The aim of these teaching sessions (at the 1980 University of the Pacific [Stockton] Folk Dance Camp) is to convey, in as direct a manner as possible, the art and spirit of traditional dancing as has been practiced by the Swedish folk for many generations. Presentation of the material is based upon a unified approach to Swedish dancing, not just a collection of Swedish dances. Each acquired skill – from a simple step-hop turn in duple meter schottische rhythm to a relatively sophisticated smooth pivot-spin in tripple meter polska rhythm – is meant to enhance further acquired skills, until the dancer's response to various Swedish rhythms becomes "second nature."

The dances presented are those actually danced by the Swedish people, primarily during the 19th century, some from the 18th century, but many with their roots going back to an even earlier era. Unlike the formalized and oftimes contrived Swedish "folk dances," they are not performance-oriented. This isn't to say, however, that they cannot be neatly shown to an audience as an example of yesteryear's traditional Nordic dance culture.

For the American folk dancer yet uninitiated into Scandinavian< dancing, it might be well to point out a few salient features of the Nordic dance idiom. Though remnants of ancient seasonal rites are to be found in the two "long-dances" presented, and the courting aspects of singing-games are still evident in the North, it is safe to say that Scandinavian dances are virtually all of a recreational rather than of a conscious ceremonial nature. And in contrast to folk dances of many other cultures, they are nearly all co-educational; uniformly so in couple dances, of course, this is also the norm for dances in rings and other formations.

Likely the single most characteristic feature of traditional Scandinavian dancing is the predominance of couple rotation. Furthermore, this turning is usually relatively fast, which brings into play certain physical factors not present in slower dances: momentum, counterbalance, torque, et cetera. No longer is the focus on two independent persons, but on a single coule. But one of those persons must "start the wheel turning" and "steer;" and this the man's job. Thus,last but not least, a strong male lead must be emphasized.

Due to time and space limitations, only four of the several legitimate "folk-style" rhythms which compromise Sweden's native dance heritage are covered here. But they should serve to allow the dancer to understand in theory and enjoy in practice, the fun of couple-rotation, which is the essence of the typical Swedish< traditional dance.

In dealing with "oldtime dances," generic rather than specific forms have been chosen inasmuch as most dance steps and figures have been common throughout much of the land at one time or another. As for the "regional ethnic dances," an effort has been made to capture the spirit of the local idiom, rather than dwelling on minute differences among various versions and interpretations.

It is the hope of the instructor that at the conclusion of the class series, students will be prompted to exclaim, "I've learned to dance Swedish style!" rather than, "I've learned X number of Swedish dances." Lycka till!

As regards basic step pattern:

As regards partner-wise step relationship:

OPEN POLSKA (försteg):
Ft placement as in a walking step, heel making floor contact first; two wt changes in each meas of 3 cts.

HALFTURN POLSKA (stegvals):
Two wt changes in each meas of 3 cts, completing one revolution CW in 2 meas (6 cts).

REVERSE HALFTURN POLSKA (bakmes, västerdalsk type):
Two wt changes in each meas of 3 cts, completing one revolution CCW in 2 meas (6 cts).

FULLTURN POLSKA (allmän rundpolska):
One complete revolution CW per mea of 3 cts.

SCHOTTISCHE STEP:
Takes 1 meas of 2/4 or 4/4 meter.

SCHOTTISCHE PATTERN:
Takes 4 meas of 2/4 or 4/4 meter.

OPEN POSITION:
As a matter of course in all of the individual couple dances (presented here), the W is on the M R when cpl is facing LOD.

FIRM HANDHOLD:
In individual cpl dance:
M R arm over W L arm, joined hands palm-to-palm, held snugly. Free arms loose at sides.

In closed ring or broken circle:
Each dancer's R arm over L arm of dancer directly behind; L hand's fingers held tightly in closed R hand of dancer ahead. Elbows bent at right angle.

BASIC POLSKA HOLD:
A closed position.

M R arm around W waist, M L hand on W upper arm just below her shldr; W L arm on M upper arm, and W R arm on the inside of M L arm, with her R hand just below shldr. Ptrs are slightly to the L of each other; M R ft between W ft.

SIDECAR POLSKA HOLD:
Essentially the same grasp as "basic polska hold," except that ptrs R ft re adjacent on the outside, and ptrs stand more to the R of each other, with R hips touching.

REVERSE SIDECAR POLSKA HOLD:
Exact reverse of the "sidecar polska hold," L ft adjacent on outside, and L hips touching.

HAMBO HOLD:
Same as the Basic Polska Hold except that the M L and W R hands are holding ptrs arm just above the elbow (not just below the shldr). Ptrs ar not quite as close to each other so the pos presents a more "rounded" look.