Among all folkloric areas from Romania (there are 27 of them), in the Transylvanian Plain there are the most complex traditional dances. Here the boys and girls are meeting on Sundays at the crossroads where they are singing and dancing together. The beginning belongs to the boys coming in line; then they are taking the girls’ hand and they will dance in front or behind the boys or “pe sub mana” meaning the pirouette with the help of boys. The most virtuosic moments are found in the boys’ dances. They are slapping different parts of their legs and their boots in a kind of competition and in the end everyone will take a girl and will dance “invartita rara”” and “invartita deasa”. The pirouette of the girls amaze and charm the public.

Songs and dances from Zarand

From Apuseni Mountains over the Romanian border with Hungary, along two rivers – Crisul Alb and Crisul Negru – it spreads a very interesting area from the folkloric point of view. The dance songs from here are called “Ardeleana” and they can be found in the binary and also the syncopated rhythm. During the dances the rhythm is changing and produces a great variety. Beside the rhythm. The melody of these dances is very expressive and that’s why they are a pleasure for those who are listening.

A specific instrument for the Romanian folklore is the “taragot”. It was made on a project which combine in a brilliant way the technique of the oboe with that of the clarinet. The timbre of the taragot is like the fagot’s. The best taragot players are the Romanians. The taragot is played in Banat, Maramures and the Apuseni Mountains. Its ample sound can be modeled in piano and also in forte but it requires ability and virtuosity.

Dances from Oas, Codru and Bihor

In Romania the dances are going on vertically and horizontally. Especially those with a vertical development are based on the syncopated rhythm, the Romanian specific rhythm. Such dances are found in the folkloric areas Oas, Bihor and Codru from the North-West of Romania. In Oas the dances are called “Roata feciorilor”, “Roata fetelor “ and “Dant”; in Bihor – “Poarga”, “Luncan” and “Pe picior”. The dances from Codru are called “De inceput” and “Fecioreste codreneste”. These areas have similarities especially referring to costumes with a very colored look.

            The classic violin is used in Romanian traditional folklore for about 500 years. In fact. Most of the musicians play the violin and that’s why its repertoire is very fast. A lot of composers created and modeled their songs in the traditional style. “Ceasul” (the clock), “Furtuna” (The storm) and “Ciocarlia” (The lark) are just a few examples. Having a suggestive name, they are played with a lot of skill by the young student at “Somesul-Napoca” Transylvania Romania – Doru Dejeu.

The name of this dance comes from the very old custom with the same name, which was practiced in the South of Romania – Oltenia and Muntenia. This custom implied a ritual pf the disease cure in the past. Today it remained a dance of virtuosity. Its complexity comes from changing of different dances, one following the other, such as “Hora” and “Sarba” – the most popular dances in these regions. The costumes of the dancers have peculiar colors. There are always an odd number of dancers.      

“Going in the army”  song. “Fecioresc des” from Corusu and Mera. “Hora nevestelor”from Rosia de Secas.

Close to our town – Cluj–Napoca – there is an area well known by the boys’ dances of virtuosity. It is called “Dealurile Gilaului, Clujului si Dejeului”. The elements and figures , which constitute these dances, are complicated but spectacular. Every time the boys are going to the dance place they are singing songs together with the musicians. “Cantec de catanie”(Going in the army song) expresses this. The boys who are singing and dancing very well are more respected in the community. During the dance they are improvising depending on their talent. In the same time they initiate a competition so that it will be soon an artistic euphoria. In those places, where the boys and men were gone to work somewhere else or they gone in the army, the girls and wives were meeting in the so called “sezatoare” and they were working and dancing together there. This way has been born interesting dances, which have as the basic rhythm the couple dances rhythm. “Hora nestelor”(The dance of the wives) is danced in Rosia de Secas village, Alba district. The simple and the complicated steps played in a syncopated rhythm, but following the music in an asymmetric rhythm are shocking many times.

Bugle violin solo

A strange and peculiar instrument coming from the beginning of the century is the bugle violin or the violin with trumpet. This violin was made after the gramophone was invented and it has something from its principle – the trumpet is the box of resonance. This instrument was settled in Bihor mountains area, in the North-West of Romania. As a result of the construction technique, the instrumental songs are played most of time with the “E” and “A” strings. The sound produced by this violin with trumpet is very metallic and ample that makes it heard at the dance even if there are a lot of people there.

Songs and dances from Banat - orchestra

The most beautiful and melodiously music is find in the folkloric Banat area. That’s why it is the most listened music on the different party occasions. “Doinele” from Banat produce artistic emotions and when the musicians play the dances, “you feel like dancing”. Their style is unique and so are the instruments they are using. The most popular instrument is “taragotul”.

Analyzing the dances from Banat it can be observed a special particularity: the music is played on “timp” and the dance is “contratimp” which means a little delay of the dance. A perfect relation between the musicians and the dancers offers many beautiful moments of shows.

 “Invartite” and “Batute” from Castau, Orastie – orchestra

“Invartitele” in the asymmetric rhythm and “batutele” in the binary rhythm are the most frequent dances from Center and South of Transylvania. The musicians know a lot of songs. They are reserved to the best dancers or they are called by their names. “Invartitele” and “batutele” we are playing are from the repertoire of the violinist Relu Sivisan from Castau , Orastie.

In this suite we have chosen the most representative dances from Transylvania, the northwest areas of Romania: the boys’ dances, the girl’ dances, the couple dances – “purtata”, “invartite” in the asymmetric and syncopated rhythm. In order to dance such kind of dances you have to be virtuous, but implies also talent, a lot of work and a very good temper. All can be reduced to the pleasure of the sing and to dance. We hope that you are already feeling this sentiment.

The most archaic dances have existed in the Romanian place called Aletea, Hungary, for a long time. This dances being a part of Zarand Country folkloric area are performed on the vertical and horizontal movements and they imposed themselves through the lyrical and perfection essence. One has to be a very good dancer in order to perform better than the playful village men around here.

The greatest musicians and dancers have always created a specific style in the area they belong to. In this area from the centre of Transylvanian Plain the magnificent violinist Alexandru Ţitruş have always played ”in string” to the dancers. The dancers have enchanted him through the pride of their performance in the following dancers „Învârtită”, „Feciorească cu fete”, „Hărţagul”, „Haidăul”. In circle formation or freely the dancing couples are competing. Lads lead their partners skilfully.

Nowhere was kept the choreographic folklore, at the level of community, as in Rupea, situated at approximately 60 km from Braşov. During Christmas and on other occasions(“Balul portului”) the activity performed is educative. The dance is perpetuated visibly from generation to generation like the charming and decent costume. From “Jocul mare” do not lack “Mărunţişurile” (Muşamaua, Hoina, Ciobănaşul, Hodoroaga, Sârba Popii),  but „Purtata feciorilor”, „Bătuta”, „Purtata cu fată”, and „Învârtitele” in asymmetric rhythm impose through their beauty with great pleasure.   

The  oldness of these dances is supported by the non-concordance between the musical and choreographic phrases and by the ad-libitum ”shouts” they perform. The multitude of beats on the floor suggests the attachment of the Maramures  man towards the native land he loves and his need to exploit this as much as possible on farm. Their colorful costumes, predominantly red emphasize the artistic beauty we hope you’ll enjoy in the next 12 minutes.