Excerpt from Folk Dancing
This book offers a collection of interesting and colorful folk and square dances which are fun to perform. The book includes a variety of dances widely different in type and geographic distribution and in styles of performance. It is designed as a guide for high school and college teachers and prospective teachers, for recreation leaders, and for camp program directors who need materials for dance groups. The collection serves as the minimum content of a unit of instruction in dance in high school, a semester of dance in college, or a corresponding length period in a recreation or camp program.
The book is divided into two parts: the first part deals with dances of foreign countries; the second, with American square dances. Representing thirteen countries, the twenty-four dances require many kinds of formations and different types of performance. Some are danced in circles, in longways, or in quadrilles. Some are performed by individuals alone, by couples who move independently about the floor, by groups in a specific formation. A few of the dances are slow, stately, and dignified: others are fast and vigorous and are performed with great hilarity. Many of the dances have a modern quality. In these dances, such as Oyda, couples move freely around the dance area rather than maintain a fixed formation with two or more couples, as in Kanafaska.
The directions for each folk dance are clearly and concisely written, and the figures accompanying each call in the square dances are described explicitly. Of particular help to the teacher are the descriptions of the fundamental steps, such as the waltz, polka, schottische, and the presentations of the step pattern for each measure of the musical score.
The music for each dance has been arranged as simply as possible without sacrificing the pleasing harmonies of folk tunes. A medley of tunes appears for piano accompaniment of the square dances, but the dances may be called to any familiar square dance selection. The book includes the pronunciation of the more difficult titles, definitions of terms, and sources for recordings.
The illustrations reflect the spirit of the dances and portray the native costume of the dancers. The simple triangular markings in the diagrams of formations show the positions of dancers at the start of the dance.
The authors wish to express their appreciation to Lester H. Bruch, Florida State University, for his advice in the arrangements of the musical scores for Bruder Lustig and Familie Sekstur.
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