Description
“Der Tanzbär – Band 1” presents 27 group and couple dances from Central and Western Europe that have enriched the dance scene for years. This book deliberately avoids the presentation of regional differences in order to make it easier for newcomers to dance. Thanks to the selection of easy-to-understand dances and the division into levels of difficulty, everyone can quickly find the right dance – ideal for use in schools, youth and senior groups.
A breeze of dance history
For years we, the SPIELLEUT group, have noticed a growing enthusiasm for folk dances far beyond the organized dance circles. Our repertoire, which ranges from Schottisch to polkas and other dance forms, has been constantly expanded through encounters with musicians at home and abroad. Our aim is to offer dances that are fun and easy to learn.
Clear structure for playful learning
The dances are divided into group and couple dances, starting with circle, alley and row dances, which are particularly enjoyable due to the frequent change of partners. Couple dances, which are usually a little more challenging, follow. The dance instructions are supported by simple language and explanatory drawings, making learning the steps child’s play.
Music that moves
The dances in “Der Tanzbär – Band 1” are accompanied by a special selection of music, recorded by SPIELLEUT together with the groups BORDUN and KAIKAI. These CDs contain music that is perfectly matched to the dance descriptions and offer additional variations in the melodies that can be found in the sheet music appendix.
Understanding the world of dance
A detailed dance key explains terms and movement sequences in “The Dancing Bear – Volume 1”, while the music appendix sheds light on the musical side. The combination of practical instructions and theoretical background makes it easy to get started with any dance.
Why “The Dancing Bear – Volume 1” should be your next step
Whether you already have experience in folk dancing or are just starting out, this book offers you an easy and joyful approach to a variety of dances. The accompanying CDs allow you not only to listen to the music, but also to feel it and practise the steps in harmony with the melodies.
Your dance, your story
With “Der Tanzbär – Band 1” you not only receive a textbook, but also a key to a community that is connected through joy, music and dance. It is a way to experience traditions, make new friends and create unforgettable moments.
Take the first step
Seize the opportunity to ignite or deepen your passion for dance. “The Dancing Bear – Volume 1” is waiting to be discovered by you. Immerse yourself in the world of folk dances – with ease, joy and rhythm in your blood. Order now and let’s shake the dance floor together!
Foreword
For several years now, we have noticed at performances with the SPIELLEUT group that the desire to dance folk dances has also increased considerably outside the organized folk dance circles. So we learned to dance the schottisch, polkas etc. that we had been playing in concert up to then, and when we met other musicians at meetings at home and abroad we expanded our repertoire, adopting the dances that we particularly liked.
This book with 27 folk dances is the result of practical work and does not claim to show regional differences in dance forms and steps. Rather, it is intended to give even the inexperienced a way to learn the dances after a short time. That is why we have mainly chosen dances that do not require very long explanations. The classification of the dances into levels of difficulty is only an indication and is intended to make the work easier. For the musicians, we have indicated the meter of the respective dance in the notes.
The circle, lane and row dances form the beginning of the book as ‘group dances’. They are usually quick to learn and are particularly fun due to the frequent change of dance partner. This is followed by the generally more difficult couple dances.
It is very difficult to explain the set-ups, step sequences and movements of the individual dances without an excess of technical terms. We have tried to keep the descriptions as simple as possible and have added explanatory drawings to the text where we felt it was necessary. However, some dances require careful reading of the dance key at the end of the book, the instructions and repeated practicing. It may be advisable to practise the dance without music first, on dry land, so to speak.
This book is accompanied by two CDs (The Dancing Bear Part 1: Group Dances and Part 2: Couple Dances). The SPIELLEUT recorded the music together with their friends BORDUN and KAIKAI. In addition to their concert activities, these three groups perform at workshops and festivals and have a great deal of experience in interpreting music in a dance-friendly and stylistically appropriate way. For some dances, the groups use not only the melody noted in the dance instructions but also an additional melody for the sake of variety. These melodies can be found in a music appendix at the end of the book.
When creating the dance key, we relied in part on the commendable preparatory work of Walter Kögler.
The pictures were taken by René Girroy. He unconventionally translates the theme photographically and presents his interpretation of the dancing bear. However, it is the editors’ sincere wish that the dance beginners do not suffer the same fate as the bear at the end.
We would like to thank all those who have contributed to the creation of this book, especially Dieter Rurländer and the groups BORDUN and KAlKAI.
December 1992
Gert Dannemann, Elke Rogge
Author:inside
Gert Dannemann
Gert Dannemann, born on March 26, 1942 and sadly passed away on April 2, 2023, was an outstanding personality in the world of medieval and traditional music in Germany. As a member of the group “SPIELLEUT” and co-founder of the “Verlag der Spielleute”, he has made a significant contribution to the dissemination and cultivation of these musical genres.
The group SPIELLEUT, in which Gert Dannemann played a central role, had been in existence since 1977 and was characterized by its interpretation of traditional minstrel music. The band played on replicas of historical instruments and not only pursued an authentic performance practice, but also oriented itself to its own taste and ability. The aim of their performances was to bring the roots of German folk music closer to the audience and to enable a comparison with commercial folk music.
One of the most significant achievements of Gert Dannemann and the SPIELLEUT group was the founding of the “Verlag der Spielleute”. This publishing house published music books and recordings, giving other groups the opportunity to present their music. They attached particular importance to the quality of the publications and selected productions according to musical quality and concept.
The group SPIELLEUT was a pioneer in the dissemination of medieval-inspired music in Germany, and they started back in the 70s during the folk revival. They contributed significantly to the development of the medieval scene by presenting old songs in a modern way. Its members had diverse influences and developed their skills and repertoire over the years. They were open to different styles in the medieval scene and appreciated the variety of musical experiments.
The group SPIELLEUT emphasized the importance of music events where real medieval music was presented in an appropriate setting. They found that it was a challenge to perform authentic medieval music, as today’s listening habits are different, and some groups played music that was more akin to Renaissance music and was seen as a ‘show’.
Gert Dannemann and the group SPIELLEUT left a lasting mark on the medieval scene and helped to make traditional music accessible to a wider audience. Although the group decided to stop performing in 2006 after 29 years, their legacy and music remains alive in the hearts of those who attended their concerts and were inspired by their passion for traditional and medieval music. Gert Dannemann and the SPIELLEUT will forever remain unforgotten in the history of the German music scene.
Elke Rogge
Elke Rogge is a versatile hurdy-gurdy player from Germany who stands out on the music scene for her outstanding skills and commitment. With a wide range of musical experience and a passionate devotion to the hurdy-gurdy, she has worked in various musical genres and left her mark.
Her musical journey began early, when she discovered an interest in medieval music and the hurdy-gurdy at the age of 17. Even then, she built her first hurdy-gurdy herself and began her musical career. She was a member of the band “Die Spielleut” and gained fame through numerous radio and television appearances. In the 80s she was an important part of the Stuttgart folk scene.
Another highlight of Elke Rogge’s musical career was her time with the Tübingen band “Hoelderlin Express”, with whom she toured throughout Europe and won the German Folk Promotion Prize in Rudolstadt. During this time, she was a full-time musician for five years and gained valuable experience.
Elke Rogge has also been involved in various projects and CD productions, including the rock music project “Sahara” with guitarist Werner Dannemann and her own band “Mogul.” She experimented with different styles of music, including rock, blues and classical, and contributed to the diversity of the German music scene.
Elke Rogge has been a permanent band member of the “Dissidenten”, a well-known Berlin world music group, since 2008. She traveled around the world with the “Dissidents”, from Berlin to Madrid to Siberia, and recorded the album “Tangier Sessions”, among others. Her music also found enthusiastic fans in Africa, in countries such as Morocco and Tajikistan.
Elke Rogge has not only made a name for herself as a musician, but also as a teacher and facilitator of hurdy-gurdy playing techniques. She has been teaching for over 20 years and passes on her knowledge and passion for the hurdy-gurdy to other music enthusiasts. Her multifaceted talent and her enthusiasm for music have made Elke Rogge an important personality in the world of hurdy-gurdy and world music.
