DAYTON. MIAMI VALLEY FOLK DANCERS February 26, with DICK OAKES

Transcription

1 DAYTON MIAMI VALLEY FOLK DANCERS February 26, 2015 with DICK OAKES Bat Tsurim- Israeli Bre Devojce I Pod Ona - Serbian Denjovo Horo - Bulgarian Niska Banja - Serbian Politikos Syrtos- Greek Veliko Kolo - Serbian

2 Dick These arfcj in bts bwd cir COH center beats circles oflen ctr CV\1 cts center counts often feet L left dir, a:--rn, LOD man, pos prev RLOD silldr, shoulders

3 swd twd uh var W wt sideward toward bt between a major ct and a secondary ct, as in Lawrence Welk's "uh-1-&-uh-2" variation, variations woman, woman's, women, women's weight Copyright 2014 by Dick Oakes

4 Folk Dance Rhythms By Dick Oakes Western music played for dances is usually notated in two, three, or four regular counts to a measure (on a musical score, the notes between two bars). Played against these even measures you also may find irregular rhythms (also called broken, uneven, or asymmetrical rhythms). For example, the rhythm pattern of a rhumba having a time signature of 4/4 (four quarter note counts to a measure) is with intervals of slow-quick-quick with the slow being held for two counts and the quicks being one count each. In other parts of the world, other measures with complicated underlying rhythms are popular. A measure may have five, seven, nine, eleven, or thirteen counts, and some rhythms even have combinations of these measures. These irregular rhythms often are notated in slow and quick intervals, usually with a slow having a duration of three beats and a quick having two beats. To throw a hiccup into the mix, however, some intervals are slower (long) with four beats, or quicker (short) with one beat, or quickest (shortest) with one-half (.5) beat- the"&" count! And, on top of that, some dances are done to music of two or more rhythm patterns, such as Pravo Horo (Bulgarian) being danced to music with the assigned time signatures of 2, 4, or 6 counts! Time 7/8 One measure of seven eighth notes Counts 1 I 2 I 3 4 I 5 6 I 7 Rhythm Slow (S) Quick (Q) Quick (Q) Beats Tempo, or the speed of a musical piece, adds another dimension. In the music to which the Greek Syrtaki is danced, two, three, and four distinct even tempos are known, which makes it hard to ascribe any one time signature to the parts of the music. For example, if the first slow tempo is notated with a rhythmic element of 4/4 (four quarter notes) and the third part, twice as fast, is notated as 2/4 (two quarter notes), what should be written for the tempo between these two? What should be written for the fourth tempo in a four-tempo piece? To help us out of this dilemma, we can simply say that a melody is in "seven," for example, meaning that there are seven major even counts per measure, whatever the tempo or whatever the rhythm employed during those seven counts. Here are a few examples of rhythms along with one or more dances with which they are associated. RHYTHMS 2 1+1=2 Pravo Horo (Bulgarian) 3 2+1=3 Tsamikos (Greek) = 3 Waltz (Siovenian) 4 2+2=4 Pravo Horo (Bulgarian), Pinosavka (Serbian) 2+1+1=4 Syrtos (Greek) =4 Vari Hasapiko (Greek) 5 2+3=5 Pajdusko Horo (Bulgarian), Rustemul (Romanian)

5 6 3+3=6 Pravo Horo (Bulgarian) 7 3+4=7 Kostursko Oro (Greek Macedonian} Lesnoto Oro (Macedonian) 3+2+2=7 Kalamatianos (Greek), Cetvorno (Bulgarian) 2+2+3=7 Rueenica (Bulgarian) =7 Karamfil (Bulgarian) =7 Eleno Mome (Bulgarian) =8 Cocek (Macedonian) 3+2+3=8 Katerino Mome (Bulgarian) =8 lnvirtita (Romanian) =9 Fatise Kolo (Serbian) =9 Niska Banja (Serbian), Karsilamas (Greek) =9 Dajcovo Horo (Bulgarian) =9 Tetovsko Oro (Macedonian) = 9 Zeybekiko (Greek) = 10 Jurjuna (Armenian) = 11 Kopanica - Gankino - Krivo (Bulgarian) = 11 Oveepolsko Oro (Macedonian), Kopanica (Bulgarian) = 12 Berance (Macedonian) = 12 Dolgoto (Macedonian) = 12 Topansko (Macedonian) =13 Postupano (Macedonian) =13 Petrunino (Bulgarian) =13 Elenino Horo (Bulgarian) = 14 Krivo Sadovsko Horo (Bulgarian) =15 Bucimis (Bulgarian) 21 ( = 9) + ( = 7) + (2 + 3 = 5) = 21 Zenkov (Russian) 22 ( = 9) + ( = 9) + (2 + 2 = 4) = Sandansko Horo (Bulgarian) - dajeovo- 22 dajeovo-pravo 25 ( = 7) + ( = 7) + ( = Sedi Donka (Bulgarian)- eetvorno-cetvorno- 11) = 25 gankino Copyright 2014 by Dick Oakes

6 BATTSURIM Israeli PRONUNCIATION: TRANSLATION: SOURCE: BACKGROUND: MUSIC: FORMATION: METERJRHYTHM: STEPS/STYLE: baht tsoo-reem Girl of the rocks (cliffs or mountain peaks) Dick Oakes learned this dance from Dani Dassa who learned it from Yoav Ashriel. Shalom Hermon choreographed Bat Tsurim (Bat Tzurim) as a circle and couple dance combination, but only the circle dance portion is described here as it is danced in southern California. The choreographer is Yoav Ashriel, the music is by Sara Levi. Tikva (LP) T-117 Vanguard (LP) VSD-2130 Follaaft (45rpm) 1473 Circle of mixed M and W facing ctr, no handhold. 2/4 Danced with a free and happy spirit. MEAS MOVHvffiNT DESCRfPTION INTRODUCTION 1-4 No action. THE DANCE Leap R swd bringing hands down(ct 1); close L tor taking wt and bending knees and bringing hands slightly back ( ct 2); Bring hands up in front and clap hands twice (cts 1-2). Repeat action ofmeas 1-2 three more times. Joining hands in low "V" pos, step R swd, leaving Lin place (ct 1); pause (ct 2); Brush Lacross in front ofr (ct 1); pause (ct 2); Walk four steps to R beg with L and end facing ctr on the fourth step. Repeat action ofmeas 9-12 to L with opp ftwk. Walk four steps to ctr beg with R and raising hands fwd gradually. Walk four steps bwd beg R and lowering hands gradually. Step R diag R looking up ( ct 1 ); pause ( ct 2); Step L diag L looking up (ct 1); pause (ct 2). Repeat entire dance from beg.

7 BATTSURIM Israel Mi zot tsurim shochenet Doleget a! ramot? Kachalilim rononet Tiferet alamot Geva, Geva migalil navi Pera, Pera saar bil'vavi Gura naari, ho. Kots latsabar yedati Chach lashoshana Mor heharim ahavti Givat hal'vona Rahav ul yamim tamid potseach Ahav bil'vavo tamid poreach Gura naari, ho... Who is the one who dwells in the cliffs, Jumps on the hills? Like flutes she sings. The most beautiful of maidens; More beautiful than the Galil. A wild storm in my heart. Get going my beloved man. Prickly cactus I knew; A flower to the rose. Myrrh of the mountain I loved; The hill of frankencense. Desire always breaks out in my beloved. Love in his heart blossoms. Get going my beloved man. Copyright 2012 by Dick Oakes

8 BRE DEVOJCE- POD ONA Serbian PRONUNCIATION: TRANSLATION: SOURCE: BACKGROUND: MUSIC: FORMATION: METER/RHYTHM: STEPS/STYLE: BREH deh-voy-cheh- pohd OH-nah. Oh you girl! -Forest's edge. Dick Oalces learned this dance from Bora Gajicki, a native Serbian, who introduced it to folk dancers in the United States at the 1976 Stockton Folk Dance Camp Bre Devojce was choreographed by Olga Skovran, director of Ensemble KOLO. It was part of the Prizren Suite when Mr. Gajicki was the ensemble's lead dancer. The second melody is "Pod Ona, Mori, Pod Ona...," which refers to the fringe of a forest. Borino Kolo Folk Ensemble (LP) BK-576. Mixed lines ofm and W with joined hands held at shldr height in "W" pos. The dance was originally danced in segregated lines of M and W. 2/4 The M dance with strong movements. The W have smoother movements, and their dance steps are closer to the floor. Arm movements throughout both figures are: Move elbows in slight down-up action during meas 1-2; move arms from elbows tor (ct 1) and to L (ct 2) during meas 3. Iv1EAS M'OVE!v1ENT DESCRIPTION INTRODUCTION 1-8 No action. I. BRE DEVOJCE 2 3 Step R swd ( ct 1 ); bounce on R lifting L heel in back ( ct 2); Step L diag R twd ctr ( ct 1 ); bounce on L lifting R heel in back ( ct 2); Step R diag bwd R (ct 1); step L diag bwd R (ct 2). Repeat action ofmeas 1-3 until melody changes. ILPODONA Step RLR in place (cts 1&2); Step LRL diag R twd ctr (cts 1&2); Step R diag bwd R ( ct 1 ); step L diag bwd R ( ct 2). Repeat action ofmeas until end of music. Copyright 2012 by Dick Oakes

9 DENJOVO HORO Bulgarian PRONUNCIATION: TRANSLATION: SOURCE: BACKGROUND: MUSIC: FORMATION: METER/RHYTHM: STEPS/STYLE: DEN-yoh-voh hoh-roh Denjov's dance Dick Oakes learned this dance from Yves Moreau who learned it from a Lovnidol villager, Stefan Stojkov, on a research trip to Bulgaria during the winter of and introduced it to folk dancers in the United States. Denjovo Horo is from the village of Lovnidol near the town of Gabrovo in the north-central part of Bulgaria. The dance is popular in most ofthe villages in the Gabrovo district and is sometimes referred to as the North Bulgarian Cetvorno due to its slow-quick-quick rhythm. The first word of the title refers to a man's name, while "horo" is a basic Bulgarian dance type. The horo, or chain dance, holds a central place in the socio-cultural activities of rural Bulgaria. It is mostly a community dance that, until recently, could be observed every Sunday in the village squares. Balkanton (LP) BHA-734, side 1, band 6 Mixed lines of M and W with hands joined and held down in "V" pos The rhythm is slow-quick-quick (3+2+2 = 7) and is counted below in three dancer's beats with the first being the longest.. PAS DE BASQUE: Step slightly swd ( ct 1 ); step in front with free ft ( ct 2); step back into place with free ft (ct 3). This Pas de Basque is done with somewhat raised knees. LIFT: A low hop in which the toe does not leave the floor. The steps are light, small, and sharp. MEAS MOVEMENT DESCRIPTION INTRODUCTION- None. I. BOUNCES Facing slightly R of ctr and moving in LOD, step R ( ct 1); lift on R ( ct 2); step L across R (ct3). Facing ctr, step R slightly swd (ct 1); close L tor and bounce twice on both (cts 1,2). Repeat action of meas 2 to L with opp ftwk. Repeat action ofmeas 2. Repeat action of meas 1-4 to L with opp ftwk. Repeat Fig I until changed by leader's signal. II. PAS DE BASQUE 1 ~ Repeat action of Fig I, meas 1. Facing ctr, Pas de Basque R. Pas de Basque L. Pas de Basque R. Repeat action of meas 1-4 to L with opp ftwk.

10 Repeat Fig II until changed by leader's signal. III. JUMP Repeat action of Fig II, meas 1-2. Jump to both ft in place, about shldr width apart, with a low, sharp action and knees somewhat bent (ct l); pause (cts 2-3). Pas de Basque R. Repeat action of meas 1-4 to L with opp ftwk. Repeat Fig III until changed by leader's signal. IV. HEEL TOUCH Facing ctr, quick lift on L (ct uh ofprev meas). Step R swd with wide step, dragging L twd R ( ct 1 ); jump swd R to both with knees bent ( ct 2); pause (ct 3). Small leap onto R throwing L leg back and out to L ( ct 1 ); bounce twice on R touching L heel fwd (cts 2,3). Repeat action of meas 2 to L with opp ftwk. Repeat action of meas 2. Repeat action of meas 1-4 to L with opp ftwk. Repeat Fig IV until changed by leader's signal. NOTE: Leader may start at beg of any 8-meas musical phrase. The change to the next fig is at the leader's discretion with a wave of the R hand, a whistle, or some other distinctive signal. Copyright 2012 by Dick Oakes

11 NISKABANJA Serbian PRONUNCIATION: TRANSLATION: SOURCE: BACKGROUND: NEESH-kah BAHN-yah Baths ofnis Dick Oakes learned this dance from the Serbian community of Los furgeles, California, where it had been danced since the mid 1950s, and subsequently introduced the dance to folk dancers in the United States in Bora Gajicki, presented the dance in 1985 in San Diego, California. Niska Banja is a natural hot mineral spring health resort about ten kilometers east of the town ofnis in southeast Serbia. It is believed that the waters help people with cardiovascular diseases. The spring, which was used by the Romans, is slightly radioactive. After the Ottoman invasion, the spa continued to be used by men and women, who came to bathe on a regular basis. The song words, which symbolize the Dionysian joy of I ife, music, and dance, are meant to be humorous as well as provocative. Every generation adds its own words so the lyrics are quite extensive and often quite bawdy. The lyrics have become the lmofficial song ofnis. The song on the Festival recording listed below is from the Aleksandar Petrovic film "Skupljaci Perja" (gatherers of goose feathers) and includes both Serbo-Croatian and Rom verses. The film was shown in the United States in 1968 with the English title "I Even Met Happy Gypsies" and was awarded a 1968 Best Foreign Language Film Golden Globe nomination. It was made in the Backa area of Vojvodina, in the town of Sombor, and offers a poignant look into the lives of the Gypsies of that part of the world. The melody, originally called "Duj Duj," has become popular with musicians in several countries and especially with American tamburica orchestras. Macedonians play it with a different break and Romanian musicians from Fagara~ play it in 5/4 time. MUSIC: FORMATION: METERJRHYTHM: STEPS/STYLE: Festival (45rpm) DY-8405 Dances of Yugoslavia (45rpm) DY-8405-B The Etnnic Connection: An Ethnic Collection (CD) Narodna Kola (Cassette) NK-85-2 Open cir of mixed M and W with hands joined and held dn in "V" pos. 9/8. The rhythm is quick-quick-quick-slow ( = 9) and is counted here in four dancer's beats with the fourth being the longest. HOP: This is actually a low hop (or "lift") where the ball of theft does not leave the floor. The dance is spirited and lively. During the second figure, M and W who are next to each other may turn twd each other and interact by dancing fwd and bwd facing each other or moving close to each other's shldrs. Often two W will do the same, and in some cases an individual may move down the line of dancers to dance with another, but returns to place before the first figure begins again. W may slowly shake their shldrs during this figure as they feel inclined. Usually, only a few cpls will dance together in this manner, and then not during each repetition of the figure. MEAS MOVEMENT DESCRIPTION INTRODUCTION

12 No action, or dance Fig I. No action, or dance Fig II. This is a two-meas drum solo on the Festival recording--no action, or continue to dance the action of Fig II. I. GRAPEVINE Facing slightly R, step R swd (ct 1); step Lin back ofr (ct 2); step R swd (ct 3); low hop R (ct &); step Lacross R (ct 4). 7-8 Repeat action of meas 1 seven more times. II. CLAPPING Releasing handhold and swinging arms bwd, step R diag R twd ctr (ct 1); step L twd ctr, swinging hands fwd (ct 2); step R fwd, swinging hands up in front (ct 3); touch L heel fwd and clap hands about 6 to 8 inches in front offace (ct 4) Facing ctr, step L bwd, swinging hands down and back ( ct 1 ); step R next to L, swinging hands fwd (ct 2); step L fwd, swinging hands up in front (ct 3); touch R heel fwd and clap hands about 6 to 8 inches in front offace (ct 4). Repeat action of meas 2 with opp ftwk. Repeat action of meas 2. Repeat action ofmeas 3-4 two more times. Repeat entire dance from beg. NISKABANJA Serbia Niska Banja is a place about which many off-color song verses are sung because of its past reputation as the "Mustang Ranch" of Serbia. On the Festival recording, some of the verses are sung in Serbo-Croation and some in Rom (the language of the Gypsies). (SC=Serbo-Croatian, R=Rom) I Niska Banja, topla voda za mangupe ziva zgoda, I I Em ka lavlam, em kamavla, and'o Niili ka mekav la. I I Mi Cigani meraklije, ne mozemo bez rakije. I I Bez rakije, sljivovice, i bez mlade CiganCice. I I J edan, dva, tri, cetir, pet, sest, sedam, osam, devet, deset. I Deset, devet, osam, sedam, sest, pet, cetir, tri, dva, jedan. Deset, devet, osam, sedam, sest, pet, cetir, tri, dva, nula. Duj, duj, duj, desuduj l:umidav la and'o muj. I Em ka lav la, em kamav la, The public bath near Niil, hot water, for the naughty boys a real convenience. (SC) I will get her, I will love her, and innis I will leave her. (SC) We Gypsies love a good time, we can't make it without plum brandy; (R) Without grape brandy, plum brandy, without a young Gypsy girl. (SC) One, two, three, four, five, six, seven, eight, nine, ten. (SC) Ten, nine, eight, seven, six, five, four, three, two, one. (SC) Ten, nine, eight, seven, six, five, four, three, two, zero. (SC) Two, two, twelve, I'll kiss her on the face. (R) I will get her, and I will love her,

13 and'o Ni i ka mekav lal and innis I will leave her. (R) NISKABANJA Serbia The following is Niska Banja as interpreted by Dave Owens and Las Mariachas of the CD The Ethnic Connection: An Eclectic Collection. (They count forward and backward in Spanish!) I Niska Banja, topla voda za Nislije ziva zgoda. I Duj, duj, duj, duj, desuduj, duj, cumidav la and'o muj I Mi Nislije, meraklije ne mozemo bez rakije. I I Bez rakije, sljivovice i bez mlade Cigancice. I Uno, dos, tres, cuatro, cinco, seis, siete, ocho, nueve, diez. (Spanish) Diez, nueve, ocho, siete, seis, cinco, cuatro, tres, dos, uno. I J edan, dva, tri, cetir, pet, sest, sedam, osam, devet, deset. I Deset, devet, osam, sedam, sest, pet, cetir, tri, dva, nula! Spa (bath) at Nis, warm water, for young men from Nis is great. Two, two, two, two, twelve, two, I'll kiss her on the face. (R) We young Nis men, fun loving people, cannot live without brandy, without brandy, plumb brandy, and without young Gypsy girls. One, two, three, four, five, six, seven, eight, nine, ten. Ten, nine, eight, seven, six, five, four, three, two, one. One, two, three, four, five, six, seven, eight, nine, ten. Ten, nine, eight, seven, six, five, four, three, two, zero! NISKABANJA Serbia The following is another Serbo-Croatian version (translation by Djordje Marjanovic). I Niska Banja, topla voda za Nislije ziva zgoda. I I Nisku Banju siljalice krase danu gore, a nocu se gase. I I Mi Nislije, meraklije ne mozemo bez rakije. I I Bez rakije, sljivovice i bez mlade devojcice. I I Niska Banja, voda mlaka leci zene od stomaka. I I A kod kuce muza laze dajoj voda ne pomaze../ I J edan, dva, tri, cetir, pet, sest, sedam, osam, devet, deset. I Deset, devet, osam, sedam, At Niska Banja's warm water for young men from Nis (Nislije) great. Niska Banja is decorated with street lights that are on during the day and off at night. We Nislije, fun loving people cannot live without brandy. Without plum brandy and without young girls. Niska Banja, tepid water cures women from stomache troubles. But at home, (a wife) lies to her husband that water is not helping her. One, two, three, four, five, six, seven, eight, nine, ten. Ten, nine, eight, seven,

14 sest, pet, cetir, tri, dva, j edan. Deset, devet, osam, sectam, sest, pet, cetir, tri, dva, nula. Duj, duj, duj, duj, tine luduj tebe dragi pamet muci. Ostavila, ti si kriva sto me zena ostavila. six, five, four, three, two, one. Ten, nine, eight, seven, six, five, four, three, two, zero. Duj, you drive me crazy; You, sweetheart, torture my head. She left me; it's your fault that my wife left me. NISKABANJA Serbia The following are Serbo-Croatian words that may be sung to the same music (loose translation by John Filcich). I Niska Banja, topla voda za mangupe zivot zgoda. I I Niska Banja ti si kriva sto me zena ostavila. I I Mi Cigani meraklije ne mozemo bez rakije. I I Bez rakije, zivot ide i bez mlade Cigancice. I I J edan, dva, tri, cetir, pet, sest, sectam, osam, devet, deset. I Deset, devet, osam, sectam, sest, pet, cetir, tri, dva, j edan. Deset, devet, osam, sedam, sest, pet, cetir, tri, dva, nula. Duj, duj, duj, duj, ti ne luduj tebe dragi pamet muci. Ostavila, ti si kriva sto me zena ostavila. At Niska Banja's warm waters a rascal's life is very good. Niska Banja, it's your fault that my wife left me. We Gypsies enjoy euphoria; we cannot go on without whiskey. Without whiskey life just goes on and without young Gypsy girls. One, two, three, four, five, six, seven, eight, nine, ten. Ten, nine, eight, seven, six, five, four, three, two, one. Ten, nine, eight, seven, six, five, four, three, two, zero. Duj, you drive me crazy; You, sweetheart, torture my head. She left me; it's your fault that my wife left me. Copyright 2012 by Dick Oakes

15 POLITIKOS SYRTOS Greek PRONUNCIATION: TRANSLATION: SOURCE: BACKGROUND: MUSIC: FORMATION: METER/RHYTHM: STEPS/STYLE: poh-lee-tee-kohs seer-tohs The city leading-type dance Dick Oakes learned this dance in the 1970s from "Papa" Mike Tzavaras who danced it in the Greek community of Los Angeles, California. Politikos Syrtos is from the ancient Byzantium area of Konstantinoupolis or Constantinople in Asia Minor, named after the Emperor Constantine of the Byzantine Empire. It was a famous political center, a major cultural and intellectual center, and the most prestigious city for the Greek Orthodox religion. It also was the hub and a leading commercial center for Europeans bartering with the caravan carriers of the East. Its long and complicated name was shortened and was called "Polis," (the City), thus the name Politico. The city served as a great distributor of cultural dissemination and influenced the music, dances, and songs that crept into the societies of the Aegean islands and the coastline of Greece. The Syrto (from the Greek word "syros" meaning to pull or, more accurately, to lead) was influenced by the Ballos from the islands and in turn influenced the styling of the Syrto to the islanders. Politikos Syrtos is characterized by its slow-quick-quick rhythm within its 4/4 meter. KEFI Records (45rpm) KER-101 Fiesta- Greek Dances (LP) GRS-327-B Lines of mixed M and W with hands joined and held at shldr height in "W" pos but comfortably back near the shldrs. 4/4. The rhythm is slow-quick-quick ( = 4). The dance has a soft rolling down-up nature similar to the Ballos and other Agean Island dances. MEAS MO'VEIV!ENT DESCRIPTION INTRODUCTION- No action. THE DANCE Step L twd ctr, bending supporting knee slightly (ct 1); swing R slightly out and fwd as supporting knee straightens (ct 2); touch R heel fwd, bending supporting knee (ct 3); raiser slightly upward in front as supporting knee straightens (ct 4). Repeat action ofmeas I to ctr with opp ftwk. Repeat action of meas 1-2 moving bwd on ct 1 of each meas but touching heel fwd on ct 2. Step Lacross in back ofr, bending supporting knee slightly (ct 1); straighten supporting knee (ct 2); step R swd, bending supporting knee slightly (ct 3); step L next tor, straightening knees ( ct 4); Step R swd, bending supporting knee slightly (ct 1); swing L slightly out and fwd as supporting knee straightens (ct 2); touch L heel fwd, bending supporting knee (ct 3); raise L slightly upward in front as supporting knee straightens (ct 4). Repeat entire dance from beg.

16 NOTE: Variations of the above description are possible but are usually only performed by the leader. Copyright 2012 by Dick Oakes

17 VELIKOKOLO Serbian PRONUNCIATION: TRANSLATION: SOURCE: BACKGROUND: VEH-lee-koh KOH-loh Big circle dance Dick Oakes learned this dance from Jolm Filcich and also from Dick Crum who presented it at the 1960 and 1972 Folk Dance Camp at the College of the Pacific, Stockton, California (now Stockton Folk Dance Camp), and at the 1974 San Diego State University Folk Dance Conference. Veliko Kolo is one ofthe most enjoyable of all kolos, once it is learned. There are many subtleties in it and it would not be an exaggeration to say that it takes years to master. This dance is native to Banat, Vojvodina, and is popular with Serbian communities in the United States. It was learned by Dick Crum from members of the Banat Tamburitza Orchestra and from native dancers in Srenjanin (Banat), Yugoslavia. Whereas native dancers don't mind if you enter a kolo circle unsure of a dance, they DO mind in the Veliko Kolo, so be sure you are either invited to join or know it quite well. The written word cannot adequately describe the subtle intricacies of what looks like a simple step in print. MUSIC: FORMATION: METER/RHYTHM: STEPS/STYLE: Festival (45rpm) FR-4819 Folk Dancer (45rpm) MH 1004 Single Circle, no partners, hands on shldrs of adjacent dancers. 2/4 All steps are small and lifts are very small, the toe never leaving the floor, to the point of only being felt, not seen. Dick Crum referred to this as "dancing inside your shoes." MEAS MOVEMENT DESCRIPTION THE DANCE Moving L, step L to L (ct 1); step R (ct 2) NOTE: Step L to L (ct 1); touch L toe in front ofr without wt (ct 2). Step R tor (ct 1); touch L toe in front ofr without wt (ct 2). Lift in place on R ( ct 1 ); step L next to R ( ct 2). Quickly lift in place on L then step onto R next to L ( ct I); quickly lift in place on R then step onto L next tor (ct 2). Step in place R,L,R or do a small, flat pas-de-basque (step in place R, step L somewhat fwd, step in placer) ( cts 1,&,2). Difficulty comes in meas 4-5, because native dancers introduce a number of subtle, additional syncopations that are impossible to reduce to written description. Natives also do variations on the dance, the men taking more lively steps, while the women are more reserved. No matter what the dancers are doing, however, the rhythm and bounces are all the

18 same and in strict unison. Repeat entire dance from beg. Copyright 2012 by Dick Oakes