Гостевая
книга
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THE
WALTZ COTILLON
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Dancers stand in square set
formation and on the last 4 bars all bow first to their corners then to
their partners. |
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1 |
1st top couple house
within the set. |
8 bars |
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Singles change places: top ladies
change places back-to-back, turning twice clockwise (4 bars) followed by
the top gents, also turning twice (4 bars). Side ladies
then change places (4 bars) followed by the side gents (4 bars). |
16 bars |
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Couples change places: both top
couples waltz back to place, turning clockwise but moving
anti-clockwise within the set (4 bars). Both side couples
then waltz back to place (4 bars). |
8 bars |
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Grand chain: * partners face each other,
R hand in R, and all chain slowly around the set, the gents turning the
ladies anticlockwise under R arm and clockwise under L arm as they pass
each other, taking 2 bars for each turn. Partners meet (for the 2nd
time) back in place and take crossed hand hold in front, R over L, to
face anti-clockwise around the set. |
16 bars |
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Lead around: all couples dance
side-by-side around the set back to place, gents turning the ladies
clockwise under both raised arms on the last 2 bars and partners taking
waltz hold. |
8 bars |
2 |
1st side couple (L of 1st
tops) house within the set. |
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Singles change places, side ladies
leading. |
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Couples change places, side couples
leading. |
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Grand chain. |
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Lead around. |
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House around. |
64 bars |
3 |
2nd top couple now leads to
dance 1. |
64 bars |
4 |
2nd side couple now leads to
dance 2. |
64 bars |
5 |
Break away into a short general waltz. |
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STYLE
For the Singles change places movement, ladies hold their skirts
with R hand, and gents cross their hands behind their backs, as they
cross the set.
* Alternative Grand chain:
Margaret and Michael Meaney of Ipswich tell me that they know one dancer
of mature years who recalls meeting each lady with 2 setting steps (2x3s
in place), all hands held around the set, before turning the lady
underarm. This makes for a more elegant chain danced in 32, rather
than 16, bars and has been the option preferred by my dancers. |
SOURCE
Mick Mulkerrin, but I didn't record at which workshop although it must
have been in 1991 or '92. |
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