CAMP NEWSLETTER

Stockton or Bust! by Karen Wilson-Bell

It’s time to get ready for a wonderful week (or two) at Stockton Folk Dance Camp. By now I hope you’ve already received your letter, telling you all of the things to bring to camp with you. Maybe you’ve already talked with other dancers from your group to get suggestions or to arrange a carpool.

If you slipped up and haven’t registered for Folk Dance Camp yet, you’d better move fast! First, check with the boss to make sure you can get time off (either July 16 through 22 or July 23 through 29 –or both). Then download the registration form from the Stockton website Registration Form. Complete the registration form, selecting the level of housing and meal service you want. Send your completed registration form with $300 now (you can pay your balance when you arrive at camp).

The flyer doesn’t tell you all about camp traditions. If you like to sing, reserve the fourth period every day for singing practice. Singers may accompany the band on occasion and perform in the Saturday talent show. Consider participating in a skit or dance number in the talent show. Bring your costumes to wear at the Lawn Party on Picture night. Photographers will be out in force to take your picture. Official camp pictures will be available for purchase, if you didn’t get enough pictures of your own. We still dress up in hats for the traditional Ragpicker’s Kolo on Thursday night (another photo opportunity). And some of the ladies wear their amber jewelry one day (read your Footnotes).

As an experienced camper, I’ll offer a few more suggestions. Bring several pairs of comfortable dance shoes and a tote to carry them around in (with your name on the tote). Bring bandanas (not just to twirl, but also to wipe a sweaty brow.) Keep one of those hand sanitizers in your dance bag so you can quickly “wash up” before and after meals and the morning snack break. If you sweat a lot, bring extra tee-shirts with you to change between classes (especially if you will be doing partner dances). You’ll need some cash to buy food and drink tickets at the afterparties (the music and costume vendors will take checks). And don’t forget to bring your dancer’s first aid kit (pain pills, knee braces, and Ace bandages) if you generally need such things.

Folk Dance Camp is the high point of the year for me and many of my friends. We are counting the days until camp begins. Someone once likened it to Brigadoon, a community that comes together, goes away, and reforms every year. You are invited to partake in as many of the activities as you have the stamina for. I hope to see you there.

Karen Wilson-Bell

Overview of Stockton Folk Dance Camp, By Joyce Lissant Uggla

Based on the 50-Year History of Folk Dance Camp.

Begun in 1948 on the then College of the Pacific Campus, Stockton Folk Dance Camp was a 5-day event with a total cost of $33.00. The folk dance/square dance camp ran from 8 a.m. to 11 p.m. with a top-flight faculty, crowded dance floors, and no air conditioning.

The early years saw teaching by the most famous of the folk dance leadership. Walter Grothe, Madelynne Greene, Lucile Czarnowski, Gracie Perryman Nicholes, and Mildred Buhler were local leaders. Heading up the square dance section under Vera Holleuffer were Bob Osgood, Herb Greggerson, and Jack McKay. Mr International Folkdancer Vyts Beliajus served the camp for over two decades. Michael and Mary Ann Herman, Ralph Page, and Buzz Glass lent their expertise and valuable instructional abilities. John Filcich introduced the world of Kolos.

Vyts Beliajus characterized the Stockton Folk Dance Camp as: “the largest and most complete camp in the country.” It has had a stable, talented, and dedicated committee that meets all year and organizes details of future camps and faculties. Of great importance to Stockton’s remarkable success is the large, experienced staff of seasoned workers that literally “oil the works,” ensuring the smooth operation typical of the camp. All of these several dozen people are volunteers; all are experienced dancers.

Lawton Harris was the inspiration, architect, and unquestioned founder of Stockton Folk Dance Camp. He came to Stockton in the early 40s with experience in the Bay Area folk dance repertory. The Second World War was over and there was an unconscious casting about by many people for recreation activity (no TV yet!). There was a real need for invigorating, family-oriented activity that could be enjoyed by singles.

Working with the Stockton YMCA, where he started folk dance classes, and with the College of the Pacific (later the University of the Pacific), Lawton initiated a number of workshops, institutes, and festivals with help from San Francisco Bay Area leaders and their friends the Hermans from New York. He became an associate professor at the College in the Department of Religious Education, and served Folk Dance Camp as director for 20 years until his untimely heart attack in 1967.

Jack McKay was selected as Camp Director, and after 20 years of outstanding service, elected to step down in 1987, with Bruce Mitchell of Sacramento taking the helm. This outstanding leadership has delivered an exciting, top-quality camp for 59 years.

Lawton’s goals for Folk Dance Camp were:
1. A chance to spread these fine forms of social recreation.
2. A chance to bring the best from abroad and elsewhere in the states to your back door.
3. A chance for dancers of the world to know each other.
4. A chance to do both Folk and Squares.
5. A chance to grow internationally, interculturally, and in new skills of hand, foot, and eye.
6. A chance to learn fundamentals and theory along with skills.

A list of faculty who have taught at Camp for three years or more includes: Peg Allmond, Schlomo Bachar, Glenn Bannerman, Vyts Beliajus, Sunni Bloland, Frantisek Bonus, Dennis Boxel, Tom Bosigian, Mildred Buhler, Susan Cashion, Alix Cordray, Dick Crum, Lucile Czarnowski, Andor Czompo, Alexandru David, Mihai David, Alura Flores de Angeles, Nora Dinzelbacher, Paul Dunsing, Ada Dziewanowska, Ya’akov Eden, John Filcich, Bora Gajicki, Dale Garrett, Ned & Marion Gault, Morry Gelman, Barry Glass, Buzz Glass, Joe Graziosi, Madelynne Greene, Herb Greggerson, Walter Grothe, Lawton Harris, Sally Harris, Germain Hebert, Jerry Helt, Huig Hoffman, Vera Holleuffer, Carmen Irminger, Bruce Johnson, Anatol Joukowsky, Lambert Knox, Atanas Kolarovski, Hennie Konings, Steve Kotansky, Ed Kremers, Jaap Leegwater, Morley Leyton, Miriam Lidster, Ahmet Luleci, Jacek Marek, Jack McKay, Bruce Mitchell, Carolyn Mitchill, Yves Moreau, George Murton, Sonny Newman, Grace Nichols, Jeff O’Connor, Una O’Farrell, Bob Osgood, Lee Otterholt, Ralph Page, John Pappas, Bernardo Pedere, Al Pill, Richard Powers, Alice Reisz, Suzanne Rocca-Butler, Pirkko Roecker, Jack Sankey, Ace Smith, C. Stewart Smith, Rivka Sturman, Marianne Taylor, Sandy Tepfer, Gordon Tracie, Tineke van Geel, Theodor Vasilescu, Marilyn Wathen, Grace West, Bev Wilder.

The 2006 Stockton Folk Dance Camp faculty includes:
Erik Bendix – Balkan
Barbara Bevan – Singing
Gary Diggs – Recreational Folk Dances
Nora Dinzelbacher – Tangos
Jerry Helt - Squares
Hennie Konings – dances of Russia
Paul Mulders – dances of Macedonia
Lee Otterholt – dances of Greece
Loui Tucker – dances of Israel

At Stockton Folk Dance Camp it is possible to dance 10 to 12 hours a day, Monday through Friday by attending every dance activity offered—four dance classes in the morning, two workshops in the afternoon, Lawn Party after dinner some days, another class, Once Over Lightly (OOL), and the After Party. Trying to learn every dance is virtually impossible—there is just too much to see and try to remember. Those who have been coming to camp for several years pace themselves, often attending the same class twice if the dances are ones they want to teach others when they go home. Others come for two weeks in order to concentrate on one set of classes one week and another set the second week.

Stockton Folk Dance Camp is an exciting place to meet old friends, make new friends, and look forward to all year. Join us and share our passion for folk dance and music.

Who Comes to Dance Camp and Why, By Karen Wilson-Bell

I was wearing a recent Stockton Folk Dance Camp t-shirt at a Contra Dance weekend and someone asked me about who comes to dance camp. I interpreted his question as “what motivates people to come to camp” when what he really wanted to know was “what ages are the participants.” I was able to reassure him that there would be dancers both older and younger than he was and no scarcity of partners.

The question that interests me is why people choose to spend their vacation folk dancing. Here are some comments (from the evaluation forms) from some of the dancers.

“Whatever little picky things go wrong or changes occur—it doesn’t really matter. Camp is always GREAT and I appreciate the efforts of all the organizers and I hope it continues forever! Thanks to everyone! (This is my 4th year.)”

“All of the teachers were fantastic. I hope to keep dancing these dances.”

“I did not care much for the selection of dances taught, but that’s because I’m old and creaky. I like dances with walking type steps and not many turns or spins, but that’s not your fault.”

“All the faculty were wonderful this year—not a single dud. And the material presented was great—too many good dances.”

“Thanks for the sprung wood dance floors and air conditioning in all the dance venues.”

“Those floors make it possible for me to dance. Thank you!”

“When I tell people about Stockton Folk Dance Camp, I always say, ‘You come to camp the first time for the dances. You come back for the people.’”

“I like the current Once Over Lightly format—with a few “general dances to live music” at the start and then straight reviews for the rest of the time. It gives more time to practice the dances we have learned.”

“Among the best in the world (and I’ve been around).”

“When I first attended camp, twenty-some years ago, I was curious that there were much older people there who hardly ever danced. I wondered why they would attend a dance camp and do little or no dancing. Now I know why. I would want to be at camp with my friends, even if I were in a wheelchair. If I couldn’t get up and dance, I’d still enjoy the music and watching others. My heart would be flying around the room, even if I couldn’t.”

Reflections on Stockton FDC, By Judy Karas

As a first-year dancer at Stockton Folk Dance Camp (attending the second week of camp), I found the experience exhilarating, festive and definitely memorable.

It was a “transforming” one too. Though some likened SFDC to Brigadoon, the first two days felt more like army boot camp to me at times. The dance classes, Once Over Lightly, After Party and other scheduled activities provided for a full day, plus all the exercise from going up and down three flights of stairs in the dorms 6-8 times a day. By Wednesday, however, I’d learned how to pace myself and was able to enjoy the special extras: the Dances for Children class, Hawaiian Night, the square dance sets, visiting Leona’s Basement and Festival Records, etc.

The teachers were professional, friendly, inspiring and gifted. I enjoyed the fact that they often joined classes as students when not teaching classes. Equally impressive was the number of experienced folk dancers and longtime attenders of SFDC. (The gracefulness and energy of the older dancers was a great advertisement for the value of dancing.) Getting together at meals in the cafeteria, I observed how friendships had developed among dancers and deepened over the years.

The campus is a lovely one, and the air-conditioning welcome. (I’d been warned about the heat.) What a pleasure to be able to walk everywhere, enjoying the blooming crape myrtle trees, the small grove of redwoods and other shade trees among the stately buildings.

Highlights of the week: the moving candlelight ceremony, Hawaiian night, the banquet—with Sonia and Cristian as warm, enthusiastic hosts, the lawn parties, Chubritza playing for the After Parties and the Saturday Talent Show.

The helpfulness of the staff and fellow dancers can’t be overstated. I relied on others for “direction”, not just on the dance floor, but for finding my way around the campus and learning about the scheduled activities. What a wonderful diversity of people and what a friendly, courteous bunch!

Dance tunes floated through my mind, keeping me company as I drove home on Sunday (probably a common after-effect of SFDC). I left singing and still find myself singing tunes from camp as I go about my activities. I’ve already been able to incorporate some the SFDC teachers’ information about dance rhythms and music into my work as substitute teacher, while substituting in public school instrumental music classes recently.

Though SFDC may have felt a bit like Brigadoon, the music and dances do not disappear and fade away after camp. Our dance group in Monterey—and other groups—will learn some of them and add them to the groups’ dance repertoires. And there’s always next year for camp . . .

Why I Folk Dance, by Milcah Valiente

[Scholarship applicants for Stockton Folk Dance Camp are asked to write a statement telling why they are applying, and how they plan to use their camp experience. Here is Milcah's response:]

Dance in a word is life. It soothes the soul and opens the mind. It is more to me than just a hobby. It is a way to live. I love to dance and I especially like folk dancing. In folk dancing you see the past intertwined with people of the present. The last two times I have been to dance camp I have been overwhelmed with the individuals I have met who come from all over the world and the United States.

Dance camp is always a unique get away from every thing ordinary and an immersion into other cultures. My minor is cultural anthropology. I have a deep respect and curiosity for other cultures. I use my past experiences of dance camp in my papers, my understanding, and overall view of the world. I truly enjoy it. I pass on folk dancing to all those around me with the things I say and do. I always ask upon meeting someone new "do you dance?".

In my future career and life I know I will dance. Folk dancing is something that everyone should learn and know about because it makes quite a difference in how one perceives the world. I am so indebted to Al and Teddy Wolterbeek for sharing their love of dancing because it is very meaningful, not only to me but to almost all the "kids" in their group. I will use this experience to improve my folk dancing and to become more knowledgeable about the various cultures that we are learning the dances from.

Send any comments to Ideas@folkdancecamp.org