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ISSN 1037-2660
Issue No 59 - October 2000

Bi-monthly Magazine of Folk Dance Australia Inc ABN: 78 530 632 531
The President's Report World Dance Day Personal Injury Insurance
The Latest Word Latest Word #2 I was there! - Bulgaria
Folk on the Web Contra Lines Coming Events
International Events Croatia - diverse culture Diary Dates

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Folk Dance Australia


  • to promote an understanding and mutual respect for all ethnic groups living in Australia;
  • to help promote folk dance in Australia;
  • to encourage and develop the skills of folk dance teachers, by providing courses and workshops;
  • to serve as a folk dance information network.
Active Australia

Welcome to new member:
Margaret Flannagan, of Chapman, ACT


-PAGE 2-


Since my last report, I have been on holiday in Bulgaria where I participated in a 2-week dance workshop run by Belco Stanev.

We spent a week in Varna where Belco, his son Julian and daughter-in-law, Irena, gave classes. It is a real pleasure to learn dances from such beautiful and accomplished dancers, and great fun to dance with folk-dancers from other parts of the world. There were about 125 participants of various abilities including lots of excellent dancers. We enjoyed evening dances (live music) and singing concerts, as well as singing lessons. We went to the Varna Folk Festival and watched some fantastic performances.

In the second week we travelled by bus, with sight seeing on the way, to Koprivstica for the 5 yearly Bulgarian folk festival. This was such a wonderful experience I hardly know where to begin. Imagine - 40,000 people, 10,000 performers young and old, colourful costumes, old and new, everywhere you look - and so much music and singing you can almost, but not quite, reach saturation point. And all this is set in a beautiful, World Heritage mountain village. The festival is for village groups and fancy choreography is not allowed. This is an opportunity to see traditional Bulgarian culture and is absolutely wonderful.

After dinner we danced in the Village Square or a café to wonderful live music. To dance with Bulgarians in such a situation was great fun. The dances were usually very simple so everyone could join in, and usually the music went for a long time, the musicians playing several melodies without a break, so long as the rhythm was constant. As "International Folk Dancers" we often forget that the important thing is to recognize the rhythm of a piece of music and know the basic steps to that rhythm. Fancy steps and choreographies are added later to add interest.

Chris Wild, FDA President

a martenitsa Every year on the 1st of March, the Bulgarians give each other 'martenitsa's - small figures made of white and red threads, a symbol of the awakening, of spring, health and happiness.


Reprinted from Folk Dance New Zealand Newsletter, April 2000

In this last year of the 20th century, it is imperative to look back and attempt a bird's eye view of the course of events regarding dance in the last hundred years.

Two major events will distinguish this past century's state of the dance on a world-wide perspective. Two new dance genres emerged at its outset, grew consistently throughout its span, and had created a new space for their respective forms by the end of the twentieth century: folk and modern dance.

Folk dance appeared when amateur dancers in the cities discovered they could practice traditional, that is peasant, dances for recreation and for stage presentation.

Continued top of next column =>

These same dances were being abandoned steadily by their original practitioners, the rural populations in traditional cultures.

Modern dance was born when professional dancers rejected the constraints of classical ballet and presented performances based on individual expression and their concepts of what constituted free movement.

During this century, classical ballet gained in variety, depth and refinement, in perfecting its incomparable technique, and in spreading to many countries who had not known it before.

Ballroom dance acquired new friends and new methods, and expanded into the novel field of competition dance. Its "closed couple" dances found a counterpart in popular dance fashions that swept the youth of the world, like rock 'n' roll and discotheques.

It was a century of renaissance and "naissance" in dance.

Turning now to the next century, we would like to see:

  • More communication between families of dance, though not abolishing the borderlines between them.
  • Return to the ancestral global vision of dance, as part of an event incorporating music, movement, theatre, song. Arts have shown a marked tendency to isolate themselves; they lose their poetic content in the process.
  • More knowledge of the past, more consciousness of belonging to a line of evolution. There has been a rampant idolisation of innovation. Even the wildest revolutionaries should know well what they revolt against. Even the most inspired creators cannot do without the study of their predecessors.
  • More visibility for dance. In the past centuries dance used to be omnipresent in private and public life, while during this century its practice has retracted. Now sports have audiences ten times larger than dance.

The recent boom of the last two decades is evidence supporting an optimistic view of the future, for amateur as well as for professional dancers.

By Prof Alkis Raftis, President of the International Dance Council (CID)

The World Dance Day was established in 1982 with the view of attracting attention to the art of dance, every year on the 29th of April. On that day, dance companies, dance schools, organisations and individuals are asked to organise an activity addressing an audience larger than their usual one.

The International Dance Council (Conseil International de la Danse - CID) is the official umbrella organisation for all forms of dance in all countries of the world. It is a NGO within the UNESCO headquarters in Paris, with a purpose to act as a world-wide forum bringing together international national and local organisations and individuals active in dance. It represents the interests of the dance world at large and consults accordingly governments and international agencies. All dance organisations and groups around the world are invited to list with the CID:

International Dance Council - CID, UNESCO, 1 rue Miollis, FR-75732 Paris 15, France. or

-PAGE 3-

Are You Covered?

Reprinted from Folk Dance Canberra Newsletter, June 2000.
Every participant in any form of dance must be aware of the risks of personal injury, in proportion to the vigorousness of the activity. To reduce this risk, warm-up exercises are conducted at the start of each class. Our teachers select exercises specifically designed to lessen the risk of muscle and tendon strains, as these are among the most common forms of injury.

These risks need to be considered in relation to commercially available insurance which includes personal accident insurance, illness insurance, travel insurance, and disablement or income replacement insurance. These are all similar policies, on the same theme, i.e. intended to secure to the insured, or to his or her representatives, the payment of a sum of money in the event of incapacity through illness, or disablement or death by accident.

Range of cover can be exceedingly complex. Policies can cover loss of sight, loss of limb, sickness or illness. Some policies include an excess or deferred period as a means of reducing the annual premium, for example, when an insured person has an accumulation of employee sick leave, and can afford some risk, or a self-employed person might have some income that continues for a week or so.

Premiums can range from anything such as $1,000 a year for a replacement income of $500 per week, adjusted for age, occupation, habits and pursuits, to the free cover offered to the members of some organisations.

As folk dancers, it is up to each individual to consider protection for his or her own personal situation. Can you afford to take your own risk of personal injury, loss of income and attendant medical expenses, or would it be prudent to protect that risk so that the bills and the mortgage are protected?

In contrast, remember that the healthy exercise of dancing can have the most advantageous therapeutic effects--besides it's culturally invigorating. Exercise will add years to your life expectancy and continued good health.

Clarrie Burgemeister (One-time insurance agent)
(This article is timely, as a folk dance group in Australia is currently being sued for $50,000 by one of its members. Ed)

$$$$$$$$$$ Monetary Musings $$$$$$$$$$$

Income is a fixed sum of money that is hard to live within, but harder to live with out (WPG)
One man's wage rise is another man's price increase (Harold Wilson)
Money talks; the secret is to hold it long enough to hear what it says (WPG)
Lack of money is the root of all evil (George Bernard Shaw)
It was no accident that he had the best vehicle insurance rating (JD Boatwood)
Budget: a mathematical confirmation of your suspicions (AA Latimer)
If you aren't rich, you should always look useful (Louis Ferdinand Celine).

FDA, Group Insurance and You

FDA is currently looking into discounted insurance for folk dance groups within all states (and territories!) of Australia.

If your group is interested in being part of a joint insurance policy in the future (covering Public and Product Liability and Professional Indemnity), then we require some details about your group.

Details that are needed include:

  • the number of teachers you have;
  • the number of permanent locations you dance at
  • the details of current insurance (if any) (eg, insurance company, type of policy
  • your insurance history (eg, claims made, years of insurance.
Please contact FDA Resource Manager: Kaye Laurendet by phone 02 9528 4813, or mail details to 127 Woronora Cres, COMO WEST 2226, or email FDA at :


President: Chris Wild, (02) 9560 2910,
12 Burfitt St, LEICHHARDT 2040
Vice-President: Chris Green, (02) 9749 1968, 35 Maranoa St, AUBURN NSW 2144
Secretary: Jo Wall, (02) 9857 1382, 39 Searl St, PETERSHAM 2049
Treasurer: Deborah Hotchkis, (02) 4294 1363
4 Old Station Rd, HELENSBURGH 2508
Workshop Co-ordinator: Sandra Bassetti, (02) 6552 5142, 23 Fotheringham St, TAREE NSW 2430.
Publicity Officer: Gerda van de Kamp, 24 Bentham St, YARRALUMLA ACT 2600
Website Administrator: Ashley
Resource Manager Kaye Laurendet, (02) 9528 4813, 127 Woronora Cres, COMO WEST 2226
Footnotes Editor: Maureen Petherick, (02) 4736 3529, 18 Bayley Rd, PENRITH 2750


The instructions for "Picnic Polka" were inadvertently omitted from some of André van de Plas' "International Dances 2000" booklets. Copies can be obtained from Kaye Laurendet, 127 Woronora Cres, COMO WEST 2226 or phone 02 9528 4813.

On Friends and Acquaintances

A simple friend, when visiting, acts like a guest. A real friend opens your refrigerator and helps himself.

A simple friend wonders about your romantic history. A real friend could blackmail you with it. (Anon)

If shared problems lessen the burden, how come we get so upset in a traffic jam? (PK Shaw)

-PAGE 4-


The English language has, hitherto, suffered from a gaping omission. The dramatic fraternity have "Thespian"; the ballet community have at least "balletic"; "artistic" describes a member of the art group (as in "Artistic Director"), but there has not been an adjective that applies to a person who does folk dancing or belongs to a folk dance group - until now.

FDA is proud to introduce that adjectival word. The word has its roots in the mists of time - the time when folk dancing was arising in human activity. It brings together not only eastern and western European cultures, from where most of our folk dance repertoire harks, but also links to more Eastern beginnings.

What is the word's heritage? It is derived from the Greek "Choros" (to dance in a ring), which itself stems from an older tradition, surrounding the Festal Dance of Kore. The ancient Greek Choros originated with the Dorian people, mainly with their Xoros Kukikos, performed during the Athenian Dionysia. The 52 people who moved in this ring dance were inspired by an even older Eastern tradition.

The root word has radiated into numerous Greek terms associated with this Festive or Choral Dance, and has also spread widely through Europe, from Russia to Ireland. The Italian version of Choros, quot;Carolare" (to dance), appears is all the Romance languages in variant form; for example, Carolle (Old French), which moves with Caral (Old English); Corral (Spanish) meaning a closed ring and originally applied to a theatre, and Choraules (Latin), a flute player for a choral dance. The Saxon ceorl (the yokel, villager, rustic, or churl) was a country dancer who also sang his carols. Chaucer writes of Karolling. The Slavic variants include "Khoro-vod" (Russian), "Oro" (Macedonian), quot;Horo" (Bulgarian), and Kolo (Serbian). A popular dance, Hora, is known all over Romania (and Israel); it is a linked circle dance similar to the Slavic Kolo and the Horo.

What is that word? It is "chorolarian", with a choice of pronunciation. You can start it with the sound "h", making the "c" silent, you can gargle the "ch" as you might in Hebrew, German, Greek or Scottish, or you can substitute the "ch" with the "k" sound, as in the English "choral".

Take this word and use it with pride!

Your chorolarian friend,

? Maureen Petherick (NSW)
Reference, ‘Dictionary of the Dance', WG Raffe, AS Barnes & Co Inc, USA,, 1964.

Footnote to André's Olympic Story

Since the last issue of Footnotes and contrary to expectation, the Dutch Volley Ball team managed to qualify (just, we believe) for the Olympic competition. As this goes to press, the final fate of that team is unknown, but they did win (not easily) against Cuba and we feel sure that when (or if) the "orange" meets with the "green and gold" the result will surely be colourful - and they will know they have at least one ardent supporter - André.


As a lexiphil who keeps the 2 volume Oxford Dictionary by her bed, I loved all the dancing stuff on the back of the Bowral Saturday night dance programme (similar to the article above). I was reminded of that Russian dance we were taught years and years ago which I used to call Xopobog, as that was what was on the record sleeve (remember them?) until I realised one day it was actually horovod = leader of the dance.

However I query the connection you've made with ceorl. This seems to come from Old Norse carl = man or male. The feminine is the Scottish carline, now only applied to an old woman. My Anglo-Saxon dictionary has ceorlas of an unmarried woman, ceorlian - to marry (of a woman) and various other ceorl words including ceorlstrang = strong as a man and carlfugol = a cock (bird). I'm not sure a peasanty sort of ceod would have had much cause for singing and dancing -maybe in the winter? Besides, people who dance and sing could never possibly become churlish - they'd be enjoying themselves too much!

What do you reckon?

From the House of Happy Horos.

? Ellaine Mabbutt (NSW)
?** The views expressed in this magazine are those of the authors and do not necessarily reflect the views of FDA. Events publicised in this magazine are not necessarily sponsored by FDA**


For non-members: Full page $40; cost for other sizes are available on a pro-rata basis.
This service is available free for members in the interest of promoting folk dancing.
Anyone wishing to advertise in Footnotes please contact the Editor on 02 4724 0837 or e-mail:

Bride cartoon

-PAGE 5-

I WAS THERE! - Bulgaria

Belco Stanev's Dance Seminar

Arriving back in Australia, after visiting Bulgaria, it was wonderful to be home and great to see family and friends, but I was also struck by the great pull of the non-technological culture I had left. The dance Seminar from 31st July - 14th August, was held by Belco Stanev in Varna on the Black Sea and in Koprivstica for the famous 'Sabor', a folk festival held only once every five years and bringing together musicians, singers, dancers and crafts-people from all parts of Bulgaria.

Koprivstica house It is said that every house in the museum town of Koprivstica is a work of art.

Arriving in Varna with a day or two to spare I found that Dance sessions were to be held in the morning 9.30-11am and late afternoon 5.30-7pm, with Belco assisted in teaching the large number of dancers by his son Julian and daughter-in-law, Elena, all great teachers. The long lunch break allowed us to fit swimming, instrumental classes in tapan, accordion, gaida and kaval or just snoozing. Thus, the energetic 90 minute dance segments were thankfully held at the coolest times in the day.

Bulgaria has been, in recent summers, unbearably hot but luckily for us 120 participants, this summer of 2000, the temperatures were very comfortable. While a dip in the Black Sea during the long lunch was refreshing, it wasn't tempting enough to keep us from the afternoon dance session!! To make sure no moment was left to chance we were also entertained in the evening with all kinds of folkloric delights:

  • Group singing sessions with a teacher from the Varna Free University, and on the last night a concert from her brilliant acapella ensemble of 5 (dressed in authentic and colourful Varna costumes)
  • International Dance parties and displays from the very active German group from Karlsruhe under the leadership of Michel Hepp
  • an evening of listening and dancing; music supplied by a polished Gypsy quartet
  • 2 evening visits to the Varna International Folk Festival concerts, to see an all Bulgarian program on the opening night, and an interesting International program on the second night including--- Slovenian axe jumpers and French stilt walkers from the Camargue!!
  • an outdoor entertainment with traditional roast lamb and after dinner dancing and music supplied by a Varna folk ensemble comprising gaida, accordion, tapan and kaval.

Continued top of next column =>

After this exciting week it was hardly possible to imagine anything could be more fun - but the Sabor (folk festival) at Koprivstica in the mountains, near Sofia, turned out to be utterly amazing for its diversity of musical styles, costumes, and the sheer enjoyment of all those present.

There were seven stages built to accommodate the performers - six on the pine-clad hills behind the village of Koprivstica and one in the village square. We took a packed lunch for 2 of the 3 days of the folk festival and were also supplied with dinner at night, by the local hotel doing our catering. We spent the evenings in the town square watching dance and instrumental performances from the six different regions of Bulgaria, or dancing horos together with hundreds of locals and visitors to amazing music by full moon. Some of us even had enough energy to party on into the wee hours.

The richness of this experience is difficult to express - I experienced amazing variety in music styles. The costumes, while similar in style, were infinite in their variety of detail. (many of these must have been heirlooms past or future, such was the richness of design and their ornate quality).

Now that I'm home the strong fascination of this unique event stays with me in the imagination: the pagan intensity of some of the music and dancing seems like an unearthly surreal fantasy. To take an example, imagine the effect of 40 men and boys, each with about 8 to 15 cow bells large or small slung around their waists on a belt, jogging in unison down a mountain track, giving in unison the eerie sound of their harmonizing bells.

Hearing these 'kukeri' or Medieval style mummers is strange enough, but to witness their costumes: as Pagan as the colourful New Guinean highland masked dancers or African Congo shamans; facemasks bizarrely decorated in patterns dating from pre-Christianity, animal skins from sheep or goats decorating their shoulders, embroidered skirts adding an unusual richness of colour.

Unfortunately the Corporate Games in Sydney, polyester tracksuits, national hysteria, all this hype, pales into insignificance by comparison and leaves me quite unmoved, transfixed as I am by a spell from another era and the shift in time one still experiences at this unique, fragile festival in Bulgaria.

Kukeri Photo: Kukeri from the Karlovo district.

From "Bulgarian Folk Dances", Katzarova- Kukudova & Djenev, Slavica Publishers Inc, 1976.

-PAGE 6-

Kitka Design

Affordable Internet Web Site design and creation

Free site hosting arranged if necessary.

phone: 0414 874 649 or

See the FDA site at

created by Kitka Design!
(Other URLs available on request)


FDA mail received:

Name: Radboud Koop
Subject: Resources
Date: Fri, 28 Jul 2000
Comments: I just ran into your Footnotes magazine on the internet. It looks to me very nice and it gives lots of information. I just want to draw your attention to a folk dance music CD manufacturer who might have interesting material for your "Resources for Sale" column. They have over 150 titles issued with international folk dance music including instruction programs. The name is Syncoop Produkties, and you may visit the home page at: or e-mail: Good luck with your magazine.
Best regards, Radboud Koop

Name: Luciano Macagno
Subject: From Argentina
Date: Wed, 2 Aug 2000
Comments: I am emailing you from Argentina. The reason I am writing is that I work at a School, here in Argentina, and I am putting together an 'Australian Day'. Gathering information thru the Internet, and other resources, I've put together a lot of info, but I still l lack info on Australian folklore music. Could you help me with this? Where can I get this music, or if you could give me a few titles, names, or whatever could be helpful for me get Australian folklore music. Thank you very much, Luciano Macagno,

Name: Nrityanjali
Subject: Nrityanjali Academy
Date: Sat, 26 Aug 2000
Comments: We have recently developed an website of our organisation and our activities. Please go through it and given your suggestions and encouragement.
P.Narsing rao, Nrtyanjali Academy

Continued top of next column =>

Name: John Hand
Subject: Students from Colorado
Date: Mon, 14 Aug 2000
Comments: Colorado Free University has a membership base of 18,000 adults. We are in the process of contacting organisations such as yours to identify programs that might both interest and be appropriate for our members to attend. Increasingly, our students show a willingness to travel out-of-state for high-quality experiences, especially those lasting several days or longer.
What we now seek are partnerships with organisations such as yours which can provide quality educational programs. Are you interested in having us acquaint our members with your offerings? If so, please contact us at 303-399-5391. We can be reached via e-mail at or for more, view our webpage at

Name: Rishi Ramessur
Subject: Love dance
Date: Wed, 13 Sep 2000
Comments: I am from Mauritius and love dance, though I never use to dance. I want to learn dancing in Australia, because I am coming there in December 2000 for studying and want to learn dancing, too. I want to know about the costs and if ever you have courses in Melbourne. Please do send me the information.
Sincerely, Rishi Ramessur

From: Glenbrook International Folk Dance
Time: 2000-08-28
Comments: Kaye, congratulations on a well organised International Dance weekend in Bowral, NSW. The dances André taught were great.

Name: Bonnie Gagnon
From: Chico, California
Time: 2000-08-10
Comments: This is great. I would like to be on your e-mailing list. What do I have to do? Bonnie Gagnon

Name: Aylwen Garden
From: Canberra
Time: 2000-08-09 22:58:25
Comments: John and Aylwen Garden have gained Healthpact (A.C.T. Government) funding to run free monthly dance workshops and monthly social dances in Canberra. Visit our page: for more details. If you would like us to run workshops in your town, please contact us!

Continued next page...

Andy cartoon

-PAGE 7-

...Continued from previous page

Name: Sherry Cochran
From: Los Angeles, CA, USA
Time: 2000-08-06 16:54:12
Comments: Your page is fabulous!!!

Name: Vicki Maheu
From: San Diego, CA, US
Time: 2000-08-06
Comments: Wow! What nice site you have! Very interesting articles and a calendar to boot! Lots of work, I know. Sure glad that someone posted it to the EEFC listserve. Keep up the good work. Vicki

Name: elliott
From: New Orleans, US
Time: 2000-08-05
Comments: Very nice site. Lot's of info. Elliott elllllllll

Name: Tina
From: Australia
Time: 2000-08-04
Comments: I'd like to know if there are any Greek dancing classes in Sydney?


By Jim Battisson:
Book "Glossary of Dance Terms" $15 (with P & P) or $12 at workshops, etc.

By André van de Plas:
International Folk Dances for Adults.
Book & cassette
1989 - 1998 tours $12 set.
1998 - 2000 tours $25 set.
Book & CD
2000 tour $30 set
1989 - 2000 tours. $35 each.

International Folk Dances for Children.
Book & cassette.
1986, 89, 91, 94, 97, 99 & 2000 tours. $30 set
Book & CD
2000 tour $35 set

Videos of Children's Dances:
2000 tour $35 each
Easy Dances
Cassette and booklet $12 set

By Yves Moreau:
Balkan & International Folk Dances.
Book & cassette 1993 tour. $25 set.

'Ajde Na Horo' 20 Bulgarian Folk Dance Favourites. Recorded in Bulgaria under the supervision of Jaap Leegwater and Yves.
Book & cassette
$25 set.
Add $5 to above prices for postage.

Nevofoon Resources - Nevofoon Folk Dance resources (CDs, tapes and books) available through FDA's discount service. Contact your Folk Dance group or Kaye for the Nevofoon catalogue .

Please Note: Prices quoted above are for FDA members. Non-members please add $5 to cost of each item.
All resources available through Kaye Laurendet, 127 Woronora Cres, COMO WEST 2226


by Gary King

Dear Readers,

Some news of contradancing:
October Contra Dance (Sydney), with Julie Bishop. In aid of Royal Flying Doctor Service. Enq John (02) 9623 7551.

See also Jared's website at and of course FDA's website.
Jared informs me the folkdance newsgroup rec.folk-dancing is about 90% contra.

Also contact Aylwen (02) 62811098 regarding occasional contras at the Earthly Delights monthly dance - the next date I have is 11 Nov at St John's Church Hall, Constitution Ave, Reid, 8pm.

The rest of this month's lines are courtesy of David Millstone of New Hampshire, USA.

I'm a contra caller and dancer who's been involved in this kind of dance since the early 1970s.

There have been several contra dance revivals in the last fifty years. By the late 1930s and 40s, contra dance had died out of most locations but was still a living tradition in the south-western part of New Hampshire, the so-called Monadnock region. Small towns like Francestown and Nelson, NH, have dances that have continued in a more-or-less unbroken line for 150 or 200 years!

Ralph Page is the caller most often associated with one such revival. Ralph started calling in the late 1930s, and by the end of WWII he was making weekly trips to the Boston area from his home in Keene, NH, spreading the delights of contra dancing (and his form of traditional squares) to a more urban audience.

Duke Miller was another caller who kept the tradition going strong in the Monadnock region through a series of summer dances that lasted from the early 1950s for more than 25 years. Many of the folks who later went on to become callers or musicians in their own right got their start at dances run by these two men.

In the Boston area, such callers as Ted Sannella carried on the Ralph Page tradition while Rod Linnell was one of the key callers in Maine from the 50s and 60s.

The next big revival wave came in the late 1960s and early 70s. Here, Dudley Laufman and the Canterbury Country Dance Orchestra were the key figures. As you write, this coincided with an interest in folk music in general and a back-to-the-land movement. It's during this time that the music opened up, the squares became less common, and the energetic style of contemporary contra dancing developed. David Millstone

Gary: (03) 9481 3386

The NEW Shenanigans CD, "Phoenix Special" was launched at the State Orff Conference on 28 September, 2000. Contact Gary King: or on 03 9406 7980 if you wish to procure a copy.

-PAGE 8-


FDA Committee Meeting, October 21

The next meeting of the FDA Committee will be on Saturday, October 21, from 1.30pm - 4pm (please bring something to share for afternoon tea).

The meeting will be held at 12 Burfitt St, Leichhardt in Sydney.

FDA Macedonian Workshop, October 22:

From 1978 to 1997, Koce Stojcevski was a folk dancer, professional choreographer and dance teacher in Macedonia and toured extensively throughout Europe. Since his arrival in Australia, Koce has presented workshops in Victoria, NSW and at the National Folk Festival in Canberra. On Sunday, 22nd October, he will again share more traditional Macedonian dances in the authentic style for FDA. His love of dance will inspire beginners and advanced dancers alike.

The venue for this workshop is used only for dance, and has a beautiful sprung wooden floor (easy on the feet and leg muscles). To protect the surface of the floor, you are asked to wear shoes with soft or leather soles that will not mark the floor.

When: 10am - 4pm, October 22nd, 2000
Where: UWS Nepean

The BD Building
Centre for Contemporary Performance
Werrington South Campus
O'Connell St
Kingswood / Werrington
Western Sydney
Cost: $20 full day, $12 half day,
$18, & $10 conc FDA members
$10 & $6 conc students

BYO lunch; morning & afternoon teas provided.
Video and Cassette of Workshop Dances will be for sale or can be ordered on the day.

To get to Building BD, Werrington South Campus:

By Public Transport:

Catch No. 790 bus from either St Marys or Penrith railway stations. Either way, get off the bus in O'Connell St (near the State Archives), walk up O'Connell St, past the TAFE, until you come to a big, blue sign "Centre for Contemporary Performance", turn left, and the first building on the right is Building BD or

Get off the train at Werrington railway station and walk up the hill and across the overhead bridge (over the Great Western Highway) to Building BD or

Get off the train at Kingswood station and walk across the park to the UWS Kingswood Campus and catch the University shuttle bus (or walk) across to Werrington South Campus.

By Car (from Sydney):

Exit the M4 at Mamre Rd exit, turn right into Mamre Rd;
Continue along Mamre Rd until you come to the Great Western Highway (GWH), then turn left;
Continue along GWH until you come to O'Connell Street, then turn left;
Go past the TAFE until you come to gates with a big blue sign, "Centre for Contemporary Performance", turn left;
The first building on the right is the Centre for Contemporary Performance and Building BD.

FDA Croatian Workshop, November 26:

Natalie Zabek, who will present this workshop, gained her Teachers' Diploma in Dance in 1996 and has been teaching Croatian dancing for the last 5 years. She has also attended seminars in Croatia on the teaching of Croatian dance. The workshop will also include a performance by members of her group, "Braca Radic", and comments on the history and culture of Croatia, plus a short segment on choreography. Tapes and instruction booklets will be available on the day.

When: 10am - 4pm, 26th November, 2000
Where: UWS Nepean, The BD Building

Centre for Contemporary Performance
Werrington South Campus
O'Connell St
Kingswood / Werrington
Western Sydney
Cost: $20 full day, $12 half day,
$18, & $10 conc FDA members
$10 & $6 conc students

Prague Festival Premie Tanec - April 2000

Your group is invited to participate in the "Prague Festival PREMIE TANEC - Dance & Theatre Prize 2001". This festival will be held from 25th April to 1st May 2001. Although is it a dance competition, the main focus will be the DANCE - Classical, Modern, Contemporary, Jazz, Hip Hop, Funky, Folk, etc.

If you require any kind of information about our organisation or the festival, please contact us at Headquarters Address. via Ugo La Malfa n.2 / 47020 Montiano (FO) Italy, phone 00390547 51299, Mobile. 0039335 6141846. The Prague Office contact is: Za Hanspaulkou 856/5 16000 Prague 6. Czech Republic, Czech phone and fax : 0042 02 3113331 or check our website, e-mail:,

Awards cover many areas of dance, including Awards for the best "Folk, Historic and Dance/Theatrical Performance"

Dance Grand Prix "Italia 2001" June,2001

Tersicore are pleased to invite your dance group to participate at the "Dance Grand Prix Italia 2001" which will be held from June 20th through to June 25th 2001 in Italy.

Theatre space will be given to participants to perform as they compete for prizes in the various categories of the "Dance Grand Prix Italia 2001".

Cost includes breakfast and dinner, all transportation (bus, Italian driver and speaking guide), total insurance cover, a day in Venice and Florence and a day in a private beach with all comforts!

The festival participants and international guests will perform for notable experts from the world of culture and media representatives.

The closing ceremony and awarding of the "Dance Grand Prix Italia 2001" will be held on June 25th at the Theatre of Cesena.

For more details, contact Giorgio Mordenti, Director Associazione "Tersicore", via Ugo La Malfa 2 Montiano 47020 Italy. TEL./FAX 0547 51299 e-mail

-Page 9-

Koce Stojcevski
presents the

FDA Macedonian
Folk Dance


Sunday, 22/10/2000
Morning session:10am - 12.30pm
(easy - medium dances)
Afternoon session 1.30 pm - 4 pm
(medium - advanced dances)

The BD Building
UWS Nepean
Werrington South Campus

(adjacent to the Penrith Campus and next to an old drive-in theatre)
O'Connell St, Kingswood
$12, Half Day; $20 Full day
(concession for FDA members and students).

BYO lunch! Wear soft-soled shoes!

UWS Nepean Map

-PAGE 10-

CROATIA - a diverse culture

croatia map

Croatia (Hrvatska), a republic of former Yugoslavia, had its sovereignty recognized by the international community early in 1992. Located in south-east Europe, it is bounded to the north by Slovenia and Hungary , to the west by the Adriatic Sea, to the east and south by Serbia, Bosnia, Montenegro (Crna Gora) and Herzegovina. Western Croatia lies in the Dinaric Alps; Dalmatia stretches along the coast between these Alps and the Adriatic Sea. The eastern region, drained by the rivers Sava and Drava which both flow into the Danube, is low-lying and agricultural. The chief farming area is the Pannonian Plain.


In most regions of Croatia, the dance does not involve strenuous competition, unlike other Balkan regions, and there are usually no spectacular leaps or squats from leaders vying for attention and applause. Instead, the dance develops its excitement from the energy and emotion generated by large numbers of people moving in rhythmic unison. The word kolo means "wheel" in Croatian, and in this manner the dance progresses, in perfect formation and control, but with spins and whirls in one large circle.

Unlike the rest of the Balkans, Croatian dances usually move to the left, and are often in closed circles. The popular drmeš dances have small, bouncy steps and their characteristic "shivering" effect adds to the beauty of the dance. This effect is achieved by the abrupt bending and straightening of the knees and heavy steps on the whole flat foot. Basket hold is common, dancers holding the hands of the person next-but-one to them (in front or back basket-hold) keeping the circle tight and close, to move as a single unit.

Most kolo and drmeš patterns are rather simple, consisting of only two or three parts with few variations on the basic steps. This trait makes Croatian dances easy to learn and enjoyable to perform.

Musical Instruments

Dances can be accompanied by singing or with the lirica or lirijica - a pear-shaped type of fiddle with three strings, the middle string giving the lowest tone. Often there is a tamburitza band in a village which consists of plucked instruments, and may include bisernice, brac (a lower octave), a bugarija and a berda (a type of double bass).


Croatia has a great diversity of costumes. In Krk, an island off the coast near the town of Rijeka, short black skirts with red, yellow and blue coloured borders are worn with low-cut sleeveless bodices in red or black, coloured aprons and white, lull-sleeved blouses. Red or white stockings are worn with coloured shoes. A white, folded tovaglia (a type of scarf with Italian influence) is worn with two ends falling down the back or golden ribbons are draped on the head. Men wear long, black, baggy trousers reaching to the ankles, black sleeveless waistcoats or black jackets. Shirts are white with full sleeves, socks are white and black, and silver-buckled shoes are worn. On the head is a fisherman's black woollen type hat.

Dancers from the island of Krk

-PAGE 11-

Konavlji Women

On the Dalmatian coast the Italian influence is seen in the long pleated skirts, either in white or dark colours, which are worn with black or coloured aprons. Jackets have long sleeves and the white folded head-dresses are based on the tovaglia.

In the Konavlji valley, near Dubrovnik, both men and women wear pill box caps of red and black. Colours used nowadays are generally black, white and red. Women wear large yellow tassels on the breast and either plain coloured aprons or, for formal wear, white or cream ones with a broad border at the bottom. While men and girls wear pillbox caps, the formal wear for older women is a winged starched cap.

Women from the Konavlji Valley.

Group from Vrlika One of the most interesting costumes found in Croatia has an apron with an extended bib with both sections covered with coins. This is worn over a long-sleeved smock and a red, sleeveless coat. Decorated white stockings are worn with leather sandals, and red pill box hats, plain or covered with coins, have white veils. The man's costume which accompanies this style has wide, dark blue, baggy trousers fastened into red decorated gaiters. A broad sash is sometimes worn with a studded leather belt and pistol. Plain, striped or patterned waistcoats, with or without sleeves and fastening on the side, are worn over white, long-sleeved shirts. A short bolero type of jacket, decorated with gold or coloured braid, is worn over the waistcoat. A round hat, adapted from the Turkish fez and which sometimes has a black fringed tassel, is worn. Soft leather slippers are usual.

Photo above - Group from Vrlika

Those costumes on the Hungarian borders have full, white, short skirts decorated with open-work embroidery, colourful blouses with white frilled necks, floral patterned shawls and aprons, striped stockings and decorated shoes. The men wear the Hungarian style, white linen, full trousers, with a white shirt worn outside under a decorated sleeveless waistcoat. Black boots are worn.

In Lomnica to the south of Zagreb and typical of the Zagreb area, the costume is light in texture and unified in its colour scheme and decoration. The blouse, skirt and apron are all finely pleated and lace edged. The extensive embroidery, mainly red and arranged in bands, does not stifle the background. The men's attire is also homespun, except for the bought cloth for the professionally tailored red waistcoat. The long trousers of modern shape are embroidered in a broad band down the outer sides. A special accessory is the tie, apparently the original cravat (Croat: hrvat).

Couple from Lomnica, south of Zagreb, mid 20th century.

Old customs

Folklore in Croatia is well preserved and many ancient rituals are practised today. St. John's Day, on June 24th, is celebrated with the lighting of bonfires, and young people compete by jumping over the fires while their friends sing and dance. In earlier times, in a market town called Urlika, the girls of marriageable age would come down from the mountain villages on Sundays, their headdresses and foreheads decorated with coins and with banknotes attached to their aprons, thereby displaying their dowries. Outside the church after Mass, the villagers would join in dancing the kolo, as a spontaneous activity, not programmed entertainment.


James Roncevic, Croatians: Dances They Dance, Duquesne University, Tamburitzans Institute of Folk Art, USA, 1975.
Wingrave & Harrold, Aspects of Folk Dance in Europe, Dance Books Ltd, London, 1984.
James Snowden, The Folk Dress of Europe, Mayflower Books, Inc, USA, 1979.
World Facts, Geddes & Grosset Ltd, , published in Australia by Redwood Editions, VIC, 1998.
Beverley Barnes, Folk Dances of Europe, published by Beverley Barnes, SA, 1983.

-PAGE 12-


6 Oct

3 1/2 weeks, Multicultural Arts festival, Sydney. For full Carnivale program, Contact 1800 064 534, website:

7 Oct

"Come and Try" Dance, 2 - 4 pm, Folk Dance Canberra Hall, 114 Maitland St, Hackett, ACT. Free. Contact Christine or Jim 02 6241 3563

8 Oct

One day, Ashfield Carnival, Ashfield Park, NSW. Biggest multicultural event in Sydney's inner west. Contact 02 9716 1945.

8 Oct

FREE Waltz Workshop with John Garden - sponsored by Healthpact. Uniting Church Hall, Denman Street, Yarralumla, ACT, 2pm-4.30pm.

9 Oct

2 days, Toodyay Celtic Festival, Toodyay Sportsground, WA, with highland games on the Sunday. Contact 08 9574 4200

9 Oct

Social Dance, St Johns Church Hall, Reid, ACT, 8pm Earthly Delights 02 6281 1098. Sponsored by Healthpact. Everyone welcome, no partner or experience necessary.

14 Oct

One week, Gold Rush Festival, Gympie, QLD. Includes a week of workshops in multicultural music, dance, culture; co-ordinated by Linsey Pollak. Contact Kay, 07 5482 5444 or visit website

21 Oct

2 day, Lygon St Festa, Carlton, Italian flavoured, concerts, dancing, cultural exhibits, contact: 03 9348 1299.

22 Oct

FDA Macedonian Dance Workshop, with Koce Stojcevski, UWS Nepean, Kingswood, Sydney.

28 Oct

MFMS Kids Dance - FREE at 2.30pm and at 8pm MFMS Bush Dance, Yarralumla Woolshed ACT. Music by Mulligans Flat band, contact 02 6242 0264 or 6282 2973

3 Nov

3 days, Evolution Festival, Tamborine Mountain, from biotechnology to comedians, contact The site is on an 80 acre clearing in the rainforest behind the Gold Coast.

11 Nov

"Come and Try" Dance, 2 - 4 pm, Folk Dance Canberra Hall, 114 Maitland St, Hackett, ACT. Free. Contact Christine or Jim 02 6241 3563

11 Nov

Earthly Delights Monthly Dance, at St John's Church Hall, Constitution Ave, Reid, 8pm, $12, $10 conc, free for children < 12, contact (02) 62811098 or

26 Nov

FDA Croatian Dance Workshop, with Natalie Zabek, UWS Nepean, Kingswood, Sydney.

Gulgong Folk Festival

Friday 29 Dec 2000 - Mon 1 Jan 2001

* Blues Sessions * Family Bush Dance * Irish sessions
* Black board concerts * New Years Street Dance
* Concerts * Dances * Yarnspinning * Poetry telling
* Kids Festival Venue * 3 Days of dance workshops

Camping and bunkhouse accommodation available
For further information contact:
Noel & Virginia (02) 6374 1734 (ah) Di O'Mara 6374 1350 (ah)


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