This is a site for Folk Dancers. I suspect you’re already enjoying this wonderful activity. I’m here to provide context for your dances. What does it mean to be Macedonian, and how does that differ from being Greek, Bulgarian, Roma, or Serbian? How did a particular dance come about – is it a “village” dance, or someone’s creation? What is the relationship between the dance and its music – which is accompanying which? What was the occasion for this dance – a wedding, religious festival, pagan rite, performance? What do the costumes tell about the person wearing them? Have the dances changed over time and location? How did peasants celebrate the agricultural cycle, and do they still? As there are over 600 separate postings (and growing), I have recently added a new Search Engine. The icon is the magnifying glass, upper right corner. Select it, type in a word or two, press your return key, and the Engine will show you articles containing your words.
I enjoy researching the milieu that produced the dances of Southeast Europe, Anatolia, and the Levant, and I like sharing what I’ve discovered. At first glance one would think that Greece, Romania, Armenia and Syria wouldn’t have much in common, but in fact they share millennia of common cultural influences.
As far as the dances themselves are concerned my main interest is, what’s going on today in the place of origin? I watch You Tubes of weddings, festivals, etc to see what the “natives” are dancing, and if they are the same dances we “outsiders” were taught that they danced. Often I find that we and they dance differently, so I post You Tubes of what they are up to.
Browse the INDEX for subjects that interest you. New material will be added frequently, and existing material is often updated. If you would like email notifications whenever new material is posted, become a follower. Simply fill in your email address below and click the “follow” button. You won’t miss updates!
I dedicate this website to Ron Houston, of the Society of Folk Dance Historians,
for his invaluable information, enthusiasm, and support throughout the years. The encouragement is his, the opinions and errors are mine. The Society has, thanks to a huge effort by Dick Oakes, a website chock-a-block with information. See http://sfdh.us/encyclopedia.html. Dedication also to Dale Adamson, she of the boundless energy, Lyrids festival, and gazillion YouTube posts, for suggesting I do this website. And to Susanjane Hamilton, my dance partner of 40+ years, for inspiration, support, valuable advice, and for indulging my eccentricities.
I look forward to your questions or comments (below or email me at firstname.lastname@example.org). However I will not reply unless you leave your name and email address.
Hi, thanks for this interesting and intelligent site! How can I comment on a particular topic? I’d like to add a few words to the Cacak topic, as well as the 4th phase of folk dancing topic.
I welcome comments, and I appreciate you’d like to comment under the article itself. However the template I have only allows comments here. To get around that, email me at email@example.com with your comments and I’ll insert them under the appropriate article. I don’t often edit the comments, but if I do, I’ll email you back with the edits for your approval before publishing them. Don
Hello, I just discovered this place and it looks like I will spend some time exploring all those posts full of interesting information. Although I love folk dancing, I know very few about the countries you focus on, so I expect many great discoveries. Thank you for all this work !
I read your post about the differences between South-East and North-West European folk dances, and have been quite surprised to see you consider North-West folk cultures as having “mostly partner dances”. Well, in my country at least (France), until quite recently (I mean, until XXth century), that was not the case – and soon after the partner dances arrived, the folk cultures disappeared altogether anyway. So we may say partner dances became dominant in our culture… but I wouldn’t say they ever were dominant in the folk culture (especially in Brittany, Gascony, Basque country, Provence…). The best book I know about our dance history is “Danse traditionnelle et anciens milieux ruraux français”, written by Jean-Michel Guilcher (he spent his whole life investigating this, and everything he has written is worth reading ; his son Yvon wrote interesting stuff too).
Side note : Sad to see that the bourrée video you picked showed quite poor dancing ! There are several great bourrées videos available ; here are some examples if you are interested :
What a wonderful website !!! glad I found it, the link was ‘bulgarian rhythms’ and i am happy i found such a dense source. One question – the last example of the ‘Kopanica’ dance seems to be a 12/8 ( 3-2-2-2-3) rather than an 11/8, am i mistaken ? glad to know more ! Kind regards from Rotterdam , Udo
(i made a mistake / the mentioned rhythm / youtube link is called ‘Petrunino and in my opinion a 12/8 (3-2-2-3) and not 11/8 (2-2-3-2-2) Kind regards Udo
Glad you like my site, and THANKS for catching my error regarding Petrunino, as it is indeed 12/8 (3-2-2-2-3). I’ve updated my posting accordingly.
I just found your website/blog and spent some time with it. I especially appreciated your comments about how “folk dancing” is slowly disappearing because of aging and the self perpetuating lack of new dancers. I started folk dancing in 1967, attending the many evenings of dancing at coffee houses in Southern California. At one time, there were at least 7 of those in So California. But there are several groups that rent space for dancing once a week or once a month. Athan Karras owned the most famous of these coffee houses, The Intersection, but closed it down in 1984. Cafe Danssa closed in 1988–maybe the last one to close. I gravitated towards Greek dancing after a few years and now dance Greek exclusively. In my early years dancing, Greek dances were also choreographed, many by Athan himself. FDF, the Greek dance competition in California started in 1976 and has had a huge influence on the nature of Greek dancing in California. At some point in the late 70’s and 80;s, new Greek dance teachers, such as Dennis Boxell, Joe Graziosi, Mary Vouras, Marika Psihoundas started teaching “new” dances… The dances were not new so much as they were unknown to most folk dancers, and were taught in their “raw” village form. No choreography, no combining step patterns to make a new dance, no group variations. And slowly, as many of us learned village dances and taught the “raw” dances, these old choreographed dances were eliminated from the Greek dance repertoire. I occasionally attend an international folk dance venue or event and I observe that many Balkan choreographed dances are still being taught and danced widely, whereas Greek dances are mostly being taught without any choreographies or standardized variations. The “authentic” (for want of a better word) dances as they are done in Greek villages have their own power and attraction. I have been to many dance events in Greece proper including weddings and baptisms as well as festivals in small villages and there are virtually no choreographed dances. But performance groups do leave out all the power of the raw dances by standardizing and homogenizing the dances. With most dances having only one step the whole way through, it’s easy and rewarding to get lost in the music and zone out, or to converse with the person next to you. I do not, on any level, advocate bringing choreographies to Greek dancing but I do think the repetitive nature of village dances has affected the attendance at the venue that I’ve been involved in. Most IFDers find Greek dancing boring because of the repetitive step pattern. In addition, there are two factions regarding Greek dancing. There are many of us love the immense variety of music and dancing that exist in Greek culture, including Pontian (my favorite and the one I know best), Macedonian (Greek), Thrace (Greek), island, Epirus, and more. But there is also a faction of people who only want to dance the basic pan-Hellenic dances (hasapiko hassaposerviko, tsamiko, Kritiko Syrto) or dance to bouzouki music– the dances and music being played at Greek festivals, and not much else. We try to play a variety of music and dances on any one evening but anyone who is solidly one faction or the other, complain that there is too much music/dance from the other faction and then stop attending. Can’t please everyone! We have also brought live music several times a year, and that helps attendance, but many who come for the live music won’t attend on the other evenings. Again, live music focuses on one faction vs the other, so attracts only the people who are from that faction. Of course, the aging folk dance population also affects attendance. Though FDF is a youth program, young Greeks are not interested in attending a dance venue where the median age is 60, plus there is no bar, the sound is not ear splitting and the venue has little atmosphere. The pandemic has stopped us from dancing for now but we have not yet found a way to energize and revitalize our Greek folk dance evenings. I tried once to start a discussion amongst all folk dance organizers to see if we could brainstorm ideas on how to enhance attendance but it never happened. Maybe this blog can generate more interest in brainstorming ideas. Thank you for letting me rant.
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Hi Don, Thanks for keeping this site going. Some very interesting comments. Bob Leibman Has done an incredible job with his analysis of dance from the area in and around Macedonia. He and I were in the graduate program in Folklore at UCLA in the 70s and were later together on a tour in Macedonia. His PhD dissertation is a fascinating piece of work.
Wow! I have been dancing for 60 years and continue to learn mor from all of you. I feel like I am making new friends every day.Bob
Hi there, congrats on your blog.
I’m writing regarding this post: https://folkdancefootnotes.org/music/about-music-types-songs-etc/sto-mi-e-milo-macedonia-bulgaria/
The oldest known recording of “Što mi e milo em drago” dates from (circa) 1927 recorded under the name “Na Struga dućan da imam” by Serbian tenor Mijat Mijatović. Under the title it says “Makedonska narodna pesna” (transl. Macedonian folk song).
There is also a 1929 Columbia recording under the same name:
In (North) Macedonia this song is known and sung under that name for ages. See:
To my knowing, the Arfa label didn’t exist prior to 1940.
https://books.google.mk/books?id=miQEAAAAMBAJ&pg=PT112&lpg=PT112&dq=arfa+bulgarian+label&source=bl&ots=9LUvEGMY_A&sig=ACfU3U3Ad18kBvvVU1oAiaObSlwbkfHoYw&hl=mk&sa=X&ved=2ahUKEwif-7nR8YfwAhUWjaQKHXW-BaoQ6AEwEnoECBYQAg#v=onepage&q=arfa bulgarian label&f=false
Best regards, Tony
Thanks for your reply Don, om my Mac Airbook the new welcome page is very close to the magnifying glass icon and it doesn’t respond , however on my I pad there is a bigger space and the search engine is accessible.
As a Bulgarian woman who loves her folklore, I am both impressed and terrified to read this blog and the comments!
First, I am confused about the objective of folk groups in the US: 1) Are you historians who want to do exactly what people did 200 years ago? or 2) do you want to dance the way people dance today in Bulgaria so that you can join? OR 3) you just like the rhythms and the steps and you want to dance them?
About the past.
It seems you are studying my culture as though we have disappeared from the face of the Earth and you are on a mission to interpret what it was. No need for that!
How many of you have actually been to Bulgaria and spoken with professors and researchers in the field of folklore? Many books and dissertations are written on the topic – but they are in the libraries and not digitized yet. Do not assume that Dick Crum is the only person who documented this. He might have researched only a portion of my folklore.
Ms. Tucker’s definition that true folk dance must be simple and easy is wrong.
But this logic the entire Shipski Region is not real because only people with above average coordination can do them.
The steps and sequences that kids in Bulgaria learn in the classroom today are sourced from the regions and are product of the research I mentioned above. I am NOT talking about staged dances – figures and lines and circles. Of course, this is staging and is the result of turning the dance towards an audience and making a performance out of it. We know that in Bulgaria (I agree, spontaneous performances at a wedding possess the excitement that huge concert halls cannot transmit)
I doubt that the instructors who come to your workshops make you do figures! As industry took over agriculture and people moved to the city in 1950/60s life change and not much dancing was being passed down. So, in essence, these researchers preserved our folklore from being forgotten but also they facilitated the transition to the staged performances. But this does not mean that the steps are not authentic. No dance group is required to do complex figures. Everyone should be free to find their own expression.
Why do you assume that my country should be frozen in time and in order for a dance to be authentic it needs to be learned in the same way as 200 year ago? Yes, kids used to learn by watching the village square. But it is 2020 in Bulgaria too: everyone is on their phones (my 89-old grandma uses Skype and has a cell phone); the village square is used mainly for farmers market. No dancing happens there on such regular basis. If someone is interested to dance they will go to the dance studio – where we have decided to preserve the steps.
YouTube is a great source for what is happening now but without the experience firsthand or explanation from an insider – you are going to come up with your own interpretations (sometimes inaccurate).
Let me give you an example:
You are at a wedding. Someone orders Graovsko horo (Shopski region). The band starts. Whoever ordered it and his friends will start to dance a version of Graovsko they know from somewhere (classroom, a friend showed them). Other people will join and will either recognize the sequence because they have seen it also or will recognize the steps and pick up the sequence as it comes. No one will be objecting that this is not a real Graovsko cause they have not seen it before.
Obviously, unless the dancer is doing a solo or a choreographed performance, no one (at least I won’t ) will be leading the horo and decide to do smth super original and confuse everyone. There are some well-known variations (and this is how originality has converged to folklore throughout). I hope you come to Bulgaria and have the opportunity to be at such wedding.
The more you get exposure to Bulgarian dances the more you will be able to pick up the steps as you see them!
I want to offer a piece of advice – when you work with teachers from Bulgaria be very explicit what you want from them? Without clear expectation teachers might think that they need to teach you complicated steps so that you feel you learned smth new. If you want history, or interpretation of movement, they are well equipped to provide such information.
I love this article and its modern, creative, and open approach to folk dancing.
Find your own nique form of expression in this world.
That’s folk culture at its best.
And I totally agree.
Fantastic , I love the search engine , however there is no access to it when this Welcome page displays.
Hi Patricia Your Welcome page should show a magnifying glass icon on the right of the black bar separating the Folkdance Footnotes header and Welcome! New Search Engine! If you click the icon, a window drops down where you can type your search words. If all that is missing, let me know, and also let me know if you’re using a computer, tablet or smartphone. Hope this helps! Don
On Wed, Apr 7, 2021 at 8:36 AM Folkdance Footnotes wrote:
Regarding your wonderful article about the dance “Tamzara”. You have made one big obvious mistake, regarding the Armenian singer Arpi’s cover of the song. The song is NOT performed by Arpi Gabrielyan, but by a well established singer by the name of ARPI, real name being Arpi Shahnubaryan. She has released 2 full length albums, various music videos, with great collaborations with great songwriters and other singers. Please correct your article.
Hi. We consult your website often. We ran folkdancing here in Nova Scotia for many years. Now in our dotage ;), we have excellent younger leaders, Jason and Jennifer Grek Martin. I’m writing today because I just discovered your article on the Albanian Kanun. You might consider adding a reference to my nephew, Joshua Marston’s excellent film, “The Forgiveness of Blood”: https://www.imdb.com/title/tt1787127/?ref_=nm_knf_i2:
Hey would you mind stating which blog platform you’re using?
I’m planning to start my own blog in the near future but I’m having a
hard time deciding between BlogEngine/Wordpress/B2evolution and Drupal.
The reason I ask is because your layout seems different then most
blogs and I’m looking for something completely unique.
P.S Apologies for getting off-topic but I had to ask!
I don’t mind sharing, thanks for asking. I’m using WordPress Baskerville2. It costs a few dollars a month, but has many features I couldn’t find in freeware. I didn’t research the other sites you mentioned, however.
Hi, Don. I enjoyed your post on Trakiiska Rachenitsa and its variations. I was also amazed at the number of tunes that can be used for the dance.
These variants seem to be more popular in Bulgaria than in the States (I have taught the 10 step version to my group). What I like is how the dancers in Bulgaria make their own variations to fit the dance to the music.
When live bands play, especially Bulgarian, I often improvise to fit the steps to the music. Bulgarian bands, I’ve noticed, are into 10 minute horo!
Hi, I have new YouTube video for the Joc de Leagane dance, done by Lia and Theodor Vasilescu from the 19 Romanian dances along with the folklore story given by Theodor Vasilescu at the end. I have an interesting introduction and dance notes for this dance if anyone wants it. My email is: firstname.lastname@example.org. The YouTube video is at: https://www.youtube.com/watch?v=Stpy7PF44to
A great resource (is that you Susan?). Thank you all involved.
Thanks for adding the link. Happy New Year!
HI, Don. Just read your post on Brestaska. The music at 2:00 is also used for a dance named Kutsata, also from Dobrudja. See link below.
There is no link below but if you click on my name it will take you to my post on Kutsata.
Thanks, Katley! I’ve added your comment to the Brestaška post, with a link to your Kutsada post.
Theodor Vasilescu told me that A lu Nelu is the name of the dance style and it refers to a person, Nelu’s dance. Not a hazelnut. He has taught alulenul dances from various communities. Such as Alunelul De La Izbiceni. You can see it on the Dunav site.
Don, your site is a fantastic resource! Thank you so much for sharing your research and thoughts: it’s opened my eyes to aspects of folk dancing that I had never considered before. Maybe see you at Lyrids some year?
I agree totally.
I just found your Folkdance Footnotes website. Absolutely beautiful! Clear, easy to read and navigate, with lovely photos, fonts, and of course, the great histories, explanations, and organized information. Plus excellent organization and .layout. What a source and resource you have created. Thank you so much! I’ll pass the word around. Everyone in the folk dance community, and beyond, should know this.
Lots of luck,
Golly, Jim, thanks! Friends of mine have greatly enjoyed your tours.
Aha, now I get it. “dondancing” is you. Right?
Yes, this website is a great service. I can see that so much time and effort went into it. Is this a full time job? How long did it take to put together?
Also where are you located?
Glad some of your friends liked our tours.\Best,
I live on Gabriola Island, near Vancouver Island, BC, Canada. I started the website a little over a year ago, spend 2-3 days a week on it, and I enjoy every minute!
Just happened on your website as I was looking for some things online. So, I am curious as to where you are located and do I know you. Somewhere in here I think I saw it as Don Buskirk? Since I have been at this for about 20 years more than you, I suspect I may have met you at some time. I live in Austin and have met with Ron a few times over the years.
I was caught by the title of your blog Lesnoto is not a Macedonian Dance and by now have seen a little bit more – taproot dance, and your T4, T6, etc. I need to look at it a bit more closely. I have a structural approach to describing many families of Balkan dances based on the number of weight shifts in each of the dance measures in the dance.
But on Lesnoto, it is true that several alternative names you mentioned might be used for the dance, although probably most frequently people will ask for a particular song to which they want to dance. Note that the “taproot dance” may appear in both 7/8 and 2/4 (and other meters) – though Lesnoto in particular might more usually refer to the 7/8 variant (more on this later). As you mention Dick Crum’s comment, Lesnoto – with the Serbian linguistic equivalent, Lako kolo, in parentheses – is #13 in the Janković sisters’ Narodne Igre v.1, published 1934. Interestingly it appears as one of six dances which they see as all being the same, all from Mijak villages.The dances are #10 Tropnalo oro, #11 Sadilo mome, #12 Janinke, #13 Lesnoto, #14 Popat hodi, konja vodi, #15 Gu, gu, Galeno bre. In fact, they say “the following are all danced the same way as also many other South Serbian dances.” (At that time Macedonia was South Serbia)
Now, Tropnalo and Sadilo as we learned them in the 60s are 12 measure dances similar to Potrčulka, still done in eastern Macedonia. But a given tune is sometimes used for dancing another dance in the same meter.
Also of interest is that they recognize dance structure as being danceable in different meters – i.e. the above dance
are not all in the same meter. Tropnalo, Lesnoto, Gu,gu are said to be in 3/4 and Sadilo in 3/8, Janinke and Popat hodi are in 2/4. Meters other than 2/4 were often described incorrectly (by current norms which were established a bit later than late 30s) So the 3/4 was likely 7/8, the 3/8 was likely 7/16). They do comment on the 3/4 vs 2/4 in that
beats 12 3 in 3/4 corresponds to 1 2 in 2/4.
Tropnalo oro is the only one they describe beat by beat, rhe others being essentially “see Tropnalo,”
They have a note after Tropnalo “This kolo is danced in winter on festive days. It is a mixed, men and women’s kolo. The dancers hold each other by the underarm (they hold the edge of the armhole in their neighbors’ vest (- arms crossed as in belt hold, but higher). The leader will let go of his neighbor from time to time and perform a turn to right (CW) in place.
After Janinke, they say “They dance and sing this as the first dance – as a call to dance.”.
Now they also list Lesnoto as #7 in their volume 4, published in 1948, fourteen years later than v. 1. This is the section of volume 4 which is devoted to dances of the Mijaks (Mijaci). They do not do another desciption of the basic dance, but they add the following note:
“The variant which we describe here differs from the previous to the extent that figures in which all dancers turn together, and figures of squatting, are inserted in the course of dancing at a signal by the leader. If all of the dancers are to make a circular turn to the right, the leader will make a quick,wide movement of his right hand (and the large red kerchief in it) about himself from left to right, to call for squatting, the leader will make a sharp downward move with his right hand. This way of performing these are new, however, it has a basis in the figures of individual turning and squatting of a dancer in the kolo according to his momentary feeling / this is the old way.”
It should be noted that they published the music for the Lesnoto in v.1, 1934, in a supplemental collection Melodies of Folk Dances, published in 1937. A second melody appears in v. 4 where music for all of the dances in that volume appear at the back. (Just to suggest that there are specific melodies associated with the dance as well as all of the other melodies to which one might do a dance of that type.
Vladimir Janevski, in Etnokoreološki Karakteristički na Makedonskite Narodni Ora (Po Izbrani Primeri).
says that according to Jovan Hadživasiljević in Kumanovska oblast, Južna stara Srbija, Beograd 1909 pp 393/397, among dances he lists for the Skopje area are Krstatno, Ramno or Lesno and Teško, Prao (Pravo), Povračano, Vraćano, Kl’ckano, Lisa, and Postupano. Note the 4 that refer to same basic structure. Janevski himself, uses Lesnoto as a “type” which is really its primary use these days. For example, Mihajlo Dimovski, a young ethnorchoreologist in the early 70s has an article in Makedonski folklor #11, 1973, in which he discusses “variants of the oro and oro/related songs of the type ‘Lesnoto’ in Struga and the Struga area.
Your blog really got me going, but it also relates to a relatively recent discovery (to me). I spent much time in former Yugoslavia and Macedonia specifically from 1965-1973 and was dancing here in the states from 1963 to the present, but it was only since 2002 since I began spending time in the Balkans again that I became aware of how 2/4 Lesno tunes and 7/8 Lesno tunes are dealt with in Pirin and Aegean Macedonia. Tunes in 2/4 are generally danced the same way in Bulgaria and Greece, i.e. Pravo, Za rame, etc,, but those in 7/8 are danced as Shirto in Pirin and Syrtos in Northern Greece. These are 4 measure dances, rather than 3 measure, totally different structures.
One last comment, I just looked a bit more at your taproot and the related dances in which I think Tx uses total weight shifts as x. (Maybe I am wrong). But if you look at all of the dancers doing a Lesno, depending on how much variation exists in a particular area – greater homogeneity in the dancing in some areas than others – in addition to several variations based on S S S _ S _ where _ is a lift, touch, etc, but non- weight/shift, there are often dancers who do additional weight shifts in those blank areas – S S SQQ SQQ or S S QQS QQS, etc. So if you look at the number of weight shifts in each dance measure you see
S S S _ S _ 211 but also S S SQQ SQQ 2 3 3 or even QQQQ SQQ SQQ 4 3 3, now look at parity (even or odd) and you see they are all Even Odd Odd or 011. I think this better reflects the greater number of possibilities. Note that this also includes basic Devetoriks. QQQS QQQ(S) QQQ(S) where the (S) are a touch, but no weight shift, or two very quick steps, 2 weight shifts. So 4 3 3 or 4 5 5, even odd odd 011.
I like what you were doing in showing relationships between various families, more by addition and subtraction, but I think you might find looking at parity of weight shifts per dance measure rather than simply the number of weight shifts per total dance phrase may offer more.
Glad I found your site and do let me know whether we know each other from some place or other.
Hope that I have put my reply in the correct place.
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Thanks for these informed and detailed comments. No, we haven’t met, (I’ve spent all of my folkdance life in the fringes of the Vancouver, Canada area) but I certainly know of you, have seen a brief introduction to your dance notation system, and have one of your record albums. My knowledge and experience are nowhere close to yours, so I’ll accept your comments based on your reputation. I agree my presentation is overly simplistic. My aim is not to be definitive so much as provide a broad general introduction, with emphasis on what’s happening today. I’m going to add your comments to the end of my ‘Lesnoto’ posting, and to the Taproot varities posting. Don
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Glad to hear from you. I like your approach and share your interest in being particularly interested in people dancing in unstaged situations. YouTube is a great source. Bob
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Hi, wonderful site! Is there a place on this site, or perhaps an e-mail address, to suggest a correction to the presented information?
You may email me at email@example.com. I welcome corrections if I agree the information is incorrect.
I am in love with this recording of Tino Mori from your blog. Can you direct me to the download, where to purchase?
Sorry, Holly, but I can’t find the artist’s names. Don
We see farther because we stand on the shoulders of giants, Don. In my case, Michael & Mary Ann Herman, Jane Farwell, Dick Crum, Vyts Beliajus, George Lowrey, Miriam Lidster, Hugh Thurston, Erik Bendix, Dick Oakes, John Uhlemann, YOU, and others too numerous to list. Thanks.
Like many of your subscribers, I have been folk dancing for many years (in my case since 1965), so I am delighted to find a site that expresses loving, but critical, observations on the whole ethnochoreology scene. Bet to you in the New Year.
Buon Anno, Don! and thank you for your work! RH sent me your way in his latest Report To Members.
Is there a way to add comments to individual pages? For example, I would suggest “Su Passu Torrau” as a slightly more “western” example of “The Taproot Dance – T-6”
Thanks for the comment and YouTube. Su Passu Torrau looks like a T-6 to me. My knowledge of European dance outside of the Balkans is limited (it isn’t much better inside), but I know the T-6 exists in Brittany and likely many other “western” places. It seems the website template I’m using doesn’t allow for comments on individual pages, but you have it published here!
Just finished designing and creating Ron Houston’s Society of Folk Dance Historians website (4 months, 10 a day, 7 days a week!). He asked folks to leave a note to you, so that’s what I’m doing. Your site is really well done (what tool do you use?). I only hand-code in HTML5, so no fancy stuff. Keep up the great work for all folk dancing.
Very nice post. I just stumbled upon your blog and wished to say that I have really enjoyed browsing
your blog posts. After all I’ll be subscribing to your
rss feed and I hope you write again very soon!
Hi, Don! Interesting post on Sadi Moma. Years ago, I had written a post about it and was surprised to find out a software geek had used the melody and put words to it. Math, science and computer people are really into folk dancing for some strange reason 🙂 As for Bufcansko, I noticed the same thing you did, that it is very popular with children’s groups in Northern Macedonia.
Thanks so much for sharing all this wonderful info on folk dances.
I had recently written about the Greek dance “Gerakina” but couldn’t find a translation until I found your blog.
Our group does a Bulgarian dance very similar to “Cacak Horo”, similar steps to different music. Check out my post on Bregovsko Horo:
Thanks for the kind words. I discovered and appreciated your blog a couple of years ago – it helped form a model for my own. You’ve inspired me to update my Gerakina music postings (now there are 3). See Gerakina under MUSIC>LYRICS>ENGLISH TRANSLATIONS for the 4 more direct translations I sourced to create my own. For more detailed information on the origins of both the song and the dance, Ron Houston’s Folk Dance Problem Solver for 2007 has the definitive research.
Hi, Don! Glad to hear my blog was an inspiration for you. Back in 2010 there were no folk dance blogs on the Internet, so my purpose was to fill a void. Eight years later I’m still going at it, but not posting as much because I have carpal tunnel in both hands. Check back periodically, when my hands aren’t hurting I’ll write a post or two. I see you are in the Hawaiian islands. I don’t know how far you are from the volcano, so stay safe and Happy Dancing
I have been reading your posts and comparing them to what I’ve written in my blog about Balkan folk dances.
Check out my post on Bregovsko Horo. It is similar in structure to the Cacak Horo. Our group calls it the “one figure cacak.” It sounds more Serbian than Bulgarian!
Also liked your notes on Gerakina, a dance I had recently written about. I went crazy looking for a translation for the lyrics. All I knew was that it was about a girl who had fallen into a well.
Thanks for sharing all this wonderful infohttp://katleyplanetbg.blogspot.com/2018/01/variations-on-bulgarian-folk-dance.htmlhttps://katleyplanetbg.blogspot.com/ on folk dances.
Oh no! Someone just pointed me to this site, and now I’m going to have to spend ages looking at all the info! 🙂 Looks very interesting, including information not readily accessible to me elsewhere. My experience of International Folk Dance in the UK is that we are often taught the region that a dance comes from, and the style; but not so much about a dance’s history, or how traditional the dance may be – or whether it was choreographed for the folk dance market.
Great resource Don! Thanks for the compliment! I’m certainly glad I suggested this!
You’re an amazing historian and an easy teacher to follow. That you are so willing, with such joy, to share your love of folk dancing and folk lore, is all of our gain.
Hope you do a write-up regarding the launch for the Northwest Folkdancers Inc. magazine firstname.lastname@example.org
Best idea ever! I’ll be visiting this page often! Happy Holidays 🌺🌲🌺
So glad you are sharing on a wider stage Don. You have certainly provided Kauai with lots of opportunity to enjoy more of the dances, history, language and cultures of the world. Thank you and Susanjane for your wonderful contributions to making our world a more loving place.
Mahalo, Don! I will learn so much historically, not to mention have a place to research the dances themselves.