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Brooklyn Academy of Music Friday evening, October 12, 1956 #2 (T sú112O THE BROOKLYN INSTITUTE + OF ARTS AND SCIENCES NN ' k 4 R i xt, .a BROOKLYN ACADEMY OF MUSIC FRIDAY EVENING, OCTOBER 12, 1956 S. Hurok presents under the official sponsorship of The Yugoslav Government THE YUGOSLAV STATE COMPANY in "SLAVON IC RHAPSODY" DANCES FROM THE REGION OF PIROT Choreography: Agata Zic Music: Giorgie Karaklájitch These four dances originated in the Nishava Valley of Northeast Serbia which stretches toward Bulgaria. In them the women play an equal part with the fur -hatted men. The bowing movements in which the dancers appear to brush the earth with one hand, have an ancient ritual significance -the blessing of the land to make it fruitful. DANCES FROM MONTENEGRO Choreography: Olga Skovran Music: Dragutin Tcholitch Montenegrin festivals usually begin with an exotic dance of pairs. Young men and girls, dancing in turns, imitate falcons in flight, while the main body of the group urges them on with humorous chants. The other dances are variations on the traditional "Kolo" (reel) forms with accompanying lyrics in praise of freedom. The order of the program will be: ' I Dances and Songs from Serbia XI Warrior Dance from Rugovo II Shopa, Dance of Shiptar nrintpA XII Dalmatian Dance -Lindjo Ili Kapanka -Dance from Eastern Serbia Indoz IV Dances from Montenegro XIII Shopsko from Eastern Serbia V Peshkotc -Dance from Macedonia XIV Dui, Dui -Dance from Vranie VI Old Bosnian silent Kolo from Glamotch XV Dance of the Komitas VII Wallachian Dance from Eastern Serbia VIII Gypsey Dance from Voivodina XVI Dance of the Young Bunievatzs IX Dances of Barania XVII Rivalry Dance from Banat INTERMISSION XVIII Two Folk Songs: rkeAr X Dances from Bonat Choreography by Dobrivoje Putnik Moi Dildere, from Vojvodina Music by Svetolic Pascan A- ca- Dalmatian Originating from the plains of Banat, this Ranka Radefic-Zivka Nemecek dance expresses the enthusiasm and gaiety of its performers. XIX Dances from Slavonia and Pasavina .., W N < C :.¡ q O ñ v L - FIRE NOTICE: The exit indicated by a red light and sign nearest to the seat you occupy is the SHOTA, DANCE OF SHIPTAR II shortest route to the street. In the event of fire Choreography: Olga Skovran Music: Milan Todorovitch please do not run -WALK TO THAT EXIT. EDWARD F. CAVANAGH, JR., DALMATIAN DANCE -LINDJO Dancers: Zivka Nemechek and Bratislav Grbitch Fire Commissioner The Shiptars are an Albanian minority, mainly Moslems. An oriental influence is obvious It is urgent for the comfort and safety of all that Choreography: Zvonimir Levakotich Soloist: Dragomir Vukovitch in their Shota, and a London critic has even called it "rather Indian." Traditionally per- patrons refrain from lighting matches in this theater Lierica Player: Radomir Milosavljevitch formed by the Shiptars at weddings, the Shota is a duet in which the girl tells her lover Dalmatia is that section of Yugoslavia bordering on the Adriatic opposite Venice. "Lindjo,' in mime how good she is at various domestic tasks -sieving flour, kneading dough, etc. 1 rrir which takes its name from the three -stringed instrument "Lieritza" which accompanies it, KATANKA, DANCE FROM EASTERN SERBIA ` requires a particular skill and endurance from the rapidly- turning girls and from their Choreography: Olga Skovran Music: Borislav Jankovitch I ORCHESTRA partners. Katanka is one of the more erotic of the Serbian courtship dances. ¿ , GYPSY DANCE FROM VOIVODINA ,, um WARRIOR DANCE FROM RUGOVO E fx,?° uú . Choreography: Dobrivoje Putnik Music arranged by Saanoilo Raichitch Choreography: Olga Skovran Tupan played by Bratislav Grbitch i l ? I: l r Dancers: Nadozda Balabanovitch and Miedrag Despotovitch Dancers: Vitomir Radivojevitch and Miedrag Despotovitch .....1 `- °,,, .J us . Love, the favorite theme of song, story, and dance, is described once again in this Gypsy Only recently discovered by Miss Skovran in the little village of Rugovo, the Warrior ` Dance. for the attention of the Dance is a simulated fight between two men armed with swords i;1 - we' l` player of the tupan, the big drum, which accompanies the action. The winner, after " rir ° ° ° ^'°°- .. i , `.... a .o-- illi!,'1ii ..=-, celebrating his victory, continues dancing with the conquered. 1 i 1 w °° SHOPSKO FROM EASTERN SERBIA Choreography: Dobrivoje Putnik Music arranged by Zarko Milanovitch OLD BOSNIAN SILENT KOLO FROM GLAMOTCH - - - -- 2/ the Southeastern section of Yugoslavia, is a kind of Choreography: Olga Skovran Introductory song arranged by Cvjeko Eihtrnan . The Serbian Shopsko, typical of a ° "' - ' " endurance contest among several men who hold on to each other's belts and perform This ancient dance from Eastern Bosnia is a dance of pairs and a Kolo (reel) combined. difficult and grotesque steps in an effort to out -dance each other. As they dance There is no accompaniment save the rhythm marked by the stamping of feet, clinking I Ise BALCONY i series of of jewels and of the gold pieces on the costumes of the women. The young men vigorously they try to be the first to call out fresh steps, shouting out "Dig!" Stamp!" "Break!" or shake and turn the girls -a traditional test of her strength and health. $ "Hop!" and undertake these actions at great speed and in turns. A means of dazzling and / impressing the girls, this dance obviously derives from the motions of working in the fields. TESHKOTO, DANCE FROM MACEDONIA at tr V4'] 17 I /si w Choreography: Olga Skovran Music arranged by Borivoje flitch f i I I DUI, DUI -DANCE FROM VRANIE Kolo Leader: Miedrag Despotovitch Tupan played by Radomir Milosavljevitch i I3 t Choreography: Mila Penitch Music arranged by Milenko Zivkovitch A typical dance from the wild mountainous country of Eastern Macedonia. The catlike Zivka Nemechek steps of the first part and the motions of the feet testing the soil before being set down, ..,... f First dancer: stem from the natural careful footwork of the inhabitants of a rugged terrain. The rhythm / ///j \ .x\à The long Turkish domination of the land is reflected in the movements of the dancers increases to a prestissimo. The choirmaster is the key Ij of Teshkoto, slow at the beginning, the L ,,.,°,,, and in the design of their costumes, In this dance the women relieve the tedium of personality of the dance, the tupan (drum) player following his directions. confinement imposed on them by their conquerors by parodying the vivacious behavior WALLACHIAN DANCE FROM EASTERN SERBIA - expected of them. If the costumes seem to be made of unexpectedly Western materials, Choreography: Olga Skovran Music arranged by Stanojlo Raitchitch _j although Oriental in shape and cut, the reason is that even under Turkish rule, printed were imported into Yugoslavia from the West. The people of Eastern Serbia are well -known in Yugoslavia for their gaiety, good temper _ le silks and humor; qualities reflected in this dance in which the boys and girls compete in dis- to 2nd BALCONY playing their skill and swiftness. DANCE OF THE KOMITAS sw _ DANCES AND SONGS FROM SERBIA Choreography. Mira Sanjina Music: Kreshimir Baranovitch Olga Skovran Music arranged by Liubomir Boshniakovitch °n s " First Dancer: Miedrag Despotovitch Choreography: 1,,,, ,, Ur II Flute played by Radomir Milosavljevitch Singer: Zivka Nemechek 1 The Komitas were outlaws who, from their mountain strongholds in Macedonia, waged Serbian dances have a wide diversity of form, many based on the open or closed chain- unceasing guerilla warfare against the Turkish conquerors. Originally an improvised dance of the Kolo. "Morovatas," the last of these dances, is a series of variations impro- Y aspects of guerilla life; the concealed approach to an enemy s dance, it illustrates various vised by the performers. w, ,. III camp, reconnaissance, battle, victory, unforseen counter -attack, temporary retreateat with a I N T E R M I S S I O N "l t ` wounded leader, and renewed attack. M i +.w - a.. 1 DANCE OF THE YOUNG BUNIEVATZS Choreography: Olga Skovran Music: Liubomir Boshniakovitch This 'bachelor dance" is performed by groups of three -two girls and a boy. In the song which accompanies it, each girl accuses the other of trying to spoil her chances with the young man. The main role belongs to the boy who has bells attached to the heels of his boots and performs a variety of steps to make the bells ring. The girl decorates his performance with small steps and shivering movements. RIVALRY DANCE FROM BANAT Choreography: Debrivoje Putnik Music: Svetolik Pashtchan First Dancer: Dobrivoje Jankovachky The young rivals seek to win the girls' favors by their skill. Dancing around a knife driven into the floor, the men keep the upper part of their bodies erect while the suppleness of the knees gives the legs the elasticity of a spring. FOLK SONGS FROM SLOVENIA Sung by Zivka Nimechek Accordion by Mihailo Jachimovitch DANCES FROM SLAVONIA AND POSAVINA Choreography: Olga Skovran Music: Borislav Jankovitch The four dances from the plains of Croatia are expressive of the typical intense gaiety of the Croatian people. The improvised "Poskochitzas," recited verses, are as entertaining as the dances themselves. Artistic Director, Choreographer and Ballet Mistress: Olga Skovran Director of the Orchestra: Zarko Milanovitch Assistant Director: Mila Penitch Director of the Tambouritan Orchestra and Choreographer: Dobrivoje Putnik MANAGEMENT: HUROK ATTRACTIONS INC., 711 FIFTH AVENUE, NEW YORK, N. Y. F RESTAURANT COCKTAIL LOUNGE (j1p ondola "FOR PEOPLE OF GOOD TASTE" 20 Lafayette Ave., Brooklyn NEvins 8 -9547 Across the street from the Academy C1or QJour / ifier the Cfiiow L/ining Measure -our Venezia Room is just the place to relax and enjoy the fine food and drinks prepared by our own `Maestro' Solly Sarnataro.* Let us make your evening something to remember for you and your friends. 'for over 30 years the chef of Jimmy Kelly's in Greenwich Village Italian -American Cuisine For Reservations, call Best stocked bar in town Alfred NEvins 8 -9547 Open Daily and Sundays ,yr..
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