The New Parliament House Jig
Основная информация
| Автор: | John Colville |
|---|---|
| RSCDS: | Не RSCDS |
| Сочинен в России: | Нет |
| Публикация: | - |
| Рекомендуемая музыка: | - |
Параметры
| Тип танца: | Jig |
|---|---|
| Тип сета: | Square set |
| Размер: | 64 тактов |
| Формат сета: | 3 trios |
| Танцующие пары: | 3 |
Источник:
https://my.strathspey.org/dd/dance/7866/
MiniCribs
Start
6L··3M··3L
5L··2M··2L
4L··1M··1L
····Top
2 chords: 1st chord Men honour Ladies on right, 2nd chord Men honour Ladies on left
1-8
Men join hands with Ladies on right in prom hold & 3 couples promenade round 1L, 2L & 3L
9-16
Men join hands with Ladies on left in prom hold & 3 couples promenade round 4L, 5L & 6L back to place
17-24
1M+2L+3M+5L circle 4H round & back
25-32
1L+3L+6L+4L circle 4H round & back
33-40
1M+2M+4L+5L dance LH across; 1M+2M+1L+2L dance RH across
41-48
2M+3M+2L+3L dance LH across; 2M+3M+5L+6L dance RH across
49-56
In 3 lines of 3 across - all dance RSh reels of 3 across (Men RSh to Lady on his right)
57-64
1L followed by 1M+4L cast round 2L, dance across set, cast round 6L & across set to form new bottom line (standing lines step up)
Note: Bars 17-32 centre Man (2M) may set (Highland steps) during circles
E-Cribs
Set: 3 trios WMW form a square, all face the top. The M are 1M, 2M, 3M. Each M has a LW on his L and a RW on his R
2 chords: M honour W on R ; honour W on L
1-8
All M NHJ with RW promenade cclw round line of LW, to places
9-16
All M NHJ with LW promenade clw round line of RW, to places
17-24
1M+2LW+2RW+3M Circle4 L and back
25-32
1LW+1RW+3LW+3RW Circle4 L and back
33-40
1M+1RW+2M+2RW LHA ; 1M+1LW+2M+2LW RHA, to places
41-48
2M+2LW+3M+3LW LHA ; 2M+2RW+3M+3RW RHA, to places
49-56
All lines across: Reels3 across, each M starts Rsh to his RW
57-64
1LW followed by 1M+1RW cast off below 2LW, dance across the set, cast off round 3RW, and across.
Cribwriter’s note: Standing lines step up during [57-64], otherwise the set will move down one place each time.
Заметки
Three trios WMW arranged in a 3 x 3 square set.
Here is the introduction from a magazine called “Stringybark and Greenhide, Folk magazine of Australia” Vol. 2 No. 6 December 1980:
This dance represents the system of government in Australia. The man in the middle representing the new Parliament House. The six women representing the Australian States. The other two men representing the Territories. The various movements of the dance represent the interaction of the central government, the State Governments, and the Territory Authorities, finishing with a change of Government.
-------------------------Historical note by the author ------------------------------
New Parliament House Jig
This dance was not written with any particular genre in mind. Actually, I had been observing that dancing (at the time) was tending towards the frantic rather than sedate so I decided to attempt to write a dance that just couldn’t be successfully danced at a fast pace, and the original tune was played somewhat slower than the usual tempo for jigs.
Here is the background -
I lived in Canberra from 1976 - 1981 and had a gig at a wine bar/restaurant where the architect of the proposed New [Australian] Parliament House was a regular customer. He attended a couple of bush dances at the Yarralumla Woolshed when I was playing and we had some discussion about traditional dancing and how dance and movement can be representative.
From this the idea of a dance was born and very quickly composed, together with an original tune (3x64 bar jig aptly named The New Parliament House Jig) for the pending Dance Composing Competition being held by the Sydney Bush Music Club at their 1980 festival - I’m pleased to say that it won and was published in Stringybark and Greenhide in Dec 1980.
I understand that the dance has become popular near and far - which is very gratifying. Also I believe that it has been changed somewhat and some rather exotic calls have been used by inventive callers - and of course that’s the wonderful folk process at work.
The last I heard from Phil Wilson was that it was to be published (with the original tune) by Cecil Sharpe House in a collection of most popular dances. Makes me quite chuffed.
John Colville, May, 2003
Here is the introduction from a magazine called “Stringybark and Greenhide, Folk magazine of Australia” Vol. 2 No. 6 December 1980:
This dance represents the system of government in Australia. The man in the middle representing the new Parliament House. The six women representing the Australian States. The other two men representing the Territories. The various movements of the dance represent the interaction of the central government, the State Governments, and the Territory Authorities, finishing with a change of Government.
-------------------------Historical note by the author ------------------------------
New Parliament House Jig
This dance was not written with any particular genre in mind. Actually, I had been observing that dancing (at the time) was tending towards the frantic rather than sedate so I decided to attempt to write a dance that just couldn’t be successfully danced at a fast pace, and the original tune was played somewhat slower than the usual tempo for jigs.
Here is the background -
I lived in Canberra from 1976 - 1981 and had a gig at a wine bar/restaurant where the architect of the proposed New [Australian] Parliament House was a regular customer. He attended a couple of bush dances at the Yarralumla Woolshed when I was playing and we had some discussion about traditional dancing and how dance and movement can be representative.
From this the idea of a dance was born and very quickly composed, together with an original tune (3x64 bar jig aptly named The New Parliament House Jig) for the pending Dance Composing Competition being held by the Sydney Bush Music Club at their 1980 festival - I’m pleased to say that it won and was published in Stringybark and Greenhide in Dec 1980.
I understand that the dance has become popular near and far - which is very gratifying. Also I believe that it has been changed somewhat and some rather exotic calls have been used by inventive callers - and of course that’s the wonderful folk process at work.
The last I heard from Phil Wilson was that it was to be published (with the original tune) by Cecil Sharpe House in a collection of most popular dances. Makes me quite chuffed.
John Colville, May, 2003
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