To: Organization Representatives for the Ke. Ue Dance Festival From: The Central Committee After the meeting last night with Dr. Allen, the Finance Committee for the Festival met to discuss the questions you raised in regard to bringing dates to the Barn Dance. Taking into consideration (1) the expense of bringing Dre Duggan and her group of eight to the campus, (2) the request from some of you that girls, as well as men, be given the opportunity to invite dates to the party, and our desire to avoid discrimination in this matter, we have reached the conclusion you see listed below as number (2). You are urged to register in Dr. Allen's office as soon as possible, so that we may know how many tickets will be available for those who cannot attend the-day sessions, but want to attend the Barn Dance. 1. Your receipt admits you to the two day sessions, 10 to 12 and @ to 4, Oct. 28, in the Ballroom. It will serve as a ticket to the Barn Dance if you have attended at least one of the day sessions. Receipts will be punched at the doors 2- If you wish to bring as a date to the Barn Danese someone who hasn't attended the day sessions, there will be an extra charge of 25¢, to be paid when you register or at the door. 3. A limited number of housemothers or others wishing to watch the dances may purchase Spectator Tickets for 50¢ eache These tickets admit to any or all of the sessionse Please inform your hosemother or friends about this, and ask them to call KU 83, or go to Room 105, Robinson Gym for reservations or tickets. 4. Remember to wear comfortable clothes, shorts, slacks and"flats" for the day sessions: blue jeans, gingham, and hill-billy attire for the Barn Dance, A prize will be awarded to the "Corniest Couple." 5. All sessions begin promptly: 10 to 12 aeme 2 to 4 peme 9 to 12 pem. Anyone wishing to attend the luncheon Saturday noon, 12:30, honoring Dre Duggan, should make a reservation KU 83, or Room 105, Gym. Tickets are 40¢. 6. Dr. Duggan has requested that attendance at the Barn Dance be necessarily limited to 150 couples because of the space required for dancing. Tickets for the Barn Dance only 75¢ date or stag, may be purchased at 105 Robinson Gym beginning Tuesday, Oct. 24. - guB pation: FOLK PRACTICE “the revived of interest in follsdaneine at a Living ert for notern city peopte to prootice hes sssused the dimonaions of « trond, end © 4 hoalthior or nore hopeful one it would be 4iffteult te finds Certainly “hens the eabenset the opportunity turing the pact fortaighe to weteh Douglas Kennedy, difeotor of the English Polk Dence and ‘Song feciety who ie in thie country one brief tour, at work with various groups — throughout the city, must have been deeply impressed with the rightness of euch © trendy for its Bannedy han | witht, style and ponetrontion : that moke fer pormuneivences. | oa resenting the beautiful Enghter swter tal ‘Se knows se well, bo g ve noint at the seme thon quite eutens tier! y eg we aotivitios of the many other nationality groups whieh heve bron | donating together here fer vera ot to the ee rant eetaten sitet Yave tem ferme te rertre the old amerienn square aed found dangese Theugh the. bnglted sooiety | has porfeoted ite sathed of prosanting tte neater isl for prectios! use without setfesonsolousness er euspieten of gan tetas” better then goat other groupe, the snae signe of the times are ko be soon in the work af el) of theme | | ind these are heartening signsy for thy Sndhonte thes an ever ine cronaing musber of routinived oity dwellers ts seeking for these porsancnt Mahune thet grow out of elementary huma. aobivity, wootel in ne turey aloxe to experienoe, free from artifiess vhen we ore aought up in the waohanions tl intellectualiens of our tine wh igh virtuoliy transform daily setivity into © cote pyart from nornel humon Living, there 4s no method of release inte the reslm of actucl function that is conparuble to movement. Yorely to repeat the movenent patterns in whieh simpler and nore naturel people : have objectifiod their moods of conviviality and exuberenee is te eet by contagion sonathing of their freedom and thoir essontinl human tty. : _ Agtually, to be sure, whon the urban vophietionte touches the folk — “arts he comnite © desseration of sorte; on thet eoore thers ean be ne arguments. They aro not his natural meane of expreseton and, no matter how mich he any reopeot then, the moment he attempts to put then inte practice he more or less overpowers thom with hie alien onthusiesms what ie to de cheut then, thent Leave them in books and rosords os acered and ubapproachable date for ethnologiets and Moetorianst It is ime possible te overestimte the ‘upertence of the seholarly approach te the folk arte, buts & Little wolledtrected vandelien for the immediate and . will perhaps not jeepardize too seriously the ultinate treasures of scholar> ahipe . : | It was in the closing doosdes of tho lent contury that folk arts — were first recognized er importent enough to colleet and cherishs This awakening was not on isolated phenomenon, but bears & close reletion to other movements in these years end the early years of the new century whieh have ved a great bearing on all the arte and wet relation to lives The period was one in whieh 611, the prophets of pregrese resognized the necessity for 6 return to nature for guidance end a rejootion of tradition) = ~ formaliems ae e basis for experience. — «It wee the period when ebthubes and Pht Lesophors in Germany and England were developing the theory of empathy, when is«dore. Tuneen wee _ throwing Off the shackles of dend conventions and restoring the dance — ta the ronks of ereative art, when in Russia btentslaveky wee seeking for realien in the setor's ert and Fokine for expressiveneweiin the deneer tas if eli thie was going book to na ture y it wes not a retrograde step in time or progress, but © return to operative prineiples from whieh there had been serious deflections, ¢ return fron ebetrections to ronlity, i would be a brave soul whe would neintatn thet the need for getting back te baste things has dintnished in the intervening yenrs, and it would be & fairly syopte one who would deny thet grent progress hes been nade toverd meeting the nood, The folledance prosente one illumineting exe ‘apple, ter where it wee norely being recorded to eave it from extinetion forty years O60 ‘todey it is being daneged actively by «hole strata of the — populetion £ for whom at is not alone & restoration but o revelations — Tt is ® noalthy thing to release the seoial dance from @ total pree | oseupstion with sox» Though the courts ip danse has an ancient and honorable — funetion, there are other functions for denoings as woll, Our modern life — in which we ore constantly being throun with orovde has bred an unhealthy defensiveness ngainet social foregethoringss wa heve met each other so mmeh on masse under conditions of strese and rivelry that we hove set up @ kind of compensa tory habit of ietiationisn that has kept us from mowing eash other as fellows and neighbors. We ean make good use of these large group dances of our encestors in which they aoquired u eenee of social soliderity, it would not heorm us to learn how Me feele to form part of — & comon pattern, ond to perticipate in @ group movement fare nore powers” ful than anything we could possible make alone, 11 these ines teve played vitel parte in primitive cbviltsetions, ind sre not to be despised in Gur Gen,» it ie an exhilereting experience to get the "feei" of novenent that covers space instead of norely altering the reletions of parte of the : body to onch other, it is equally etimleting to get the “feel” of design thet fe © logioal outgroeth of the netorial et hend, belenoed ond tnventives If this ie not form in the cathetio. sone, ib ts at loast textures and ‘eortsinly At is no smell thing to nore to music that is so simple, so rich end so genuinely the expression of honect feeling as thet whieh belongs by right to the danoon of the follte ro | Tf att these things involve vendslism (end there is no intention here to argue ‘that Urey do not) let the purist mike the most of theme the teeue is —— toohnicals Publicity on Dr. Anne Schley Duggan Training: Bachelor's degree: Baylor Colle ge tor Women, Belton, Texas : Master's and PhD: Columbia University vo Advanced study: University of California Professional dance studios in various parts of country. Experience: Head of tollowing college physical education departments: Baylor College tor Women, Belton, Texas Liddenwood College, St. Charles, Mo. North Carolina Women's College Texas State College tor Women, Denton, Texas - of Dance | Professor at Columbia University in graduate and undergraduate men's and women's classes. Dance instructor at tollowing professional camps: -Pokono Mt. Professional Sports Camp Univ. of Toronto's Lake Couchiching: summer camp for Canadian Physical Education teachers. Conducted short courses in Dance instruction at Nebraska State Teachers! Convention Pre-Convention Dance Conterence at National Health and P.E. Association, Atlanta, Ga. Present ottices: President, Southern District Health and Physical Education ASsociation President, Texas State H. and P. E. Assoc. _Member National Council of Nat'l. Ass'n. of Health, Physical Education, and Recreation. Books: Tap Dancing Simplified Tap Dances Tap Dances for School and Recreation Creative Approach to Folk Dancing — Member of Folk Festival Council of New York City, which is made up of various ethnological groups. Dr. Duggan is an active member of every ethnological group in N.Y.City, thus her unusual collection of unpublished authentic dances. She has sponsored Folk Dance evening programs at N.Y. School of Social Research, and at Columbia University,, where various folk groups taught their dances to Columbia Uni versity students and protessors. Czech “YY Du ty &, an Na Ly Louce zéieny (In the Green Meadow) Na iy Louce ceLeny Pr onounced na ty Llot«e zeieny (In the Green Mes:aow) ‘Cz ech Formation: Purtners in a double cirele, girl on the right. ‘the circle moves countercLocsawise. The music consists of tuwenty-vour messures. In fitting the steps to the music, each measure should be counted " onc, wwo, three," (Meas. 1-2). - Grasp inside henus, outsiue nenu on the hip. beginning with the outside foot, tuke two woltz steps. ‘the first step is taken forward, and the second in pluce. Swing the «rms forwsrd on the first sucp und backward on the second, and turn the boay in th: airection of the move- ment. (Meas. 3-4) * two waits stops, making a haif-turn outward. Dowie the ums fortupward as the first siep is taken, ut the cume time releasing, pertncr's had, bec Pivzure 3. (ileus. 5-8) - hepeat Measures 1-4, the circle movin, in the opposite di reaction. P- (leas. 9-16) Girl steps eround in front of purtncr, thus foring a Single circle. Gird, with hands on hips, takes ci;ht witts secps for- ward, turmin;, tontinuocusly, right. poy follows with cight Dilancing steps aLtcmutine right apd Lert. He Gleps Ais Bendsé on bhe Tirst count of caeh Me isu ets . (Meas.17-24)- Social dancing position. Hight waits Gbeps, turning, con- tigously, Fiché. — Norwegia Norwegian idgéan AU, 6% A ee ee: RR Se eI pen Acme se angels Sedna. Ae mo NA i i Ne A as Duggan fug.en Norwegian Any number of couples fucing counter-ciockwise; partners in social position, extended arms struight toward center of circle. ‘3 slides toward cenver cf circle and stamp slides to place ana stamp Cs Il « Chain steps, twisting trunk (Chain steps are two-steps exccuted to the siae) 4 pivot turn steps, progressing Repeat all 4 4. Measures mMeusures néasures measures — measures Norwegian Du, gan Little Four Dance luggan Norwegian Furetur fraa Kowerike (Little four fpanece) Sets of two couples arrenged in double circle, one couple facing counterciockwise, the other cougie facing clockwise. hanas «re joinec in circle with elbows benv. Feet are held close together, feet and body turned toward the bs Abd OOEAN bes ds 6 resting steps forward, alternatin,, L and it. (kesting step- step L, close k toe to L instep without taking wei,ht and hold) 6 measures Step L so as to face center of small circle, close K to L (heel to heel) and hold 1 measure Step backward R, point L forward, straight knee, and hoid lL measure kepeat all in opposite or counter clockwise direction, beginning L 8 measures Ii. : Face partner and chain { grand & and L ) with 16 resting steps, : beginning L 16 measures Til. Partners bow to each other 4 measures (wlan: L hand at hip, k at side, ana feet tozether. As the trunk is bent forwaru, the K hand is swung sideward, then forward ena plecea over heert. whe trunk is straightened while the R hand is swung forward, side- ward, end lowerea to side. (Woman: Feet together anu sxirt hela by thumbs ana forefingers, palms straight beekward. whe hk foot 1s vointed in front, then circled arouna to the buck; Knees ana trunk are bent and the weight is tekken on the k foot. Knees are straight- ened und the L foot brought 10 the hk, ofter which the trunk is straightenec.) le waltz steps in social agencing position. linish in position to repeat the dance. lz meusures ide gan biunich Senattische alin ea tet aera ae mange paces ae oer eee eran cee I \ i if f i Lu £3 an benish oshottische boub te circle, facing counter clockwise. Ae é Schottische steps forward k and L 4 Step Hoys, R, L, kh, L, Repeat all B. Facing, pertner, L hanas joined 4 Schottische Kk to side i Schottiseche L, K hanus joinsa 4 Step Hops turning, 4 henas joined Repeat aid Repeat A and B aS many times ac desired Nancy Deg g an . we d Is h Harn Io Nancy Duggan Swedish Hambo Formations Any number of couples facing countereclockwise, man on L of partner, Inside hands joined. Outside hands on hips. Both begin on outside foot. Counts Measures A, Step and balance forward in line of direction, swinging joined hands forward to turn slightly away from partner. lptsge Step and balance bach away from line of direction, swinging joined hands back to turn slightly towards partner igteo 2 Womans 5 running steps forward, R.LR if Stamp L, at same time placing both - hands on partner's shoulders 4 - Touch R toe in back of L a Leap onto R, while 3 Mans 5 running steps forward, L,R,L 1,2 Stamp R, at same time placing both hands on partner's waist 1 Step L 2 Touch R beside L, without weight 5 By, With shoulder and waist grasp, and leaning back from partner, arms straight, couples turn clockwise, woman stepping on "count 1", touching R toe behind L on "count 2" leaping onto Ron "count 3", while man steps R on "count 1", steps Lon "count 2" and touches R toe beside L without weight while pivoting on L ' on “sount 5%, Partners repeat 2 times, step on indide foot (woman's L, Man's R) fs Hold 3 Lo 4 Repeat 4 and B as often as desired. DUGGAN | KANAFASKA MORAVIAN r % e KANAFASKA (Kan + a - fas*- ka) Sets of four couples in quadrille formation, numbered 1,2,3,4 from L to R, Ay with man on L of each couple. In social dancing position, couples 1 and 3 exchange places with 8 sliding steps, each couple moving to its own R 1&2ketc. Couples 2 & 4 exchange places in same manner Repeat all, returning to original places First man and second woman meet with two walking steps, woman beginning R, man beginning L and clapping on first step : 1&2 6 polka steps, in counterclockwise circle within the square, turning R on each step, woman's hands on man's shoulders, man's hands at woman's waist Man lifts partner high in air, she assisting by springing upward and pressing with straight arms upon his shoulders 1 Man sets woman down in original place 2 First man repeats all of B with third woman First man repeats all of B with fourth woman Partners dance 8 polka steps in complete counter clockwise circle The dance is repeated from the beginning with each man in turn dancing B as described for first man. Orf Oo Ooor Du 49a") Pua2eshe her ~€ +} S. K . Hilegro # Finnish Anne Schlev Dugran KERENSKI (Gér =.en~ ski} A line of any number of counies, pertners facing, man on woyrian's 1. The man holds the woman's L hand in his R, free hands on hip. Man begins L, woman R. His part is described; hers is counter-. part. . | Counts feasures. Ae Meow tb, 0 hh et te 1 Close R to L, taking weight R..... é Repeat ° e é é e e Di e . ° e ° . . ° e e 2 & i B. Step L, to side 2 Step R, across in frort of L é: Step L, to side a , & Close R to L, taking weight R 1 Repeat A and B, keeping R free on last close steno e . ° » ° ° ° ® e ee a * e . * e s ¢ @ ° ° ee . . 3 YO + abate a 4° Repeat all in opposite direction . 2» - «6 «© © s+ se we wos 4 ia A. Step L, to side, woman's L hand in ge ee ee oe ee 1 Swing BR, across infront of Lb «+ + @ 8 & Repeat, bepinning Ro... + 6 eee 8 a & bi B. Turn away from vartner, swinging: joined hands forward, shoulder high, with > OSOOE, Bi hss & © 6 8 A 8 8 eee 36s ee a ee ae ee & i Repeat A and B 3 times, beginning R,L,R. 2 1 2 6 ew ee 6 ee A. Hands on hits, men move beckward, women forward with 4 skip steps « . s 6 + @ « 1€3.¢4 1 DS week, TO Pie 6 kk ee ea 1&2 Hold * . -« eee gk ah ts e eS . e e.s & 1 Reveet all, vomen moving beckward, men forvard e ° e * ° ° e e ° acc % e e . « e e . e ° ee e 2 B. Social dancing position, couples move around roou. counterclockwise vith 8 fast trvo-steps, STG OF GOT B06 4 6 tsk ee 4 we ee ee Ee 4 Vs “Swiss Maney Duggan Kau dey bach A. | Nancy Duggan Swiss Lauderbach Formation: Double circle, partners facing, man's back toward center of circle, inside hands joined, outside hands on hips. Both pegin on the outside foot. The man's part is described throughout, the woman's is opposite. i Counts Measures A, 1 waltz balance L turning away from partner, swinging joined hands strongly forward . ee - 1 waltz balance R turning toward partner, : Swinging joined hands strongly back 12,0 _ Moving countérclockwise in circle, each makes a@ complete turn away from partner with : 2 waltz steps, R and L(keep R free at end) oa Repeat all, reversing feet and directions and progressing clockwise in circle 4 B. Partners facing, both hands joined and extended sideways, Man's part is described, woman's opposite Step L to side Hold Close R to L Step L to side | Hold : 7 2,5 g Repeat all, moving toward R 2 ~-HatH Keeping both hands joined, partners turn as in “wringing the dishrag" moving forward in line of direction, turning away from partner under man's L arm, woman's R with: -2 waltz steps, Man L and R 2 Partners facing, arms still extended sideways: Stamp L Hold Stamp R wt i. oo Hold DoH CT @ADD C. In shoulder and waist grasp, partners waltz, (Man L) turning clockwise and progressing counter=clockwise with 16 waltz steps . 16 he 4, Repeat A as in Step I 8 » Repeat B as in Step I 8 U. Partners facing in single circle, R hands Joined high, L hands on hips. Progress counter=clockwise with 16 waltz steps. Woman turns clockwise on each waltz step while man, accents first beat ach ste atte a stamp oe 16 ie Arranged by SERBIAN KOLO Zdenek Zeman Introduction KOLO Serbian en a Formation: This dance may be performed by one couple, but if danced by more, an even number of couples form two single parallel lines. The lines face. The boy stends on the left of his partner. Boy places right arm around girl's waist; she places inside hand on his right © shoulder; both place outside hand on the hip. If in line formation, the boy places an arm around each girl's waist while she places a hand on the shoulder of the boy on each side, The music consists of ten measures. In fittimg the steps to the music, each measure should be counted “one, and two, and." (Meas.I)-Beginning with the left foot, all take four little running steps forward. (Meas.2)=Repeat Measure I backwards. (Mease3)=Step left on the left (one); step the right in rear and close to the left (and) step left (two); swing the right diagonally forward, at the same time hopping on the left (and). (Mease4)-Repeat Measure 3, to the right. (Meas.5)= Stamp left sideward (one); swing the right diagonally forward and at the same time hop on the left (and); stamp right sideward (two); swing the left forward, hopping on the right (and). (Meas»6)=Repeat Measure 5, (Meas.7)= Stamp left (one); step the right in rear and close to the deft (and); stamp left (two); step the right in rear (and); (Meas48)sRepeat Measute 7, "one, and, two’ Swing the right diagonally forward, at the same time hopping on the left (and). (Meass9~10)sRepeat Measures 748, to the Hight. REPEAT THE ENTIRE DANCE DOUBLE QUICK TIME. The whole should be danced with an easy, swinging rhythm accented by the stamps. gi Franish Duggan = ~ el + ae nll a a. me « Finnish Anne Schley Durgan _~ a ae ~~ ~ ~ RADIKO. (R&-d*2k5) This dance takes its neme from an island- characterized by a huge rock behind which the people of the island are supposed to hide the “old maids" when young boys ariive in their midst. Radiko is danced visorously end with humor. A circle of any number of couples in social dancing position, jotr-% hand extended in counterclockwise directions. Counts Measures | a ; & polka steps, beginning with hop on inside foot 6 * é e e . ; ° e ® e e . e e e . . . . é ° 3 e é ® ids A. 7 walking steps forward in line of direc- | N28, DOGiNAine Outeide foot... . . «+. +» 4,2;1j1,8,1 é Hold. 4 Bs 8 sliding steps avay from line of direction*. ° a é ° . ° s i ° é é e é ‘ ° ‘ ° 4 e e 4 Reveat A and B e e e e . ° oa oe ‘ é‘ « . £4 e é i oe 8 Repeat I and II as often as desired. * The sliding steps are often taken across the center of the circle, couples crossing to exchange places.