Hakinor Hane'eman
(Israel)
[Full notes] [Summary notes] [Other dances & the source code]
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Alternative Names
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'Hakinor Hane'eman' is an English transcription by Vincent.
'Hakinor Haneeman' is an alternative English transcription by Vincent.
'Hakinor Ha'neeman' is another alternative English transcription by Vincent.
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Formation
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Short lines. Shoulder hold.
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Dance Structure
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(A + B) repeated throughout the music.
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Music Structure
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4 counts/bar, 8 bar phrases.
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Music Speed
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130 counts/min.
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Choreographer
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Roni Simantov.
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Source
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Vincent Parodi at Rivieradance 2016 in February 2016 in Torquay, UK.
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Disclaimer:
Mistakes are quite likely in the notes and no guarantees are made as to accuracy. There may be other versions of the same dance or other dances with the same name. Music may differ, particularly in speed, introduction and duration, between performers. The division into parts, bars & counts might not be standard. These notes of the dance are freely distributable (under GPL or CC-by-sa) in so much as the note's author's contribution but the choreography and/or collection were by other people and so their copyright might apply to the dance itself. Better than using notes, go to a dance class where it is taught.
Although an Israeli choreography, it is a Greek Hassapiko in both form & style.
The song is a Gypsy one that translates as "My Faithful Violin". The lyrics are sad (the singer having lost all their friends but still has their violin) but it does not sound sad & the dance is not sad.
Although some UK International Folk Dancers do not like shoulder hold as they find it difficult, in this dance shoulder hold is easier than V-hold or W-hold for quickly getting back into hold after the clap at the end of Part A and because it puts the hands ready in place for going down into the thigh slaps.
Note that 'Vincent' is pronounced in the French way not like the identically spelt English name.
Style: Upright. Mostly large motions. Most steps are almost flat-footed walking steps. Crossing side steps are also almost flat but have the foot going to the side onto the ball of foot & the crossing foot with the outer side making contact with the floor first.
Introduction
Summary:
8 bars.
Wait through one set of Part A music (8 bars, 32 counts).
Part A
Summary:
(R side, L across infront) x 4. R side, (L side, R across infront) x 3, pause. Forwards slow (L, R, L), R forwards, L back. 2 Cherkessias merging into 2 step 360 deg cw ending with clap.
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Start
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Facing centre of the circle. Weight on L foot. Shoulder hold.
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1
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1
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R side.
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2
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L across infront.
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3-4
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Repeat counts 1-2 (R side, L across infront).
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2
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Repeat bar 1 ((R side, L across infront) x 2)
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3
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1
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R side.
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2
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L side.
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3
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R across infront.
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4
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L side.
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4
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1-3
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Repeat bar 3 counts 3-4 1.5 times more (R across infront, L side, R across infront).
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4
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Pause (commencing the L foot into the following step).
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5
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1-2
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L forwards.
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3-4
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R forwards.
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6
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1-2
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L forwards.
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3
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R forwards.
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4
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L backwards.
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7
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1
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R close.
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2
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L across infront.
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3
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R in place. (This with the previous 2 steps comprise a Cherkessia.)
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4
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L close.
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8
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1
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R across infront.
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2
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L in place.
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3
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Release hold. R backwards commencing 360 deg cw turn. (This with previous 2 steps almost comprise a Cherkessia but the end of it blends into a turn.)
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4
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Feet
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L close completing the 360 deg cw turn ending back original distance from the centre. (This might need some slipping on the spot as the feet close to complete.)
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Arms
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Clap hands infront of chest.
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Part B
Summary:
R side, pause, L across behind, R side. L brush forwards & round, 2 x tap across behind. Mirror all but 1st step slow instead of pause & replace taps with across infront touch, pause. Forwards slow (L, R), R forwards, L back. (R back raising L, R hand slap L thigh), mirror, original. Cherkessia, pause.
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Start
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Facing centre of the circle. Weight on L foot. Getting into shoulder hold.
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1
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1
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Feet
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R side.
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Arms
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Quickly into shoulder hold.
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2
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Pause. Both feet still in contact with ground but with weight on R foot. (With the previous count this basically just a slow step but staccato).
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3
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L across behind.
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4
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R to the side.
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2
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1
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L brush forwards.
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2
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L round acw (forwards, out to the side, around across behind).
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3
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Tap L toes to ground hooked across behind.
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4
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Repeat count 3 (L toe tap across behind).
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3
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Repeat bar 1 in mirror image but not staccato (L side slow, R across behind, L side).
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4
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1
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R brush forwards.
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2
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Bring R across infront.
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3
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Touch R toes to ground hooked across infront.
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4
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Pause.
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5
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1-2
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R forwards.
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3-4
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L forwards.
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6
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1
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R forwards.
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2
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L backwards.
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3
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R backwards lifting L leg to upper leg horizontal forwards, lower leg vertically down & foot horizontal.
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4
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Bringing R hand down from shoulder hold position, glancing slap the front (now positioned uppermost) of raised L leg thigh.
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7
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1-2
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Repeat bar 6 counts 3-4 in mirror image (L back raising R, L slap R thigh).
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3-4
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Repeat bar 6 counts 3-4 (R back raising L, R slap L thigh).
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8
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1
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L across infront.
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2
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R in place.
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3
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L close. (With previous 2 steps, these comprise a Cherkessia.)
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4
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Pause.
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Alternative styling 1
Summary:
Touch close instead of across infront in Part B bar 4 count 3.
Touch R toes to floor close instead of across infront in Part B bar 4 count 3. This is an alternative original styling according to Vincent.
Alternative styling 2
Summary:
Do crossing steps with raised heels. Jump into the staccato step.
This alternative styling was done by some experienced Israel dancers (group leaders) at Rivieradance who had learnt the dance previously. The steps in Part A bars 1-4 were done on the balls of feet with the heels significantly raised off the floor with the side steps being more staccato & the the crossing step more gliding. The first step of Part B was the changed from R side into more a low staccato jump with both feet moving out sideways, landing on both feet with weight transfer to R foot during the pause (I found this easier than the plain step as it gave more opportunity to correct for incompletely getting round in the preceding fast turn.)