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Page "Folk dance" ¶ 2
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They and are
They are preoccupied riding herd on control panels, switches, flashing colored lights on pale green or gray consoles that look like business machines.
They are supplied, a batch at a time, by a secret source and are continually changed by Wisman or his staff, at random intervals.
They are mere fragments, just one portion of preprepared messages.
They are huge areas which have been swept by winds for so many centuries that there is no soil left, but only deep bare ridges fifty or sixty yards apart with ravines between them thirty or forty feet deep and the only thing that moves is a scuttling layer of sand.
They recognized that slavery was a moral issue and not merely an economic interest, and that to recognize it explicitly in their Constitution would be in explosive contradiction to the concept of sovereignty they had set forth in the Declaration of 1776 that `` all men are created equal, that they are endowed by their Creator with certain unalienable rights, that among them are life, liberty and the pursuit of happiness.
They are in general those fears that once seemed to have been amenable to prayer or ritual.
They are non-conformists on principle.
They are full of contempt for the institution of matrimony.
They feel they are leagued against a hostile, persecutory world, faced with the concerted malevolent opposition of squares and their hirelings, the police.
They for their part are convinced that Holmes is too `` unorthodox '' and `` theoretical '' to make a good detective.
They are presumed to have plunged to a common grave in this fatal embrace.
They are determined to prove something.
They tell us, sir, that we are free, because we have in one hand a ballot, and in the other a stock certificate.
They are very small, and in the form of haystacks, without either chimney or windows.
They are situated in the midst of trees, which hang over them, and appear truly romantick.
On December 21, the day that the Irish House of Commons petitioned for removal of Sir Constantine Phipps, their Tory Lord Chancellor, Molesworth reportedly made this remark on the defense of Phipps by Convocation: `` They that have turned the world upside down, are come hither also ''.
Defoe then commented, `` If they Could Draw that young Gentleman into Their Measures They would show themselves quickly, for they are not asham'd to Say They want only a head to Make a beginning ''.
They emerged as interchangeable cogs in a faulty but formidable machine: shaved nearly naked, hair queued, greatcoated, jackbooted, and best of all -- in the opinion of the British professional, Major Semple-Lisle -- `` their minds are not estranged from the paths of obedience by those smatterings of knowledge which only serve to lead to insubordination and mutiny ''.
They are longing to see you ''.
They are not true because scientists or prophets say they are true.

They and dances
They left a kind of circle where they had danced, which were called älvdanser ( elf dances ) or älvringar ( elf circles ), and to urinate in one was thought to cause venereal diseases.
They learn songs and dances that originate in the countries their grandparents came from.
They are each distinct beings with their own personal likes and dislikes, distinct sacred rhythms, songs, dances, ritual symbols, and special modes of service.
They were used for dances and to accompany vocal music.
They range from slow, stately dances ( bassadance, pavane, almain ) to fast, lively dances ( galliard, coranto, canario ).
They were actively supported by the missionaries who tried to destroy all signs of indigenous beliefs, notably by razing the ' mahoka ' huts where the local population worshiped their ancestors ' spirits and by ridiculing their rites, dances and other ceremonies.
They also variously include lion dances and dragon dances ; human-occupied puppets ( often of the " Seventh Lord " and " Eighth Lord "); tongji ( " spirit-medium ; shaman ") who cut their skin with knives ; Bajiajiang, which are Kungfu-practicing honor guards in demonic makeup ; and palanquins carrying god-images.
They performed in a production of Alice in Wonderland for their sixth grade graduation, and began singing together when they were 13, occasionally performing at school dances.
They are also social events when people turn up in their best attire, with women particularly bejeweled, and large numbers witness the ritual dances and also absorb the religious teachings on Buddhism.
They also point to the use Astaire made of her remarkably flexible back in classic romantic dances such as " Smoke Gets in Your Eyes " from Roberta ( 1935 ), " Cheek to Cheek " from Top Hat ( 1935 ) and " Let's Face the Music and Dance " from Follow the Fleet ( 1936 ).
They also participated in informal feasts and dances.
They were generally elaborate dances held for members of the upper classes, and were particularly popular in Venice.
They performed dances to the music of pipes and tambourines, and, in an ecstasy, flogged themselves until they bled.
They attended dances, dinners, and a church service during this time, and the excited town was very hospitable to the explorers.
They stop for a drink at a cowboy bar, where Thelma meets and dances with Harlan Puckett ( Carhart ).
They also run the Teen Center, which has many dances and events.
They took the spinning and jumping that is used in folk dances and has incorporated it in Nihon Buyo.
They are generally charged with arranging social activities, such as plays, banquets, and dances.
They are slotted swing dances, danced to a wide variety of music including blues, pop, jazz, and rock and roll.
They confirm the name of Mr. Bean's girlfriend as " Irma Gobb ", and also give the name of the other man she actually dances with in Mr. Bean Goes to Town ( Giles Gummer ).
* They tried to incorporate in their music what they heard in village songs, in Cossack and Caucasian dances, in church chants and the tolling of church bells ( to the point where the bell tolling became a cliché ).
They have been described as a " cross between a barn dance and folk club ", and generally begin with a slow tempo verbunkos ( recruiting dance ), followed by swifter csárdás dances.

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