The Ghillie Gazette

The March/April 2016 newsletter of the Portland Oregon Branch of the R.S.C.D.S.

Spring Fling Trial Dancing

Spring Fling Trial Dancing in Vancouver, Wash.

Teacher’s Corner

by Linda Mae Dennis

With the Workshop and Ball just around the corner on Saturday, March 12, it’s time we went through the rules of etiquette again – just a reminder so that we all have a wonderful time.

Remember to try to dance with as many partners as possible. Women need not wait to be asked to dance; it is entirely acceptable to ask a man or another woman to dance. Experienced dancers should ask beginners, and beginners should not be shy about asking more experienced dancers. Be sure to especially remember to ask out of town visitors, so that they will feel welcome. We want people to think of our group as one of the most friendly and inclusive. Also remember to ask briefers (and hold a place for them on the floor) and teachers – especially the visiting teacher.

A limited amount of booking ahead is acceptable. For example, if you are not experienced and you have practiced a particular dance with a particular partner, you may feel more comfortable dancing that dance with that person. Also, romantically linked couples may want to dance a particular dance with each other. However, a person who does a lot of booking ahead gives the impression of excluding people instead of trying to be sociable.

In our area, we usually have the Band play the first 8 bars to announce the next dance.

Sets should form only when announced by the music, not before.

Couples should join sets at the bottom rather than squeeze their way into the middle or top of a set.

Conversations should stop while the briefer is talking. Even a quiet murmur, when multiplied by many people, makes it very difficult to hear. Please allow other dancers to hear the instructions.

Experienced (or coherent) dancers should try to help any unsure dancers in an unobtrusive way. Use hand motions to point them in the correct direction or quietly tell them the name of the next figure. Even experienced dancers forget what they’re doing from time to time. Helping each other adds to the team spirit and enjoyment. Shouting and/or pushing is not helpful.

Remember to maintain eye contact with your partner and with the other dancers in your set. Relax and enjoy yourself. Every dancer in your set is dancing with every other dancer in your set, so this is not a time for solo showing off or drawing undue attention to yourself. Above all, smile. A big smile will cover a lot and will make everyone feel good.

Each dance ends as it began, with a bow or curtsy to your partner – and a smile!

Be sure to thank your partner and thank your set. Don’t linger on the floor; the dance floor should be clear between dances. Partners should lead each other off the floor before looking for a new partner.

Mingle and socialize during the breaks and be friendly and encouraging with beginners and visitors.

The After Party this time will take place downstairs immediately following the Ball. Please allow visitors to head downstairs first and lend a hand with the clean-up operations upstairs for a few minutes. The Band and Soundman may also need help breaking down their equipment.

Please do bring musical or rhythm instruments and your singing voice to add to the party atmosphere.

March Ball Program

Foss: Glendarroch
8×32J, 3C (4C set)
1-8 1s cross RH, cast 1 place, cross RH & cast (Man up & Lady down) into centre
9-16 1s+2s+3s circle 6H round & back (1s end in centre)
17-24 1s change places RH & dance to right into Figs of 8 (Lady round 2s as 1M dances round 3s)
25-32 1s dance reels of 3 on opposite sides giving RSh to 2nd corners & cross RH to places
Robert M. Campbell, RSCDS Leaflet Dances 8
8×32S, 3C (4C set)
1-8 1s turn RH, cast 1 place, ¾ turn RH, 1L dances up and casts round 2L as 1M dances down to 3rd place and casts up round 3M to 2nd place
9-16 1s turn 1st corners RH pass partner RSh, turn 2nd corners RH and pass partner RSh to 2nd place own sides
17-24 1s dance reflection reels of 3 on own sides (1s dancing out and up to start), 1s and 2s continue reel with extra loop to end 123
25-32 1s+2s dance Tournée:-
' 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
Iain Boyd, Harbour City
8×32R, 2C (4C set)
1-8 1s set and cross over RH, set and ¾ turn RH
9-16 1s dance RH across with 2M and LH across with 2L
17-24 1L followed by 1M dance down for 2 and 1M followed by 1L dance up for 2, both cast on Ladies' side and 1M crosses to 2nd place own side
25-32 2s+1s R&L
Ron Wallace, From the Redwood Forest
8×32J, 3C (4C set)
1-8 1s set, cast 1 place, set and ½ turn RH to face 1st corners
9-16 1s turn 1st corner LH, turn partner RH, turn 2nd corner LH and turn partner RH to end 2nd place own sides
17-24 1s dance reels of 3 on sides (RSh to 3rd corner to start) ending BtoB facing own sides
25-32 1s dance Double Triangles ending 2nd places
R. Goldring, Graded and Social Dances 2
3×32S, 3C set
1-8 1s+2s dance RH across back to places but 1L faces out and casts 2 places followed by partner, 1L crossing to 3rd place opposite side
9-16 All dance Grand Chain
17-24 1s set, turn 2H ½ way and dance up to top and cast to 3rd place own sides
25-32 All circle 6H round and back
Border Book
8×32R, 3C (4C set)
1-8 1s turn RH, cast to 2nd place, cross RH, 1s cast round 1st corner to form lines of 3 across with 2s/3s
9-16 1s set and turn RH to opposite sides between 2s+3s, set and turn RH to face 1st corners
17-24 1s set and turn 1st corners 2H, set and turn 2nd corners 2H
25-32 1s dance reels of 3 on opposite sides giving LSh to 1st corners and cross to own sides
John Drewry, Canadian Book
4×32J, 4C set
1-4 1s cross and cast;
5-8 1s3s right hands across;
9-12 1M3L (promenade hold) half reel of 3 on Ls’ side WHILE 1L3M half reel of 3 on M’s side (both going to the right);
13-16 repeat with own partners (going to the left);
17-24 repeat bars 9-16, finishing with 1s facing down between 3s;
25-28 1L3M turn by the right 1½ times WHILE 1M3L turn by the left 1½ times;
29-32 1L4L turn by the left 1½ times WHILE 1M4M turn by the right 1½ times, finishing 2s3s4s1s.
D. Haynes, RSCDS Leaflet 10
8×32S 3C (4C set)
1-8 1s+2s set, turn partners 2H opening out into 4H round
9-16 2s+1s dance the Knot, 1s turn LH to end facing 1st corners
17-24 1s turn corners RH, partners LH, 2nd corners RH and partners LH
25-32 1s dance RH across, (1M with 3s and 1L with 2s), pass partner RSh and dance LH across with other couple, 1s end in 2nd place. 213
RSCDS Book 1
8×32R, 3C (4C set)
1-8 1L followed by partner casts below 3s, 1L crosses and dances up behind Men as 1M dances up centre to 1st places on opposite side and 1s set
9-16 1M followed by partner repeat above Fig and set in own places
17-24 1s lead down the middle and back
25-32 1s+2s dance Poussette. Ends 2-1-3; repeat having passed a couple.
Intermission
P. Knapman, Collins Pocket Ref
8×32J, 3C (4C set)
1-8 1s turn RH and cast to 2nd place, turn partner LH 1¼ times to end Man facing down and Lady facing up
9-16 1s dance RH across (Lady with 2s and Man with 3s), 1s pass RSh and dance LH across with other couple
17-24 1s lead down the middle and back to 2nd place own side
25-32 2s+1s+3s circle 6H round and back
R. Butterfield, RSCDS Book 45
8×32R, 3C (4C set)
1-8 1s set, cast 1 place & dance ½ Fig of 8 round 2s
9-16 1s set twice with 1L turning to face out, 1L followed by partner casts up & dances down the middle 1L to face 3M while 1M faces 2M
17-24 1s RSh reels of 3 across (1M with 2s & 1L with 3s)
25-32 1L followed by partner dances down cast up round 3M & crosses to end in 2nd place on own sides, 1s turn RH (4 bars)
John Drewry, RSCDS Book 42
8×32S, 2C (4C set)
1-4 1s2s right hands across, 2s finishing facing out;
5-6 1s cross down to 2nd place on opposite sides, finishing facing out WHILE 2s cast up;
7-8 2M1L turn ¾ by the right WHILE 2L1M turn ¾ by the left, 2M 2L making a polite turn to finish 2M1L1M2L in line across, all facing down, nearer hands joined;
9-11 all lead down and release hands;
12-12 1s turn about WHILE 2s cast to meet below them, finishing all facing up, nearer hands joined;
13-14 1s followed by 2s lead up;
15-16 1s cast to 2nd place on opposite sides WHILE 2s lead up to 1st place;
17-18 2M1L 2L1M take hands on the sides and set facing across the set;
19-20 all petronella turn in tandem, finishing 2L1M just above 1st position facing down, 2M1L just below 2nd position facing up;
21-22 2L1M 2M1L set facing up and down;
23-24 all petronella turn in tandem, finishing in original places, 2s on opposite sides;
25-26 1s2s set;
27-28 1s2s 4 hands round halfway;
29-32 1s turn both hands 1½ times, finishing 2s1s.
R. Goldring, 29 Social Dances
5×32R, 5C set
1-8 1s set & cast 1 place, 1s followed by 3s dance up & cast - 1s to 3rd place & 3s to 2nd place
9-16 1s cross down & dance reflection reels of 3 with 4s+5s on opposite sides - 1s end in 3rd place opposite sides
17-24 1s cross up & dance reflection reels of 3 on own sides with 2s+3s - 1s ending in 3rd place own sides
25-32 1s set & cast down 1 place, 1s followed by 5s dance up between 4s & cast - 1s to 5th place & 5s to 4th place. Ends 2-3-4-5-1.
Craigmyle, RSCDS Book 22
8×32J 3C (4C set)
1-8 1s set, cross RH, cast 1 place and turn LH to face 1st corners
9-24 1s dance Corner Chain with 1st and 2nd corners:-
' 1s change places RH with 1st corners, 1st corners turn LH in centre and return to places giving RH to 1s who turn LH in centre to face 2nd corners
' 1s change places RH with 2nd corners, 2nd corners turn LH in centre and return to places giving RH to 1s and 1s end with a ½ turn LH to 2nd place own sides
25-32 2s+1s+3s circle 6H round and back
R. Taylor, RSCDS Book 46
3×32S 3C set
1-8 1L followed by partner casts 2 places, 1L crosses and casts up on Men’s side to 2nd place while 1M dances up the middle to 2nd place Ladies side and all set advancing into prom hold (2s and 3s face up, 1s down) 2(1)3
9-16 2s+1s+3s dance Circulating Allemandes:- 2s and 3s dance normal Allemande but end in 3rd/1st place as 1s Allemande (down) and up to 2nd place opposite sides. 3(1)2
17-24 1s dance 1⁄2 Figs of 8 (1L up round 3s, 1M down round 2s), all turn partners 2H 312
25-32 1s+2s dance Diamond Poussette
Mairi’s Wedding [videos: 1, 2]
James Cosh, 22 Scottish Country Dances (and 2 more)
8×40R, 3C (4C set)
1-4 1s turn by the right and cast;
5-8 1s turn by the left to face 1st corners;
9-12 1s half diagonal reel of 4 with first corners;
13-16 1s half diagonal reel of 4 with second corners;
17-20 1s half diagonal reel of 4 with first corners (in partner's corner's position);
21-24 1s half diagonal reel of 4 with second corners (in partner's corner's position);
25-32 2s1L 1M3s reels of 3 across, 1s giving left shoulder to first corners to start;
33-40 2s1s3s 6 hands round and back.
Waltz

April 9, 2016 Dance Program

P. Knapman, Collins Pocket Ref
8×32J, 3C (4C set)
1-8 1s turn RH and cast to 2nd place, turn partner LH 1¼ times to end Man facing down and Lady facing up
9-16 1s dance RH across (Lady with 2s and Man with 3s), 1s pass RSh and dance LH across with other couple
17-24 1s lead down the middle and back to 2nd place own side
25-32 2s+1s+3s circle 6H round and back
Terry Glasspool, Itch To Dance
4×32S, 4C set
Notes: 3s and 4s start on opposite sides
1-8 All dance reels of 4 on sides
9-16 1s+2s also 3s+4s circle 4H round to left, 1s and 4s cast in 1 place and lead up/down to places while 2s and 3s cross up/down and cast in 1 place
17-24 All dance interlocking Allemandes:-
' 1s+3s dance Allemande up to end in 3rd/1st places while 2s+4s Allemande down to end 4th/2nd places. 3(4)1(2)
25-32 4s+1s dance the Bourrel:-
' 4L+1L set advancing, ¾ turn 2H and twirl to end BtoB (1L facing up and 4L down) while partners chase anticlockwise ½ way to face partners
' 1s+4s set to partners and ¾ turn 2H to sides having changed places. 3(1)4(2)
Maxwell’s Rant [videos: 1, 2]
Rutherford RSCDS, Book 18
8×32R, 3C (4C set)
1-8 1s cross down to dance reflection reels of 3 on opposite sides
9-16 1s cross down to dance reflection reels of 3 on own sides
17-24 1s cross RH, cast to 2nd place and dance ½ Fig of 8 round 2s
25-32 1s lead down between the 3s, cast up to 2nd place and 2s+1s+3s turn partners RH. 213
Ron Wallace, From the Redwood Forest
8×32J, 3C (4C set)
1-8 1s set, cast 1 place, set and ½ turn RH to face 1st corners
9-16 1s turn 1st corner LH, turn partner RH, turn 2nd corner LH and turn partner RH to end 2nd place own sides
17-24 1s dance reels of 3 on sides (RSh to 3rd corner to start) ending BtoB facing own sides
25-32 1s dance Double Triangles ending 2nd places
E. Miller, Wheels and Reels
3×32S, 3C set
1– 8 1s set | cast (2s up) & ½ Fig8 up round 2s
9–16 2s+1s L-Chain, 1s finish facing 1st corners
17–24 1s+1st corners Pass & Turn (corners make BH turn) 1s pass Rsh into 1s+2nd corner s Pass & Turn, to (2,1,3)
25–32 1s+3s Set & Link & dance RH across to (2,3,1)
Francis Walduck, RSCDS Book 49
8×32R, 3C (4C set)
1-8 1s+2s set, pull back RSh, dance 2 places clockwise, cross RH to own sides. 1s face out
9-12 2s+1s+3s dance ½ reels of 3 on sides (1M+2M also 1L+3L pass RSh) Bars 11-12: 1L (from 3L place) and 1M (from 1M place) dance across to 2nd place opposite sides and face out
13-16 3M+1L also 1M+2L turn RH
17-20 3s+1s+2s dance ½ reels of 3 on sides (1L+2M also 1M+3L pass LSh) Bars 19-20: 1L (from 3M place) and 1M (from 1L place) dance across to 2nd place own sides and face out
21-24 2L+1L also 1M+3M turn LH, 1s passing LSh to BtoB facing opposite sides (2L+3M dance 4 bars)
25-32 2s+1s+3s set as Double Triangles. All set again as 1s turn Right about to face and turn RH 1½ to 2nd place own sides
Wouter Joubert, RSCDS Book 49
3×32J, 3C set
1-8 1s dance down, cast up round 3s, meet, dance up to 1st place facing out. 1s+2s ½ turn (Men LH, Ladies RH)
9-16 2s+1s dance double Figs 8 (1s cross up, 2s cast to start)
17-20 1s+3s ¾ turn RH into line up/down in middle facing partner and set
21-28 1s+3s dance ½ Celtic Reel:-
' 21-22 1s+3s pass partner RSh
' 23-24 1M+3L dance clockwise while 1L+3M dance ¾ round each other LSh to face partners in line across
' 25-26 1s+3s pass partner RSh
' 27-28 1L+3M dance clockwise while 1M+3L dance ¾ round each other LSh to face partners in line up/down set
29-32 3s+1s ¾ turn partners RH to sidelines and 2s+3s+1s set
D. Haynes, RSCDS Leaflet 10
8×32S 3C (4C set)
1-8 1s+2s set, turn partners 2H opening out into 4H round
9-16 2s+1s dance the Knot, 1s turn LH to end facing 1st corners
17-24 1s turn corners RH, partners LH, 2nd corners RH and partners LH
25-32 1s dance RH across, (1M with 3s and 1L with 2s), pass partner RSh and dance LH across with other couple, 1s end in 2nd place. 213
Playford, RSCDS Book 7
8×40R, 2C (4C set)
1-8 1s set & cast 1 place, set & cast back to original places
9-16 1M (followed by partner) casts 1 place, dances up between 2s & casts down behind 2L, crosses over & both end in 2nd place own side
17-24 1L (followed by partner) casts up to top, dances down between 2s & casts up behind 2M & crosses over & both end in original places
25-32 1s reel with 2M on Men’s side (1M & 2M pass LSh & 1L dances to 2nd pl on Men’s side to pass ptnr RSh (1L ends in own pl & 1M in 2nd pl)
33-40 1s reel with 2L on Ladies side (1L & 2L pass RSh & 1M dances to 2nd pl on Ladies side to pass ptnr LSh (1s end in 2nd place own side)
RSCDS Tucson and 7 Pipers Scottish Soc., RSCDS Book 49
8×32J, 3C (4C set)
1-8 1s set, cast (2s step up). 1L+2s also 1M+3s dance RH across. 1s finish in middle facing up, 1M following 1L
9-16 1s (in tandem) +2s dance reel of 3 across (1s pass 2L RSh). 1s end in 2nd place own sides
17-24 1s set, turn ¾ RH to face own sides. 1L+2s also 1M+3s dance LH across. 1s finish in middle facing down, 1L following 1M
25-32 1s (in tandem) +3s dance reel of 3 across (1s pass 3M RSh). 1s end in 2nd place own sides
D. Winchester, RSCDS Book 39
80S, Square Set
1-8 All circle 8H round & back
9-16 All Ladies dance RH across ½ way & turn opposite Man LH, all Ladies dance ½ RH across & turn partner LH
17-24 1s+3s dance reel of 4 (Ladies start by passing LSh as Men set)
25-32 All set (HS) to corners, turn 2H twice
33-40 2s+4s dance reel of 4 with Ladies starting by passing LSh
41-48 All set (HS) to corners, turn 2H twice
49-56 All Ladies circle left to face partners (Ladies BtoB), set to & turn partners 2H
57-64 All Men circle right to face partners (Men BtoB), set to & turn partners 2H
65-72 All dance Grand Chain
73-80 All Allemande anticlockwise
Mairi’s Wedding [videos: 1, 2]
James Cosh, 22 Scottish Country Dances (and 2 more)
8×40R, 3C (4C set)
1-4 1s turn by the right and cast;
5-8 1s turn by the left to face 1st corners;
9-12 1s half diagonal reel of 4 with first corners;
13-16 1s half diagonal reel of 4 with second corners;
17-20 1s half diagonal reel of 4 with first corners (in partner's corner's position);
21-24 1s half diagonal reel of 4 with second corners (in partner's corner's position);
25-32 2s1L 1M3s reels of 3 across, 1s giving left shoulder to first corners to start;
33-40 2s1s3s 6 hands round and back.

My Drum Major Debut

by Linda Mae Dennis

It’s a dark January morning. It’s early, and it’s cold. Cold made even colder because I’m nervous. This is the day I will make my debut as Drum Major for the Clan Macleay Pipe Band at a “barge launch” for Gunderson Marine. That’s right – out there in front of everybody and everybody else – leading the band. Will my voice come out as a mere squeak the first time I try to give a command? Do I even remember how to walk? At this point, on the way to the launch site, it’s hard to say.

We arrived at the launch site at “0 dark-thirty” and made a couple of attempts at finding where to park before actually settling into a spot. The Pipe Major, whose job it is to worry about the music (my job being “everything else”, as my trainer drilled into me) actually took the time to walk with me through the parade course before everyone else arrived. We got stopped a bit short of where we were supposed to go, as there was still a gigantic crane in the way, but we did get an early look at the barge. It was impressively huge! About 3 stories tall and very long, it formed kind of a canyon between it and the building behind us.

Our Very Own Drum Major

Our Very Own Drum Major

I did NOT forget any of the pieces of my uniform, of which there are SO many – shoes, short socks, sock tops, flashes, sgian dubh, spats. Now we’re up to the knees. Kilt, horse-hair sporran, kiltpin, plaidie, plaidie brooch, t-shrit, tunic, collar brooches, belt, and hat. We were not wearing feather bonnets due to the threat of rain, so I did not have to worry about balancing my hat on my head, and/or knocking it off with the mace.

The rest of the band arrived in fits and starts and in various stages of dress. Coffee and donuts were provided by Gunderson Marine, our wonderful corporate sponsor, whose barge we were to officially launch. Eventually, with much chatter and camaraderie, everyone was fully dressed, pipes and drums tuned, and all turned out onto the wet parking lot to line up and march off.

As a drummer, you wait at the back of the band to see what formation the pipers will take, then get into a similar formation and hang out until someone barks out some orders that tell you when to start. Then, you step out on the left foot following the person in front of you, playing along as best you know how. I must have done this over a hundred times. One might think that having listened to the marching orders over a hundred times that one would automatically know exactly what those orders were. But perhaps not.

As drum major, I had to be told where to stand, and pretty much what to say. We had not had a chance to practice this beforehand, as we are now holding band practice in a church basement with a fairly low ceiling. To add additional complexity and pressure, just before we were about to march off, the Scout Leader in charge of the Boy Scouts who were to be our color guard, came over to request that we (I) give an order to the Scouts about when to start off. It was suggested that I say “March Out the Colors”. I really wanted to say “when you hear the music, start walking”, but agreed to their request. So, the moment of truth arrived.

“Pipes and Drums,” I hollered out in my loudest voice, and it did NOT come out as a mere squeak! “A’Shun!” And the band responded by standing at attention! Even the drummers in the very back! “By the Right (beat) Quick March!” At this, I had to make a half turn on both feet, bring the mace from my right hand to my left across my body, make a marching step with my left leg and begin marching on my left foot. I had practiced this move many times and it went smoothly, although I’m sure it could have been sharper and more militarily precise. We marched about half a block to the gate, and the band circled up. I wasn’t quite sure where to stand, so I made something up. I wasn’t quite sure how and when to do the fist pump to stop the band, but the bass drummer and I had worked out ahead of time that he was going to do the double beat at the correct time regardless of when I did the fist pump, so only he and I knew that we weren’t always together.

I called off and stopped a few more sets before I remembered that I was supposed to say “Ready” before I did the call off. I had not practiced yelling out the names of the sets. I got a little tongue-tied on “Pipes and Drums!” “Bathgate and Breadalbane Gathering!” “Ready!” “At the Ha’ (beat) One, Two!” We did a few more sets before the grumpy gate guard came by to say it would be a few more minutes, as they were moving the crane.

Here’s how it was set up . . . There’s a short driveway up to a guard house and electronic gate. The Band and the hundred or so spectators huddled under their umbrellas (did I mention it was raining? – not hard, just nice misty rain) were in front of the gate, waiting for it to open. The Boy Scouts were about 30 yards past the gate on the inside, under some sort of roof, waiting for their orders. They shut down the traffic on the Willamette River for the barge to be launched, so it’s pretty imperative that the whole procedure goes off on schedule. We were surprised to have been held up for so long. The Band was to play in a circle until the gate opened, then parade through the warehouse to the Barge (maybe 75 yards or so).

Eventually, the gate opened. Yay! “Okay,” says the Pipe Major, “Let’s do this.” So, again I holler out to get the Band at attention (even though they’ve been at attention the whole time), then remembered I’m supposed to yell something at the Boy Scouts. I turn away from the Band and holler “March out the Colors!” I turn back to the band and holler out “By the Right (beat) Quick March!” and make the turn without tripping or falling over, and smartly march out in front of the band. I didn’t know until later that I had marched out taking extra long steps. What can I say? I was excited. (I blame Holly, who has trained me to use the extra long steps when we go walking – you can cover a lot of distance without using up too much energy.) Even the front row of 6’5” pipers were impressed by how quickly I was moving. The short little tenor drummers, in the back, hobbled by having a drum on one leg were not amused, and apparently had to pretty much pick up their drums and run to keep up.

The Band marched smartly through the warehouse, made the left turn at the barge and began to march the length of the behemoth barge. It was at least the length of a football field. I knew we had to do a counter march at some point, which involves some precision mace work. The crane had been in the way, so I didn’t know how far down to march before I turned the Band around, and started to at one point, but heard the Pipe Major behind me saying, “Not Yet, Not Yet!”. Then he says, “Okay, Now!” and I did it! Grasp the mace with the right hand, turn it 180 degrees horizontally, swing it up to the right shoulder so that it is pointing straight up, take one and a half steps forward, take three steps to turn around and head back through the band. Once past the last drum, turn the mace to point down, place it back into the left hand, keep marching. And when I halted the Band, they all halted, and when we stopped the music, the bass drummer and I were in agreement about when the double beat was supposed to happen. Whew!

The rain had picked up a bit by this time, but because of the delay with the crane earlier, they had to compress the ceremony, so we didn’t have to stand out there for too long. There was the Pledge of Allegiance, some thank you’s to honored guests, the playing of Amazing Grace – one piper on the barge answered by the Band on the ground, quite impressive and moving – a prayer, a couple of champagne bottles smashed against the side, and then “Crack” and the rails holding up the barge drop and the whole thing slid into the water. It’s pretty exciting to watch, and I was able to actually relax and enjoy it.

And then, no dilly-dallying around after. We got the Band back in order, called off and marched out. I marched with a more reasonable gait on the way out, which the tenor drummers thanked me for later. Along the barge to the way out, a right corner, through the warehouse, back to the electronic gate, a left corner and on to the building where we had started. I was so giddy by the time we got there I forgot how to stop the band properly, and just stopped. Thankfully, they all laughed and stopped with me. Then almost every band member patted me on the shoulder and told me “good job”, which was wonderful. My good friend, the lead stick (boss of the drummers), mentioned that my voice could/should be about an octave lower, and that I had my plaid draped over the wrong shoulder, and that I had countermarched through the left file of the band, rather than the right, which was more conventional. And really, those constructive comments were most welcome and helpful, and given after the fact, when they could be better absorbed.

I think most importantly, I had a chance to be a brand new beginner again. I have a much better memory, now, about how it is to be a beginning dancer. When there’s too much new information coming in, everything is confusing, even stuff you used to know. And when someone has that wild-eyed look, we experienced dancers need to recognize it. That is the time to give only essential information and nothing else. Beginners rock!

Here is a link to a movie (QuickTime) of the launch itself: http://www.imaginationprocessing.com/videos/BargeLaunch.m4v

Oldies But Goodies SCD Class

by Tom Halpenny

I have been attending Lisa Scott’s Oldies But Goodies dance class, intended to be a gentler, low impact class for dancers, and emphasizes the social aspects of dancing. The class meets 2nd and 4th Tuesdays, 7:30 to 9:00pm, at Columbia Dance Center. The class is meeting the needs of about twelve dancers so far.

Lisa begins with some gentle warm-up and stretching to soothing music. She combines her extensive musical background with teaching the dances.

Some challenging formations like “set and turn corners” are replaced by easier formations like “turn first corner by the right and turn second corner by the right.” Each dancer has the option to dance formations with full energy or low impact.

RSCDS dances are being taught, beginning with selections from Book 1 that was first published in 1924, and progressing sequentially through the RSCDS books. Lisa noted that dances from the early books were popular and well known for dance events twenty years ago. Many of these dances became less familiar as new dances were devised for later RSCDS books. (Book 49 is the latest book published in 2015.)

We have an opportunity to learn the Oldies but Goodies dances. Or are we dancers the Oldies but Goodies?!

RSCDS Strategy Meeting – Change Statements

By Tom Halpenny A set of 5 Strategic Aims had been adopted at the RSCDS Annual General Meeting 2015. The RSCDS Management Board, committees, and HQ staff attended the annual training meeting of RSCDS Management Board and committees members in Edinburgh on Saturday, January 9, 2016. Executive Officer Gillian Wilson facilitated a discussion of the 5 Strategic Aims in order to develop the next level of detail.

Strategy Map

Strategy Map

http://www.rscds-swws.org/news/201603/strategy-map.jpg

Instead of discussing Activities (methods), participants were asked to write priority Change statements (more specific goals) that describe how the Society will look, after improvements have been implemented. A Business Plan Working Group can then identify the prioritized Activities that will effectively accomplish the Change statements. The timeframe calls for a business plan to be developed and presented to members for the November RSCDS AGM 2016.

The Change statements are determined by identifying problems: What stops us from achieving this aim? We then turn the problems into positive suggested priority Change statements.

For example, likely problems identified, related to Aim number 1 are:

  1. RSCDS general image is “have to dance properly” / unfriendly / unrelaxed / “old fashioned”. Branches often have the same image / some branches are unwelcoming.
  2. Ceilidh dancing is seen as fun and exciting but RSCDS is not associated with this / we just focus on SCD and not other types of related dance.
  3. Public in non-Scottish contexts does not know what Scottish Country Dance is / there are other local country dance traditions.
  4. Insufficient linking and partnership with other dance forms and dance organizations.
  5. RSCDS communications to members and branches are often Scottish / UK focused and something that works in Scotland does not necessarily work elsewhere / internationally.

What do we want to change to? Suggested priority Change statements are:

  1. The RSCDS portrays itself as a fun, sociable, healthy, inclusive and family friendly organization, in collaboration with its branches.
  2. RSCDS is recognised as a leading organization for Scottish dance and music in Scotland and internationally.
  3. The RSCDS is involved with ceilidh and other related dance forms.
  4. The general public is aware of the different forms of Scottish dance.
  5. RSCDS works effectively with relevant dance, music and arts organizations in Scotland and internationally.
  6. RSCDS is an internationally relevant and accessible organization.

Next comes the challenging part. A Business Plan Working Group will soon begin to gather input from Society stakeholders and will identify workplan options. We will ideally reach a balance of collaboration and networking amongst the small Headquarters staff and the volunteer committees, branches, and affiliated groups, with international and intergenerational perspective.

The Beginner’s Reeling!

by Linda Kelso

A little history from June of 1998. ~ The Editor

Sometime in the spring of 1985 (or was it ’86?). Never mind, when is not too important. I was living in Birmingham, Alabama and had gone to Atlanta to attend a Neil Diamond concert with my friend, Jane McLendon. It was great. I was ready to go again the next night, but Jane already had other plans. She was going to a Scottish Country Dancing event. Scottish Country Dancing, what’s that, I wondered. I’d never heard of it.

I don’t remember much about it except that there was a nice crowd of people there, all friendly, with the women in pretty dresses and the men in kilts. I’d guess this may have been the first time I ever saw kilts. It was definitely the first time I’d seen dancing like this. It looked like a disorganized melee, and the music all sounded alike. I couldn’t quite imagine why at that point, but everyone seemed to be having a lot of fun.

While I lived in Alabama, I tried to do as many things with Jane as possible. That mostly meant tagging along on various trips to dancing events. I remember going to things in Atlanta, to something in Kentucky and something else in Nashville, the only time I ever got there. Jane tried hard to teach me some steps, and occasionally persuaded me to participate in an easy dance. (Easy! There is no such thing!!) My feet wouldn’t cooperate. I’ll stick to taking pictures of other people dancing.

Sometimes It Takes A While

Fast forward to September ’95. I’m now living in Longview. Jane, and some others from the Atlanta group flew to Seattle to attend the Seattle’s group’s event at Fort Worden. I joined them for a day, again watching and taking lots of pictures. At Fort Worden I met Ken McFarland, and Jane explained that Ken had been organizing various trips for dancers. She said sometimes non-dancers could go. Which led me to going along on the cruise to Alaska last summer. Well, if I was going to hang around with these dancing folk, maybe I should learn something about it. Robert McOwen’s ladies’ step dancing classes helped me start making just a bit of sense of it. To my amazement, last fall I discovered there are two classes a month in the Longview/Kelso area. Thinking about going along on another Ken McFarland trip, I began my dance career.

Classes: Sally Bledsoe teaches the class. She is very ably though informally assisted by Fred and Marge van Nus, who drive some 80 miles round trip to help out. There are four or five other (fairly) regulars and a changing cast of beginners like me.

There are some basic things about Scottish dancing that are NOT immediately obvious. Like progression down the set. Having walked the dance a few times, once we started, I thought once I got through it once, we were now the second couple or third or whatever. I was totally lost for the rest of the dance. I am still trying to figure out which couple I’m part of, and if my partner can’t keep track of it, oh well, our dance is a mess!!

Corners: By now, most of the time I can remember which is my first and second, but that took some doing. Reels, right or left shoulder. Just keep winding in and out of the other people till the music says stop.

Poussette: My partner had better be able to push me through it, or I’m lost.

The Steps: I can manage the strathspey when the group is following Sally around the floor, but in a dance my mind can deal with only one thing: trying to be where I’m supposed to be at the end of the figure. Forget the steps!!

On your toes! Fred must remind me a dozen times during class. As I got better at it, my legs got better at protesting. Twice after class I was up an hour after bedtime, walking around my apartment trying to work out the cramps.

HAVE YOU LEARNED ANYTHING? With perhaps 10 to 12 classes and one dance behind me I set off for Hawaii with Ken McFarland’s group, looking forward to the week of dancing. Well, with a stellar dance master like John Drewry leading the classes as they learned new, intricate and beautiful dances, it was back to the camera. But all was not lost. At least I knew what he was talking about!

There has been one glorious moment so far. It happened at the dance in Vancouver in February. I knew what I was supposed to do, and so did everyone else in the set. We completed the dance as though we knew what we were doing and most of them did(!). It was a thrill. I told Jane I finally figured out why so many people enjoy Scottish Country Dancing. Someday I think I will, too.

Tidbits from Old Tomes

by John Shaw I recently received a copy of Ken McFarland’s newsletter wherein he describes many items of interest from his recent travels to Scotland. Ken spent some time at the National Library of Scotland in Edinburgh, researching country dances and dancing, and he describes some of his findings in his newsletter.

Ken also mentions a Library of Congress web site called “An American Ballroom Companion, Dance Instruction Manuals”. http://memory.loc.gov/ammem/musdiquery.html#full

That web page gives you a text box for entering a word (or words) for which to search. I entered “Scottish”, of course, and it presented me with a list of about 70 books containing something about Scottish dance. The publication dates on these books ranged from the 1700’s to the early 1900’s.

The two excerpts below are from a book by Elias Howe, first published in 1862, titled American Dancing Master, And Ball-Room Prompter. (Actually, the full title fills most of the title page, as you can see on the next page.)

This first excerpt is Howe’s description of Country Dance; I noticed among his list of “most fashionable” dances two that I recognized: Money Musk and The Sailor’s Hornpipe:

Country Dances, or Contra Dances

The term “Country Dance” is the one invariably used in all books on dancing that have been published in England during the last three centuries, while all the works issued in France within the same period, employ the term Contra Dance, or in French, “ Contre Danse,” from being placed on contra sides. As the authority is equally good in both cases, either term is therefore correct…

Fifty years ago or more, the Country Dance was the only one danced in this country, except in the cities and large towns, where several fancy dances were occasionally performed; but even in those places the Country Dance reigned triumphant.

American Dancing Master

The dances that were at that time the most fashionable were: “ Fisher’s Hornpipe,” “Chorus Jig,” “Sir Roger de Coverley,” “The Cushion Dance,” “Money Musk,” “Speed the Plough,” “The Devil’s Dream,” “College Hornpipe,” “Rustic Reel,” “Six Handed Reel,” “Reel fore and after a straight four,” “Durang’s Hornpipe,” “The Sailor’s Hornpipe ,” & c.

This next excerpt is Howe’s explanation of the dance, Money Musk; can you follow it?

MONEY MUSK

First couple join right hands and swing once and a half round, go below 2d couple, (the 1st lady goes below 2d gent. on the outside, 1st. gent. at the same time goes below and between 2d and 3d ladies), forward and back six, 1st couple swing three quarters round, 1st gent. goes between 2d couple (on the inside), first lady goes between 3d couple inside, forward and back six, 1st couple swing three quarters round to place (below one couple), right and left four.

I think descriptions of Scottish Country Dances have come a long way!

To the right is an image of the title page of Elias Howe’s book. Notice the line near the hand-written date, “DEPORTMENT AND THE TOILET”. I determined, from this book and a couple of others, that “Toilet” refers to the proper dress for the occasion.

Yeah, me neither.

Oldies But Goodies Class

by Lisa Scott

Come join the fun for a low key 90 minutes of SCD. Tempos are a bit calmer, some formations are modified, and dancers are encouraged to make the dancing work for their physical ability. We have done dances from the RSCDS books 1 and 2 and will be heading on to dances in books 3 and 4 through March. The class starts at 7:30 on the 2nd and 4th Tuesdays each month and is held at Columbia Dance Studio in Vancouver, WA. For more info please call Lisa Scott at 971-227-8902.

Great Scot

by Keith Swingruber

A reminder that it took Scottish know-how to make it possible for us to wheel our way to classes and dances. ~ The Editor

John Loudon McAdam, 1756-1836

After a stint in New York City during the American Revolution, McAdam returned to Scotland in 1783 with a small fortune. He bought an estate in Ayrshire and became the district’s road trustee.

After observing the poor road conditions, McAdam started experimenting with improvements at his own expense. These experiments were continued in Cornwall, where he built raised road beds of cheap, local rock. The beds were then covered with smaller rock, and bound together with gravel, stone dust, and water.

McAdam wrote treatises on road construction, and was eventually appointed Surveyor General of Metropolitan Roads in Great Britian. His “macadamization” process quickly spread to other countries, paving the way for the modern highway.

John Boyd Dunlop, 1840-1921

Dunlop was born in Ayrshire, and trained as a veterinary surgeon in Belfast, Ireland. He conceived the idea for an air filled tire while trying to reduce bicycle vibration. In 1845, a patent had been granted to Robert William Thomson, but no practical uses were found for the invention.

In 1888, Dunlop was granted a patent for an all-rubber inner tube, protected by a rubber-treaded canvas jacket. Commercial production of his tires began in 1890, and Dunlop’s company was subsequently granted patents leading to the modern wheel and tire.

Like Ripples on a Pond

by Van Meter Hord

Another wee story reminding us of the ways Scotlands sons and daughters make our lives so much better. ~ The Editor

His name was Fleming, and he was a poor Scottish farmer. One day, while trying to eke out a living for his family, he heard a cry for help coming from a nearby bog. He dropped his tools and ran to the bog.

There, mired to his waist in black muck, was a terrified boy, screaming and struggling to free himself. Farmer Fleming saved the lad from what could have been a slow and terrifying death.

The next day, a fancy carriage pulled up to the Scotsman’s sparse surroundings. An elegantly dressed nobleman stepped out and introduced himself as the father of the boy Farmer Fleming had saved. “I want to repay you,” said the nobleman. “You saved my son’s life.”

“No, I can’t accept payment for what I did,” the Scottish farmer replied, waving off the offer. At that moment, the farmer’s own son came to the door of the family hovel.

“Is that your son?” the nobleman asked. “Yes,” the farmer replied proudly.

“I’ll make you a deal. Let me take him and give him a good education. If the lad is anything like his father, he’ll grow to a man you can be proud of.”

And that he did. In time, Farmer Fleming’s son graduated from St. Mary’s Hospital Medical School in London, and went on to become known throughout the world as the noted Sir Alexander Fleming, the discoverer of Penicillin.

Years afterward, the nobleman’s son was stricken with pneumonia. What saved him? Penicillin.

The name of the nobleman? Lord Randolph Churchill. His son’s name? Sir Winston Churchill.

Someone once said what goes around comes around. When you help someone else you are bringing joy into your life also.

Scottish Country Dance in Scotland

by Tom Halpenny

I attended my first Scottish dance in Scotland 9th January 2016, the formal Trinity SCD Club 63rd Annual Banquet and Ball. I was particularly keen to meet new friends and observe how people socially interact. Dance event organizers Colin and Joan Tyler were very friendly and welcoming. The format is similar to the Southwest Washington State Branch Dinner Dance. Guests were assigned seats for the 7:30 banquet with thirteen tables of ten guests each. I had pleasant conversations with fellow diners at my table. The dance programme began at 9:00 after the tables were cleared from the floor.

Alastair Wood and his Scottish Dance Band provided the energetic music with two accordions and keyboard. In a departure from prior years, the dances were briefed this year. (Dancers must have been pretty familiar with the programme during earlier years!) I enjoyed dancing with some of about ten RSCDS management committee members, whom I had met in the Away Day strategy meeting earlier in the day. I pulled out my sheet of Minicribs to refresh my memory of the next dance, while Keith Rose, who is famous for generating thousands of Pilling style dance diagrams, read his sheet of ball programme diagrams.

The Trinity Ball Programme

Trinity Ball Programme

After the final dance concluded, the band struck up a polka. The partner I had danced with took ball room hold and said, “Let’s go!” Dozens of dancers began racing around the dance floor in random directions with the polka step. I was a little nervous as we narrowly avoided a collision a couple times. Woohoo! ~ The Editor

Since the bus stopped running before midnight and it had been raining pretty steadily, the event hosts Joan and Colin were kind enough to drive me past my hotel, while delivering my polka-partner to the airport for an early flight. After a busy day of meeting and dancing, I slept well until a leg cramp hit me at 3:00am. I got back to sleep but jet lag returned and I ended up sleeping the day away. I emerged from my windowless room around 5:00pm and strolled into the evening for a final walk through Edinburgh streets before flying home the next morning.

“All the ills of mankind, all the tragic misfortunes that fill our history books, all the political blunders, all the failures of the great leaders have arisen merely from a lack of skill in dancing.” Moliere (1622-1673)

SW Washington Dinner Dance Program

Book of Graded SCDs
8×32J, 2C (4C set)
1-8 1s lead down the middle & back to top
9-16 1s+2s dance Allemande
17-24 1s dance full Fig of 8 round 2s
25-32 2s+1s circle 4H round & back
H. P. C. Mitchell Mitchell, 4 SCDs, 1978
4×32S, 4C set
1-8 1L and 3L set diagonally to 2M and 4M and change places RH, all set to partners on sides and change places RH
9-16 All dance full reels of 4 on sides
17-24 All set and cross over RH, 1s+2s also 3s+4s circle 4H round to left ending in 2 diagonal lines for ½ Poussette. 2143
25-32 2s+1s also 4s+3s dance ½ Diamond Poussette and 1s lead down to bottom
Romaine Butterfield, RSCDS Book 47
8×32R, 3C (4C set)
1-8 1s cast and dance behind lines to bottom and turn outwards to dance back to top
9-16 1s cross down to dance reels of 3 on opposite sides to end in partner's place
17-24 1s lead down middle and cross to own sides (Lady under Man's arm), 1s lead up to top and end facing partner with 2H joined
25-32 1s+2s dance Poussette. 213
H. Greenwood, RSCDS Book 46
8×32J, 3C (4C set)
1-8 1s set and 1L followed by partner casts below 3s, 1L crosses and casts up to face her 1st corner while 1M dances up the middle to face 1st corner
9-12 1s set to 1st corners and dance RSh round each other into 3rd corner (pstn) while 1st corners dance in and turn right about to face their original position
13-16 1s+1st corner person set and 1st corner persons dance RSh round each other into diag opp corners while 1s dance in and pivot to right to face 2nd corners
17-24 1s repeat bars 9-16 with 2nd corners and end passing RSh to 2nd place opposite sides. (3)(1)(2)
25-32 2s+1s+3s chase clockwise ½ way and turn partners RH
Dorothy Arton, RSCDS Book 25
8×32S, 2C (4C set)
1-8 1s lead down for 3 steps, ½ turn RH, lead up to top and cast to 2nd place opposite sides
9-16 2s+1s dance R&L, 1s turning to own sides
17-24 2s+1s Promenade
25-32 2s+1s Adv+Ret 1 step twice, turn partners RH
Playford, RSCDS Book 7
8×40R, 2C (4C set)
1-8 1s set & cast 1 place, set & cast back to original places
9-16 1M (followed by partner) casts 1 place, dances up between 2s & casts down behind 2L, crosses over & both end in 2nd place own side
17-24 1L (followed by partner) casts up to top, dances down between 2s & casts up behind 2M & crosses over & both end in original places
25-32 1s reel with 2M on Men’s side (1M & 2M pass LSh & 1L dances to 2nd pl on Men’s side to pass ptnr RSh (1L ends in own pl & 1M in 2nd pl)
33-40 1s reel with 2L on Ladies side (1L & 2L pass RSh & 1M dances to 2nd pl on Ladies side to pass ptnr LSh (1s end in 2nd place own side)
D. Haynes, Carnforth Coll. 1
8×32J, 3C (4C set)
1-8 1s set, cross down RH and face partner, set and turn LH to face 1st corners
9-16 1s set to 1st corners, full turn corner RH to dance ½ diagonal reel of 4 with 1st corners and pass LSh to face 2nd corners
17-24 1s set to 2nd corners, full turn corner RH to dance a ½ diagonal reel of 4 with 2nd corners and into centre
25-32 1M dances RH across with 3s (in 1st place) and 1L dances with 2s, 1s end in 2nd place opposite sides and 2s+1s+3s chase clockwise ½ way
Thomas Skillern, RSCDS Book 21
8×32S, 3C (4C set)
1-8 1s turn RH cast 1 place, turn LH and 1L casts up as 1M casts down to form lines of 3 across facing each other
9-16 1L+2s and 1M+3s set twice then 1s cast back to 2nd places and turn RH ending on own sides
17-24 2s+1s+3s set twice and turn partners 2H
25-32 2s+1s dance R&L
RSCDS Book 27
88R, Square Set
1-16 All Ladies cast & dance clockwise round outside of set back to place, Men repeat Fig but cast & dance anticlockwise round set
17-32 All dance Grand Chain ½ way & set to partner, continue chain back to place & set to partner
33-40 1s+3s change places 1s dance between 3s, repeat Fig back to places 3s dance between 1s & 1s+3s turn RH into Allemande hold
41-48 1s+3s dance round inside of set anticlockwise in Allemande hold
49-64 2s+4s repeat Fig bars 33-48
65-88 1s+3s dance ½ R&L, 2s+4s dance ½ R&L, repeat back to places, all circle 8H round & back
Intermission
Terry Glasspool, 7 Year Itch
8×32J, 3C (4C set)
1-2 1M set;
3-4 1M cast one place WHILE 1L set;
5-6 1M set WHILE 1L cast one place;
7-8 1M petronella turn to finish facing up between 3s WHILE 1L set;
9-10 1L petronella turn to finish facing down between 2s WHILE 3M1M3L set facing up;
11-12 2M1L2L set facing down WHILE 3M1M3L advance;
13-14 2M1L2L advance WHILE 3M1M3L retire;
15-16 2M1L2L retire, 1L pulling right shoulder back to finish facing up WHILE 1M advance to follow partner;
17-24 giving right shoulder to 2L to start, 1s dance tandem reel of 3 with 2s, finishing in 2nd place on own sides;
25-32 giving right shoulder to 3s to start, 1s dance parallel reels of 3 on own sides, finishing 2s1s3s.
Thomas Wilson, RSCDS Book 27
8×32S, 3C (4C set)
1-8 1s+2s cross RH and set, 1s lead down and dance out between 2s and 3s on opposite side, cast down and lead up to 2nd place in centre of dance
9-16 2s+1s dance “inverse” Allemande (1s dancing down to start)
17-24 1s+2s cross RH, set and dance ½ Poussette, 1s end facing 1st corners
25-32 1s turn 1st corner RH, partner LH, 2nd corner RH and partner LH
Iain Boyd, Harbour City
8×32R, 2C (4C set)
1-8 1s set and cross over RH, set and ¾ turn RH
9-16 1s dance RH across with 2M and LH across with 2L
17-24 1L followed by 1M dance down for 2 and 1M followed by 1L dance up for 2, both cast on Ladies' side and 1M crosses to 2nd place own side
25-32 2s+1s R&L
Derek Haynes, Carnforth Collection 5
8×32J, 3C (4C set)
1-8 1s+2s dance double Fig of 8 (1s cross down and 2s out and up to start)
9-16 1s cross down to dance reflection reels of 3 on opposite sides and end facing down (Lady on Man's right)
17-24 1s (Lady leading) dance an Alternating Tandem RSh reel of 3 across with 2s (RSh to 2M) and end in centre facing down
25-32 1s dance down between 3s, cast up 1 place (opposite sides), lead up between 2s, cross and cast to 2nd place own sides
J. Drewry, Bankhead Book 1
3×32S, 3C set
1-8 1s+2s set and Petronella-in-tandem twice to end with 2s+1s on opposite sides having changed places
9-16 2s+1s set and 2s cross RH and 1s LH, 1L dances RH across with 2s and 1M with 3s
17-24 1s+3s Set+Link and circle 4H round to left
25-32 2s+3s+1s dance Grand Chain (2s crossing to commence)
Roy Goldring (1983), Leaflet 7
8×32R, 3C (4C set)
1-8 1s ½ turn 2s on sides (1M RH - 1L LH) to face out, 2s+1s+3s set as in double triangles, 1s ½ turn 3s on sides (1M LH - 1L RH) end 3s facing out and 2s+3s+1s set as in double triangles
9-16 1s followed by 3s dance up between 2s, cast down 1 place, dance in and 1s cast up to 2nd place, 3s end in 3rd place
17-24 1s turn 1st corners RH, pass partner RSh turn 2nd corners RH and cross passing partner RSh to 2nd place own sides
25-32 2s+1s+3s circle 6H round and back

Solicitation of Articles

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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.

January 2019

Portland Dance [crib]
Burlingame Water Tower, Portland, Ore.
1/12 at 7:30pm

March 2019

Portland Ball
Portland
3/9

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 2018-2019

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?