An introduction to Bulgarian folk dance
Courtesy of www.eliznik.co.uk
Bulgarian folk dances are normally line dances, with hands joined either in low "V" hold, belt hold (na pojas), crossed in front or "W" hold. Footwork can vary from fast intricate steps (as in the Sop Region) to slow sustained cat-like movements (as in some of the dances from the Pirin region). Dances from the north have some of the characteristics of dances from southern Romania, just across the Danube, i.e. fast crossing steps, dances from the Pirin Region in the West have much in common with dances from Yugoslav Macedonia, and dances from the Sop region round Sofia have similar characteristics to those from eastern Serbia. This illustrates how boundaries of dance styles do not necessarily conform with politically imposed nationally boundaries.
One of the most interesting ways of identifying the regional style differences is to look at the way that the basic Pravo Horo is danced in each Region. In Trakija it is danced in a smooth flowing, graceful style. In the Sop Region it is jerky with small hopped steps and lifted knees. The Dobrud_an Pravo is called Opas and is danced in a solid "earthy" style with knees always bent. The Severnja?ko Pravo, called Dunavsko or Svishtovsko, is more springy, with an upward feeling, and the arms swing or "jig" in time with the feet. Pravo Rhodopsko is a simple dance with a solemn feeling, and small, restrained steps. The Pirin "Pravo" is usually in 7/8 and is what we know as Makedonsko, or Lesnoto. The 7/8 count is long, short, short, and begins with a lift on the first beat. Steps are onto the balls of the feet. Men lift their knees high while the women's feet barely leave the floor. When women only are dancing the leader of the line often performs a variation by moving back along the line of dance and dancing in a pair with the following woman. This variation is also seen in Greece.
The most distinctive feature of Balkan folk music is the rhythms, which are built using combinations of 2/16 and 3/16 notes, forming various combinations of 'quick' and 'slow' beats. A number of basic folk dances use a distinct combination of these notes, similar to how the waltz in western music consists of 3/4 rhythm. However, due to the ability to combine 2/16 and 3/16 notes in various combinations and permutations, a wide variety of different rhythms can be obtained. For example, 8/16 can be built using 2-3-3, 3-2-3, or 3-3-2, as well as 2-2-2-2, 2-2-4, 2-4-2, 4-2-2, or even 4-4.