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The (Virtual) Sunday Class
led by Amanda Peart
Following
the
“virtual”
Dances
idea,
it
was
suggested
that
we
had
a
virtual
class.
Many
dancing
areas
in
the
world
have
their
equivalent
to
The
Sunday
Class,
where
experienced
dancers
have
a
chance
to
try
out
interesting
dances
which
wouldn’t necessarily be appropriate for their weekly social or teaching classes.
Therefore,
The
Sunday
Class
does
not
really
lend
itself
to
solo
dancing,
nor
are
the
dances
on
the
programme
likely
to
be
ones
which
many
people
would
recognise,
so
this
is
a
chance
to
show
what
a
class
of
this
type
contains
(though
all
dances
would
be
taught
of
course,
and
we
are
nowhere
near,
or
attempting
to
be,
demonstration
quality),
and
once
everyone is back dancing again, maybe you will feel that you’d like to attend a class “for real”!
For
this
class
I
had
some
suggestions
from
John
&
Ruth
Smith
(who
live
in
the
Scottish
Borders
but
are
visiting
TSC
members)
from
their
BGH2
Club
programme
which
was
recently
cancelled,
and
I
added
in
some
TSC
favourites
where
I
could source a video.
Are you ready?
At TSC we don’t have a warm-up routine but this has just been suggested by a long-term mem
ber:
Now
are
you
ready?
Click
on
the
title
of
a
dance
to
see
the
video
(Click
square
icon
at
bottom
right
of
video
to
get
full
screen). Each video should open in a separate window so just close it when it finishes.
If
you
move
your
cursor
over
the
right
hand
end
of
the
text
line
(where
the
deviser’s
name
is)
you
may
get
some
extra
information displayed.
Cribs/diagrams, where available, can be accessed from here:
https://my.strathspey.org/dd/list/28025/
Hope you enjoyed your afternoon
Check on the Area Diary for the next opportunity for a Virtual Dance/Class.
Stay in, keep safe - and stay sane!
This
video
shows
me
teaching
this
dance
in
the
US
only
a
week
after
I
first
danced it at Pinewoods 2016.
The
Zytglogge
(pronounced
tsit-kloka)
is
a
landmark
medieval tower in Bern, Switzerland.
When
it
was
built
around
1218–20,
the
Zytglogge
was
a
squat
building
of
only
16
metres
in
height
and
served
as
the
gate
tower
of
Bern's
western
fortifications.
When
the
rapid
growth
of
the
city
and
the
further
expansion
of
the
fortifications
relegated
the
tower
to
second-line
status
at
around
1270–75,
it
was
heightened
by
7
metres
to
overlook
the
surrounding
houses.
After
the
city's
western
defences
were
extended
again,
in
1344–46,
the
Zytglogge
was
converted
to
a
women's
prison,
notably
housing
Pfaffendirnen
–
"priests'
whores",
women
convicted
of
sexual
relations
with
clerics.
At
this
time,
the
Zytglogge also received its first slanted roof.
In
the
great
fire
of
1405,
the
tower
burnt
out
completely.
It
suffered
severe
structural
damage
that
required
thorough
repairs,
which
were
not
fully
completed
until
the
last
restoration
in
1983.
The
prison
cells
were
abandoned
and
a
clock
was
first
installed
above
the
gate,
probably
including
a
simple
astronomical
clock
and
musical
mechanism.
This
clock,
together
with
the
great
bell
cast
in
1405,
gave
the
Zytglogge
its
name,
which
in
Bernese
German means "time bell".
In
the
late
15
th
century,
the
Zytglogge
and
the
other
Bernese
gate
towers
were
extended
and
decorated,
and
the
astronomical
clock
was
extended
to
its
current
state.
In
1527–30,
the
clockwork
was
completely
rebuilt
by
Kaspar
Brunner,
and
the
gateway
was
overarched to provide a secure foundation for the heavy machinery.
The
Zytglogge's
exterior
was
repainted
in
1607–10,
including
the
introduction
of
the
large
clock faces which now dominate the east and west façades of the tower.
Following
at
least
two
more
re-stylings,
the
design
came
to
be
disliked
in
the
20
th
century,
and
a
1929
competition
produced
the
façade
designs
visible
today:
on
the
west
façade,
Victor
Surbek's
fresco
"Beginning
of
Time"
and
on
the
east
façade,
a
reconstruction
of
the
1770
design
by
Kurt
Indermühle.
In
1981–83,
the
Zytglogge
was
thoroughly renovated again and generally restored to its 1770 appearance.
The
Bernese
German
Zytglogge
translates
to
Zeitglocke
in
Standard
German
and
to
time
bell
in
English.
A
"time
bell"
was
one
of
the
earliest
public
timekeeping
devices,
consisting
of
a
clockwork
connected
to
a
hammer
that
rang
a
small
bell
at
the
full
hour.
Such
a
device
was
installed
in
the
Wendelstein
in
Bern
–
the
tower
of
the
Leutkirche
church
which
the
Münster
later
replaced
–
in
1383
at
the
latest;
it
alerted
the
bell-ringer
to ring the tower bells.
The
name
of
Zytglogge
was
first
recorded
in
1413.
Previously,
the
tower
was
referred
to
as
the
kebie
("cage",
i.e.,
prison)
and
after
its
post-1405
reconstruction,
the
nüwer
turm
("new tower").
The
Bonnie
Lass
o'
Bon-Accord
is
a
tune
by
James
Scott
Skinner,
‘The Strathspey King’, inspired by girl called (Wilhelmina) Mina Bell.
In
Skinner’s
life
story,
which
was
serialised
in
the
People's
Journal
in
the early 1920s, he tells how he met a servant girl –
“who
it
was
plainly
to
be
seen
was
a
'cut'
above
the
ordinary
servant
lass
of
those
days
and
proved
herself
a
splendid
'tripper of the light fantastic toe'."
At
the
first
opportunity
Skinner
spoke
to
her
and
she
told
him
that
her
father used to play bass fiddle for Skinner's father.
Skinner
said
she
was
a
splendid
dancer
and
asked:
"Hoo
comes
it
that you are a servant lass here?"
The
girl's
eyes
filled
with
tears
and
replied,
"My
father
was
a
farmer
at Cockley, Maryculter, but he's living oot at Newtonhill now."
"How's
that?"
asked
Skinner,
sensing
tragedy.
"Oh",
sobbed
Mina,
"my
father
signed
a
bill
for
a
freen
and
got
it
a'
tae
pey.
That
was
his
ruin. He is now glad of a day's work and that is why I am here."
"Never
mind,
my
lassie,
I'll
mak'
a
tune
that'll
keep
ye
in
min'
when
we’re baith deid."
Next morning Skinner composed The Bonnie Lass o' Bon-Accord.
When
the
memorial
to
Scott
Skinner
was
unveiled
at
Allenvale
Cemetery
in
Aberdeen,
on
November
28,
1931,
Mina
Bell
was
an
honoured guest.
Few
visitors
to
Fetteresso
Cemetery
(which
overlooks
the
Stonehaven
by-pass)
will
have
spotted
the
gravestone,
facing
north
to
the
farm
of
Clayfolds
Newtonhill,
where
she
was
born
on
May
27
th
,
1866,
with
the
inscription:
"In
loving
memory
of
Mina
Bell,
who
died
8
th
June,
1938,
aged
72
years,
immortalised
in
James
Scott
Skinner's masterpiece The Bonnie Lass o' Bon-Accord.”
A
dance
I
learnt
probably
not
that
long
after
it
was
devised,
with
a
beautiful
tune,
which
needs
care
and
attention
to
ensure
you
all
end
up
with
the
right
person
in
the
right
place
after
the
interlocking
reels
of
4,
but
definitely
worth
mastering!
Recumbent
stone
circles
are
a
variation
on
the
standard
stone
circles
and
are
peculiar
to
the
north
east
of
Scotland
and
the
south
west
of
Ireland.
Recumbent
stone
circles
date
back
to
approx
3000BC.
A
recumbent
circle
is
formed
principally
of
a
ring
of
stones,
like
all
other
stone
circles;
however,
there
is
one,
large
recumbent
stone
laid
on
its
side
(Bars
1-8,
2s+3s+4s
6
hands
round
and
back),
on
the
south-west
side
of
the
circle
(thought
to
be
used
in
observations
of
the
moon),
usually
flanked
by
the
two
largest
of
the
standing
stones
immediately
on
either
side
(Bars
4-8
1s
&
5s
turn
RH).
The
stones
are
commonly
graded
in
height with the lowest stones being diametrically opposite to the tall flankers.
Its
almost
perfectly
circular
plan
places
this
circle
early
in
the
series
of
recumbent
stone
circles.
The
characteristic
differentiation
between
the
recumbent
with
its
flankers
and
the
other
circle
stones
can
be
seen
clearly,
both
in
terms
of
height
of
stones
and
their
geological
origin.
The
stones
are
unusually
broad
and
are
of
pinkish
porphyry,
with
the
stone
next
to
the
east
flanker
being
of
glowing
red
jasper
(which
was
said
to
have
magical
qualities
if
touched).
The
flankers
are
grey
granite.
The
recumbent
is
reddish
granite,
whose
outer
face
has
been
smoothed
carefully.
Some
evidence
indicates
that
a
ring
cairn
was
situated
inside
it
although
no
traces
can
be
seen.
The
interior
has
a
slightly
hollowed
area
towards
the
centre.
Keillar
(1934)
referred
to
a
cist
which
'had
been
covered
with
a
capstone'.
The
low
stone
bank
surrounding
the
circle
has
been added to in recent times.
The
name
'Easter
Aquorthies'
derives
from
Gaelic
but
opinions
differ
as
to
the
exact
meaning.
Some
believe
that
it
means
'field
of
prayer'
(from
'auch'
or
'achd'
meaning
'field',
and
'ortha'
meaning
'prayer').
Others
contend
that
it
means
'field
of pillar stone' ('achadh choirthe').
There
is
a
fine
example
at
Easter
Aquhorthies
to
the
north-west
of
Inverurie
which
has
unusual
acoustic
properties
and
it
is
suggested
that
the
old
priests
used
these
to
impress
the
people
with
their “magic” powers!
When
I
first
learned
this
dance
it
was
from
this
video
as
it
was
a
new
dance
appearing
on
a
Ball
programme,
so
I
carefully
noted
every
move
including
the
final
modified
bars
to
link
to
the
next
dance!
The
dance
was
devised
for
Brian
and
Jane
Rose
on
celebrating their Silver Wedding 3
rd
September 2008.
Jane
Rose
was
Chairman
of
Berkhamsted
Strathspey
&
Reel
Club
when
they
celebrated
their
Diamond
Anniversary.
Dedicated
to
Vanessa
de
Schoene
who
has
been
faithfully
caring
for
the
Scottish
Country
Dance
group
in
Lausanne
almost
since
time
immemorial.
Murrough
gives
free
access
to
the
instructions
for
this
dance
and
a
download
of
Marian
Anderson’s
band
playing
her
tune
-
Vanessa’s
Pleasure - on
his page on my.strathspey
.
I
was
first
introduced
to
this
dance
by
Jim
Stott,
and,
as
well
as
being
for
a
triangular
set,
it
also
has
what
Murrough
describes
as
a
“Bourrel-like”
sequence
and
8-bars
of
Schiehallion
reel
to
finish
the
progression.
There
are
a
lot
of
opportunities
for
covering
and
the
dance
would
be
an
excellent
choice for a demonstration.
Devised
by
David
Queen,
son
of
Alex
(who
devised
Angus
MacLeod),
RSCDS
teacher,
and
fiddler
with
the
Scottish
Measure
SCD
Band,
for
Deb Lees who taught at a London Branch Day School.
We
only
danced
this
dance
twice
-
in
2010,
the
first
year
of
The
Sunday
Class.
At
the
time
we
found
the
Schiehallion
reel
in
a
longwise
set
very
confusing.
The
movement
has
similarities
to
the
central
part
of
“Dance
to
the
Corners
&
Set”
but
there
is
no
setting,
of
course,
and
the
“2
long
steps,
2
short
steps” of a Schiehallion reel still has to be adhered to.
Maybe 10 years on is time to give it another go …
Meopham
is
an
attractive
Kentish
village
lying
to
the
south
of
Gravesend,
often
called
the
"longest
village
in
Kent".
Doubtless
this
is
due
to
its
linear
shape
which
stretches
along
the
A227
road
and
despite
the
noise
from
the
road, Meopham still manages to retain a semi-rural atmosphere.
Seldom
is
anything
written
about
Meopham
without
reference
to
the
"famous
old
cricket
club
and
lovely
village
green
on
which
cricket
has
been
played
for
centuries".
With
the
club’s
long
history
dating
from
1776,
Meopham Village Green is one of the oldest cricket venues in the country.
There
is
also
a
windmill,
built
in
1801,
which
has
been
lovingly
restored
back
to
its
original
working
order
and
is
now
one
of
the
best
preserved
in
Kent.
This
dance
was
devised
by
Mary
Howard
for
the
Meopham
Club
-
Mary
lived
(and
danced!)
in
Kent
before
moving
to
Kendal.
Mary
organises
Dancing
Holidays
and
has
been
on
several
which
I
have
organised.
This
year,
in
Sorrento,
I
had
a
“Kent
contingent”
due
to
attend
during
the
second
week
and
so
this
dance
was
included
on
the
programme.
Several
of these dancers are in the set on this video.
I
devised
this
dance
for
Brenda
&
Jenny
Parsons,
identical
twins
who
my
father
described
as
“delightful”
(as
they
are!),
and
Marian
Anderson wrote them “a wee jig” which she recorded on TSC1 CD.
2
years
ago
I
was
asked
by
a
friend
in
Australia
if
I
would
produce
videos
for
some
of
my
dances,
but
this
is
not
something
which
I
find
comes
to
the
top
of
my
To
Do
list
very
often.
An
opportunity
arose
to
produce
this
one
at
The
Paddocks
Weekend
of
Dance
organised
by
Sutton
Coldfield
RSCDS
Branch,
and
we
were
able
to
dance
to
Martainn Skene’s playing of Marian’s tune “Brenda & Jenny’s Jig”.
This
dance
by
the
deviser
of
Deer
Friends
has
a
particularly
neat
movement
of
½
reels
of 4 and ¾ turns, and deserves wider exposure.
This
dance
includes
the
formation
“Chain
Progression
for
3
couples”
or
“Chaperoned
Chain
Progression”
and
it
is
very
important
that
dancers
have
a
robust
understanding
of
the
formation
before
they
attempt
to
dance
any
variations,
such
as
in
this
dance
where
it
occurs
on the diagonal.
So
my
teaching
philosophy
would
be
to
practice
several
strathspeys
with
the
formation
in,
then
move
into
quick-time,
particularly
in
“3-in-
a-4”
couple
dances
such
as
The
Countess
of
Dunmore’s
Reel,
and
then you should be ready for Forty and Counting!
Once
mastered,
this
dance
gives
a
great
sense
of
achievement
and
much enjoyment!
