- 448 12mx7m blue
- canteen "large"
- 465 21mx7m pink
- 115 15mx6m red
- 466 12mx7m white
- 123 13mx7m orange
- 430 12mx7m green
Give the 20th century a rest for a short while and enjoy learning some dances from the first great age of "the dancing English", the 16th Century of those great Tudors and Elizabethans, when men were as athletic and energetic on the dance floor as when pursuing their outdoor pastimes, and women wore fathingales but did not allow them to inhibit their dancing.
We will introduce you to some dances selected from the 4 main types danced in that century:
The Magic Bush Brothers have been playing for dance for 3 years now having been spawned from the hotbed of Sheffield CeilidhSoc. They use pre-programmed sequences for the basis of the music. Their workshop is designed for anyone interested in using MIDI (Musical Instrument Digital Interface), sequencers and drum machines for dancing. No previous knowledge is assumed.
For more details browse The Magic Bush Brothers Homepage
Following the success of the "English Dancing Master" in 1651, Playford's publishing company went on to produce another 17 editions over the next 70 years. Not to be out done, his competitors soon followed suit producing "Dancing Masters" of their own. Walsh was just such a person and the majority of dances in this workshop date from 1718 to 1734.
The first "maggots" appeared in Playford's "9th Dancing Master" of 1695. Most of them were named after eminient dancing teachers and socialites of the day, although whether they actually wrote them is doubtful. In essence the term "maggot" is synonomous with "fancy" or "delight" and so these dances form some of the best examples of the flowing style attributed the era.
As these dances are quite complicated it is recomended that you have at least a basic knowledge of English Country dance prior to attending the workshop.
You're a fenland ploughboy: thick as 2 short planks (lengthwise), highly inbred, with webbed feet (and gills). It's the end of the Christmas holiday, you've got no money and you're still pissed. What do you do?
You terrorise the town in gangs, of course, and do a bit of dancing to keep warm in the freezing weather.
These days this kind of behaviour is less acceptable, and the dances are more complicated in order to attract the attention of an audience jaded by a diet of The X-Files and East Enders. But the aim is still UNTAMED MANIACAL STREET DANCING FROM EAST ANGLIA.
Running Set is a dance form common in the Southern States of the U.S.A which later evolved into American Square Dance. Actually the dance uses a brisk walking step and has no running in it. Many folk dance clubs used to do Running Set, but it has died out because it takes a while to teach the style and structure so it is hard to fit into a club evening. However it is an ideal thing to do at a workshop where you have an hour to pick up the style and start adding some of the dozens of figures.
Rapper dancing evolved in the pubs of the North-East of England. Teams of 5, linked by flexible steel "swords" (used for scraping the sweat off pit ponies) perform fast intricate manoeuvres without letting go (and without getting their hands cut off at the wrist).
The workshop is led by Richard Morgan, of NYFTE, Lichfield Morris, Granta Morris, Cambridge Morris Men and Gog Magog Molly. And he's only eighteen!
Folk dances for fun. Some dances adopted by the United States from their immigrant communities.
More Challenging English Ceilidh dances with unusual moves, figures & numbers.
This is a form of dance found in the southern states of North America, in an area from Northern Maine to Georgia, around the Appalachian Mountains. Originally the settlers went over taking their traditional English, Irish and Scottish stepping. This mixed with the rhythms of the African slaves, and the native American Indian dances. Out of this melting pot emerged specific style of dance - American clogging. It is performed in tap shoes and is used as a percussive accompaniment to Old Tyme music (similar to Blue Grass). The dances can be performed as a series of free style solo steps - buck dancing or flat footing, or as part of a precision routine performed by a group of dancers, often incorporating Square dance movements. The dance form has now been imported back into England and is enjoying huge popularity.
This workshop aims to give you a feel for the style of the dance and a grounding in the basic steps. It is aimed at the absolute beginner and we will cover as much as possible in the short time allowed. The movements and percussive style of the dance mean that trainers are not suitable for practising in. The ideal shoes are flat leather soled shoes with taps on heels and toes. However, any form of hard soled shoe is OK. To see if your shoes are suitable, see if you can slide your foot along the floor without it sticking.
The Oddington dances that will be described result from a combination of material from several different sources. I have tried to introduce a kind of consistancy into the dances with regard to step and movement. Much of this is my own invention and as such can be used or changed according to individual preference. It is important to remember that the information available on the Oddington dances is a bit sketchy, mostly it is derived from the account of one man.
This workshop is meant as an introduction to Cotswold Morris, for people with little or no experience of Morris, but a sense of humour and the capacity to make fools of themselves! I will be teaching the basic Cotswold steps and two complete dances. One is very traditional, and one more modern. Bring two hankies (they don't have to be clean!) and a stick.
This is a class for dancers with a good basic knowledge of Scottish country dancing. The emphasis will be on the improvement of technique and the teaching of some more unusual dances.
Ladies' step dances are mainly solo dances. They are danced in a softer and more balletic style than Mens' Highland dances but are no less exhausting. The basic steps will be taught followed by a complete dance.
A sample of lively circle, line and couple dances from Europe and perhaps further afield.
This workshop will focus on late 19th century dances from the south east of France. They are social dances and include plenty of partner swapping, so come along on your own or with someone you're happy not to dance with!
Imagine you're in a small village in France. The bars are all shut (it's after 2am), and the musicians are just opening their eyes and yawning sleepily at the thought of the day ahead. In the village square, the hurdy gurdies and bagpipes are working on the most disharmonious combinations of notes. There's nothing to do for the next 6 hours but dance to whatever sound they make.
Oh! But here we are in Cambridge. Bummer! Becky Price (accordian player with the excellent Finality Jack) will provide the next best thing: schottisches, waltzes and bourrés enough for anyone. Attendance at this workshop will also enable you to get the most out of the sponsored all-night dance on Saturday.
The Massif Centrale comes to England!
In Ireland, everyone either plays an instrument, or dances, or drinks a phenomenal amount of Guiness. However, the weather is seldom dry. The obvious solution? Develop a form of dance which is energetic and exhilarating, and yet which takes place entirely within a square 6 feet on a side.
To get the most out of this workshop, you need a crazy partner ... the sort that can swing at 78rpm and come back glowing faintly saying 'more! more! give me more!'
Cyril Papworth is a local legend in the folk-dance world. He is a collector of dances and a folk historian, and still active, dancing every Thursday at the Round and as a member of the Cambridge Morris Men. The dances that he has collected are the basis of the repertoires of all the Molly sides in the country, from Ouse Washes Molly Dancers to 7 Champions and all points between. IVFDF'97 is proud to present a rare occasion to see Cyril describing some of the dances he knows, and also how he came upon them, and how they fit into the current folk scene.
One of the finest traditional musicians today is to be found playing melodeon for the Ouse Washes Molly Dancers. Nic Carpenter's approach to adapting French and English tunes to the realities of display dancing have to be heard to be believed ... from this box come some of the sexiest chords ever! To pick up some hints and techniques from this excellent musician is an opportunity that should not be missed by anyone.
Phil Watson is a man who cannot stop: treasurer of Open Morris for more years than sanity can safely allow, and inveterate teacher of workshops up and down the country. Who could forget the impromptu Oddington workshop at the bus stop in Scarborough at half-past-eleven one night at Scarborough Fair?
Phil will be teaching a dance from Field Town (which appears on maps as Lea Field). It will be challenging, elegant, and exhausting. Who could ask for more?
Is there anyone at this festival who doesn't know Bouncing John? If you'be been to ceilidh and seen someone spinning twice for your every once ... doing twice round the hey instead of once ... or completely blissed out while everyone else is struggling to keep up ... then that'll be him. If there is a form of dance that this man doesn't know inside and out, then that's because it hasn't been invented yet.
John is especially interested in French dance, which tends to be hypnotic and compelling, and done to some of the richest sounds in the folk scene. Attendance at this workshop will also enable you to get the most out of the sponsored all-night dance on Saturday.
Raqs Sharqi is simply Arabic for oriental dance. However, it is specifically used to refer to the traditional and ancient dance form from Egypt.
The roots of this dance are lost in the mists of time, but we can speculate that is goes back at least as far as the ancient dynasties of Egypt. Some tomb paintings contain pictures of musical instruments which are still used in folk music today. Since the dance has always gone hand in hand with the music, it seems reasonable that it existed in some form at that time.
In modern times it has proved to be a highly popular and attractive dance which has quickly gained many enthusiastic followers world-wide. It seems to have the ability to cross cultural boundaries, perhaps reflecting the fact that in Egypt alone it has survived several very different civilisations.
Traditionally in Egypt it has been a women's dance, and it is indeed a powerful statement of the many aspects of femininity. However, it is currently becoming very popular with men also, especially in its country of origin, where you are likely to see many more men dance than women.
I encourage men to try this work. It is excellent for keeping fit and is fun to do.
Those who think that all English dances are in 4 will find a surprise here: some are in 3! Tobit is an IVFDF veteran, and who knows what he's found to stretch us this time ...
Bob runs a local dance club and is a popular caller with many local Ceilidh bands.
Highland dance: mixed ability and mixed sex. We will learn steps (at elementary, intermediate or advanced lavels) for the Caledonian Reel. Andrew Paterson (Edinburgh, Cambridge, Bristol and the Corryvrechan international team leader). Soft shoes make it easier.
This workshop will be a mixture of loud and rhythmic dance, drawing on the traditions of Irish, Appalachian and Cape Breton dance forms.