The Ghillie Gazette

The March/April 2015 newsletter of the Portland Oregon Branch of the R.S.C.D.S.

Spring Fling Trial Dancing

Spring Fling Trial Dancing in Vancouver, Wash.

From The President

by Martin Mac​Kenzie

Note that our Annual Workshop and Ball is coming up this Saturday, March 14th, 2015! Our teachers will be Roberta Gotfried from Los Angeles, CA, Bob Mc​Murtry from San Jose, CA and our musicians will be Deby Benton-Grosjean from Aptos, CA and our very own Cynthia Soohoo from Portland, OR.

As we’re coming down the wire to our Workshop and Ball this Saturday, March 14th, I would like us to entertain certain thoughts as to how we might approach this.

Some of you might have a bit of apprehension, as if facing a difficult class or an important test in school. You might think that the consequences of failure may be high. Yet, after all, this is just dancing, not space travel. I would ask you to consider that everyone is there to learn, even the teachers learn from that process. They might learn, for example, what methods and techniques are more or less successful with different kinds of students with different abilities and under different circumstances. Teachers may come with new ideas they’ve learned from TAC (Teacher’s Association, Canada) or other courses they’ve taken or workshops they’ve attended to help improve their craft. They are highly invested in ensuring you have the best experience and in giving you skills so that you can have the best time on the dance floor. Like every other class in life, you might learn only a few things or many. Take it in stride and enjoy the ebb and flow of it. Don’t be afraid to ask questions if you don’t understand something or, ask for a demonstration or walk through if that doesn’t help. The teachers won’t bite! It will do you a lot of good and you’ll likely gain confidence by learning a new technique or finding a solution to a step or figure you’ve struggled with.

Now the aforementioned is more geared to the workshop itself. After the Workshop, we’ll gear up in all our finery and head back to the Ball itself. Using the metaphor of school, this might also seem more like an exam or test. However, it is patently not! It is a chance to enjoy what we’ve learned but especially to interact with others at the dance. Most all of us will be locals but there are many coming from out of town - long time friends or recent acquaintances. Make it a point to dance with as many of them as possible, even if that means not dancing with a dancer locally that you often enjoy dancing with. This will help them feel welcome and foster connections between our dance groups and branches. From my experience attending classes throughout the country, it can be an incredibly enjoyable experience to meet and dance with different folks and, this gives you an easy entre to attend their dances and workshops in return. And please, turn your ears to the world class musicians who provide the flight and sustenance to your dancing. Thank them for their skills and efforts when you have opportunity. Though they seem to not be the center of what we do, they make our dancing wonderful and possible.

Happy Dancing Everyone! See you on the dance floor!

Teacher’s Corner

by Don Gertz

We’ve been working on reels of three in class lately and I’d like to share a few hints that you may find helpful.

Reels of three have many variations (on the side, across the dance, 8 bar, 6 bar, mirror, right shoulder, left shoulder, etc. etc.) and are an integral part of Scottish Country Dancing.

The basic reel of three is done on your own side of the dance with 1st, 2nd and 3rd couples. Unless otherwise specified, it begins with the 1st and 2nd person passing right shoulders (moving to their Left) and the 3rd person dancing to their Right to weave a figure 8 in 8 bars.

Reels of 3 on sides

General Hints:

  1. Anticipate the start by turning towards your dancing direction just before the end of the previous phrase (i.e. bar 8).
  2. The order of passing through 2nd place is: 1, 3, 2, 1, 3, 2.
  3. At the end of bar 4 you should be either at the opposite end or back in 2nd place facing the other end.
  4. Making definite curves will help make sure that you are curving the correct direction at either end.
  5. Take the short route into place at the end of bar 8. No extra loops unless specified in the dance.

Reels of three across the dance are done the same way as the basic reel of three, except that 1st couple begins in a line of three across the dance (often 1st W between 2nd couple and 1st M between 3rd couple). First couple often has to finish with a longer step to end in a different position than they started (i.e 2nd place opposite side in The Sailor).

Many reels of three are done with your corners after doing something else with them. There are some general rules that can help you know which way to go. These are often 6 bar reels with 1st couple crossing to 2nd place on their own side on bars 7-8.

Reels of 3 - LS with corners

Reels of 3 after Turn Corners & Partner or Set to & turn corners:

  1. 1st couple passes Left shoulders with 1st corners by going out the end.
  2. Corners dance Away from the center of the set at both ends (bars 1 and 4).
  3. At the halfway point (end of bar 3 in a 6 bar reel) corners should be facing Out.
  4. Making definite curves will help make sure that you are curving the correct direction at either end.
  5. Take the short route into place at the end of bar 6. No extra loops unless specified in the dance.

Reels of 3 after set to corners

Reels of three after Set to Corners or Set to Corners and Partner:

  1. 1st couple passes Right shoulders with 2nd corners by going out the end.
  2. Corners dance Away from the center of the set at both ends (bars 1 and 4).
  3. At the halfway point (end of bar 3 in a 6 bar reel) corners should be facing Out.
  4. Making definite curves will help make sure that you are curving the correct direction at either end.
  5. Take the short route into place at the end of bar 6. No extra loops unless specified in the dance.

You will notice that the corners always go out at both ends (bars 1 & 4) and the 1st couple goes out the end when dancing reels of three with their corners. The thing that WILL change is which corner goes through the center first and that is whichever corner the 1st couple passes first.

I hope that these hints will help make understanding reels of three easier.

The diagrams were taken from The Manual of Scottish Country Dancing.

WANTED: New Branch Treasurer

by Pat Taylor

$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$

At the Annual Meeting in May, 2015 my already extended tenure as Portland Branch treasurer will end. I know May seems a long way off, but I thought it would be a good idea to give plenty of notice so that if anyone is interested, I could begin to work with him/her after the 1st of the year.

This is not a difficult nor time-consuming position - in fact, I have enjoyed it, and still am. I like working with figures because there’s only one right answer, no debating!

These are the perks:

  • You get to work with really nice people.
  • You get the summers off!

These are the duties:

  • Provide sign-up sheets and collect the fees at Monday classes and Saturday parties. (It is not necessary to always be present if arrangements are made in advance for someone else to take the money)
  • Count and enter the amount collected in the appropriate fund in the ledger.
  • Deposit the funds - I usually do this at the end of each month.
  • Deposit checks for Demo Team performances.
  • Write rent checks to Waluga Lodge, St. Barnabas and the Saturday party venue.
  • Keep a record of teachers and write checks for them periodically.
  • Keep receipts for miscellaneous expenses and write checks for reimbursement.
  • Balance the checkbook against the bank statement monthly.
  • Create a monthly report of income/expenses - I have a spreadsheet for that.
  • Make various payments during the year, e.g. dues to Edinburgh, insurance, TAC memberships, publicity, Highland Games Association.
  • The busiest time of the year is, of course, around the Workshop & Ball when many checks have to be deposited and many expenses paid.

  • Attend Board meetings 3 or 4 times a year.

Talk to me if you might be interested, or email me at

Zero to Gaelic in Portland

by Martin Mac​Kenzie

As many of you know, I’ve a basic knowledge of the Ghàidhlig language which I’ve learned over the years in concert with books, recordings, and the able assistance of Donald Mac​Donald, a native son of the Island of Harris. I’ve learned just today that Donald Mac​Donald is sadly now no longer with us or, chaochail e, he passed away from the consequences of asbestosis which he acquired working on refurbishing ships in his younger days in Glasgow shipyards. His pages are being kept online by, I assume, a family member at http://www3.sympatico.ca/donaldmacdonald/index.htm. I have, when time is available, been trying to keep the language in my head and air mo theanchaidh literally “on my tongue” through listening to Caithream Ciùil daily, a program from Radio Nan Gaidheal, part of BBC Alba, the Scottish Gaelic service, which can be heard at http://www.bbc.co.uk/radionangaidheal. I also keep a weekly schedule over Skype with a former fellow student of Donald’s, Robert (Mac) MacKenzie out of Calgary, Alberta Canada.

Saturday, February 21st of this year, I participated in an event hosted by Slighe Nan Gaidheal, meaning the way of the Gael or Gaelic speaker, called “Zero to Gaelic in Portland.” This was hosted by a familiar venue to many of us, the Renaissance School of Arts and Sciences. http://www.renaissanceschoolportland.org/. I signed up for the intermediate level, though there was a range available from no Ghàidhlig at all, to advanced. The atmosphere was quite relaxed thanks to the beautiful weather, the excellent facilities, and the good and gentle hearts of those participating. The latter, of its importance I can’t stress enough, is key to facilitating the comfort level needed to ease the learning process. Before classes began, there were greetings and a bit of socializing, a time of announcements, an outline of classes, and assurances that the attendees would not be locked into a particular level if any found either that they were in a class too advanced or below for their abilities.

A program called “Language Hunters” was used to help facilitate learning. I’m not aware if this method has been used with Scottish Gàidhlig though it is generally used to help recover endangered languages from around the world. The facilitator of this was Brían Ó hAirt, a teacher of Irish Gaelic in the Portland area. It uses games and gestures to help cement the language in one’s mind in ways that studying a language in a purely dry academic setting doesn’t accomplish as effectively. http://languagehunters.org/ Seumus Gagne, the director of Slighe Nan Gaidheal taught in the beginning level and a local man named Geoff Frasier, whom some of us experienced leading a Burns Supper for the Masonic Lodge in southeast Portland was the primary instructor for the intermediate to advanced levels. Though he is only newly familiar with the Language Hunters method of teaching, he was quite able in this rôle.

Though I found my abilities a bit above the level of my selected class, one thing I found quite helpful and interesting was sung studying Gàidhlig. This has been an obstacle for me as academic or spoken Gàidhlig is more bound to the rules and grammar of the language while songs, òrain, don’t follow those rules as rigidly and often use idioms and words that are not used in modern Gàidhlig. We spent some time singing a common puirt a' beul, or mouth music tune named Cì 'n Fhidheall “Give Me The Fiddle.” The lyrics of this song were distributed amongst the class members and in addition to reacquainting ourselves with the tune, worked through the lyrics in such a way as to understand what is being said literally, what parts of that were idomatic, used to maintain rhythmic flow, used older words, or had grammatical connotations like genetive case constructions and the like. Here is the tune, both in lyrical form and with audio:

Cì 'n Fhidheall

[Sèisd (chorus):] 'S ò cì 'n fhidheall fair an fhidheall Cì 'n fhidheall fair an fhidheall Cì 'n fhidheall fair an fhidheall Cuir an fhidheall air a' bhòrd.

[2 turas (times) :] 'S toigh leam Bean Thobhtaiche Dubha [x 3] 'S toigh leam piuthar Ràghnaill Oig.

Nighean Ràghnail Ruaidh thu [x 3] 'S piuthar ghuanach Ràghnaill Oig.

Chunna mi 'san Dùn thu [x 3] Dèanamh cunntas ri Mac Leòid.

The tune is available here as part of a tune set in the version most familiar to myself: https://www.youtube.com/watch?v=6WiFHLm5rpY

Now you have a little flavor of what it means when I say during a class that a particular tune in a tune set in class is of Gàidhlig origins. Suas leis a' Ghàidhlig! May Gàighlig be stronger!

RSCDS Spring Fling Trialling

by Tom Halpenny

RSCDS invited Young Dance devisors to submit a dance that will be judged at the upcoming 2015 Spring Fling event. Young devisors submitted 46 dances and they are being trialled by 33 Young Dance groups from around the world, including: Australia, New Zealand, Jamaica, Russia, Canada, America, Continental Europe and the UK. The final short list of dances will be trialled in London at Spring Fling 2015.

Branch teacher committee members Linda Mae and Liza taught six submitted dances to our own group of young dancers on January 31: Josh, Antonya, Darrick, Lilyana, Maggie, Caitlin, Elisabeth, and Holly. Dancers voted and commented on the quality of each dance. The Branch was the first to submit trialling results to RSCDS, before the March 15 deadline.

We can view the dancers in action. https://www.youtube.com/watch?v=yzHRVrbVG0I

Elspeth Gray Interview

by Tom Halpenny

RSCDS retired Membership Secretary Elspeth Gray was interviewed by Robbie Shepherd, host of the weekly BBC music radio programme “Take the Floor”. We can listen to the interview and learn about Elspeth's music preferences, RSCDS career, thoughts about the future, and response to the host's question whether she will take up Scottish country dancing. http://www.rscds-swws.org/news/stories/ElspethGrayInterview.mp3 Note, this might take a bit of time to load depending upon the speed of your Internet connection.

RSCDS Scotland Visit

by Tom Halpenny

I travelled to Edinburgh January 8-12 for meetings with the elite leaders of the RSCDS world, for the Strategy session of the Management Board and the three committees. The main goal of the meeting was to identify methods to increase the number of Scottish country dancers worldwide, and indirectly to increase the number of RSCDS members.

I arrived Friday morning and visited Headquarters at 12 Coates Crescent. I met several staff whose names I had read over the years. I also met Mike Greenwood, the new Digital Communications Officer, and we discussed some ideas for a couple hours.

I departed HQ and walked to the nearby Tune Hotel to check in and take a nap. My room had a compact space without windows, so I was easily able to fall asleep. I awoke and departed into the 4:00pm dusk with street map in hand to explore the neighborhood and find my way to the Radison Blu Hotel on the Royal Mile, site of the next day's Strategy meeting. It was fascinating to wander through the winding streets among the stone architecture buildings, and try to recover after becoming lost, an important Scottish dance skill.

I headed out Saturday for an early morning walkabout, with Edinburgh Castle centrally in view, and arrived early for the meeting. I enjoyed becoming acquainted with everyone as they arrived, and I was able to talk with almost all 35 attendees during the day. Raphaëlle Orgeret from France, Anselm Lingnau from Germany, staff member Mike Greenwood from Canada, and myself from USA were the four international attendees who spoke with an accent. After a short meeting of the Management Board, the main meeting began. Chairman Jim Healy and Chairman-Elect Helen Russell introduced the agenda, and the meeting divided into five breakout groups who gathered ideas for one hour. After lunch, each group reported its results.

Retiring Membership Secretary Elspeth Gray was on hand to record the meeting notes. During lunch, Jim Healy presented Elspeth with a gift and gratitude from the Society for Elspeth's contributions over the past 14 years. Six past chairmen also attended, which contributed to the festivity.

At the conclusion of the meeting, everyone said their goodbyes and ventured outdoors to observe that the dynamic weather had become breezy with showers. I felt right at home, with weather similar to the Portland-Vancouver area.

With all the SCD teaching and music talent in the meeting, it would have been fun for everyone to do some Scottish dancing. Moira Thomson informed me about the Trinity Ball on Saturday evening. I was casually dressed for the occasion, but I walked several miles to the ball location and observed the dancing. Event organizers Colin and Joan Tyler welcomed me to observe the ten dancing sets and band consisting of accordian "box", fiddle, and drums. I noticed four dancers whom I had met earlier in the RSCDS Strategy meeting. I had a cordial conversation with co-MC Margo Priestly, who described what it's like to teach her advanced SCD class with the aid of a musician.

The dynamic weather continued Sunday as I headed out, after a hearty Scottish breakfast, for a hike north to the Firth of Forth and Ocean Terminal. I followed my street map and only became lost once. The route took me through the Royal Botanical Garden that relocated to the current site around 1800 and is maintained by a staff of 50 gardeners. I finally reached the water and took refuge in a large shopping mall that is the site of the Royal Yacht Britania. After sufficient rest, I returned to the hotel via double decker bus line number 22.

I rode the tram from the hotel to the Edinburgh airport Monday morning and boarded the airline for the trip home. All in all, a pleasant and memorable three days of introduction to Edinburgh and RSCDS.

RSCDS Headquarters

RSCDS Headquarters
Edinburgh Castle
Edinburgh Castle
RSCDS Leaders
RSCDS Leaders
Elspeth Chairmen
Elspeth Chairmen
Trinity Ball
Trinity Ball

March Ball Program

RSCDS Book 29
8×32J, 2C (4C set)
1-8 1M+2L passing RSh and dance Figs of 8 round standing partners passing own partner LSh
9-16 1L+2M passing LSh and dance Figs of 8 round standing partners passing own partner RSh
17-24 1s dance 4 slip step down middle, set to each other, slip step up to top and cast to 2nd place
25-32 2s+1s Adv+Ret clapping on bar 28 and turn partners RH
RSCDS Book 48
3×32S, 3C Set
1-8 1s dance ½ Fig of 8 round 2s, 1L+2M turn RH 1¼ times while 1M+2L turn LH 1¼ times & 1s end BtoB facing opp sides
9-16 1s+2s dance reel of 4 across & 2s end in 1st places while 1s pass LSh to face 1st corners
17-24 1s set to 1st corner & 2nd corner ending (turning to right) between corners, all set & 1s cross RH
25-32 1s+3s dance Espagnole:-
`25-26 1s+3s cross (Ladies lead across RH passing between Men) with Ladies changing places RH
`27-28 1s+3s cross back (Men lead across RH between Ladies) with Men changing places RH
`29-32 3s turn RH as 1s turn LH to end 2 3 1
RSCDS 3rd Graded Book
8×32R, 3C (4C set)
1-8 1s dance reels of 3 on own sides (in & down to start)
9-16 1s+2s turn on sides 1½ times (Men RH & Ladies LH, 1s dance between 3s & cast up to 2nd place on own sides)
17-24 1s+1st corners Adv+Ret, 1s+1st corners turn RH
25-32 1s+2nd corners Adv+Ret, 1s+2nd corners turn LH
RSCDS 3rd Graded Book
8×32J, 3C (4C set)
1-8 1s+2s Dance Set & Rotate: Set, rotate singly & dance on 1 place clockwise, change places RH on sides & dance on 1 place to own sides (1s in 2nd pl)
9-16 1s cross RH & cast right, cross LH up/down & cast left to en d facing 1st corners
17-24 1s dance Pass+Turn with 1st corners & pass RSh to face 2nd corners, dance Pass+Turn with 2nd corners & pass RSh to 2nd place own sides
25-32 2s+1s+3s circle 6H round & back
RSCDS Book 9
8×32S, 3C (4C set)
1-8 1s (with nearer hands joined) set to 2L & circle 3H round to the left, set to 2M & circle 3H round to the left
9-16 1s lead down the middle (2s step up) & back to end between 2s (BtoB) facing opposite partners
17-24 1s+2s dance reel of 4 across, 1s end in middle facing 1st corner
25-32 1s turn 1st corner RH, partner LH, 2nd corner RH & cross LH to own sides
J. Drewry, Brodie Book
96R, Square Set
Fig 1
1-8 1s+3s set and dance La Baratte:-
' Men ½ turn Lady RH and retains hand but at arm's length from each other
' Men retrace steps with Lady turning right under Man's arm briefly into Allemande hold (Man behind Lady facing Ladies original place) and releasing Ladies RH she turns under Mans left arm until almost in original places
' Couples change places LH to change places facing out
9-16 2s+4s (prom hold) Adv+Ret while 3s and 1s Promenade clockwise ¾ way round to face out to side couples (1s face 4s and 3s face 2s), all (in prom hold) pass facing couples RSh, 1s and 3s dance back to original places while side couples dance in and round opposite couple LSh and return to pl
17-32 Repeat bars 1-16 with 2s and 4s dancing La Baratte and Promenading round
Fig 2
1-8 1L+2M and 3L+4M ½ turn RH and dance RH across ½ way, 1L and 3L turn their own corners RH 1½ times to place
9-16 2L and 4L repeat bars 1- 8
17-24 All set to partners, petronella turn (Ladies BtoB) and set twice On second setting the Ladies turn right about to form a circle while partners dances in behind them and place hands on their hips
25-32 Ladies circle 4H round to left (small steps) with partners behind them then and all turn partners RH back to places
Fig 3
1-8 All circle 8H round and back
9-16 Ladies dance RH across and turn partners LH 1½ times to bring Men into middle
17-24 Men dance RH across and turn partners LH into prom hold facing anticlockwise
25-32 All Promenade round
J. Wilkinson, RSCDS Book 47
8×32J, 3C (4C set)
1-8 1s set & dance down between 3s & cast up to end LH with partner facing 1st crnrs
9-16 1s set & turn inwards to face 3rd crnrs, 1s set to 3rd crnrs & turn crnrs LH to end RH with partner facing 2nd crnrs
17-24 1s set & turn inwards to face 4th crnrs,1s set to 4th crnrs & turn crnrs RH to end 2nd place own side
25-32 2s+1s+3s circle 6H round & back
T. Wilson, RSCDS Book 27
8×32S, 2C (4C set)
1-8 1s cast & dance down behind own lines, turn outwards & dance back to top
9-16 1L+2M set & change places RH while 1M+2L change places & set & repeat
17-24 1s lead down for 2 steps, turn RH, lead up to top & cast to 2nd place
25-32 2s+1s set & turn partner 2H opening out to circle 4H round to left
R. Clowes, Ormskirk Scottish Dances
8×32R, 3C (4C set)
1-2 1s cross down to face out between corners;
3-4 2s1s3s set on the sides;
5-8 1s cast up, meet, lead down;
9-12 1L2M3M right hands across WHILE 1M2L3L left hands across;
13-16 1s, followed by 2s 3s, lead down;
17-20 3s, followed by 2s 1s, lead up and cast, 3s finishing in 3rd place;
21-24 2M1L3M left hands across WHILE 2L1M3L right hands across;
25-28 1s lead to the top and cast;
29-32 1s half figures of 8 round 2s, finishing 2s1s3s.
Intermission
J. Drewry, RSCDS Book 35
8×32J, 3C (4C set)
1-8 1s+2s ½ turn partners RH and dance RH across ½ way, 2s+1s full turn partner RH ending with 2s at top and 1s in 2nd place
9-16 2s+1s+3s dance reels of 3 on own sides (1L dances in and up as 1M dances in and down to start) and 1s end facing 1st corners
17-24 1s set to 1st corners then to each other across the dance, set to 2nd corners and Petronella turn to 2nd place own sides
25-32 2s+1s+3s circle 6H round to the left for 6 steps, pivot and chase back to places. 213
Anon, RSCDS Book 26
8×32S, 3C (4C set)
1-2 1s set;
3-8 1s cast, cross, cast round first corners and finish back to back, 1L facing 2s, 1M facing 3s;
9-12 2s1L 3s1M 3 hands round to the left, 1s turning on the spot to finish facing each other;
13-16 1s set and turn ¾ both hands to finish facing first corners;
17-24 1s turn corner, partner, corner, partner;
25-30 reels of 3 on opposite sides (1s give left shoulder to first corner);
31-32 1s cross by the right to own sides.
Whiteadder Coll.
8×32R, 3C (4C set)
1-8 1s dance down below 3s, cast up round 3s to 2nd place own side, 2s+1s+3s set and cross RH
9-16 1s dance up round 2s and cast down to 2nd place opposite sides, 2s+1s+3s set, 1s turn LH to face 1st corners while 2s and 3s cross LH
17-24 1s dance 'Hello-Goodbye' setting with 1st corners and ¾ turn RH to face 2nd corners, 1s dance 'Hello-Goodbye' setting to 2nd corners and ¾ turn RH to end 2nd place own side
25-32 2s+1s+3s circle 6H round and back
RSCDS 2nd Graded Book
8×32J, 2C (4C set)
1-8 1s+2s circle 4H round & back
9-16 1s dance Fig of 8 round 2s
17-24 1s dance down for 2 bars, turn RH, dance up * cast to 2nd places
25-32 1s+2s dance R&L
RSCDS Book 24
8×32R, 3C (4C set)
1-8 1s cross down RH to face out between 2s & 3s giving hands to each corner & set, 1s cast round 1st corner to form lines of 3 across with 2s/3s & 2s+1s+3s set
9-16 1s (turning to right) dance RSh reels of 3 across & 1s end passing LSh to 2nd place on opposite sides
17-24 1s lead down for 2 bars & lead up, cross at the top & cast to 2nd place on own sides
25-32 2s+1s dance R&L
T. Glasspool
8×32S, 2C (4C set)
1-8 1s cross RH and ½ turn 2s LH on sides, 2s+1s chase anticlockwise 1 pl and ¾ turn partners LH into centre to a line of 4 across (Ladies BtoB facing partners)
9-16 All dance Gypsy Poussette:-
Box setting:
' 9 All set to the right turning ¼ turn to right
' 10 All set to the left (facing away from partner) and ¼ turn to right
' 11 All set to the right (facing partner, Men pass BtoB) and ¼ turn to right
' 12 All set to the left (facing away from partner and passing BtoB) and no turn, partners now facing away from each other (but not lined up back to back)
Gypsy turn:
' 13-14 All cast to right and dance back ½ way to the opposite place
' 15-16 All ¾ turn partners 2H into a line across (as start of Gypsy Poussette but having changed places with partner).
17-24 1s+2s dance reel of 4 across ending in prom hold, 2s facing down and 1s facing up (Men with partner on their right)
25-32 1s+2s wheel round anticlockwise ¼ way to dance the Tournee: 1s+2s dance into prom hold (Men with partner on right, 1s face M's side and 2s L's side), couples ½ wheel anticlockwise and Men turn Ladies into middle, both couples turn 1½ times (2s RH, 1s LH) and dance out to places
J. Duthie, 8 SCDs
8×32R, 3C (4C set)
1-8 1s lead down for 3 steps, lead back to top of set & cast into 2nd place on own sides
9-16 1s dance reels of 3 across, (1M with 2s & 1L with 3s)
17-24 1s turn 1st corner, partner, 2nd corner, partner
25-32 All circle 6H round & back
Waltz

April 11, 2015 Dance Program

RSCDS 3rd Graded Book
8×32J, 3C (4C set)
1-8 1s+2s Dance Set & Rotate: Set, rotate singly & dance on 1 place clockwise, change places RH on sides & dance on 1 place to own sides (1s in 2nd pl)
9-16 1s cross RH & cast right, cross LH up/down & cast left to en d facing 1st corners
17-24 1s dance Pass+Turn with 1st corners & pass RSh to face 2nd corners, dance Pass+Turn with 2nd corners & pass RSh to 2nd place own sides
25-32 2s+1s+3s circle 6H round & back
Thompson, RSCDS Book 14
8×32S, 3C (4C set)
1-8 1s+2s dance RH across, LH back to end with 1s casting to 2nd place
9-16 1s dance 3H round and back (1L with 2s and 1M with 3s) 1s end facing 1st corners
17-24 1s set and turn 1st corners, set and turn 2nd corners
25-32 1s lead down below 3s, cross to own sides, cast up, lead up between 2s and cast to 2nd places
Derek Haynes, RSCDS Book 32
8×32R, 2C (4C set)
1-8 1s cross RH and cast down 1 place, 2s+1s dance ½ RH across and set
9-16 1s+2s dance R&L, ending with Men turning Ladies into centre to form a line across
17-24 1s+2s dance the Targe:-
' 17-18 1st and 2nd Ladies ¾ turn RH while Men dance ¼ way round anticlockwise
' 19-20 1st Man with 2nd Lady and 1st Lady with 2nd Man full turn LH
' 21-22 1st and 2nd Ladies ¾ turn RH while Men dance ¼ way round anticlockwise
' 23-24 1st Man with 2nd Lady and 1st Lady with 2nd Man turn LH to end on sides 1s facing up and 2s facing down
25-32 2s+1s set facing on sides, turn to face partners and set, 1s lead up crossing RH and cast to 2nd place on own sides
Tom Winter, Dunsmuir Dances
8×32J, 3C (4C set)
1-8 1s set and cast 1 place, dance down between 3s and cast back to 2nd place
9-16 2s+1s+3s set and cross RH, all chase clockwise ½ way. 312
17-24 1s dance RH across (1L with 3s at top, 1M with 2s), LH across with other couple
25-32 All chase anticlockwise ½ way, all cross LH and set. 213
J. Drewry, Rondel Book
M-S64+R64, Square Set
1-8 (Strathspey) All dance interlocking Reels of 4
9-12 1s and 3s ¾ turn RH and prom clockwise ½ round to opposite side while 2s and 4s Petronella turn and set
13-16 1s and 3s curve round to 3s/1s places and dance ½ RH across in centre and promenade back to places as 2s and 4s Petronella turn to partners original place and change places turning partner RH
17-24 Repeat with 2s and 4s promenading while 1s and 3s dance petronella turns
25-32 All circle 8H round and back
33-40 All set to partner and turn RH and set to corners and turn LH
41-56 All dance full Schiehallion Reel
57-64 All turn partner RH, corner LH, partner RH and corner LH
65-128 Repeat in Reel time but end by turning partners only RH and LH
RSCDS Book 24
8×32R, 3C (4C set)
1-8 1s cross down RH to face out between 2s & 3s giving hands to each corner & set, 1s cast round 1st corner to form lines of 3 across with 2s/3s & 2s+1s+3s set
9-16 1s (turning to right) dance RSh reels of 3 across & 1s end passing LSh to 2nd place on opposite sides
17-24 1s lead down for 2 bars & lead up, cross at the top & cast to 2nd place on own sides
25-32 2s+1s dance R&L
P. Stephens, Between the Rivers
8×32J, 3C (4C Set)
1-8 1s cross RH & cast down 1 place, 1s+3s dance RH across to end 1s face 1st corners
9-12 1s dance “1/2 set to corners & partner to face 2nd corners
13-16 1s dance ½ diagonal reel of 4 with 2nd corners, pass LS to face own 2nd corner (4th corner position)
17-20 1s dance “1/2 set to corners & partner to face 1st corners
13-16 1s dance ½ diagonal reel of 4 with 1st corners, 1s curl to R to finish 2nd place opposite, all facing CW
25-32 3s+1s+2s chase CW ½ way and turn partner RH
RSCDS Book 9
8×32S, 3C (4C set)
1-8 1s (with nearer hands joined) set to 2L & circle 3H round to the left, set to 2M & circle 3H round to the left
9-16 1s lead down the middle (2s step up) & back to end between 2s (BtoB) facing opposite partners
17-24 1s+2s dance reel of 4 across, 1s end in middle facing 1st corner
25-32 1s turn 1st corner RH, partner LH, 2nd corner RH & cross LH to own sides
Whiteadder Coll.
8×32R, 3C (4C set)
1-8 1s dance down below 3s, cast up round 3s to 2nd place own side, 2s+1s+3s set and cross RH
9-16 1s dance up round 2s and cast down to 2nd place opposite sides, 2s+1s+3s set, 1s turn LH to face 1st corners while 2s and 3s cross LH
17-24 1s dance 'Hello-Goodbye' setting with 1st corners and ¾ turn RH to face 2nd corners, 1s dance 'Hello-Goodbye' setting to 2nd corners and ¾ turn RH to end 2nd place own side
25-32 2s+1s+3s circle 6H round and back
RSCDS Book 29
8×32J, 2C (4C set)
1-8 1M+2L passing RSh and dance Figs of 8 round standing partners passing own partner LSh
9-16 1L+2M passing LSh and dance Figs of 8 round standing partners passing own partner RSh
17-24 1s dance 4 slip step down middle, set to each other, slip step up to top and cast to 2nd place
25-32 2s+1s Adv+Ret clapping on bar 28 and turn partners RH
RSCDS Book 48
3×32S, 3C Set
1-8 1s dance ½ Fig of 8 round 2s, 1L+2M turn RH 1¼ times while 1M+2L turn LH 1¼ times & 1s end BtoB facing opp sides
9-16 1s+2s dance reel of 4 across & 2s end in 1st places while 1s pass LSh to face 1st corners
17-24 1s set to 1st corner & 2nd corner ending (turning to right) between corners, all set & 1s cross RH
25-32 1s+3s dance Espagnole:-
`25-26 1s+3s cross (Ladies lead across RH passing between Men) with Ladies changing places RH
`27-28 1s+3s cross back (Men lead across RH between Ladies) with Men changing places RH
`29-32 3s turn RH as 1s turn LH to end 2 3 1
RSCDS Book 1
8×32R, 2C (4C set)
1-16 1s dance full petronella back to places
17-24 1s lead down the middle and back again
25-32 1s+2s dance Poussette

May 9, 2015 Dance Program

Tom Winter, Dunsmuir Dances
8×32J, 3C (4C set)
1-8 1s set and cast 1 place, dance down between 3s and cast back to 2nd place
9-16 2s+1s+3s set and cross RH, all chase clockwise ½ way. 312
17-24 1s dance RH across (1L with 3s at top, 1M with 2s), LH across with other couple
25-32 All chase anticlockwise ½ way, all cross LH and set. 213
Anna Holden, Birmingham Diamond Jubilee Book
3×32S, 3C set
1-8 1s set, cast and dance down between 3s, cast up behind 3s
9-16 All dance Allemande
17-24 All Advance+ Retire for 1 step, cross RH and circle 6H round to left ½ way. 213
25-32 1s+3s ¾ turn partners RH, dance ½ RSh reel of 4 up/down middle and ¾ turn partner to end on own sides. 231
Pinewoods Reel [videos: 1, 2]
John Bowie Dickson, Yankee Sampler
8×32R, 3C (4C set)
1-8 1s and 3s dance Figs of 8 round 2s (1s cast to start), 2s step up to top place and 1s end in 2nd place BtoB ready for Double Triangles
9-16 1s dance Double Triangles while corners set and petronella on 1 place to right, set and petronella on 1 more place as 1s end facing 3rd corner (pstn)
17-24 1s dance ½ diagonal reel of 4 with 3rd corners, pass RSh and repeat with 4th corners (pstn)
25-32 1L dances a reel of 3 across with 2s as 1M dances reel of 3 across with 3s both passing 1st corner LSh and 1s end turn RH to 2nd place on own side (facing out ready to cast)
Sandra Turton, RSCDS Book 44
8×32J, 3C (4C Set)
1-8 1s cross down RH to 2nd place and dance out round 3s and up to 2nd place opposite sides, 2s+1s+3s dance ½ reel of 3 on sides (1s out and up to start)
9-16 3s+1s+2s dance Grand Chain
17-24 3s+1s+2s Set+Link for 3 (once), 1s turn RH 1¾ times to face 1st corner (pstn) while 2s+3s chase clockwise ½ way
25-32 1s dance ½ diagonal reel of 4 with 1st corners, pass RSh to dance ½ reel with 2nd corners and pass RSh to 2nd places
Walter F. Gillies, RSCDS Book 2
8×32S, 2C (4C set)
Note: On 2nd Chord, 1M stand as 1L crosses to 2M place who crosses to partners pl, 2L steps up
1-8 1s+2s dance R&L ending with 2M between 1L+2L facing down 1M directly behind 2M
9-16 All dance down middle, turn right about and 1M dances Ladies back to top (2M follows) to form a line 4 across with Men BtoB facing partners
17-24 All set to partners with suitable step
25-32 All dance reel of 4 across ending in new pstns with each couple having moved 1 place anticlockwise round set. Similarly on bars 31-32 (2nd time through) 4M crosses to partners places as 4L steps up

Note: On bars 31/32 3M crosses to partners place as 3L steps up to start next 32 bars

RSCDS Book 1
8×32R, 2C (4C set)
1-16 1s dance full petronella back to places
17-24 1s lead down the middle and back again
25-32 1s+2s dance Poussette
Lily Davison, Glenfeshie Book
8×32J, 3C (4C Set)
1-8 1s dance Fig of 8 on own side round 2s+3s (dance between 2s to start) and end facing 1st corners
9-16 1s turn 1st corners RH, pass partner RSh and turn 2nd corners RH, pass partner LSh to face own sides for Double Triangles
17-24 1s dance Double Triangles
25-32 2s+1s+3s dance Grand Chain (2s cross RH to start)
J. Drewry, Rondel Book
M-S64+R64, Square Set
1-8 (Strathspey) All dance interlocking Reels of 4
9-12 1s and 3s ¾ turn RH and prom clockwise ½ round to opposite side while 2s and 4s Petronella turn and set
13-16 1s and 3s curve round to 3s/1s places and dance ½ RH across in centre and promenade back to places as 2s and 4s Petronella turn to partners original place and change places turning partner RH
17-24 Repeat with 2s and 4s promenading while 1s and 3s dance petronella turns
25-32 All circle 8H round and back
33-40 All set to partner and turn RH and set to corners and turn LH
41-56 All dance full Schiehallion Reel
57-64 All turn partner RH, corner LH, partner RH and corner LH
65-128 Repeat in Reel time but end by turning partners only RH and LH
Derek Haynes, RSCDS Book 32
8×32R, 2C (4C set)
1-8 1s cross RH and cast down 1 place, 2s+1s dance ½ RH across and set
9-16 1s+2s dance R&L, ending with Men turning Ladies into centre to form a line across
17-24 1s+2s dance the Targe:-
' 17-18 1st and 2nd Ladies ¾ turn RH while Men dance ¼ way round anticlockwise
' 19-20 1st Man with 2nd Lady and 1st Lady with 2nd Man full turn LH
' 21-22 1st and 2nd Ladies ¾ turn RH while Men dance ¼ way round anticlockwise
' 23-24 1st Man with 2nd Lady and 1st Lady with 2nd Man turn LH to end on sides 1s facing up and 2s facing down
25-32 2s+1s set facing on sides, turn to face partners and set, 1s lead up crossing RH and cast to 2nd place on own sides
P. Stephens, Between the Rivers
8×32J, 3C (4C Set)
1-8 1s cross RH & cast down 1 place, 1s+3s dance RH across to end 1s face 1st corners
9-12 1s dance “1/2 set to corners & partner to face 2nd corners
13-16 1s dance ½ diagonal reel of 4 with 2nd corners, pass LS to face own 2nd corner (4th corner position)
17-20 1s dance “1/2 set to corners & partner to face 1st corners
13-16 1s dance ½ diagonal reel of 4 with 1st corners, 1s curl to R to finish 2nd place opposite, all facing CW
25-32 3s+1s+2s chase CW ½ way and turn partner RH
Thompson, RSCDS Book 14
8×32S, 3C (4C set)
1-8 1s+2s dance RH across, LH back to end with 1s casting to 2nd place
9-16 1s dance 3H round and back (1L with 2s and 1M with 3s) 1s end facing 1st corners
17-24 1s set and turn 1st corners, set and turn 2nd corners
25-32 1s lead down below 3s, cross to own sides, cast up, lead up between 2s and cast to 2nd places
Roy Goldring, Graded and Social Dances 2
8×32R, 3C (4C set)
1-8 1s lead down the middle and back to 2nd place in prom hold facing 2L
9-16 1s set to 2L, set to 3L, set to 3M and set to 2M
17-24 1s lead up and cast to 2nd place, 2s+1s+3s turn RH and face up for Promenade
25-32 2s+1s+3s Promenade

Requests for Photos for Photobooks

by Marcy, your editor

Maureen Sloan requests photos of the Portland Branch activities taken in 2013 and 2014. She would like to add them to the photobooks similar to the one she made for 2012. Photos can be emailed directly to Maureen at .

Workshop Registration Form

Royal Scottish Country Dance Society, Portland, Ore. Branch:
2017 Workshop Registration Form

 

Registration Fees

Through Feb. 6th:After Feb. 6th:
Workshop/Ball:
RSCDS Member × $ × $
Non-Member × $ × $
 
Workshop Only:
RSCDS Member × $ × $
Non-Member × $ × $
 
Ball Only:
RSCDS Member × $ × $
Non-Member × $ × $
 
Ball Spectator:
(non-dancer)
× $
Lunch Only:
(guests)
× $

Lunch is included with the workshop fee. While we will do our best to keep food items separate, we cannot guarantee that your lunch will be completely wheat, soy, nut, or other allergen-free. If your allergy is life-threatening, please let us know in the “Other Notes”; that information will be passed on to Linda Mae.

Please make check payable to “RSCDS Portland OR Branch” and mail or give to Linda Mae Dennis, 6921 SE Middle Way, Vancouver, WA 98664-1637 . We cannot process your workshop registration until we receive your check.

Is Scottish Country Dance fun?

Upcoming Events

Here's a list of events coming up in the next ninety days. This calendar is kept up to date at http://portlandscottishdancers.org/events.html.

September 2017

Ft. Worden, Wash.
9/8
Ft. Worden, Wash.
9/9

Membership

If you want to vote in the Annual General Meeting (AGM), your membership must be renewed before the Meeting, which is the second Monday in May.

If your are not a current member, you can register here.

Royal Scottish Country Dance Society, Portland Ore. Branch:
Membership Form 2017-2018

Membership Type:
$32
$47
$5
$5

Note for families: Join at the family rate only if there are two adults; a single adult should join at the single rate.

A “secondary” membership is for people who already have their RSCDS membership through another branch and want to become members of our branch. The “Ghillie Gazette Only” option is for people who have not yet decided to join the branch but would like to receive the newsletter.

Please make check payable to “RSCDS Portland OR Branch” and mail or give to Sally Palmer, 1425 SE Yukon St., Portland, OR 97202-5315 . We cannot process your membership request until we receive your check.

Is Scottish Country Dance fun?