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THEIR SPIRITS SOARED AND THEY DANCED FOR JOY Winter 1984 Written by Otto Krumbach Although it is deep in antiquity the celebration taking place is not beyond recall. By unfolding wings of imagination and gazing with an enlightened mind's eye, even a person of today can join the group assembled here. The folk of long ago have gathered for solemn purpose but the ceremonies they are about to begin will be carried out with joy and expressed in a wonderous manner. Upon the long-awaited signal, the people join hands, the music begins, and they start their dance of thanks to divine creation! They have been blessed with yet another benign natural even and they wish to show their graditude with their entire beings. It is clear that this early folk dancing is being practiced for the primary purpose of marking significant happenings in the lives of the people. But more than this is see. The dancing reveals the social and gregarious natures of the folk as they join with others who have shared their trials and triumphs. The dances they perform have grown out of the collective consciousness of individuals and local groups of people who sense the traditions and aspirations of their environment. It is well to sharply mark the scene before it fades away again, dimmed by the bright glow of the modern world. Something else about the dancing is clearly discernable. Male and female dancers place distinctly different roles and their dancing styles are divided by gender. Males jump, clap, shout, and engage in other kinds of vigorous and strenuous movements. They also lead in spectacular leaps and acrobatics. Females, on the other hand, dance in a more subdued manner, making gentle moves and spinning gracefully. Separate dances for male and female take place in a combined dancing, highly stylized intermixing occurs. In this continuing swift-moving journey it will be noted that in eastern Europe, they evolve into csardas, hopak, mazurka, and polka dances. In the Balkans they dance the hora, holo, kolo, and syrtos. In Austria the landler may be seen while in Italy the tarantella is danced with vigor and abandon. The English dance the clog, country, hornpipe, jog, and schottisch dances while the French begin the bourree and the farandole. In Scandinavia at this same time they dance the halling, as in Ireland the dancers whirl and reel, and in Scotland they do the highland fling, strathspey and sword dances. Meanwhile in Spain they dance the fandango, flamenco, jota, Morris dance, sardana, and sequidillas. All too speedily, the more recent world comes to view. Here in the United States early European-Americans may be seen hurling themselves into the Virigina reel and sacheting vigorously in the joyous square dance. In another blink of an eye, today's world is seen again. It may be observed that people have long forgotten the ritual celebrations and the social bonds which were the original purpose of folk dancing. Only the recreational aspects of dance remain. The steps and motions of modern dance techniques are different and reflect feelings other than those expressed by early folk dancing. Fortunately, all that has past is not lost. Omitted - specific information from this 1984 publication about dance directories is no longer valid, but today there are online directories, just do a search for "Folk Dance Directory" New Dancers need not be hesitant to participate. A primaryrule at folk dances is to warmly greet newcomers so that a wonderful time will be had by all. Grasp your partner and join the fun! |
