Get to recognize Your Turkey


All turkeys are not created equal. Understanding the form of turkey you need earlier than going out to buy it's going to make the trip simpler and plenty less time-consuming. while it comes to buying a turkey, there are many selections that you can actually make. Do you need sparkling or frozen? Must you buy a Kosher or an organic Turkey?

There is no proper or wrong answer in the sort of turkey to shop for. I am going to offer you some clean statistics on the styles of turkeys to be had so that you can purchase what you actually need.

Frozen Turkeys
those are probably the maximum not unusual turkeys you'll locate. in order for a turkey to be classified a "frozen" turkey it ought to be cooled to 0°F or beneath. whilst those turkeys are commercially processed, they may be commonly flash frozen to this degree. Freezing the turkeys this manner will assist keep its freshness.

fresh Turkeys
A turkey will start to freeze at 26°F. So as for a turkey to be taken into consideration new, it could in no way pass below this stage. Clean turkeys need to be organized within multiple days, or by the "use through" date at the label. Due to this, sparkling turkeys might be extra high priced than your frozen turkeys.

hard Chilled Turkeys
Tough chilled turkeys can't be label sparkling or frozen because they fall in between zero°F and 26°F. You'll want to deal with turkeys of this nature as though they may be clean.

organic Turkeys
For a turkey to be taken into consideration natural, it needs to be freed from any boom hormones, insecticides, and antibiotics. It can most straightforward be fed organic feed as well. It must be referred to that the usage of hormones in any hen is illegal. You could discover natural turkeys each fresh and frozen.

historical past Turkeys
Heritage turkeys are breeds of turkeys raised on small farms, an assessment of the mass-produced turkeys at huge commercial centers. History turkeys have a protracted life span and a sluggish growth charge. These turkeys are unfastened range and also mate indeed. They're a leaner turkey, with a smaller breast than business turkeys. Background turkeys are ways extra luxurious than your commercially to be had turkeys, however, can be really worth the price since the beef is a great deal more flavorful and juicy than commercial birds. Background turkeys can be bought directly from these small farms or from various online sources.

Kosher Turkeys
Kosher turkeys are loose-range, grain fed, and in no way given antibiotics. These turkeys are processed in a salt brine, which imparts a juicy, pleasant taste to the meat. For these turkeys to be taken into consideration kosher, they must be raised and processed underneath strict rabbinical supervision.
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How to Make an appropriate holiday Turkey


Thanksgiving and xmas are a number of the finest times of the year. With circle of relatives collected collectively and every body having a outstanding time, not anything can make or destroy a perfect night greater than the turkey. while the chicken comes out, dinner is served and everyone grabs for the high-quality parts. To make a meal really worth remembering begin by making the precise holiday turkey.

Brine your turkey

the first step in making the ideal chicken is to brine your turkey. Brining provides moisture to turkey which solves the problem of the bone-dry bird and offers you an opportunity to feature taste. to start, you need a few primary device and ingredients. you will want a 5 gallon bucket and a space in the refrigerator to keep your turkey chilled. you also need water, salt, seasonings, and in all likelihood a few sugar. eventually, you want a turkey. Use a completely thawed all-natural turkey with out additives for the fine outcomes. A turkey with broth brought can pop out too salty.

begin by using cleansing out your turkey organs and trim your turkey of excess fats. Rinse your turkey properly. Make your brine by way of blending 1 cup of salt with each gallon of water. ensure to completely dissolve the salt, and then place the turkey within the bucket. add your favored spices and seasonings including lemons, peppercorns, herbs, molasses, brown sugar, garlic, etc. make certain to absolutely cowl the turkey with brine and allow sit approximately one hour consistent with pound of turkey. DO no longer OVER BRINE! this can make your hen dry, difficult, and salty. whilst the time is up, cast off your turkey from the brine and rinse thoroughly to dispose of any brine left at the chicken.

Cooking your bird

when it's time to cook dinner your chicken, you've got numerous alternatives to choose from. The most famous methods are oven roasting, smoking, and deep-frying your turkey.

Oven roasting your turkey

cook your turkey at 325-350 tiers
Baste your turkey with low-sodium turkey stock and brush with butter for a crispy brown pores and skin
preserve elements from burning by means of masking with aluminum foil
cook the stuffing one after the other and stuff the cavity with seasonings to taste the beef
allow turkey rest for 20-half-hour after cooking to hold the moisture within the meat
Smoking your turkey

Set your smoker to around 225-250 degrees and plan for round 25-30 minutes consistent with pound of turkey cook dinner time
high-quality for medium length turkeys underneath 15 lbs
Use a pan of water to maintain the smoke wet. also can be used to catch the drippings for turkey gravy!
secure the wings and legs to save you overcooking and drying out
Use your favored rub and follow under the pores and skin for nice taste. you may also add a few to your baste sauce to feature extra taste
preserve steady smoke for the duration of the cooking system and preserve the smoker closed to hold the temperature solid and the smoke inner.
Baste the remaining hour or  with butter mixed with your spice rub. Baste about each 30 minutes to permit the butter to soak in.
check the temperature with a meat thermometer in several of the thickest places (breast, thigh, and so forth) to be sure the chicken is completely cooked. aim for round one hundred eighty levels.
dispose of turkey and cowl with aluminum foil to relaxation
Deep fried turkey

quality for small turkeys below 12 kilos
Do now not overfill fryer and use caution as turkey fryers are extremely risky!
eliminate any overseas pieces from the bird, plastic trusses, pop-up timers, and many others. and dry the chicken thoroughly to save you splattering of the oil at some stage in cooking.
Injectable marinades are high-quality and avoid water-primarily based marinades. Inject deep into the muscular tissues and permit the fowl relaxation for thirty minutes at room temperature earlier than frying.
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Malagueña a los Canarios - Tucson Version (Canary Islands)

Malagueña a los Canarios (Tucson Version)
Canary Islands

These notes ©2017, Andrew Carnie.  Taught in the US by Vyts Beliajus, who learned it from Antony Ivancich in 1964. Ivancich in turn learned it from Marta Padilla, who was the director of the Canary Island Dance group in Madrid. The name of the dance suggests that it was introduced to the Canary Island by immigrants from the Malaga region of mainland Spain. The notes here are for the version we do in Tucson, which is not exactly identical to Vyt's description -- his notes are linked below. 

Music:


Meter: 3/4
Formation: Couples, in a circle, or forming two lines. M on L, W on R, holding nearer hands in a high W position.
Introduction: None, start right away

Footwork: Throughout use a flat-footed waltz step (glide rather than bob). Everyone starts on the Right foot (not outside feet!)

Bars 1-10: Entrance: Using 10 waltz steps circle around the room until you form a circle or two parallel lines.
Bar 11: Take one waltz step backing up in place (singing starts 1/2 way through this bar)
Bar 12: Woman makes one complete CW turn under joined hands (turning away from partner)
Bar 13: M grab's woman's other hand, keeping it low (retaining nearer hands, which are high) keeping it low, with  them above her head. She does a further 1/2 turn CW, while man makes a 1/4 turn CW to end in "sweet heart position" with W on the left. (M's R hand, W's L are in front of couple on top, with W's R hand across her body and M's L behind her back"
Bars 14-15: As a couple pivot in place CW, with M backing up and W dancing forward.
Bars 16-17: Retaining both hands, woman makes one complete CCW turn to end in a sweetheart position on the R side of the M. To get there,  the M alternately raises R then L hands, dropping his L (joined with her R) in front of W's body.
Bars 18-19: As a couple pivot in place CCW, with M backing up and W dancing forward.
Bars 20-21: M raises L hand and keeps R hand low, he turns a 1/4 turn CCW. W turns a full CW turn. Couple ends with both facing CW. M's L arm bent at elbow across his chest, R arm under behind W's back. W's R arm stretched out to hold M's L, and L arm behind her back.
Bars 22-23: Couple pivots in place CW, both dancing forward.
Bars 24-25:  Man raises L, then raises R, and makes a 1/2 turn CW, while W makes a complete CCW turn to end in the reverse of the position in bars 20-23
Bars 26-28: Couple pivots in place CCW, both dancing forward (three bars instead of 2)
Bars 29-32: Drop both hands and switch to holding L in L. W starts to dance around M CCW. M puts joined hands on the small of his back, and bends over, essentially backing out under W's L arm. Woman continues the circle all the way until she is behind the M again, and to his R.  Retain L hand on M's back, and take R and R, with W behind man.
Bar 33: Drop L hands and M pulls R hand down and up, turning W CCW all the way around to end in a Varsouvienne hold W woman in front.
Bar 34-35: W hands high, in Varsouvienne waltz Woman to the L diagonal, the R diagonal and the "Waving the cape in front of you"
Bar 36-38: Keeping both hand held above M's head. Woman dances around M CCW all the way around (3 bars)
Bar 39: Retaining hands, W makes a complete CCW turn in front of man.
Bars 40-43: Holding L in L, W dances in a circle around M CCW all the way around. M's hand is above his head.
Bars 44-47, Using the same hands as Bars 29-33 (M puts L hand on back and Bends over while W circle him once and a half. But end with hands crossed behind the back in a back basket (M's right slips up to end on W's waist, under L arm. W's R hand takes M's R in the small of her back)
Bars 48-51: Pivot CCW as a couple, W dancing forward M dancing backwards, turn once and a 1/2 around
Bars 52-53: Still in back basket, Balance backwards, then forwards.
Bars 54-55: M balance backwards and forwards, dropping L hands with partner. Woman turns out CW, then makes a complete CW turn under joined hands. Woman switches hands at the last minute at the end of the turn so that you're holding M's R and W's L.
Bars 56-67: Holding nearer hands circle around room in LOD (or exit from stage), M on the inside.

Tucson Video

Other notes on the web



Other videos on the web

Not exactly the same choreography, but very close

Other sources


  • Beliajus, Vyts (1987) Main Folk Dance Camp Syllabus.

Also called: Malaguenas de los Canarios, Malaguena, Malaguenas de Tenerife
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Jambolski Trite Pâti- Ямболски Трите Пьти (Bulgaria)

Jambolski Trite Pâti
Ямболски Трите Пьти
Bulgaria


These notes ©2017, Andrew Carnie. There a couple of dances out there with some variation on this name, which means "Trite Pâti from Jambol district", This dance is also known as Trite Pâti ot Jambol. This particular version of Trite Pâti is a choreography of steps assembled from those observed by Yves Moreau in 1970 and from figures he learned from Ivan Šišmanov.

Music: Yves Moreau Workshop Cassette, Door County Folk Festival DCFF 2003 CD 1
Meter: 2/4
Formation: Short lines, start with hands down in V position, leads to the R
Introduction: 4 bars, no action

Part 1: Bavno

Bar 1: Facing center, step in on R. Arms start to swing forward (1), Close L next to R, with no weight, arms swing up into W position (2)
Bar 2: Step backwards out of the center on L (1), Close R next to L, no weight (2), Arms swing forward and down to back
Bar 3: Step on R to R, Arms swing forward (1), Close L next to R. Arms swing back (2)
Bar 4: Repeat Bar 3, with opposite footwork and direction
Bars 5-16: Repeat bars 1-4, three more times

Part 2: Pleti

Bar 1: Hop on L, Arms swing forward (1), Step on R next to L (&), Cross L over R, arms swing back (2), Step on R in place (&)
Bar 2: Repeat bar 1, with opposite footwork
Bar 3-8: Repeat bars 1-2, three more times

Part 3: Tupaj

Bar 1: Facing center and leaning back a bit, Hop on L (arms swing forward) (1), Stomp forward on R into the center (&), Close L behind R with weight, (arms swing back) (2), Stop forward on R into the center (&)
Bar 2: Close L behind R (arms swing forward) (1), stomp forward on R into the center (&), cross L over R. Arms swing back (2), rock back on R in place (&)
Bar 3: Hop on R, arms swing forward (1), Step L backwards (&), Hop on L, arms swing back (2), Step on R backwards (&)
Bar 4: Hop on R, arms swing forward (1), Step L backwards (&), Step on R in place, arms swing back (2), Step on L next to R (&)
Bars 5-16: Repeat bars 1-4, three more times

Part 4: Nabi

Bar 1: Moving into the center again, Hop on L, arms swing forward (1), Scuff or stamp (no weight) R forward (&). Step on R into the center, arms swing back (2), Scuff or stamp L forward (&)
Bar 2: Step forward on L into the center; arms swing forward (1) Scuff or stamp R forward (&), Step forward on R, arms swing back (2), Scuff or stamp L forward
Bar 3: Hop on R, turning body to face RLOD. Arms swing forward (1), Fall on L foot towards the outside (&), knock L foot out from under you by stepping on ball of R foot next to L, arms swing back (2), Fall on L (&)
Bar 4: Knock L foot out from under you by stepping on ball of R foot next to L, arms swing back (1);  Fall on L foot in place (&) Knock L foot out from under you by stepping on ball of R foot next to L, arms swing back (2), Fall on L  foot, in place
Bars 5-16: Repeat bars 1-4, three more times

Sequence

Part 1, 2, 3
Part 1, 2, 4,
Part 1, 2, 3
Part 1, 2, 4
Part 1

Tucson Video



Other sources


  • Moreau, Yves (n.d.) Bulgarian Folkdances Volume 4 (Video). BMA Productions FB006
  • Moreau, Yves (n.d.) Type written dance notes.

Also Spelled: Triti, Puti, pati, pŭti, Yambolski,
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Brâul din Feneş (Romania)

Brâul din Feneş
Romania


These notes ©2018, Andrew Carnie. Originally taught by Sunni Bloland, who learned it from Puiu Vasilescu. The Dance is from Caraş Severin in Banat.

Music: Noroc ELP 13
Meter:7/8 counted as SQQ
Formation: Short lines, hands down in V position
Introduction: 16 bars, no action, Start with singing

Part 1

Bar 1: Facing center, Step on L to L (S), Hop on L, swinging R around to back (Q), Step on R behind. L (Q)
Bar 2: Step L to L (S), Cross R over L (Q), Rock back in place on L (Q)
Bars 3-4: repeat bars 1-2, with opposite footwork and direction
Bar 5: Repeat bar 2
Bar 6: Repeat bar 2 with opposite footwork
Bar 7: Leap onto L, lifting R Knee low with R foot near L calf, R knee points to RLOD (S), Hop on L and point R knee towards LOD (QQ)
Bar 8: Hop on L, pointing R knee towards RLOD (S), Step on R across L (Q), Rock back in place on L (Q)
Bars 9-16: repeat bars 1-8 of part 1 with opposite footwork

Part 2

Bar 1:Facing slightly R of center and traveling in LOD, Step on L in LOD (S), Hop on L, hooking R foot in front of L (Q), Step on R in LOD (Q)
Bar 2: Repeat bar 1
Bar 3:Facing center, step L to L (S), Cross R over L (Q), Rock back in place on L (Q)
Bar 4: Step on R to R (S), Slap R foot flatfooted in front (QQ)
Bar 5: Repeat bar 4, with opposite footwork
Bar 6: Repeat bar 4
Bar 7: Step on L in place (S), Čukče (vîrf-toc) on L, while lifting R up low next to ankle (Q), step on R in place (Q)
Bar 8: Stamp L in place (S), pause (QQ)
Bars 9-16: repeat bars 1-8 of part 2

repeat dance from the beginning

Tucson Video 


Other instructions on the web

Other Sources

  • Bloland, Sunni (1982) Mendocino Folklore Camp typewritten notes (PDF)
 Also spelled: Briul, Brîul, Fenes, Braul
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Bir Mumdur (Turkey)

Bir Mumdur
Turkey


These notes ©2018, Andrew Carnie. Originally taught by Bora Özkök, he learned the steps from his mother, who learned them from her father. Bora adapted those steps to this tune. The title translates as "One Candle".

Music:
Meter: 2/4
Formation: Short lines, Fingers interdigitated, forearms parallel to floor. Stand very close to one another with L shoulder in front of neighbor's R shoulder
Introduction:  Start with the Zurna (in Bora's recording)

Note: The following description is based on the video of Bora teaching the dance in Tucson in the late 1980s. It does not exactly match the type-written dance notes of the time

Part 1

Bar 1: Facing center stomp on R to R (1), Cross L in front of R (2), Steps are bouncy.
Bar 2-4: Repeat bar 1, three more times
Bar 5: Step on R next to L (1), Lift L knee up, bending body backwards, while doing a little chug on the R foot. Say "ugh!" (2)
Bar 6: Step on L forward into the center (1), drag/chug onto R forward, while lifting L knee, body leans backwards (2)
Bar 7: Repeat bar 6
Bar 8: Stomp on L foot (1), raise R up in a backwards bicycle (2)
Bar 9: Stomp on R, lifting L  (1), Step backwards on L, Kicking R forward low (2)
Bar 10:  Step on R near L instep (1), Step backwards on L, Kicking R forward low (2)
Bar 11: Step back on R near L instep (1), Lift L up (2)
Bar 12: Stamp L slightly forward (1), Step on L in place (2)
Bars 13-24: Repeat Bars 1-12

Part 2

Bars 1-4: Repeat bars 1-4 of part 1
Bars 5-8: Repeat bars 1-4 of part 1

Sequence:

Part 1 (i.e., 2 sequences of 12 bars)
Part 2
Part 1 X 2 (i.e., 4 sequences of 12 bars)
Part 2
Part 1 X 2 (i.e., 4 sequences of 12 bars)

Tucson Video

Bora teaching the dance at a workshop in Tucson in the late 1980s


Other notes on the web

Lyrics

From Bora's notes:

Çay içinde Bükmetas
Gönlüm honi gozum yas
Aklimi aldin baştan
Orta boylu kalem kas

Bir mumdur, iki mumdur, üc mumdur
Dört mumdur, on dört mumdur
Bana bir bade doldur
Bu ne guzel bir gündür
Halimem, Halimem, Halimem

Su küşe uzun küşe
Küşeye serdim kece
Hak yoluna uç kurban
Yar gele burdan geçe


Round rocks in the stream
My heart is big, tears in my eyes
You have taken my mind away from me
Medium height girl with made-up eyes

One candle, two candles, three candles
Four candles, fourteen candles.
Let's fill up the glasses again
Such a beautiful day today
My Halime, My Halime, My Halime

This corner has a good view
So I put my felt on the floor
For the sake of God I promise
Three sacrifices that she passes by

Other Sources


  • Özkök, Bora (1987) Maine Folk Dance Camp syllabus (PDF)
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O Tarzan - Ο Ταρζάν - או טרזן (Greece/Israel)

O Tarzan
או טרזן
Ο Ταρζάν
Israel/Greece

These notes ©2016, Andrew Carnie. This dance seems to be part of the tradition of Israeli dances done to Greek music in the 1980s. I think it was choreographed by Raya Spivak in 1985. The music is a clear Hasapikos (and indeed many of the videos of dances done to this music on the web are in fact hasapikos dances, rather than this choreography), but the dance is an entirely modern Israeli choreography.

Music:


Meter: 4/4
Choreographer: Raya Spivak
Formation: Open circle in shoulder hold, or W position, leads R. Original Israeli dance was done as a circle, not an open circle.
Israelidances.com entry: http://israelidances.com/dance_details.asp?DanceID=2848
Introduction: None, start right away with instrumental music

Part 1: Step Closes

Bar 1: Step on R to R (1,2), Close L next to R, no weight (3,4)
Bar 2: Repeat bar 1, with opposite footwork and direction
Bars 3-8: Repeat bars 1-2, three more times (4 in total)

Part 2: Vocal

Facing center
Bar 1: Fall on R foot while touching L heel to the L diagonal (1,2). Step on L behind R (3,4)
Bar 2: Step on R to R (1) Cross L over R (2), Touch R toe to R diagonal (3) Touch R heel on R diagonal (4)
Bars 3-8: repeat bars 1-2, three more times (4 in total)

[The Evansville notes have the timing of these steps slightly differently, they have the step on the R to R on count 4 of bar 1, and the Cross of the L over R as being both counts 1,2 of bar 2]

Part 3

Bar 1: Beginning to trace a clockwise circle (pull R shoulder back), step R (1), snap both finger (2), Step L (3), snap both finger (4)
Bar 2: Finishing the circle, step R (1), Snap (2), Touch Left foot forward, bent at waist (3), Clap hands down low (4)
Bars 3-4: Repeat bars 1-2 with opposite footwork and turning CCW
Bars 5-8: Repeat bars 1-4

Sequence

Part 1, Part 2, Part 3
Part 1, Part 2, Part 3
Part 2 until the end of the music

Other notes on the web

Green Valley Arizona Video



Note that there are other videos out there of people dancing to this music, but they tend to be dancing hasapikos rather than this Israeli choreography

Lyrics

From Youtube video: https://www.youtube.com/watch?v=OIk-L_yxJ28

Θα πάω στη ζούγκλα με τον Ταρζάν
θα την περνάω φίνα,
θα πάω στη ζούγκλα με τον Ταρζάν
θα φύγω σ' ένα μήνα.

Κι αν θα με φάνε τ' άγρια θηρία
θα με γράψουν και στην ιστορία
πως με φάγανε τα ζώα
κι όχι η μπόρα του αιώνα.

Θα πάω στη ζούγκλα με τον Ταρζάν
τον παιδικό μου φίλο,
παρέα με τον ελέφαντα
να μη μου δίνουν ξύλο.

Κι αν θα με φάνε τ' άγρια θηρία
θα με γράψουν και στην ιστορία
πως με φάγανε τα ζώα
κι όχι η μπόρα του αιώνα.

Θ' αφήσω το γραφείο μου
και τα υπάρχοντά μου,
θα πάρω το κορίτσι μου
να το 'χω συντροφιά μου.

Κι αν θα μας φάνε τ' άγρια θηρία
θα μας γράψουν και στην ιστορία
πως μας φάγανε τα ζώα
κι όχι η μπόρα του αιώνα.

Θα πάμε στη ζούγκλα με τον Ταρζάν
θα την περνάμε φίνα,
θα πάμε στη ζούγκλα με τον Ταρζάν
θα πάμε σ' ένα μήνα.
From the Dunav video

Tha páo sti zoungla me ton Tarzan
Tha tin permao phina
Tha páo sti zoungla me ton Tarzan
Tha phigo s'éna mina

Chorus
Ki an tha me pháne t'ágria thiria
Tha me grápsoun kai stin istoria
Pos me phágane ta zóa
Ki okhi i bóra tou aióna

Tha páo sti zoúgla me ton Tarzán
Ton paidiko mou philo
Paréa me ton eléphanta
Na mi mou dinoun xilo

Chorus

Th'aphiso to graphio mou
Kai ta ipárhonta mou
Tha paro to koritsi mou,
Na to 'kho sintrophia mou

Chorus

Tha páo sti zoungla me ton Tarzan
Tha tin permao phina
Tha páo sti zoungla me ton Tarzan
Tha phigo s'éna mina

Rough translation:

I'll go to the jungle with Tarzan, in about a month
And if the wild beasts would eat me, they will also write about me in history
I'll go to the Jungle with Tarzan, together with the elephant
I'll leave my office and my possessions, I will take my girl to be my companion

See also


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Samodiva - Самодива (Bulgaria)

Samodiva
Самодива 
Bulgaria


These notes ©2018, Andrew Carnie. Taught by Lee Otterholt, originally taught (choreographed?)  by Ventzi Sotirov. Samodivas are woodland nymphs. The song is by the popular Bulgarian singer Rayna.

Music:
Meter: 7/8, counted as SQQ
Formation: Open circle, hands in W position, leads to R
Introduction: Start with singing.

Part 1

Bar 1: Cross L over R (S), Lift R knee up in front with a bounce (Q), Bounce (Q)
Bar 2: Step R to R (S), Step on L crossing behind R (QQ)
Bar 3: Step R to R (S), Step L crossing behind R (Q), Step R to R (Q)
Bars 4-6: Repeat bars 1-3
Bars 6-9: Repeat bars 1-3
Bars 10-11: repeat bars 1-2
Bar 12: Step R to R (S), Step L crossing behind R (Q), Lift R leg (Q)
Bars 13-23: Repeat bars 1-11, with opposite footwork and direction
Bar 24: Step L to L (S), Step R crossing behind L (Q), Step L to L (Q)

Note: step starts with L foot free and ends with R foot free

Part 2

Bar 1: Step on R in LOD (S), Čukče on R, while bringing L foot up and through to LOD (Q), Step on L in LOD (Q)
Bar 2: Repeat bar 1
Bar 3: Facing center, čukče on L and pump R foot forward and down (S), čukče on L (Q), Step on R to R (Q)
Bar 4: Cross L over R (S), Rock back in place on R (Q), Step on L next to R (Q)
Bar 5: Step on R in place (S). Čukče on L and swing L around to back (Q), Step on L behind R (Q)
Bar 6: Čukče on L and pump R foot forward and down (S), Čukče on L, swinging R around to back (Q), Step on R behind L (Q)
Bar 7: Step on L to L (S), Step on R quickly behind R (&) Step on L to L (Q), Step on R behind L (Q)
Bar 8: Swing L foot around to the back and step on it behind R (S), Step on R to R (Q), Step on L in LOD (Q)
Bars 9-32: repeat bars 1-8, three more times (4 in all)

Part 3

Bar 1: Facing and moving into the center: Step R (S), L (Q), R (S)
Bar 2: Repeat bar 1, with opposite footwork
Bars 3-4: Repeat bars 1-2;
Bar 5: Step on R into the center (S), lift L up behind R calf (QQ)
Bar 6: Step L backwards out of center (S), Čukče on L, swinging R around to back (Q), Step on R behind L (Q)
Bar 7: Repeat bar 6
Bar 8: Repeat bar 6

Note that part 3 starts with R foot free and ends with L foot free, ready to start part 1 again

Sequence:

Part 1, Part 2, Part 3
Part 1, Part 2, then do bars 1-8 of Part 2 again

Other notes on the web

Other videos on the web

Samodiva (Bulgaria)-Lee.Otterholt from Loretta Holz on Vimeo.


Lyrics

From https://lyricstranslate.com/en/%D1%81%D0%B0%D0%BC%D0%BE%D0%B4%D0%B8%D0%B2%D0%B0-samodiva-nymph.html

Вино съм младо,
младо и буйно,
вино съм силно и руйно.
Пият ме млади,
млади ергени
луди лудеят по мене.
Бяла съм люта
люта ракия
който от мене отпие
той ще забрави
забрави дома си името свое и рода си.

Припев:
Който не вярва - да види
в Пирина нека отиде
дето раснат самодиви,
дето раснат самодиви
като мене все красиви.

2. Вино съм младо,
младо и буйно,
вино съм силно и руйно.
Пият ме млади,
млади ергени
луди лудеят по мене.
Щерка съм лична
лична на Струма
дума на който
на който продумам
с друга не ще се не ще се залюби
себе си той сам ще погуби.

Припев:
Който не вярва - да види
в Пирина нека отиде
дето раснат самодиви,
дето раснат самодиви
като мене все красиви.

Samodiva

Vino săm mlado,
mlado i bujno,
vino săm silno i rujno.
Pijat me mladi,
mladi ergeni
ludi ludejat po mene.
Bjala săm ljuta
ljuta rakija
kojto ot mene otpie
toj šte zabravi
zabravi doma si imeto svoe i roda si.

Pripev:
Kojto ne vjarva - da vidi
v Pirina neka otide
deto rasnat samodivi,
deto rasnat samodivi
kato mene vse krasivi.

2. Vino săm mlado,
mlado i bujno,
vino săm silno i rujno.
Pijat me mladi,
mladi ergeni
ludi ludejat po mene.
Šterka săm lična
lična na Struma
duma na kojto
na kojto produmam
s druga ne šte se ne šte se zaljubi
sebe si toj sam šte pogubi.

Pripev:
Kojto ne vjarva - da vidi
v Pirina neka otide
deto rasnat samodivi,
deto rasnat samodivi
kato mene vse krasivi.Nymph
1. I'm young wine,
young and wild,
I'm rich, red wine.
the young drink me,
unmarried men,
they lose their minds because of me.
I'm clear and hot
hot rakiya*
whomever drinks from me
will forget
his home, his name, and his family.

Chorus:
Those who don't believe - should witness
should come to Pirin
where nymphs are raised
where nymphs are raised
all pretty like me.

2. I'm young wine,
young and wild,
I'm rich, red wine.
the young drink me,
unmarried men,
they lose their minds because of me.
I am the very daughter
of the Struma River.
Those whom I dare speak to
won't fall in love with anyone else
they will ruin themselves.

Chorus:
Those who don't believe - should witness
should come to Pirin
where nymphs are raised
where nymphs are raised
all pretty like me.

Other sources


  • Otterholt, Lee (2018). Samodiva, type written dance notes
Also called: Raina Samodiva (presumably, this is a mistake because Rayna, is the singer)
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Dojdi Dojdi Libe Le (Weisburd Version) - Дойди Дойди Либе Ле (Bulgaria)

Dojdi Dojdi Libe Le (Weisburd Version)
Дойди Дойди Либе Ле
Bulgaria



These notes ©2018, Andrew Carnie. This is the version that was taught by Ira Weisburd. A different version was taught by Roberto Bagnoli and Lee Otterholt

Music:
Meter: 7/8 counted as QQS
Formation: Open circle, hands down in V position. Leads to the R
Introduction: Start with singing

Part 1: Singing

Bar 1: Step on R in LOD (QQ), Step on L in LOD (S)
Bar 2: Step R (Q), L (Q), R (S)  in LOD
Bar 3: Step L.(Q), R (Q), L (S) in LOD
Bars 4-6: Repeat bars 1-3
Bar 7: Facing center, sway on R to R (QQ), bounce on R (S)
Bar 8: Sway on L to L (QQ), bounce on L (S)
Bars 9-16: Repeat bars 1-8

Part 2: Instrumental

Bar 1: Facing slightly L of center, step R (Q), L heel (Q), R (S) in place (a Bulgarian pas-de-basque)
Bar 2: Repeat bar 1, with opposite footwork, facing slightly R of center.
Bars 3-4: Repeat bars 1-2
Bar 5: Cross R over L (QQ), Step on L to L (S)
Bar 6: Hop on L (Q), Step on R behind L (Q), Step on L to L (S)
Bar 7: Repeat bar 5
Bar 8: Turning to face LOD, but stepping backwards in RLOD, step R (QQ), and step forward in LOD on L (S)

(There appears to be a men's variant to part 2, with turns and squats -- see the second video below)

Other videos on the web




Lyrics

Dojdi, dojdi, libe le, doma na vechera.
Oh, libe le doma na vechera.
Libe, libe, libe le doma na vechera.
Vrzi konche, libe le, za vita kalina.
Ta se kachi, libe le, gore na chardaci
Ta da vidish, libe le, mama kak me gali.
Mene gali, libe le, tebe spomenuva.

Sheet Music

See also:

Also Spelled:Doydi
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Dojdi Dojdi Libe Le (Bagnoli Version) - Дойди Дойди Либе Ле (Bulgaria)

Dojdi Dojdi Libe Le (Bagnoli Version)
Дойди Дойди Либе Ле
Bulgaria



These notes ©2018, Andrew Carnie. Taught in the USA by Roberto Bagnoli. Also taught by Lee Otterholt. A different version was taught by Ira Weisburd. This version comes from Dilyana Kurdova, who learned it in the Velingrad Region.

Music:
Meter: 7/8 counted as QQS (Roberto notates it as 2/4, and that's what the sheet music linked below says, but it sure sounds like 7/8 to my ears)
Formation: Open circle, hands down in V position. Leads to the R
Introduction: Start with singing

Part 1

Bar 1: Step on R to R (QQ), cross L over R (S)
Bar 2: Step on R to R (Q), cross L over R (Q), Step on R to R (S)
Bar 3: Čukče on R, while lifting L knee (QQ), Step backwards out of circle on L (S)
Bar 4: Closing R foot next to L, bounce on both feet (QQ), Bounce again (S)
Bars 5-8: repeat bars 1-4

Part 2

Bar 1: Hop on L, swinging R across in front low (Q), Step on R across in front of L (Q), Step on L to L (S)
Bar 2: Hop on L, swinging R across in front low (Q), Step on R behind L (Q), Step on L to L (S)
Bar 3: Step on R across in front of L (QQ), hop on R, while swing L low across in front of R (S),
Bar 4: Step on L across R (Q), Run R (Q) L (S) in LOD
Bar 5: Facing center, sway on R to R with a bounce (QQ) bounce again (S)
Bar 6: Sway on L to L, with a bounce (QQ) bounce again (S)
Bar 7: Sway on R to R with a bounce (QQ) bounce again (S)
Bar 8: Sway on L to L with a bounce (QQ) bounce again (S)

Alternate the steps until the end of the music

Other videos on the web

Doydi Doydi Libe Le, Bulgarian dance demo'd by Roberto Bagnoli from Loretta Holz on Vimeo.

Lyrics

From Bagnoli's notes

Dojdi, dojdi, libe le, doma na večera.
Oh, libe le doma na večera.
Libe, libe, libe le doma na večera.
Vrazi Konče, libe le, za vita kalina.
Ta se kači, libe le, gore na čardaci
Ta da vidiš, libe le, mama kak me gali.
Mene gali, libe le, tebe spomenuva.

Come beloved to my house for dinner.
Tie your little horse to the highest rowan berry
Walk up the stairs upon the terrace
To see how my mother coddles me
How she touches me and about you she talks

Sheet Music

Other Sources

  • Bagnoli, Roberto (2018), PDF of dance notes. 

See Also

Also SpelledDoydi
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Mari Kız (Gagauz, Moldova)

Mari Kız
Gagauz, Moldova


These notes ©2018, Andrew Carnie. Originally taught in the USA by Roberto Bagnoli. Also taught by Lee Otterholt. The Gagauz are Turkish speaking people who live outside Turkey in the Balkans.

Music: Stepan Kurudimov, Sular Akar.
Meter: 6/8 (counted as (12)(3)(4)(56) or SQQS
Formation: Open circles, hands down in V position. Leads to the R.
Introduction: 11 bars, no action; start with singing

Part 1: singing

Bar 1: Cross L over R (S), Step on R to R (Q), Close L next to R (Q), Step on R to R (S)
Bar 2: Step on L behind R (S), Step on R to R (Q), Close L next R (Q), Step on R to R (S)
Bar 3: Repeat bar 1
Bar 4: Step on L behind R (S), Step on R to R (Q), Sway on the L to L (Q), Close R next to L, with weight (S)
Bars 5-16: Repeat bars 1-4, three more times

Part 2: instrumental

Bar 1: Step L (S), R (Q), L (Q), R (S) into the center
Bar 2: Step on L into the center (1), hop on L, bring R behind R calf (2), Sway on R to R (3), Step on L to L (4), Cross R over L (5,6)
Bar 3: Step L (S), R (Q), L (Q), R (S) backing away from center
Bar 4: Step backwards on L (S), Sway on R to R (Q), Sway on L to L (Q), Close R next to L with weight (S)
Bars 5-8: Repeat bars 1-4

Repeat alternating parts 1 and 2 until the end of the music (the dance ends on part 1)

Other notes on the web

Other videos on the web





Lyrics

From 2017 Stockton Folk Dance camp syllabus

Mari Kiz
Su bag cotin altinda, 

Mari kiz Gül gül üzümcük
Üzüm mü toplayim, 
Mari kiz Sana mi bakayim?
Sana baka baka, 
Mari kiz, gözüm süzüldü
Versene o al basmani, 
Mari kiz Gözümü sileyim,
Gözümü sildilce sildikge, 
Mari kiz Sana kem bakayim
Seni da bana vermesaydilar 
Deli mi olayim?
Komratimin alcak yollarina 
Köprü mü olayim?
Gelene gecene, 
Mari kiz, seni mi sorayim?
Bildir (gecen sene) turnam biricikti 
Bu yil yes oldu (esi oldu).
Vardi tabir karakasli 
Kime yes oldun


Mary girl
Under the grape leaves, Mary girl Fruited bunches of grapes

Shall I pick up the grapes, Mary girl Or shall I look at you?
Due to too much looking, Mary girl, my eyes get tired.
Give me your red cotton scarf, Mary girl Let me wipe my eyes.
After wiping and wiping my eyes, Mary girl Let me see you again
If they don't give me you, shall I go out of my mind?
Over the lower roads of my Komrad Shall I be a bridge?
To all the passers-by, Mary girl, shall I ask of you?
Last year my crane bird was alone This year she found a mate.
Gone with one with black eyebrows Whose mate are you now?

Also Spelled: Kiz
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La Bordeiul cel din Vale (Romania)

La Bordeiul Cel Din Vale
Romania


These notes ©2018, Andrew Carnie. Taught and choreographed by Ira Weisburd. Also taught by Lee Otterholt. The song is a humorous ditty about a young man's experience with the girls and money at a local "hovel".

Music:
Meter: 2/4
Formation: Open circle, hands in W position. Leads to the R. Arms bounce gently on each count.
Introduction: 16 bars, start with singing

Part 1: Hora Mare 1

Bar 1: Stepping straight into the center, step R (1), L (2)
Bar 2: Stepping into the center step R (1), touch L next to R (2)
Bar 3: Backing straight out of center, Step L (1), R (2)
Bar 4: Backing straight out, Step L (1), touch R next to L (2)
Bar 5: On the R diagonal, step R (1), L (2) into the center
Bar 6: Continuing in on the R diagonal, Step R (1), touch L next to R
Bar 7: Backing out on the R diagonal Step L (1), R (2)
Bar 8: Continuing backing out step L (1), Touch R next to L (2)
Bars 9-12: repeat bars 5-8

Part 2: Step Scuffs

Bar 1: Cross R over L (1), Scuff L next to R (2),
Bar 2: Step on L in RLOD (1), Scuff R next to L (2)
Bar 3: Step on R across in front of L (1), Step on L to L (2)
Bar 4: Step on R behind L (1), Step on L to L (2)
Bars 5-8: repeat bars 1-4.
Bar 9: Cross R over L (1), Rock back on L (2)
Bar 10: Step on R to R (1), Cross L over R (2)

Part 3:  Walks (Box)

Bar 1: Walk R (1), L (2) in LOD
Bar 2: Repeat bar 1
Bar 3: Step R (1), L (2) into the center
Bar 4: Repeat bar 3
Bar 5: Cross R over L (1), Step on L to L (2)
Bar 6: Repeat bar 5
Bar 7: Step R (1), L (2), backing out of the center
Bar 8: Repeat bar 7

Part 4: Hora Mare 2

Bars 1-10: repeat bars 1-10 of Part 1, Hora Mare, except on the very last count, step on the L instead of touching it.

Part 5: Crossing (instrumental)

Bar 1: Cross R over L (1), Rock back in place on L (&), Step on R next to L (2), pause (&)
Bar 2: Repeat bar 1, with opposite footwork
Bar 3: Cross R over L (1), Rock back in place on L (&), Rock on R to R (2), Rock L in place (&)
Bar 4: Cross R over L (1), Rock back in place on L (&), Step on R next to L (2), pause (&)
Bars 5-8: Repeat bars 1-4 with opposite footwork

Parts 6-10: 

Repeat Parts 1-5 (Hora Mare 1, Scuffs, Box, Hora Mare 2, Crossing)

Parts 11-13

Repeat Parts 1-3 (Hora Mare 1, Scuffs, Box)

Part 14: (Box again)

Repeat Part 3 (Box) again 

Part 15: Hora Mare 1

Repeat Part 1 (Do the full 12 bars of the Hora Mare)

Part 16: Crossing

Repeat part 5

Other notes on the web

Other videos on the web













Lyrics

From: https://lyricstranslate.com/en/nicolae-gribincea-la-bordei-la-m%C4%83rioara-la-bordeiul-cel-din-vale-lyrics.html

La bordei la Mărioara (La bordeiul cel din vale)

Hăi! Hăi!
La bordeiul cel din vale
Mi-au mâncat fetele banii,
La bordeiul cel din vale
Mi-au mâncat fetele banii.
Lasă, lasă să-i mănânce
Că le-a fost gurița dulce,
Lasă, lasă sa-i mănânce
Că le e gurița dulce.
La crâșmă la Mărioara
Mă duceam în toată seara,
La bordei la Măriuța,
Acolo goleam punguța.
Hăi! Hăi!
Banii mei, banii mei,
La Mărița la bordei!
Banii mei, banii mei,
La Mărița la bordei!
Hăi! Hăi!
La bordeiul cel din vale
Îmi ieșea mândruța-n cale,
La bordeiul cel din vale
Îmi ieșea mândruța-n cale,
La crâșmă la Mărioara
Mă duceam în toată seara,
Toată vara am băut,
Cu Mărița am petrecut.
La bordei la Măriuța,
Acolo goleam punguța
Banii toți am cheltuit,
Cu Mărița m-am iubit.
Hăi! Hăi!
Banii mei, banii mei,
La Mărița la bordei!
Banii mei, banii mei,
La Mărița la bordei!
Hăi! Hăi!
Mi-am vândut carul cu boi
Să-mi fac banii înapoi,
Mi-am vândut gospodăria
Ca să-mi plătesc datoria.
Aseară și alaltăseară
Am fost la Mărița iară,
Marița mă săruta,
Cu gura mă fermeca.
Și când m-am trezit aseară
Pungulița era goală,
Bănișorii toți i-am dat
Pentru-n dulce sărutat.
La bordei la Măriuța,
Acolo goleam punguța,
Banii toți i-am cheltuit
Pentru o țâră de iubit.
Hăi! Hăi!...
Hăi! Hăi! Hăi! Hăi!
Banii mei, banii mei,
La Mărița la bordei!
Banii mei, banii mei,
La Mărița la bordei!
Banii mei, banii mei,
La Mărița la bordei!
Banii mei, banii mei,
La Mărița la bordei!


At Mary's hovel (At the hovel from the valley)

Heigh-ho! heigh-ho!
At the hovel from the valley
Young girls wasted all my money,
At the hovel from the valley
Young girls wasted all my money.
Let them waste it all away,
For their lips were sweet like honey.
Let them waste it all away,
For their lips are sweet like honey.
All the evenings in a row
I went at Mary's local pub.
There I emptied my money bag,
At Mary's hovel from the valley.
Heigh-ho! heigh-ho!
My money, my money,
At Mary's hovel all wasted!
My money, my money,
At Mary's hovel all wasted!
Heigh-ho! heigh-ho!
At the hovel from the valley
My sweetheart came in my way,
At the hovel from the valley
My sweetheart came in my way,
All the evenings in a row
I went at Mary's local pub.
All summer I drank and partied,
With Mary my time I spent.
At Mary's hovel from the valley
There I emptied my money bag.
All my money to the last,
With Mary being in love.
Heigh-ho! heigh-ho!
My money, my money,
At Mary's hovel all wasted!
My money, my money,
At Mary's hovel all wasted!
Heigh-ho! heigh-ho!
I sold my ox cart and my bulls
To get all my money back,
I sold all my household goods
So that I could pay my debt.
Last evening and the one before
I went at Mary's again,
Mary was kissing me,
And her mouth mesmerised me.
And when I woke up last evening
My money bag was again emptied,
I spent my money yet again
For just only one sweet kiss.
At Mary's hovel from the valley
There I emptied my money bag,
All my money to the last
For just a moment of love.
Heigh-ho, heigh-ho!...
Heigh-ho! Heigh-ho! Heigh-ho! Heigh-ho!
My money, my money,
At Mary's hovel all wasted!
My money, my money,
At Mary's hovel all wasted! 
My money, my money,
At Mary's hovel all wasted!
My money, my money,
At Mary's hovel all wasted!
Also Spelled: La bordei la Mărioara

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Busuiocul (Romania)

Bosuiocul
Romania


These notes ©2018, Andrew Carnie. The title translates as "The Basil". This dance was taught at the Phoenix Folk Dance in November 2018, by Lee Otterholt. It was also taught by Sally Fletcher.

Music: Otterholt Texas Camp 2018
Meter: 2/4
Formation: Open circle, W position, leads R
Introduction: Start with singing.

Part 1

Bar 1: Facing slightly R of center, step R (1), L (&), R (2) all in LOD, stamp L next to R (2)
Bar 2: Repeat bar 1with opposite footwork
Bars 3-4: Repeat bars 1-2
Bars 5-8: Repeat bars 1-4, turning to face LOD on the last bar, and omitting the last stamp

Part 2

Bar 1: Facing center, Step on R to R (1), Close L next to R (&), Stomp (no weight) on R forward into center (2) pause (&)
Bar 2: Repeat bar 1
Bar 3: Step on R to R (1), Close L next to R (&), Step on R to R (2), Close L next to R (&)
Bar 4: Repeat bar 1
Bars 5-8: Repeat bars 1-4

Part 3: (Hora Mare)

Bar 1: Traveling on the diagonal R, step R (1), L (2)
Bar 2: Step on R on the diagonal R (1), Touch L next to R (2)
Bar 3: Backing out on the R diagonal step L (1), R (2)
Bar 4: Step backwards on L (1), Touch R next to L (2)
Bars 5-8: Repeat bars 1-4

repeat dance from the beginning, 3 more times, then do parts 1 and 2, finish part 2 even after the music fades out.


Other notes on the web:



Other videos on the web

Busuiocul (Romania)-Lee.Otterholt from Loretta Holz on Vimeo.

Also Spelled: Bosuiocul, Busiuocul
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