR NEIGHBOR.
RIGHT? ONCE ROUND, BACK BY THE LEFT, LEFT SHOULDER, BACK TO BACK ONE CAST TWOS LEAD UP.
FIRST MAN, LEAD YOUR PARTNER, LEAD YOUR NEIGHBOR RATHER STAR RIGHT BACK BY THE LEFT, YOU'RE ALL HOME.
YOUR PARTNER ONE'S CAST TWO'S LEAD UP AND HONOR YOUR PARTNERS.
COULD WE HAVE A BIG HAND FOR OUR MUSIC PLEASE? THANK YOU SO MUCH.
WELL THAT LOOKED JUST LIKE AN ENGLISH COUNTRY DANCE THAT I FIRST, UH, ENJOYED MAYBE FIVE DECADES AGO.
SO YOU GUYS ARE CONTINUING THE HISTORICAL TRADITION.
THIS IS A DANCE IN WALTZ'S TIME.
YOU ARE WELCOME TO CHANGE PARTNERS OR KEEP THE SAME PARTNERS AND AGAIN, MAKE LONG WAYS SETS.
[00:50:02]
SO LET'S TAKE HANDS FOUR FROM THE TOP.TAKE HANDS AND RINGS OF FOUR DANCERS FROM THE TOP AND MAKE SURE IT GETS ALL THE WAY DOWN TO THE BOTTOM.
IF YOU DON'T HAVE A PARTNER, UM, FIND ONE AND JOIN IN AT THE BOTTOM.
SORRY, I GOT THOSE NUMBERS REVERSED.
SHE WROTE TO HER SISTER CASSANDRA.
AND THIS WILL SHOW YOU SOME OF THE CLEVERNESS AND WIT THE SHARP WIT OF JANE AUSTEN.
SHE WROTE, THERE WAS THE SAME KIND OF SUPPER AS LAST YEAR AT THE BALL AND THE SAME WANT OF CHAIRS.
THERE WERE MANY MORE DANCERS THAN THE ROOM COULD CONVENIENTLY HOLD, FEELS FAMILIAR,
I DO NOT THINK I WAS VERY MUCH IN REQUEST.
PEOPLE WERE RATHER APT NOT TO ASK ME UNTIL THEY COULD NOT HELP IT.
THERE WAS ONE GENTLEMAN, AN OFFICER OF THE CHESHIRE, A VERY GOOD LOOKING YOUNG MAN WHO I WAS TOLD WANTED VERY MUCH TO BE INTRODUCED TO ME, BUT AS HE DID NOT WANT IT QUITE ENOUGH TO TAKE MUCH TROUBLE IN AFFECTING IT, WE COULD NEVER BRING IT ABOUT
SO THIS NEXT DANCE IS CALLED THE DUKE OF KENS WALTZ.
IT WAS PUBLISHED IN 1801 AND I'LL REMIND YOU THAT, UH, JAY AND AUSTIN PASSED AWAY IN 1807.
THIS WAS SOME YEARS BEFORE HER DEATH.
UM, THE WALTZ BEGAN TO CREEP INTO THE BALLROOM AND UH, IT WOULD EVENTUALLY DISPLAY IT AND THE POKER AND THE, AND THE THE COUPLE WALTZ WOULD EVENTUALLY DISPLACE, UH, THE ENGLISH COUNTRY DANCING.
WE KNOW, BUT AT LEAST AT THIS TIME, UH, AT THE TIME THIS UM, DANCE WAS PUBLISHED, IT WAS STILL ALIVE ON THE DANCE FLOOR.
UM, THE DUKE OF KENT, UM, FOR WHOM THIS DANCE WAS NAMED, WAS THE FOURTH SON OF KING GEORGE III AND THE FATHER OF QUEEN VICTORIA.
AND I'M TOLD HE LOVED WALTZ'S.
SO LET'S HEAR A BIT OF THE TUNE FOR THIS DANCE.
SO THE WALL STEP IS RIGHT, LEFT, RIGHT, LEFT, RIGHT, LEFT, RIGHT, LEFT, RIGHT, LEFT IN THAT SORT OF TRIPLE OR WALTZ RHYTHM.
AND THE FIRST STEP IS GOING TO BE A RATHER LONG TRAVELING STEP.
AND THE SECOND TWO STEPS ARE MORE, UM, ABBREVIATED.
AND I'LL SHOW YOU WHAT THAT LOOKS LIKE.
IT'S RIGHT, LEFT, RIGHT, LEFT.
[00:55:01]
FEET ARE GOING RIGHT, LEFT, RIGHT, LEFT, RIGHT, LEFT, YOU'LL BE FINE.SO THIS DANCE BEGINS TAKING RIGHT HANDS WITH YOUR CORNER DANCER IN A STAR FORMATION.
AND THIS IS A SHAKE, HAND HOLD, LIKE A SHAKE, HAND HOLD.
IT WAS KIND OF A, A VERY ENGLISH THING I GUESS.
AND WE TURNED THE STAR FOR UM, FOUR BARS OF MUSIC.
SO WITH THE MUSIC, TURN THE STAR BY THE RIGHT 1, 2, 3, BACK BY THE LEFT AND END FACING YOUR PARTNER ACROSS.
YOU TAKE TWO HANDS WITH YOUR PARTNER.
YOU TAKE TWO HANDS WITH YOUR PARTNER JUST TO THE FIRST COUPLE AND YOU'RE GOING TO TAKE TWO SIDE STEPS, TWO SACHET STEPS DOWN BETWEEN YOUR TWOS AND ONE AND TWO AND THEN TWO SIDE STEPS BACK TO YOUR HOME.
AND NOW FIRST, NOW FIRST COUPLE.
YOU GET A LONG CAST, FOUR BARS OF MUSIC INTO SECOND PLACE AND THE TWOS LEAD UP GO.
WILL YOU JUST PAUSE FOR A MOMENT? IN THIS POSITION, I'M ADDRESSING THIS TO THOSE OF YOU WHO ARE HAVING TROUBLE WITH THE CAST.
YOU ALWAYS CAST ALL DOWN YOUR OWN LINE.
EVERYBODY POINT TO YOUR OWN LINE.
THAT IS THE, UM, LINE THAT YOU'RE CASTING AROUND.
SO YOU DANCE ON THE OUTSIDE OF YOUR LINE INTO A NEW POSITION.
WE ARE NOW PROGRESSED AND ORLEY AND I ARE GOING TO SHOW YOU THE NEXT ROUND OR THE NEXT BIT OF THE DANCE.
SO AT THIS POINT OF THE DANCE, YOU'RE GOING TAKE RIGHT HANDS WITH YOUR PARTNER AND YOU'RE GOING TO BALANCE FORWARD AND BACK YOUR HANDS.
THAT'S, WE CALL IT BOX THEMATIC.
THEN YOU DO LEFT HANDS AND AGAIN YOU CHANGE.
TRY IT ONE MORE TIME AND I'LL SHOW YOU A CHEEK.
IF THIS IS HARD, THIS IS THE WAY WE ORDINARILY DO IT.
BUT THE CHEAT IS YOU CAN BALANCE AND THEN JUST DECIDE.
TAKE RIGHT HAND WITH YOUR PARTNER.
AND WHEN YOU BOX THE GNAT, YOU CHANGE SIDES.
TAKE A LEFT HAND WITH YOUR PARTNER, SWAP THE FLEA BALANCE, WALK, BALANCE BACK AND CHANGE SIDES.
DOES ANYBODY NEED THE LITTLE ASSISTANCE IN HOW TO DO THIS? RAISE YOUR HAND IF YOU DO.
OKAY, SO YOU'RE, YOU'RE PROGRESSED, YOU'RE ON YOUR OWN SIDE.
TAKE RIGHT HANDS WITH YOUR PARTNER.
BALANCE FORWARD BU BOX, THE NAT LEFT HAND BALANCE AND SWAT THE FLEA.
[01:00:01]
HAND TURN ONCE ROUND ALL THE WAY AND A LEFT HAND TURN ALL THE WAY.JUST NOW TAKE RIGHT HANDS ACROSS IN A STAR WITH YOUR NEW NEIGHBORS.
WITH YOUR NEW NEIGHBORS BECAUSE YOU'VE PROGRESSED.
ONE'S LOOK DOWN, TWO'S LOOK UP.
YOU HAVE NEW NEIGHBORS, NEW CORNERS.
WE HAVE A COUPLE OUT AT THE TOP BEFORE YOU DO THE STAR.
I KNOW YOU'RE ANXIOUS TO DO THIS, BUT BEFORE YOU DO THE STAR, IF YOU, IF YOU'RE OUT AT THE TOP OR THE BOTTOM, DON'T SIT DOWN BECAUSE SOMEBODY WANTS TO DANCE WITH YOU IN THE NEXT ROUND.
SO HOLD YOUR PLACE FROM THIS NEW PLACE.
FIRST COUPLE TAKE TWO HANDS WITH PARTNERS, SACHET DOWN TWO STEPS.
SACHET BACK LONG CAST THE SECOND PLACE TWOS LEAD UP AND HOLD IT.
ALRIGHT, HAVE YOU PROGRESSED IN EACH SET? RAISE YOUR HANDS IF YOU HAVEN'T
I KNOW YOU EXPECTED ME TO SAY IF YOU DID TAKE RIGHT HAND WITH YOUR PARTNER BALANCE NO MUSIC, PLEASE BALANCE TEAM BEAM, BOX THE NAT DUMB BU LEFT HAND AND SWAP THE FLEA RIGHT HAND TURN YOUR PARTNER ALL THE WAY ROUND AND LEFT HAND TURN.
BU TAKE RIGHT HAND STAR WITH YOUR NEXT NEIGHBORS.
WE HAVE PEOPLE COMING IN AT THE TOP.
OKAY WE DANCE THE DUKE OF KENT WALTZ WITH THE MUSIC STAR.
RIGHT STAR LEFT BACK FIRST COUPLE TAKE TWO HANDS WITH YOUR PARTNERS.
SACHET DOWN, SACHET BACK LONG CAST A SECOND.
BOX THE NET BALANCE BOX THE NET LEFT HAND BALANCE.
TURN LEFT HAND ALL THE WAY WITH YOUR NEW NEIGHBORS STAR RIGHT WITH YOUR NEW NEIGHBORS STAR RIGHT BACK BY THE LEFT.
FIRST COUPLE SACHE DOWN TWO SACHETS SACHET BACK LONG CAST TO SECOND PLACE.
TWOS LEAD UP, TAKE RIGHT AND RIGHT WITH YOUR PARTNER BALANCE BOX.
THE GNAT LEFT AND LEFT BALANCE.
SWAP THE FLEA PARTNER'S RIGHT HAND TURN ALL THE WAY BACK BY THE LEFT WITH YOUR NEW NEIGHBORS.
ALL RIGHT, BACK BY THE LEFT TOP COUPLE SACHET DOWN TWO STEPS AND BACK ONE'S LONG CASTES PLACE.
JUST LEAD UP, TAKE RIGHT HAND WITH YOUR PARTNER BALANCE
[01:05:03]
BOX.SWAP THE FLEA PARTNERS RIGHT HAND TURN ALL THE LEFT, LEFT HAND TURN WITH THE NEW NEIGHBORS.
STAR, RIGHT STAR LEFT BACK FIRST COUPLE SACHET DOWN, SACHET BACK LONG CAST TO SECOND PLACE.
TWOS LEAD UP PARTNERS, RIGHT AND RIGHT BALANCE BOX THE NET.
SWAP THE FLEA PARTNERS RIGHT HAND TURN ALL THE WAY.
LEFT HAND WITH THE NEW NEIGHBORS.
STAR RIGHT STAR LEFT BACK, TOP COUPLE SACHET DOWN, SACHET BACK LONG CAST TO SECOND PLACE.
TWOS MOVE UP PARTNER'S, RIGHT AND RIGHT BALANCE BOX THE NET LEFT AND LEFT BALANCE.
SWAT THE FLEA PARTNER'S RIGHT HAND TURN AND LEFT WITH THE NEW NEIGHBORS.
TWOS MOVE UP RIGHT AND WRITE WITH PARTNER BALANCE LINNETTE, LEFT AND LEFT BALANCE PARTNER'S, RIGHT HAND TURN AND LEFT HAND COMING IN AT THE TOP.
YOU GUYS ARE IN YOUR HOME, YOUR HOME, YOUR HOME FOR SIDE SACHET DOWN SACHET BACK LONG CAST TWOS MOVE UP PARTNERS, RIGHT AND RIGHT BALANCE, RIGHT HAND TURN AND HONOR YOUR PARTNERS.
A BIG HAND FOR OUR MUSIC TODAY.
NOW WE'RE GOING TO TAKE A SHORT BREAK, MAYBE 15 MINUTES SO EVERYBODY CAN REFRESH AND PLEASE COME BACK BECAUSE WE HAVE MORE DANCING AND A VERY INTERESTING SLIDESHOW.
SO HELLO EVERYBODY AND WELCOME BACK.
BEFORE WE LAUNCH INTO THE SECOND HALF OF THE AFTERNOON, I'D LIKE TO READ ANOTHER EXCERPT FROM JANE AUSTIN.
AND THIS ONE IS FROM MANSFIELD PARK.
MANSFIELD PARK, UM, THE HEROINE OR THE ANTI HEROINE FANNIE PRICE, UH, GOES TO HER FIRST BALL.
AND AT THE END OF THE EVENING, UH, JANE AUSTEN WRITES THE FOLLOWING, REFERRING TO FANNIE.
SHE STOPPED AT THE ENTRANCE DOOR TO VIEW THE HAPPY SCENE AND TAKE A LAST LOOK AT THE FIVE OR SIX DETERMINED COUPLES WHO ARE STILL
[01:10:01]
HARD AT WORK, DANCING AND THEN CREPT SLOWLY UP THE PRINCIPLE STAIRCASE WITH FEARS AND SOUP AND SORE FOOTED AND FATIGUED, RESTLESS AND AGITATED, YET FEELING IN SPITE OF EVERYTHING THAT A BALL WAS INDEED DELIGHTFUL.SO I HOPE IT'S BEEN DELIGHTFUL SO FAR AND WE HAVE SOME MORE FOR YOU.
DO WE HAVE OUR, OUR DEMO TEAM HERE? YES.
EVERYONE DON'T GET UP QUITE YET.
WE'RE GOING TO DO A, WE'RE GOING TO DO DANCES THAT BOTH PRECEDED, UH, JANE AUSTEN'S TIME AND, UM, EXTEND ACTUALLY INTO OUR OWN TIME.
WE HAVE A DANCE THAT WAS WRITTEN JUST TWO YEARS AGO, AND IT WILL GIVE YOU A SENSE OF THE GREAT SWEEP OF THE HISTORY OF ENGLISH COUNTRY DANCING.
UH, THIS DANCE WAS WRITTEN IN 1710.
IT'S CALLED ST MARGARET'S HILL, A PLACE NAME FOR AN AREA, I THINK IN LONDON.
AND, UM, IT, IT'S IN TRIPLE TIME.
IT'S NOT A WALTZ, BUT THERE ARE THREE BEATS TO THE MEASURE.
THREE EVEN STEPS IN IN THE MUSIC.
UM, THERE'S A CERTAIN AMOUNT OF CLEVERNESS IN THE CHOREOGRAPHY AND, UH, YOU, ONE OF THE THINGS YOU MIGHT LOOK FOR IS THE CLEVER WAY IN WHICH THE THREES BECOME ONES AND THE ONES BECOME TWOS AND THE TWOS BECOME THREES.
THERE'S A VERY UNUSUAL PROGRESSION HERE.
YOU'LL SEE THAT THE DANCE HAS CIRCLES, HAS LINES UP AND DOWN THE SET, BUT ALSO LINES ACROSS THE SET.
SO THE CHOREOGRAPHER WAS OBVIOUSLY PLAYING WITH, UM, UH, WITH THE, UH, GEOMETRY OF THE DANCE, AND THAT'S PART OF THE ATTRACTION OF ENGLISH COUNTRY DANCING.
SO LET'S START BY HEARING A BIT OF THE MUSIC AND OUR DEMO SET WILL TAKE THEIR PLACES.
SO YOU CAN SEE THAT WHEN WE, UH, TEACHER DANCE, UM, IN OUR, IN THIS MODERN SETTING, UM, WE SET THE TEMPO FOR THE BAND AND THEN THE TEACHER TEACHES THE DANCE THE WAY WE LEARNED, UM, THE TWO, WE DID THIS, UH, EARLIER.
AND THEN, UM, THE CALLER MYSELF WILL CALL SOME PORTION OF THE DANCE AND THEN STEP OUT OF THE WAY SO THAT THERE'S NO, THERE'S NOTHING BETWEEN THE MUSIC AND THE DANCERS BECAUSE IT REALLY IS ALL ABOUT THE MUSIC.
THESE FOLKS KNOW THE DANCE WELL ENOUGH SO THAT I DON'T HAVE TO CALL IT.
I I'LL PROMPT A LITTLE BIT OF THE FIRST ROUND JUST SO YOU'LL KNOW WHAT IT IS THAT THEY'RE DOING.
WE'LL DANCE IT THROUGH THREE TIMES.
UM, AND, UH, I GUESS WE'LL JUST START WITH A TWO NOTE INTRODUCTION.
FIRST COUPLE WITH THE MUSIC CAST A MIDDLE PLACE TO MEET AND LEAD UP.
TWOS TWO HANDS, THREE QUARTERS, LINES OF THREE.
FALL BACK, MAKE A RING CIRCLE LEFT HALF FIRST COUPLE ON THE, ON THE RIGHT, RIGHT HAND TURN.
PARTNER LEFT, LEAVE DOWN CAST ROUND TO SECOND PLACE.
TWO HANDS, HALF FALL BACK, MAN DOWN, WOMAN UP LEFT HAND, LEFT PARTNER, RIGHT LEAD UP, CAST THE MIDDLE PLACE EVERYONE.
TWO HANDS HALFWAY NEW TOP COUPLE CAST TWO HANDS, THREE QUARTERS
[01:15:01]
LINES.FIRST COUPLE ON YOUR RIGHT, RIGHT HAND TURN LEFT.
A PARTNER LEAD DOWN MAN DOWN, WOMAN UP LEFT HAND.
NOW I, I HAVE A, A LITTLE HISTORY OF, UH, ENGLISH COUNTRY DANCING TO SHARE WITH YOU.
AND THAT WILL BE SOME SLIDES AND, UM, LET'S SEE IF I CAN OPERATE THIS, UH,
SO YOU CAN SEE FROM THE SLIDE, I DON'T KNOW IF YOU CAN READ THIS, BUT THIS WAS, UH, THIS DANCE WAS DONE IN, UH, PUBLISHED IN THE LATE BAROQUE.
DURING THAT TIME, QUEEN ANNE WAS ON THE THRONE.
UH, SIR ISAAC NEWTON WAS ACTIVE IN THE, UH, ROYAL SOCIETY.
THE PIANO FORTE WAS INVENTED, UH, STRADIVARIUS WAS MAKING HIS FABULOUS VIOLINS AND POPULAR DANCERS AT THE TIME WERE THE MINETTE OF THE COTILLION AND COUNTRY DANCERS.
NOW IT'S TIME FOR ME TO SHARE A LITTLE BIT OF, UM, THE ACTUAL STORY.
SO THE ENGLISH COUNTRY DANCE EMERGED AS A DISTINCT GENRE DURING THE REIGN OF ELIZABETH I I IN THE 16TH CENTURY.
WHILE EVIDENCE PROVIDES NO DEFINITIVE ANSWER AS TO ITS ORIGINS, IT APPEARS TO HAVE BEEN AN AMALGAMATION OF THE CONTINENTAL COURTLY DANCES.
THE PAVAN, THE GALLARD AND SO ON, BROUGHT TO THE ELIZABETHAN COURT BY ITALIAN AND OTHER DANCING MASTERS AND THE VERNACULAR DANCERS DONE BY THE ENGLISH COUNTRY FOLK.
IN HER PERIODIC PROGRESSES BY WHICH SHE TRAVELED THROUGHOUT HER REALM, ELIZABETH HAD THE OPPORTUNITY TO OBSERVE THESE INDIGENOUS FOLK DANCES AND MANUSCRIPTS OF THE TIME DOCUMENT HER PLEASURE IN SEEING THEM.
AND I'LL QUOTE FROM ONE OF THOSE OLD SOURCES.
NOW, HER MAJESTY THAT SATURDAY NIGHT, AND THIS WAS 1572, WAS LODGED AGAIN IN THE CASTLE OF WARWICK WHERE SHE RESTED ALL SUNDAY, WHERE IT PLEASED HER TO HAVE THE COUNTRY FOLK RESORTING TO SEE HER DANCE IN THE COURT OF THE CASTLE.
HER MAJESTY BEHOLDING THEM OUT OF THE CHAMBER WINDOW, WHICH THING AS IT PLEASED, WELL, THE COUNTRY PEOPLE.
SO IT SEEMED HER MAJESTY WAS MUCH DELIGHTED AND MADE HER VERY MERRY
AS DANCING WAS HELD AT HIGH ESTEEM AT COURT, IT SEEMS LIKELY THAT DANCING MASTERS WOULD ATTEMPT TO CREATE NEW DANCES WITH THAT WOULD GARNER APPROVAL FROM THE MONARCH AND HER COURTIER INTEREST IN THE NEW FORM OF COUNTRY DANCING SPREAD FROM THE ROYAL COURT TO OTHER ARISTOCRATIC AND CULTURED VENUES, INCLUDING GRAND COUNTRY HOUSES AND THE INS OF COURT IN LONDON WHERE YOUNG LAW STUDENTS WERE HOUSED AND SCHOOLED.
[01:20:01]
AND AS AN ASIDE, I THINK THAT IF OUR CURRENT LAW STUDENTS LEARNED ENGLISH COUNTRY DANCING, THE WORLD WOULD BE A BETTER PLACE.SO THIS IS THE, A FRONT COVER OF A, OF A BOOK CALLED THE ENGLISH DANCING MASTER.
AND THERE IS A FACSIMILE OF IT ON THE TABLE OVER THERE IN 1651, THE NOTED LONDON PUBLISHER JOHN PLAYFORD, PRODUCED THE FIRST PRINTED COLLECTION OF COUNTRY DANCES FOR SALE, TITLED THE ENGLISH DANCING MASTER, WHICH CONTAINED BOTH THE MUSIC AND THE INSTRUCTIONS FOR 103 DANCES.
ITS SOLD VERY WELL AND A SECOND EDITION WAS PRODUCED THE FOLLOWING YEAR IN ALL PLAYFORD.
AND LATER HIS SON HENRY AND OTHERS, PRODUCED 18 EDITIONS OF THE DANCING MASTER ADDING OR DELETING DANCES AS THE FADS AND FASHIONS CHANGED.
SO YOU CAN SEE THAT THERE WERE, THERE WERE OTHER NAMES CONNECTED WITH THIS AND IT'S ASTONISHING TO THINK THAT THEY CREATED 30,000 DANCES.
OF COURSE, A LOT OF THEM LOOKED THE SAME OR WERE THE SAME, BUT JUST HAD DIFFERENT NAMES.
COUNTRY DANCING GAINED, UH, POPULARITY THROUGHOUT ENGLAND AS WELL AS SCOTLAND, IRELAND, EUROPE, AND THE AMERICAN COLONIES.
PUBLIC ASSEMBLIES INTRODUCED IN THE 18TH CENTURY, HELD IN PUBLICLY ACCESSIBLE BALLROOMS SUCH AS THE ASSEMBLY ROOMS AT BATH MADE COUNTRY DANCING AVAILABLE TO THE NEW RISING MIDDLE CLASSES, AS WELL AS THE ARISTOCRACY.
PUBLISHERS AND CHOREOGRAPHERS COMPETED WITH ANNUAL COLLECTIONS OF NEW DANCES TO FEED THE GROWING APPETITE AND DANCING MASTERS BUILT CAREERS, TEACHING STYLE AND REPERTOIRE.
NOW, MY OWN TEACHER WHO, UH, ACTUALLY LIVED IN UH, LARCHMONT, UH, SHE WAS A CHOREOGRAPHER OF GREAT RENOWNED FREE TERM.
UM, SHE ALSO HAD SOMETHING OF A CAREER, UH, AS A DANCING MASTER AND TO SHOW YOU HOW SUCCESSFUL THAT CAREER WAS, THE TITLE OF HER FIRST BOOK WAS THE ROAD TO RUIN
THE DANCE WENT DORMANT, UH, IN ENGLAND FOR ABOUT A HUNDRED YEARS AND THEN WAS REAWAKENED DURING A PERIOD OF CULTURAL NATIONALISM THAT SURFACED IN ENGLAND, ANOTHER EUROPEAN COUNTRIES IN THE EARLY 20TH CENTURY.
THIS GENTLEMAN, CECIL SHARP, AN ENGLISH MUSICOLOGIST AND TEACHER IS CREDITED AS THE PRIMARY REDISCOVER OF THE COUNTRY DANCE, BOTH IN ITS SURVIVING VERNACULAR FORM IN THE SMALL VILLAGES OF ENGLAND.
AND IN THE 17TH CENTURY PRINTED COLLECTIONS OF PLAYFORD AND OTHERS INTENDED FOR THE CULTURED CLASSES.
SHARP REMA REINTERPRETED COUNTRY DANCES FOR CONTEMPORARY AUDIENCES AND TIRELESSLY PROMOTED THE GENRE AS SUITABLE FOR SCHOOLS AND YOUTH GROUPS AS WELL AS ADULTS WHO HE FELT SHOULD HAVE THEIR GREAT TRADITIONAL DANCING RETURNED TO THEM.
INTEREST IN THESE DANCES CONTINUED TO GROW IN THE 20TH CENTURY AND INDEED IN THE 21ST, IN THE LAST 50 YEARS, HUNDREDS OF NEW DANCES AND TUNES AND ENGLISH COUNTRY DANCE STYLE HAVE BEEN COMPOSED BY ENGLISH AMERICAN AND EUROPEAN COMPOSERS IN A BURST OF CREATIVITY.
AMONG THESE, UH, ARE THE RENOWNED ENGLISH COMPOSER, CHOREOGRAPHER, SINGER AND ETHNOMUSICOLOGIST PAT SHAW, WHO FROM 1959 TO 1972 RESEARCHED 17TH AND 18TH CENTURY ENGLISH DANCES AND, UM, RECONSTRUCTED THEM IN A SERIES CALLED ANOTHER LOOK AT PLAYFORD.
AND HE RATHER UPENDS THE ENGLISH COUNTRY DANCE WORLD BY DEVISING NEW ENGLISH COUNTRY DANCES, USING TUNES FROM THE BAROQUE ERA TO RAGS OF OUR OWN TIME AND TO MUSIC OF HIS OWN, MAKING OTHER PREEMINENT COMPOSERS, UH, INCLUDE THE LATE FREE DENETTE HERMAN, WHOM I JUST MENTIONED.
UH, THIS DUTCH WOMAN WHO LIVED IN LARCHMONT,
[01:25:01]
UH, THE ENGLISH COMPOSER CALL CALLER AND CHOREOGRAPHER, UH, COLIN HUME AND THE RETIRED MATHEMATICIAN AND CHOREOGRAPHER GARY RUMAN, NOW LIVING IN WESTERN MASSACHUSETTS AND OUR OWN ORALLY KRASNER SITTING UP HERE WHOSE BOOK CELEBRATIONS IS ON THE TABLE THERE NOT FOR SALE, BUT, UH,UM, SO AS CONTEMPORARY DANCERS, WE SOMETIMES DRESS UP AS YOU SEE, UH, THE FOLKS ON THE, UM, ON THE LEFT AND SOMETIMES WE DRESS AS WE ARE HERE TODAY.
UM, WHO ARE THESE CONTEMPORARY DANCERS? YOU, YOU ARE THE NEW CONTEMPORARY DANCERS.
SO
IT'S WELCOME TO TAKE A PARTNER AND WE'LL AGAIN, START WITH A BIG CIRCLE.
SO THOSE OF YOU WHO ARE UP FOR SOME ADDITIONAL DANCING, TAKE A PARTNER AND MAKE A A BIG CIRCLE AROUND THE ROOM BEFORE WE LEARN THIS DANCE.
UM, I, I DO WANT TO POINT OUT THAT ENGLISH COUNTRY DANCING DOES TAKE PLACE IN WESTCHESTER IN WHITE PLAINS ON THURSDAY NIGHTS AND SOME SUNDAYS.
HERE'S SOME OF THE DETAILS, MORE OF THE DETAILS YOU CAN FIND ON THE TABLE.
UM, THERE ARE LITTLE FLYERS, UH, THAT HAVE OUR WEBSITE AND SO FORTH.
WE DON'T ALWAYS SERVE CHOCOLATE CAKE, BUT THERE'S A GOOD CHANCE THAT WE MIGHT THIS COMING THURSDAY,
OKAY, SO SALINGER'S ROUND, THIS IS A DANCE FROM THE EARLY OR SO, THE MID 17TH CENTURY.
SO WE'RE TALKING UM, I THINK 1670 IS IS WHEN THE DANCE WAS WRITTEN OR PUBLISHED RATHER.
IT HAS A SUBTITLE CALLED, UH, SALINGER'S ROUND OR THE BEGINNING OF THE WORLD.
WHY IT HAS THE SUBTITLE, I DO NOT KNOW, BUT IT HAS, UM, THREE INTRODUCTIONS, EACH OF WHICH IS FOLLOWED BY THE SAME CHORUS.
AND WE'RE GONNA LEARN THE CHORUS FIRST WITH YOUR PARTNER AND YOUR NEIGHBOR.
'CAUSE WE'LL DO THIS WITH HANDS IN A BIG RING.
OH NO, WAIT A MINUTE, IT'S WITHOUT HANDS.
SO YOU CAN JUST DO THIS ON YOUR OWN.
SET INTO THE CENTER AND RIGHT, LEFT, RIGHT, AND LEFT, RIGHT LEFT.
FALL BACK AND FACE YOUR PARTNER.
RIGHT LEFT, RIGHT, LEFT, RIGHT,
[01:30:01]
LEFT.IF YOU GO, YOU'LL NOTICE, YOU'LL NOTICE THAT JUST AS IN REAL LIFE, YOU AND YOUR PARTNER ARE GOING IN OPPOSITE DIRECTIONS.
OKAY? SO MAYBE ORALLY AND I WILL SHOW THIS.
WHY DO WE TURN SINGLE? BECAUSE EYE CONTACT IS PART OF THE PLEASURE OF ENGLISH COUNTRY DANCING, BUT TOO MUCH EYE CONTACT.
OOH, TOO INVASIVE, UNBEARABLE.
SO WE'VE TURNED SINGLE TO BREAK THE EYE CONTACT.
SO COULD WE HAVE THE BE MUSIC PLEASE, EV EVERYBODY? UM, UM, YEAH, EVERYBODY'S GONNA SET INTO THE CENTER AND FALL BACK WITH THE MUSIC.
FALL BACK SET TO YOUR PARTNER, TURN SINGLE THAT AGAIN SET TO YOUR PARTNER.
NOW IF YOU TURN SINGLE IN THE WRONG DIRECTION, YOU GET A MOVING VIOLATION.
BUT OTHERWISE JUST SEE ME, I'LL FIX IT FOR YOU.
I AM REALLY GOOD AT FIXING THOSE THINGS.
HERE'S HOW TO KNOW WHICH DIRECTION IT IS.
STICK OUT YOUR RIGHT HAND PLEASE.
THAT'S THE DIRECTION OF YOUR TURN.
NOW HERE'S THE FIRST INTRODUCTION.
WE TAKE HANDS IN A BIG RING AROUND THE ROOM, WE'RE GOING TO CIRCLE TO THE LEFT AND CIRCLE BACK TO THE RIGHT.
AND THEN WE DO THE UH, CHORUS.
SO COULD I HAVE TWO AS PLEASE? AND THE CHORUS, BACK TO THE RIGHT CHORUS.
SET IN, FALL BACK, SET TO YOUR PARTNER.
SO THAT'S THE FIRST INTRODUCTION AND THE COURSE, YOU'RE GONNA GET A LOT OF PRACTICE ON THE COURSE, SO IF YOU HAVE A LITTLE TROUBLE, IT'LL ALL GET WASHED, STRAIGHTENED OUT IN THE WASH.
NOW I HAVE TO SHOW ONE OTHER THING AND I THINK I'LL DO THIS WITH MYRA IF SHE'S STANDING HERE.
AND THEN WE WOULD DO THE COURSE.
AND THEN WE WOULD DO THE COURSE.
LET'S TRY THE SIDING ONE MORE TIME.
GO FALL BACK, LEFT SHOULDER TO LEFT.
AND YOU'RE READY FOR THE COURSE TO SET IN.
IF YOU WANNA TAKE HANDS WITH YOUR PARTNER DURING THE SETTING INTO THE COURSE, THAT'S OKAY.
LAST INTRODUCTORY FIGURE, AND I'LL SHOW THIS WITH UM, CAROLYN.
[01:35:24]
SO WITH YOUR PARTNER, TRY THE ARM RIGHT.AND NOW YOU'RE READY FOR THE COURSE TO SET IN.
SO ER'S ROUND OR THE BEGINNING OF THE WORLD, IT BEGINS WITH THE FIRST INTRODUCTORY MOVE, WHICH IS CIRCLED TO THE LEFT AND TO THE RIGHT.
AND THEN THE CHORUS SETTING IN SET, TURN SINGLE TWICE.
THE SECOND INTRODUCTORY MOVE IS SIDING RIGHT SHOULDER.
AND BY THE WAY, ORLEY KRASNER TAUGHT ME SOMETHING ABOUT THESE INTRODUCTIONS.
THAT IS, UM, THERE IS AN INCREASING LEVEL OF INTIMACY THAT HAPPENS DURING THESE MOVES.
SO FOR INSTANCE, IN THE SIDING, YOU'RE NOT TOUCHING YOUR PARTNER, BUT YOU'RE LOOKING AT THEM, RIGHT? THEN FINALLY YOU GET TO TOUCH YOUR PARTNER ARM.
WE WILL, THE FINAL PORTION OF THIS DANCE WILL REPEAT THE INTRODUCTORY PORTION, THE FIRST PORTION, JUST SO YOU KNOW.
SO WITH THE MUSIC CIRCLE TO THE LEFT, BACK TO THE RIGHT SET.
IN CHORUS, FALL BACK, PARTNERS SET, TURN, SINGLE, SET IN, FALL BACK, PARTNER SET, TURN, SINGLE, SIDE BY SIDE, RIGHT SHOULDER, FALL BACK, SIDE BY SIDE, LEFT STAY WITH THE MUSIC SET IN.
HERE'S THE COURSE, FALL BACK, PARTNER, SET, TURN, SINGLE, ALL THAT AGAIN.
ARM, RIGHT ARM LEFT, SET IN THE COURSE, PARTNER SET, TURN SIGNAL SET IN.
PARTNER SET CIRCLE TO THE LEFT, BIG CIRCLE ALL BACK TO THE RIGHT AND THE FINAL COURSE INTO THE CENTER.
AND HONOR YOUR PARTNERS AND A BIG HAND FOR OUR MUSIC.
THANK YOU PETER, DOMINIC, AND SUE.
NOW WE'RE GOING TO RATCHET FORWARD TO THE 20TH CENTURY.
TAKE A PARTNER AND MAKE LONG WAY SETS PLEASE.
NOW WE'RE GONNA CHANGE THE, THE PROCEDURE JUST A LITTLE BIT.
INSTEAD OF TAKING HANDS FOUR, I WANT YOU TO TAKE HANDS SIX.
TAKE HANDS TOGETHER, GROUPS OF SIX DANCERS.
DO WE HAVE SOME FOLKS OUT WHO ARE NOT, WHO DON'T HAVE A, YOU KNOW, THANK YOU MYRA.
[01:40:03]
NOW THIS NEXT DANCE IS LIKE THE DANCE YOU SAW IN THE DEMO.SO KEEP YOUR HANDS SIX AND THE BOTTOM COUPLES MOVE DOWN THE HALL A LITTLE BIT.
SO NOW WE'VE SEPARATED THE SETS PHYSICALLY SO THAT YOU KNOW YOU'RE DANCING WITH THESE FIVE OTHER PEOPLE IN YOUR SET.
JUST THOSE FIVE OTHER DANCERS IN YOUR SET.
ALL THE OTHER DANCERS IN THE ROOM, UM, THEY'RE DANCING WITH THEIR SET AND THE TWO SHALL NEVER MEET
SO THIS IS A DANCE THAT WAS WRITTEN IN 1989 BY THE DUTCH, UM, CHOREOGRAPHER, FREE HERMAN, THE ONE ONE WHO LIVED IN LARCHMONT AND BY THE WAY WAS A CO-FOUNDER OF THE COUNTRY, DANCERS OF WESTCHESTER.
IT WAS WRITTEN FOR HER PIANIST, LEAH BARKIN, WHO PLAYED FOR COUNTRY DANCERS, UH, IN WESTCHESTER FOR MANY, MANY YEARS AND WAS ACTUALLY THE TEACHER, ONE OF THE TEACHERS OF PETER ARE PIANISTS.
SO YES, PETER ACTUALLY LIVES IN HER HOUSE NOW.
IT'S OBVIOUSLY IT'S CALLED LEAH'S WALTZ AND IT COMES WITH TWO DIFFERENT TUNES, ONE OF WHICH YOU MAY RECOGNIZE IF YOU FOLLOWED THE WORK OF KEN BURNS.
BUT COULD WE START WITH THE FIRST TUNE AND COULD YOU THE BAND PLEASE GIVE US A LITTLE FLAVOR OF THIS MUSIC.
SO WE'VE ALREADY LEARNED ALL THE FIGURES IN THIS DANCE, WHICH IS TO SAY WE LEARNED HOW TO SET, WE JUST DID THAT.
WE LEARNED HOW TO TURN SINGLE, WE LEARNED HOW TO CIRCLE TO THE LEFT AND WE LEARNED HOW TO CAST AND WE LEARNED STARS.
SO WE'VE DONE ALL THOSE FIGURES AND ALL OF THEM APPEAR IN THIS DANCE, BUT WE'RE DOING IT IN WALT'S TIME.
SO, UM, IF FAINA AND I COULD JUST COME OUT TO THE CENTER FOR A MINUTE.
SO WE'LL DO THIS WITHOUT MUSIC FOR A MOMENT.
UM, PARTNERS FACE EACH OTHER AND IN WALTZ'S TIME JUST SIT RIGHT AND LEFT AND RIGHT, LEFT, RIGHT, LEFT, RIGHT, LEFT TURN, SINGLE AND MAKE A BIG RING.
NOW WHEN YOU MAKE THE RING THE MIDDLE DANCERS, THE MIDDLE DANCERS MOVE OUT SLIGHTLY SO THAT THE RING IS ROUND.
NOW NOTICE WHERE HALFWAY IS AND CIRCLE LEFT UNTIL YOU GET THERE.
AND FACE YOUR PARTNER AGAIN IN NICE STRAIGHT LINES, NO HANDS.
NOW REPEAT ALL OF THAT SET TO YOUR PARTNER AND RIGHT LEFT, RIGHT, LEFT.
TURN, SINGLE, MAKE A BIG RING CIRCLE TO THE LEFT TILL YOU'RE HOME.
NOW INSTEAD OF WITH MY COUNTING, WE'LL DO IT WITH MUSIC.
SO BAND, COULD I HAVE THE FIRST TWO AS PLEASE? WE START SETTING TO PARTNER RIGHT AND LEFT, TURN SINGLE AND CIRCLE LEFT, MAKE STRAIGHT LINES.
PARTNER SET, TURN SINGLE CIRCLE LEFT HALFWAY AND YOUR HOME MAKE STRAIGHT LINES GOOD.
AND YOU CAN RELEASE HANDS AT THAT POINT EXCEPT TOP COUPLE.
NUMBER ONE, FACE DOWN WITH INSIDE HANDS WITH YOUR PARTNER.
I DIDN'T TELL YOU THAT YOU'D NUMBER OFF.
[01:45:02]
AND THIS ROUND THE TOP COUPLE NUMBER ONE FACES DOWN, THEY LEAD DOWN THE CENTER OF THE SET FOR TWO WALL STEPS.THE UM, BUT UM, UM, FACE UP WITH INSIDE HANDS LEAD TO THE TOP.
AND NOW YOU'RE GOING TO SEPARATE FIRST COUPLE AND CAST ALL THE WAY DOWN TO THIRD PLACE.
TAKE YOUR PARTNER'S INSIDE HAND AND LEAD UP ONE PLACE.
MAKE A RIGHT HAND STAR WITH THE BOTTOM COUPLE.
MAKE A RIGHT HAND STAR WITH THE BOTTOM COUPLE.
NOW MAKE A LEFT HAND STAR WITH THE TOP COUPLE WITH THE TOP COUPLE.
THIS IS THE SEQUENCE OF MOVES MIDDLE COUPLE THAT YOU WILL MAKE.
SO WITH THE BOTTOM COUPLE NUMBER THREES, THREES IN THE MIDDLE STAR RIGHT ONCE ROUND.
DEUM, DEUM STAR LEFT ABOVE THE UM, STAR LEFT ABOVE.
OH YOU GUYS LEFT OUT THESE NICE FOLKS AT THE TOP
MAKE A RIGHT HAND STAR, DON'T TURN IT NOW.
THIRD COUPLE WITH A COUPLE ABOVE.
THAT'S WITH THE COUPLE ABOVE YOU.
SO HE'S A GOOD DANCER AUTOMATICALLY
OKAY NOW MIDDLE COUPLE STAR RIGHT BELOW.
AND YOU'RE NOW IN YOUR PROGRESSED PLACES AND WE NOW RENUMBER NEW NUMBER ONES.
AND NUMBER TWO FOLLOWS YOU AND THREES AT THE BOTTOM.
WE WALK THE DANCE ONE MORE TIME FROM HERE AND WE'LL DO IT WITH MUSIC.
SO COULD I HAVE TWO AS PLEASE? PARTNERS SET.
TURN SINGLE BIG CIRCLE TO THE LEFT.
TURN SINGLE CIRCLE HALFWAY AND HOLD IT HERE.
NEW TOP COUPLE FACE DOWN WITH INSIDE HANDS LEAD DOWN THE CENTER YOU OUGHT TO SET TO EACH OTHER.
LEAD TO THE TOP, CAST TO THE BOTTOM, THE OTHERS MOVE UP ONE PLACE AND WE HOLD IT HERE AND HOLD IT HERE.
AND WHEN YOU MOVE UP, WHEN YOU MOVE UP, IT'S VERY NICE TO TAKE YOUR PARTNER'S HAND AND LEAD UP.
THIRD COUPLE, YOU ARE IN THE MIDDLE.
DON'T TURN IT NOW MAKE A LEFT HAND STAR ABOVE.
NOW WE'LL DO ACTUALLY DO THE STARS.
SO THIRD COUPLE IN THE MIDDLE STAR RIGHT BELOW STAR LEFT ABOVE, EASE OUT INTO LINES AND FACE ACROSS.
AND YOU'RE READY FOR THE NEXT ROUND OF THE DANCE.
YOU ARE NOW NUMBERING FROM THE TOP.
NEW NUMBER ONE, NEW NUMBER TWO, NEW NUMBER THREE.
I THINK WE CAN DO THE SET TURN SINGLE AND CIRCLE PRETTY WELL.
SO LET'S LEARN THE, UH, SECOND HALF OF THE DANCE FOR THESE NEW NUMBER ONES.
OKAY, SO NUMBER ONES FACE DOWN WITH INSIDE HANDS LEAD DOWN THE CENTER.
YUM, BU AND SET TO EACH OTHER.
LEAD UP TO THE TOP CAST ALL THE WAY DOWN TO THE BOTTOM.
THE OTHERS LEAD UP ONE PLACE ALL THE WAY TO THE BOTTOM.
DON'T BE SHY, GET ALL THE WAY DOWN.
THIRD COUPLE, YOU'RE IN THE MIDDLE.
SO THIRD COUPLE WITH THE BOTTOM
[01:50:01]
COUPLE STAR RIGHT YA STAR LEFT ABOVE ALL THE WAY.NOW I'M GONNA SHOW YOU SOMETHING.
UM, YEAH, ARE YOU BACK IN YOUR ORIGINAL PLACES? ISN'T THAT MAGIC? SO THE DANCE GOES THROUGH SIX TIMES BECAUSE THERE'S TWO TUNES.
LISTEN TO THE MUSIC, IT'S GORGEOUS.
AND IF YOU CAN, UM, MANAGE YOUR, YOUR STEPPING TO STAY IN CLOSE CONTACT WITH THAT MUSIC, YOU'LL FIND IT'S REALLY, REALLY BEAUTIFUL.
UM, THIS SET HERE CLOSE TO THE BAND, I'M A LITTLE CONCERNED FOR YOU.
UH, I'D LIKE YOU TO MOVE DOWN THE HALL A LITTLE BIT.
THE ONE, THE ONE CLOSE TO THE BAND I WAS CONCERNED WITH.
WITH THE MUSIC PARTNERS, SIT TO EACH OTHER AND TURN SINGLE INTO A RING OF SIX CIRCLE.
FIRST COUPLE LEAD DOWN, SET TO EACH OTHER RIGHT AND LEFT.
ONE PLACE, THIRD COUPLE IN THE MIDDLE STAR, RIGHT BELOW STAR RIGHT ALL THE WAY STAR LEFT ABOVE.
TURN SINGLE AND CIRCLE HALF NEW, TOP COUPLE LEAD DOWN AND SET TO EACH OTHER.
LEAD TO THE TOP CAST ALL THE WAY DOWN TO THE BOTTOM.
TURN SINGLE BIG CIRCLE TO THE LEFT.
TURN SINGLE BIG CIRCLE TO THE LEFT.
HALFWAY NEW TOP COUPLE LEAD DOWN AND SET TO EACH OTHER.
CAST ALL THE WAY TO THE BOTTOM.
MIDDLE COUPLES STAR RIGHT BELOW STAR LEFT ABOVE.
TURN SINGLE BIG CIRCLE TO THE LEFT.
TURN SINGLE BIG CIRCLE TO THE LEFT HALFWAY
[01:55:02]
FIRST.COUPLE AT THE TOP, LEAD DOWN SET TO EACH OTHER.
LEAD BACK TO THE TOP CAST ALL THE WAY TO THE BOTTOM.
STAR, RIGHT BELOW STAR, LEFT ABOVE.
TURN SINGLE BIG CIRCLE HALFWAY, ALL THAT AGAIN.
TOP COUPLE LEAD DOWN SET TO EACH OTHER.
CAST ALL THE WAY TO THE BOTTOM.
MIDDLE COUPLES STAR RIGHT BELOW STAR, RIGHT BELOW THE OTHER RIGHT STAR LEFT ABOVE PARTNERS.
SINGLE BIG CIRCLE HALFWAY PARTNERS SIT FIRST.
COUPLE LEAD DOWN AND SET TO EACH OTHER.
LEAD BACK TO THE TOP CAST ALL THE WAY DOWN.
THE OTHERS LEAD UP ONE PLACE, MIDDLE COUPLE STAR RIGHT BELOW.
WELL AS WALTZ, THANK YOUR SET, THANK YOUR PARTNERS AND WE'LL DO ANOTHER DANCE.
SO TAKE UH, PARTNERS AND MAKE A LONG WAY.
SO TAKE HANDS, FOUR FROM THE TOP, PLEASE TAKE HANDS.
FOUR, MAKE SURE IT GETS TO THE BOTTOM.
UM, IT WAS WRITTEN JUST TWO YEARS AGO ACTUALLY, AND YOU CAN TELL FROM THE MUSIC, UM, WELL
SO THERE'S A CERTAIN AMOUNT OF SILLINESS IN ENGLISH COUNTRY DANCING AND A CERTAIN AMOUNT OF ELEGANCE FOR THIS DANCE.
THIS IS JUST A KIND OF A, IT'S THE WEST CONEY RAG IS THE NAME OF THE TUNE AND UH, YOU CAN DANCE IT THE WAY THE MUSIC TELLS YOU TO.
WE'VE ALREADY LEARNED MOST OF THESE MOVES, SO, UM, AND YOU'VE SEEN ONE OF THEM.
SO IT BEGINS WITH THE FIRST COUPLE.
I DON'T KNOW IF YOU RECALL THE DEMONSTRATION WE DID AT THE BEGINNING OF THE, UH, AFTERNOON.
WE HAD THE FIRST COUPLE CAST BELOW THEIR STANDING TWOS PEEK AT EACH OTHER AND THEN CAST BACK.
[02:00:01]
MUSIC FIRST COUPLE CAST BELOW YOUR STANDING TWOS, TWOS DON'T MOVE.GO DOWN THE OUTSIDE PEEK AT EACH OTHER AND COME ON BACK.
TWOS, DID YOU STAND STILL? OH, YOU'RE DOING SUCH A GOOD JOB.
AND NOW FOR A COUPLE, LEAD DOWN THE CENTER.
CHANGE HANDS, LEAD BACK, AND OH MY GOSH, CAST OFF TO SECOND PLACE.
SO GO BACK HOME EVERYONE, I DON'T MEAN LITERALLY HOME, JUST BACK TO YOUR ORIGINAL PLACES AND WE'LL DO THAT MUCH OF THE DANCE WITH MUSIC.
COULD I HAVE THE FIRST TWO WAYS PLEASE? FIRST COUPLE WITH THE MUSIC.
YOU'RE GOING TO CAST BEHIND YOUR STANDING TWOS AND COME PEEK AT EACH OTHER AND COME ON BACK.
AND THEN YOU'RE GOING TO COME DOWN THE CENTER.
BY THE WAY, UM, THE OTHER PAUL, THIS TALL ONE HERE JUST REMINDED ME OF SOMETHING.
ARE YOU READY? WE DO THIS WITH MUSIC.
IT'S EIGHT COUNTS TO DANCE DOWN AND PEAK AT YOUR PARTNER AND EIGHT COUNTS TO COME BACK.
HERE WE GO WITH THE MUSIC CAST AND PEAK.
CHANGE HANDS COME ON BACK, CAST OFF THE SECOND PLACE.
SO YOU CAN SEE YOU HAVE A LOT OF TIME FOR THIS, WHICH MEANS, WHICH MEANS THAT YOU HAVE TO WIGGLE YOUR HIPS A LOT.
ONE'S THERE ABOVE YOU, TWO'S THERE BELOW YOU STAR RIGHT ONE'S ROUND YA DEEP AND STAR LEFT BACK.
YOU'RE IN YOUR PROGRESSED PLACE.
LEFT SHOULDER, BACK TO BACK WITH YOUR PARTNER, LEFT SHOULDER THE EASY WAY.
SET TO YOUR PARTNER AND TURN SINGLE AND STOMP YOUR FEET.
AND WE HAVE A COUPLE OUT AT THE TOP.
WE'LL WALK IT ONE MORE TIME FROM THIS NEW PLACE WITH THE MUSIC FIRST COUPLE CAST BELOW YOUR STANDING TWOS ON THE OUTSIDE PEAK.
PARTNERS, LEFT SHOULDER, BACK TO BACK.
AND NOW FIRST COUPLE COMING IN AT THE TOP.
YOU'RE READY TO CAST PEAK, CAST BACK.
COME BACK TWO PLACES PLEASE TO UH, WHERE YOU ORIGINALLY STARTED LEARNING THIS DANCE.
COME BACK TO YOUR ORIGINAL, ORIGINAL PLACE.
ORIGINAL, ORIGINAL, WHEREVER THE HECK THAT IS.
[02:05:03]
BAND SIDE SET ON THE YELLOW SIDE OF THE HALL.COULD YOU MOVE THE ENTIRE SET DOWN JUST A LITTLE BIT SO WE DON'T INTERFERE WITH THE MUSIC.
NORMA'S DOODLY DOO FROM 2023 WRITTEN FOR ONE OF THE MUSICIANS IN RIDGEWOOD, WHERE THEY ACTUALLY DO ENGLISH COUNTRY DANCING EVERY OTHER SUNDAY WITH THE MUSIC CAST FOR A COUPLE AND PEEK AT EACH OTHER WHEN YOU GET THERE.
STAR, RIGHT STAR RIGHT BACK BY THE LEFT, LEFT SHOULDER, BACK TO BACK.
PARTNER SET, TURN SINGLE ONE'S.
CAST DOWN THE OUTSIDE, DOWN THE OUTSIDE.
FIRST COUPLE LEAD DOWN THE CENTER.
STAR, RIGHT STAR LEFT BACK, LEFT SHOULDER, BACK TO BACK.
TURN SINGLE NEW TOP COUPLE CAST DOWN THE OUTSIDE.
WHAT'S THE HURRY? THIS IS A RAG.
CHANGE HANDS COME ON BACK, CAST OFF TWOS MOVE UP.
CAST OFF STAR RIGHT BACK BY THE LEFT.
CAST, CAST OUT DOWN THE OUTSIDE.
PARTNERS, LEFT SHOULDER, BACK TO BACK.
YOUR PROGRESSED ONE'S ARE BELOW.
TURN SINGLE TWO STAND STILL ONE'S CAST TWO.
LEAD UP ONE PLACE AND STAR BACK BY THE LEFT, LEFT SHOULDER, BACK TO BACK.
PARTNER SET, TURN SINGLE BACK BY THE LEFT, LEFT SHOULDER, BACK TO BACK.
[02:10:03]
PARTNER SET.WE HAVE A NEW TOP COUPLE COMING IN AT THE TOP.
STAR, RIGHT, STAR RIGHT, WELL THEY WANDERED IN THE SECOND PLACE.
SET, TURN, SINGLE AND HONOR YOUR PARTNERS
AND SUE, LET'S HAVE A BIG HAND FOR YOURSELVES.
AND THANK YOU TO THE LIBRARY BEFORE WE BREAK UP FOR THE AFTERNOON.
I'LL, I'LL READ YOU ONE MORE, ONE MORE LITTLE BIT FROM, UM, FROM JANE AUSTIN.
SO AUSTIN WROTE EXPLICITLY ABOUT HER VIEWS OF DANCING.
MOST NOTABLY IN CHAPTER 11 OF THE NOVEL, EMMA, WHICH SHE BEGINS WITH THESE WORDS, IT MAY BE POSSIBLE TO DO WITHOUT DANCING ENTIRELY.
INSTANCES HAVE BEEN KNOWN OF YOUNG PEOPLE PASSING MANY, MANY MONTHS SUCCESSIVELY WITHOUT BEING AT ANY BALL OF ANY DESCRIPTION AND NO MATERIAL INJURY, A CREWE EITHER TO BODY OR TO MIND.
BUT WHEN THE BEGINNING IS MADE, WHEN THE FELICITIES OF RAPID MOTION HAVE ONCE BEEN THOUGH SLIGHTLY FELT, IT MUST BE A HEAVY HEART THAT DOES NOT ASK FOR MORE.
SO I HOPE YOU'VE ENJOYED TODAY'S FELICITIES OF RAPID MOTION AND WILL SEEK OUT ENGLISH COUNTRY DANCING NEAR YOU AND UH, HOPEFULLY IN WESTCHESTER.