On this page I have included mostly the dances in Marcu’s category of “swaying” dances (Leuca,Pe picior and Lența (variant 3)) which he linked by observation of a characteristic body swaying movement when changing body weight from one foot to the other.[1]
Grupa D. Jocuri cu legănări de corp şi schimbarea greutăţii corpului de pe un picior pe altul.
In addition to Marcu’s movement observations, these and other couple dances from the Banat plain also have a step pattern structure of “1101” in Leibman notation[2] – “slow-slow-quick-quick-slow”. This this step pattern is the same as the Banat Hora and the mountain De doi through the common use of “1101” step pattern, however these dances appear to be specifically Banat plain dances.
My grouping of Marcu’s “swaying dances” and “1101” step pattern couple dances includes: Legănata, Lența, Leuca, Pe picior, Cărăbășeasca, Iedera, and Pogacea.
There are two musical notations of Leuca by Bartók,[3]Cârnaleuca and Babaleuca. Cârnaleuca from Jadani (Timiș) is a similar melody to Leuca (Satchinez). Leuca is often the name for a men’s chain dance such as Druga Leuca[1] so we cannot know if Babaleuca (Seleuș) is a column dance.
Cărăbășeasca is named after the local name for a bagpipe and is played on a violin in a way that imitates the sound made by this bagpipe. Recordings include Cărăbășeasca Efta Botoca (EPD 1288/2), Joc ca din cimpoi Nelu Stan – Vioară (ST-EPE 01336/3). Cărăbă Ensemble folklorique Banatul (ST-EPE 01263/1).
The earliest documentation I can find is from an event in 1894 in Arad where Pre picior follows Hora and Ardeleana[6]. Bartók[1] noted this dance for couples in 1912– 1913, not in a group formation, using the hold with man’s hands on woman’s hips, women’s hands on partner’s shoulders whereas Marcu in the 1960s describes Pe picior (Satchinez) as couples in column formation.[1] This discrepancy in formation, where Bartók documents a formation with scattered couples and Marcu notates a formation with couples in a column is the same as for the dances Pre loc and Întoarsa.
The step patterns described by Marcu (Pe picior (Satchinez)[1] and Nistor (Pe-un picior (Șeitin, Arad)[4] and P-on picior (Cuvin, Arad)[5] have a “weight change” step pattern (1101 in Leibman notation). The form of the dance in Șeitin (Arad) described by Nistor is very similar to the De doi of the Banat hills and mountain regions.
Rhythm
Petrică Pașca – Pe picior din Podgorie
South of the Mureș valley region the notations are in binary 2/4 meter; in the Banat plain[1], in the Făget region[7] and Valea Carașului region.[8] There are recordings on the state record label (Electrecord) by local musicians Efta Botoca (ST-EPE 03783) and Ion Peptenar (ST-EPE 03653).
Bartók[1] notated the melodies in asymmetric rhythm in the locations of Mănăștur (Arad) (7/8 as 3+2+2) and Pârnești (Arad) in various different asymmetric combinations (2+2+3+3 or 4+3+3 or 2+2+3+2 or 4+3+2). This use of asymmetric rhythm is consistent with the 7/8 rhythm music notations[4][5][9] and recordings (Arad orchestra, Rapsozii Zarandului (ST-EPE 03781)) in the Mureș valley region of Arad. Rather confusingly Institutul de Folclor[10] has the version from Covăsinț (1930) notated in 2/4.
Locations
Bartók (Bartók, 1967:36) recorded melodies with a tempo range of 136–160 beats per minute in seven locations in Banat, in the northern Timiș and Arad region regions. The location distribution of the published and recorded examples is along the Mureș valley, in the Făget region and some scattered villages in the northern part of Timiș county.
The social dances in the villages of the Banat plain were, in past times, mostly couple dances. These couple dances fall into several types including Banat column couple dances, Soroc and other syncopated stepped dances, and the generic Ardeleana.
The article is about the dances Pre loc (Pe loc, Pră loc or Zopot) and Întoarsa. I describe these as “walking dances” as the dominant step is just walking while performing many different figures as a couple. There may be additional motifs such as step and close or faster triple steps, however walking predominates. This is different to the other couple dances which have a structure based on a step pattern that is more than only walking.
The Bartók music collections dating between 1912 and 1913 included some dance music, very few dance figures were published by Marcu in the 1960s, however many figures for these dances are still taught in dance classes as the dances before and after Soroc in the typical dance cycle.
Ansamblul Profesionist Banatul – suită de dansuri
The video of Banatul ensemble from Timișoara shows a choreography of the dances: Cărăbășeasca, Zopot and Pe loc, Sorocul couple dance and men’s figures, Întoarsa from the localities of Jebel, Utvin and Satchinez.
Giurchescu[1] groups the couple dances into types: slow Ardeleana, fast Ardeleana and syncopated Ardeleana, this categorising appears to be based on the context in the dance cycle rather than the choreology. Hence, both Pre loc and Întoarsa are placed into the “fast Ardeleana”[1] which is termed “De doi in Banat”, however there is no connection choreologically to the De doi from the mountain zone or De doi from the Timișoara area.
in 1912–1913 Bartók[2] records both Pre loc and Întoarsa (De(i)ntorsu) as a couple dances for individual couples scattered in the dance space, with the man holding his partner at the waist and the women’s hands on her partner’s shoulders. This suggests this dance was not originally a “column” dance of the Ardeleana category, although Marcu noted it as a column dance some 50 years later, and this is counter to the prevailing idea that the formation gradually changed to the scattered formation under the influence of the Transylvanian Învârtita.[1]
This dance must have been established in the local repertoire well before 1894 when Tiberiu Brediceanu from Lugoj (1877–1968) included Pe loc in his musical compositions of Romanian dances.[3]
Pre loc means on the spot.[1] Although many figures are in place, there are also figures promenading with partner. Recordings are very often under the title Zopot or both Zopot and Pre loc. Suvergel[4] notes that in some locations with a predominantly Roma population Pră loc may be called Zopotul (see Zopot din Jebel – Ion Peptenar ST-EPE 03653), but the music and dance are the same as Pre loc. The meaning of Zopot is regional. Suvergel says the Roma dance has small steps close to the ground, without pirouettes or turning the partner, with couples in close formation. This type of dance is known as Sita (presumably from “small” in Slavic) by those who dance it.[4]
Form
Bartók[2] describes Pre loc in 1912–1913 as a couple dance, not in a group formation but as individual couples, with the man holding his partner at the waist and the women’s hands on her partner’s shoulders.
This dance is not described in Marcu’s 1960s books, however it is still taught in dance classes and included in choreographies of the typical dance cycle. The figures as taught by choreographers Marius Ursu (ensemble Doina Timișului), Nicolae Stănescu (ensemble Banatul) and a notated choreography by Deian Clanița[5] show us that the majority of figures are simple walking, with only a few taking a structured form similar to dances in Marcu’s “swaying dances” category.
Locations
The geographic distribution of this dance appears to include most of the Romanian populated areas of the Banat plain and Caraș valley region.
Bartók made recordings in 13 locations between 1912 and 1913. The tempo range was between 126–160 beats per minute. Tiberiu Brediceanu[6] documented Pe loc melodies mainly in the Caraș valley (Oravița area) between 1921 and 1923. Nicolae Lighezan[7] published Pe loc melodies from the Caraș valley in the 1950s. There are also music notations from this period (1960s-1980s).[8][9][10]
Pră loc is also a men’s dance in Caraș valley[11], interestingly progressing to the left, but also has a step pattern closely related to the couple dance step pattern. It is difficult to be certain if the associated dance in the Caraș valley zone is the couple dance or the men’s dance.
Click for more details …
There are recordings on the state record label (Electrecord) by local musicians; Efta Botoca (EPD 1288, ST-EPE 04199), Ilie and Radu Vincu (ST-EPE 01685, ST-EPE 03223), Ion Peptenar (ST-EPE 03653) and Arad Philharmonic Orchestra (ST-EPE 03090).
Most often this dance is final dance of the dance cycle, and faster than the other dances (Bartók gives the tempo range as 152–195 beats per minute compared to a maximum of 160 for Pe loc). The name Întoarsa means “the turned one”[1] and in many ways is the equivalent of the turning dance of Învârtita of Transylvania or Mănunțel from north of the Mureș river,[11] however the figures are largely similar to the walking of the Pre loc with less of the structured turning and pirouettes of the Învârtita.
Form
Bartók[2] lists Întoarsa (De(i)ntorsu) as a couple dance in individual couples, with the man holding his partner at the waist and the women’s hands on her partner’s shoulders. Marcu calls the hold “ca la dansurile modern”, but he does not explain this hold. From our knowledge it is “ballroom hold” in English usage. In the same way as Pre loc and Pe picior Bartók describes the couples dancing not in a formation, whereas Marcu notates this as a column dance. Marcu[12] describes the dance as having figure A – slow side-steps turning a half turn with partner, and figure B – walking while turning partner.
Location
The geographic distribution of this dance appears to be limited to northern Banat between Timișoara and the Mureș river. Suvergel discusses the melodies in four locations.[4] Marius Ursu’s teaching repertoire includes Întoarsa de la Alios and Întoarsa de la Checea.
The subtype Sorocul (north of Timiş and south of Arad) is performed both as a highly virtuosic men’s solo or group dance, and as part of a mixed couple walking and turning dance named either Sorocul or Ardeleana.
The term Soroc is used in northern Banat for various dances with “syncopated” steps, but also for a cycle of dances. The dance(s) now commonly referred to as Soroc in the Banat area appear to include several layers of earlier dances including men’s dances and couple dances that now are merged as figures and themes under a generic title of Soroc:
This dance [Budaica] is part of the cycle of frequent dances in the lowland region of Banat called “Soroc”.
Soroc couple dance, in which the men might also dance figures from the men’s dance
De mâna and Budaica couple dances from the Timiș–Arad repertoire that are choreologically similar and can be part of the Soroc cycle of dances.
A widely distributed couple dance with a turning figure which in rhythm and form is very similar to the southern Transylvanian Învârtita and is known in Banat as either Ardeleana (not related to the so called “Ardeleana” category) or Soroc.
The concept of “syncopated” steps (2+1+2+1+2) is key to the men’s dances and couple dances in the arc of the regions Maramureș–Oaș–Bihor–Arad–Timiș. In Maramureș–Oaș–Bihor the syncopated dance has music in straight 2/4, but is danced in rhythm 2+1+2+1+2 across two measures. Marcu[2] notates the dance with syncopation in 2/4 meter and musically Soroc is notated in 2/4 meter – Bartók at Jadani (Cornești) [4], by Florea in Arad county (Covăsinț, Sâmbăteni, Drauț, Cuvin, Cicir, Felnac, Zăbrani)[5] and by Vancu in Sâmbăteni[6] although published recordings often have a slight asymmetry that lengthens towards the end of the measure. In the old forms the rhythmic accent is on count 5 of a two measure unit, which is one of the rhythmic options given by Giurchescu.[1]
This accent on the 5th count is very evident in the men’s dance steps and in some recordings (see for example recordings by Ilie şi Radu Vincu (ST-EPE 03223, ST-EPE 01685).
The învîrtita in syncopated rhythm is specific to southern Transylvania; its range extends across the middle part of the Mureş Valley into the Transylvanian Plain in the southern part of Cluj.
However, in the south of Arad and north of Timiș counties the music sometimes takes on a asymmetric count with the first beat shortest and the last beat longest (generally notated as 10/16 2+2+3+3). This concept of “syncopated” steps, but to asymmetric meter, is also exists in the Transylvanian Învârtita (turning dance).
Munteanu[7] suggests the asymmetry arrived with a Transylvanian population familiar with this rhythm, particularly in the localities close to urban industrial areas (Firiteaz, Seceani, Alioș, Mașloc, Sânmihai, Utvin etc.).
Sorocul, when performed only by men, is considered to be one of the most difficult dances of Banat because of the combination of a large range of heel clicks, jumps, fast scissors, leg rotations, and balances performed to complicated, syncopated, rhythmic patterns.
Soroc as a men’s dance is related to the Fecioresc[8], Nistor comments that the men’s “Sorocul is a dance of virtuosity, with almost acrobatic movements, jumps, flexions, stamps on the ground, and jumps on the heel”.[9]
Clanița[10] gives notations of figures collected in 1983 from dancers born at the turn of the 20th century from villages of Murani, Fibiș, Alioș, Fiscuțt-Firiteaz, Seceani. He says the dance comprises a walking figure plimbare and the showing off figure called forme and can be performed both as a solo men’s dance or with a partner who holds the man’s right hand and dances behind him.
Men’s Soroc performance
Although it was most likely originally a men’s group dance, as is often performed in choreographies, the dance appears to have become reduced to a men’s solo figures, with only the Bulgarian group at Vinga continuing a tradition of Sorocul as men’s group dance.
2. Soroc as a couple dance
The ‘Ardeleana’ in syncopated rhythm family is represented in Bihor and Arad by the Pe picor type. Sorocul is peculiar to the Banat plain and the southern part of Arad.
There are various formation options for the couple dance Soroc. Bartók notes just one melody in Jadani (Cornești) and describes the dance Soroc as couples holding inside hands in a column formation facing up the column with women sometimes making turns.[4] Marcu’s description starts in column formation with partners facing and it is danced in counter-time (stepping behind the beat) in syncopated rhythm, with music that is not quite straight, and for the men there are movements requiring great skill.[2]Soroc in this form is a dance specific to the Banat plain, particularly the communities of Seceani, Sâmbăteni, Satchinez, Utvin, Pesac, Igriș, Comloș[2] and in Arad in the localities Firiteaz, Fiscut, Secusigiu, Felnac, Mândruloc and Sâmbăteni.[9]
The merging of the men’s figures and the couple dance are noted by Giurchescu who says that in “Ardeleana” type dances “it [was] currently the practice for the man to separate from the woman and dance his part alone”.[1] Clanita[10] gives the alternative formation as holding the hand of the partner who dances behind the man, and Nistor refers to Soroc (the men’s dance) that is later additionally a couple dance.[9]
“De mâna ca la Buzad” Datina ensemble, Ghiroda – 2016
These two dances appear to be closely linked with Soroc. All notations and recordings are in binary 2/4, but danced syncopated. Marcu[2] describes Budaica as part of the cycle of dances known as Soroc.
Marcu[3] notates De mâna ca la Sânnicolaul Mare as in couples moving and facing up the column, holding inside hands low, then a second figure turning as a couple in shoulder hold. De mâna de la Buzad (Datina ensemble, Ghiroda) is similar to Marcu’s description of De mâna, but is also very similar in the couple dance figures to Marcu’s Soroc description. Nistor also gives an example of a figure from Soroc[21] with a similar structure to the Arad plain dances De mână, Lunga and Ardeleana bătrânească.
This dance [Budaica] is part of the cycle of frequent dances in the lowland region of Banat called “Soroc”. As held and execution, it resembles the “walk” (plimbare) from Soroc or Transylvanian “De-a lungul”. The distribution of this dance is centred on Sânnicolau and Satchinez. It is an archaic dance preserved until today. Young dancers have simplified considerably. In the old form, when danced by the elderlyit retains the specifics of execution in syncopation and counter-time, as can be seen at the festive events in which they participate.
There are no notations in Bartók’s collection (1912–1913). Melodies for both De Mână and Budaica from Sânnicolau Mare are notated by Tiberiu Brediceanu (1921–1923)[11] and Sava Ilici [12], and from Nerău by Tiberiu Brediceanu[11]. De mână is also notated from Ovcea in Serbia [1] but this village near Belgrade was only repopulated with Romanian shepherds after 1815. Recordings of De mână melodies from Sânnicolau Mare are played Banatul ensemble (ST-EPE 01263) , and from Variaș by Ilie and Radu Vincu (ST-EPE 01685) .
3. Sorocul or Ardeleana
… turning dance named either Sorocul or Ardeleana.
The most common couple dance seen in staged choreography, and occasionally danced by the older generation at events, appears to be very similar to the southern Transylvanian Învârtita – with syncopated resting steps followed by turning as a couple, and music that is clearly in asymmetric rhythm.
Soroc – couple dance from the Banat plain
Past recordings (1970s–1980s) appear to vary from nearly straight 2/4 to slightly asymmetric with stretching of the beat towards the end of the measure. However, in the current popular music, when performed for events and performances by local singers, the melody is clearly asymmetric (see the transcriptions by Suvergel [14]) approaching a 10/16 (2+2+3+3) and the accent on count 5 is hardly evident. This aligns well with the view that the turning couple dance now danced as “Soroc” is strongly influenced by the southern Transylvanian Învârtita and was probably a popular dance in the Banat plain region from the mid-20th century.
Ardeleana pe trei pași or Pă trii pași replaces Soroc in some locations (Jebel, Pădureni, Sânmihai and Utvin) so the cycle of dances is Hora mare, Ardeleana pe trei pași and Pre loc[14]. This music is played in the asymmetric meter (10/16) in the same way Soroc is played, but the dance is based on three equal steps as opposed to the syncopated steps of Soroc. This is possibly a borrowing of Ardeleana pe trei pași from Bihor and Arad[14], but in Timiș county around Timișoara it takes the place of Soroc, with steps that look to be a local adaption from the normal binary rhythm Ardeleana.
See our web page on Banat column dances. for a discussion on dance form in relation to the other Banat couple dances.
Marcu[1] discusses the dancing at Sunday dances on the Banat plain in past times when three to five dances were played cyclically, one after the other as a suite, for example: Sorocul – followed by a selection from the following: Duba, Bradu, Desca, Lența, Judecata – ending with Hora.
Giurchescu[2] lists under her “Type 1 slow Ardeleana” a list of Banat Ardelene plus dances Lența, Șireghea, Duba, Bradul, Desca, Măzărichea.
Marcu [1] puts the couple dances of Banat into groups linked by inclusion of a “typical” motif common to those dances in the group. The relevant groups are:
“Group A” is based on the motif of 7 side steps performed bilaterally in which he includes Sireghea, Judecata (or Iepura),De doi, Cana (or Oala), and Cârligul.
“Group B” dances “Măzărica type” includes Măzărica, Toldăul, and Poșovoaica.
“Group C” is based on the characteristic motif of a jump in the dance Duba, and Marcu lists the variants as Lenţa, Bradu, Turca-furca, Cucuruzul and Șchioapa.
Mureș valley, north of Timișoara
In the north area the column dances Bradu and Diesca were recorded by Bartók (1910s) and Marcu (1950s). In the case of Desca the melody has not changed during this period. Whereas Duba and Lența are not in the collections of Bartók or Brediceanu, suggesting a mid-20th century popularity, becoming popular after Bartók’s time.
There is a clear dividing line between those north of Timișoara (approximately the line of Sânnicoau Mare– Arad–Lipova) and around Timișoara, towards Lugoj, and south to the Banat hills and mountains. A similar division is seen with the older layer of dances,Soroc,ÎntoarsaandPe picior, although these appear to have also migrated south to around Timișoara.
This dividing line appears to be consistent for most of the dance repertoire apart from the old Banat couple dance, Pe loc, which is recorded over the whole Banat area.
Note: The video clips below are of the Datina group in Ghiroda under the leadership of Emilian Dumitru.
Duba – 6 measures phrases
Ansamblul DATINA : Jocuri traditionale din Campia Banateana (de Emilian Dumitru)
The common theme is a bidirectional dance in 6 measures phrases, very unusual in Romanian dances. Duba means drum[2] in local Romanian.
Marcu [1] describes seven versions of Duba with name of the dance reflecting the form of the key feature of the dance: Duba sărită with jumps, Duba plimbata with walking, Duba bătută has 7 stamping steps, Dubape tre pași has 3 steps, Duba încrucușată has steps that cross in front and cross behind. Duba de la Racovita is performed by the Datina group as couples in small circle. Duba from Șeitin[6] is in 3 measure phrases but comprises of different motifs.
According to Marcu [1], Duba with its variations – Lența, Bradu, Turca-furca, and Șchioapa, has a characteristic motif of jumps on two feet together, however it is very clear that Duba is a separate dance and the others are not “variations” of Duba.
“Lenta de la Satchinez” Datina ensemble, Ghiroda – 2016
Lența is the diminutive of Elena.[2] In the 1960s Marcu said the dance Lența had not been included in the Sunday dance repertoire for almost 30 years [6], this suggests a demise in popularity in the 1930s following an earlier period of popularity. However Bartók’s did not record Lența in his collections from the 1910s.
Marcu says that in the past Lența was widespread in the communities in the Sânnicolau to Secusigiu area of northern Banat. The three examples of Lența (from Satchinez) that Marcu [1] describes are bidirectional dances with jumps after the travelling steps. Nistor describes Lența from Șeitin [6] and from Pecica [7] but these are from the different “1101” (Leibman notation) choreographic family.
Nistor [7] describes two other similar dances Ciocănița and Căteaua from Birchiș (Arad county) that are based on the combination of motifs with 3 steps and jumps. A similar pattern is also described as Tocănița from Naidăș in the lower Caraș valley by Lațcu.[3]
Desca musically has a rhythm of 6/8 (2+2+2) but in dance rhythm is mostly interpreted as 5 counts (1+1+1+1+2). Both Marcu [1] and Bartók [2] describe the formation as a column of couples facing, holding partner’s hands, and moving to right and left. As Bartók recorded four versions of the same melody in the 1910s this suggests that Desca (and also Bradu) might have been popular earlier than the other dances discussed here.
Marcu describes a generic version, Șesul bănătean and one from the village of Satchinez [1] and Bartók recorded melodies at Igriș, Seceani, Vălcani and Foeni [10]. Nistor [7] records a simple one figure version at Cuvin (Arad county). The Datina group perform Desca as a line of women in front of the men.
Informant Traian Cuvinan, 38 years old, violinist from Cuvin […]. The informant learned the song in 1928-30 from the 64-year-old violinist Nicolae Sandor. It is sung at parties, hora, weddings, at the request of dancers. It is performed in the beginning at normal tempo (132 beats per minute) after which it accelerates until the tempo no longer allows dancing and the dancers stop tired with joy.
“Bradul de la Satchinez” Datina ensemble, Ghiroda – 2016
Bartók recorded melodies at Mănăștur and Jadani (Cornești) in the 1910s suggesting that Bradu (as well as Desca) might have been popular earlier that Duba and Lența. Unlike Desca which has a particular melody, Bradu is notated with different melodies. Bradu means the fir tree.
Bartók noted the formation as the same as Diesca, in that couples stand in a column, holding their partners hands, and take steps to right and left, but he says in this case they take three steps in each direction [10].
Generally figure A is bilateral 7 side-steps (the same as Judecata, De doi, Cȃrligu) and figure B is turning as a couple with hop-step-steps ending in jumps, although Marcu’s notation [1] of Bradu has both figure A and figure B with the step pattern of ‘hop-step-steps ending in jumps’.
The social dances in the villages of the Banat plain were, in past times, mostly couple dances. The Bartók music collections dating between 1912 and 1913 included some dance music, and certain dances were notated by Marcu in the 1960s, but now dancing knowledge for these older dances remains transmitted only within the dance groups and ensembles.
There are several ways to hold a partner that are described by Bartók[1] and by Marcu[2]. Bartók describes partners side-by-side holding inside hands while facing along the column whereas the most typical hold described by Macru is face-to-face with a partner and holding hands down low. Both authors also describe a face-to-face hold where the woman’s hands are on the man’s shoulders and the man holds the woman at the waist. Marcu calls the hold in the faster Întoarsa as “like the modern dance” (ballroom hold). For these dances Marcu describes the couples are positioned in the dance space such that they form a column with the men on one side and the women on the other.
On the Timiş Plain, cycles are loosely constructed of the dances Sorocul, întroarsa, Pre loc (De doi), and Hora.
These dances fall into Anca Giurchescu’s “Ardeleana” category[3], however in the local publications all except those known as Ardeleana (which generally have the same basic step pattern) are excluded from the title of “Ardelene”.
The dance cycle on the Banat plain is predominantly couple dances, apart from Hora. The Hora was only ever danced once at an event, the first dance at a wedding, the first or last dance at social dance events. We can see some change and progression of the cycle over time through the works of Bartók (1910s), Marcu (1960s) and more recent publications. Bartók’s documentation has the faster couple dance De întorsu at the end of the dance cycle and the slowest dance (Larga or Rara) in the middle. However Larga (locations of Mureni, Jadani, Seceani) or Rara (locations Igriș, Saravale) are not documented in later Banat publications.
Soroc is hardly mentioned by Bartók (only one musical transcription, but is included in his notes on the dances), however Soroc is included in the dance cycle described by Marcu[2] and Giurchescu[3]. Currently Soroc is a key feature in stage presentations of Banat plain dances, although it has all but disappeared from the current local social repertoire.
There is a general theme that Bartók describes the dances (Pre loc, Pe picior, Întoarsa) as being for couples not in a group formation, whereas some 50 years later Marcu describes the same dances as danced in a formation of a column. This could suggest a mid-twentieth century fashion for dancing in a column formation?
See our web page on Banat column dances. for a discussion on dance form in relation to the other Banat couple dances.
Marcu[1] discusses the dancing at Sunday dances on the Banat plain in past times when three to five dances were played cyclically, one after the other as a suite, for example: Sorocul – followed by a selection from the following: Duba, Bradu, Desca, Lența, Judecata – ending with Hora.
Giurchescu[2] lists under her “Type 1 slow Ardeleana” a list of Banat Ardelene plus dances Lența, Șireghea, Duba, Bradul, Desca, Măzărichea.
Marcu [1] puts the couple dances of Banat into groups linked by inclusion of a “typical” motif common to those dances in the group. The relevant groups are:
“Group A” is based on the motif of 7 side steps performed bilaterally in which he includes Sireghea, Judecata (or Iepura),De doi, Cana (or Oala), and Cârligul.
“Group B” dances “Măzărica type” includes Măzărica, Toldăul, and Poșovoaica.
“Group C” is based on the characteristic motif of a jump in the dance Duba, and Marcu lists the variants as Lenţa, Bradu, Turca-furca, Cucuruzul and Șchioapa.
Timișoara and south
Around Timișoara and to the south there are the column couple dances based on 7 steps danced bilaterally to right and left, Judecata, De doi, Cȃrligu, which are recorded by Bartók and later authors, particularly Judecata is part of a wider central European family of popular 19th century dances. The other column dances described by Marcu fall into those linked to men’s dances (Sireghea, Țandara and Cucuruzul) and those that are related to Ardeleana, in particular similar to the Ardeleana from the mountain zones.
There is a clear dividing line between those north of Timișoara (approximately the line of Sânnicoau Mare– Arad–Lipova) and around Timișoara, towards Lugoj, and south to the Banat hills and mountains. A similar division is seen with the older layer of dances,Soroc,ÎntoarsaandPe picior, although these appear to have also migrated south to around Timișoara.
This dividing line appears to be consistent for most of the dance repertoire apart from the old Banat couple dance, Pe loc, which is recorded over the whole Banat area.
Note: The video clips below are of the Datina group in Ghiroda under the leadership of Emilian Dumitru.
Judecata,De doi, Cȃrligu – bidirectional 7+7 side steps
These dances are based on a concept of a figure A with a bidirectional 7 side steps pattern, and a contrasting figure B (similar in concept to Bradu from north of Timișoara). Nistor notates a dance with a similar structure called Sfădita[8] as a couple dance from Birchiș and is also within the suite of the men’s Călușeri dances from Roșia Nouă (Arad county)[10].
These dances should not be confused with the 3+3+7 step Măzărica, although this is not fixed as Poşovoaica can be either 3+3+7 or 7+7 patterns.
Misleadingly Marcu terms the wider family of dances as “Sireghea type” and includes Judecata, De doi (around Timișoara), Cȃrligu, and Cucuruzul[1]. Șireghea and Cucuruzul have specific step patterns and so are clearly separate dance types that also have a theme of starting with 7 side steps.
De doi translates as “for two” meaning for couples. Bartók [9] puts De mâna (Igriș and Cenadu Mare) and De doi (Petrovasile now Vladimirovac) together under the same category in his summary table, so we cannot be sure of the dance type he is referring to. De doi in the Timișoara region is not the same as the mountain De doi (that is also danced in the Caraș valley) which is based on “1101” weight change pattern (3+3+2+3 steps).
Judecata (judgement) or (I)epura are part of the central European family of dances with a figure of “finger gestures” of the index finger directed to the partner. Marcu [1] describes versions at Hitiaș and Pădureni and a generic regional version titled Șesul Banatean. Bartók notates one at Ghilad [2].
The dance has a figure B based on small leaps and pointing the un-weighted foot, with some steps or stamps in between. Note that the name Cârligul also refers to a different men’s dance in the Banat mountain region. Cȃrligu means a “hook” derived from Bulgarian кирли[12] and is a common dance name for various dissimilar dances across southern Romania and Banat.
Sireghea and Țandara – 7 side steps + jumps + 3 steps
Ansamblul DATINA : Jocuri traditionale din Campia Banateana (de Emilian Dumitru)
The examples of Sireghea and Țandara have a fixed step pattern of 7 side steps, two jumps on both feet, followed by 3 steps.
The name Șireghea is derived from șireag meaning string[2] which is an older word for string, row, or line (from șir for row, derived from Latin) which can be “used to refer to a group of boys dancing holding hands”.[15]Țandara means a splinter from breaking or shattering something, derived from Saxon zänder”.[12]
Marcu[6] gives one example of Sireghea as a column dance of couples, that he notated in four, which is very similar to Țandara danced as a chain dance as performed by the Datina group. Nistor[9] documents two versions in Arad county; Șereghia from Birchiș and Țandăra from Bârzava which unusually is based on a 3 step pattern and has three further figures as variations. The same step pattern is also described as a men’s Brâu called Țandara in the mountain village of Obreja.[5]
Ansamblul DATINA : Jocuri traditionale din Campia Banateana (de Emilian Dumitru)
The common theme for this dance is 5 measure phrases, very unusual in Romanian dances. The dance phrase includes patterns of 7 side steps and 3 side steps. The name Cucuruz means corn (maize) from Slavic, the –ul making the name a definite article.
The three examples referenced all have different sequences of typical motifs. Marcu’s [1] notation of a couple dance from the Banat plain, Lațcu’s [5] notation of a men’s Brâu from Glimboca in the mountain region and the version performed as Cucuruzul de la Cladova by the Datina group. This dance is not in Bartók’s or Brediceanu’s notations.
Marcu’s [1]Șchioapa (village of Banloc) is just “jumps”, or more exactly demi-plié and bounces that is much the same as figure A in Măzărica[6] (villages of Ciuchici, Nicolinți, Naidaș, Răcaidia) and Sărita[3] from the village of Ciuchici. Turca-furca[1] is similar with the addition of raising one foot forward during the bounces.
Măzărica, Toldăul, Poșovoaica – pattern of 3+3+7 side steps
Marcu’s names his “group B” dances “Măzărica type”. The dances are based on steps in the pattern of 3+3+7 steps, this is also a weight change pattern of “1101” (steps per measure are 3+3+4+3) which is very typical of the Banat zone and a common variant of the typical mountain zone Ardeleana.
Măzărica is Romanian for type of peas [12], Toldăul is an iron nail or screw [12] from Hungarian toldó, Poșovoaica derives from a joke or lie [12]. Poșovoaica is better known as men’s dance from the Banat mountains.
These dances are not in Marcu’s list of column dances can be requested to dance following Soroc in the dance cycle, and are not included in Giurchescu’s “Type 1 slow Ardeleana” list. However, as these are “column dances” from the Banat plain, in a similar form to many of the above dances, I have included them for completeness, although in terms of choreographic relations these dances should be part of a discussion of the “Ardeleana” family of dances in relation to the mountain dance repertoire.
Bartók [9] recorded Poșovoaica at four locations, but no examples of Măzărica. Nistor documents Măzărichea in the Arad region.
Poșovoaica as taught by Serbian teacher Milovan Ognjanovic has figure A as 7+7 side steps, and figure B as 3+3+7 plus turning with partner, demonstrating the interchangeability of the motifs.
We should note that the same step pattern and melody is recorded in the Serbian community of Sânnicolau Mare as a chain dance titled Sestica [4].
