|The President's Report||World Dance Day||Personal Injury Insurance|
|The Latest Word||Latest Word #2||I was there! - Bulgaria|
|Folk on the Web||Contra Lines||Coming Events|
|International Events||Croatia - diverse culture||Diary Dates|
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Folk Dance Australia|
Since my last report, I have been on holiday in Bulgaria where I participated in a 2-week dance workshop run by Belco Stanev.
We spent a week in Varna where Belco, his son Julian and daughter-in-law, Irena, gave classes. It is a real pleasure to learn dances from such beautiful and accomplished dancers, and great fun to dance with folk-dancers from other parts of the world. There were about 125 participants of various abilities including lots of excellent dancers. We enjoyed evening dances (live music) and singing concerts, as well as singing lessons. We went to the Varna Folk Festival and watched some fantastic performances.
In the second week we travelled by bus, with sight seeing on the way, to Koprivstica for the 5 yearly Bulgarian folk festival. This was such a wonderful experience I hardly know where to begin. Imagine - 40,000 people, 10,000 performers young and old, colourful costumes, old and new, everywhere you look - and so much music and singing you can almost, but not quite, reach saturation point. And all this is set in a beautiful, World Heritage mountain village. The festival is for village groups and fancy choreography is not allowed. This is an opportunity to see traditional Bulgarian culture and is absolutely wonderful.
After dinner we danced in the Village Square or a café to wonderful live music. To dance with Bulgarians in such a situation was great fun. The dances were usually very simple so everyone could join in, and usually the music went for a long time, the musicians playing several melodies without a break, so long as the rhythm was constant. As "International Folk Dancers" we often forget that the important thing is to recognize the rhythm of a piece of music and know the basic steps to that rhythm. Fancy steps and choreographies are added later to add interest.
Chris Wild, FDA President
Reprinted from Folk Dance New Zealand Newsletter, April 2000
In this last year of the 20th century, it is imperative to look back and attempt a bird's eye view of the course of events regarding dance in the last hundred years.
Two major events will distinguish this past century's state of the dance on a world-wide perspective. Two new dance genres emerged at its outset, grew consistently throughout its span, and had created a new space for their respective forms by the end of the twentieth century: folk and modern dance.
Folk dance appeared when amateur dancers in the cities discovered they could practice traditional, that is peasant, dances for recreation and for stage presentation.
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These same dances were being abandoned steadily by their original practitioners, the rural populations in traditional cultures.
Modern dance was born when professional dancers rejected the constraints of classical ballet and presented performances based on individual expression and their concepts of what constituted free movement.
During this century, classical ballet gained in variety, depth and refinement, in perfecting its incomparable technique, and in spreading to many countries who had not known it before.
Ballroom dance acquired new friends and new methods, and expanded into the novel field of competition dance. Its "closed couple" dances found a counterpart in popular dance fashions that swept the youth of the world, like rock 'n' roll and discotheques.
It was a century of renaissance and "naissance" in dance.
Turning now to the next century, we would like to see:
The recent boom of the last two decades is evidence supporting an optimistic view of the future, for amateur as well as for professional dancers.
By Prof Alkis Raftis, President of the International Dance Council (CID)
The World Dance Day was established in 1982 with the view of attracting attention to the art of dance, every year on the 29th of April. On that day, dance companies, dance schools, organisations and individuals are asked to organise an activity addressing an audience larger than their usual one.
The International Dance Council (Conseil International de la Danse - CID) is the official umbrella organisation for all forms of dance in all countries of the world. It is a NGO within the UNESCO headquarters in Paris, with a purpose to act as a world-wide forum bringing together international national and local organisations and individuals active in dance. It represents the interests of the dance world at large and consults accordingly governments and international agencies. All dance organisations and groups around the world are invited to list with the CID:
PERSONAL INJURY INSURANCE -
$$$$$$$$$$ Monetary Musings $$$$$$$$$$$
Income is a fixed sum of money that is hard to live within, but harder to live with out (WPG)
FDA, Group Insurance and You
FDA is currently looking into discounted insurance for folk dance groups within all states (and territories!) of Australia.
If your group is interested in being part of a joint insurance policy in the future (covering Public and Product Liability and Professional Indemnity), then we require some details about your group.
Details that are needed include:
Wild, (02) 9560 2910,
The instructions for "Picnic Polka" were inadvertently omitted from some of André van de Plas' "International Dances 2000" booklets. Copies can be obtained from Kaye Laurendet, 127 Woronora Cres, COMO WEST 2226 or phone 02 9528 4813.
On Friends and Acquaintances
A simple friend, when visiting, acts like a guest. A real friend opens your refrigerator and helps himself.
A simple friend wonders about your romantic history. A real friend could blackmail you with it. (Anon)
If shared problems lessen the burden, how come we get so upset in a traffic jam? (PK Shaw)
The English language has, hitherto, suffered from a gaping omission. The dramatic fraternity have "Thespian"; the ballet community have at least "balletic"; "artistic" describes a member of the art group (as in "Artistic Director"), but there has not been an adjective that applies to a person who does folk dancing or belongs to a folk dance group - until now.
FDA is proud to introduce that adjectival word. The word has its roots in the mists of time - the time when folk dancing was arising in human activity. It brings together not only eastern and western European cultures, from where most of our folk dance repertoire harks, but also links to more Eastern beginnings.
What is the word's heritage? It is derived from the Greek "Choros" (to dance in a ring), which itself stems from an older tradition, surrounding the Festal Dance of Kore. The ancient Greek Choros originated with the Dorian people, mainly with their Xoros Kukikos, performed during the Athenian Dionysia. The 52 people who moved in this ring dance were inspired by an even older Eastern tradition.
The root word has radiated into numerous Greek terms associated with this Festive or Choral Dance, and has also spread widely through Europe, from Russia to Ireland. The Italian version of Choros, quot;Carolare" (to dance), appears is all the Romance languages in variant form; for example, Carolle (Old French), which moves with Caral (Old English); Corral (Spanish) meaning a closed ring and originally applied to a theatre, and Choraules (Latin), a flute player for a choral dance. The Saxon ceorl (the yokel, villager, rustic, or churl) was a country dancer who also sang his carols. Chaucer writes of Karolling. The Slavic variants include "Khoro-vod" (Russian), "Oro" (Macedonian), quot;Horo" (Bulgarian), and Kolo (Serbian). A popular dance, Hora, is known all over Romania (and Israel); it is a linked circle dance similar to the Slavic Kolo and the Horo.
What is that word? It is "chorolarian", with a choice of pronunciation. You can start it with the sound "h", making the "c" silent, you can gargle the "ch" as you might in Hebrew, German, Greek or Scottish, or you can substitute the "ch" with the "k" sound, as in the English "choral".
Take this word and use it with pride!
Your chorolarian friend,
THE LATEST WORD on the LATEST WORD
As a lexiphil who keeps the 2 volume Oxford Dictionary by her bed, I loved all the dancing stuff on the back of the Bowral Saturday night dance programme (similar to the article above). I was reminded of that Russian dance we were taught years and years ago which I used to call Xopobog, as that was what was on the record sleeve (remember them?) until I realised one day it was actually horovod = leader of the dance.
However I query the connection you've made with ceorl. This seems to come from Old Norse carl = man or male. The feminine is the Scottish carline, now only applied to an old woman. My Anglo-Saxon dictionary has ceorlas of an unmarried woman, ceorlian - to marry (of a woman) and various other ceorl words including ceorlstrang = strong as a man and carlfugol = a cock (bird). I'm not sure a peasanty sort of ceod would have had much cause for singing and dancing -maybe in the winter? Besides, people who dance and sing could never possibly become churlish - they'd be enjoying themselves too much!
From the House of Happy Horos.
I WAS THERE! - Bulgaria
Belco Stanev's Dance Seminar
Arriving back in Australia, after visiting Bulgaria, it was wonderful to be home and great to see family and friends, but I was also struck by the great pull of the non-technological culture I had left. The dance Seminar from 31st July - 14th August, was held by Belco Stanev in Varna on the Black Sea and in Koprivstica for the famous 'Sabor', a folk festival held only once every five years and bringing together musicians, singers, dancers and crafts-people from all parts of Bulgaria.
Arriving in Varna with a day or two to spare I found that Dance sessions were to be held in the morning 9.30-11am and late afternoon 5.30-7pm, with Belco assisted in teaching the large number of dancers by his son Julian and daughter-in-law, Elena, all great teachers. The long lunch break allowed us to fit swimming, instrumental classes in tapan, accordion, gaida and kaval or just snoozing. Thus, the energetic 90 minute dance segments were thankfully held at the coolest times in the day.
Bulgaria has been, in recent summers, unbearably hot but luckily for us 120 participants, this summer of 2000, the temperatures were very comfortable. While a dip in the Black Sea during the long lunch was refreshing, it wasn't tempting enough to keep us from the afternoon dance session!! To make sure no moment was left to chance we were also entertained in the evening with all kinds of folkloric delights:
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After this exciting week it was hardly possible to imagine anything could be more fun - but the Sabor (folk festival) at Koprivstica in the mountains, near Sofia, turned out to be utterly amazing for its diversity of musical styles, costumes, and the sheer enjoyment of all those present.
There were seven stages built to accommodate the performers - six on the pine-clad hills behind the village of Koprivstica and one in the village square. We took a packed lunch for 2 of the 3 days of the folk festival and were also supplied with dinner at night, by the local hotel doing our catering. We spent the evenings in the town square watching dance and instrumental performances from the six different regions of Bulgaria, or dancing horos together with hundreds of locals and visitors to amazing music by full moon. Some of us even had enough energy to party on into the wee hours.
The richness of this experience is difficult to express - I experienced amazing variety in music styles. The costumes, while similar in style, were infinite in their variety of detail. (many of these must have been heirlooms past or future, such was the richness of design and their ornate quality).
Now that I'm home the strong fascination of this unique event stays with me in the imagination: the pagan intensity of some of the music and dancing seems like an unearthly surreal fantasy. To take an example, imagine the effect of 40 men and boys, each with about 8 to 15 cow bells large or small slung around their waists on a belt, jogging in unison down a mountain track, giving in unison the eerie sound of their harmonizing bells.
Hearing these 'kukeri' or Medieval style mummers is strange enough, but to witness their costumes: as Pagan as the colourful New Guinean highland masked dancers or African Congo shamans; facemasks bizarrely decorated in patterns dating from pre-Christianity, animal skins from sheep or goats decorating their shoulders, embroidered skirts adding an unusual richness of colour.
Unfortunately the Corporate Games in Sydney, polyester tracksuits, national hysteria, all this hype, pales into insignificance by comparison and leaves me quite unmoved, transfixed as I am by a spell from another era and the shift in time one still experiences at this unique, fragile festival in Bulgaria.
FOLK ON THE WEBFDA mail received:
Name: Radboud Koop
Name: Luciano Macagno
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Name: John Hand|
Subject: Students from Colorado
Date: Mon, 14 Aug 2000
Comments: Colorado Free University has a membership base of 18,000 adults. We are in the process of contacting organisations such as yours to identify programs that might both interest and be appropriate for our members to attend. Increasingly, our students show a willingness to travel out-of-state for high-quality experiences, especially those lasting several days or longer.
What we now seek are partnerships with organisations such as yours which can provide quality educational programs. Are you interested in having us acquaint our members with your offerings? If so, please contact us at 303-399-5391. We can be reached via e-mail at email@example.com or for more, view our webpage at www.freeu.com
Name: Rishi Ramessur
From: Glenbrook International Folk Dance
Name: Bonnie Gagnon
Name: Aylwen Garden
Continued next page...
...Continued from previous page|
Name: Sherry Cochran
Name: Vicki Maheu
by Gary King
Some news of contradancing:
Also contact Aylwen (02) 62811098 regarding occasional contras at the Earthly Delights monthly dance - the next date I have is 11 Nov at St John's Church Hall, Constitution Ave, Reid, 8pm.
The rest of this month's lines are courtesy of David Millstone of New Hampshire, USA.
I'm a contra caller and dancer who's been involved in this kind of dance since the early 1970s.
There have been several contra dance revivals in the last fifty years. By the late 1930s and 40s, contra dance had died out of most locations but was still a living tradition in the south-western part of New Hampshire, the so-called Monadnock region. Small towns like Francestown and Nelson, NH, have dances that have continued in a more-or-less unbroken line for 150 or 200 years!
Ralph Page is the caller most often associated with one such revival. Ralph started calling in the late 1930s, and by the end of WWII he was making weekly trips to the Boston area from his home in Keene, NH, spreading the delights of contra dancing (and his form of traditional squares) to a more urban audience.
Duke Miller was another caller who kept the tradition going strong in the Monadnock region through a series of summer dances that lasted from the early 1950s for more than 25 years. Many of the folks who later went on to become callers or musicians in their own right got their start at dances run by these two men.
In the Boston area, such callers as Ted Sannella carried on the Ralph Page tradition while Rod Linnell was one of the key callers in Maine from the 50s and 60s.
The next big revival wave came in the late 1960s and early 70s. Here, Dudley Laufman and the Canterbury Country Dance Orchestra were the key figures. As you write, this coincided with an interest in folk music in general and a back-to-the-land movement. It's during this time that the music opened up, the squares became less common, and the energetic style of contemporary contra dancing developed. David Millstone
Gary: (03) 9481 3386
FDA Committee Meeting, October 21
The next meeting of the FDA Committee will be on Saturday, October 21, from 1.30pm - 4pm (please bring something to share for afternoon tea).
The meeting will be held at 12 Burfitt St, Leichhardt in Sydney.
FDA Macedonian Workshop, October 22:
From 1978 to 1997, Koce Stojcevski was a folk dancer, professional choreographer and dance teacher in Macedonia and toured extensively throughout Europe. Since his arrival in Australia, Koce has presented workshops in Victoria, NSW and at the National Folk Festival in Canberra. On Sunday, 22nd October, he will again share more traditional Macedonian dances in the authentic style for FDA. His love of dance will inspire beginners and advanced dancers alike.
The venue for this workshop is used only for dance, and has a beautiful sprung wooden floor (easy on the feet and leg muscles). To protect the surface of the floor, you are asked to wear shoes with soft or leather soles that will not mark the floor.
When: 10am - 4pm, October 22nd, 2000
The BD BuildingCost: $20 full day, $12 half day,
$18, & $10 conc FDA members
BYO lunch; morning & afternoon teas provided.
To get to Building BD, Werrington South Campus:
By Public Transport:
Catch No. 790 bus from either St Marys or Penrith railway stations. Either way, get off the bus in O'Connell St (near the State Archives), walk up O'Connell St, past the TAFE, until you come to a big, blue sign "Centre for Contemporary Performance", turn left, and the first building on the right is Building BD or
Get off the train at Werrington railway station and walk up the hill and across the overhead bridge (over the Great Western Highway) to Building BD or
Get off the train at Kingswood station and walk across the park to the UWS Kingswood Campus and catch the University shuttle bus (or walk) across to Werrington South Campus.
By Car (from Sydney):
Exit the M4 at Mamre Rd exit, turn right into Mamre Rd;
FDA Croatian Workshop, November 26:
Natalie Zabek, who will present this workshop, gained her Teachers' Diploma in Dance in 1996 and has been teaching Croatian dancing for the last 5 years. She has also attended seminars in Croatia on the teaching of Croatian dance. The workshop will also include a performance by members of her group, "Braca Radic", and comments on the history and culture of Croatia, plus a short segment on choreography. Tapes and instruction booklets will be available on the day.
When: 10am - 4pm, 26th November, 2000
Centre for Contemporary PerformanceCost: $20 full day, $12 half day,
$18, & $10 conc FDA members
Prague Festival Premie Tanec - April 2000
Your group is invited to participate in the "Prague Festival PREMIE TANEC - Dance & Theatre Prize 2001". This festival will be held from 25th April to 1st May 2001. Although is it a dance competition, the main focus will be the DANCE - Classical, Modern, Contemporary, Jazz, Hip Hop, Funky, Folk, etc.
If you require any kind of information about our organisation or the festival, please contact us at Headquarters Address. via Ugo La Malfa n.2 / 47020 Montiano (FO) Italy, phone 00390547 51299, Mobile. 0039335 6141846. The Prague Office contact is: Za Hanspaulkou 856/5 16000 Prague 6. Czech Republic, Czech phone and fax : 0042 02 3113331 or check our website www.dancefestival.it, e-mail: firstname.lastname@example.org, email@example.com.
Awards cover many areas of dance, including Awards for the best "Folk, Historic and Dance/Theatrical Performance"
Dance Grand Prix "Italia 2001" June,2001
Tersicore are pleased to invite your dance group to participate at the "Dance Grand Prix Italia 2001" which will be held from June 20th through to June 25th 2001 in Italy.
Theatre space will be given to participants to perform as they compete for prizes in the various categories of the "Dance Grand Prix Italia 2001".
Cost includes breakfast and dinner, all transportation (bus, Italian driver and speaking guide), total insurance cover, a day in Venice and Florence and a day in a private beach with all comforts!
The festival participants and international guests will perform for notable experts from the world of culture and media representatives.
The closing ceremony and awarding of the "Dance Grand Prix Italia 2001" will be held on June 25th at the Theatre of Cesena.
Morning session:10am - 12.30pm
(easy - medium dances)
Afternoon session 1.30 pm - 4 pm
(medium - advanced dances)
The BD Building
Werrington South Campus
(adjacent to the Penrith Campus and next to an old drive-in theatre)
O'Connell St, Kingswood
$12, Half Day; $20 Full day
(concession for FDA members and students).
BYO lunch! Wear soft-soled shoes!
Croatia (Hrvatska), a republic of former Yugoslavia, had its sovereignty recognized by the international community early in 1992. Located in south-east Europe, it is bounded to the north by Slovenia and Hungary , to the west by the Adriatic Sea, to the east and south by Serbia, Bosnia, Montenegro (Crna Gora) and Herzegovina. Western Croatia lies in the Dinaric Alps; Dalmatia stretches along the coast between these Alps and the Adriatic Sea. The eastern region, drained by the rivers Sava and Drava which both flow into the Danube, is low-lying and agricultural. The chief farming area is the Pannonian Plain.
In most regions of Croatia, the dance does not involve strenuous competition, unlike other Balkan regions, and there are usually no spectacular leaps or squats from leaders vying for attention and applause. Instead, the dance develops its excitement from the energy and emotion generated by large numbers of people moving in rhythmic unison. The word kolo means "wheel" in Croatian, and in this manner the dance progresses, in perfect formation and control, but with spins and whirls in one large circle.
Unlike the rest of the Balkans, Croatian dances usually move to the left, and are often in closed circles. The popular drmeš dances have small, bouncy steps and their characteristic "shivering" effect adds to the beauty of the dance. This effect is achieved by the abrupt bending and straightening of the knees and heavy steps on the whole flat foot. Basket hold is common, dancers holding the hands of the person next-but-one to them (in front or back basket-hold) keeping the circle tight and close, to move as a single unit.
Most kolo and drmeš patterns are rather simple, consisting of only two or three parts with few variations on the basic steps. This trait makes Croatian dances easy to learn and enjoyable to perform.
Dances can be accompanied by singing or with the lirica or lirijica - a pear-shaped type of fiddle with three strings, the middle string giving the lowest tone. Often there is a tamburitza band in a village which consists of plucked instruments, and may include bisernice, brac (a lower octave), a bugarija and a berda (a type of double bass).
Croatia has a great diversity of costumes. In Krk, an island off the coast near the town of Rijeka, short black skirts with red, yellow and blue coloured borders are worn with low-cut sleeveless bodices in red or black, coloured aprons and white, lull-sleeved blouses. Red or white stockings are worn with coloured shoes. A white, folded tovaglia (a type of scarf with Italian influence) is worn with two ends falling down the back or golden ribbons are draped on the head. Men wear long, black, baggy trousers reaching to the ankles, black sleeveless waistcoats or black jackets. Shirts are white with full sleeves, socks are white and black, and silver-buckled shoes are worn. On the head is a fisherman's black woollen type hat.
Dancers from the island of Krk
On the Dalmatian coast the Italian influence is seen in the long pleated skirts, either in white or dark colours, which are worn with black or coloured aprons. Jackets have long sleeves and the white folded head-dresses are based on the tovaglia.
In the Konavlji valley, near Dubrovnik, both men and women wear pill box caps of red and black. Colours used nowadays are generally black, white and red. Women wear large yellow tassels on the breast and either plain coloured aprons or, for formal wear, white or cream ones with a broad border at the bottom. While men and girls wear pillbox caps, the formal wear for older women is a winged starched cap.
Women from the Konavlji Valley.
One of the most interesting costumes found in Croatia has an apron with an extended bib with both sections covered with coins. This is worn over a long-sleeved smock and a red, sleeveless coat. Decorated white stockings are worn with leather sandals, and red pill box hats, plain or covered with coins, have white veils. The man's costume which accompanies this style has wide, dark blue, baggy trousers fastened into red decorated gaiters. A broad sash is sometimes worn with a studded leather belt and pistol. Plain, striped or patterned waistcoats, with or without sleeves and fastening on the side, are worn over white, long-sleeved shirts. A short bolero type of jacket, decorated with gold or coloured braid, is worn over the waistcoat. A round hat, adapted from the Turkish fez and which sometimes has a black fringed tassel, is worn. Soft leather slippers are usual.
Photo above - Group from Vrlika
Those costumes on the Hungarian borders have full, white, short skirts decorated with open-work embroidery, colourful blouses with white frilled necks, floral patterned shawls and aprons, striped stockings and decorated shoes. The men wear the Hungarian style, white linen, full trousers, with a white shirt worn outside under a decorated sleeveless waistcoat. Black boots are worn.
In Lomnica to the south of Zagreb and typical of the Zagreb area, the costume is light in texture and unified in its colour scheme and decoration. The blouse, skirt and apron are all finely pleated and lace edged. The extensive embroidery, mainly red and arranged in bands, does not stifle the background. The men's attire is also homespun, except for the bought cloth for the professionally tailored red waistcoat. The long trousers of modern shape are embroidered in a broad band down the outer sides. A special accessory is the tie, apparently the original cravat (Croat: hrvat).
Couple from Lomnica, south of Zagreb, mid 20th century.
Folklore in Croatia is well preserved and many ancient rituals are practised today. St. John's Day, on June 24th, is celebrated with the lighting of bonfires, and young people compete by jumping over the fires while their friends
sing and dance. In earlier times, in a market town called Urlika, the girls of marriageable age would come down from the mountain villages on Sundays, their headdresses and foreheads decorated with coins and with banknotes attached to their aprons, thereby displaying their dowries. Outside the church after Mass, the villagers would join in dancing the kolo, as a spontaneous activity, not programmed entertainment.
James Roncevic, Croatians: Dances They Dance, Duquesne University, Tamburitzans Institute of Folk Art, USA, 1975.
Wingrave & Harrold, Aspects of Folk Dance in Europe, Dance Books Ltd, London, 1984.
James Snowden, The Folk Dress of Europe, Mayflower Books, Inc, USA, 1979.
World Facts, Geddes & Grosset Ltd, , published in Australia by Redwood Editions, VIC, 1998.
Beverley Barnes, Folk Dances of Europe, published by Beverley Barnes, SA, 1983.
|3 1/2 weeks, Multicultural Arts festival, Sydney. For full Carnivale program, Contact 1800 064 534, website: www.carnivale.com.au|
|"Come and Try" Dance, 2 - 4 pm, Folk Dance Canberra Hall, 114 Maitland St, Hackett, ACT. Free. Contact Christine or Jim 02 6241 3563|
|One day, Ashfield Carnival, Ashfield Park, NSW. Biggest multicultural event in Sydney's inner west. Contact 02 9716 1945.|
|FREE Waltz Workshop with John Garden - sponsored by Healthpact. Uniting Church Hall, Denman Street, Yarralumla, ACT, 2pm-4.30pm. www.earthlydelights.com.au/engage.html|
|2 days, Toodyay Celtic Festival, Toodyay Sportsground, WA, with highland games on the Sunday. Contact 08 9574 4200|
|Social Dance, St Johns Church Hall, Reid, ACT, 8pm Earthly Delights 02 6281 1098. Sponsored by Healthpact. Everyone welcome, no partner or experience necessary. www.earthlydelights.com.au/engage.html|
|One week, Gold Rush Festival, Gympie, QLD. Includes a week of workshops in multicultural music, dance, culture; co-ordinated by Linsey Pollak. Contact Kay, 07 5482 5444 or visit website http://www.goldrush.org.au|
|2 day, Lygon St Festa, Carlton, Italian flavoured, concerts, dancing, cultural exhibits, contact: 03 9348 1299.|
|FDA Macedonian Dance Workshop, with Koce Stojcevski, UWS Nepean, Kingswood, Sydney.|
|MFMS Kids Dance - FREE at 2.30pm and at 8pm MFMS Bush Dance, Yarralumla Woolshed ACT. Music by Mulligans Flat band, contact 02 6242 0264 or 6282 2973|
|3 days, Evolution Festival, Tamborine Mountain, from biotechnology to comedians, contact www.evolutionfestival.com/document. The site is on an 80 acre clearing in the rainforest behind the Gold Coast.|
|"Come and Try" Dance, 2 - 4 pm, Folk Dance Canberra Hall, 114 Maitland St, Hackett, ACT. Free. Contact Christine or Jim 02 6241 3563|
|Earthly Delights Monthly Dance, at St John's Church Hall, Constitution Ave, Reid, 8pm, $12, $10 conc, free for children < 12, contact (02) 62811098 or firstname.lastname@example.org|
|FDA Croatian Dance Workshop, with Natalie Zabek, UWS Nepean, Kingswood, Sydney.|
Gulgong Folk FestivalFriday 29 Dec 2000 - Mon 1 Jan 2001
BIGGER AND BETTER PROGRAM!
MORE VENUES AND EVENTS!
* Blues Sessions
* Family Bush Dance
* Irish sessions
Camping and bunkhouse accommodation available
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