A view of the obi worn by men. Note the different method of tying and wearing of the knot on the side.

The usual kimono material comes in widths of fourteen inches and lengths of ten yards or longer. The material is usually silk damask, brocade, crepe, cotton or blends. Obi material is twenty-four inches wide and eleven feet in length, or longer, and a rather stiff fabric.

When cutting a kimono, it is easier if you cut your material in widths of fourteen inches before laying out the pattern. The length of a kimono is five or more inches longer than the wearer’s height. the short wing sleeve for the woman’s kimono is laid out on thirty-six inch lengths and is finished to seventeen inches from the top of the shoulder to the hem. The furisode (long sleeves) are three inches shorter than the kimono hem.

The kimono may be lined, especially the first (outside) kimono. Often the seams are wadded to give the effect of many layers. All silk kimonos are lined. The yukata, a cotton summer kimono is not lined. The obi is interlined if the material is not stiff.

Three kimono are usually worn. The first can have a design or pattern. The second has a white band at the neck and is often made in two pieces, bodice and shirt, and of two materials. The third kimono with straight sleeves is often red, especially for a geisha or in Kabuki. The kimono is wrapped, the left overlapping the right. A tie belt of the same material, fifty-two inches in length is used to close the kimono.

Size: 18 X 24

Media: Oil

The Steps
1. Promenade Step
(Meas. 1.) Step forward on the right foot (one), bring the left toe to the right heel (and), step forward again on the right foot, at the same time lifting the left foot from the ground (two), make a slight rise and fall on the right foot (and).
(Meas. 2.) Repeat the same with the left foot, and continue in this manner.
2. “Side Step”
This step consists of two parts, “The Seven” and “Threes,” as follows:
(a) “The Seven”
(Meas. 1.) With a little spring, land on the toes of both feet with the left heel over the right toe (one), take a short step to the right on the right foot (two), bring the left toe close to and behind the right heel (three), step again to the right with the right foot (four).
(Meas. 2.) Continuing the step, bring the left toe close behind the right heel (five), step again to the right with the right foot (six), bring the left foot again behind the right and at the same time lift the right foot from the ground (seven), make a slight pause in this position. During this step the dancer moves directly to the right side without turning the head or body.
(b) “Threes”
(Meas. 3.) Put down the right toe directly behind the left heel and lift the left foot slightly (one). Replace the left foot, lifting the right foot slightly (two), replace the right foot (three), and pause. (Meas. 4.) Make another “Three” in the same manner, but this time putting down the left toe behind the right heel. (The “Threes” are done in place.)
(When the “Side Step” is danced to the left it is done as described above, except that in “The Seven” the dancer moves to the left, stepping sideward with the left foot and bringing the right foot behind, while the “Threes” are begun by putting down the left toe behind the right heel.)

Formation
Four couples form two lines as follows: Two couples stand side by side with hands joined in a line; the other two couples form a similar line facing them.
If a large number of dancers are taking part they form similar sets of four couples and arrange themselves in a column of sets extending down the length of the room.

The Dance
“Lead Up” and “Retire”
A. (Mea. 1.) The four dancers in each line join hands and, beginning with the right foot, advance toward the opposite line with two walking steps (one, and), (two, and).
(Meas. 2.) All make one “Three” in place, beginning with the right foot (one, and, two), pause (and).
(Meas. 3-4) The lines retire to places with the same steps, but beginning with the left foot.
(Meas. 5-8) “Lead Up” and “Retire” again.
“Side Step”
(Meas. 1-4) With “Side Step” (”seven” and “threes”) the two couples in each line exchange places. In doing this couple number one passes behind couple number three, while couple four passes behind couple two.
(Meas. 5-8) With “Side Step” in the opposite direction all return to original places. (This time couple three pass behind couple one, and couple two behind couple four.)
“The Star”
B. (Meas. 9-12) In each set the four dancers nearest the center form a right-hand star, while the two dancers at either end of the set join right hands. All dance around to the left with four promenade steps.
(Meas. 13-16) All release hands, face the other way, join left hands and dance around in the opposite direction, finishing in original positions.
“Lead Up” and “Retire”
(Meas. 9-12) All “Lead Up” and “Retire” as before.
“Pass Through”
(Meas. 13-16) With “promenade” steps the lines advance toward each other and “pass through”; that is, the two lines exchange places. In doing this, couples one and three each make an arch by lifting their joined hands. Couple two pass through couple one’s arch, and couple four pass through couple three’s arch.

If there is but one set dancing, each couple, after passing through, turns around so as to face the other line again. The dance is then repeated, with couples two and four dancing as described for one and three, and one and three as described for two and four.

If there is a column of sets dancing, each line, after passing through, remains back to back with the line they have just danced with, and they find themselves fancing a new line, with whom they now repeat the dance.

At each repetition of the dance, each line travels one place farther down (or up) the room. When a line reaches the top or bottom of the column, the two couples turn around (each woman keeping on the right of her partner) and thereafter travel in the other direction. After reaching the end and facing about in this way, the odd couples now become even, and vice versa, and dance as described for the odd and even numbers.

Throughout the dance, the arms, when not in use, are allowed to hang naturally at the sides. The hands are never placed on the hips or held in any other way than to join hands with another dancer.

Formation: Partners facing in a double circle around the room (men’s backs to center) in a “half-open-waltz position” (man’s right arm around lady’s waist, lady’s left hand on man’s right shoulder; lady’s right hand holds skirt extended to the side, man’s left hand held up diagonally forward.)

Figure 1. Starting with outside feet, 16 sliding steps (sidewards) around the room in the counterclockwise direction…8 bars.

Figure 2. Turn in place (counterclockwise) with partner as follows: hopping (really a “lift” rather than a hop; the foot does not leave the floor) on the right foot; the man brings his left foot up sharply up behind his right knee (left knee bent of course), throwing his left arm and shoulder back to aid the turn. (Count 1-2). Bring the left foot down with the ball of the foot thrusting against the floor to add further to the momentum of the turn. (Count 3). Lady’s footwork is counterpart. Repeat, 8 times in all …8 bars.

Figure 3. Repeat figure 1.

Figure 4. (a) Join inside hands (man’s right, lady’s left) and swing these joined hands forward, take one polka step away from partner, turning back toward partner; the outside shoulder and the head “follow through” on this turn-away motion. Polka step starts with outside foot. Take one polka step toward partner, starting with the inside foot, swinging joined hands back and turning to face partner. Repeat all, (b) Still facing partner with inside hands swung back, life outside heel from the floor (5 or 6 inches) and bring inside heel up sharply, clicking heels together in midair; leave the outside foot up as the inside foot comes down; repeat the click. Couples should move towards the center of the circle on this step. Stamp 3 times: L-R-L. Repeat the click step, starting with inside foot and moving away from the center of the circle. Stamp 3 times: R-L-R…

Figure 5. Still facing partner in crossed-hands hold, stretch away from each other and swing the left foot forward and back, “scuffing” the sole of the shoe on the floor in passing. Stamp 3 times: R-L-R. Repeat “scuffing” with right foot and stamp 3 times: L-R-L. Repeat this figure.

Figure 6.(a) Facing partner, join crossed hands: take 6 slide steps towards the center of the circle. Jump up. coming down with a stamp on both feet….4 bars. (b) 6 slide steps out from center; jump up and come down on both feet….4 bars.

Figure 7. Still facing partner in crossed-hands position, lean back away from each other and turn rapidly on the spot, clockwise with a slide step. Jump up and come down with a stamp on both feet. Repeat, counterclockwise.

Figure 8. (a1) Partners facing, left hand on hip, right hand held up and out towards the right. Raising the right foot up, take the 2 click step as described in figure 4, moving towards the right. (a2) Stamp 3 times (R-L-R) at the same time making a quarter turn to a back to back position with partner…2 bars. (b1) With a sweeping motion reverse hand positions (right hand to right hip; left hand to the left and up), at the same time raising the left foot; take the double click step towards the left (b2) Stamp (L-R-L), making a quarter turn to face partner…2 bars. Repeat a1-a2-b1-b2; the partners have now described a “box” around each other. Repeat entire figure.

Figure 9. Repeat Figure 1

Figure 10. Repeat Figure 2

THE STEPS
Promenade Step and Side Step
For description of these see the introductory text of “The Siege of Ennis,” where the steps are explained in detail.

FORMATION
The dancers form in sets of two couples each. In all diagrams the circle is a woman, and the square is a man.

THE DANCE
“Lead Up” and “Retire”
A. (Meas. 1-4) In each set the two couples “lead up” toward each other and “retire” as described in the first figure of “The Siege of Ennis.”
“Side Step Across”
(Meas. 5-6) The two women in each set cross to each other’s places, using the “side step” to the right, passing each other face to face. (In this side step they do the “seven” only, omitting the “threes.” For description of the steps see the introductory text of “The Siege of Ennis.”) (Meas. 7-8) The two men cross to each other’s places in the same manner, but using the “side step” to the left.
The two couples are now in exchanged positions, which they keep during the remainder of the dance.
“Side Step Out and Back”
B. (Meas. 9-10) Each man joins crossed hands with the opposite woman and dances a “seven” with her out to the side, away from his own partner.
In doing this, the man and the opposite woman remain face to face as they move sideward to his left.
(Meas. 11-12) With two “threes” they swing half around in place.
(Meas. 13-16) They return with the side step in the opposite direction and swing half way around in place, finishing in the same exchanged position as before.
“Swing Partners and Progress”
B. (Meas. 9-16) Partners face each other, join both hands and, with promenade steps, swing each other around, revolving to the right and at the same time moving once around the set in the opposite direction to the hands of the clock.
The couples finish in their same exchanged places, but back to back.
In this way every odd couple has moved one place down toward the foot (B) and every even couple one place higher toward the head (A).
The couple at each end turns around and they stand ready to dance again. This brings each couple (except the couple at either end) facing a new couple, with whom they repeat the dance.

The dance is continued in this manner, each couple progressing one place farther in the same direction each time and dancing with a new couple. When a couple reaches the head (or foot), they turn around and face down (or up) the room and stand idle during one repetition of the dance, then begin dancing with the couple approaching them.

a real time movie - 15 frames per second

2.Pelea de Gallos (dance steps)

a real time movie - 15 frames per second

3. Pelea de Gallos (couple doing dance with mariachi and singer)

a mpeg movie - 30 frames per second

4. Las Chiapanecas (couple doing dance)

a real time movie - 15 frames per second

5. Las Chiapanecas (dance steps)

a real time movie - 15 frames per second

Killeen Mariachi Festival 2004 information - click here

IFCC Monthly Calendar ( January 2004) - Click here

New Mariachi Mass Sheet Music with lyrics available - click here

This site contains many links. Some of the headings are Polish Folkloric Ensembles, General Polish Cultural Resources, Usenet Groups, and Polish Folkloric Resources.

This site is hosted by the Syrena Polish Folk Dance ensemble, Inc. The descriptive material is supplied by the artistic director Ada Dziewanowska. It contains description and history of the dance group’s repertoire of dances from Nowy Sacz, Goralski, Krakowiak, Rzeszow, Kurpie, Opoczno, Beskidy, Lancer, Lowicz, and Kaszuby. There is a map of Poland with small couples (figures in costumes) that can be printed.

This site is hosted by Jacek Marek, a native of Krakow and lifelong folk dance specialist, performer, and teacher. He presents an historic overview of Polish dance. Those attending the 1998 SAC Festival will be able to meet and learn from him.

Poland is a small country that has a large collection of folk music and dance. It is no bigger than some of the medium-sized states here in the United States. There are over fifteen thousand folk songs, a thousand dances, hundreds of carols, and more than two hundred folk costumes according to some authors.

The national folk dances are he Krakowiak, Kujawiak, Oberek, Mazur, and the Polonez. In addition to these national dances, there exist many regional and local dances. The Krakowiak and the Kujawiak are the two that are most popular with recreational folk dancers. The Krakowiak is one of the oldest Polish dances. It originated in the Krakow region in the 14th century.

The Krakow costume is considered the Polish national attire. The pattern of the red and white stripe man’s pants originated in ancient times. The tassels on the sleeveless coat come from Napoleonic times. The man wears a hat with four corners and decorated with ribbons and peacock feathers.

The Woman’s Krakow costume has an embroidered and beaded vest and floral skirt. A wreath of flowers is worn by a single woman. The first ribbon of the hairpiece is usually a present from the godparent; the rest come from friends and admirers. The married woman wears a white kerchief.

A short time spent surfing the World Wide Web will help you to learn more about the Polish culture.

Polish dress worn at a 1997 Polish Heritage Month celebration in San Antonio, Texas - back view