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Project: LULEBURGAZ - BURGAS BRIDGE OF CULTURE ID: 2007CB161PO008-2011-2-45 Bulgaria – Turkey IPA Cross-border Programme


September 7th, 2013  (Saturday)

18:00 – 18:05             Opening –  brief presentation of the project goals and the programme of the performance

                             Speakers: Boycho Yanev, Sadık Çetiner

18:05 – 18:20          Presentation of Bulgarian folklore traditions and dances - from Bulgarian amateur folklore group “Lazur”

                             Dances: Introduction – Breads, Dobrudja Dance, Thracian Dance

Description (Boycho Yanev – speach):

Dobrudja Dance

            Dear guests, tonight you will have a great opportunity to meet with the style character and temperament of the Bulgarians living in Dobrudja and Dobrudja dance. Dobrudja ethnographic area is in the Northeastern part of Bulgaria.  Danube river is on the North. The northen ethnographic region is situated on the West.  On the South - Ludogorie (Razgrad), and  the Black Sea is on the East.

            It is well known that Dobrudja is the granary of Bulgaria - coincidentally is known the folk wisdom " No one is bigger than bread". The main occupation in the area is farming  and during the harvest arrives migrant workers from different parts of the country to earn a living. At the end

of the 19th century in Dobrudja settled large groups of Thrace and the Balkan Mountains , which led to the merging of elements from different folklore regions .

            Typical for the Dobrudja dancing style are the movements of the body and shoulders - body moves free .The body of a dancer from Dobroudja is crouched, or look like seated, usually  tilted to back. In Dobrudja more involved in dance are hands with specific graceful movements - clear visible both in males and in females dancing. They dance with secure and confident steps - many movements mimic details of daily labor.

Thracian Dance

            Thrace ethnographic area extends into the Southern part of Bulgaria. To the North - to Central and Eastern Balkan Mountains; to the West - to Rila and Ihtiman's Middle forest; to the South - to Pirin mountain, Rhodope Mountains and the border with Greece and Turkey; to the east - to the Black Sea.

            Fertility of the land is reflected in the character of the population. Thracian man is "quiet, with a large soul, good-natured and very cheerful disposition." He moves with large and secure step, stand up body and head. Thracian dances are very diverse; they are full of freshness and liveliness. There is a deep emotion in the dance - a lot of strong feelings and mood. Male's dances are characterized by exuberant performance. They are full of squats, jumping, clapping and other elements typical for men's dancing in general. Women are more restrained and elegant, but not stiffly.

            Thracian woman plays with great pleasure, temperament, but keeps within limits. She never oversteps the bounds of decency. The pleasure of dancing causes outbursts of emotions expressed by smaller steps and restrained cries. The most common type of dancing here are chain dances - closed and opened chain dances.

            The most skillful players at the forefront and at the end of the chain dance. It is governed by the so-called "bash". He provides commands for changing movements or the melody and the pace.

            Movements in the Thracian dances are concentrated mainly in the legs. Thracian dancer is slightly crouched as a spring. One of the main features of the stylish Bulgarian dance, reflected in the Thracian dance manner is the direction of the movements down, especially in the male dances. It shows the connection with the Earth.

            The hands take a lot more involved in dance from Thrace. They have their specific expression in females and males dancing. Hands of the Thracian women are soft, plastic, with stress-free wrists and elbows. It contributes to the beauty of the movements - as in "Ruchenitsa", "Kasamskata" and "Three times."

            In some dances are clearly visible movements borrowed from bits - "kneading dough", "sharpening". In other, the movements are organized rhythmically and in harmony with the movements of the legs. Hands of Thracian dancer radiates strength and dignity, he impresses with the complex claps in "Ruchenitsa" and "Kasamskata" and in many cases, his hands are free of tension and rhythmically moves to right and left, forward and backward, and express a deep inner emotion in dancing.

18:20 – 18:35         Presentation of Turkish folklore traditions and dances - from Turkish amateur folklore group “LUKSAD”

                            Dances: Hena Night (Kız karşılaması), Bridegroom shave (Kabadayı), Wedding crowd (Kız-Erkek –Ahmetbey)

Description (Sadık Çetiner – speach):

Heritage and wedding

            Durations and the applications of the weddings may change according to the cities and villages the heritages in Kirklareli region. The reason is the immigrants of the region from different countries from the Balkans. During these immigrations many heritages come to the region with the immigrants. The diversity of the weddings also change because of the city life habits and the opportunities.

            The wedding Works start from minimum one week before the wedding and generally in weekend weddings, brides dover is taken one or two day before the wedding. And for an another tradition on of the close relatives sits on the chest of the dover and says chest can not open for a gift from the bridegroom side. Then dover is delivered to the bridgegroom house and an henna night is organized just before one night before the wedding. If the bride and the bridegroom are in the same village the bride takes the henna for the night. On of the sister in law put the henna on the bride’s hand. Bride’s face is covered with a red cover. And everyone sings with the tabor.         

            Than one day later drums are played in the bridegroom house and instruments are played in the bride house. Also young people enjoys till the evening. The paranymph branch prepared by the paranymph is taken in the evening. With the flower the paranymph brother of the bride prepare a gift bag and deserts. All these are prepared for the first night of the bride and the bridegroom. Related to this flower bride also gives a gift to the paranymph. Also local folklore is played and the flower is taken and get back to the bride’s house. The flower indicates the wealth in this region.

            In the same day and instantenously bridegroom side goes to the best man of the bridegroom with drums and playing regional songs. Elder ones watch and the young enjoys. Than one sacrificial animal and one pan of baklava are taken to the bridegroom’s house. Also the best man takes an other gift. The wedding will be in this night. Many regional folklore is played  in the wedding such as “ alay, güzelleme, mendil havası, hora, gaydabve and kasap”      

            The morning after the wedding, bride also wears the wedding grown again, and welcomes the bridegroom side coming for the jewelleries. Both sides play folklore. Bride waits for the crowd to take her to the bridegroom. In the morning the bridegroom is waked up and get ready for the bridegroom shave with drums and regional plays. Drums go to everywhere in the willage and call everybody to the bridegroom shave. After the shave the crowd and the bridegroom is ready to take the bridegroom from her house.

            Bridegroom can not exit from the house before the play of the mother in law. This is called bride coyness. Bride kisses the mother in law hand for three times. Also the mother in law fondle the brides back for three times. After tha, bride kisses the hands of the close neighbours and relatives. This means bride is accepted by the bridegroom house.

            Bridegroom welcomes the bride by throwing money. And then lift the cover on the bride’s face and give her gift. Bridegroom plays for the last time with his close relatives and friends. In the bridal chamber night, imam marriage is done, and wedding ceremony ends.

            In the performance the henna night and the bridegroom shave are played by the Turkish folclore group. According to the Project the Bulgarian team played and educated about the regional games of Kirklareli region such as “ Kambana, Arabaya Taş Koydum, Arzu ile Kamber, Ali paşa, Takuş, Kız karşılaması, Yarı Burgaz, Sülüman Aga, and Zigoş”. Bulgarian folclore group presents the “ Arabaya taş koydum, arzu ile kamber, kız karşılaması, yarı Burgaz, Sülüman Aga and Kambana”

18:35 – 18:50         Presentation of Turkish folklore traditions and dances (Kırklareli region) - from Bulgarian folclore group “Lazur”

                             Dances: Arabaya taş koydum, Arzu ile Kanbe, Kız karşılaması, Sülüman aga, Yarı Burgaz, Kasap, Kambana.

                             ( Plays conducted in accordance )

18:50 – 19:05         Presentation of Bulgarian folklore traditions and dances - from Turkish folclore group “LUKSAD”

                             Dances: "Varnensko Horo" – a dance from Dobrudja ethnographic area, “Ginka”– a dance from Pirin ethnographic area, “Trite pati” - a dance from Thracian ethographic area, “Dunavsko Horo” - a dance from Northen ethographic area.

                             ( Plays conducted in accordance ) 

19:05 – 19:20         Common presentation of Bulgarian folklore traditions and dances –

                             from Turkish folclore group “LUKSAD” and Bulgarian amateur folklore group “Lazur”

                             Dances:“Final part of the dance, "Pre-wedding Songs and Dances", Rychenica”

                            (Plays conducted in accordance)

19:20 – 19:30         Closure Speeches – Thanks

                            (Speakers: Filiz Kaya, Vanya Nyagolova, Sadık Çetiner, Boycho Yanev)

19:30 – 19:40         Closure Dance – with the audience of the performance

                            Boycho Yanev invites the audience to join Turkish and Bulgarian dancers in

                            “Right Horo” (chain dance)