The song is more important than the dance which is simple to support the song. The singers are in a circle, either connected or not. The dance usually consists of a simple step motif that repeats.
Mostly the dance progresses to the right, and the step pattern is often a 3-measure sequence. This type of dance is very common in the throughout the Balkan region, but limited in Romania to two regions.
These dances are part of an old stratum found throughout Europe, and are still common in south east Europe. It is thought that they once had a ceremonial or ritual context.
Romanian vocal dances are limited to two regional areas and show various levels of development;
- Roata femeilor of Maramureş and north Moldavia consist of walking, sometimes with clapping motifs.
- Coconiţa of central Transylvania, in its simplest form, is danced in a connected line and consists of walking three steps forward and back one step.
- Purtata of Tânave valley are thought to be a later development taking elements from the Învârtita and creating a more complex form where the steps are syncopated on the asymmetric melody.
- Învârtita, the regional asymmetric variant, danced in a small circle to a song.
|Roata femeilor||Roata femeilor, Polobocul||line circle, connected or not connected||simple||simple walking, hand clapping motifs||2/4|
Bătută, De-a latul, Largul,
|line or circle, connected||simple with pauses||3-measure walking motif||2/4|
|Purtata||Purtata de fete, Purtata de drăguţ, Drâmbolicul||line or circle, connected||combination of sequences to fit the song||walking, stamps||10/16|
|Învârtita||Învârtita, Bătuta||circle, cross hand hold||same as Învârtita||walking||10/16|
DEJEU, Z. (2000) Dansuri Traditionale Din Transilvania, Clusium.
GIURCHESCU, A. & BLOLAND, S. (1995) Romanian Traditional Dance, "Mill Valley, California", Wild Flower Press.