BAR STRUCTURE of BALKAN FOLK DANCES FORMS UDC: 793.31:796.012.35 (Professional Paprer)

APES 2 (2012) 2:258-261 Stanimirović, M. et al.: BAR STRUCTURE OF BALKAN...

BAR STRUCTURE OF BALKAN FOLK DANCES FORMS UDC: 793.31:796.012.35 (Professional paprer)

Milan Stanimirović and Vladimir Mutavdžić University of Niš, Faculty of Sport and Physical Education, Niš, Serbia

Abstract A review of previous research on the bar structure of Balkan folk dances, showed that it is evident that this large and very specific ethno-choreological area is characterized by its special characteristics. The aim of this research was oriented to the determination of the bar structure of the basic dancing forms of selected Balkan folk dances, as well as their individual variants. The research includes some of the most typical representatives of folk dances from Serbia, Bulgaria and Macedonia. We analyzed 21 folk dances with totally of 39 dancing forms. The descriptive method was used during the research, and the following, among the Serbian folk dances, were analyzed:1. Moravac 2/4; 2.Čačak 2/4; 3. Rumenka 2/4; 4. Trojanac 2/4; 5. Stara Vlaina 2/4; 6. Šokc 9/8+13/8; 7. Urzikuca 11/8 +7/8; 8. Bugarčica 7/8; 9. Polomka 2/4; 10. Igrale se delije 2/4; 11. Leskovačka četvorka 2/4 and 12. Žikino kolo 7/8. As for Bulgarian folk dances, the following were analyzed: 1. Pravo trakijsko horo 2/4; 2. Zagorska rčenica 7/8; 3. Ile, Ile 9/8; 4. Kopanica 11/16; 5. Jove malai mome 7/8 +11/16 and 6. Petrunino horo 12/8, and among the Macedonian dances: Pajduska 5/8; 2. Eleno mome 7/8 and Serbez Donka 7/8. The research results suggests that the number of bars within the basic dancing form of the analyzed folk dances range from three up to even sixteen. It can be noted that simple and complex bar structures of the folk dances are conditioned by their rhythmical composition, so that the simple bar leads to both simpler structure and dancing technique. Although there are more even structures, it is interesting to note that there are no special rules and patterns concerning presence of the odd and even bar structures. It can be seen that the number of bars in dancing forms of Balkan folk dances is very diverse, so that the bar structure present, beside three and four-part, can also be eight-, nine-, ten- and sixteen-part bar structure.

Keywords: Serbian folk dances, Macedonian folk dances, Bulgarian folk dances, musical patterns, symmetric bar structure, asymmetric bar structure

INTRODUCTION determination of the bar structures of the basic dancing Analysis of the bar structure of the basic dancing forms of selected Balkan folk dances, as well as their forms of Balkan folk dances and their certain variants certain variants. indicates, at least according to the results of the previous research, that basically there are great similarities in the METHODS existing schemes also, regardless of whether it concerns The research included some of the most typical the folk dances from Serbia, Bulgaria or Macedonia representatives of folk dances from Serbia, Bulgaria and (Ivančan, 1970; Kostić, 2000; Trajčević, 1987, Vaglarov, Macedonia. We analyzed 21 folk dances with totally 1976; Vasiljević, 1953). of 39 dancing forms, with even 302 bars. A descriptive Among other things, from the previous research, method was used during the research and study, and it was evident that the division of folk dances in rela- among the Serbian folk dances, the following were ana- tion to the bar structure was defined on symmetric and lyzed: 1. Moravac 2/4; 2. Čačak 2/4; 3. Rumenka 2/4; asymmetric. This division involves equal or unequal 4. Trojanac 2/4; 5. Stara Vlaina 2/4; 6. Šokc 9/8+13/8; 7. number of bars in the movement to the right and left in Urzikuca 11/8+7/8 8. Bugarčica 7/8; 9. Polomka 2/4; 10. the dancing forms of folk dances. What is interesting is Igrale se delije 2/4; 11. Leskovačka četvorka 2/4 and 12. the fact that on this occasion melodious bar pattern can, Žikino kolo 7/8. As for the Bulgarian folk dances, the but not obligatory, match with the dancing form, which following were analyzed: 1. Pravo trakijsko horo 2/4; 2. also represents one of the features of the Balkan folk Zagorska rčenica 7/8; 3. Ile, Ile 9/8; 4. Kopanica 11/16; dances. Those relationships between the bar structures, 5. Jove malai mome 7/8 +11/16 and 6. Petrunino horo on the relation to musical and dancing forms, was the 12/8, and among the Macedonian dances: 1. Pajduska main motivation for this research. 5/8; 2. Eleno mome 7/8 and Serbez Donka 7/8. The objective of this research referred toward The research itself has been directed to the regula-

258 APES 2 (2012) 2:258-261 Stanimirović, M. et al.: BAR STRUCTURE OF BALKAN... tions and principles within the concept of the bar struc- three-part bar structure, without matching of musical tures of dancing forms of Balkan folk dances, as well as and dancing forms. their connection with the musical, and melodious form. 14. Zagorska rčenica, basic dancing form, 8 bars (steps with attraction, hop-steps and cross-steps). RESULTS Asymmetric eight-part bar structure, where both musical The following Balkan folk dances were included and dancing forms match to each other. in the analysis: 15. Ile,Ile, basic dancing form, 4 bars (steps 1. Moravac 2/4, basic dancing form, 3 variants, with attraction, hop-steps and cross-steps). Asymmetric 32 bars (steps with attraction, triple steps, hops and four-part bar structure, where both musical and dancing cross-steps). Symmetric eight-part bar structure, where forms match to each other. both musical and dancing forms match to each other. 16. Kopanica, basic dancing form, 1 variant, 6 bars 2. Čačak 2/4, basic dancing form, 1 variant, 20 (steps with attraction, hop-steps, cross-steps and side- bars (steps with attraction and sideward steps, lift-steps). ward steps). Asymmetric three-part bar structure, witho- Asymmetric ten-part bar structure, without matching of ut matching of musical and dancing forms. musical and dancing forms. 17. Jove, malai mome, basic dancing form, 1 3. Rumenka 2/4, basic dancing form, 2 variants, variant, 32 bars (steps with attraction, triple steps, hop- 30 bars (steps with attraction and cross-steps). Symme- -steps, cross-steps and sideward steps). Asymmetric and tric ten-part bar structure, without matching of musical symmetric two- and four-part bar structure, where both and dancing forms. musical and dancing forms match to each other. 4. Trojanac 2/4, basic dancing form, 2 variants, 18. Petrunino horo, basic dancing form, 8 bars 15 bars (steps with attraction and triple steps). Asym- (steps with attraction, hop-steps, sideward steps and metric five-part bar structure, where both musical and cross-steps). Symmetric eight-part bar structure, where dancing forms match to each other. both musical and dancing forms match to each other. 5. Stara vlaina 2/4, basic dancing form, 2 19. Pajduška, basic dancing form, 10 bars variants, 24 bars (steps with attraction, hop-steps and (steps with attraction, lift-steps, hop-steps and cross- cross-steps). Symmetric eight-part bar structure, where -steps). Asymmetric ten-part bar structure, without mat- both musical and dancing forms match to each other. ching of musical and dancing forms. 6. Šokc 9/8+13/8, basic dancing form, 8 bars 20. Eleno mome, basic dancing form, 3 bars (steps with attraction and cross-steps). Asymmetric (hop-steps, cross-steps and sideward steps). Asymme- eight-part bar structure, where both musical and dancing tric three-part bar structure, without matching of musical forms match to each other. and dancing forms. 7. Urzikuca 11/8+7/8, basic dancing form, 12 21. Serbez Donka, basic dancing form, 9 bars bars (steps with attraction, triple steps and cross-steps). (triple steps, hop-steps, and sideward steps). Asymme- Symmetric twelve-part bar structure, where both musi- tric nine-part bar structure, without matching of musical cal and dancing forms match to each other. and dancing forms. 8. Bugarčica 7/8, basic dancing form, 1 variant, 20 bars (steps with attraction, triple steps, hop-steps and DISCUSSION AND CONCLUSION cross-steps). Symmetric ten-part bar structure, without Based on the results of the research carried out matching of musical and dancing forms. on a sample of 21 folk dances, i.e. 39 dancing forms 9. Polomka 2/4, basic dancing form, 1 variant, and varieties of Balkan folk dances, it can be conclu- 16 bars (steps with attraction, triple steps, hop-steps). ded that with the Serbian folk dances: 1. Moravac 2/4; Asymmetric four-part bar structure, where both musical 2. Čačak 2/4; 3. Rumenka 2/4; 4. Trojanac 2/4; 5. Stara and dancing forms match to each other. vlaina 2/4; 6. Šokc 9/8+13/8; 7. Urzikuca 11/8+7/8; 8. 10. Igrale se delije 2/4, basic dancing form, Bugarčica 7/8; 9. Polomka 2/4; 10.I grale se delije 2/4; 32 bars (steps with attraction, hop-steps and sideward 11. Leskovačka četvorka 2/4 and 12. Žikino kolo 7/8, steps). Asymmetric sixteen-part bar structure, where does not dominate especially symmetric or asymmetric both musical and dancing forms match to each other. type of folk dances. Also, there is no repeating of the 11. Leskovačka četvorka 2/4, basic dancing same number of bar parts within the dancing forms, nor form, 1 variant, 32 bars (steps with attraction and side- the musical and dancing form must match to each other. ward steps, hop-steps and cross-steps). Symmetric sixte- There are recorded four-, five-, eight-, ten-, twelve and en-part bar structure, without matching of musical and sixteen-part bar structures. dancing forms. Bulgarian folk dances 1. Pravo trakijsko horo 12. Žikino kolo, basic dancing form, 8 bars 2/4; 2. Zagorska rčenica 7/8; 3. Ile, Ile 9/8 4. Kopanica (steps with attraction and triple steps). Symmetric 11/16; 5. Jove malai mome 7/8+11/16 and 6. Petruni- eight-part bar structure, where both musical and dancing no horo 12/8 are specially characterized by asymmetric forms match to each other. type of folk dances. There are recorded three-, four-, 13. Pravo trakijsko horo, basic dancing form, 3 and eight-part bar structures, while musical and dancing bars (steps with attraction and lift-steps). Asymmetric forms generally match to each other. 259 APES 2 (2012) 2:258-261 Stanimirović, M. et al.: BAR STRUCTURE OF BALKAN...

Macedonian folk dances 1. Pajduška 5/8; 2. Ele- REFERENCES no mome; 7/8 and Serbez Donka 7/8 are characterized Bijelić, S. (2006). Plesovi [Dances.In Serbian]. Banja Luka: by asymmetric type, while musical and dancing forms Atlantik BB. generally do not match to each other. There are recorded Blagojević, R. (1986) . Najpopularnija kola Balkana [The three-, nine- and ten-part bar structures. most popular dances of the Balkans. In Serbian]. In general, the Balkan folk dances are mainly Knjaževac: “Nota”. characterized by diverse bar structures, where it cannot Cenerić, I. ( 1974). Narodna kola [Folk dances. In Serbian]. be generalized only one type of folk dances, just as it Knjaževac: “Nota”. cannot be concluded that the dancing and musical form Dević, D. (1974). Osnovna melografska uputstva [The basic must match to each other. melody graphics instructions. In Serbian]. Beograd: Only the folk dances of Vlachs with ethno-chore- Univerzitet umetnosti. ological areas of eastern Serbia Šokc 9/8+13/8 and Ur- Dopuđa, J. (1986). Narodni plesovi - igre u Bosni i Hercegovi- zikuca 11/8+7/8 and the folk dance Bugarčica 7/8 from ni [Folk dances - a game in Bosnia and Herzegovina. In the south-eastern part of Serbia, are in the complex, that Serbian]. Zagreb: Kulturno prosvjetni sabor Hrvatske. is in multiple bars. With all analyzed folk dances, dan- Ivančan, I. (1970). Plesovi Panonske zone I deo [Dances Pan- cing and musical accents match to each other. nonian zone First part. In Croatian]. Zagreb: Prosvjetni Unlike the Serbian, except the folk dance which is sabor Hrvatske - Odbor za muzičku kulturu. characterized by its simple musical and dancing meter, Karić, V. (1887). Srbija (Opis zemlje, naroda i države)[Serbia all other Bulgarian folk dances are in the complex and (description of the people and the state). In Serbian]. multiple bar: Zagorska rčenica 7/8 Ile, Ile 9/8 Kopanica Beograd: Kraljevsko - srpska državna štamparija. 11/16, Jove malai mome 7/8+11/16 and Petrunino horo Kostić, R. (2000). Ples, teorija i praksa [Dance, Theoty and 12/8. It may be noted that the analyzed Bulgarian dances Practice. In Serbian]. Niš: „Galeb“ are consisted of complex musical meter and both sym- Mijatović, Č. (1908).Servia and the Servians. London: Sir metric and asymmetric construction, as well as that dan- Isaac Pitman & Sons, LTD. cing and musical accents is matching each other. Mutavdžić, V. (2007). Factor structure of dance patterns in folk Within the Macedonian folk dance Pajduška 5/8, dances of Serbia. Serbian dancing and musical accent match and they are on the Journal of Sports Sciences, 1(4), 97-106 second part of the bar. With the folk dances Eleno mome Mutavdžić, V. (2005). Orski običaji, prilike, povodi, mesta za 7/8 and Serbez Donka 7/8, the dancing and musical ac- plesanje i obredni plesovi od cent also match and they are on the third part of the bar. Srba [Traditions of folk dances, opportunity, motive, Generally, it can be concluded that in all of the place for dance and ritual dances from the Serbs. In Ser- analyzed folk dances, dancing and musical accents bian Zbornik radova 2., ‘’SRPSKI SOKO’’, (str.77-80), match to each other. The research results showed that the Zvornik: Srpski soko. Serbian folk dances are characterized by mainly regular Tajčević, M. (1987).Osnovna teorija muzike [The basic theory and simple musical meter, while in Bulgarian and Ma- of music. In Serbian]. Beograd: Prosveta. cedonian folk dances is characteristic by their odd and Vaglarov, S. (1976).Бьлгарски народни хора и танци [Bul- complex meter, as well as multiple dancing and musical garian folk games and dances. In Bulgarian]. София: meter, i.e. bar appears, which is one of the basic features Медицина и физкултура. of Balkan folk dances. Vasiljević, M. A. (1953).Jugoslovenski muzički folklor I. [Yu- goslav musical folklore. In Serbian]. Beograd: Pros- veta.

TAKTOVNATA STRUKTURA NA TANCOVITE OBRASCI NA NARODNITE ORA NA BALKANOT

УДК: 793.31:796.012.35 (Stru~en trud) Milan Stanimirovi} i Vladimir Mutav|i} Univerzitet vo Ni{, Fakultet za sport i fizi~ko vospituvawe, Ni{, Srbija

Apstrakt Od pregledot na dosega{nite istra`uvawa vo oblasta na taktovnata struktura na narodnite tanci na Balkanot, mo`e da se voo~i deka ova golemo i mo{ne specifi~no etno

260 APES 2 (2012) 2:258-261 Stanimirović, M. et al.: BAR STRUCTURE OF BALKAN...

koreolo{ko podra~je se odlikuva so svoi posebni karakteristiki. Celata na istraùvaweto e naso~ena kon utvrduvawe na taktovnata struktura na osnovnite tancovi obrasci za izbrani balkanski narodni ora i nivnite varijanti. So istraùvaweto se opfateni nekoi od najtipi~nite pretstavnici na narodnite ora od Srbija, Makedonija i Bugarija. Analizirano e 21 narodno oro so vkupno 39 tancovi obrasci. Vo istraùvaweto e koristena deskriptivna- ta metoda. Od srpskite narodni ora analizirani se: 1. Moravac 2/4 2. â~ak 2/4 3. Rumenka 4. Trojanac 2/4 5. Stara vlaina 2/4 6. [okc 9/8+13/8 7. Urzikuca 11/8+7/8 8. Bugar~ica 7/8 9. Polomka 2/4 10. Igrale se delije 2/4 11. Leskova~ka ~etvorka 2/4 12. @ikino kolo 7/8. Od makedonskite narodni ora analizirani se: 1. Pajdu{ko oro 5/8 2. Eleno mome 7/8 i Serbez Donke Od bugarskite narodni ora analizirani se: 1. Pravo trakijsko horo 2/4 2. Zagorska r~enica 7/8 3. Ile, Ile 9/8 4. Kopanica 11/4 5. Jove maloi mome 7/8 +11/16 i 6. Petrunino horo. Rezultatite od istraùvaweto ukaàa deka rastojanieto vo brojot na taktovite i os- novniot tancov obrazec na analiziranite ora e od 3 do 16. Ednostavnite i sloènite strukturi na narodnite ora se usloveni od nivnata ritmi~ka kompozicija, taka {to ednostavniot takt vodi kon poednostavnata struktura i igra~kata tehnika. Iako ima neznatno pove}e parovi na strukturi, zabeleàno e deka nema posebni pravila i {abloni za prisutnosta na parnite i neparnite taktovni strukturi. Utvrdeno e deka brojot na taktovite vo tancovite obrasci na narodnite ora na Balkanot e mo{ne razli~en, taka {to pokraj prisutnosta na tridelnata, prisutna e i ~etiridelnata, osumdelnata, devetdelnata, desetdelnata i {esnae- setdelnata taktovna struktura.

Klu~ni zborovi: srpski narodni ora, makedonski narodni ora, bugarski narodni ora, muzi~ki obrasci, simetri~na taktovna struktura, asimetri~na taktovna struktura

Correspondence: Milan Stanimirović University of Niš Faculty of Sport and Phisical Education Čarnojevića 10a, 18000 Niš, Serbia Е-mail: [email protected]

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