TANEC REPERTOIRE

LIST OF CHOREOGRAPHIES AND AUTHORS - TANEC

Emanuel Mane Cuckov - “Komitsko”
Trajko Prokopiev - “Nevestinsko”
Atanas Kolarovski - “Dracevka”
Gligor Vasilev,music by Trajko Prokopiev - “Sedenka”, ”Cvekeberacka”, ”Ovcepolka”
Dojcin Matevs ki, music by Djordji Dimcevski(only on Djurdjovdenka) - “Teskoto”, ”Djurdjovdenka”, ”Cifte Camce”
Mitko Aleksov, music by Djordji Dimcevski - “Osogovka”, ”Zetvarka”, ”Teska krstacka”
Jonce Hristovski, music by Djordji Dimcevski - “Mariovska tresenica”
Dusko Georgievski, music by Djordji Dimcevski- “Tropnalo oro”, ”Rusalii”
Blagoja Filipovski, music by Djordji Dimcevski,R.Gelevski and T.Cvetkovski - “Svadba”, ”Solunka”
Cvetko Micevski, music by Koco Petrovski - “Sopska petorka”
Dinco Eftimov - “Aramisko”
Todor Jovanov - “Ohridski branuvanja”, ”Ilinden”
Stojce Karanfilovski, music by S.Kostovski and K.Zifovski - “Pirinsko proletno cveke”, ”Prespanski igri”
Vlado Stanoevski - “Staro tesko”, ”Dva tanca”, ”Rudo jagne”
Blaze Palcevski, music by Djordji Dimcevski, - “Vodarki”
Svetlana Kirik, music by Dragan Dautovski - “Dzamala”, ”Vodicarki”

KOPACHKA is a folk dance that originates from the village of Dramche, Delchevo region (Piyanets). It is mainly a male,sort of  gathering folk dance, that represents the labour. It has four basic rhythmic patterns (walking around, small steps, transferring steps, and “digging” steps), repeatedly. It is interesting that this folk dance is performed “on the whole foot”, which adds particular significance. The dance is fast and lively. It is assumed that it resembles digging and working of the soil. The dancers literally raise dust while dancing. This folk dance is set to its original appearance ,also for the first time on  “Tanec” repertoire.

KOPACHIJA is a dance that origins from the region of Kopacka,Kicevo,Western Macedonia.Here,male dances differ from female dances,in which the folklor of the rich outfits and the customs of the people from that area are present.This choreography contains the dances such as Svekrvino oro,Cetvorka,Malesora and the other,also some songs amongs that,such as Angelino mome and the other.

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ZHENSKO CHAMCHE  is a gathering type  female folk dance from Western Macedonia. By its slow, but free and dignified first part, and by its faster, rhythmical second part, (but also by the way it is performed ,dancewise),this dance  reassembles the dance “Chifte Chamche”. One of the characteristics of this dance is that it is performed accompanied by Chalgiyas. This was a part of the “Tanec” repertoire during the fifties and the early sixties in the last century. This is its first performance in four decades.

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AEGEAN - A dance,inspired from the region of Aegean Macedonia,Kostursko.Through the specific female dances Bajrace and Zenskoto,and through the male dance simply called the Male dance,this dance show us a great variousity and display of ellegance,graciousness and beauty of the outfits.It starts with a song,characteristic of the region of Kostursko named Mori odajo sarena and it ends with a chearful and gracious mixed dance Krsalmii.

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TROPNALO ORO - Mixed choreography,inspired by a famous song from the region of Skopje.This dance,trough the cheerful songs,shows a hapiness of the young people,dancing the Staro Tikvesko,Zensko Krsteno and other dances,giving an image of what has been happening in the past at the centre of the villages.

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PIRIN SPRING FLOWERS - choreography by Stoyche Karanfilov and music arrangement by Stoyche Karanfilov and Stoyanche Kostovski, inspired by the rich folklore of the Razlog region of Pirin Macedonia. The choreography is abundant with elements featuring the folklore spirit of this part of ethnic Macedonia and fascinates with its virtuosity and explosiveness.

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NEVESTINSKO is Trayko Prokopiev’s choreography - who also arranged the music - but its stylization differs very little from the original female bridal folk dance. By the way of its performance, the dignity of the steps and the certain movements, it is considered as a match to the male folk dance Teshkoto. It clearly features the graciousness, the pride and the beauty of the Macedonian bride. In spite of the simplicity of the steps, the performing style and the overabundant traditional clothes leave a deep impression.

CHIFTE CHAMCHE is placed among the so-called “hard” folk dances, with slow and fee start and fast second part. It originates from the Bitola region and it is performed accompanied by two zurlas and tapan. It is assumed that its name comes from the Turkish word “CHUM” (oak), maybe due to the fact that it radiates with firmness and strictness in dancing. The oak also stands for another symbol in the Slavic mythology (there dwelled the souls of the ancestors), thus the relation with the dignity and the deepness. It is also performed by other nationalities such as Turks and Romas,certanly,with a different variaties.Along with the sound of the instruments,as a specific thing of the male-chamchinas,this is one of the most impressive dance of the Ensemble 'Tanec".

SEDENKA is a choreography inspired by the Eastern Macedonian folklore. In fact, it features a specific action: two of the village bachelors fall in love with one girl, Stoyna. The matinee that takes place at the center of the village is a good opportunity for them to fight for her feelings. The fight, of course, it is shown  through a dance. And,for that occasion, there are only two  parts of this attractive choreography represented: the solo part involving the beautiful girl Stoyna, and then,the two bachelors, Petko and Mitre.

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KALAJDZISKO is a mixed choreography setting which is inspired by the male tinsmith craft in central Macedonia. Through cheerful and dynamic dance, based on some authentic folk dance steps,there is a presentation of  the tinsmith workers ,which were especially respected and always welcomed.

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VODARKI - this is a female choreography which represents one part of a girl's everyday social life, their visits on springs and collecting water. This setting is a composition of a different dances and elements mostly from eastern Macedonia. The costumes are from Polog, Tetovo region.

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KOMITSKO - Emanuel Chuchkov created the choreography and arranged the music for this folk dance, featuring part of the rich Macedonian history related to the revolutionary period. This choreography gives a very picturesque presentation of the pride and the patriotism as the greatest principles of the Komita’s struggle. The basic steps of this performance are borrowed from the Komita’s folk dance from Shtip region. 

SVADBA (WEDDING) is a choreography based mainly on  rites and customs. It features folklore from the entire Macedonian territory, while performed in folk- dresses from the village of Rashtak, Skopje region. It mainly follows the elements of wedding customs, emphasizing those related to the main participants of the celebration: the groom, the bride,  groom’s mother and father, the Godfather, etc.

:: video (11.93MB)

GJURGJOVDEN is one of the oldest choreography settings of the Ensemble made in 1966 by Dojchin Matevski and Gjorgji Dimchevski. It represents several characteristic folk dances and songs from Macedonia connected with celebrating Gjurgjovden, a spring holiday of 6th of May. As a custom this holiday is dedicated to celebrating the beginning of the spring and birth. It is a custom practiced by young girls who go in the field and collect various plants and sing rite songs for health and fertility. This holiday has been still celebrated all around Macedonia and it usually ends as a big village gathering.

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DRACHEVKA - Here,the choreography is by Atanas Kolarovski and music arrangement by Trajko Prokopiev and this one emphasize the most characteristic songs and dances from Skopje area. The dynamics and joy of the country gathering in this region has been shown properly throughout them.

:: видео (6.29MB)

OSOGOVKA is a male choreography setting in which several original male folk dances from eastern Macedonia are included. The dance represents kind of dance- competition between two male groups  and their initiation  in the older age.

EASTER DANCE - Music by Milan Zavkov,inspired by a rich macedonian folklore in which the musicians show their skills and virtuosity on the instruments.

SRED SELO - Choreography by Todor Jovanov.This is mixed dance that origins from the region of Povardarie.This choreography represents a simple everyday life of the peasants and the events and gathering of the people at the centre of the village,as a marking of the lifestyle of the young people from that period.Songs used in this choreography are Ova e selo, Snosti te prativ na voda kerko and other.

MARIOVSKA TRESENICA is an old dance on the Tanec repertoire and it is a female dance that origins from Mariovo.It is inspired by a female customs in that region,custom related with an Easter period,when the women were cleaning the whole house as a part of that tradition and custom.The most impressive part of this choreography is the richness of the outfits and the songs of the Chalgias.

ZETVARKA is  choreohraphy,inspired by a harvesting.Trough the dancing and the songs it is announced that the end and the beginning of the harvesting season is taking place and the rituals for a good,safe and productive harvest are also performed.This dance has been inspired by the dances Potrculka and Polacko from the region of Ovcepole.Songs used in this choreography are Povej povej vetre,Sto mi e merak and other.

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PRESPA DANCES is one of the later “Tanec” choreographies. The authors Stoyche Karanfilov and Kiro Zifovski were inspired by the rich folklore of the Prespa region of Aegean Macedonia. The choreography particularly distinguishes the graciousness and the beauty of the folk dances, the richness of the music and specific prettiness of the traditional clothes.

:: video (6.65MB)

DJAMALA and VODICHARKI are one of the latest rite choreography settings of the Ensemble "TANEC" set in 1996. The choreography arrangement is made by Svetlana Kirik and the music arrangement is made by Dragan Dautovski. DJAMALA is inspired by the winter mail process which still exists in Macedonia under the names Djamalari, Vasilichari, Babari or Survari. These processes usually take place on the,so-called, "unbaptized days", from Christmas until Vodici (the 19th of January). They are most active during the night between 13 and 14 of January on Orthodox New Year. The choreography movement puts an accent on the main drama elements of this rite in which the basic messages are the fertilization between the earth and the sky, the initiation of the young boys, the fertility of the earth etc etc…... VODICHARKI is a female process that is taking place on 19th of January on St. Jovan. The girls circle around the village from right to left singing rite songs in front of every house for every member of the family. Their intension is to provide health, fertility, and progress for every family and the whole village during the forthcoming year. The concrete inspiration for these particular choreography settings, Djamala and Vodicharki,the ensemble Tanec is taking   from the costumes that are characteristic for villagers in Skopje ravine.

EXPELLING THE PLAGUE - as a custom has completely disappeared. In the past, this custom was practiced at the beginning of the summer before the summer field work began. The main drama element of this custom is the expelling of  evil and providing the safe and easy field work. The choreography and music arrangement is made by Todor Jovanov. The crying in the song and the noise made by metal forks are in the function of chasing the evil demons and spirits as far as the noise can be heard.

RUSAYLII is a rite dance, one of the most peculiar in the world. It is characteristic only for the wider Gevgeliya region, and only during the so-called “non-baptized days”, between Christmas and Epiphany. The Rusaylias are walking around with sables on, carefully protected, with a specific preparation and protection from the evil forces and spirits. The Rusaylias’ dance is deep and symbolic. The dance is an imaginary fight with the evil, defending at the same time both, the people and the Earth. It had been performed in every village, in front of every house, around a sick or an enchanted person. This is  unique male procession that determines the rite “za vakuf” - for common wellfare. The collected gifts and money had been donated for the welfare of the village, for a construction of a church, hospitals, or a school. Very characteristic are the dresses, crossed on the chests and with a cross hanging on the neck, for Rusaylias protection. If two groups of Rusaylias encountered, they fought to death (Rusaylian Graveyards). If they somehow did manage to get an agreement, the weaker ones passes under the stronger ones’ sables. “Tanec” choreography symbolizes a fight between two groups of Rusaylias.

PORECKI IGRI

:: video (5.08MB)

TESHKOTO is artistically the most powerful and most exciting Macedonian male folk dance. This is one of the first folk dances on “Tanec” repertoire, which thrilled the “cold” English people in 1950 and won the first price on the festival in Langolen. In fact, “Tanec” built its image on this dance. The image of the dance-leader kneeling over the drum is the most frequent association related to this dance.Also,that image is a label of  "Tanec",as an association. Teshkoto is a dance that can never be performed twice in the same manner. The performance depends on the dance-leader’s skills. In Lazaropole the dance-leaders used to be paid for the privilege to lead the dance. Unlike the other dances, Teshkoto did not go through any kind of transformation of its basic formal concept (slow and dignified rubato at the beginning and accelerating to a furious manner).It represents the life of the Macedonians and wakens the very roots of that nation. This folk dance is under the protection of UNESKO as a rare spiritual monument.

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The vocalic part of the Tanec repertoire is a choice of songs from all regions of ethnical Macedonia,in which varies different performances and styles.Trough these songs you can sense the original deepest harmonies from this region.Most of them are performed as an A-cappela in its genuine form,and many of them accompanied by musical instruments.Quite often Tanec has been privileged to be accompanied by a famous macedonian singers,during the concerts and festivals,such as Tose Proeski*,Suzana Spasovska etc.This is only a part of the songs that Tanec has on the repertoire.

Ne pij Nedo voda i More son sonila Carica Milica-male biphonic songs from the region of Tetovo,influenced by albanian style of singing.Beside that,the harmonies are undoubtfuly part of the genuine macedonian male traditional singing,that is still in use in this parts of Macedonia.

Oj Jelencice is a female biphonic songs that origins from the region of Skopska Blatija and it is a representative of the female singing of this region.

Gjurgjice kadan ubava  is a female custom song, sang on Djurdjovden holiday in Eastern Macedonia,precisely,the region of Radovish.This song is deep and performed with a characteristic biphonical voice,that is still present in this part of the country.The song  represents the moment of delirium ,for a good health.

Ivano ivan devojko- is female custom song about the harvest,that origins from Eastern Macedonia.Characteristical high pitch singing in this song is a common for all harvest songs in this part of Macedonia.

Bela denice more-male song from the region of Radovish,still performed.

Pirin planino-male song that origins from Pirin Macedonia about the period of Ilinden history of Macedonia

Stojno le stoko le and Ludo mi tera tri konji-both are female songs from Aegean part of Macedonia,Kostursko.The singing style in this part is very interesting and specific,as is under  many influences,although,there is a feeling of a genuine original ambient,that still had managed to keep the memory of this kind of macedonian singing in these parts of the country.

Bojot zapocna (.mp3 906KB)

Cveke cuteshe mamo (.mp3 1.01МB)

Davaj me mila mamo davaj me... (.mp3 842KB)

Izlegol Jane Sandanski (.mp3 968KB)

Srce me boli(.mp3 806KB)