The Telemark In Retrospect

by Roy & Phyllis Stier

March, 1988 

It is an interesting study to look at the evolution of dance figures, not in the sense of Darwinism, but more as the trade will allow. A good example is the Telemark, or more specifically, the Open Telemark. 

Next we see the Palmquist International waltz clinic routine develop into the classic ANSWER ME. The cue sheet reflects a less cautious attitude but still under wraps because of the clientele. Head cues: (Telemark to SCP) TRN LF, AROUND, SCP (fac wall); The step cues: (Telemark to SCP) CP fac LOD Fwd L trning 1/4 LF to fac COH, M sid R twd LOD slightly around W leaving L leg extended, M trns LF on ball of R ft keeping L toe on floor to SCP fac wall, fwd L in SCP (W steps bk R bringing L to R taking no weight on L, trn LF on R heel transferring wt to L, fwd R in SCP twd wall); 

Since that time, we can talk about changes in alignment and more specific references to body mechanics without unduly upsetting the dancers, now more prone to emulate the ballroom folks. If we were to describe our Telemark figure in "modern" terms, it would go something like this: Head cues — OPEN TELEMARK. Step cues — (CP DC) Fwd L from heel to toe start LF trn, sid R on toe DC still trng LF lift R sid with long ct, sid  & slightly fwd L on toe in compact SCP point DW with body fac wall (Lady bk R DC toe to heel start L trn, bring L to R for heel trn fac LOD rise to toe lifting L sid, diag fwd R on toe pointing LOD with R shoulder lead); Note: use slow opening of head for both on step 3. 

The above would probably not be presented in as much detail because we assume such things as sway, long count 2, head opening and deceleration of rotary action, however, it is evident that the Open Telemark is not as simple a figure as we used to consider it but belongs in a more advanced category. We must also point out that there are 3 degrees of turn according to the figure that follows, a consideration not normally noted in a cue sheet. In any event, we can safely say that we have come a long way in describing, as well as executing, many figures that were once only shadowy movements to the early round dancers.

this article was published in the
Dixie Round Dance Council (DRDC)
Newsletter, March 2009