When I was a student at Reed, I lived a reclusive life, mainly in the chemistry building. Folk dancing changed all that, and it has continued to be integral to my life, allowing me to cultivate friends from all around the world.
Folk dancing, first and foremost, is about the joy of moving to music, combined with the celebration of community. The dances are usually done in a line or circle, giving the novice dancer the support of fellow dancers on either side. Historically, folk dancing, as I know it, began with the Greek hora about 3,000 years ago (as described by Homer).
The class introduces students to some of the multitude of ethnic dances that have evolved from the classical Greek Hora during the last 3,000 years. The Jewish dance, Hava Nagila, is a famous example of a folk dance that evolved from the Greek Hora!
This website provides access to all the wonderful music played in the class! And, soon, videos of all our dances as well!
Folk Dance Music is any music that has a regular, uniform "beat," which allows one to count the beats with whole numbers. Pragmatically, if you can march to the music's beats, then it is countable and Folk Dance-able music.
The Greek's 4 Count Dance Model, created over 3,000 years ago, divides countable music into 4 count parts called rhythms. Rhythm(s) is(are) the building blocks for constructing Folk dances.
R = the right foot L = the left foot
4 Step Rhythm occurs when each of the 4 counts of the rhythm is expressed as a step! The many different ways the 4 steps move and are positioned creates a variety of forms for expressing the 4 step rhythm, while the rhythm, itself, remains unchanged!"Form is what one sees; whereas, rhythm is what one hears!" In other words, form is about geometry, while rhythm is about counting: "1, 2, 3, 4."
steps only occur when you transfer your weight from one foot to the other foot, (R, L) or (L, R)! In the Greek Tradition step pairs always begin by stepping on R, (R, L). Step pairs are (R, L) unless (L, R) is indicated. Also, in the Greek tradition, step pairs can either move right along a line we will call the baseline or stay stepping in place on the baseline without moving right!
baseline: the imgained line to your right when facing forward (Greek Tradition) or the same imagined line extending to your left (Jewish Tradition). It is the frame of reference for all of our dances because the dances are all linear: either moving along the baseline OR facing forward stepping on the baseline OR stepping forward off the baseline and backward to the original place on the baseline. The concept of the baseline is essential in understanding and definitively describing the movement and position of the step pairs that construct all of our marvelous dances. See Reed Version of Ve David.
step pairs (R, L) and (L, R) are the most elemental forms of dance! They exist in just 5 distinct forms: marching, crossing in front, crossing behind, turning, and balancing.
marching step pairs (R, L) moving right is done facing right stepping right along the baseline, etc. Marching step pairs stepping in place are done facing forward on the baseline OR marching forward then backward to the original place on the baseline.
crossing in front step pairs (R, L) moving right begin facing forward on the baseline with R stepping farther right of L, followed by L crossing in front of R, landing above the baseline to the right of R, etc. Such that, consecutive crossing in front step pairs with R always stepping to the right of L will move right along the baseline ad infinitum! However, if R stays stepping in its original place on the baseline, consecutive crossing in front step pairs will remain in place ad infinitum! An alternative (R, L) in place cross in front step pair occurs when R crosses in front of L landing above the baseline to the left of L, then with L stepping in its original place on the baseline, etc. If L were to move left, as in early Jewish dances, by stepping left on the baseline, the consecutive (R, L) step pairs would continue to move left.
crossing behind step pairs (R, L) are analogous to crossing in front step pair except L crosses behind R, instead of in front of R. In both cases, R determines whether the crossing behind step pair moves right or stays in place! Similarly, for early Jewish dances moving left, L determines whether the crossing behind step pair moves left or stays in place.
turn step pairs (R, L) occur facing forward when one foot stays rotating in place while the other foot crosses in front. If R steps in place rotating 90 degrees while L crosses in front, you will turn right in place 90 degrees! Repeating this turn step pair 3 more times will complete your 360 degree right turn around R, returning you exactly to your original place on the baseline facing forward! You can also rotate R 180 degrees to complete your right turn in just 2 turning step pairs. Also, (R, L) step pairs can turn left by R crossing in front of L, and L stepping in place rotating 90 degrees, etc. Repeating this 3 more times will complete your 360 degree left turn, positioning you facing forward in your original place on the baseline.
balancing step pairs are usually done facing forward in place with different combinations of stepping on, above, or below the baseline.
Combining step pairs with themselves or with different step pairs will create all the different 4 step rhythm forms. Of all the combinations of step pairs to create 4 step rhythm forms, the most elegant are the grapevine forms: the Jewish grapevine, the Russian grapevine, the right grapevine, and the left grapevine. These 4 grapevine forms are all constructed by combining a crossing in front step pair with a crossing behind step pair!
Jewish grapevine combines a (R, L) crossing in front step pair moving left with a (R, L) crossing behind step pair moving left, etc. The Jewish grapeveine was probably the first grapevine form, appearing in the first Jewish dance, the Jewish Hora. See Russian dance, Troika.
Russian grapevine is the mirror image of the Jewish grapevine: combining a (L, R) crossing in front step pair moving right with a (L, R) crossing behind step pair moving right, etc. See Russian dance, Troika.
Mirror image is what you see looking at a mirror; where R becomes L, and moving right along the baseline becomes moving left along the baseline! Neither movements up and down (y axis) nor movements forward and backward (z axis) are affected! Why! Only x axis movement along the baseline is reversed! This concept of mirror imaging allows us to create new grapevine forms by simply reversing the feet and direction of any grapevine! Which inspires the question: How many different forms of the grapevine are there?
The right grapevine combines a (R, L) crossing in front step pair moving right with a (R, L) crossing behind step pair moving right, etc.
The left grapevine is the mirror image of the right grapevine: (L, R) crossing in front step pair moving left with a (L, R) crossing behind step pair moving left.
4 more grapevine forms can be constructed by crossing behind step pair first, then crossing in front step pair.
Also, 8 more grapevine forms result by expressing the 8 moving grapevine forms as in place grapevine forms.
T/Cherkessia is the Israeli name for the Jewish grapevine in place.
N = nonstep
nonstep is a count that is expressed without changing your weight! It is indicated in step pair notation by (R, R) = (R, N); and if the first step is L, then (L, L) = (L, N). It can occur either by hopping/skipping on your weighted foot, as with the Turkish chug step skipping backwards. Or, more commonly, by using your free foot to touch/slap/stomp the floor without transferring your weight! In the Greek Tradition, the free foot lifts, which is the most demonstrative way to emphasize that your weight is not transferred to your free foot! The height of the lift can tell you which Greek village the dancer comes from!
The Greeks create a new rhythm by substituting nonsteps for the 2nd and 4th counts of the 4 step marching rhythm to make a new 2 step rhythm: (R, N, L, N)! This new rhythm will appropriately be called the Greek hora rhythm! Its introduction represents the beginning of the World of Dance separate from the World of Marching! The Greek hora rhythm will inspire many more new rhythms that will transform Dance into the Magnificence it is today!
The form of The Greek hora rhythm is facing forward, staying in place on the baseline: stepping with R on the baseline, then lifiting L in front of the baseline, followed by stepping with L in its original place on the baseline, then lifting R in front of the baseline (R, N = lifitng L, L, N = lifting R). This completes the form of the 4 count Greek hora rhythm.
The Greeks Construct the First Choreographed Dance in Recorded History by combining a facing right, moving right along the baseline, marching form of the 4 step rhythm, with the facing forward, staying in place on the baseline form of the Greek hora rhythm. These combined rhythms create the 8 count Greek hora pattern that repeats to make the Greek Hora dance.
8 count Greek hora patterns are combinations of 2 rhythms; such that, their 8 counts include an even # of steps, making them repeatable ad infinitum! Beyond the Greek Tradition, any # of counts that include an even # of steps can be a pattern.
The Diaspora of the 8 count Greek Hora Dance around the Mediterranean World probably began shortly after its creation, but I suspect the much bigger impact around the entire Classical World occurred 500 years later due to the exploits of one man, Alexander the Great!
The 8 Count Greek Hora Dance Provides the Basic Dance Model for Other Cultures to Emulate: (1) begin stepping with R, (2) 4 count moving rhythm along the baseline, (3) 4 count facing forward in place rhythm on the baseline, which together create a Greek 8 count pattern dance.
The Jewish version of the Greek Hora Dance, called The Jewish Hora, begins with a facing forward, in place Greek hora rhythm first, and then moves left along the baseline with a Jewish grapevine 4 step rhythm to create their own version of the 8 count Greek Hora. See Jewish dance, Hava Nagila.
Turkish version of the Greek hora dance begins facing right, moving right along the baseline in the marching form of the 4 step rhythm. Then, stepping in place on the baseline with the Greek hora rhythm (R, N = L lifting, L, N = L turkish chug nonstep). See Turkish dance, Kendeme.
Turkish peoples create a new rhythm, the 3 step rhythm (R, L, R, N) and (L, R, L, N), to construct their more original version of the Greek Hora.
The 3 step rhythm is expressed as (R, L, R, N) or (L, R, L, N).
The Turkish 3 step rhythm version of the Greek Hora is constructed with the (R, L, R, N = lift) rhythm marching right, facing right along the baseline. Then, with the (R, L, R, N = turkish twist) rhythm in place, facing forward on the baseline. These 2 combined 3 step rhythms create an 8 count pattern, Turkish version of the Greek hora. See Turkish dance, Iste Hendik.
The 1 step rhythm typically begins with its 1 step on the first count, followed by 3 nonsteps! The 1 step rhythm, like the 3 step rhythm, can combine its 2 expressions (R, N, N, N) and (L, N, N, N) to create a Greek 8 count pattern. Also, you can combine a 3 step rhythm with a 1 step rhythm to again create a Greek 8 count pattern, which is exactly what happens with the Macedonian version of the Greek hora.
The Macedonian version of the Greek hora combines a 3 step rhythm (R, L, R, N = L lifts) with the 1 step rhythm, (L, N = lift R in front, N = lift R behind, N = L chug nonstep). See Macedonian dance, Oro.
Buzz step rhythm is the most popular expression of the 1 step rhythm! It is a fast turn step where your weight remains on your rotating foot while your free foot crosses in front, without stepping, to help propel your weighted, rotating foot 360 degrees in 4 counts! Rotating on your R will be called right buzz step versus left buzz step when rotating on your L.
After Millenia, The Greeks constructed their own expanded version of the Greek hora called the Syrto hora. This was accomplished by creating a new 3 step rhythm: (R, N, L, R) or (L, N, R, L). By using both expressions of the new rhythm for both moving right (8 counts) and stepping in place (8 counts), they expanded their 8 count Greek Hora Dance to be a new 16 count Greek Syrto Hora Dance.
The 16 count Greek Syrto form begins facing forward with R stepping right on the baseline. Then L lifts in front of the baseline, followed by L stepping behind R, then R stepping right and facing right on the baseline (R, N = lift L in front, L, R). This is the closest the Greeks come to embracing the elegant grapevine form. The next 4 counts continue facing right, moving right along the baseline, (L, N = lift R, R, L). These complete the 8 counts moving right. The 8 counts stepping in place begin facing forward with R stepping on the baseline, L lifting in front of the baseline, then L stepping in front of the baseline, and R stepping in its original place on the baseline (R, N = lift L in front, L, R). The second 4 counts in place are the mirror image of the first 4 counts, (L, N = lifting R, R, L). This completes the 8 counts in place, to make an expanded 8 count Greek Syrto version of the Greek Hora. See Greek Dance, Syrto Hora.
Greek Syrto Dance Form begins facing forward on the baseline, step with R on the baseline followed by L lifting, crossing behind R as a nonstep, then L steps behind baseline to the right of R, followed by R stepping on the baseline to the right of L (R, N, L, R). This is the closest the Greeks come to embracing The complement of the moving right rhythm faces right moving right along the baseline (L, N, R, L). This completes the 8 counts moving right! The 8 counts staying in place begins facing forward with R stepping on the baseline, L lifts in front of R as a nonstep, then L steps in front of R, followed by R stepping in its original place on the baseline: (R, N, L, R) The complement 4 counts rhythm are analogous, beginning with L stepping on the baseline, with R lifting in front of L as a nonstep, then R steps in front of L, followed by L stepping in its original place on the baseline. This completes the 8 counts staying in place. These two 8 counts make a 16 count Greek syrto pattern. It was created after the Diaspora, and has primarily remained in Greece in its original form.
The Serbian/Croatian half step kolo dance creation is most probably the first example of a half count step because it literally only moves half the distance of a whole count step! Kolo half step dances always face forward: stepping R on the baseline followed by L crossing half way behind R landing just behind R! Repeating this 3 more times moving R right along the baseline each time will create a fast moving 8 step, 4 count kolo rhythm:1&2&3&4& = RLRLRLRL Where & represents the half step. The kolo half steps always facing forward facilitates moving left as well as right along the baseline by rather doing a 7 step, 4 count rhythm! See Serbian dance, Ersko Kolo and Rumanian dance, Alunela.
Serbian/Croatian peoples construct a half step kolo version of the 8 count Greek Hora by combining 8 kolo half steps in 4 counts moving right with 6 half steps in 4 counts in place doing a half step version of the Greek hora rhythm: 1&2,3&4 = RLR,LRL RLR is called a right chachacha (appropriately, 3 syllables!) and left chachacha for LRL. In Modern Israeli dance they are called Yemenite right and Yemenite left ( also, 3 syllables!) See Croatian dance, Krici,Krici,Ticek
Assyrian version of the 8 count Greek Hora combines a chachacha rhythm, (RLR,LRL), facing right, moving right along the baseline with a Greek hora rhythm facing forward, in place: R, N, L, N with both non steps stomping in front of the baseline. See Assyrian dance, Shechani
half non step, n, is a half count expressed by a non step! See Bulgarian dance, Paidushko Horo, Macedonian dance, Skudrinka.
Bulgarian version faces right moving right with a half step rhythm: 1&2&3&4& where & is a half non step, lifting only the heel of your foot! The Greek hora part is done facing forward: 1&2,3&4 where & is half non step, lifting your heel and 2,4 counts are non steps lowering your heel. In foot notation, this form of the Greek hora rhythm is RRR,LLL = RnN,LnN See Bulgarian dance, Paidushko
Serbians create the most popular rhythm ever! 1,2,3&4! In foot notation: R,L,RLR and L,R,LRL. It is know around the world as the ChaCha rhythm! It was used to construct a simple version of the Greek Hora and like the Greek Hora, it remains unchanged to this day! See Serbian dance, Setnja
Macedonian half step version the the Greek Hora is a chachacha rhythm, 1&2,3&4 in a marching form moving right where the half non step is a lift along the baseline: RnL,RnL. The in place 4 counts are the same chachacha rhythm, but involving n and N: RnN,LnN where n = mini lift and N = bigger lift consecutively without stepping! See Macedonian dance, Lesnoto
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Serbian peoples create an enhanced all kolo step version of the Greek Hora: move right on the baseline doing a 7 step kolo rhythm, (1&2&3&4), then in place on the baseline do two 3 step kolo half steps (L, R, L & R, L, R) to create the 8 count Greek hora pattern that moves right and left on the baseline!
The 3 step kolo half step is known around the world as the cha cha step (1&2). In foot notation it is the pair: right cha cha, (RLR) and left cha cha, (LRL) which together create the double cha cha rhythm!
The double cha cha rhythm done facing forward in place on the baseline is the half step version of the Greek hora rhythm! See the Armenian dance, Laz Bar.
The cha cha step in Israeli dance, is called the Yemenite step: Yemenite right, (RLR), and Yemenite left, (LRL) See Israeli dances, Ma Na Vu, Cheleck
The Serbian people create the most popular rhythm ever, called the cha cha rhythm: it combines a step pair (1,2) with a cha cha step (3&4) to create the cha cha rhythm (1,2,3&4)! See the Serbian dance, Setnya.
The cha cha rhythm in foot notation is the pair: (R,L,RLR) and (L,R,LRL) which together create an 8 count Greek pattern. See Armenian dance, Hamayac, Reed dance, I Will Survive
kolo half step pairs facilitate moving left on the baseline by moving 7 half counts instead of 8: 1&2&3&4! After beginning stepping with R you will end on R, leaving L free to move left, 7 half counts, ending on L, leaving R free etc., ad infinitum. In general, any odd number of kolo half counts will facilitate a change in direction moving along the baseline! See Rumanian dance, Alunela.
The Serbian/ Croatian peoples most likely deserve credit for creating the most popular rhythm ever, The cha cha rhythm! It combines 3 steps with a half step pair: 1, 2, 3&4 to create a cha cha rhythm pair: (R, L, RLR); (L, R, LRL). Like its equivalent, the 3 step rhythm pair, the cha cha, rhythm pair creates another 8 count version of the Greek Hora! See the Serbian dance, Setnya
Double cha cha rhythm is the half step equivalent to the Greek hora rhythm: This is understood by realizing that (R, N, L, N) is the same as (R, R, L, L) and (RLR,LRL) without the half steps is (R, R, L, L). See the Armenian dance, Laz Bar ; Turkish dance, Dillirga
Israeli Yemenite rhythm is a double cha cha rhythm done facing forward in place on the baseline: R steps right on baseline, L steps back below the baseline, R moves left crossing in front landing above the baseline left of L.
This first half of the double chacha rhythm RLR is called a yemenite right; it begins moving right and ends moving left! The second half of the double cha cha rhythm is called a yemenite left which begins moving left but ends moving right! They were created by Israeli choreographers to facilitate changing direction along the baseline, which happens often in Israeli dance! See Israeli dances, Ma Na Vu; Cheleck Chacha rhythm: R; L; RLR where the second L is a half step!
The count is 1; 2; 3&4 with & representing the half step.
Double chacha rhythm: RLR; LRL or in count: 1&2; 3&4. This symmetrical rhythm is like the Greek hora rhythm and is used by many cultures as a more dynamic substitute. But, not the Greeks, who have resolutely preserved this first dance for 3,000 years!
Scissors step occurs when one steps in place and simultaneously extends the other foot in front, then does the same move stepping with the other foot, creating a 2 count scissors effect.
Marching step rhythm folk dances are done in a R, L, R, L regular rhythm. In the Greek tradition they begin with the R foot and compose 8 count patterns by combining two 4 count R, L, R, L steps. Note that we use the step rhythm in bold to mean 4 whole number counts of music!
The music Ve David is a wonderful example of a marching step rhythm regular rhythm done in two 4 count steps creating an 8 count pattern.
This first version begins facing forward, moving forward: R, L, R, L. Then, still facing forward, move backward: R, L, R, L. That completes your first 8 count pattern.
The second 8 counts use a cross step rhythm moving left: R in front, L moves left behind R, R moves left in front again, L follows behind R. Repeat this left moving cross step rhythm to complete the 8 count pattern. Please note, the cross step rhythm is done facing forward! That is quite unlike a marching step rhythm, which would face left when moving left!
The third pattern is a L turn step: R crosses L, L steps in place, R crosses, L steps in place. The L stepping in place with the R crossing it creates a rotation around it and transforms a cross step rhythm into a turn step rhythm! Repeat this L turn step to complete the pattern.
The fourth pattern is repeating the first: marching forward then backwards still facing forward.
The fifth pattern, like the second, is two cross steps, but only moving right this time: R steps right, L steps in front of R, R steps right again, L follows in front of R. Repeat the right moving cross step rhythm, remembering all the while you are facing forward!
The sixth and final pattern is a turn step rhythm around your R: R steps in place, L crosses R, R steps in place, L continues to cross R creating a right turning step rhythm. Repeat this step and that completes the dance! The dance can be repeated in its entirety ad infinitum!
Ve David version 2 is modelled after version 1, and begins with the same marching steps forward and backward.
The second 8 counts move left, but this time the crossing steps are both in front and in back: R crosses in front of L, L moves left of R, R crosses in back of L, L moves left of R. This is the most elegantly flowing step rhythm to come out of the Classical World, or any world since, in my opinion! This step rhythm is generally called a grapevine step rhythm, but, in this special case since it begins with the R (Greek tradition) while moving left (Jewish tradition), we call it the Jewish grapevine step rhythm! Repeat this Jewish grapevine step rhythm.
The third pattern combines two cross steps in place facing forward: R crosses in front of L, L steps in place, R steps in place, L crosses in front of R, continuing: R in place, L in place, R crossing in front of L, L in place.
The second half of the dance is similar to the first: 4 count marching steps forward and backward, then moving right with two grapevine steps: step right with your R, L crosses in front of R, R moves right of L, L crosses in back of R; repeat this 4 count grapevine step rhythm.
Final 8 count pattern: two cross steps in place: step R, L crosses in front of R, R steps in place, L steps in place left of R, R crosses in front of L.
Repeat the whole dance ad infinitum.
This third dance to the music Ve David is particularly important because it emphasizes using two different 4 count steps to create an 8 count pattern! Previously, the one 4 count step was repeated to make an 8 count pattern.
The two 4 count step rhythms in the second part of this third version are the grapevine step rhythm and the cross over step rhythm combining to create the 8 count pattern! One should recognize the other parts the dance.
Our fourth version, unlike its predecessors, does not introduce any new 4 count steps but attempts to do more than just express the mathematical structure of the music by arranging the 8 count patterns such that they also express the non-mathematical feeling the music conveys!
To accomplish that, the first part of the dance uses a marching step rhythm moving to the right and back, then, as in the other versions: forward and back. The second part is an 8 count cross step rhythm in place: R, L crossing R, R in place, L in place, R crossing L, L in place R in place, L crossing R. The third part continues the cross step rhythm: R in place, L in place, R cross L, L in place, followed by a 4 count turn step rhythm around the L. This third part repeats. Then the whole dance repeats, but the fourth time you need to repeat the third part a second time for it to feel right!
This is our first dance that is presented in its original pre-COVID choreography except for dancing separately! La Ahavti Dai begins with two 4 count Jewish grapevine steps plus two Jewish grapevine steps in place. Then these two 8 count patterns are repeated.
The second part involves marching steps forward and back plus 4 count marching steps moving right with 4 count turning steps around R foot. Then, these two 8 count patterns are repeated, and that is the dance.
Our sixth dance uses the music, Yasmin. This dance features the grapevine step rhythm in its most common form, moving right in contrast to the Jewish version!
The first 8 count pattern is a combination of a marching step rhythm moving forward and a turning step rhythm 180 degrees around your L foot. This pattern is then repeated such that your new forward takes you back to where you began, repeat these two patterns then repeat the first pattern such that you end up in front. Follow this with two 4 count transition turning steps around your L foot.
The second part begins with an 8 count pattern that combines a grapevine step rhythm with an in place grapevine step rhythm, facing forward. This pattern is repeated a right. Return L to where you began, doing an 8 count cross steps. Then do two 4 count transition turning steps around your L foot and repeat this second part.
Repeat the whole dance ad infinitum.
Please note! patterns are 8 count, steps are 4 count. Any two steps can be combined to create a pattern! Also, any music you can tap your foot to, you can count, and hence, express using combinations of classical folk dance steps!
The music for our seventh marching folk dance is Mayim, and like Lo Ahavti Dai, is taught as it was originally done, except for a final 8 count hopping and turning around your L foot. The buzz step rhythm is the ultimate folk dancing step rhythm for expressing music, like Mayim, that suddenly doubles in tempo!
Mayim begins with two 8 count patterns of 4 Jewish grapevine steps, followed by two 8 count patterns of 4 marching steps moving forward and backward, singing "mayim, mayim, mayim, mayim" each time you go forward! The finale is marching right in 4 big steps to where you began then hopping double time in place on your R foot for 8 counts followed by hopping in place double time on your L foot while swinging your R foot to help you turn around your L foot for 8 counts! This doubly fast in place turn step rhythm is appropriately called a buzz step rhythm!
Kolo step rhythm dances are perfect for performing on stage because the dancers always face the audience while moving right and left. One of my Reed students' mother performed in a Serbian dance company which, appropriately, is where the kolo step rhythm originated.
These dances introduce a new version of the cross step rhythm called the kolo step rhythm, which, like the other classical folk dance steps, is 4 count. The right moving kolo step rhythm begins, in the Greek tradition, with the R foot: R in front, L behind, R in front, L behind; however, the left moving kolo step rhythm, in unGreek manner, begins with the L foot: L in front, R behind, L in front, R behind!
The music for our first Kolo dance is Ersko Kolo and its choreography, with the addition of kolo grapevine steps, is the original Serbian form.
Ersko Kolo begins moving right with two 4 count kolo steps, continuing with two 4 count kolo grapevine steps, then two more kolo steps followed by one kolo grapevine and a transition step R and hold for counts 2, 3, and 4. Then do the mirror image of the above moving left, ending holding your L for counts 2, 3, 4.
The second part of the dance involves marching forward: R, L, R, R hold, then marching backward: L, R, L, L hold. Repeat this 8 count pattern marching to your right then backward to where you began! Repeat the two 8 count patterns of the second part and that is the dance! Repeat ad infinitum.
The kolo step rhythm inspired its own whole genre of folk dances, and I suspect that it also inspired Celtic tribes, migrating west through the Balkans, to create their own kolo version, which became Irish dancing.
The music for our second kolo dance is Alunelul. The choreography has remained the same at Reed since the '50s when I learned it using a 78 rpm record for the music. The 8 count patterns are all combinations of kolo steps + hold steps + stomp-lift steps.
The first pattern is a kolo step rhythm moving right: R in front, L behind, R in front, L behind; in place step R, hold R while stomp-lifting L two counts, hold R.
The second 8 count pattern is like the first only moving left: L in front, R behind, L in front, R behind; L in front, L hold while stomp-lifting R two counts, L hold. Repeat these two 8 count patterns.
The next 8 count pattern is a combination kolo steps moving right and left: step R in front, L behind, R in front, R hold while stomp-lifting L; followed by the reverse, moving left: L in front, R behind, L in front, L hold while stomp-lifting R. Repeat this 8 count pattern.
The last 8 count patterns are done in place; step R, R hold while stomp-lifting L, step L, L hold while stomp-lifting R; step R, R hold while stomp-lifting L two counts, R hold; followed by the reverse: step L, L hold while stomp-lift R, R, R hold while stomp-lift L; step L, hold L while stomp-lifting R twice, L hold.
Repeat the dance until you are the last dancer standing!
The kolo step rhythm like the buzz step rhythm is typically a double time step! Not for the timid dancer. Sometimes, to emphasize how interchangeable kolo and buzz steps are we will do Alunelul using buzz steps with clapping instead of stomp-lifts!
Jewish Klezmer music presents an ideal tempo for the kolo step rhythm!
The first pattern in our third kolo dance is constructed with two kolo steps moving right. The second 8 counts are two: R, L, R, R hold while L foot lifts, 4 counts moving forward, then 4 counts moving backward. The third pattern is two Jewish grapevine steps moving left, of course, followed by 6 in-place cross steps: R crossing L, L in place, R in place, L crossing R, R in place, L in place with a two-step turn around L foot to complete the 8 count pattern.
Repeat these four 8 count patterns. You should be back where the dance began!
The second part is done marching forward 4 steps then in place 4 counts: L hold while pointing R foot to R side, L hold again, L hold while pointing R foot again, L foot hold. Note, these 4 counts are done while remaining on your L foot! The next 8 counts are done moving sideways, first to the right: R, L, R, R hold, then to the left: L, R, L, L hold.
Repeat this second part, only marching backward 4 counts with the same 4 counts remaining on your L foot and the same 8 count pattern moving sideways: to the right, then to the left.
This is a glorious, exhilarating dance you will want to do ad infinitum!
The more contemporary Israeli music, Hora, inspires being expressed with a combination of kolo steps and kolo grapevine steps.
It begins with a kolo grapevine step rhythm in place + 4 steps moving forward followed by a kolo grapevine step rhythm in place and 4 steps moving backward to where the dance began.
The second part moves to the right with a kolo step rhythm + a kolo grapevine step rhythm, continuing right with a kolo step rhythm + a reduced kolo grapevine step rhythm: R in front, L behind, R behind, R hold! Repeat this second part moving left.
Then repeat the first part twice! followed by a reduced second part: kolo step rhythm + kolo grapevine step rhythm continuing right with a reduced kolo step rhythm: R in front, L behind, R in front, R hold! Repeat this reduced second part moving left!
That is the dance, but remember to do the first part twice after the beginning!
The hora step rhythm, like the kolo step rhythm and grapevine step rhythm; is in 4 counts! But, unlike them, not all the 4 counts are expressed with stepping! This break from constant stepping 4 counts revolutionized the world of dance because it allowed different ethnic groups to express their own individuality!
And it all began in ancient Greece 3,000 years ago!
The original Greek hora dance is just one 8 count pattern, combining a 4 count marching step rhythm moving right with a 4 count hora step rhythm in place facing forward: R in place, R hold while lifting L, L in place, L hold while lifting R. This pattern is then repeated ad infinitum, or til one falls off the edge of the earth.
Remarkably, this earliest dance is still done today just as it was done 3,000 years ago!
Note: because the Greek hora step rhythm has two non-steps, the Greek tradition of patterns beginning with the R foot is retained.
The wonderful music we use for dancing the Greek Hora is from an old 78 rpm Greek record I found in a dingy little New York subway shop. I only recognized one Greek word on the record's label: "Syrto". But, that was all I needed to know! It has remained my favorite Greek Hora music ever since.
This exquisite Greek music contains 3 parts: Greek Horas, chacha rhythms, and balance + cross rhythms! Using a square as a circle and beginning at the right baseline corner of your square, do 3 Greek Horas around 3 sides ending at the left baseline corner. Facing the center of the square, do a cha-cha rhythm towards the center hopping on your L: R, L, LRL Then do the same backwards. Then forward again, finishing with a marching rhythm backward. Move right along your baseline with a R, L balance 2 steps, in place, + a R, L moving right cross 2 steps. Repeat this new 4 count balance + cross marching rhythm three times to end up where you began, eager to do the dance again and again and again!
Our third example of the Greek hora includes the Jewish version.
The dance begins marching to the right 4 counts plus a 4 count Greek hora step rhythm in place facing forward. Repeat these 8 counts three more times, then do a 4 count R turn step rhythm as a transition step to the Jewish version: facing forward, step R in place; R hold while kicking L, step L, L hold while kicking R. Then move L doing a Jewish grapevine for your 4 count marching step rhythm. Repeat these 8 counts three more times ending back where you began the dance! Repeat all of this ad infinitum.
Note! The 4 count transition step is needed because the Jewish version reverses the order of the two 4 count step rhythms: beginning with the hora step rhythm, then the marching grapevine step rhythm.
We will use our same exquisite Greek hora music for this dance.
This Israeli version of the Greek hora step rhythm dance is called Zemer Atik. It begins right 4 counts. Then continue facing right: step R, and hold R while you clap twice, step L, and hold L while clapping once, completing an 8 count Israeli version of the Greek hora. Repeat this a total of four times going around a 12-by-12 foot square, ending where you began.
The second part is a second Israeli version of the Greek hora that retains the older Jewish tradition of reversing the order of the two 4 count step rhythms, doing the hora step rhythm first: step R towards the center of your square, hold R while snapping your fingers, step L, hold L while snapping your fingers. Then step backward 4 counts to where you began. Repeat this second part a total of four times to be commensurate with the first part.
Then repeat both parts ad infinitum.
A personal note regarding this version of the Greek hora: Over the decades, I've tried to convince Israeli dancers that their dance, Zemer Atik, is just a variation of the Greek hora!
I have never been successful!
This second Israeli version of the Greek hora is also a variation of Zemer Atik, substituting stomp-lifts for claps!
The dance begins with a two step kolo moving right followed by a 4 count hora step rhythm facing forward: R in place, R hold while stomp-lifting twice with your L foot, step L, L hold while stomp-lifting your R foot. Repeat this 6 count pattern three more times moving right during the two step kolo.
The second part is designed to put you back to where you began the dance. This is accomplished by drifting left while moving forward 4 steps: R step, L step, R step plus R hop, L step. Followed by 4 steps backward drifting left. After repeating this 8 count forward and backward while drifting left you should be in a position to do the dance anew.
Note! A stomp-lift is not a step! You don't change the foot supporting your weight! However, a stomp is a step! Similarly, a hop or skip are not steps, but a leap, especially of faith, is.
This Ukrainian version of the Greek hora is called Arkan. Like Debka Daluna, it begins with a two step kolo moving right, followed by a Greek hora step rhythm. This 6 count pattern is repeated three more times.
The second part entails combining marching steps moving left to return to your beginning point: For your first marching L pattern, do 24 counts of cross steps L, then repeat the hora step rhythm part, which miraculously is also 24 counts. Your second marching left will be 6 Jewish grapevine which just happens to also be 24 counts. Repeat the hora part.
The third marching left is a combination of a 4 count cross step rhythm and a Jewish grapevine step rhythm done three times or 24 counts. Repeat the hora part before your fourth variation of the marching left part where you combine the cross step rhythm with two Jewish grapevine steps, giving you two twelve count patterns.
You then repeat this dance while changing the hora steps: The first change is to make the L lift steps, L stomp-lift! The second time switch to your R lift steps, making them R stomp-lift. Then the third time make both lift steps, stomp-lift steps and the fourth time, as a finale, make the stomp-lift steps double-stomp-lift steps.
A personal note! When I was a student at pre-COVID Reed, Arkan was one of the most popular dances, especially when we would form a circle and every other dancer, with the support of dancers on either side, would suspend with feet extended in front of us on the floor, and then simultaneously flip over backward, hopefully landing upright. After my first year of doing this dance, I gave up wearing a wristwatch. The watch band was too often a casualty of the flip!
This Jewish version of the Greek Hora is probably the most familiar of all the different ethnic versions!
Hava Nagila begins with four 8 count combinations of a Greek hora step rhythm with a Jewish grapevine step rhythm, followed by 8 counts of two Greek hora steps and 8 counts of a buzz step rhythm around your R foot. These last two 8 count patterns are repeated.
Then, facing forward, moving backward: step R while clapping, hold R, step L while clapping, hold L followed by four steps backward while clapping with each step. Continue facing forward hopping in place on your R foot 8 counts, then hop on your L foot 8 counts. Repeat these two 8 counts of hopping in place, followed by turning moving right: R, L, R, R hold and clap plus turning moving left: L, R, L, L hold and clap. And, that is our version of Hava Nagila.
Note: The part facing forward, moving backward is another version of the Greek Hora in the Jewish form of reversing the order of marching step rhythm and hora step rhythm.
Also, if you listen carefully, you can hear the needle dropping onto the 78 Michael Herman Folk-dancer recording of our Hava Nagila music.
This is another Israeli version of the Greek Hora. It was originally choreographed as a line dance, but for pandemic times, it can be done along the sides of a 12-foot square. Beginning at the bottom L corner, run R 4 steps, then bounce in place 4 counts. Repeat this pattern along each side of the square, returning to the bottom L corner.
The second part is done in place facing forward with two hora steps: step R, R hold while touching L heel in front, step L, hold L while touching your R toe to your R side. Repeat this hora step rhythm. For the next 8 count pattern: in place, bounce L, bounce R, bounce L, stomp R in front; then: step L in place, hold L, hold L while clapping three times with the music. Repeat this 8 count pattern.
Note! Hora Agadati has the same mathematical structure as Hava Nagila: They each are constructed with two parts having four 8 count patterns.
The Greek Hora soon spread throughout the Classical World!
In my opinion, it was the R hold and L hold part of the Greek hora step rhythm that made it so dramatically popular, because the two holds encouraged the various ethnic peoples to express their individuality and embrace the dance as their own!
The result was: the form of the Greek hora step rhythm changed with each ethnic adoption of the dance, making the Greek hora step rhythm no longer definable by its form. The Greek Hora had evolved beyond form to rhythm and the future of folk dancing would become more and more about rhythm instead of form.
To emphasize the difference between form and rhythm we will give our marching step rhythm forms a Greek Hora rhythm!
Using our basic 8 count music, Ve David: march facing forward: R, L, R, L, then backward: R, hold R, L, hold L. For the second 8 counts cross step rhythm left: R crossing L, L stepping left, R crossing L, L stepping left, then continuing: R crossing L, R hold, L stepping left, L hold. The third 8 counts are: R turning around L, L in place, R around L, L in place, then R turning around L, R hold, L in place, L hold. Repeat the forward and backward 8 counts and the cross step rhythm 8 counts, only moving right this time, Also 8 counts around the R, all in Greek Hora rhythm!
Then repeat the first forward and backward part, and the crossing steps part only moving to your right this time, and the turning steps, moving around your R this time.
After which, you can start over: substituting grapevine marching steps for the cross steps and cross steps in place for the turn steps. And, for the particularly adventurist dancers, you can create your own combinations of marching steps to do as a Greek Hora rhythm!
The Greek Hora was not only transformed in form as it spread throughout the ancient world creating a multitude of ethnic versions, its rhythm also changed!
The earliest example of this is a 3-step Hora Step as represented by the Turkish dance, Iste Hendek which expresses a 1, 2, 3, hold rhythm rather than the Greek hora step's: 1, hold, 3, hold rhythm! Iste Hendek compensates for having only one hold by repeating its 3-step hora step rhythm so that its 8 count pattern will contain two holds just like the 8 count Greek Hora! Also, like the Greek Hora, Iste Hendek begins with the R foot and ends its 8 count pattern on its L foot, ready to repeat ad infinitum, with appropriate Turkish changes in form, of course.
This dance begins facing forward: step forward R, step forward L, forward R, hold R while lifting L, followed by: stepping backward L, backward R, backward L, hold L twisting L and R while remaining on your L. I refer to this as a Turkish twist. Repeat this 8 count pattern three more times. The second pattern builds on the first by substituting: double stomp forward R instead of just forward R, as the third count! The fourth count remains: R hold while lifting L. This second pattern like the first is repeated 3 more times. The third pattern changes the form of the first by substituting skip backward for the lift. Remember, a skip, like a lift, is not a step. We refer to this skip backward as a Turkish chug.
The third 8 counts only repeats once. The fourth (and last) pattern embellishes the third by adding a double stomp before the Turkish chug, and replaces the Turkish twist with a more exuberant stomp twist! This pattern is repeated once.
The dance does not repeat exactly with the music we use: the first pattern repeats only once, but the second pattern still repeats 3 times, while the third pattern repeats once, the fourth pattern repeats until the needle falls off our 45 recording!
Always refer to the accompanying Instructional video to more fully understand the meaning of the written description!
Like the Greek hora step, the 3-step hora step evolved into multifarious forms but its rhythm remained constant! To emphasize its unique rhythm, we will give our Ve David model of marching steps a 3-step hora step rhythm rhythm, just as we did with the Greek hora step rhythm rhythm. See: 3-step Hora Step as Rhythm video!
This exquisite Bulgarian music expresses the 3-step Hora rhythm. We will dance along the four sides of a square. Beginning in the lower left corner move right two 3-step hora steps. Repeat this 8 count pattern as you go around the square back to where you began. The second part combines a Greek hora step rhythm and a 3-step hora step rhythm moving right, then moving left back to the beginning Repeat this second part. Then repeat your circuit around the square adding three 8 count 3-step hora steps turning around your R foot. Repeat the second part adding four 8 count buzz steps: first around R, then around L, around R, around L. Repeat going around the square and second part. Then a final circuit adding just one 8 count turning around your R, plus a final second part. And that is final! Unless you want to repeat the dance!
This enchanting Israeli music is all 3-step hora rhythm music! It begins facing forward moving sideways stepping R, step L next to R, step R, hold R. Then do the same moving left. Repeat this 8 count pattern. The second part is facing and moving forward keeping R in front: R, L, R, R hold; then backward keeping L in back: L, R, L, L hold. Repeat this 8 count pattern. Repeat the first part but only one 8 count pattern of the second part. The third 3-step hora rhythm is still facing forward: step forward to the right, forward L, cross L with R, hold R. Then forward L, forward R, cross R with L, L hold. Repeat this 8 count pattern. Still facing forward moving backward keeping the R ahead: R, L, R, hold R, then continue L ahead: L, R, L, hold L. Repeat this 8 count, and you should be back where you began! You then start over adding two more 8 count patterns to the seven you did the first time. And, then repeat the two 8 count patterns going forward and backward; concluding the dance with the side to side part til the music ends.
This 3-step hora rhythm is expressed much like it is to the music, Enchant. You begin facing and moving forward: R, L, R crossing L, R hold; continue: L, R, L crossing R, L hold; then: R, L, R crossing L, quick two-step turn around L. Then immediately: step L, R, L crossing R, L hold; R, L, R crossing L, R hold; L, R, L crossing R, slow four-step turn around R to transition into the second part: Remain facing forward: step in front with R, in place L, R in place, R hold; then: stepping back: L, R, L, L hold. Repeat this 8 count pattern three more times, returning to your original spot. See video to learn the arm movements that complement this second part! In general, hand/arm movements mirror foot/leg movements: in this dance, when your R foot steps in front, your hands also move forward in front of your face, and as you slowly move backward, your hands/arms slowly descend.
This example of the 3-step hora is done to the Russian music, Troika. As the name implies, this dance was originally intended to be done by groups of 3 dancers; which we will do when we are not having a pandemic. Meanwhile, we can still enjoy dancing to this voluptuous music by creating an individualized version.
Our version begins facing forward stepping moving forward 8 counts in Russian style; then moving backward 8 counts to where you began. The next two 8 counts are combinations of 3-step hora steps in place facing forward: R stomping in front of L while clapping, L in place, R in place, R hold; L stomping in front of R while clapping, R in place, L in place, L hold. Repeat these two 3-step hora step rhythm rhythms.
The second half of the dance involves grapevine steps moving left: three Jewish grapevine steps, then step R, hop on your R three times in place; with your L free move right three Jewish grapevine steps, step L, hop on L three times in place. This completes four 8 counts, making the second half commensurate with the first half.
This Russian dance features two examples of moving 3-step Hora rhythms, which are quite different from the in-place 3-step Hora steps previously described for Troika!
Korobushka begins facing forward, moving forward: R, L, R, R hop while lifting L; then moving backward: L, R, L, L hop while lifting R: moving forward again: R, L, R, L; then L hop while R crosses in front of L, L hop again while R moves back in place with your weight remaining on L, R moves to meet L clicking the heels of your Russian boots, L hold.
The second part of this dance begins with a moving right 3-step hora while turning around your R: R, L, R, R hold while clapping; then do the same only moving to your left: L, R, L, L hold while clapping; facing forward in place R, R hold while snapping fingers, L, L hold while snapping fingers, followed by 4 count marching step rhythm moving backward clapping: you're doing an 8 count Jewish Greek Hora moving backward rather than moving left!
Repeat this second part and that completes our second exuberant Russian dance.
The 2-step hora rhythm is: R, L, L hold,L hold.
This music involves a variety of 2-step 4 count steps.
The dance begins moving right with a kolo step rhythm followed by a kolo step in place. This 8 count pattern repeats three more times.
The second part is done moving forward: R, L, L hold while stomp-lifting R twice. Repeat these 4 counts, moving backward, still facing forward. This will complete the 8 count pattern! Which, you will repeat just once!
Moving to your left, facing forward do two 8 count patterns of cross steps. Remember your first step will be with your R crossing in front of your L while moving left. Emphasize your R steps by making them R stomping steps. After the16 counts moving left, you should be back where you began.
Facing forward in place: step R behind, L in place, R slap in front with a flat foot, held for 2 counts. Repeat these 4 counts three more times.
Now do a left turn step rhythm stomping with both feet as you turn left 8 counts. Then, reverse that, turning backward 8 counts, so that, you are facing forward again!
This next part is basically the second part done in place with the two steps done as scissor steps: R while you extend your L in front, L while you extend your R in front, (these two steps creates a scissor like effect of opening and closing), then hold L in place while stomp-lifting R twice to complete the 4 counts! Repeat this step rhythm three more times.
The finale is facing right, moving right: R, L, R, R hold while facing left; then moving left: L, R, L, L hold while facing right. Repeat this pattern once. I wonder how many counts that makes?
This energetic dance traditionally repeats until only one dancer remains! Good luck!
1-step hora rhythms usually involve hopping in place three counts during the non-stepping part: as in the dance Hava Nagila or hopping in place around your 1 step in the dance, Mayim, or half-way around in Troika.
The first part of the dance is done facing forward, moving forward with a combination of a marching step + Jewish grapevine step in place, repeat this 8 count pattern, then still facing forward move backward: R, L, a total of 8 counts. You should be back to where you began! Finish this first part with two 3-step hora rhythms in place facing forward: R in place, L crossing in front of R, R in place, R hold; L, R crossing in front of L, L in place, L hold. Repeat this first part.
The second part expresses a unique form of the 1-step hora: it begins, as usual, stepping R facing right, then while remaining on your R have your L touch the floor, brush the floor, and lift pointing right, to complete the step rhythm. The second four counts move right: L, R, L, L hold while lifting your R facing right. Repeat this 8 count pattern moving right. Move left with two grapevine-type steps beginning with R behind L ending back where you began. Then do two 3-step hora rhythms in place: R, L cross in front of R, R in place, R hold; L in place, R cross in front of L, L in place, L hold. Finish with turning step in place around your L 8 counts.
The grapevine-type step rhythm in this dance is very unusual: you are facing right when you begin: stepping R behind L moving left, L step left while turning to face forward, R stepping in front of L still moving left, L step left. A grapevine step rhythm moving left beginning with the R, is virtually always a Jewish grapevine! I cannot think of another exception; therefore, it must be unique!
For me, the Greek syrto hora is the final, ultimate evolution of the Greek hora, and the most exquisite step/rhythm in all of dance. Although the cha cha step/rhythm has arguably become the most popular step/rhythm around the world, the Greek syrto hora remained uniquely Greek until the Reed Folk Dancing Class.
The Greek syrto rhythm is: R, R hold, L, R, then L, L hold, R, L repeated ad infinitum.
The Greek syrto hora has only been done to Greek music, it never spread everywhere like its predecessor, the Greek hora. And, never evolved into multifarious ethnic versions with multifarious ethnic music until the Reed Folk Dance Class!
We will use our standard 8 count model music, Ve David, to express our marching steps with Greek syrto rhythm: facing forward, moving forward: step R; R hold; L; R; continuing forward: L; L hold; R; L; facing forward moving backwards: R; R hold; L; R; continuing backwards: L; L hold; R; L; You should be back where you began! Move left 8 counts crossing in front with R; Then move around your L 8 more counts, always with a Greek syrto rhythm. Repeat the two 8 counts moving forward and backward; followed by 8 counts of moving right with cross steps and around your R 8 counts with turn steps.
We will make the next part linear by substituting cross steps in place for the forward and backward patterns: in place cross R in front of L, R hold, L in place, R in place; L in front of R, L hold, R in place, L in place; Then: moving cross steps left 8 counts as before and turning around your left as in the first part, and repeat the 8 counts of cross steps in place, followed by 8 counts of moving cross step right and 8 counts of turn steps around your R. Repeat this linear movement left and right plus a third left. All in Greek syrto rhythm!
The last part is the same linear description except the right moving cross step begins with a right moving kolo grapevine step.
You should be back where you began this dance eager to repeat it countless times! expressing the unique Greek syrto rhythm all the while!
This is Israeli music that emphasizes the Greek syrto rhythm. We will use the original form for expressing the Greek syrto steps: facing forward step R; R hold while lifting L behind R; step L behind R; moving and facing right while stepping R; (this 4 count step rhythm is the closest the Greeks ever came to creating a grapevine step rhythm) continue moving right, crossing R, step L; L hold; moving right, facing right, step R; moving right step L while facing forward. This completes the first 8 count pattern. The second 8 counts are done in place facing forward: step R; R hold while lifting L; L step in front; R in place; L in place; L hold while lifting R; R steps in front; L in front; and that completes the second 8 count pattern!
The second half of the dance is a repeat of these two 8 count patterns, only moving left to end up where we began: facing forward, step R; R hold while lifting L behind R; step L behind R; moving and facing left while stepping R; continue moving and facing left, step L; L hold; step R; step L while facing forward. The second 8 counts in place facing forward are exactly as described for the first half.
Historically, Greek dances did not move to the left. But , when Greeks immigrated to America, to start a new life, they created a new version of their syrto hora called the Greek Misirlou, and it moves left and right as we will soon see!
This second Greek syrto music is also not Greek; it is not even from the greater world of Alexander! It is rather American Pop/Country music! But, it is the clearest expression of Greek syrto rhythm I have ever heard! And, more importantly, it incites one to go outside the original form of the very linear Greek syrto, which we will refer to as standard linear syrto form!
The dance begins with the standard linear syrto form: moving right two 8 count patterns of syrto; then left two 8 counts; then repeat this right and left linear syrto with its last 2 counts expressed as a 2-step 180-degree turn around your L: R in front, L turn in place 180 degrees; Facing and moving south of the syrto line in syrto rhythm: step R, R hold, L, R; L, L hold, R, L while turning in place 180 degrees; now, facing forward: R in place, R hold, L steps behind R, R steps forward toward the right end of the standard syrto line; continue to syrto forward: L, L hold, R, L; You should be in place to go back to standard form: R in place, R hold, L in front, R in place; L in place, L hold, R in front, L in place; continue standard syrto form moving left to where we began the dance. Repeat this entire first part excluding: continue standard syrto form moving left to where we began the dance. Instead, R in place facing forward, R hold, L behind R, R facing left, moving left; L moving left, L hold with transition to 3-step hora rhythm moving left: R, L, R, R hold; L, R, L, L hold; R, L, R, R hold; turn 180 degrees around R: step L facing forward, R in place, L crossing R moving right, facing right, L hold; moving right: R, L, R, R hold; L, R, L, L hold; turn 180 degrees around L: step R facing forward, L in place, R crossing L facing left, R hold; Repeat these 3-step horas moving left and moving right; then move left for the third time: L, R, L, L hold; R, L, R, R hold; turn 90 degrees around R: step L in place facing forward, R in place facing forward, L cross R, L hold facing forward; Repeat the non-standard syrto form with the 180 degree turns for the third time; followed by standard linear syrto moving left, then right, left again, right again, left, then right, a final left before a final non-standard syrto with the 180 degree turns. Then end the dance as it began: with standard linear syrto form. This dance is a wonderful example of the freedom to move out of the box or in this case, off the line, that the syrto rhythm inspires!
Karagouna is unmistakably Greek in music and dance, featuring the Greek syrto along with 1 and 3-step horas. It begins facing forward, walking forward: stepping R, L, R, R hold while touching left with L; then: L in place, L hold while touching right three times with your R. Repeat this 8 count pattern walking backward while still facing forward. You should be where you began! Repeat this first part.
Second part: moving right doing a kolo step rhythm double stamping with your R as you move right 8 counts. You should be on your L: The next 8 counts are done in place: L hold while you touch right side with R, L hold while touching again with R, double hop with L while you turn left, step R in front of L. Reverse these 4 counts: Starting with R hold while you touch left with L, R hold while touching again with L, double hop with R while turning left, step L in front of R. This completes two 8 count patterns.
The third part, like the second, consists of two 8 count patterns: This time, as a finale for the dance, the two patterns are appropriately two Greek syrto horas moving left back to where you can eagerly repeat all three parts!
This next dance is a different version of the Greek syrto, an American version! Greek immigrants came here to begin a new life: new language, new traditions and a new form for their cherished Greek syrto which is called Misirlou. It is the same unique syrto rhythm; only the form was changed: It begins facing forward in place: R, R hold while lifting L, step behind R with L, R in place while facing left; step left with your L, L hold while your R boldly crosses in front of your L moving left, R, L moving left; R, R hold facing left lift L, step backward with L moving back toward where you began, continue backward with R; and L, L hold while you face forward, you should be where you started, step R in place, L in place. Repeat these two 8 count patterns ad infinitum to fully enjoy this unique form of the Greek syrto rhythm!
Misirlou appears to be a completely new creation; and it is in form, but form is deceptive and readily changeable in dance and everything else. What is constant about Misirlou is its rhythm; and that is the inimitable Greek syrto rhythm!
The more I think about form in dance, I realize that the most definable feature of Greek syrto form was retained in Greek Misirlou form! They both are linear in form?
However, one change that was revolutionary about Misirlou's form was that it moves left as well as the traditional right!
Danse is inspiring French music which deserves the inspiring Greek syrto step rhythm to express it! It begins facing forward moving forward 8 counts doing a Greek hora rhythm: step R, R hold while touching left with L, continue forward stepping L, L hold while touching right with R; Repeat these 4 counts moving forward. Still facing forward, move backward with the same Greek hora rhythm returning to where you began. Then repeat both 8 counts. The second part also begins facing forward, balancing in place: R, L, R, L, then moving right with a grapevine step rhythm. Repeat these 8 counts. Facing forward, balance in place 4 counts followed by a Jewish grapevine moving left, of course. Repeat these 8 counts. Then repeat both 8 counts.
The third part features the much anticipated Greek syrto step rhythm: facing forward, step R in place, R hold while lifting L, step behind R with L, step R in place; combine with a grapevine step in place: L in front, R in place, L in back, R in place. The next 8 counts: do the same two steps only beginning with your L. Then repeat the first 8 counts beginning with your R; finishing with 8 counts turning around your R. Then repeat this third part, only beginning with your L this time and appropriately, ending by turning around your L. Then, repeat all 8 patterns of the second part and all 8 patterns of the third part finishing the dance with 2 patterns of the first part. Remember, a pattern is 8 counts! This is what makes the dances that have evolved from the Greek hora so mathematically elegant!
This Macedonian music/dance features the syrto rhythm and also the Macedonian version of the Greek hora, called lesnoto hora. This allows one to experience the transition from Greek hora to Greek syrto! The lesnoto hora is the Greek hora with added half-steps minus two of the moving counts: facing forward, moving right two counts with half-step in between: step R, R hold while lifting L as a half-step, step right in front with L, hold L while lifting R as a half-step; you've completed the two moving steps, Now continue with the 4 count hora step in place: still facing forward step R, touch L in front as half-step then lift L for the second count; then do the same with your L: step in place with L, touch in front with your R as a half-step, then lift your R for your fourth count.
Please understand: if you were to remove the half-steps from this 4 count Macedonian lesnoto hora step rhythm, you would have exactly the original 4 count Greek hora step rhythm: step R, then lift L, step in place with L, lift your R for our fourth count!
Jovano Jovanke begins with the standard Greek syrto moving right 16 counts then moving left to the starting point. The second part involves two 6 count lesnoto horas moving right, then forward, then left, then backward, completing your circuit around a square while facing forward and in two 6 count patterns! You should be where you began the dance, ready to enthusiastically enjoy doing it again and again!
This final example of music is far removed from the world of ethnic music, but it wonderfully features the Greek syrto rhythm! And it reminds us that the rhythms of folk dancing transcend it; allowing one to express all countable music through dance!
Whenever wherever begins facing forward moving right with a half step: R, half-step L, R, L in front, R in place continue with a grapevine step in place: L behind, R in place, L in front, R in place. Repeat this 8 count moving left this time. Then repeat both 8 counts, right and left ending where you began!
The second part is a 3-step hora facing forward moving right then left. Repeat this 8 count pattern.
Then, still facing forward, move forward four Greek syrto steps turning 180 degrees during the forth syrto step rhythm, just as we did in Crystal Gayle. Return, moving back four Greek syrto steps Repeat these two 16 counts, and immediately do 8 count buzz step rhythm around your right, then around your left.
Repeat all of the dance so far.
This time the dance begins with the second part done twice and the third part also done twice and ending with the two 8 count buzz steps. Enjoy using our wonderful classical folk dance steps/rhythms to express this exuberant contemporary music!