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Folk Dance Federation of California, South, Inc.
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Kolo is a pan-Slavic word that translates to "circle." The plural is "kola." Kolo has entered the English language and the plural has become "kolos." Kolo is the general name for dances from Serbia and Croatia; other Slavic nations' dances may use the same term, but no other Balkan region does. A secondary definition is "wheel." There, horse-drawn wagons are "kola." Compare this to American youth referring to their "wheels."
As costumes vary from region to region so do the kolos and the music that accompanies them. There are distinct zones that also have noticeable differences in culture, history, and neighbor country influences. These are: 1) Serbian, meaning "old" Serbia, Beograd and South to Macedonia; 2) Vojvodina, the provinces of Srem, Banat, and Bačka in the Pannonian Plain. Populated mostly by Serbians, it was part of the Austro-Hungarian Empire until the end of World War I; and 3) Croatian, including Slavonija, making it central to Croatia where most of the dances we know come from. Croatia was also a part of the Austro-Hungarian Empire. Let's briefly examine each zone:
First, the accompanying music in Serbia originally was the bagpipe and the "frula," a single or double wooden flute. The scene was a village one, dancing on the grass, crossroads, or a square such as in front of the church. Later, especially after World War II, available affordable, conventional instruments of all kinds became popular, especially the accordion. Sometimes the accordion alone provides the music for dancing. Today this is the kind of orchestra you will find at Serbian events. While there are hundreds of kolos documented, only four or five (or even less) may be danced, dominated by "U šest," also known as "Šest," or simply "kolo." Examples of Serbian dances are "Čačak," "Šetnja," "Ersko kolo," and "Šestorka."
Second, Vojvodina, ah... the kolos from Vojvodina! To many, these are the greatest, both in music and dance. The music will invariably be that of a tamburitza orchestra, several musicians each playing a different stringed instrument. And the dances are lively, some challenging with intricate steps. There are a number of dances of village origin, such as "Malo kolo," but curiously many are city or "ballroom" kolos, originally composed by dance masters for the middle and upper classes. These were mostly easy, short, repetitive dances. From there the tamburitza orchestras brought them to the village where they were customized and usually speeded up to suit the dancers' spirit. Samples of these kolos are "Sarajevka," "Natalijino kolo," Jeftanovićevo kolo," "Serbijanka," "Srpkinja," "Milica," "Kokonješte" (many), and the king of kolos, "Veliko," are traditional dances. It is from this area that most of the tamburitza musicians who emigrated to the United States originated, bringing with them the music and dances. It is this tamburitza music and kolos that became the "folk dances" of both the Serbian and Croatian immigrants and their descendants in America. Of the three provinces, the richest in music and dance is Banat in the northeast. They are reputed to be the best dancers, having a great repertoire in their favor. Probably the greatest tamburitza orchestra for kolo dancing was formed in the New York area around 1912 and played well into the 1950s, taking their name simply as "Banat." They recorded many songs and kolos; a 2-CD set of 31 of their best kolo is available, with a companion booklet of instructions by Dick Crum, as is a DVD by the writer showing 15 of the best with commentaries.
Third, Croatia. Being associated with and virtually occupied by Hungary for centuries and later the Austro-Hungarian Empire, as well as free from Turkish occupation, it is natural that Croatia had central European influence that it adopted and became a part of. Hence facets of Croatian culture differentiated from the other Balkan countries. Notably in the dances, many of which are danced as couples. And even in the kolos and drmeš dances a man-woman-man is preferred. The drmeš can be considered the national dance, or at least from the Zagreb area through Slavonija. It is danced in couple formation, or circles of any number (six to eight being ideal). Normally it has two patterns: a slow, almost in place, time-marking step and a fast twirling step. Croatian dances move to the left whether closed or open circle, though a part of the dance may also move to the right. If an open circle, the leader is on the left, leading it.
As ethnic borders are not the same as political borders, so do the dances overlap, namely many are native to both Serbians and Croatians, and both can and do claim them in their books and writings. Examples are "Rukavica," "Haj haj Bože daj," "Čuješ mala," "Kokonješte," "Logovac," and of course "Seljančica," known and danced as far east as Hungary into Slovenija in the west.
As mentioned, other than the drmeš, it was the dances from Vojvodina that became the dances of both the Serbians and Croatians in America. Of the 31 that Dick Crum counted, hardly 10 were danced to any extent, and in most places even less than 5. In Gary, Indiana as a youth I recall only 4: "Seljančica," "Zaplet," "Malo kolo," and "Zikino kolo" at the picnics. While there were Croatian picnics every Sunday in the summer months, I never saw a drmeš. Croatians danced mostly polkas and waltzes, the Serbians kolos. There were always two to three picnics, not counting the Greek, Hungarian, Macedonian, etc. Tamburitza music was used at both Croatian and Serbian events. As could be expected, the dance changed, especially with the younger generation. A hired tamburitza played at will instead of the old "pay the piper" with the request before the music started. And the role of the secondary leader at the opposite end, the "kec," was lost.
People were choosy as to whom to dance next to, and would leave if a neighbor could not dance to their satisfaction, not wanting their own dancing to be spoiled. But, as in the old country, dancing is only one part or reason for going to the event, if at all; socializing with friends, the men with co-workers in the mills or mines (mostly at the bar) and of course the "janjetina," the roast lamb. For that reason if the orchestra knew only three or four kolos, well that was okay; people enjoyed dancing them even several times. They did have a large repertoire – polkas, waltzes, kolos, and popular "hit parade" dance songs of the day. I recall "Red Sails in the Sunset" and "Harbor Lights."
Kolos entered the recreational folk dance movement in 1949 with "Nebesko kolo," followed by "Rumunsko kolo" and "Makedonka." But it was all uphill with roadblocks to go much further. The concept of non-partner circle dances was foreign to the dancers of the day, many of who preferred square dancing anyway. But an influx of younger people took to kolos, and later to Macedonian, Bulgarian, Greek, and Armenian dances. Somewhere in the 1960s the latter group became even more popular and in the 1970s it all became "Balkan."
Used with permission of the author.