no child left on his or her behind - Indiana Music Education ...
no child left on his or her behind - Indiana Music Education ... no child left on his or her behind - Indiana Music Education ...
PENGUIN DANCE (The Penguin People of Antarctica) This dance originated in the Australian Antarctic Territory by the Penguin People as they observed the Southern Hemisphere research station scientists at their recreational activities. As most of the scientists were from Australia and the British Isles, the figures of this dance may seem familiar to those k
SASHA (Russia—Germany) ―Sasha‖ is the nickname for Russian boys named Alexander, and for Russian girls named Alexandra or Alexandria, and it is a terrific dance. It may
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SASHA<br />
(Russia—Germany)<br />
―Sasha‖ is the nickname f<strong>or</strong> Russian boys named Alexander, and f<strong>or</strong> Russian girls named<br />
Alexandra <strong>or</strong> Alexandria, and it is a terrific dance. It may <str<strong>on</strong>g>no</str<strong>on</strong>g>t be really Russian (Bob<br />
Dalsemer, of the John C. Campbell Folk School, learned t<strong>his</strong> from a Danish teac<strong>her</strong> who<br />
learned it from a<str<strong>on</strong>g>no</str<strong>on</strong>g>t<strong>her</strong> Danish teac<strong>her</strong> who got it from a German folk dance leader).<br />
Whatever its <strong>or</strong>igin, it is an immediate hit with <str<strong>on</strong>g>child</str<strong>on</strong>g>ren and adults alike.<br />
<strong>Music</strong>: On Sanna’s CD-1-1/2 as well as John C. Campbell Folk School (1-800-FOLK-SCH),<br />
and Marian Rose’s CD-book package, ―Step Lively #1 (marian@istar.ca).<br />
Meter: 4/4<br />
F<strong>or</strong>mati<strong>on</strong>: Pairs standing anyw<strong>her</strong>e in the dance space. Start by partners facing.<br />
Dance Pattern<br />
I. “Sasha!”<br />
Partners shake index fingers at each ot<strong>her</strong> while saying, ―Sasha! Sasha! One-two-three!‖<br />
It’s even better to count in Russian: ―Rahss-dvah-tree‖ (roll those ―r’s‖).<br />
II. Clapping sequence<br />
Partners clap: Right hands three times—right-right-right<br />
Left hands three times—<str<strong>on</strong>g>left</str<strong>on</strong>g>-<str<strong>on</strong>g>left</str<strong>on</strong>g>-<str<strong>on</strong>g>left</str<strong>on</strong>g><br />
Both hands—both-both-both<br />
Pat knees—knees-knees-knees<br />
III. Elbow turns<br />
Partners hook right elbows and walk/swing in a clockwise circle 8 steps. On 8 th , give a<br />
sharp ―hey!‖ and switch to <str<strong>on</strong>g>left</str<strong>on</strong>g> elbows. Walk/swing counterclockwise with 8 steps and a<br />
―hey!‖<br />
IV. Promenade al<strong>on</strong>e<br />
Walk around the dance space al<strong>on</strong>e, in any directi<strong>on</strong>, until it’s time to start the pattern<br />
again with a new partner. Face some<strong>on</strong>e nearby (<str<strong>on</strong>g>no</str<strong>on</strong>g> fair reserving partners ahead of time)<br />
and begin again with ―Sasha! Sasha!‖<br />
PRESENTED BY SANNA LONGDEN. Notes by Sanna L<strong>on</strong>gden © 2006, based <strong>on</strong> those of<br />
Bob Dalsemer, Marian Rose, and first observance at a c<strong>on</strong>tra dance party in 1997.