HoraWiki - User contributions [en]

Dances with evocative music

2025-06-13T19:04:18Z

Aaron:

Sometimes a short passage of music, or even just a few notes, reminds us of a completely different song. This page collects dances with such evocative music.

(Note that we're talking about pieces that briefly sound like other pieces. For examples of dances whose music is entirely taken from elsewhere, see [[Original Music]].)

Please keep this table in alphabetical order.

{| class="wikitable"
! Part of the music to dance . . . !! . . . evokes the song
|-
| Bat Shishim || [https://www.youtube.com/watch?v=k6zW225k_O0 Frosty the Snowman]
|-
| Halev Nitpas || [https://www.youtube.com/watch?v=84sHTvn6xf8 Every Time We Touch]
|-
| Kessem Chalili || [https://www.youtube.com/watch?v=PSZxmZmBfnU Somewhere Over the Rainbow]
|-
| Latsafon B'Ahava || [https://www.youtube.com/watch?v=PxRW-duSCLA It's a Small World]
|-
| Yasmin || [https://www.youtube.com/watch?v=fNFzfwLM72c Stayin' Alive]
|-
| Salamati || [https://www.youtube.com/watch?v=oPQ3o14ksaM Get Busy]
|}

[[Category: Dances]]
[[Category: Dance Lists]]

Unusual Meters

2023-10-05T23:06:08Z

Aaron: /* Asymmetrical Meters */

__NOTOC__
On this page you can find a collection of dances to songs with unusual meter, phrasing, or musical construction.

For our purposes "usual" means measures of two, three, four, or six beats, grouped in phrases of two, four, six, or eight bars.

A further explanation can be found below the lists of dances.

==== Asymmetrical Meters ====

Please keep this table in order by meter, then alphabetically by name of dance.

{| class="wikitable"
! Dance Name !! Main Meter(s) !! With a Few Measures In !! Notes on Meter and Phrasing
|-
| Eich Olam Mamshich || 5/8 (3-2) || ||
|-
| Machur Al Yevanit || 5/8 (3-2) || 2/4 || In the first part, the last measure of each phrase in the first part is in 2/4.
|-
| Ahava Shelanu || 7/8 (3-2-2) || ||
|-
| Da'asa (Moshiko) || 7/8 (3-2-2) || ||
|-
| Da'asa (Yakovee) || 7/8 (3-2-2) || ||
|-
| Darbashiya || 7/8 (3-2-2) || 5/8 (3-2) || The third measure of the third part is 5/8.
|-
| Halleluya (Bitton) || 7/8 (3-2-2) || 4/4 || First and third sections in 7/8, middle section in 4/4.
|-
| Halleluya L'Gal || 7/8 (3-2-2) || || The first and third part consist of phrases with five measures each.
|-
| Mecholot Damar || 7/8 (3-2-2) || 4/4 || First section in 4/4, second and third sections in 7/8.
|-
| Reiach Tapuach Odem Shani || 7/8 (3-2-2) || ||
|-
| Laz || 7/8 (2-2-3) || ||
|-
| Isha Al HaChof || 9/8 (3-2-2-2) || ||
|-
| Sovev Gal Gal || 12/8 (3-2-2-3-2) || || Could be counted as 6. Further discussion in [[Music vs Dance|Music vs Dance.]]
|}

==== Unusual Songs: Unusual Phrasing, Extra Beats, Changes in Meter ====

Many dances have an unusual meter which isn't asymmetrical or additive, or have unusual phrasing, extra or missing beats, changes in meter, etc. Due to the number of dances which exhibit multiple traits on this list, please keep this table in alphabetical order, and explain the musicality in the appropriate fields.

{| class="wikitable"
! Dance Name !! Main Meter(s) !! With a Few Measures In !! Notes on Meter and Phrasing
|-
| Anavai || 2/4 || 3/4 || The second part has a phrase of 8 followed by a phrase of 9, the last measure being 3/4 to give an extra beat.
|-
| BeLeilot HaKaitz HaChamim || 2/4 || || First part counted 4-4 and repeated, second part is counted 4-2-4-4 and repeated.
|-
| Chamsa || 4/4 || || The first section has (appropriately) five phrases of two measures each, and the last section is a phrase of nine measures.
|-
| [[Chof Shaket]] || 3/4 || || The first section has two phrases of eight measures each, while the second section is a phrase of nine measures.
|-
| Derech Eretz HaShaked || 2/3 & 2/4 || || First part has two phrases of 6-6-6-8, second part has phrases of 5-6-5-6 and then 6-6-6-8. The first group of 6-6-6 are made from 2/4 measures for a straight feel, the 6-6-6 in the second part is made from 3/4 measures for a waltz feel.
|-
| Dror Yikra || 2/4 || 3/4 || First part counts 6-8, second part counts 9-6-8. The third measure of the second part is 3/4 (7-8-9 of the phrase).
|-
| Eretz Israel Yafa || 3/4 || 4/4 || Mostly in 3/4 - last phrase of the chorus ends in a measure of 4/4, giving an extra beat.
|-
| Et HaGeshem || 3/4 || 4/4 || Mostly in 3/4 - last measure of the first phrase is 4/4, giving an extra beat.
|-
| Gozi Li || 7/4 & 4/4 || || First part is in 7/4 (or one measure each of 4/4 and 3/4), second part is in 4/4.
|-
| HaChinanit || 4/4 || 2/4 || The second part has an extra measure of 2/4 at the end. However, the dance behaves differently, see [[Music vs Dance|Music vs Dance.]]
|-
| HaReshut || 4/4 || 2/4 || First three parts have 4 measures of 4 beats, last part has 10 measures of 2 beats.
|-
| [[Hashual]] || 4/4 || 3/4 || In the first section, three of the eight measures are in 3/4, feeling like a missing beat. (Perhaps better: The first section is four measures of 7/4, with an extra beat after the second measure.)
|-
| Hora Mamtera || 3/2 (6/4) & 4/4 || || First part is in 6/4, the rest in 4/4. The sheet music is written in 3/2, which is equivelant to 6/4, and it could be expressed either way. For the sake of keeping the dancer's beat the same, it makes more sense to count it as 6.
|-
| K'Agadat Rivka || 4/4 || 2/4 || First part is 4 measures of 4/4. Second part counts 4-4-4-2-4-4, then 4-4-4-4-4, that is, there's a measure of 2/4 inserted into the first repeat of a five-measure phrase.
|-
| Mezare Israel || 6/8, 2/4, 4/4, 3/4 || || First part counts 3-3-4, (one measure of 6/8, one of 2/4), and the second part counts 4-4-4-4-4-4-4-2 (three measures of 4/4, one of 3/4).
|-
| Mishal || 6/4 & 4/4 || || First part counts 6-6-6-6-6, second part counts 8-8-8-8. Dance is different, see [[Music vs Dance|Music vs Dance.]]
|-
| Mor VeKinamon || 2/4 & 3/4 || || First part counts 6-6-6-5, second part counts 8-7-8-8.
|-
| Nitzanim Niru Ba'Aretz || 2/4 || 3/4 || The last measure of the first section is in 3/4, giving an extra beat. The first section phrases as 6-7, the second section as 8-8.
|-
| [[Ozi V'Zimrat Yah]] (Uzi) || 7/4 & 6/4 || || First part is in 7, second part is in 6. Further discussion at [[Music vs Dance|Music vs Dance.]]
|-
| Shibolei Paz || 2/4, 3/4, 4/4 || || First part counts 4-4-4-2 and repeats, secound part counts 4-4-4-3-4-4-4-2
|-
| Shir HaHaflaga || 2/4 & 3/4 || || Eight phrases, with counds 10-12-9-11-13-12-13-12. The Dance fits to this in a very complex way, see [[Shir HaHaflaga|here.]])
|-
| Shiru HaShir || 4/4 || 3/4 || The second measure of the first section is in 3/4, feeling like a missing beat.
|-
| Tikvateinu || 4/4 || || The first part is a phrase of seven measures.
|-
| VaYeven Uziyahu || 4/4 || 2/4 || In the second part, there's an extra measure of 2/4. First part counts 8-8, second part counts 8-2-8
|-
| VaYnikehu || 2/4 & 5/4 || || The first part counts 4-4-4-2, the second counts as 5-5-5-4
|-
| Ya Raya || 2/4 || || Every phrase in the song consists of five measures, for a count of 10 beats per phrase.
|-
| Zemer Ikarim || 5/4 || || Entirely in 5/4.
|}

==== Introduction to Meter ====

When counting music, the small repeating cycle of the percussion, bass, and sometimes melody which tells us where to start over and count again from 1 is known as the measure. Measures can be of different sizes; for example, most measures consist of four counts, or beats, but a waltz song will have only three beats to each measure. These measures can be described in time signatures, a pair of numbers which explains how many notes are in each measure. The bottom number tells you what size notes you're using, and the top number tells you how many are in each measure. A time signature is not the same thing as a meter. For example, the time signature 9/8 could express two or more different types of meter. Rhythm and meter are also related, but distinct - for example, a 7/8 with a metric construction of 3-2-2 could be accented to produce several different traditional rhythms. Meter, then, can be thought of as being halfway between time signature and rhythm. There are three major groups of meters: simple, compound, and asymmetrical, all of which have made their way into the music of Israeli dance. Meter can also be grouped by number; for example, all meters divisible by two are said to be duple meters, and meters divisible by three are triple.

==== Simple Meters ====

Simple meters are composed of quarter notes (so the base number will always be 4), with the number of beats in each measure being the top number, and the number we count to. A beat composed of one quarter note is called a simple beat, hence the name of the meter. The three most common simple meters are 2/4, 3/4, and 4/4.
*A simple 2/4 can be thought of as a "march," like Ahavat HaChayalim.
*A simple 3/4 can be though of as a "waltz," like Yedid Nefesh.
*A simple 4/4 is called common time, the most used meter both worldwide and in Israeli dance.
*We can also have "simple" meters of different numbers, for example 5/4 (like Zemer Ikarim), 6/4 (like the beginning of Hora Mamtera), or even higher.

==== Compound Meters ====

Compound meters are composed of eighth notes (so the base number will always be 8), with the total number of eight notes in each measure being the top number. A compound beat is composed of three eighth notes (making it 1.5 times the length of a quarter note). Compound beats are so named because they give both a triplet feel (by counting all three eighth notes) or a straight feel (by counting each group of three as one beat). Compound meters include 6/8 (like a Viennese waltz), 9/8 (like an Irish slip jig), and 12/8 (like an American swing or jazz song).
*Compound 6/8 can be counted as 123456123456 (like Ani Eshtagea), or as 1--2--1--2-- (like Yoreket Esh), with a swinging triplet feel.
*Compound 9/8 can be thought of as a "double waltz" - you have three big beats per measure, and each of those divides into three smaller beats. It's usually counted as 1&a2&a3&a, but you could technically count eight notes for 123456789. It doesn't occur in any Israeli dances (that we're aware of), but is often found in the slip jig genre of Irish dance.
*Compound 12/8 is almost always counted as 1&a2&a3&a4&a, and the main different between this meter and a plain 4/4 is that 12/8 has a swinging feel because each beat is a compound beat. Examples in Israeli dance include many swing style dances like Im Rak Tavoi BeChamesh, and arguably many Moroccan style songs like Malkat HaChatunot or Mabruk Aleikum.

==== Asymmetrical Meters ====

Asymmetrical or additive meters are composed of both simple beats (one quarter note, equal to two eighth notes) and compound beats (three eighth notes) within the same measure. This means that the beats of these meters are of unequal length, hence the name asymmetrical. Often, these meters are counted in groups of 2s for simple beats and 3s for compound beats, hence the alternative name additive. For example, one might count Isha Al HaChof as 3-2-2-2. Because the smallest unit used in these meters is always the eighth note, the base number is always eight. Usually, the top number is an odd number, such as 5/8, 7/8, or 9/8, but iterations of asymmetrical meters in 8/8, 10/8, and 12/8 also exist.
*Asymmetrical 5/8 is the simplest of its family, and can only be expressed as 3-2 or 2-3. Machur Al Yevanit, the only 5/8 Israeli dance, uses a 3-2 construction.
*Asymmetrical 7/8 is usually expressed as 3-2-2 or 2-2-3. Because of the Yemenite drum rhythm called da'asa, and because of the influence of Greek music (which often favors placing the compound beat at the beginning), most Israeli dances in 7/8 use a 3-2-2 construction, including Darbashiya, Da'asa (both Moshiko's and Yankalee's), Halleluya LeGal, and Reiach Tapuach Odem Shani. A notable exception is Moshiko's Laz, which takes it's music from the Laz region of northern Turkey and uses a 2-2-3 construction and a drum rhythm also called Laz.
*Asymmetrical 8/8 is an asymmetrical meter that, by its nature, adds up to 4/4, and is often counted as such. There are two rhythms in middle eastern music which use this meter, known as wahda and bolero. Bolero is a fairly common rhythm in Israeli dance, showing up in such songs as Al Na Tishal, Tzel Etz Tamar, Pireus, and Ma SheBenainu. Again, it's perfectly logical to count these songs in 4, since the 8/8 rhythms simplify to that number.
*Asymmetrical 9/8 is totally different to compound 9/8, and is usually constructed as 2-2-2-3 (especially in Turkish influenced music) or as 3-2-2-2 (more common in Greek tunes). The only Israeli dance to use an asymmetrical 9/8 is Isha Al HaChof, which, translated from a Greek song, uses the 3-2-2-2 construction of this meter.
*Asymmetrical 12/8 is a very uncommon meter, but does exist in the dance Sovev Gal Gal, in a 3-2-2-3-2 construction (possibly a variation of the Arabic Iqa called Warashan).
*There are many other rhythms and meters of the middle east which fall into this family, including the 10/8 rhythms of Arabia, Armenia, and Turkey (Samai al-Thaqil and Curcuna) and the Arabic iqaat and Turkish usuls. However, as yet, none seem to have been used for music extant in the Israeli dance tradition.

==== Changes in Meter ====

In addition to understanding all these meters, we have to take into account that some songs change meter, whether for major portions of the music or for a single measure. For example, Hora Mamtera begins in 6/4 (sometimes written as 3/2), but in the second part of the dance shifts into a more regular 4/4. Eretz Yisrael Yafa, on the other hand, has only one measure of 4/4 at the end of the chorus, producing an "extra beat." Dror Yikra has the same phenomenon, being a song in 2/4 with a single measure of 3/4 during the second part.

==== Changes in Phrasing ====

Finally, even if a song stays a consistent meter throughout, it might still throw dancers off their normal counts by having unusual phrasing. Most songs have phrases (combinations of measures) which are even, usually in groups of two or four. It's one of the reasons dancers often count to 8. However, particularly in middle eastern music, phrases are sometimes made of a strange number of measures. Halleluya LeGal, for example, is in 7/8 through the whole song, but has five measures in the first and third parts. Tikvateinu has seven measures of 4/4 in its verse, rather than a more typical 8 measures.

==== A Few Common Errors ====

A final consideration when dealing with unusual counts is that dancers sometimes ignore the actual meter and time signature, and count to four or eight. This can result in three phenomena in which dancers don't articulate the reality of the music very well.
*"Extra Beats" vs. Extra Measure - In a 4/4 song, you might have perfectly even phrasing - four beats to a measure, four measures to a phrase - but very often there's an extra measure at the end of a phrase as a way to transition musically (for example, between the verse and chorus of Tagidi Lo, or at the end of part A in Bimkom Prida). Dancers often mistakenly call this "extra beats," when in reality it would be better to say "extra measure." Extra beats would technically mean you have a measure of a greater size, like in Eretz Yisrael Yafa or Dror Yikra.
*"Missing Beats" - Missing beats can certainly exist, in the same way that extra beats can: for instance, if you had a song in 4/4 and you suddenly had a measure of 3/4, that could be thought of as a missing beat. However, often dancers refer to "missing beats" when there was no actual change in meter. For example, in a 2/4 song, dancers sometimes (read: almost always) count to either four or eight, and a phrase of three measures of 2/4 will feel like two measures of 4/4 with two beats suddenly missing.
*"False Changes in Meter" - Similarly the the "missing beats" described above, if a song which is actually in 2/4 is being counted in fours, and there is an extra measure of 2/4, it will seem as if there was a change of meter when actually, none occurred. Usually, the meter of a piece can be ascertained by listening for the smallest repeating pattern in the percussion and/or bass line.

[[Category:Dances]]
[[Category:Dance Lists]]

Unusual Meters

2023-10-05T23:00:08Z

Aaron:

__NOTOC__
On this page you can find a collection of dances to songs with unusual meter, phrasing, or musical construction.

For our purposes "usual" means measures of two, three, four, or six beats, grouped in phrases of two, four, six, or eight bars.

A further explanation can be found below the lists of dances.

==== Asymmetrical Meters ====

Please keep this table in order by meter, then alphabetically by name of dance.

{| class="wikitable"
! Dance Name !! Main Meter(s) !! With a Few Measures In !! Notes on Meter and Phrasing
|-
| Eich Olam Mamshich || 5/8 (3-2) || ||
|-
| Machur Al Yevanit || 5/8 (3-2) || 2/4 || In the first part, the last measure of each phrase in the first part is in 2/4.
|-
| Ahava Shelanu || 7/8 (3-2-2) || ||
|-
| Da'asa (Moshiko) || 7/8 (3-2-2) || ||
|-
| Da'asa (Yakovee) || 7/8 (3-2-2) || ||
|-
| Darbashiya || 7/8 (3-2-2) || 5/8 (3-2) || The third measure of the third part is 5/8.
|-
| Halleluya (Bitton) || 7/8 (3-2-2) || 4/4 || First and third sections in 7/8, middle section in 4/4.
|-
| Halleluya L'Gal || 7/8 (3-2-2) || || The first and third part consist of phrases with five measures each.
|-
| Laz || 7/8 (2-2-3) || ||
|-
| Mecholot Damar || 7/8 (3-2-2) || 4/4 || First section in 4/4, second and third sections in 7/8.
|-
| Reiach Tapuach Odem Shani || 7/8 (3-2-2) || ||
|-
| Isha Al HaChof || 9/8 (3-2-2-2) || ||
|-
| Sovev Gal Gal || 12/8 (3-2-2-3-2) || || Could be counted as 6. Further discussion in [[Music vs Dance|Music vs Dance.]]
|}

==== Unusual Songs: Unusual Phrasing, Extra Beats, Changes in Meter ====

Many dances have an unusual meter which isn't asymmetrical or additive, or have unusual phrasing, extra or missing beats, changes in meter, etc. Due to the number of dances which exhibit multiple traits on this list, please keep this table in alphabetical order, and explain the musicality in the appropriate fields.

{| class="wikitable"
! Dance Name !! Main Meter(s) !! With a Few Measures In !! Notes on Meter and Phrasing
|-
| Anavai || 2/4 || 3/4 || The second part has a phrase of 8 followed by a phrase of 9, the last measure being 3/4 to give an extra beat.
|-
| BeLeilot HaKaitz HaChamim || 2/4 || || First part counted 4-4 and repeated, second part is counted 4-2-4-4 and repeated.
|-
| Chamsa || 4/4 || || The first section has (appropriately) five phrases of two measures each, and the last section is a phrase of nine measures.
|-
| [[Chof Shaket]] || 3/4 || || The first section has two phrases of eight measures each, while the second section is a phrase of nine measures.
|-
| Derech Eretz HaShaked || 2/3 & 2/4 || || First part has two phrases of 6-6-6-8, second part has phrases of 5-6-5-6 and then 6-6-6-8. The first group of 6-6-6 are made from 2/4 measures for a straight feel, the 6-6-6 in the second part is made from 3/4 measures for a waltz feel.
|-
| Dror Yikra || 2/4 || 3/4 || First part counts 6-8, second part counts 9-6-8. The third measure of the second part is 3/4 (7-8-9 of the phrase).
|-
| Eretz Israel Yafa || 3/4 || 4/4 || Mostly in 3/4 - last phrase of the chorus ends in a measure of 4/4, giving an extra beat.
|-
| Et HaGeshem || 3/4 || 4/4 || Mostly in 3/4 - last measure of the first phrase is 4/4, giving an extra beat.
|-
| Gozi Li || 7/4 & 4/4 || || First part is in 7/4 (or one measure each of 4/4 and 3/4), second part is in 4/4.
|-
| HaChinanit || 4/4 || 2/4 || The second part has an extra measure of 2/4 at the end. However, the dance behaves differently, see [[Music vs Dance|Music vs Dance.]]
|-
| HaReshut || 4/4 || 2/4 || First three parts have 4 measures of 4 beats, last part has 10 measures of 2 beats.
|-
| [[Hashual]] || 4/4 || 3/4 || In the first section, three of the eight measures are in 3/4, feeling like a missing beat. (Perhaps better: The first section is four measures of 7/4, with an extra beat after the second measure.)
|-
| Hora Mamtera || 3/2 (6/4) & 4/4 || || First part is in 6/4, the rest in 4/4. The sheet music is written in 3/2, which is equivelant to 6/4, and it could be expressed either way. For the sake of keeping the dancer's beat the same, it makes more sense to count it as 6.
|-
| K'Agadat Rivka || 4/4 || 2/4 || First part is 4 measures of 4/4. Second part counts 4-4-4-2-4-4, then 4-4-4-4-4, that is, there's a measure of 2/4 inserted into the first repeat of a five-measure phrase.
|-
| Mezare Israel || 6/8, 2/4, 4/4, 3/4 || || First part counts 3-3-4, (one measure of 6/8, one of 2/4), and the second part counts 4-4-4-4-4-4-4-2 (three measures of 4/4, one of 3/4).
|-
| Mishal || 6/4 & 4/4 || || First part counts 6-6-6-6-6, second part counts 8-8-8-8. Dance is different, see [[Music vs Dance|Music vs Dance.]]
|-
| Mor VeKinamon || 2/4 & 3/4 || || First part counts 6-6-6-5, second part counts 8-7-8-8.
|-
| Nitzanim Niru Ba'Aretz || 2/4 || 3/4 || The last measure of the first section is in 3/4, giving an extra beat. The first section phrases as 6-7, the second section as 8-8.
|-
| [[Ozi V'Zimrat Yah]] (Uzi) || 7/4 & 6/4 || || First part is in 7, second part is in 6. Further discussion at [[Music vs Dance|Music vs Dance.]]
|-
| Shibolei Paz || 2/4, 3/4, 4/4 || || First part counts 4-4-4-2 and repeats, secound part counts 4-4-4-3-4-4-4-2
|-
| Shir HaHaflaga || 2/4 & 3/4 || || Eight phrases, with counds 10-12-9-11-13-12-13-12. The Dance fits to this in a very complex way, see [[Shir HaHaflaga|here.]])
|-
| Shiru HaShir || 4/4 || 3/4 || The second measure of the first section is in 3/4, feeling like a missing beat.
|-
| Tikvateinu || 4/4 || || The first part is a phrase of seven measures.
|-
| VaYeven Uziyahu || 4/4 || 2/4 || In the second part, there's an extra measure of 2/4. First part counts 8-8, second part counts 8-2-8
|-
| VaYnikehu || 2/4 & 5/4 || || The first part counts 4-4-4-2, the second counts as 5-5-5-4
|-
| Ya Raya || 2/4 || || Every phrase in the song consists of five measures, for a count of 10 beats per phrase.
|-
| Zemer Ikarim || 5/4 || || Entirely in 5/4.
|}

==== Introduction to Meter ====

When counting music, the small repeating cycle of the percussion, bass, and sometimes melody which tells us where to start over and count again from 1 is known as the measure. Measures can be of different sizes; for example, most measures consist of four counts, or beats, but a waltz song will have only three beats to each measure. These measures can be described in time signatures, a pair of numbers which explains how many notes are in each measure. The bottom number tells you what size notes you're using, and the top number tells you how many are in each measure. A time signature is not the same thing as a meter. For example, the time signature 9/8 could express two or more different types of meter. Rhythm and meter are also related, but distinct - for example, a 7/8 with a metric construction of 3-2-2 could be accented to produce several different traditional rhythms. Meter, then, can be thought of as being halfway between time signature and rhythm. There are three major groups of meters: simple, compound, and asymmetrical, all of which have made their way into the music of Israeli dance. Meter can also be grouped by number; for example, all meters divisible by two are said to be duple meters, and meters divisible by three are triple.

==== Simple Meters ====

Simple meters are composed of quarter notes (so the base number will always be 4), with the number of beats in each measure being the top number, and the number we count to. A beat composed of one quarter note is called a simple beat, hence the name of the meter. The three most common simple meters are 2/4, 3/4, and 4/4.
*A simple 2/4 can be thought of as a "march," like Ahavat HaChayalim.
*A simple 3/4 can be though of as a "waltz," like Yedid Nefesh.
*A simple 4/4 is called common time, the most used meter both worldwide and in Israeli dance.
*We can also have "simple" meters of different numbers, for example 5/4 (like Zemer Ikarim), 6/4 (like the beginning of Hora Mamtera), or even higher.

==== Compound Meters ====

Compound meters are composed of eighth notes (so the base number will always be 8), with the total number of eight notes in each measure being the top number. A compound beat is composed of three eighth notes (making it 1.5 times the length of a quarter note). Compound beats are so named because they give both a triplet feel (by counting all three eighth notes) or a straight feel (by counting each group of three as one beat). Compound meters include 6/8 (like a Viennese waltz), 9/8 (like an Irish slip jig), and 12/8 (like an American swing or jazz song).
*Compound 6/8 can be counted as 123456123456 (like Ani Eshtagea), or as 1--2--1--2-- (like Yoreket Esh), with a swinging triplet feel.
*Compound 9/8 can be thought of as a "double waltz" - you have three big beats per measure, and each of those divides into three smaller beats. It's usually counted as 1&a2&a3&a, but you could technically count eight notes for 123456789. It doesn't occur in any Israeli dances (that we're aware of), but is often found in the slip jig genre of Irish dance.
*Compound 12/8 is almost always counted as 1&a2&a3&a4&a, and the main different between this meter and a plain 4/4 is that 12/8 has a swinging feel because each beat is a compound beat. Examples in Israeli dance include many swing style dances like Im Rak Tavoi BeChamesh, and arguably many Moroccan style songs like Malkat HaChatunot or Mabruk Aleikum.

==== Asymmetrical Meters ====

Asymmetrical or additive meters are composed of both simple beats (one quarter note, equal to two eighth notes) and compound beats (three eighth notes) within the same measure. This means that the beats of these meters are of unequal length, hence the name asymmetrical. Often, these meters are counted in groups of 2s for simple beats and 3s for compound beats, hence the alternative name additive. For example, one might count Isha Al HaChof as 3-2-2-2. Because the smallest unit used in these meters is always the eighth note, the base number is always eight. Usually, the top number is an odd number, such as 5/8, 7/8, or 9/8, but iterations of asymmetrical meters in 8/8, 10/8, and 12/8 also exist.
*Asymmetrical 5/8 is the simplest of its family, and can only be expressed as 3-2 or 2-3. Machur Al Yevanit, the only 5/8 Israeli dance, uses a 3-2 construction.
*Asymmetrical 7/8 is usually expressed as 3-2-2 or 2-2-3. Because of the Yemenite drum rhythm called da'asa, and because of the influence of Greek music (which often favors placing the compound beat at the beginning), most Israeli dances in 7/8 use a 3-2-2 construction, including Darbashiya, Da'asa (both Moshiko's and Yankalee's), Halleluya LeGal, and Reiach Tapuach Odem Shani. A notable exception is Moshiko's Laz, which takes it's music from the Laz region of northern Turkey and uses a 2-2-3 construction and a drum rhythm also called Laz.
*Asymmetrical 8/8 is an asymmetrical meter that, by its nature, adds up to 4/4, and is often counted as such. There are two rhythms in middle eastern music which use this meter, known as wahda and bolero. Bolero is a fairly common rhythm in Israeli dance, showing up in such songs as Al Na Tishal, Tzel Etz Tamar, Pireus, and Ma SheBenainu. Again, it's perfectly logical to count these songs in 4, since the 8/8 rhythms simplify to that number.
*Asymmetrical 9/8 is totally different to compound 9/8, and is usually constructed as 2-2-2-3 (especially in Turkish influenced music) or as 3-2-2-2 (more common in Greek tunes). The only Israeli dance to use an asymmetrical 9/8 is Isha Al HaChof, which, translated from a Greek song, uses the 3-2-2-2 construction of this meter.
*Asymmetrical 12/8 is a very uncommon meter, but does exist in the dance Sovev Gal Gal, in a 3-2-2-3-2 construction (possibly a variation of the Arabic Iqa called Warashan).
*There are many other rhythms and meters of the middle east which fall into this family, including the 10/8 rhythms of Arabia, Armenia, and Turkey (Samai al-Thaqil and Curcuna) and the Arabic iqaat and Turkish usuls. However, as yet, none seem to have been used for music extant in the Israeli dance tradition.

==== Changes in Meter ====

In addition to understanding all these meters, we have to take into account that some songs change meter, whether for major portions of the music or for a single measure. For example, Hora Mamtera begins in 6/4 (sometimes written as 3/2), but in the second part of the dance shifts into a more regular 4/4. Eretz Yisrael Yafa, on the other hand, has only one measure of 4/4 at the end of the chorus, producing an "extra beat." Dror Yikra has the same phenomenon, being a song in 2/4 with a single measure of 3/4 during the second part.

==== Changes in Phrasing ====

Finally, even if a song stays a consistent meter throughout, it might still throw dancers off their normal counts by having unusual phrasing. Most songs have phrases (combinations of measures) which are even, usually in groups of two or four. It's one of the reasons dancers often count to 8. However, particularly in middle eastern music, phrases are sometimes made of a strange number of measures. Halleluya LeGal, for example, is in 7/8 through the whole song, but has five measures in the first and third parts. Tikvateinu has seven measures of 4/4 in its verse, rather than a more typical 8 measures.

==== A Few Common Errors ====

A final consideration when dealing with unusual counts is that dancers sometimes ignore the actual meter and time signature, and count to four or eight. This can result in three phenomena in which dancers don't articulate the reality of the music very well.
*"Extra Beats" vs. Extra Measure - In a 4/4 song, you might have perfectly even phrasing - four beats to a measure, four measures to a phrase - but very often there's an extra measure at the end of a phrase as a way to transition musically (for example, between the verse and chorus of Tagidi Lo, or at the end of part A in Bimkom Prida). Dancers often mistakenly call this "extra beats," when in reality it would be better to say "extra measure." Extra beats would technically mean you have a measure of a greater size, like in Eretz Yisrael Yafa or Dror Yikra.
*"Missing Beats" - Missing beats can certainly exist, in the same way that extra beats can: for instance, if you had a song in 4/4 and you suddenly had a measure of 3/4, that could be thought of as a missing beat. However, often dancers refer to "missing beats" when there was no actual change in meter. For example, in a 2/4 song, dancers sometimes (read: almost always) count to either four or eight, and a phrase of three measures of 2/4 will feel like two measures of 4/4 with two beats suddenly missing.
*"False Changes in Meter" - Similarly the the "missing beats" described above, if a song which is actually in 2/4 is being counted in fours, and there is an extra measure of 2/4, it will seem as if there was a change of meter when actually, none occurred. Usually, the meter of a piece can be ascertained by listening for the smallest repeating pattern in the percussion and/or bass line.

[[Category:Dances]]
[[Category:Dance Lists]]

Parkada

2022-03-15T15:48:53Z

Aaron:

'''Parkada''' (a [https://en.wikipedia.org/wiki/Portmanteau portmanteau] of '''Parking Lot''' and '''Harkada''') is a weekly dance session in Newton, MA at [https://goo.gl/maps/ZiRiMMmpvcftuog8A Temple Emanuel]. Parkada is run by Aaron & Nomie Bental (né Beckman & Turnbull) and Barbara Rosen Campbell. Anyone interested in attending should [mailto:info@parkada.org email the organizers] or visit the [https://parkada.org Parkada Website] for info. Parkada takes place on Thursday evenings from 6:45pm-10pm. The typical schedule is:
* '''6:45pm-7:15pm''' - Early Partners
* '''7:15pm-7:30pm''' - Partners Technique Teaching
* '''7:30pm-9:45pm''' - Regular Session (Circle/Line/Partner Mix)
* '''9:45pm-10:00pm''' - Ending Partners

===History===
Parkada was started in July 2020, during the COVID-19 pandemic, as an outdoor (weather-permitting) session taking place in the parking lot of [https://goo.gl/maps/Cqhk2sFiXERJvTa49 Kesher Newton and Temple Reyim]. It was created in response to dancers' desire to find a way to return to dancing in person as opposed to solely over Zoom. During the initial summer period, the session was held in the late afternoon from 5:45pm-8:00pm. The time was adjusted in the fall to 3:00pm-5:30pm and again in the winter to 12:30pm-3:30pm so as to remain during daylight hours. The time was again adjusted for the spring to 3:00pm-6:00pm as the sunset continued to get later. In June of 2021 Parkada moved indoors to Temple Emanuel and in October 2021 switched to its current Thursday night time slot.

The session began with 30 minutes of line dances followed by 2.5 hours of mostly circle dances. Due to COVID-19 safety regulations, pre-registration and masks were required and no partner dances were played. In place of teaching, the organizers regularly issued [https://parkada.org/dance-challenges.html dance challenges] so the group could continue to learn dances and expand their repertoire. Challenges lasted for 3 weeks (or 3 sessions if any weeks are missed).

===Past Events and Notable Sessions===
* '''August 2, 2020''' - This would have been Parkada's first rain cancellation, but the organizers and dancers decided that [https://www.instagram.com/p/CDaH5ruAWua/ a little rain] was not enough to deprive people of a chance to dance.
* '''August 30, 2020''' - End of Summer party. Those over 21 got a treat upon arrival
* '''November 8, 2020''' - Post-election celebration, including a [[Parkada Playlists#Post-Election|thematically-appropriate set of dances]]
* '''January 3, 2021''' - New-Years party
* '''March 14, 2021''' - Parkada ran an abridged session to allow our dancers the opportunity to also attend the [[Boston Israeli Dance Festival|Virtual Israel Folkdance Festival of Boston]]
* '''March 21, 2021''' - Spring and pre-Pesach party, including another [[Parkada Playlists#Spring and Pre-Pesach|thematically-appropriate set of dances]]
* '''February 17, 2022''' - Aaron's 40th birthday celebration, including a [[Parkada Playlists#Aaron's 40th|set of 40 dances]], 1 from each year since Aaron's birth, arranged chronologically

[[Category:Sessions]]

Parkada

2022-03-15T14:58:57Z

Aaron:

Unusual Sequences

2021-11-01T20:57:38Z

Aaron: /* 4. Miscellaneous */

Dances are usually broken down into '''''components''''' which we call a numbered part (1, 2, 3 etc.), "chorus", or "transition". Once we have described all the components of a dance we then have to specify the '''''sequence''''' in which these components are performed. The combination of the components of a dance and their sequence make up the dance as a whole. In some cases the sequence of the dance components is unusual in some way or another.

An element of the sequence of a dance is the '''''repetition''''' of components. The immediate repetition of a component is not that interesting. What is more interesting is the repetition of sub-sequences. For example a simple dance might consist of 3 parts and the sequence might be 1,1,2,3,1,2,3. In this case we would say that the dance consists of 3 parts, done with two repetitions. In the first repetition of the dance, part 1 is done twice, and in the second repetition part 1 is done only once. This particular sequence is fairly common, and so would not be considered unusual. We refer to the immediate repetition of a part as a local repetition, and the other kind as global repetition.

This page looks at dances whose component sequence is unusual in some way. Since there is no definition of what is unusual, there is a large degree of subjectivity to this.



==1. No Repetition==

An interesting sequence is a dance that '''''never''''' repeats itself. Some of the components may repeat immediately (local repetition) but there is no global repetition at all. Currently there are only two dances in this list:

{| class="wikitable"
! Dance Name !! Choreographer !! Year
|-
| Machol Gruzini || [[Moshiko Halevi]] || 1991
|-
| Shvatim || [[Michael Barzelai]] || 2019
|-
|}

==2. Variations on chorus, part1, chorus, part2, chorus, part3, chorus, part1, part2, part3==

Two dances of this type were introduced in 1994, then after a gap of over twenty years, more dances of this type have been created. It would be most welcome if someone could suggest a proper name for this type of sequence.

{| class="wikitable"
! Dance Name !! Choreographer !! Year
|-
| Adir Adirim || [[Gadi Bitton]] || 2018
|-
| Chad Gadya || [[Tamir Shalev]] || 2016
|-
| Debka Keff || [[Moshe Eskayo]] || 1994
|-
| Pikchi Einayich || [[Shmulik Gov Ari]] || 1994
|-
| Rikud Leili || [[Ohad Atia]] || 2015
|-
| Shir Hamayim || [[Gadi Bitton]] || 2015
|-
|}

==3. Called Dances ==
The sequence is not set. A [[called dances | called dance]] is one where a leader controls the dance by signaling the upcoming steps.

See [[called dances | called dance]] for the five dances listed there.

==4. Miscellaneous==
{| class="wikitable"
! Dance Name !! Choreographer !! Year
|-
| Debka Eilon || [[Ilan Swisa]] || 2013
|-
|}
Debka Eilon repeats 4 times, but each repetition changes in some way from the previous.

{| class="wikitable"
! Dance Name !! Choreographer !! Year
|-
| Noam Hatzlilim || [[Ofer Tzofi]] || 2017
|-
|}
Noam Hatzlilim has four short transitions, and one long one. Often a choreographer edits the music of a dance in order to accommodate their choreography. Typically this editing is done to remove extraneous notes that simply don't fit or would require transitions. In this dance it does not appear that the choreographer did any editing of the music, with the result that four short transitions are required in addition to a long one. It is somewhat challenging to remember the order of the transitions, but the effect is actually esthetically pleasing in that the music flows nicely and the short transitions match the music very well.

{| class="wikitable"
! Dance Name !! Choreographer !! Year
|-
| Smadar || Moshiko Halevy || 1977
|-
|}
The first part is done three times, the second four times, and the third once. The same sequence repeats until the end of the music.

{| class="wikitable"
! Dance Name !! Choreographer !! Year
|-
| [[Dror Yikra]] || [[Eliyahu Gamliel]] || 1970
|-
|}
Whether there are repeats depends on the recording, and there are several popular versions. The dance was choreographed and usually done as 1,transition,1,transition,2,2. Some are 1,1,2,2 without the transition. Others are 1,2,1,2.

{| class="wikitable"
! Dance Name !! Choreographer !! Year
|-
| Ansi Dize La Novia || [[Mitch Ginsburgh]] || 2013
|-
| Echad || [[Gadi Bitton]] || 2004
|-
| Ein Makom Acher || [[Gadi Bitton]] || 2010
|-
| Yakalelo || [[Eyal Eliyahu]] || 1999
|-
|}
These dances have additional parts added each time through the music, so each repetition is longer than the previous one

[[Category:Dance Lists]]

Unusual Sequences

2021-11-01T20:56:56Z

Aaron: /* 4. Miscellaneous */

Dances are usually broken down into '''''components''''' which we call a numbered part (1, 2, 3 etc.), "chorus", or "transition". Once we have described all the components of a dance we then have to specify the '''''sequence''''' in which these components are performed. The combination of the components of a dance and their sequence make up the dance as a whole. In some cases the sequence of the dance components is unusual in some way or another.

An element of the sequence of a dance is the '''''repetition''''' of components. The immediate repetition of a component is not that interesting. What is more interesting is the repetition of sub-sequences. For example a simple dance might consist of 3 parts and the sequence might be 1,1,2,3,1,2,3. In this case we would say that the dance consists of 3 parts, done with two repetitions. In the first repetition of the dance, part 1 is done twice, and in the second repetition part 1 is done only once. This particular sequence is fairly common, and so would not be considered unusual. We refer to the immediate repetition of a part as a local repetition, and the other kind as global repetition.

This page looks at dances whose component sequence is unusual in some way. Since there is no definition of what is unusual, there is a large degree of subjectivity to this.



==1. No Repetition==

An interesting sequence is a dance that '''''never''''' repeats itself. Some of the components may repeat immediately (local repetition) but there is no global repetition at all. Currently there are only two dances in this list:

{| class="wikitable"
! Dance Name !! Choreographer !! Year
|-
| Machol Gruzini || [[Moshiko Halevi]] || 1991
|-
| Shvatim || [[Michael Barzelai]] || 2019
|-
|}

==2. Variations on chorus, part1, chorus, part2, chorus, part3, chorus, part1, part2, part3==

Two dances of this type were introduced in 1994, then after a gap of over twenty years, more dances of this type have been created. It would be most welcome if someone could suggest a proper name for this type of sequence.

{| class="wikitable"
! Dance Name !! Choreographer !! Year
|-
| Adir Adirim || [[Gadi Bitton]] || 2018
|-
| Chad Gadya || [[Tamir Shalev]] || 2016
|-
| Debka Keff || [[Moshe Eskayo]] || 1994
|-
| Pikchi Einayich || [[Shmulik Gov Ari]] || 1994
|-
| Rikud Leili || [[Ohad Atia]] || 2015
|-
| Shir Hamayim || [[Gadi Bitton]] || 2015
|-
|}

==3. Called Dances ==
The sequence is not set. A [[called dances | called dance]] is one where a leader controls the dance by signaling the upcoming steps.

See [[called dances | called dance]] for the five dances listed there.

==4. Miscellaneous==
{| class="wikitable"
! Dance Name !! Choreographer !! Year
|-
| Debka Eilon || [[Ilan Swisa]] || 2013
|-
|}
Debka Eilon repeats 4 times, but each repetition changes in some way from the previous.

{| class="wikitable"
! Dance Name !! Choreographer !! Year
|-
| Noam Hatzlilim || [[Ofer Tzofi]] || 2017
|-
|}
Noam Hatzlilim has four short transitions, and one long one. Often a choreographer edits the music of a dance in order to accommodate their choreography. Typically this editing is done to remove extraneous notes that simply don't fit or would require transitions. In this dance it does not appear that the choreographer did any editing of the music, with the result that four short transitions are required in addition to a long one. It is somewhat challenging to remember the order of the transitions, but the effect is actually esthetically pleasing in that the music flows nicely and the short transitions match the music very well.

{| class="wikitable"
! Dance Name !! Choreographer !! Year
|-
| Smadar || Moshiko Halevy || 1977
|-
|}
The first part is done three times, the second four times, and the third once. The same sequence repeats until the end of the music.

{| class="wikitable"
! Dance Name !! Choreographer !! Year
|-
| [[Dror Yikra]] || [[Eliyahu Gamliel]] || 1970
|-
|}
Whether there are repeats depends on the recording, and there are several popular versions. The dance was choreographed and usually done as 1,transition,1,transition,2,2. Some are 1,1,2,2 without the transition. Others are 1,2,1,2.

{| class="wikitable"
! Dance Name !! Choreographer !! Year
|-
| Ansi Dize La Novia || [[Mitch Ginsburgh]] || 2013
| Echad || [[Gadi Bitton]] || 2004
| Ein Makom Acher || [[Gadi Bitton]] || 2010
| Yakalelo || [[Eyal Eliyahu]] || 1999
|-
|}
These dances have additional parts added each time through the music, so each repetition is longer than the previous one

[[Category:Dance Lists]]

Eponymous Dances

2021-11-01T20:02:28Z

Aaron: /* Other than Biblical */

Dances named after specific human beings, either by the choreographer in choosing the dance name, or by the composer in naming the music.

==== Other than Biblical ====
{| class="wikitable sortable"
! Dance Name !! Eponym !! Choreographer !! Occasion !! Notes
|-
| Agilei Damar || Shoshana Damari ז″ל|| [[Shmulik Gov-Ari]] || Damari's 1988 Israel Prize || Song composed in '88, the dance later
|-
| Ariel || Ariel || [[Moshiko Halevy|Moshiko]] || || [[Moshiko's descendants | Moshiko's grandchild]]
|-
| Bat Shlomo (Lital) || || Shlomo Maman || ||
|-
| Ben Ya || Ben Ya || Moshiko || || [[Moshiko's descendants | Moshiko's son]]
|-
| [[Bosmat]] || Bosmat ? || Moshiko || || [[Moshiko's descendants | Moshiko's first granddaughter]]
|-
| Bracha || Bracha || Moshiko || || Moshiko's sister
|-
| Chanita || Anne (Channah) Eskayo ז″ל|| [[Moshe Eskayo]] || || Moshe's wife
|-
| Debka Allon || Allon Weinstock || Moshe Eskayo || ||
|-
| Debka Ariel || Ariel Weinstock || Moshe Eskayo || ||
|-
| [[Debka Chaim]] || Chaim Gazuli ז″ל|| Moshe Eskayo || In memoriam ||
|-
| Debka Dikla || Dikla Kadosh || Naftali Kadosh || || Naftali's daughter
|-
| Debka Dor || Dor ? || Moshiko || || [[Moshiko's descendants | Moshiko's grandson]]
|-
| Debka Eileen || Eileen Weinstock || Moshe Eskayo || ||
|-
| Debka Eilon || Eilon Swissa || Ilan Swissa || || Ilan's son
|-
| Debka Etti || Etti ? || Naftali Kadosh || || Naftali's ??
|-
| Debka Irit || Irit Eskayo ? || Moshe Eskayo || || Moshe's daughter
|-
| [[Debka Larden]] || [[Larry Denenberg]] || Moshe Eskayo || Larry's 50th birthday ||
|-
| Debka Li'el || Li'el ? || Moshe Eskayo || || Moshe's grandson?
|-
| Debka Micha || Micha Weinstock || Moshe Eskayo || || Eileen Weinstock's grandson
|-
| Debka Nufar || Nufar Kadosh || Naftali Kadosh || || Naftali's daughter
|-
| [[Debka Uriah]] || Uriah Halevy || Moshiko || || [[Moshiko's descendants | Moshiko's first child]]
|-
| Eliezer Ben Yehuda || Eliezer Ben Yehuda || Yoram Sasson || || Revived Hebrew as a modern language in Israel
|-
| Gam Li El || Eliyahu Gamliel ז″ל || Moshiko || In memoriam ||
|-
| Habaal Shem Tov || Baal Shem Tov || Meir Shem Tov || || The founder of Chassidism
|-
| Halleli Or || Lior Yakovee || [[Israel Yakovee]] || Lior's birth || Yakovee's son
|-
| [[Halleluyah L'Gal]] || Gal ? || Se'adya Amishai || || Se'adya's grandson; orig. song name "Halleluyah"
|-
| Harikud Shel Pnina || Pnina ? || Tuvia Tishler || ||
|-
| [[Hora Agadati]] || Baruch Agadati || [[Baruch Agadati]] || || The first choreographed dance[[Hora Agadati|?]]; see also [[First Steps]]
|-
| Hora Chemed || Chemed || Moshiko || || [[Moshiko's descendants | Moshiko's son]]
|-
| Hora Michal || Michal Eskayo || Moshe Eskayo || || Moshe's daughter
|-
| Ima Bracha || Bracha ? || Israel Yakovee || || Yakovee's mother
|-
| Kino's Dance || Kino ? || Israel Yakovee || named by the composer, not the choreographer ||
|-
| Liat Li Liat || Liat Weinstock || Moshe Eskayo || Liat's birth ||
|-
| Libi || Libi || Moshiko || || [[Moshiko's descendants | Moshiko's daughter]]
|-
| Liya || Liya Vaknine || Moshe Eskayo || || Moshe's granddaughter
|-
| Mechol Ovadya|| Ovadya ? || Yardena Cohen || || The composer
|-
| Mizmor L'David (Adonai Ro'i) || Ro'i || Moshiko || || [[Moshiko's descendants | Moshiko's granddaughter]]
|-
| Mor || Mor || Moshiko || || [[Moshiko's descendants | Moshiko's grandchild]]
|-
| Natzer Mechake Lerabin || Gamal Nasser and Yitzchak Rabin || Yo'av Ashriel || During the Six Day War ||
|-
| Niguna Shel Shlomit|| Shlomit ?|| Boaz Cohen || ||
|-
| Niguno Shel Berel || Berel ?|| Shlomo Maman || ||
|-
| Niguno Shel Uri|| Uri Cohen || Shlomo Maman, Hagai Ramati, Maurice Perez (3 versions) || || The composer
|-
| Niguno Shel Yossi|| Yossi Spivak|| Raya Spivak || || The composer
|-
| Omer || Omer || Moshiko || || [[Moshiko's descendants | Moshiko's grandson]]
|-
| Reichan Gruzini || Reichan || Moshiko || || [[Moshiko's descendants | Moshiko's grandchild]]
|-
| Rikud Eileen || Eileen Weinstock || Moshe Eskayo || ||
|-
| [[Rona]] || Rona Shukri || Sefi Aviv || || much more information [[Rona | here]]
|-
| Shai L'Ayla || Ayla Denenberg || Moshiko || Ayla's birth ||
|-
| Shir L'Ophir || Ophir || Moshiko || || [[Moshiko's descendants | Moshiko's grandson]]
|-
| Shirat Oryana || Oryana Ashkenazi ז″ל || [[Oren Ashkenazi]] & [[Lena Ashkenazi-Stettler]] || Their daughter ||
|-
| Shmulke's Nigun || Shmulke ? || || ||
|-
| Tamar HaK'tana || Tamar || Moshiko || || [[Moshiko's descendants | Moshiko's granddaughter]]
|-
| Tfilat Michal || Michal Eskayo || Moshe Eskayo || || Moshe's daughter
|-
| Vals Le Miya-Ar|| Mia Arbatoba ז″ל || Moshiko || In memoriam || Moshiko's early dance teacher
|-
| Vals L'Ori || Ori || Moshiko || || [[Moshiko's descendants | Moshiko's great granddaughter]]
|-
| Vilner Gaon (Hagaon MeVilna) || The Vilna Gaon || Mitch Ginsburgh || || Also known as the GRA, Rabbi Elijah ben Shlomo Zalman Kremer
|-
| Yakir Menachem || Menachem Menachem ז″ל || Moshiko || In memoriam ||
|-
| Yiska || Yiska || Moshiko || || [[Moshiko's descendants | Moshiko's grandchild]]
|-
| Yonati || Yonah ? || Israel Yakovee || || Yakovee's grandmother
|-
| Yosifun || Yosifun ז″ל || Moshiko || In memoriam || A childhood friend
|-
| Yuvali Ninati || Yuvali || Moshiko || || [[Moshiko's descendants | Moshiko's great granddaughter]]
|}

==== Biblical ====
(For many more connections between Israeli dances and the Bible, with a wealth of details, visit [http://www.hebrewsongs.com/bible_songs.asp? The Bible Project].)
{| class="wikitable sortable"
! Dance Name !! Eponym !! Choreographer !! Citation !! Notes
|-
| Ahavat Shlomo Et Shulamit (Kishlomo Et Shulamit) || Solomon and Shulamit || Tzvi Fridhaber || ||
|-
| Avram Avinu || Abraham the patriarch || two versions || ||
|-
| Beohel Avraham || Abraham the patriarch || Levi Bar Gil || ||
|-
| Eved Avraham || Abraham the patriarch || Yoram Sasson || ||
|-
| David Hamelech Ba Lamesiba || King David|| [[Shmulik Gov Ari]] || ||
|-
| David Melech Israel || King David|| [[Shmulik Gov Ari]] || ||
|-
| David Melech Israel || King David|| [[Gurit Kadman]] || ||
|-
| David Vegoliyat || David and Goliath || Levi Bar Gil || ||
|-
| David Yafe Enayim || King David|| Benny Levy || ||
|-
| Eved Avraham || Abraham the patriarch || Yoram Sasson || ||
|-
| Hashir Shel Miriam || Miriam || Itzik Ben Dahan, Yaron Elfasy || ||
|-
| Joshua || Yehoshua Ben-Nun || [[Dani Dassa]] || Joshua ch. 1, 2, 10–12 || Specifics [http://hebrewsongs.com/?song=yehoshua here]
|-
| K'agadat Rivka || Rebecca, wife of Isaac || Vicki Cohen || Genesis 24 ||
|-
| Kedat Moshe Ve'Israel || Moses || Kobi Michaeli || ||
|-
| Kinor David || King David || Fredie Cohen || ||
|-
| Kismei Shaul || King Saul || Yankele Levy || 1 Samuel 28:5–19 ||
|-
| Magen David || King David || Asher Ellazam || ||
|-
| Mayim Ledavid || King David || Chilik Carmeli || ||
|-
| Mayim Ledavid Hamelech || King David || Giora Kadmon || ||
|-
| Mizmor Ledavid || King David || several versions || ||
|-
| Shir Hamaalot Ledavid || King David || Amnon Eilat || ||
|-
| Sulam Ya'akov || Jacob the Patriarch || Yonatan Gabai || ||
|-
| Torat Moshe || Moses || Israel Yakovee || ||
|-
| VaTikach Miryam || Miriam, sister of Moses || Sagi Azran || Exodus 15 ||
|-
| Vecherev Ein Ledavid || King David || Tamar Alyagor || ||
|-
| Vedavid Yafe Enayim || King David || several versions|| 1 Samuel, 16:11–12 and 18:7 ||
|}

[[Category:Dance Lists]]
[[Category:Dances]]

Eponymous Dances

2021-11-01T20:01:51Z

Aaron: /* Other than Biblical */

Dances named after specific human beings, either by the choreographer in choosing the dance name, or by the composer in naming the music.

==== Other than Biblical ====
{| class="wikitable sortable"
! Dance Name !! Eponym !! Choreographer !! Occasion !! Notes
|-
| Agilei Damar || Shoshana Damari ז″ל|| [[Shmulik Gov-Ari]] || Damari's 1988 Israel Prize || Song composed in '88, the dance later
|-
| Ariel || Ariel || [[Moshiko Halevy|Moshiko]] || || [[Moshiko's descendants | Moshiko's grandchild]]
|-
| Bat Shlomo (Lital) || || Shlomo Maman || ||
|-
| Ben Ya || Ben Ya || Moshiko || || [[Moshiko's descendants | Moshiko's son]]
|-
| [[Bosmat]] || Bosmat ? || Moshiko || || [[Moshiko's descendants | Moshiko's first granddaughter]]
|-
| Bracha || Bracha || Moshiko || || Moshiko's sister
|-
| Chanita || Anne (Channah) Eskayo ז″ל|| [[Moshe Eskayo]] || || Moshe's wife
|-
| Debka Allon || Allon Weinstock || Moshe Eskayo || ||
|-
| Debka Ariel || Ariel Weinstock || Moshe Eskayo || ||
|-
| [[Debka Chaim]] || Chaim Gazuli ז″ל|| Moshe Eskayo || In memoriam ||
|-
| Debka Dikla || Dikla Kadosh || Naftali Kadosh || || Naftali's daughter
|-
| Debka Dor || Dor ? || Moshiko || || [[Moshiko's descendants | Moshiko's grandson]]
|-
| Debka Eileen || Eileen Weinstock || Moshe Eskayo || ||
|-
| Debka Eilon || Eilon Swissa || Ilan Swissa || || Ilan's son
|-
| Debka Etti || Etti ? || Naftali Kadosh || || Naftali's ??
|-
| Debka Irit || Irit Eskayo ? || Moshe Eskayo || || Moshe's daughter
|-
| [[Debka Larden]] || [[Larry Denenberg]] || Moshe Eskayo || Larry's 50th birthday ||
|-
| Debka Li'el || Li'el ? || Moshe Eskayo || || Moshe's grandson?
|-
| Debka Micha || Micha Weinstock || Moshe Eskayo || || Eileen Weinstock's grandson
|-
| Debka Nufar || Nufar ? || Naftali Kadosh || || Naftali's daughter(?)
|-
| [[Debka Uriah]] || Uriah Halevy || Moshiko || || [[Moshiko's descendants | Moshiko's first child]]
|-
| Eliezer Ben Yehuda || Eliezer Ben Yehuda || Yoram Sasson || || Revived Hebrew as a modern language in Israel
|-
| Gam Li El || Eliyahu Gamliel ז″ל || Moshiko || In memoriam ||
|-
| Habaal Shem Tov || Baal Shem Tov || Meir Shem Tov || || The founder of Chassidism
|-
| Halleli Or || Lior Yakovee || [[Israel Yakovee]] || Lior's birth || Yakovee's son
|-
| [[Halleluyah L'Gal]] || Gal ? || Se'adya Amishai || || Se'adya's grandson; orig. song name "Halleluyah"
|-
| Harikud Shel Pnina || Pnina ? || Tuvia Tishler || ||
|-
| [[Hora Agadati]] || Baruch Agadati || [[Baruch Agadati]] || || The first choreographed dance[[Hora Agadati|?]]; see also [[First Steps]]
|-
| Hora Chemed || Chemed || Moshiko || || [[Moshiko's descendants | Moshiko's son]]
|-
| Hora Michal || Michal Eskayo || Moshe Eskayo || || Moshe's daughter
|-
| Ima Bracha || Bracha ? || Israel Yakovee || || Yakovee's mother
|-
| Kino's Dance || Kino ? || Israel Yakovee || named by the composer, not the choreographer ||
|-
| Liat Li Liat || Liat Weinstock || Moshe Eskayo || Liat's birth ||
|-
| Libi || Libi || Moshiko || || [[Moshiko's descendants | Moshiko's daughter]]
|-
| Liya || Liya Vaknine || Moshe Eskayo || || Moshe's granddaughter
|-
| Mechol Ovadya|| Ovadya ? || Yardena Cohen || || The composer
|-
| Mizmor L'David (Adonai Ro'i) || Ro'i || Moshiko || || [[Moshiko's descendants | Moshiko's granddaughter]]
|-
| Mor || Mor || Moshiko || || [[Moshiko's descendants | Moshiko's grandchild]]
|-
| Natzer Mechake Lerabin || Gamal Nasser and Yitzchak Rabin || Yo'av Ashriel || During the Six Day War ||
|-
| Niguna Shel Shlomit|| Shlomit ?|| Boaz Cohen || ||
|-
| Niguno Shel Berel || Berel ?|| Shlomo Maman || ||
|-
| Niguno Shel Uri|| Uri Cohen || Shlomo Maman, Hagai Ramati, Maurice Perez (3 versions) || || The composer
|-
| Niguno Shel Yossi|| Yossi Spivak|| Raya Spivak || || The composer
|-
| Omer || Omer || Moshiko || || [[Moshiko's descendants | Moshiko's grandson]]
|-
| Reichan Gruzini || Reichan || Moshiko || || [[Moshiko's descendants | Moshiko's grandchild]]
|-
| Rikud Eileen || Eileen Weinstock || Moshe Eskayo || ||
|-
| [[Rona]] || Rona Shukri || Sefi Aviv || || much more information [[Rona | here]]
|-
| Shai L'Ayla || Ayla Denenberg || Moshiko || Ayla's birth ||
|-
| Shir L'Ophir || Ophir || Moshiko || || [[Moshiko's descendants | Moshiko's grandson]]
|-
| Shirat Oryana || Oryana Ashkenazi ז″ל || [[Oren Ashkenazi]] & [[Lena Ashkenazi-Stettler]] || Their daughter ||
|-
| Shmulke's Nigun || Shmulke ? || || ||
|-
| Tamar HaK'tana || Tamar || Moshiko || || [[Moshiko's descendants | Moshiko's granddaughter]]
|-
| Tfilat Michal || Michal Eskayo || Moshe Eskayo || || Moshe's daughter
|-
| Vals Le Miya-Ar|| Mia Arbatoba ז″ל || Moshiko || In memoriam || Moshiko's early dance teacher
|-
| Vals L'Ori || Ori || Moshiko || || [[Moshiko's descendants | Moshiko's great granddaughter]]
|-
| Vilner Gaon (Hagaon MeVilna) || The Vilna Gaon || Mitch Ginsburgh || || Also known as the GRA, Rabbi Elijah ben Shlomo Zalman Kremer
|-
| Yakir Menachem || Menachem Menachem ז″ל || Moshiko || In memoriam ||
|-
| Yiska || Yiska || Moshiko || || [[Moshiko's descendants | Moshiko's grandchild]]
|-
| Yonati || Yonah ? || Israel Yakovee || || Yakovee's grandmother
|-
| Yosifun || Yosifun ז″ל || Moshiko || In memoriam || A childhood friend
|-
| Yuvali Ninati || Yuvali || Moshiko || || [[Moshiko's descendants | Moshiko's great granddaughter]]
|}

==== Biblical ====
(For many more connections between Israeli dances and the Bible, with a wealth of details, visit [http://www.hebrewsongs.com/bible_songs.asp? The Bible Project].)
{| class="wikitable sortable"
! Dance Name !! Eponym !! Choreographer !! Citation !! Notes
|-
| Ahavat Shlomo Et Shulamit (Kishlomo Et Shulamit) || Solomon and Shulamit || Tzvi Fridhaber || ||
|-
| Avram Avinu || Abraham the patriarch || two versions || ||
|-
| Beohel Avraham || Abraham the patriarch || Levi Bar Gil || ||
|-
| Eved Avraham || Abraham the patriarch || Yoram Sasson || ||
|-
| David Hamelech Ba Lamesiba || King David|| [[Shmulik Gov Ari]] || ||
|-
| David Melech Israel || King David|| [[Shmulik Gov Ari]] || ||
|-
| David Melech Israel || King David|| [[Gurit Kadman]] || ||
|-
| David Vegoliyat || David and Goliath || Levi Bar Gil || ||
|-
| David Yafe Enayim || King David|| Benny Levy || ||
|-
| Eved Avraham || Abraham the patriarch || Yoram Sasson || ||
|-
| Hashir Shel Miriam || Miriam || Itzik Ben Dahan, Yaron Elfasy || ||
|-
| Joshua || Yehoshua Ben-Nun || [[Dani Dassa]] || Joshua ch. 1, 2, 10–12 || Specifics [http://hebrewsongs.com/?song=yehoshua here]
|-
| K'agadat Rivka || Rebecca, wife of Isaac || Vicki Cohen || Genesis 24 ||
|-
| Kedat Moshe Ve'Israel || Moses || Kobi Michaeli || ||
|-
| Kinor David || King David || Fredie Cohen || ||
|-
| Kismei Shaul || King Saul || Yankele Levy || 1 Samuel 28:5–19 ||
|-
| Magen David || King David || Asher Ellazam || ||
|-
| Mayim Ledavid || King David || Chilik Carmeli || ||
|-
| Mayim Ledavid Hamelech || King David || Giora Kadmon || ||
|-
| Mizmor Ledavid || King David || several versions || ||
|-
| Shir Hamaalot Ledavid || King David || Amnon Eilat || ||
|-
| Sulam Ya'akov || Jacob the Patriarch || Yonatan Gabai || ||
|-
| Torat Moshe || Moses || Israel Yakovee || ||
|-
| VaTikach Miryam || Miriam, sister of Moses || Sagi Azran || Exodus 15 ||
|-
| Vecherev Ein Ledavid || King David || Tamar Alyagor || ||
|-
| Vedavid Yafe Enayim || King David || several versions|| 1 Samuel, 16:11–12 and 18:7 ||
|}

[[Category:Dance Lists]]
[[Category:Dances]]

Parkada

2021-04-21T20:11:57Z

Aaron:

'''Parkada''' (a [https://en.wikipedia.org/wiki/Portmanteau portmanteau] of '''Parking Lot''' and '''Harkada''') is a weekly (weather-permitting) outdoor dance session in Newton, MA. It takes place in the parking lot of [https://goo.gl/maps/Cqhk2sFiXERJvTa49 Kesher Newton and Temple Reyim]. Parkada is run by Aaron & Nomie Bental (né Beckman & Turnbull) and Barbara Rosen Campbell. The session begins with 30 minutes of line dances and is followed by 2.5 hours of mostly circle dances. Due to COVID-19 safety regulations, pre-registration and masks are required and no partner dances are played. In place of teaching, the organizers regularly issue [https://parkada.weebly.com/dance-challenges.html dance challenges] so the group can continue to learn dances and expand their repertoire. Challenges last for 3 weeks (or 3 sessions if any weeks are missed). Anyone interested in attending should [mailto:parkada@israelidance.org email the organizers] or visit the [https://parkada.org Parkada Website] for registration info.

===History===
Parkada was started in July 2020 in response to dancers' desire to find a way to return to dancing in person as opposed to solely over Zoom. During the initial summer period, the session was held in the late afternoon from 5:45pm-8:00pm. The time was adjusted in the fall to 3:00pm-5:30pm and again in the winter to 12:30pm-3:30pm so as to remain during daylight hours. The time was again adjusted for the spring to its current 3:00pm-6:00pm as the sunset continues to get later.

===Past Events and Notable Sessions===
* '''August 2, 2020''' - This would have been Parkada's first rain cancellation, but the organizers and dancers decided that [https://www.instagram.com/p/CDaH5ruAWua/ a little rain] was not enough to deprive people of a chance to dance.
* '''August 30, 2020''' - End of Summer party. Those over 21 got a treat upon arrival
* '''November 8, 2020''' - Post-election celebration, including a [[Parkada Playlists#Post-Election|thematically-appropriate set of dances]]
* '''January 3, 2021''' - New-Years party
* '''March 14, 2021''' - Parkada ran an abridged session to allow our dancers the opportunity to also attend the [[Boston Israeli Dance Festival|Virtual Israel Folkdance Festival of Boston]]
* '''March 21, 2021''' - Spring and pre-Pesach party, including another [[Parkada Playlists#Spring and Pre-Pesach|thematically-appropriate set of dances]]

[[Category:Sessions]]

Boston Israeli Dance Festival

2021-04-21T20:06:01Z

Aaron:

The Israel Folkdance Festival of Boston was sprouted in 1977 based on the founders' wish to create a great thing by sharing. The Festival continues to be organized on a volunteer basis by the Board of the Directors and the performers. It is sponsored by Campus Activities Complex at MIT.

The 2022 Boston IFDF is scheduled '''Sunday March 27''' at 3pm in MIT's Kresge Auditorium. Every Festival is preceded by a free and open to the public dance and ice cream party held the night before, typically in the Newton or Brookline area.

The current [https://www.bostonfestival.org/festival-committee.html Board of Directors] is:
*David Beckman
*Aaron Bental (né Beckman)
*Janie Chefitz
*Shira Frager
*Susan Gruber
*Ruth Leah Kahan
*George Kirby
*Alexis Maharam
*Renee Myers
*Lianne Philipp (née Gross)
*Ira Vishner
*Rina Wagman

'''Related Links:'''

Israel Folkdance Festival of Boston's [https://bostonfestival.org/ website] and [https://www.facebook.com/bostonfestival Facebook page]

The festivals [https://www.bostonfestival.org/programs-from-previous-years.html program archive], containing a reproduction of the program of every past Festival.

[[Category:Events]]

Parkada

2021-04-21T15:24:04Z

Aaron: Created page with "Category:Sessions '''bold'''Parkada is a weekly outdoor dance session in Newton, MA. It takes place in the parking lot of Temple Reyim"

[[Category:Sessions]]

'''bold'''Parkada is a weekly outdoor dance session in Newton, MA. It takes place in the parking lot of Temple Reyim

Leap Dances

2016-02-27T04:47:41Z

Aaron:

In honor of the Gregorian leap year calendar, here are many of the dances that include a leap step:

[[Achai Bnei Teiman]] 
[[Agadelcha]] 
[[Al Hanisim]] 
[[Al Kanfei Hakesef]] 
[[Ana Hiya]] 
[[Anachnu Haro'im]] 
[[Avraham Avinu]] 
 
[[Bazman Ha'acharon]] 
[[Be'ikvotayich]] 
[[Bein Hachomot]] 
 
[[Chesed Matok]] 
 
[[Daraje]] 
[[Debka Beduit]] 
[[Debka Bnot Hakfar]] 
[[Debka Hachamor]] 
 
[[Ein Li Ish]] 
[[Eizo Rakdanit]] 
[[Eshal Elohai]] 
[[Et Lirkod]] 
[[Etz Harimon]] 
 
[[Geshem Bemai]] 
 
[[Hahelech]] 
[[Hanigun]] 
[[Hatzel Ve'ani]] 
[[Hora Nadav]] 
[[Horati]] 
 
[[Korim Lanu Lalechet]] 
 
[[Malkat Hachatunot]] 
[[Marhaba]] 
[[Mechol Hamezeg]] 
[[Mecholot Damar]] 
[[Misgav]] 
[[Mishal]] 
 
[[Op]] 
[[Orot Ve'ashan]] 
 
[[Shavnu]] 
[[Shibolet Basade]] 
[[Shtu Adarim]] 
 
[[Think]] 
 
[[Yaffo]] 
[[Category:Dances]]