57th AnnualAward recipients

San Antonio Folk Dance Festivalhttp://safdf org

Lee Otterholt (2015 National Dance Award)Lee was born in the US of Norwegian-American parents, lived and worked most of his lifein Norway as a professional dancer dance teacher and choreographer The last 10 years http://safdf.org

W SW Sin Norway as a professional dancer, dance teacher and choreographer. The last 10 yearshe has been active on the international scene, teaching international folk dance ("Balkanand Beyond") at festivals, workshops and camps in Europe, the US and Asia and leadingfolk dance cruises and tours to many part of the world. He has a professional education in

World Dance ShowcaseWorld Dance Showcasechoreography and was one of the choreographers of the Opening Ceremony of the WinterOlympic Games in Lillehammer, Norway in 1994. Lee's teaching emphasizes style:dancing well, not just "getting the steps." Whenever he can, he also tries to bringimprovisation, self-expression and spontaneity back into the folk-dancing traditions where DD

A concert of folk dance performancesA concert of folk dance performancesp p p y g

these elements are a central part of the tradition. Lee never loses sight of the fact thatrecreational folk dancers dance because it's fun and because the dances mean somethingto us - just as they were fun and meant something to the village dancers before us! A concert of folk dance performancesA concert of folk dance performances

Lisa Horn (2015 Texas Dance Award)Lisa started folk dancing — and performing — at age 4. Ever since then, she has

i d i t t l t d d th i ti t f i t ti l f lkremained a sunny, vivrant, talented, and enthusiastic supporter of international folkdancing. Lisa was a regular at Houston International Folk Dancers for many years,programming and teaching there on a regular basis all the way until she moved to Austin.She also served on the TIFD board of directors from 2006 through 2009. Lisa contributeda lot to Texas Camp, doing everything from organizing the Not Your Parents' Dance Partyor co-chairing the entire event. Her infectious smile, superb dance talent, and penchantfor wholesome dance mischief have brightened innumerable hearts in the Texas folkdance community.y

The festival thanks...

Our Friends of SAFDF:Vonnie Brown Dick Oakes

Saturday, March 14, 2015

Vonnie Brown Dick OakesKay Demos Dugan SabinsElaine Moczygemba... and some anonymous friends!

7:30 p.m.Our Lady of the Lake University, Thiry Auditoriumy y, y

Concert ProgramConcert Program

There will be a 10-minute intermission between acts.

Jesus Arenas, Lissa Bengtson, Brenda Benton, Janie Cotter, Jimmy Drury, Maria Liñan, Denes Marton, Mona Lisa Montgomery, Liz Newton, Elizabeth Ruiz, Misi Tsurikov

There will be a 10 minute intermission between acts.Flash photography is not permitted during the concert.

and the biggest thanks to Nelda Drury for creating and maintaining SAFDF for more than 50 years. We honor her by continuing the tradition!

Act 1Opening remarks Lissa Bengtson

Act 2Presentation of awards Lissa BengtsonOpening remarks Lissa Bengtson

Music and dances of Scotland Jacqueline Schwab with Bluebonnet Scottish Country DancersDirection by John Roby

Presentation of awards Lissa Bengtson

Alegrías (Spanish flamenco) La Chiqui El Patriarca El Tiburon La Sonya La MorenaWe are honored to have Jacqueline Schwab, a world-renowned pianist and dance teacher, opening our concert with herbeautiful music. Scottish country dance is a centuries-old social dance style practiced today on nearly every continent.Dances are categorized as quick-time dances (such as reels and jigs) and strathspeys (which have a slower tempo andmore stately feel). The Bluebonnet Scottish Country Dancers have practiced this dance form for over 20 years, performing

Alegrías (Spanish flamenco) La Chiqui, El Patriarca, El Tiburon, La Sonya, La MorenaDirection by Carmen "La Chiqui" Linares

Flamenco is a form of Spanish folk music and dance from the region of Andalusia in southern Spain. It includes cante(singing), toque (guitar playing), baile (dance) and palmas (handclaps). Flamenco is often associated with the gitanosmore stately feel). The Bluebonnet Scottish Country Dancers have practiced this dance form for over 20 years, performing

all over Texas. Tonight they present "The Hare Reel", "John McAlpin", and "J.B. Milne", accompanied by Jacqueline.

Australian Bush Alamotion / FandangoChoreography staging and Alamotion direction by Alysya Perez

(Romani people of Spain). Alegrías has a 12-beat lively rhythm. A traditional dance in alegrías must contain each of thefollowing sections: a salida (entrance), paseo (walkaround), silencio (similar to an adagio in ballet), castellana (upbeatsection) zapateado (Literally "a tap of the foot") and bulerías.

Choreography, staging, and Alamotion direction by Alysya PerezFandango direction by Sonya Jimenez

The term "Australian bush" is iconic in Australia. It refers to any sparsely inhabited region regardless of vegetation. Thebush in this sense was something that was uniquely Australian and very different from the green European landscapes

Asian Fusion San Antonio Metropolitan BalletChoreography by Denise OustaletS S C

g q y y g p pfamiliar to many new immigrants. Romanticizing the bush was a big step forward for Australians in their steps towards self-identity. Tonight, Alamotion presents "Bushmen", a modern dance depiction of the cowboys who work and live in thebush/outback, and "Queensland Backstep", a barn dance of the bush that is equal to the Virginia Reel.

Staging by Susan Connally and Karin HeidenSan Antonio Metropolitan Ballet was originally founded in 1983 as San Antonio Dance Theatre (SADT). In 1989, SADTbecame a member of Regional Dance America (RDA), a national association of regional dance companies. SADT assumedthe name of San Antonio Metropolitan Ballet in 1995. The company performs extensively at festivals and benefit events,

Māori dances Hula Halau Ohana ElikapekaDirection by Rene'e Park

The first dance is the Haka. It is chanted (usually by men) before a competition. Next are dances with the Poi. In the old

the name of San Antonio Metropolitan Ballet in 1995. The company performs extensively at festivals and benefit events,and produces two major performances each season. Tonight's performance showcases selections of a longer workfollowing the development of Japanese theatre and dance from the 16th century to the present. It is a study of Japanesedance from ancient processional rituals through traditional fan dance to a more modern fusion of martial arts with dance.

days, Poi were used as weapons to hunt and fish with. The dancers portray rowing their canoe to go fishing. They try tofollow the birds, since these know where the good fishing is. But they come across some winds and have to turn back. Thethird dance is Poi E, which tells of a visit to a neighboring village. They start in their canoe to visit their friends/family. Asthey visit, they tell stories and show off their hunting/fishing skills as they enjoy the day and eat.

Dances from the Black Sea region Gazelle Turkish Folk Dance GroupDirection by Nihan Sengul

The Polka Dance San Antonio Hermann Sons PolkateersDirection by Cheryl Kiolbassa Kindervater

ec o by a Se guGazelle Turkish Folk Dance Group was founded in 2013 by a group of enthusiastic volunteers dedicated to preserve, stage,and teach ethnic dances from various regions of Turkey. Tonight's presentation focuses on Karsilama and Horon dancesfrom the Black Sea region. There, corn and the sea play an important role in the local economy and social life. One of thetypes of fish that lives primarily in the Black Sea is the hamsi a kind of anchovy The dances of the region reflect theThe word Polka (Pulka ) is Czech, meaning "half-step", pertaining to the quick movement from one foot to the other. The

polka and other dances that followed were spin-offs of the waltz. The polka began to rival the waltz about 1835. There aremany variations of the Polka, such as the Heel and Toe Polka, Polka-Valse, Scottische-Polka, Polka-Coquette, and others.Another variation was named the Redowa (¾ time) in southern Germany in 1830. It is the same as the Polka, except thatth f th P lk i itt d d i d i t th f b th th i d th d

types of fish that lives primarily in the Black Sea is the hamsi, a kind of anchovy. The dances of the region reflect themovements of the hamsi as it swims in the sea or struggles in the nets for its life.

the pause of the Polka is omitted, and in dancing you count three for both the music and the dance.

"¡Veracruz! Sones y Tarimas" Fandango / Ballet Folklorico South Texas CollegeChoreography by Ernesto Luna Ramirez

Cuban Suite — "Vamos a echar un pie!" Komenka Ethnic Dance EnsembleDirection by John Rodi, Daniel Gianfala, and Cheryl O'SullivanChoreography by John Rodi based on material from Ramon Ramosg p y y

Fandango direction by Sonya JimenezThis is a tribute to the diversity of rhythms and traditions that gave way to the origin to the Son Jarocho genre. Theseinfluences stem primarily from Indigenous, African, and Spanish dances, instruments, symbolism, songs, and ambience.These influences have innovatively come together to evolve the more traditional dance steps and contemporary dance

Modern Cuban dance and music styles evolved from European settlers and African slaves who initially arrived in Cuba inthe 16th century. They represent a fusion of traditional sounds, movement, and motifs from their former countries, all ofwhich has been fused to form a distinct and unified Cuban culture. This presentation begins with a slow “Son” selectionwhich is a dance that began in the 1930’s with rural Cubans. Next is a much more contemporary “Salsa” selection. This

These influences have innovatively come together to evolve the more traditional dance steps and contemporary dancetechniques to form a new identity for Mexican folkloric dance in Veracruz. The Son Jarocho genre strives to preserve theessence and characteristics of the more-traditional form of Veracruz dances.

D f A i K k Eth i D E bl

Salsa presentation incorporates the “Rueda de Casino” motif, which is a way of dancing Cuban Salsa where pairs form acircle and dancers frequently swap or change partners. We hope this presentation captures Cuba's love of dance as in thetypical Cuban phrase, “Vamos a echar un pie!” (Let’s dance until we drop!)

Dances of Armenia Komenka Ethnic Dance EnsembleDirection by John Rodi, Daniel Gianfala, and Cheryl O'SullivanChoreography by John Rodi based on material from Tom Bozigian

Armenia is located in the southern Caucasus region between Europe and Asia In large part due to the tumultuous political

Baja California: Calabaceados Ballet Folklorico South Texas College with Conjunto JaguarChoreography by Héctor Aldana

Armenia is located in the southern Caucasus region between Europe and Asia. In large part due to the tumultuous politicalhistory of Armenia, most of the present day folk dances (and related music) of Armenia are mid to late 20th centuryinventions, passed down by people who fled their traditional homeland to avoid persecution. Tonight's presentation includesa staged medley of six folk dances. The first two are “Loorke” and “Pampooreeg”, which were brought to U.S. byimmigrants from ancient western Armenia Next is “Hashtayee” brought to the U S by Persian Armenians during the 60’s

The Calabaceados dance is a custom dance in Baja California, Mexico. Like many folkloric dances, this dance originated insmall communities or among common laborers in Mexico. The main steps in the dance originate from the imitation of farmanimals, such as horses and their kicks. Through immigration into the United States from Mexico, dances, song, costume,and Calabaceados as a dance have become custom and appealing in the United States Conjunto Jaguar is an ensembleimmigrants from ancient western Armenia. Next is Hashtayee , brought to the U.S. by Persian Armenians during the 60 s

and 70’s. Next is “Jakharak”, a stylized women’s dance whose name translates in English as “spinning wheel”. Next is“Kocharee”, the Armenian national dance for men .The final dance is “Jo Jon”, a popular dance done at family gatherings.

and Calabaceados as a dance, have become custom and appealing in the United States. Conjunto Jaguar is an ensembleof students from South Texas College that plays Conjunto Tejano and Regional Norteño music on four regionalinstruments — drums, electric bass, bajo sexto, and accordion.