23 Jun
2017
23 Jun
'17
3:53 p.m.
Do you love traditional dance and music? Contribute now to support this exciting project.
https://www.hatchfund.org/project/the_dancingmaster
The Dancingmaster is a whimsical musical portrait of the legendary contra dance caller,
Dudley Laufman. Dudley almost single-handedly provided the link between the old days of
rural contradancing in the hamlets of New England, and the vibrant network of dances
taking place every week throughout the United States and beyond. The Dancingmaster tells
his story in his own words, adapted by composer Lawrence Siegel from his interview with
Dudley in 2011. The character “Dudley” is played by the great traditional musician, Keith
Murphy. Becky Tracy and Larry Siegel provide the musical accompaniment. Mary DesRosiers, a
dancingmaster in her own right, creates original choreography performed by a group of
traditional dancers from the Monadnock Region of New Hampshire.
These premiere performances are jointly sponsored by the Monadnock Folklore Society, Next
Stage, and the Brattleboro Music Center. They will appeal to fans of traditional music and
dance and at the same time to audiences for musical theater and classical music.
Note that we are fundraising now ... tickets will be on sale later in the summer for
September 23/24 performances in Peterborough NH and Putney VT.
25 Jun
25 Jun
10:23 a.m.
New subject: French Terms in Old Time Dance
How did French prompts like Promenade, Allemande, and Dos-a-Dos get into American
dancing?
From Morrison Foster (Stephen's older brother):
"When Stephen was a child, my father had a mulatto bound girl named Olivia Pise, the
illegitimate daughter of a West Indian Frenchman, who taught dancing to the upper circles
of Pittsburgh society early in the nineteenth century. "Lieve," as she was
called, was a devout Christian and a member of a church of shouting colored people. the
little boy was fond of their singing and boisterous devotions. She was permitted to often
take Stephen to church with her . . . . A number of strains heard there, and which, he
said to me, were too good to be lost, have been preserved by him, short scraps of which
were incorporated in two of his songs, "Hard Times Come Again No More" and
"Oh, Boys, Carry Me 'Long.""
This passage was taken from Biography, Songs and Musical Compositions of Stephen C.
Foster, published privately by his brother in 1896.
It seems clear that French holdings in the West Indies had less suppressive relations
between plantation owner and slave than in the U.S. There would have been many
opportunities for Africans to imitate and emulate French dancing (imitation such as this
also occurred later in the cakewalk). It would have been necessary in that culture. As
there were many African languages present, French would have been used for this invention
of prompting as it was the common tongue there.
After the Haitian Revolution which started in 1791 some of these Creoles migrated to the
states, mostly to New Orleans at first. They had middle and upper class status during the
French and Spanish periods until the Louisiana Purchase brought U.S. attitudes there. In
that early period French would have been used in dancing.
Fred Feild
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5:55 p.m.
New subject: French Terms in Old Time Dance
Fred --
Well, maybe, but I don't think your explanation generalizes terribly well. Wilson
(1811, UK) lists promenade and allemande (but not Dos a Dos) in his list of dance figures.
There was a lively interchange between French and English dancing masters going back to
at least 1700, when Mr. Essex had Feuillet's "Recuil de Contradances"
translated and published in England. Colonial Americans had music and dance books shipped
from England.
English dance had French terms in it. American dance pretty much *was* English dance
until after the war of 1812. Quadrilles originated in France and spread everywhere. I
don't think the question of how French terms got into American dance is a mystery.
-- Alan
On Jun 25, 2017, at 7:23 AM, Fred Feild
screamnj(a)msn.com [trad-dance-callers] <trad-dance-callers(a)yahoogroups.com> wrote:
How did French prompts like Promenade, Allemande, and Dos-a-Dos get into American
dancing?
From Morrison Foster (Stephen's older brother): "When Stephen was a child, my
father had a mulatto bound girl named Olivia Pise, the illegitimate daughter of a West
Indian Frenchman, who taught dancing to the upper circles of Pittsburgh society early in
the nineteenth century. "Lieve," as she was called, was a devout Christian and a
member of a church of shouting colored people. the little boy was fond of their singing
and boisterous devotions. She was permitted to often take Stephen to church with her . . .
. A number of strains heard there, and which, he said to me, were too good to be lost,
have been preserved by him, short scraps of which were incorporated in two of his songs,
"Hard Times Come Again No More" and "Oh, Boys, Carry Me
'Long.""
This passage was taken from Biography, Songs and Musical Compositions of Stephen C.
Foster, published privately by his brother in 1896.
It seems clear that French holdings in the West Indies had less suppressive relations
between plantation owner and slave than in the U.S. There would have been many
opportunities for Africans to imitate and emulate French dancing (imitation such as this
also occurred later in the cakewalk). It would have been necessary in that culture. As
there were many African languages present, French would have been used for this invention
of prompting as it was the common tongue there.
After the Haitian Revolution which started in 1791 some of these Creoles migrated to the
states, mostly to New Orleans at first. They had middle and upper class status during the
French and Spanish periods until the Louisiana Purchase brought U.S. attitudes there. In
that early period French would have been used in dancing.
Fred Feild
Reply via web post • Reply to sender • Reply to group • Start a New Topic • Messages
in this topic (1)
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26 Jun
26 Jun
10:18 a.m.
New subject: French Terms in Old Time Dance
These French terms were more likely adopted from the prompts used by the
numerous French dancing masters who taught the latest French dances
throughout North America during the first half of the nineteenth century.
One of these was John James Audubon (1785–1851), who had a dancing school
in what is now Louisville, Kentucky.
Phil Jamison
On Sun, Jun 25, 2017 at 10:23 AM, Fred Feild screamnj(a)msn.com
[trad-dance-callers] <trad-dance-callers(a)yahoogroups.com> wrote:
How did French prompts like Promenade, Allemande, and Dos-a-Dos get into
American dancing?
From Morrison Foster (Stephen's older brother): "When Stephen was a child,
my father had a mulatto bound girl named Olivia Pise, the illegitimate
daughter of a West Indian Frenchman, who taught dancing to the upper
circles of Pittsburgh society early in the nineteenth century. "Lieve," as
she was called, was a devout Christian and a member of a church of shouting
colored people. the little boy was fond of their singing and boisterous
devotions. She was permitted to often take Stephen to church with her . . .
. A number of strains heard there, and which, he said to me, were too good
to be lost, have been preserved by him, short scraps of which were
incorporated in two of his songs, "Hard Times Come Again No More" and
"Oh,
Boys, Carry Me 'Long.""
This passage was taken from Biography, Songs and Musical Compositions of
Stephen C. Foster, published privately by his brother in 1896.
It seems clear that French holdings in the West Indies had less
suppressive relations between plantation owner and slave than in the U.S.
There would have been many opportunities for Africans to imitate and
emulate French dancing (imitation such as this also occurred later in the
cakewalk). It would have been necessary in that culture. As there were many
African languages present, French would have been used for this invention
of prompting as it was the common tongue there.
After the Haitian Revolution which started in 1791 some of these Creoles
migrated to the states, mostly to New Orleans at first. They had middle and
upper class status during the French and Spanish periods until the
Louisiana Purchase brought U.S. attitudes there. In that early period
French would have been used in dancing.
Fred Feild
------------------------------
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Phil Jamison
Professor of Mathematics/Appalachian Music/Appalachian Studies
Warren Wilson College
CPO 6211, PO Box 9000
Asheville, NC 28815
Office phone: (828) 771-3722
Cell phone: (828) 450-0780
Email: pjamison(a)warren-wilson.edu
Website: www.philjamison.com
2:46 p.m.
New subject: French Terms in Old Time Dance
The terms can also be documented to before the Haitian revolution. For
example, here is how the fifer Aaron Thompson (First New Hampshire regiment
during the Revolutionary War) wrote down the the popular country dance
Allemand Swiss in the notebook he kept between 1779 and 1782:
Allmon Swiss Country Dance
First Gentleman Allemand reversed with 2d Lady, 2nd Gentleman/
the same with 1st Lady. - lead down 2 Couple up again -/
Cast off one Couple six hands round, half – back again right/
& left at Top
Jacob Bloom
On Mon, Jun 26, 2017 at 10:18 AM, Philip Jamison pjamison(a)warren-wilson.edu
[trad-dance-callers] <trad-dance-callers(a)yahoogroups.com> wrote:
These French terms were more likely adopted from the prompts used by the
numerous French dancing masters who taught the latest French dances
throughout North America during the first half of the nineteenth century.
One of these was John James Audubon (1785–1851), who had a dancing school
in what is now Louisville, Kentucky.
Phil Jamison
On Sun, Jun 25, 2017 at 10:23 AM, Fred Feild screamnj(a)msn.com
[trad-dance-callers] <trad-dance-callers(a)yahoogroups.com> wrote:
--
jandnbloom(a)gmail.com
http://jacobbloom.net/
View my Arlington Food Pantry fundraiser at
https://www.youcaring.com/arlington-food-pantry-621657
How did French prompts like Promenade, Allemande, and Dos-a-Dos get into
American dancing?
From Morrison Foster (Stephen's older brother): "When Stephen was a
child, my father had a mulatto bound girl named Olivia Pise, the
illegitimate daughter of a West Indian Frenchman, who taught dancing to the
upper circles of Pittsburgh society early in the nineteenth century.
"Lieve," as she was called, was a devout Christian and a member of a church
of shouting colored people. the little boy was fond of their singing and
boisterous devotions. She was permitted to often take Stephen to church
with her . . . . A number of strains heard there, and which, he said to me,
were too good to be lost, have been preserved by him, short scraps of which
were incorporated in two of his songs, "Hard Times Come Again No More" and
"Oh, Boys, Carry Me 'Long.""
This passage was taken from Biography, Songs and Musical Compositions of
Stephen C. Foster, published privately by his brother in 1896.
It seems clear that French holdings in the West Indies had less
suppressive relations between plantation owner and slave than in the U.S.
There would have been many opportunities for Africans to imitate and
emulate French dancing (imitation such as this also occurred later in the
cakewalk). It would have been necessary in that culture. As there were many
African languages present, French would have been used for this invention
of prompting as it was the common tongue there.
After the Haitian Revolution which started in 1791 some of these Creoles
migrated to the states, mostly to New Orleans at first. They had middle and
upper class status during the French and Spanish periods until the
Louisiana Purchase brought U.S. attitudes there. In that early period
French would have been used in dancing.
Fred Feild
------------------------------
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--
Phil Jamison
Professor of Mathematics/Appalachian Music/Appalachian Studies
Warren Wilson College
CPO 6211, PO Box 9000
Asheville, NC 28815
Office phone: (828) 771-3722
Cell phone: (828) 450-0780
Email: pjamison(a)warren-wilson.edu
Website: www.philjamison.com
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4 comments
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participants (5)
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Philip Jamison