Similarly to other Polonian radio stations, Polish Radio Ela intersperses its programming with an array of polkas. The difference stems from a different type of the step used: the very small steps of the dance consist of lifting the feet and placing it down vertically, very fast in a regular polka the feet perform a sliding, or shuffling motion.
As a result, the dancers shake throughout the dance, this shaking does not result from high jumps, but from the feet motion and is increased in accelerated tempi. Polka tramblanka or trampolka is also danced by couples rotating around the circle; the basic step of the polka in measures is followed by small jumps on one leg in mm.
The dance has an alternating format of two measures of polka and two measures of jumps. At times, the schema includes one measure each of the basic polka step and the jump step. As an exhibition dance, the polka includes a variety of gestures, with special steps, jumps, and kicks, lifting the women, dancing in circle, etc. The current repertoire of Podhale music consists almost entirely of melodies in duple meter; perhaps the meter of the polka allowed for its preservation in this repertoire.
In any case, it would be very hard to find a polka performed in the gorale costume from the Tatra mountains by any of the Polish folk dance groups in the U. Regional costumes from this area would be appropriate for the performance of these polkas often included in dance suites from the area.
Polkas are also performed in costumes from the various areas in the Mazowsze region. This aspect of the polka connects it with the lower class, urban folklore of big cities, particularly of Warsaw. The connection of the polka to the early 20th-century Warsaw proletariat or even lumpen-proletariat of small-time crooks and easy women was articulated in the suite of dances from Old Warsaw by the Krakusy Folk Dance Ensemble performance in From that origin point, polka dance quickly started its spreading beyond the borders of Bohemia.
In polka dance became popular ballrooms of Prague, just four years later it was danced by the high-class citizens of Vienna, and a year later polka rhythms echoed across the ballroom of cultural center-point of 19th century Europe — Paris.
The dance is usually performed by the young especially during festivals like the Hari-Raya and during weddings. Dancers wear the typical Tausug costume, the sigpit and the loose sablay with patadyong. Tumahik Dance Pinoy.
The Tumahik is a mock war dance performed by the males of the Yakan tribe in order to practice their fighting skills.
The movements, common among Southeast Asian martial arts, include traveling on the knees, tumbling, and high kicking. Tulu Kahadi Dance Pinoy. Tchunggas Dance Pinoy. Among all the customs of the East-Benguet people, there is one in which the spears and shield of old appear and in which as in days of old, some men in gala attire execute a war dance and sing to glorify the bravery of the warring knights of yesteryears.
In this barrio of Kabayan north East-Benguet this dance is called Bindian. Further north of East-Benguet, they call it Tchungas. In the villages between Ambuclao and Bila where they celebrate the Tchungas, all people present dance together for an hour or so, after which the dance is kept going by a couple as it is in the Tayaw.
This interpretation of the Bindian and Tchungas are identical as if it is a sort of a victory over the ghosts of all the enemies who were slain by their ancestors, and whose heads were brought home as trophies. The dance goes this way: When the mambunong priestess arrives, some men follow her as she retires to a nearby ravine, taking with them a small pig.
Two of the young men adorn their heads with crowns of woven bamboo made colorful by sticking rooster feathers on them. These crowned men are called oro-ols. One of the oror-ols wear a necklace of silver called tipabokel. Both men fasten rattan baskets on their backs.
Each basket contains the enormous bill of a certain bird called kalao. Each oro-ol carries a hatchet in a scabbard and armed with spears and shields. She invokes the spirits who have commanded the performance of the Tchungas to help them to pray and to sing the angbe Tchungas war song and at the same time pleads that she be informed of the names of the valiant head-hunters.
After the invocation, the oro-ols execute the war dance around the small pig. They hop and jump to the rhythm of the solibao and the ganza which are being played near the house of the host. At a certain point of the dance, their companions in the ravine yell shouts of honor. At the command of the mambunong , they all partake of the boiled pork. The oro-ols resume the dance after everybody is through eating the boiled pork.
The oro-ol with the necklace around his neck bends a little forward and gazes fixedly at a distant tree. He Advances and slowly creeps toward that tree, as if it personifies an expected enemy. As soon as he is near that tree, he leaps suddenly. The other oro-ol follows him, amking similar contortions and movements. Finally, they thrust their spears into the tree trunk. Before drinking the tapae, they dip the points of their spears in the cup of wine.
Then they are asked to name the enemy that they have killed. In reply, they mentioned the name of an old man famous headhunter. Then they drink the tapae. At the entrance of the house, one of the oro-ols plants his spear in the ground and the other oro-ol hangs his basket and shield on the planted spear.
The mambunong comes forward with her arms lifted. By now everyone should know that the Polka is not a National Dance in Poland , but rather, Polkas come from old folk tunes even war songs , set to a dance beat by Polish Americans.
The style that just about everyone knows is the Eastern Style played by Frank Wojnarowski and Jimmy Sturr which is fast and bouncy. That is popular in Buffalo, Chicago, Milwaukee, etc. So, turn up the sound and get out your dancing shoes, and listen to some examples of Polish Folk Music, which has made its way to America, via the Polka beat.
Kalina w Lesie …. Other popular dances—such as the Charleston, swing dancing,…. Johann Strauss I, one of the principal composers of Viennese waltzes. Strauss became a viola player in the dance orchestra of Michael Pamer, a composer of light music. History at your fingertips.Folkraft (FA / FB) Topics 78rpm, Instrumental Digitizing sponsor Kahle/Austin Foundation Contributor Internet Archive Language English. Performer: The Folkrafters. Doudlebska Polka - Czech; Folk and Square Dances; Tune: Starlight Schottische; Folk and Square Dances. Digitized at 78 revolutions per minute.