Serbs, Montenegrins, Bosnians, Croatians - Gypsy Folk Ensemble

Die Klänge einer primitiven Svirala (Hirtenfloeten) reihen die Mädchen zum Rundtanz. Einzelne Bursche treten in dem langsam sich bewegenden Reigen. Der einfachen, monotonen Melodie folgen die Klänge der lustigen Paracinka [the melody], die Bewegungen des Tanzes werden lebendiger, die reinen Leinenhemden flattern lustig im spielenden Winde - und wir haben vor uns das schöne Bild des "Kolo", des allen Slaven gemeinsamen national Tanzes.

The sounds of the primitive Svirala (the shepherd's flute) line up the girls for the circle dance. Individual boys enter the slowly moving dance. The simple, monotonous melody is followed by the sounds of the merry Paracinka, the movements of the dance become more lively, the pure linen shirts flutter merrily in the playful wind - and we have before us the beautiful picture of the "Kolo", the national dance common to all the Slavic people.

Der walachische Tanz ist wenig von dem slavische Rundtanz Kolo verschieden. Er heißt Hora. Jedoch gibt es auch eine Art Walzer "Dedoi", der hüpfend paarweise getanzt wird.

The Wallachian dance differs little from the Slavic round dance Kolo. It is called Hora. However, there is also a type of waltz “Dedoi”, which is danced hopping in couples.

A.) Šumadija

1. Beogradski okrug (p. 124) Igre kolkske poznate su mi ove: Četvorka, Ostroljanka, Niševljanka, Polomka, Šareno Kolo, Sitniš, Duda, Paležanka, Djurdjevka, Zora, Srbijanka, Bulgaria. U starije vreme, igrale su se [Also formerly danced]: Duda, Duneranka, Vrbica, Madžarica, Karijeva, Kriva, Pljeskavac, Pocerka, Šakajdo & Varošanka.

2. Smederevski okrug (p. 171) Od igara sada se igraju ove: Mačvanka stara, Mačvanka nova, Četvorka, Prepišora, Ropota, Kisiljevka, Čemerika, Veliko oro, Sitni zdravac na planini, Šareno oro, Cigančica, Vlahinja, Polomka, Sitniš, Jagodinka, Neda grivne, Kragujevčanka & Moravac. Stari su igre, a druge se sve i sada igraju [Old dances]: Polomka, Ostoljanka, Orlovka, Krivka & Sitniš.

3. Jagodinski okrug (p. 219) Igre kolske ove su najobičnije: Niševačko oro, Paraćinka, Ostroljanka, Neda Grivne, Četvorka, Polomka, Mačvanka, Orlovka, Mara Tilindara, Valjevka, Vlahinja, Smederevka.

4. Kraguljevački okrug (p. 302-303) Igre kolske za sad su ove najmilije: Mačvanka, Četvorka, Sakajdo, Moravac (od dve forme [in two forms]), Prepišora, Ostroljanka, Cigančica, Groznica, Polomka, Lipovčanka, Kriva, Kokonica, Parada, Nebeska, Desna, Vlahinja, Trepažešće & Lescovčanka (u Jasenici [in Jasenica]). U Gruži se još igraju [In Gruža, they also dance]: Oro, Katanka, Sitniš & Levakinja. Najbolji su igrači momci iz sela Pajsevića, na desnoj strani reke Gruže.

5. Rudnički okrug (p. 356) Igre kolske igraju se ove: Srpsko oro, Neda Grivne, Sekretarka, Mačvanka, Kneževo oro, Valjevka, Polomka, Ostroljanka, Pocerka, Niševačko oro, Jagodinka, Moravac, Kapetan Djordje, Sremsko oro, Lepa maca, Levakinja, Zajam, Bugarsko oro, Golubac, Ima li gde još bolje, Ketuša, Carigradsko oro, Vlahinja. Starije su igre bile ove [Old dances]: Sitniš, Loparica, Podunavka, Četvorka, Banjska, Cigančica, Madžarica, Polomka, Duda, Ropota & Ostroljanka.

B.) Mačva

1. Valjevski okrug (p. 416) Od kolskih izgara znam imena ovima: Valjevka, Groznica, Mačvanka, Pocerka, Niševljanka, Polomka, Srbijanka, Ubljanka, Sakajdo, Pargar na pargar (!!), Ustaj diko zora je, Cigančica, Četvorka, Ostroljanka, Djordjevka, Frajla Persa (?!), Vlahinja, Bolkanka, Moravčica, Sitniš, Zajam, Treskavica, Kapetan Djordje i dr.

2. Šabački okrug (p. 514) Igre, koje se igraju u ovom okrugu, ovo su: Pocerka, Mačvanka, Valjevka, Jalovičanka (u Tamnavi [in Tamnava]), Paunka, Djurdjevka, Polomka, Lešničanka, Ubljanka, Hroma, Groznica, Duda, Niševljanka, Mesto, Četvorka, Vlahinja, (novije) Knežovo oro, Balkanka, Orlovka & Sremacko kolo. Dalje[Also]: Mišovka, Paraćinka, Srbijanka, Zajam, Kukunjica, Posavka & Treskavica.

3. Podrinski okrug [No dances listed]

C.) Rujno, Stari Vlah, Raška

1. Užicki okrug (p. 636) Igre, kolske, u užičkom okrugu, zovu se: Mačvanka, Moravica, Četvorka, Pleti tanac, Sakajdo, Djurdjevka, Zaplet, Pljeskavac, Polomka, Ostroljanka, Zajam, Vlahina, Polak Vlahinja, Zora, Bugarsko oro, Levakinja, Valjevka, Povijorka, Čiča Gluša, Osmica (koja polazi jednom desno, a drugi put levo, i 8 puta u mesto [which starts once right, another left, then 8 times in place]) & Trojanka (koja polazi jednom na desna, a tri puta u mesto [which starts once right, then three times in place]).

2. Čačanski okrug (p. 701) Igre kolske pominju se ove: Četvorka, Mačvanka, Levakinja, Ostroljanka, Vlahinja, Djurdjevka, Šumaričanka, Orlovka, Ustaj diko, Zajam, Bugarka & Progonac.

3. Kruševač ski okrug (p. 767) Igre kolske mogu se pomenuti ove: Četvorka, Ostroljanka, Polomka, Mačvanka, Vlahinja, Tedena, Cigančica, Bugarka, Srpsko oro, Resavka, Keca, Šesta, Seneda, Šlepetanka, Zavezaljka, Djurdjevka, Poluvlaška, Zajam. Pre nekolike desetine godina igrale su se ove igre [A few decades ago there were also danced]: Oro, Levka, Stara Seneda, Četvorka, Avala, Šlepetanka Stara, Šetanka, Resavka, Na jednu stranu,  Kokonica.

D.) Timočka Krajina

1. Alexinački okrug (p. 821) Od kolskih igara, igraju se ove: Kriva Banjka, Katanka, Mačvanka, Čačak, Orlovka, Prolomka, Bugarka, Ostroljanka & Cigančica. Novije su [New are]: Četvorka, Vlaška, Neda grivne, Ustaj diko, Zajam, Durminka, Tedena, Resavka, Basara, Mečka (u mesto [in place]), Kosovac, Podjoh u Banju, Djurdjevka, Paraćinka, Lepa Maca, Niševka. Varoške igre, koje kao kakva prilepljiva bolest, i ne pominjemo. Tako se čak pod Ozrenom može na vidi [Town dances spread rapidly and are not listed. Some that may be seen are]: Tramblan, Šotiš-Polka, Valcer, Mazur-Polka, i sve druge kojima nas spoljna zapadna civilizacija tako brzo usrećava.

2. Kneževački okrug (p. 865) Igre su kolske ovo: Balkana, Orlovka, Katanka, Srbijanka, Mačvanka, Ostroljanka (zovu je [called] Oštreljanka), Polomka, Vlahinja, Četvorka, Koštenska, “na oro”, Ručenica, Karavlaška. A Boga mi prodire (kao što je, na priliku, u Novom Hanu) i: brza polka, grozni valcer i dr.

3. Crnorečki okrug (p. 930) Igre kolske ove su: Polomka, Orlovka, Ručanica, Stroljanka, Čačak, Vlaška igra, Dundjerka. U Zaječaru pak samom igraju se ove [The following are seen only in Zaječar]: Knežovo kolo, Balkanka, Paraćinka, Sekretarka, Lepa Maca, Milanovčanka, Kokoješte, Kostanka, Polomka, Reće Čića, Grabovac, Kapetan Djordje, Kolo Bugarsko, Mačvanka,, Kadunka, Cico, Lepa ti si! Ketuša, Resavka, Sremsko kolo, Vlahinja, Četvorka, Kolo-Meham, Malakov, Niševljanka, Igralo kolo pod Vidin, Srbijanka, Moravka, Gružanka, Kragujevčanka, Neda grivnu izgubila, Kolo Tedeno, Orlovka, Tri vadi!, Dudo lako igraj!. Sve se igraju v kolu, samo ručanicu igraju dvoje i dvoje [Only the Ručanica is done in couples].

4. Krajinski okrug (p. 1012) Igre kolske ove su: Mačvanka, Horo, Djurdjevka, Lesa, Polomka, Četvorka, Reće ćića da me ženi, Hoj ćića Glišo, Kokonjica, Cigančica, Vlahinja, Madžarica, i starinske [and older]: Sitan Biser (oro sve u Krajini [in Krajina]). Dalje [Also]: Ostroljanka, Ungurjenjaska, Pete Pičor (ungurjanska preko nogu), Baluca Urzika, Tripazešće Trej, a starije su bile (pre 30-40 godina) [old dances (from 30-40 years ago)]: Danca, Kapetan Djordje, Ciganjaska, Kokonjica & Kacaua (ovo u brzo-palanaćkom srezu [in the Brzo administrative district]).

U Ključu nak igraju se još Talambas, i biše vlaških igara koje oni sve zovu: oro [In Ključu is still found Talambas and more Vlach dances called only: Oro].

E) Braničevo

1. Požarevački okrug (p. 1084-85) Igre kolske u starije doba bile su: Orlovka, Polomka, Leketovka, Greška, Sitna (uz gajde [by gajda]), Tedena, Dilita, Šaranac, Prepišora, Ostroljanka, Djurdjevka, Četvorka, Kokonjica, Mačvanka, Muška, Ketuška (igrale su je 2 devojke i jedom momak u sredi [danced by two girls and one boy in the middle]) & Duneranka. Sad se igraju [At present are danced]: Ilinka, Koritarka, Djurdjevka, Smerderevka, Nova Gradištanka, Stižanka, Sitnija Moravka, Krupnija Moravka, Golubica, Sitno, Cigančica, Baćvanka, Oro, Balkanka, Ustaj diko zora je, Kokonjica, Čićino Dete, Vlahinja, Duna, Sitna (u mesto [in place]), Usela Jula dopata, Krivo Kuće, Zajam, Kola zec rupu a lisica rotkvu, Četvorka, Trumba Lumba & Kokonjica Ivan van.

2. Ćupriski okrug (p. 1140) Igre kolske ove su: Polomka, Ostroljanka, Četvorka, Durbinka, Čačak, Vlahinja, Prepišora,  Sitniš, Mačvanka, Kneževo Horo, Alexsinčanka, Buljanka, Moravka. A pre 30-40 godina igrale su se još [Prior to 30-40 years ago the following were danced]: Osam puta u mesto, Na-horo, tedeno, Lukad & Bimnez (?).

F) Novi Krajevi

1. Niški okrug (p. 139) Igre kolske u okrugu niškom malo se razlikuju od igara u Srbiji predjašnjih vremena. Za sadašnje vreme najveća bi razlika bila to što se tamo još mnoge igre igraju uz pesmu, bez svirača. A to je u starije vreme bilo i u Srbiji. Ovo su imena igara koje razgaljuju veselu omladinu u niškom okrugu: Četvorka, Čačak, Vlaška, Durbinka, Madžarica, Zajam, Popovska, Srbijanka, Berbatovska, Osmica, Cigančica, Kriva Bajnka, Trojanka, Tedena, Šopka, Ratka, Ostrolvljanka, Niševljanka, Paraćinka, Zaplanjka, Osamputka, Potresuljka, Hajkuna, Levka, Orao, Jelka Tamničarka.

2. Pirotski okrug [No dances listed]

3. Vranjski okrug (p. 329) Igre kolske najobičnije zovu se: Četvorka, Srbijanka, Čačanka, Sitniš, Vrteška, Osmača, Korča, Potrbuška, Vlahinja, Arnautka, “Šano Dušo!”. Ove dve poslednje igraju se uz goč (bubanj).

4. Toplički okrug [No dances listed]

- Milan Milićević: Kraljevina Srbija, Beograd, 1884

..then the men began to dance the kolo, in which a good many officers and the colonel's pretty little boy took part. About a hundred and fifty men joined hands in one long coil, which twisted in and out like a gigantic serpent, wriggling ever faster and more furiously. The dance began to the tune of the guzlar, a plaintive, one-stringed instrument, which was presently relieved by the military band, but the former is the favourite accompaniment in Servia. Thus singing and dancing alternated far into the evening, and it was easy to tell that all, officers and men alike, were enjoying themselves vastly.

The proceedings begin early in the morning with a very long service in the church, and the rest of the day is passed in the church enclosure with eating, drinking, lounging, gossiping, and dancing ... A number of gipsy bands was in attendance, and the kolo was danced spasmodically around them by long strings of young men and young women, but there was rather too much crowd for convenient dancing, and the majority preferred to lounge and chat. Both in the lounging and the dancing I observed that the two sexes inclined to keep apart, and I was told that it is necessary to be very careful to avoid arousing scandal in Servia, where Turkish traditions about the isolation of the fair sex still obtain.

Besides the usual European dances, the Servian kolo is a prominent feature of every ball in Belgrade. It is nearly related to the national dance of Greece, Romania, Bulgaria, and Provence. All the dancers join hands in a long row, which undulates to and fro and wriggles around the room like a snake. There are a number of kola with tunes and measures of their own. The prettiest, to my thinking, is the Natalia kolo, called after the Queen; but perhaps I am prejudiced by the name. There is also a kolo dedicated to Milan, and another to the Radicals. Among the middle and lower classes it is customary for the dancers to sing the songs belonging to the dances. For the Radical kolo there is a refrain of "Pay your taxes, pay your taxes, you rascals". Another refrain common to all kola bids those who are sitting out not "remain there like dumb beasts, but hasten to join the dance".

A flourish announced the arrival of the King and Prince; five minutes later Queen Nathalie arrived; then all of a sudden the serried masses of peasants began to move into the open. In a trice they had deployed into endless strings, swaying to and fro in the drowsy movements of a kolo - two steps forward and one back, then one step forward and two back. One began to wonder what possible pastime could be discovered in so monotonous a proceeding. Then the tune changed, and the dancing of another kolo exhibited a vehemence and wild energy as bewildering as they were fantastic. Until I beheld it in Servia, I always considered the kolo an idiotic pastime. But the Servians understand the spirit of the dance: its every figure speaks - or rather, sings - to you, and bewitches as with the magic of Merlin.

He went with me to a peasant's fete at the neighboring village of Jalashnitsa [Jelašnica, near Niška Banja], and, though he had not been abed all the previous night, he was skipping about all the time, chaffing and playing practical jokes with the peasants, joining in the kolo, and inspiring unprecedented vigour into that dreamy dance. Some of the girls thought him too boisterous and broke away from him, so he captured a small boy of seven and executed a pas de deux with him, placing his own handkerchief in the child's hand and showing him how to wave it. Everybody applauded the exhibition in huge delight, for it was impossible to resist the old man's high spirits and good-nature.

- Ibid, p. 267

John Foster Fraser (1868-1936) was an English traveler and journalist and an extremely prolific author.

On the eve of the Sabbath he [the Serb] puts on his best clothes and the women put on their gaudiest of frocks. They meet on the sweep of the green before the church. The local gypsies - tall, swarthy, handsome, most of them - provide shrill music, while the Serbs, clasping each other by the hand, sing mournfully and gyrate sedately. It is a melancholy dance. But they are sure they are having a capital time.

- John Foster Fraser: "Belgrade and the Servians" in Turkey and the Balkan States as Described by Great Writers (ed. Esther Singleton) New York, 1908, p. 247

"SERVIA" in the Encyclopaedia Britannica, 11th edition, New York, 1910/11

The people, less thrifty and industrious than the Bulgars, less martial than the Montenegrins, less versatile and intellectual than the Rumans, value comfort far more highly than progress. A moderate amount of work enables them to live well enough, and to pass their evenings at the village wine shop; although, being a sober race, they meet there rather to discuss politics than to drink. Of politics they never tire; and still greater is their devotion to music, poetry and dancing. Perhaps their most characteristic dance is the kolo, sometimes performed by as many as 100 men and women, in a single serpentine line. Their national instrument, the gusle (gusla), is a single-stringed fiddle, often roughly fashioned of wood and ox-hide, the bow being strung with horse-hair. All classes delight in hearing or intoning the endless romances which celebrate the feats of their national heroes...

Before I could enter the house [of the knez or village leader], I was compelled to endure the embraces of about fifty to sixty people, whose breath smelled so strong of garlick and tobacco that it made me ill. I was obliged to return after drinking two glasses of water. About an hour after, being a little recovered, the knes pressed me to go and see the dances, with which, he said, I should be much gratified. When I arrived on the plain, the dancers suspended their amusement, in order to pay their respects to me. I made the best return I could, and requested them to resume their dance. The dresses of both men and women appeared to be much better than any I had hitherto seen, as they united neatness and splendour. I observed their mode of dancing very attentively; it was extremely singular. There is, it is true, a great sameness in the figures; but it is not so with the steps. They move their limbs in a thousand different ways. Frequently, in leaping from the ground, they strike the calf of one leg with the toe of the other foot, and the knee with the heel, whilst they are in the air. Then, again, with one leg held up, they dart over the field, frequently crossing their partners, who observe the same motion. Their leaps are so burlesque and difficult, and their gestures are so extraordinary and so animated, that the buffoons of Italy might derive an useful lesson from them. But the most whimsical part of the spectacle is, to see them in certain figures with one arm before, and the other behind, the fists closed, the head held down a little, and with a menacing air run towards each other, as if about to fight, and on arriving close to each other, they pass without even coming in contact.

  To my no small astonishment the daughter of the knes came to ask me to dance with her; amazed as I was at this mode of dancing, which I had never before seen, I remained for a moment uncertain how to act; to decline the invitation would have given offence, and to accede to it was merely exposing myself to ridicule; However, I boldly resolved to venture, and aquitted myself with much applause.

* See the marriage ceremonies of the Morlacchi, in Chapter VIII.

† The kollo, or circle, is the figure of all their dances, though the steps differ. This circle was open at one end.

* Bridegroom’s men.

As we neared the square sounds of singing and music assailed our ears, and in front of the women’s quarters a large ring was swaying to and fro in the national dance termed “kolo.” Men and women were performing together, otherwise the sexes are kept severely apart, while others sat around in groups partaking of wine and food which their friends or relations had brought them...

The national dance - in this case the “kolo” - is usually performed by men, though the women do sometimes join in, and it is a slow and stately measure. The men place their hands on each other’s shoulders and form a ring, which, however, is never completed. New men can join in, but a space is always left open. One step is taken sideways to the left, and then three to the right, and the movement is accompanied by singing. The singers are three or four men on the opposite horns of the circle, who alternately chant verses in honour of the Prince.

We noticed another national dance in Ostrog. A much more barbaric performance than the stately and solemn movement of the ring dance, or kolo. In this case two performers dance at a time, a man and a woman. A small ring is made by the spectators, who also supply the relay couples. The man endeavours to spring as high as possible into the air, emitting short, Red Indian yells, and firing his revolver. The woman gives more decorous jumps; and keeping opposite each other, they leap backwards and forwards across the small open space. After a few minutes they are unceremoniously pushed aside, after giving each other a hasty kiss, and another couple takes their place. This goes on ad lib., and we were soothed to sleep by those wild yells.

- Ibid, p. 254-255

Edith Durham (1863-1944) was an English artist who made her first trip to the Balkans in about 1900 and continued traveled throughout the area for the next twenty years. Her particular specialty was Albania where she was held in high regard.

Montenegrin Serbs from the nearby village of Vraka who are in Scutari (modern Shkodër in Albania) to celebrate the Constitution of 1908:

They were free to fire guns in Scutari, and they did so to their heart’s content, and wound up by building a human tower - six men standing on the shoulders of twelve - and perambulating the drill-ground; then they danced the Montenegrin kolo and retired happy, after again saluting Russia.

A race of warriors, the Montenegrins are brave, proud, chivalrous and patriotic; on the other hand, they are vain, lazy, cruel and revengeful. They possess the domestic virtues of sobriety, chastity and frugality, and are well-mannered, affable and hospitable, though somewhat contemptuous of strangers.They are endowed to no small degree with the high-flown poetic temperament of the Serb race, and delight in interminable recitations of their martial deeds, which are sung to the strains of the gûsla, a rudimentary one-stringed fiddle. Dancing is a favourite pastime. Two characteristic forms are the slow and stately ring-dance kolo(1), in which women sometimes participate, though it is usually performed by a circle of men; and the livelier measure for both sexes (oro), in which the couples face one another, leaping high into the air, while each man encourages his partner by rapid revolver-firing. The oro is the traditional dance in the Katunska district. [Katunska is a region north of Cetinje]

(1)The ring-dance, known as the kolo (literally "wheel") in all Serb countries, corresponds with the Bulgarian horo (to be distinguished from the Montenegrin oro), and is almost universal throughout the Balkan Peninsula; it is seldom, however, danced in the rocky Katunska district, where level spaces are rare.

[The article was written by James David Bourchier (1850-1920) who was a corrrespondent for The Times of London in the Balkans from 1888 to 1918 and who became a major figure in Balkan politics, especially in Bulgaria]

The first dance I saw was of a comic kind, performed by two men, and there were so many varying figures that one fancied they must improvise them as they went on. The accompaniment on a ghuzla, the one-stringed lute of the Serbs, was of the dolefullest, and the dance itself was anything but graceful. The chief object that they apparently had in view was to dislocate every limb in the most comfortable way possible. Now and then they stamped on the ground, and then walked after each other and round each other in a clown-like fashion; and now and then they would pause and tread gingerly with their feet, as if they were trying whether ice would bear, fumbling the while in a stupid way about their noses, as if to see that spectacles were safely fixed on them. The Kolo, however, or round dance of the Sclaves, was more elegant, and chiefly danced by the girls, who formed themselves in a ring and danced round and round, sometimes in a very spirited manner.

The most monotonous of all the dances was that with which some Turkish officials, who had fixed their quarters at the further end of the mountain neck, solaced themselves. Not that they danced themselves! they were far too lazy and phlegmatic to do that; but they impressed into their service a succession of rayah boys, who in turn danced long pas seuls before their lords and masters. Without leaving what we may call his pedestal, a boy kept treading the ground to the weary see-sawing music, and trying to make every muscle and limb quiver like a jelly. Then, after performing this operation for a good ten minutes, with his face towards his Turkish admirers, he slowly turned round on his pivot and danced—if such tremulous distortion could be called dancing!—for an equal space of time, with his back to the spectators, and then he gradually swerved round again as if he were roasting before a slow fire and was from time to time adjusted by a turnspit! But the Turks, comfortably squatted on carpets strewn over the turf, gazed gravely on by the hour together, and seemed to enjoy the spectacle.

Meantime, to the strains of a variety of musical instruments, the peasants, who had congregated in great numbers, dressed in their holiday costumes, entertained the company by dancing the Kolo and other national dances, the whole culminating in a scene of singular interest and novelty to the eyes of Western Europeans.

Le Canzoni tradizionali contribuiscono moltissimo a mantenere le usanze antiche; quindi come i loro riti, anche i loro giuochi, e le danze sono di rimotissimi tempi. I giuochi consistono quasi tutti in prove di forza, o di destrezza, com’è quello di fare a chi salta più alto, a chi corre più veloce, a chi scaglia più da lontano una grossa pietra, che può a gran fatica esser alzata di terra. Al canto delle Canzoni, e al suono dell’otre, che non mal rassomiglia a quelli, cui portano in giro i Maestri dell’Orso, fanno i Morlacchi la loro danza favorita, che chiamasi Kolo, o cerchio, la quale poi degenera in Skoqqi-gori, cioè salti alti. Tutti i danzanti, uomini, e donne, prendendosi per mano formano un circolo, e incominciano prima a girare lentamente ondeggiando, su le rozze, e monotone note dello stromento, che suonasi da un valente nel mestiere. Il circolo va cangiando forme, e diviene ora ellissi, or quadrato, a misura, che la danza si anima; e alfine trasformasi in salti sperticatissimi, a’ quali si prestano anche le femmine, con una rivoluzione totale della loro macchina, e delle vesti. Il trasporto, che ànno i Morlacchi per questa danza selvaggia, è incredibile. Eglino l’intraprendono sovente ad onta dell’essere stanchi pel lavoro, o per lungo cammino, e mal pasciuti; e sogliono impiegare con picciole interruzioni molte ore in così violento esercizio.

A great fair is held every year at Salona, on the 8th of September, to which all the people of the neighborhood look foward, with anticipations of feasting, business, and amusement. It is a curious sight, and the concourse of people is very great. The costumes are numerous and varied; among which the most remarkable are those of the pretty Castellane women, of the townspeople and peasantry of Sign and Sebenico, and of the peasantry, and the borghesi, of Spalato. Many come from the Turkish frontier; and sometimes a few Turks from Herzegovina, whose dress differs not very much from that of the Morlacchi who wear the turban. The costumes of the women are the most numerous and remarkable, those of the men varying much less, in the different districts of Dalmatia; but the colours in both are striking, and admirably suited for a picture. Blue and red are the most predominant.

...

  Some business is done, as well as pleasure; and a great number of cattle, sheep, and pigs are bought and sold, as well as various stuffs, trinkets, and the usual goods exhibited at fairs. Long before mid-day, the groups of peasants have thronged the road, not to say street, of Salona; some attend the small church, picturesquely placed upon a green surrounded by the small streams of the Giadro, and shaded with trees; while others rove about, seeking their friends, looking at, and looked at by, strangers as they pass; and all are intent on the amusements of the day, and he prospects of a feast.

  Eating and drinking soon begin. On all sides, sheep are seen roasting whole on wooden spits, in the open air; and an entire flock is speedily converted into mutton. Small knots of hungry friends are formed in every direction; some seated on a bank under the trees, others in as many houses as will hold them, some on the grass by the road-side regardless of sun and dust, and a few quiet families have boats prepared for their reception.

...

  The dance of the Morlacchi is the most interesting sight at the fair. It sometimes begins before dinner, but is kept up with greater spirit afterwards. They call it Collo*, from being, like most of their national dances, in a circle. A man generally has one partner, sometimes two, but always at his right side. In dancing, he takes her right hand with his, while she supports herself by holding his girdle with her left; and when he has two partners, the one nearest him holds in her right hand that of hr companion, who with her left takes the right hand of the man; and each set dances foward in a line, round the circle. The step is rude, as in most of the Slavonic dances, including the polka, and radovátschka; and the music, which is primitive, is cofined to a three-stringed violin.

* Collo, or Kollo, signifies “Circle.” There is another Collo, danced by women at marriage fêtes, which I shall mention afterwards.

In early times, they were also used for certain public fêtes, where the principal ladies, in national costume, opened the ball with the dance called Skóçi-gori* and tanczi; and some iron instruments of punishment are still shown there, presenting the curious anomaly of a place destined to pleasure and pain.”†

* Literally “jumping up,” which recalls the name of our Hop-scotch.

 † Catalinich, vol. iv. p. 209.

The Morlacchi have little knowledge of music, and the one-stringed gûsla gives no very favourable notion of their taste. They have a single, and a double, pipe; the latter made of two wooden tubes, joined together, with a common mouth-piece, and each with four holes. They also have bagpipes, very like those of Calabria. Their predilection for a shake, in playing the pipe, is consistent with the imperfection of their musical taste; the airs are simple; and, as in all original and primitive compositions, in a minor key.

  They are particularly fond of dancing; which is usually performed to the sound of a sort of three-stringed violin; and their favorite figure, as in other Slavonic countries, is the circle; each man having one or two partners, the step being a sort of hop, alternately from one, to the other, leg.

As we were exploring the former military quarter of Siszek ... our ears were saluted by sounds of unearthly revelry proceeding from a neighbouring wine-shop. Entering it, we found ourselves in the midst of a Croat merrymaking: an orchestra of four men strumming on tamburas and tamburitzas as for dear life, and accompanied by such a whisking, and whirling, and stamping, as never was! The dance they were engaged in when we went in was known to them as the Kardatz, to the Germans as “Kroatisch”— though the Croats say that it was taught them by the Magyars. Properly it was danced by the women alone, but there were often enough male interlopers. It is so pretty that it deserves to be known beyond the limits of Croatia; so I will give the general arrangement of the dance, as far as I could catch it.

  Six Croat maidens— any number divisible by six and two would do as well— sorted themselves into two groups of three, which for awhile seemed to ignore each other’s existence, the sisters of each triad alternately dancing to one another, and then joining hands, like three Graces as they were, and circling round; till of a sudden the rival orbits seemed to feel each other’s influence, a quick rapprochement took place, and all six, interlacing their arms, tripped around in a fairy ring, faces outwards, till a starry disruption once more surprised us, and in a twinkling the revolving orb was split up into a new triad of twin constellations spinning round on their separate axes, till it made one giddy to look at them—ribbons, kerchiefs, and cometic plaits—and, sooth to say, the nebulous envelopes of the statuesque!—flying off centrifugally.

  The dance was in parts surprisingly graceful; and the dancers, though mostly homely, were certainly prettier than the average North-German Bauerin. Their hair was inclined to light shades which one hardly expected to see in so southern a clime, and their eyes were generally blue. There was one maiden, however, more comely than the rest, with dark almond eyes and raven hair, of a strange type, that one meets with now and again i South-Sclavonic regions; a waif from the lands of the morning, an Oriental beauty shrouded in no winding sheet and entombed in no harem, but set off by the light white muslin of Croatia.

  Then there were other dances in which the men performed, which were distinguished by stamping, and every now and then interrupted by a comic “spoken.” We heard some songs, too; such as one would imagine might break from a flock of sheep if they were to break into spontaneous melody— a wearisome succession of baa-baas, varied at intervals by an attempt to see how long they could keep on at one note! The poverty of the instruments seemed to narrow the range of the human voice.