*S stands for Song, a category I apply to part of the repertoire of recreational folk dancers. Songs are just that – songs, or sometimes merely melodies, that are well-known in their country of origin, but aren’t necessarily associated with any particular dance. They may be traditional folk songs, or pop songs written in the folk style, or ‘pure’ pop creations that are dance-able. People will dance to them, but there is no culturally agreed upon ‘traditional’ dance that is particular to that song, just as we don’t associate any particular dance with “Blowin’ in the Wind” or “Lady Madonna”.
(2*) a 2nd Generation dance.
A simple definition of a 2nd Generation folk dance (2ndG) is any dance that isn’t 1stG. More specifically it’s the context in which the dance was created – formal (2nd existence) rather than informal (1st Existence); conscious creation for a specific purpose rather than gradual evolution in a native context – that separates 1stG & 2ndG dances. For more detail on 1st & 2nd Existence situations, see A “Real” folk dance – what is it?
1stG dances are generic – no fixed choreography, length, sequence, or music. It may have a formulaic pattern like, say, the Taproot Dance, but that pattern can vary from person to person according to age, gender, ability, even mood. Many different songs or instrumental arrangements may be associated with the dance. In a dance line, people may be doing different variations at the same time, as long as they don’t interrupt the flow of the dance.
2ndG dances, on the other hand, are specific – usually pegged to a specific song with a specific arrangement. The choreography often matches a particular recording and will only work with that recording. Everyone in the line does the same step at the same time. The dance may be a combination of the best bits from several similar dances. It may be the creation of a choreographer who liked a recording and wanted to have “authentic” footwork attached to it.
Fado – the musical form
Ira Weisbrud, who popularized the dance Fado Portugues de Nos, often shortens the name of this dance to Fado Portugues. However the recreational folk dance is not to be confused with a famous song Fado Portugues by Amalia Rodrigues, and covered by Maritza.
Fado Português de Nos Lyrics
Source: https://lyricstranslate.com/en/fado-portugu%C3%AAs-de-n%C3%B3s-portuguese-fado-us.html
Nasceu de ser Português Born of being Portuguese
Lived life of being Portuguese
Fez-se à vida pelo mundo Did his life around the world
Foi p´lo sonho vagabundo Went by the vagabond dream
Foi pela terra abraçado Foi pela terra abraçado
//: Bem querido ou mal amado //: Well deared or badly loved
O Fado.:// The Fado.://
Viveu de ser Português Lived of being Portuguese
Foi alegre e foi gingão Was cheerful or gingerly
Por ser um fado é cançao For being a Fado, it's a song
Por ser futuro é passado For being the future, it's the past
//: Mal querido ou bem amado //: Badly deared or well loved
O Fado.:// The Fado.://
Cada vez mais Português Every time more Portuguese
Anda nas asas do vento Walks in the wings of the wind
Ás vezes solta um lamento Sometimes is lets out a lament
E pede p´ra ser achado And asks to be found
//: Ele é querido, ele é amado //: He's a dear, he's loved
O Fado.x3// The Fado.x3//
Fado Português de Nos – the dance
According to Ira Weisbrud, the dance was choreographed by Jeannette Schwartzman to fit the Maritza recording above. Andrew Carnie (below) says “Dale Adamson says that she has Nanni Kloke from the Sacred Circle Dance tradition listed as the choreographer.”
Introduced by Ira Weisburd Source, https://www.folkdance.com/video/fado-portugues/
The notes below, ©2015, Andrew Carnie
Bar 1: facing center, Step R (1), L (&), R (2) into the center, arms come up to W position.
Bar 2: facing center, Step L to L(1), closer R next to L (&), Step L to L (2)
Bar 3: Step R (1), L (2) backing out of the center, arms come down to V position
Bar 4: Repeat bar 2, with opposite footwork and direction.
Bar 5: Facing slightly R of center, step L (1),R (2) in LOD
Bar 6: Step L (1), close R (&), Step L (2) all in LOD
Bar 7-8: repeat bars 5-6 with opposite footwork but still traveling in LOD
Bars 9-16: repeat bars 1-8 with opposite footwork and direction.
Memory jogger notes by Don Buskirk. Each person occupies a pie-shaped piece in the circle, moving in (start on right), side to left, back out, walk to the right around the circumference. Repeat, this time going in starting on the left, side to right, back out, walk to left. Every other step on every other foot, like walking to an uneven rhythm. Rhythm of steps, QQ,S,x2; S,S,QQ,S,x3.
Slogan: In 2,3; Side 2,3; Back,back,turn 2,3; Walk,walk,walk 2,3; Walk,walk,walk 2,3; Repeat. Slogan is the same for both directions.
Folkdance Footnotes 