Godecki Cacak Discussion from EEFC Listserv - December 2014 1 Compiled by Laura Blumenthal

----- Original Message ----- From: "Judy Stafford" <judy.stafford@duke.edu> To: <eefc@eefc.org> Sent: Tuesday, December 09, 2014 6:39 PM Subject: [eefc] Godecki cacak question I always thought Godecki Cacak was a Serbian dance, but found out recently that it is named for a town in Bulgaria, near the Serbian border. It appears that Dick Crum introduced the dance to the IFD community. Is it a dance that is/was actually done in Bulgaria and/or Serbia? If it's a border dance, then is the "standard" IFD music for the dance (as in the below youtube link) Serbian, Bulgarian, or does it also cross the border? I can't find any credits for the standard recording - is it Serbian or Bulgarian? https://www.youtube.com/watch?v=1OuYeXU1CQ4 thanks, Judy Stafford

sfdhist@gmail.com, December 10, 2014 Excerpted from the 2013 Folk Dance Problem Solver (p.43): --------------------------------------- SERBIAN MEDLEY 6 (1962) CROSS-INDEX TERMS: Dances from Nišava River Valley Nišava valley dance suite Serbian Medley 5 BACKGROUND: Hugh Thurston (then of Vancouver, B.C., Canada) sent me a cassette tape labeled "Serbian Medley 5," containing four dances of the Shope culture of southeastern Serbia and northwestern Bulgaria. The tape matched the 1962-1963 and 1964-1965 concert season programs of the Duquesne University Tamburitzans, which read: "NIŠAVA VALLEY DANCE SUITE --Serbian Folk Dances... Dancers The dances in this suite, Jovino kolo, Čačak, Ripna maca and Katanka, are typical of the dynamic dances common to Eastern Serbia and Western Bulgaria. The variety of steps is enormous, and a

Godecki Cacak Discussion from EEFC Listserv - December 2014 2 Compiled by Laura Blumenthal prominent feature of the dances is the unusual belt-hold. In the Nišava River Valley, shared by Serbia and Bulgaria, the songs, dances and costumes are very similar on both sides of the border, the Serbian Katanka, for example, is a partner dance much like the Bulgarian Ruchenitsa." Both programs listed Dick Crum as Choreographer and Technical Advisor. DANCES: Jovino kolo Čačak - Godečki čačak (a version of which is described in the 1987 Problem Solver) Ripna maca (a version of which is described in the 1996 Problem Solver) Katanka --------------------------------------------- Renditions of this dance appear on the undated Du-Tam LP 29/30 (in the medley), on the 1983 Du-Tam 3001, and of course on the 7" Du-Tam 1002a, with which we are all familiar. Our tour visited with a group in Godech about this and other dances in 1998. It was then a standard in their repertoire (but without Crum's choreography, obviously). Chachak names a place near Beograd and has come to name also a dance genre. I don't know why. Most of the dances in that genre use a "countdown" structure of 5+3+2 in 10 bars, or elongations of that structure. Godechki chachak also has a 10-bar phrase, but in a 4+6 structure. I don't know why Crum called this dance a chachak. Yes, Shope culture extends throughout the Nishava valley, but not (in my opinion) to the dances and styling from around Beograd. Compare, for example, Orijent to Ripna Maca. Other names in the literature for Godechki chachak include Na dva tanca = with 2 leaders, Nishavski chachak = chachak from the Nishava Valley, and Za pojas = on the belt.

Alexander Markovic, amarko2@uic.edu, December 10, 2014 Hello all, Chachak (cacak) is a name applied to many dances in Serbia (and some in Kosovo and Macedonia as well); somewhat like cocek, the term therefore can apply to many dances whose form/pattern are not the same across all

Godecki Cacak Discussion from EEFC Listserv - December 2014 3 Compiled by Laura Blumenthal regions. It is therefore more of a genre/category of dances (like kolo u tri, or "kolo in three", also known widely as "u sest") than the proper name of one specific dance or dance pattern. Dance scholar and researcher Olivera Vasic from Serbia writes that scholars have not been able to conclusively explain the origins of the term "cacak" for the dances. It is also the name of a small city in western Serbia (Cacak), and the word itself is believed to come from the Turkish for "dirty mud". It seems Cacak at the time was a particularly muddy place- or the Turks who gave it that name just didn't like being posted to a provincial town instead of being in a more cosmopolitan place like Belgrade! But Olivera continues to say that it is unlikely that the dance name/form itself originated around the town of the same name. In fact, most researchers in Serbia point to the fact that there are many, many more forms and melodies to accompany cacak dances in southern/southeastern Serbia than there are in western/central Serbia, so it is more likely that the dance form originated in the southern regions. In other words, dances named cacak should not necessarily be associated with dance culture/repertoire from central/western Serbia, or the region of Cacak, per se (unless it is a form of cacak from this area, of which there are a few). In southeastern Serbia, cacak is almost always a 10 measure form, but the geography of movement and articulation of the different movement motifs (traveling steps vs lifts vs touches vs steps in/out vs syncopated or subdivided steps, etc.) varies quite a bit. In many cases, each village in a given region in southern Serbia has a slightly (or radically) different form of cacak steps, music, and even handholds. There are umpteen varieties: from the Nis area, as opposed to the Nisava Valley area, as opposed to Pirot, as opposed to the Surdulica and Vlasina area, as opposed to the wider Pomoravlje each with its own regional characteristics (from Leskovac through Grdelica, Han, through Vranje, down through the Presevo Valley into Macedonia). And then there are forms specific to different regions in Kosovo, too, etc. Note that it is also not a dance limited to Serbs- Roma, Macedonians, and Albanians also have forms of cacak in various regional dance repertoires. Michael Ginsberg has taught a Romani version danced by the Macedonian Rom community in the Bronx which is similar to the 4+6 pattern (or 4+4+2, depending how you break it down): 4 traveling measures to the right, 4 traveling measures back to the left and 2 more in place (or 4 measures to the right and 6 measures to the left).I saw various interpretations by Serbs from different regions around Vranje while I was there; I did not see local Roma dancing cacak, but Michael Ginsberg tells me he has seen cacak danced by Roma at weddings in Vranjska Banja (near Vranje) much like among Bronx Roma. Older Roma in Vranje explained to me that the repertoire of

Godecki Cacak Discussion from EEFC Listserv - December 2014 4 Compiled by Laura Blumenthal dances used to be much more diverse, with a wider variety of dance tunes played at community celebrations- cocek has become so much more popular with younger generations of Roma today, however, that many of those other dances are only rarely being learned/requested at events anymore. Most Vranje Serbs still dance it regularly, though, so it is often performed at Serbian events. Alex

From: Stephen Kotansky <stephenkotansky@gmail.com> Date: Wed, Dec 10, 2014 at 11:55 AM Subject: Re: [eefc] Godechki chachak To: Alexander Markovic <amarko2@uic.edu> Krasimir Petrov includes 7 dances from Godech ( 5 were collected in 1959 by Liljana Koleva, "Tancova Samodeinost' 1959) in his 1990 book "Bulgarski Narodni Tanci ot Sredna Zapadna Bulgarija" (Bulgarian Folk Dances of Central-Western Bulgaria) including: Za Pojac (related to C(h)ac(H)ak) Lila (9/16), Jova (18/16), Dilman Dilbero 8/16, Cvete Milo 2/4 + 7/16 Ruc(h)nica, Petrunino 12/16, Razminushka 7/16.

Robert Leibman, bleibman@att.net, December 10, 2014 Not sure if I sent this to all of eefc or just sfdh. I actually wrote this before I noticed replies from Alex and Steve so somewhat redundant - but not entirely. On Wednesday, December 10, 2014 12:21 PM, Robert Leibman <bleibman@att.net> wrote: There are a number of dances called Cacak - 10-step (our name) is by far the most common. It is danced in SE Serbia from Pirot south, then into Macedonia - almost everywhere - but only infrequently. I have filmed it even in Pestani (Ohird) and Mavrovo (both in western Maced), in Skopje, etc. I filmed it a a dance for pensioners of E. Maced, and it is in the repetoire of dancers from s. Injevo, Radovis. It might be done in W. Bulgaria, but I don't think that I have seen it or read of it there. (The 10 figure has a structure of 00111/01101. In simplest form this is done 00 to right, 111 in place, 01101 to left. In Macedonia, they often begin their movement to the left on the last two measures 01.

Godecki Cacak Discussion from EEFC Listserv - December 2014 5 Compiled by Laura Blumenthal Currently, among folk dancers in the US and even ethnics in the US (probably in some places in Serbia?) there is an expansion to 11 or 12 measures (not sure because I resent it :) in which you beginb with 3 measures to the right 000111/011/01 (11 meas) or 000111/0011/01 (12 meas). There has long been "long Cacak in the US among Serbs - don't know the history. It does have the 3 measures to the right, and then an extra section at the end ( 2 step-hops moving back (out of circle), then two R in place, L across in front of R, R in place, hop, now repeat with reverse ftwk (R across L) - and variations on this., There is a Cacak - Zagorski? - I think (can't recall) - which refers to the Zagorje area in SE Serbia south of Bela Palanka. I think this is the cacak that has become popular among folk dancers - perhaps taught by Michael Ginsburg to the "Jaws" cacak on ZU record. (I may be wrong) There is Svrljiski cacak - named for the town of Svrljig on Nisava between Nis and Pirot - I have recorded music referred to by that name or "Shvrljak", and fillmed two teenagers damced it for me (holding arms in back basket) in the backyard of a home in the village of Koretiste, near Gnjilane in eastern Kosovo (just a bit west of Vranje.) Dance was similar to what we were taught by Dick but without the stamp or slap with R ft at the end of the phrase. There is Godecki cacak named for Godec, a village NW of Sofia (slightly north of line between Sofia and Pirot.) Basically a standard Sop 10-measure structure 00111/00111. This structure in 2/4 is done throughout W and SW Bulgaria, SE Serbia, E (espec) NE Maced. It is also done in 7/16 (rach time) throughout that region, but also under the name Cigancica the 7/16 version is found throughout Maced. Many names exist for these dances so locally some might refer to it as a Cacak. Keep in mind that stage choreographies might consist of several variations done by individuals given the status of a "figure" that everyone does in unison - rather than a variation done by one or more dancers while others are doing the basic stp or their own variation - all simultaneously. Jankovic sisters in v.1 (1934) describe Cacak as a dance of 10 measures (although they do something wierd in their numbering. It is from Vlasina, Leskovac, Vladicin Han, Vranje and surroundings. - i.e SE Serbia. The town of Cacak is in southcentral Serbia (but still in the traditional part of Serbia) - north of the area from Nis down that might be referred to as South Serbia and where dialects begin to shade away from std. Serbian. (I would not say that it is "near" Beograd - about 100 miles south southwest - but near is a relative term.

Godecki Cacak Discussion from EEFC Listserv - December 2014 6 Compiled by Laura Blumenthal v.6 (1964) of Jankovic includes 35 dances from Cacak and Uzice (further west). Nothing there is at all like any of the above Cacak dance. Did the group in Godec refer to the dance as Cacak (Godecki cacak). Bob Later addition to above: The name I could not recall was "Zaplanjski Cacak" from Zaplanje region (not Zagorski from Zagorje - both would refer to "over the hills or mtns.) - still south from Bela Palanka. Bob

Alexander Markovic, December 10, 2014 Thanks Bob for more great info. Your response has me thinking about two more aspects. 1. The "extended" cacak (12 measure) does seem to have a life in Serbia itself, not just the diaspora. I have seen/heard tell of 12 measure form(s) being common in central Serbia, as opposed to the south. Growing up in the Chicago Serbian community in the 1990s, everyone danced 12 measures and often did the stamp with the right foot at the end of the pattern. Even middle-aged and older people at the time danced it that way, so I think it was common even before "my generation". My guess is that it was brought in by Serbs from central Serbia, or through seeing it done that way by performing ensembles from Serbia. In Cleveland, the dance is also 12 measures but with a different geography, if I remember correctly- Serbs there explicitly refer to that as "Cleveland Cacak" (Klivlandski cacak). Just another example of how dance and music is always evolving and changing! 2. The "shvrljig" or "shvrljishko" you mentioned is a great example of how dance names as categories and dance names in practice often don't overlap in regional variations. In the Vranje area, people distinguish "Svrljig kolo" (pronounced Shvrljig kolo) from Cacak, both of which are danced by locals. Cacak is always a 10 measure form, whereas Shvrljig is always 11 measures and danced only to one specific melody. Locals would never call it a cacak, but that doesn't mean that it isn't structurally or geographically similar to cacaks (even used to be done with belt hold), or that in other regions that it wouldn't be called a cacak, just a specific form of it. Great example. Best,

Godecki Cacak Discussion from EEFC Listserv - December 2014 7 Compiled by Laura Blumenthal Alex

Larry Weiner, larry@larryweiner.com, December 10, 2014 Well... this thread has taken some interesting turns... Just a few thoughts here. The Cacak that seems to be most popular in the Serbian communities in Pennsylvania (and probably elsewhere in N. America) is actually a 17 measure dance that Bob described below [now above!] as "Long Cacak" (I'd never seen it danced in Serbia during the times I traveled there - mostly 60s and 70s). In 1971 I spent some time in Svrljig because I'd seen the KUD (Cultural Club) dance at a sabor in Beograd in 1966, and really liked their bagpiper (Miko Spasic) and their dancing. I ended up spending about a week in Svrljig and made some recordings. Interestingly, they did a 2 measure dance they called Sitan Cacak (small Cacak) which is a 2 measure dance in 2/4 meter (facing r - RLR lift, facing Ctr - LRL lift) and progressing slightly to the right. When we talked about the 11 measure "Svrljiski Cacak" (Dick Crum taught) I just got blank looks and when I danced it they indicated that they didn't do that dance. Later I realized that they probably wouldn't have called it "Svrljiski Cacak" because they were from Svrljig.... they'd probably just call it Cacak. But I was too inexperienced at that time to pursue the discussion further; at that time the most popular 10 meas dance in Svrljig was called Rumenka. Larry

John Uhlemann, xopo1@aol.com.dmarc.fail, December 10, 2014 Would it be fair to say that Bela Rada is also a Chachak? - it is also a 10 measure in the same 0011101101 That Godechki and "5-variation" chakchak are in. John Uhlemann xopo1@aol.com

Robert Leibman, December 10, 2014 I would say that Bela Rada has exactly that structure. I am not sure exactly

Godecki Cacak Discussion from EEFC Listserv - December 2014 8 Compiled by Laura Blumenthal where it is danced and what they wouid say As Larry said, the old immigrant chachak was "long" chachak - maybe a couple of variations. And while Rumenka is a symmetric 10 measure dance in Svrljig, it was one of several symmetric 8 meas dances in Soko Banja, about 30-40 miles to the north. But then Malesevska (8 meas semi-symmet) is often called Cetvorka on Bulgarian side, but Cetvorka is 10 measure dance on Maced side - around Berovo. Bob

Alexander Markovic, December 10, 2014 The Bela Rada that you are referring to, John and Bob, is a dance from central Serbia from what I know. There is another dance with that name that was common in the Leskovac area, with 2 parts: 8 traveling measures to the right and and again to the left, and then 8 more measures danced in place before repeating the whole pattern from the beginning. This dance would not be "classified" as a cacak locally. Alex

Larry Weiner, December 10, 2014 Alex, You are absolutely correct! It was called Jednostranka (one-way?) .... sorry to have confused the discussion and as you can see I'm copying the list (public apology). So yes, the two measure dance is called Jedno Stranka, and the 10 measure dance was called Sitan Cacak. At that time I wasn't doing much (if any filming), mostly audio recording. Though I did shoot some silent film in Bela Palanka of folks dancing Bangavela, Pesachka and some other dances. As for recordings.... I probably do have same reel-to-reel tapes I made back then. I haven't listened to them in at least 40 years but this is a good excuse to dig them out and digitize them. Larry

Godecki Cacak Discussion from EEFC Listserv - December 2014 9 Compiled by Laura Blumenthal Alexander Markovic, December 10, 2014 Larry and all, Good to know! Yes, "jednostranka" means "in one direction" or "to one side", and refers to the fact that there is little to no movement back to the left when it is danced (there are various versions, of course, depending on region and village). Here is a demonstration of two different versions from two different villages in the Nisko Polje area (plains around Nis itself): https://www.youtube.com/watch?v=9A8BHfNZSfQ Best, Alex

Francis, Mac G, rgfranci@indiana.edu, December 11, 2014 Just fyi in the 70's to early 80's the Serbs in Milwaukee (possibly Chicago as well--they often had similar styles, etc.) danced only the 10 measure version. Later, as kids were exposed to performing groups and recreational folk-dancing, some tried the long version, but only occasionally. The 10 measure variant remained the standard. Interesting thread! Mac

Robert Leibman, December 11, 2014 The long version you refer to here is the one with one or two extra measures towards the beginning - or the "long" cacak that has been around among the old immigrants since I began dancing in '61? (it does possibly have three step closes at beginning, but mainly has several measure tag at the end. Someone - Alex or Larry- mentioned 17 total measures. Bob

Godecki Cacak Discussion from EEFC Listserv - December 2014 10 Compiled by Laura Blumenthal Mac Francis, December 11, 2014 The “long version” as I remember it was what you described as “an extra section at the end ( 2 step-hops moving back (out of circle), then two R in place, L across in front of R, R in place, hop, now repeat with reverse ftwk (R across L) - …” -- just like some recreational groups do/did. That’s why I assume it came from external sources, and not from a (for example) past heritage version that was regenerated—but I don’t know that. It wasn’t done much at all, and only when the kids were there to instigate it (I never much cared for it either). Jane Pook might have some insights?? Mac

Larry Weiner, December 11, 2014 Hi Alex (et al), I looked at the link you provided (below [now above]) and first was struck by how much daily attire had changed between the 70s and now :-) . And also the style of doing Jednastranka. But after looking at it again I wonder if this is a group from Nis after all? Might they be some kine of performing group from Holland? At any rate their steps were remarkably larger, and covered much more distance than I recall (my recollection was of very small steps, hardly leaving the ground, but dancing with much more energy.... dancing with hands held down or in a belt hold). However, I should note that back then (early 70s), I was mostly around "older" folks (people in their 40s-60s) and older folks *_do_* dance differently than young people. Thanks for the link. Larry PS: This groups dancing of Pesachka (on a related video - https://www.youtube.com/watch?v=sR85QdQx8Bg is pretty close to what I recall having danced in Bela Palanka.

John Uhlemann, December 11, 2014 This is a Dutch group - the contributor’s other posts are in Dutch (he also posts wrestling moves - I wouldn’t want to do Zillertaller Ländler in that group :-) ). -John

Godecki Cacak Discussion from EEFC Listserv - December 2014 11 Compiled by Laura Blumenthal Robert Leibmann, December 11, 2014 Interesting change in style perhaps choreographed about 3/4 of the way through the free leg is crossed and raised instead of lift and sharp thrust down.

Alexander Markovic, December 11, 2014 Larry and all, Indeed, I don't think these people are locals from around Nis. A dance suite of dances from Nisko Pole became popular in the past decade or so (give or take a few years) in Serbia, put together with the help of a dance researcher who did fieldwork in the region and popularized by the national ensemble KOLO. These people dance in a style that is consistent with the way the national ensemble performs it; I can't be sure if that is much like how current generations may dance the dance in the home region (i.e., things have changed since the 70s, which is very possible) or whether this is stage stylization which most people take at face value because they do not have access to people "from the source" in learning these dances. I do remember that this dance researcher presented a form of Jednostranka from the village of Vukmanovo, Nisko Polje, which is significantly more energetic- people hop through the movements. It is a 3 measure dance in Vukmanovo, though, much like a hoppy version of a basic lesno instead of the 2 measure form we've been talking about. The arms are held straight down, and measure 3 (step 5 especially) people land on both feet and do a "triple bounce" with the momentum of the landing. It's quite an enjoyable dance- maybe more like what you remember seeing in Svrljig in terms of energy, if not dance pattern/structure. That Peshachka form is pretty common, too, from Nis to the Bulgarian border, even in the Pirot area and Nisava, from what I've seen/been told (of course, with slight regional variations). It's Peshachka in that general area, whereas further south and west that type of dance, with slightly different steps, is locally known as some form of Bugarka or Bugarcica. Alex

Larry Weiner, December 11, 2014 I agree.... Pesachka (and its namesakes) was (can't speak for the current times) pretty popular throughout that area..... and is also knows as Cigancica in Macedonia.

Godecki Cacak Discussion from EEFC Listserv - December 2014 12 Compiled by Laura Blumenthal Larry

Robert Leibman, December 11, 2014 On my Serbian DVDs - I think you might both have a copy, go to 34:47 or so for group from s. Mokra, Belapalanacko eoing Pesacko, (I think ). Can't find that info right now. Go to 1:03:40 for Jednostranka by group from s. Orasje, Vlasotince. Then they do Bugarka, Vlasinka, Cacak and Gupusanka (I beleieve). At 1:09:19 group from Babicko, Zaplanje are doing straightfwd 10 measure Cacak, not 11 measure ? Zaplanjski. Bob

Larry Weiner, December 11, 2014 .... I don't think I have your DVD... but it was in Selo Mokra that I did my recording and a bit of filming. Larry

Cheryl Spasojevic, cspaso@gmail.com, December 12, 2014 Sorry that I am coming in to this discussion a bit late. Dick's notes from when he taught this dance at the Kolo Festival in 1971 state: "This dance comes from a region which straddles the Serbian-Bulgarian border at the point where it is intersected by the Nisava River. This region has other beautiful dances, such as Ripna Maca and Jove male mome. Songs, dances and costumes are identical on both sides of the political border, so it is impossible to classify them either as Serbian or Bulgarian. Godecki Cacak is called by other names in various villages: Za Pojas, Na Dva Tanca, Nisavski Cacak, etc." A note to Alex's comment: "In other words, dances named cacak should not necessarily be associated with dance culture/repertoire from central/western Serbia, or the region of Cacak, per se (unless it is a form of cacak from this area, of which there are a few)."

Godecki Cacak Discussion from EEFC Listserv - December 2014 13 Compiled by Laura Blumenthal When I was living in my husband's village in central Serbia (Sumadija, in the region popularly known as Gruza) in the late 60s/early 70s and we went to the regular village dances the basic 10 measure Cacak as we dance it here was done regularly. The rest of the repertoire consisted of Setnja as the opening dance, U sest, Zikino and the above mentioned Cacak. The "long" Cacak that Bob mentions "we" call "Chicago Cacak" :-) The Svrljiski Cacak that Dick taught is 11 meas. according to his notes, and he learned it from "Zeka" Zecevic in 1954. At one of the Serbian folklore seminars that I attended in 2000 dances of the Svrljig area were taught by Slavica Mihailovic with something like 5 different variations from different villages. It has been long enough ago that I confess that I don't particularly remember them (and I don't read Labanotation all that well), but looking at the syllabus none seem to have 11 meas. Not that that means there isn't one with 11 ! Also, the Jednostranka she taught is a 4 measure dance. Dr. Olivera Vasic states in the notes from the 2005 seminar, discussing the dances of SE Serbia, that "Cacak is the dominant dance of this region. There are numerous dance and musical variations, more or less embellished, and several names: Banjski Cacak, Svrljiski, Niski, Stara Bosara, Piperana, Pirotski Cacak, Silovacki Cacak and others." This whole thread could go on and on and on! There are so many variations from village to village - steps, music, names.... All of which is big part of what makes folklore so fascinating. Cheryl

Ron, sfdhist@gmail.com, December 12, 2014 E-mail me off line if you want the 1959 Bulgarian-language instructions and score for this dance. --Ron

Cheryl Spasojevic, December 12, 2014 Missed adding this additional note from Dick's write-up: "The sequence (below) is made up of four figures arbitrarily selected from the dozen or so variants of the dance by Dick Crum. If each figure is done twice through as written, the whole routine of four figures will be gone through twice to the above recording (DuTam 1002)" Cheryl

Godecki Cacak Discussion from EEFC Listserv - December 2014 14 Compiled by Laura Blumenthal Robert Leibman, December 12, 2014 Read your second post first - particularly the repertoire for your village. Would not have expected Cacak to be that far north.

Alexander Markovic, December 12, 2014 I find it fascinating to hear/think about the ways in which regionalisms develop with dances like cacak here in the diaspora- it shows how this kind of process happens everywhere with folk culture and dance, including over decades and centuries back in the homeland as well. For example, the first I ever saw of the "long cacak" pattern was at EEFC camp in past years; I have never seen it in Chicago, since I was a kid until the present day! Since the 1990s, I'd say the most common pattern is a 12 measure cacak with the last step as a stomp instead of a lift. My mother and women of her generation (born in the 50s and raised in Chicago) also usually dance cacak as a 12 measure dance, taking that as "the normal" pattern. Whenever I initiate a 10 measure cacak at Chicago Serb events (I'm also partial to it, Bob), most others are pretty confused and leave my line unless they are dancers who have already learned the 10 measure form in a dance group for specific choreographies. The ONLY Serbs in Chicago I've ever seen to consistently dance a 10 measure form are a small subgroup of Serbs originally from Kosovo, and they always refer to it as "Kosovo-style" cacak to differentiate it from the 12 measure form others dance. They also use a back basket arm hold while dancing cacak, whereas most Chicago Serbs these days either do a front basket weave hold or (particularly among young men) a shoulder hold. That said, it is interesting that others remember the 10 measure cacak as the norm in Milwaukee in previous decades; the two communities are in regular contact and often mix at dances/events, and I wonder how/how much different cacak cultures are being maintained in the present. I don't remember seeing differences in Milwaukee in the late 90s and early 2000s when I attended events there, though, so perhaps the younger generation is also all dancing the 12 measure form. Then there is, as I mentioned earlier, a "Cleveland" form of cacak which is also longer- 12 or more measures, I can't quite remember having seen it only once. Also, the geography of the dance's movement in space is slightly different. Alex

Godecki Cacak Discussion from EEFC Listserv - December 2014 15 Compiled by Laura Blumenthal John Kuo, johnkuo1@yahoo.com.dmarc.fail, December 13, 2014 Hi Alex, Cheryl, EEFC Friends, Cacak among Chicago Serbian dancers may be differentiated by regions (place of origin in old country and north/sides of Chicago) and generations. I have been observing and studying the dances of the Serbian and other Balkan ethnic communities since the ealkarly 1970's and my teacher, James Popson, founding member of Ensemble Balkanske Igre, has been doing the same since the early 1950's (btw, the University of Chicago Folk Dancers and the Ensemble Balkanske Igre were where Mark Levy got his first exposure to Balkan dance and music). The earliest immigrants from ex-Yugoslavia to the Chicago area brought dances and tambura music. Many were from Vojvodina, Lika, or adjancent areas. Some notable examples of these old-time tambura orchestras include the Popovich Brothers, which was active for more than 70 years, the Kapugi Brothers (which appear in a Hollywood film "Four Friends" which also featured members of Ensemble Balkanske Igre leading the line in the wedding scene), Dunav, Skertich Brothers, Star Serenaders, Tony Muselin and the Continentals, and many others. Many of these tambura orchestras made recordings for the Balkan Music Company based in Berwyn, IL, and Bud Presner in NW Indiana. I have an old 45rpm of the "long cacak" recorded by the Kapugi Brothers Tamburitza Orchestra, likely recorded in the 1950s or 60s. In 1973, the Popovich Brothers Tamburitza Orchestra included the "long cacak" as their finale in the opening set for our festival concert that year (more info about the 2015 Spring Festival below as well as how you can obtain a recording of Popovich Bros from UChicago concerts). At various times, I have taught the ethnic Croatian and Serbian youth dance groups since 1977, and the "long cacak" was/is popular among the Serbian and Croatian dancers from the communities where tambura music was prominent. For the Serbs, the epicenter was St. Michael's SOC at 98th and Commercial, across the street from which was the Rafters, which featured tambura music every weekend by the tambura orchestras listed above and many more. Most/all Croatian bands played the "long cacak" (aka 7-step Cacak in Chicago among Americans) and the Croatians danced it as well; there have been some occasions when individuals at Croatian events objected to the playing of this piece because it is Serbian, but mostly the younger generation loved to dance it. Most of these churches and communities are on the South side (known to the locals there as the "east side") near the old steel mills. Part of Martin Koenig and Jill Godmilow's film "The Popovich Brothers of South Chicago" was filmed at a Serbian Old Calendar New Year's celebration at the Vy and Koy's Bar at 106th and Ewing. We were there during the filming, and it was a great time. You can ask John Parrish about his (mis)adventures as he made his way there via CTA (public transportation) during a frigid night in his blood-stained, white butcher's coat. St George SOC in Joliet is the oldest Serbian church in the Chicago area, and they have maintained their youth tambura orchestra to this day, with a great-nephew of the Popovich Brothers in the group until recently. I

Godecki Cacak Discussion from EEFC Listserv - December 2014 16 Compiled by Laura Blumenthal have seen Croatians from Pennsylvania to St. Louis dance the "long cacak" through the years, and saw Croats, Serbs, and Americans dance it at recent Tamburitza Extravaganzas. Ivan Filcich no doubt would be able to provide insights into whether cacak was done by the Serbian and Croatian communities in Chicagoland going back to the 1930's and 1940's before he moved to the west coast. At one time, Chicagoland's 15+ Serbian churches were divided between the "Federalci" (those aligned with the mother church in Serbia) and the "raskalici" (those dominated by Chetniks in the diaspora). The Raskalniks were mostly immigrants who came to the Chicago area after World War II, and their music mostly featured accordion, clarinet, etc. rather than tambura. Many of these immigrants were from Central Serbia and surrounding regions. Most of the Raskalnik churches as well as the churches with Federalci which did not have tambura orchestras danced the 12 measure cacak known to American Balkan dance enthusiasts as Zaplanjski Cacak as taught by Dick Crum. I am not aware of the 12 measure cacak crossing over to the Croatian community. Perhaps John Morovich may have some insight into this. Finally, the repertoire of the dances in the Serbian communities in recent years (during Alex Markovic's youth) has been heavily influenced by youth dance groups mostly based in churches). There are periods during which one of two teachers taught multiple groups, ensuring that the young dancers all learned the same repertoire of dances. Thus, beginning in the mid-1970's through the late 1990s, the late Vitomir Zivic, a soloist from Djoka Pavlovic taught most the Raskalnik churches and his students mostly learned his version, learned in turn from the famed choreographer Trajcho Simeonovski (choreographer of the Yugoslav Army Ensemble in the 1940's and later Djoka Pavlovic). Angel Davidov, a dancer from Frula, taught most of the former Federalci church groups. Finally, in the 2000s, several of my students, including Dusan Acamovic, Elena Manovska (also a former dancer from Tanec of Skopje, and others) have taught the various dance groups. The distinction between the two factions have dissolved with their reconciliation after years of litigation...but that is another story. Because so many of the youth groups were taught by a handful of teachers, and because Chicagoland has the largest diaspora Serbian community (250,000+, which may include Orthodox Montenegrins and Orthodox Bosnians) outside ex-Yugoslavia, the prevailing forms danced in Chicagoland may have had a strong influence for Serbian communities throughout North America due to the frequent visits by groups to each others celebrations. Likewise, the Chicago Serbian bands play all over the US for the Serbian communities. In addition to the two versions above, the ten measure (aka 5-figure or 5-step Cacak in Chicago among Americans) was incorporated by Olga Skovran for the then Yugoslav National Folk Ensemble "Kolo". Dick Crum has described his discussions with Olga Skovran, the first choreographer of Kolo of Belgrade, how she came to choose the songs and dances which comprise this first, and perhaps most famous, stage suite of Serbian dances (also includes Poskok, Ti Momo, Djurdjevka, Igrale Se Delije, Sestorka, Cacak, Moravac). The Sestorka

Godecki Cacak Discussion from EEFC Listserv - December 2014 17 Compiled by Laura Blumenthal that many American folk dancers are familiar with was recorded by Ivan Filcich of Kolo when they performed in San Francisco during their first tour in the 1950's. A Chicago Serbian dance teacher named Steve Narancich is a nephew of Olga Skovran and was incorporated as a small into a cameo with Kolo in their performance in Chicago. I have seen a version the 10 measure cacak danced at a sabor/sobir (saints day celebration during which people from differenct villages gather) at Sv. Pantelejmon near Skopje in 1987 where the locals called it simply "shopka". In order not to disappoint Harry Goldberg, I would like to mention that the Ensemble Balkanske Igre's 50th Anniversary Spring Festival will be held Thursday evening, March 28 through Sunday evening, March 29, 2015 at the International House at the University of Chicago. We invite all our EEFC friends to join us for the best in Balkan music, dance, and culture. Among the master teachers and artists will be: Nina Kavardjikova, Bulgarian dances (direct from Europe)Atanas Kolarovski, Macedonian dances (living legend of Macedonian dance; teacher to Pece Atanasovski, Stanimir Visinski, Dojcin Matevski, Kete Ilievski, et al)Yannis Konstantinou, Greek dances (direct from Europe) Ahmet Luleci, Turkish DancesVentzi Sotirov, Bulgarian dances Chris Bajmakovich, accordion and Macedonian songsLjupco Milenkovski, Macedonian kaval and gajdaZoya Sotirova, Bulgarian songsJames Stoyanoff, clarinet (Greek, Macedonian, and Turkish)live music by Verea Bitov Orchestra (Angel Dobreb, gadulka; Petar Alexiev, gajda; Kotse Marinov, tapan; kavaldzija tba)Chris Bajmakovich & Muzika4UVeselo Selo Tamburitza Orchestra, plus another tamburitza orchestra tbaLjupco Milenkovski & Friends...and others to be announced multimedia presentations of archival material spanning 50 yearsPopovich Brothers of South Chicago (by Martin Koenig and Jill Godmilow)dvd to be exhibited and available to donors Popovich Brothers Tamburitza Orchestra live at Mandel Hall (Spring Festival exclusive) available to donors (Bob Leibman's copy will be waiting) Balkan Shadows book by Martin Koenig available to donors For a copy of the flyer and more information about any of the above, please contact: balkanske_igre@yahoo.com Regards, John Kuo

Robert Leibman, December 13, 2014 Very nice. Having not spent much time in Chicago after 1963, I knew about the splits, but less about what the newer immigrants did - although certainly knew they used accordion rather than tamburitza. So the 12 measure arrived with them - but from central Serbia ? - it is still mainly 10 measure in most of S Serbia and

Godecki Cacak Discussion from EEFC Listserv - December 2014 18 Compiled by Laura Blumenthal Maced. The "long" Cacak was also called Cacak kolo and in the one example I could just find on YouTube it was 17 measures. The first part is 11 measures - 000/111/0/11/0/1 rather than 10 = 00/111/0/11/0/1 or 12 = 000/111/00/11/0/1 and then the reel (step hop, step hop backing out) and then the cross steps - R, L across, R back, -, repeat in reverse (with stamp with free R at end) I see thatn stamp at the end in some of the 12 meas ones - and of course, in Dick's Svrljiski. I just down loaded about 10 items including nice 12 measure by lots of young people in Houston, a video teaching Cacak made in Subotica? (with many comments about whether this straightfwd 12 meas is correct or whether it is is 10 measure, a weddingt ing Babusnica (Zaplanjsko) is 10 meas (like my film of group from there in 1972), but at event in Mississauga referring to Bata Maretic they are doing 10 measure. Also nice 10 measure one from s. Zelenikovo near Skopje (to Zurla) - and they are moving right already on measures 9 and 10, Thanks John

Larry Weiner, December 13, 2014 Matt (Smith).... if I may continue...:-) ... I realize that it is difficult to envision some of what it being described.... and YouTube (for better or worse) is always great resource. So I did some searching for some Cacak videos on YouTube that show Cacak being danced at social events (not by performing groups, typical recreational folk dance groups, folk dance teachers, etc).... where people are dancing for their own pleasure. There is a lot out there.... and you can never tell where YouTube searches will lead you.... https://www.youtube.com/watch?v=wS9ziH7oZGY (10 measure version - village south of Pirot - S.E Serbia. https://www.youtube.com/watch?v=s0AlDY5NqFI (12 meassure version) (Merrillville) https://www.youtube.com/watch?v=y8uH8LALkuk (10 measure - Windsor wedding) https://www.youtube.com/watch?v=DuGxHpPCJeo (Don't know for sure.... but my best guess is in Turkey somewhere). https://www.youtube.com/watch?v=kigpbdun8HE (Don't know for sure.... but my best guess is in Turkey somewhere). https://www.youtube.com/watch?v=zBw7DRh_bK8 (17 measure version)

Godecki Cacak Discussion from EEFC Listserv - December 2014 19 Compiled by Laura Blumenthal Larry

Matt Smith, nemanem@comcast.net, December 13th, 2014 By all means do. Matt

John Uhlemann, December 13, 2014 I really like the styling on this 10 measure version - same structure as the others, but a different take on it. -John

Larry Weiner, December 13, 2014 I do too.... but what I particularly like about this video is the the younger folks (probably teens) have a slightly different way of dancing it than the older folks, not just in terms of energy but in body placement as well. My recollections of that dance (from 40 years ago) are much more similar the way in which the "older" folks (like the woman in black and white blouse at about 4:00 min into the video) and the folks next to her.... were dancing.... but this seems like a totally normal organic process... I love it. Larry

John Uhlemann, December 13, 2014 There is also a very different dynamic when young people are not only doing a dance for fun , but also must "look good out there" to their peers, as opposed to keeping a tradition up in a church group your mother makes you go to. The women, particularly, in this video, do look good, a conscious stylization rather than a sloppy version of what the older adults are doing. -John

John Kuo, December 13, 2014 Hi Bob and EEFC Friends,

Godecki Cacak Discussion from EEFC Listserv - December 2014 20 Compiled by Laura Blumenthal My previous previous was written around 5am and with Yahoo mail acting up causing words and phrases to be chopped off or scrambled. Let try to sort this out a bit - 17 measure cacak aka Cacak Kolo (Balkan Records, Berwyn, IL) aka 7-Step Cacak (on private cut phonograph record by Jim Popson) has been favored among the oldest generations of Yugoslav immigrants and recorded by the likes of the Popovich Brothers, Kapugi Brothers, et al and still danced at parties with tambura music. The main difference between what IFD dancers and ethnic Serb/Croat dancers do is that the former finish with crosses right and left whereas the ethnics go forward and back with stamps. - 10 measure cacak aka 5-Figure Cacak aka 5-Step Cacak which is still widespread in Serbia and in Macedonia and incorporated by Olga Skovran into the first Serbian she created circa1950 for Kolo of Belgrade. We have not seen this version as much in parties but Serbian performing groups performing Olga Skovran's choregraphy perform it on stage. This version is also well-known among IFD dancers since Kolo's tour in the mid-1950's. - 11 measure cacak introduced by Vitomir Zivic in mid-1970s to many Chicago and NW area Serbian youth groups as part of the suite "Serbia" derived from the Central Serbian suite by Trajche Simeonovski for KUD Djoka Pavlovic of Belgrade. I have their 50th anniversary concert video. Vito also lead the noted folklore group Nikola Tesla. Vito and several members of Tesla came to Ensemble Balkanske Igre around 1981, and they and their students have continued with us to the present. Some other students of mine who have taught area Serbian churches include Branko Adzic (family from Djakovca, Kosovo) and Ema Tosic who taught at the Gracanica Monastery group and Ana Zunic (tamily from Haljevo) who taught the Palmer Square Holy Resurrection SOC group. We now have a gentleman nicknamed Gica from Kragujevac who has lead a dance group there for 35 years. He splits his time between Chicago and Kragujevac. - 12 measure cacak aka Zaplanjski Cacak introduced by Dick Crum at the 11th University of Chicago International Folk Festival in November 1973. Dick's version had sime crosses in front in a 3-2-1 pattern with no stamps at the end. The Serbs do it with a grapevine pattern finished with a stamp at the end. This 12-measure pattern is the dominant version at Chicagoland Serbian events featuring accordian based (versus tambura) music. Young Serbs flocked to the floor with squeals and shouts of excitement when the piece is announced and often demand the band to play it multiple tikes in an evening, sometimes in succession. Svrljski Cacak as introduced by Dick Crum has been one of our favorites. We have been reviewing this version, an alternate version of Svrljiski Cacak introduced by Gica, as well as Cacak Kolo, 5-Figure (10 measure) cacak, and Godechki Cacak, also introduced by Dick Crum, during the past month as part of

Godecki Cacak Discussion from EEFC Listserv - December 2014 21 Compiled by Laura Blumenthal our weekly Balkan Basics dance class thst precedes our ensemble rehearsals. John Kuo

Robert Leibman, December 13, 2014 So back to the first 10 measure version Larry posted from Crvena Jabuka. There are several other posts from there and that event. One is Vlasko and is Star Vlajina in that same expansive youthful style and then the following one - focuses on the orch for a while but when it gets to dance the longer line seems to be a truncated 12 measure (or so I thought given that the video says Cacak - but there is a small group doing the 10 measure Cacak and the larger group is just doing Stara Vlaina. (I always thought of SV and Cacak as the fast 2/4 dance of two separate regions - NE and SE.) https://www.youtube.com/watch?v=ZSBzcmcOH18

John Morovich, December 13, 2014 Thank you John for pointing out the role of Chicago tamburitza musicians in the development of the Chicago Cacak. I first saw this dance in the period of 1980 - 1984 when I was a member of the Seattle Junior Tamburitzans, a time when we first travelled to the national CFU Junior Tamburitza Festivals and when my band Sinovi first began appearing at the National Tamburitza Extravaganza. This is also the time that I first met you. I believe at the time, you were teaching Indiana Harbor and Sloboda Junior groups and perhaps one or two more in the area. This dance had a very vibrant but short lived life in Seattle. In those first years if attending the festivals, I and many of the group members were young (15-18) year olds who very eagerly wanted to learn new party dances. We learned them, and brought them back to Seattle. Admittedly, we knew very little about folklore at the time and for most it didn't matter. Those were fun dances to do. I was in a unique situation because I was a musician who liked to dance. As I recall this version if the dance was Chicago centered. Specifically South Chicago. The Northside Croatians did not dance it. The Pittsburgh groups,, tended to play the traditional melody. The music for the Chicago Cacak has an extra 16 measures of music. An intro if you will. The tamburitza musicians had a hard time playing all of the triplets in the main čačak melody. I believe that this extra 16 measures was added in Chicago by one of the tambura teachers. Perhaps Tony Muselin?? I can not recall if the Popovichs or Kapugis played this section, but they may have.

Godecki Cacak Discussion from EEFC Listserv - December 2014 22 Compiled by Laura Blumenthal The kids from the Seattle and Chicago groups hit it off from the start. Some 30 years later many of us are still very close. Those Chicago musicians were quite accomplished and influenced the playing style of the Seattle musicians. So along came the Chicago melody with us. Prior to 1980, Čačak in Seattle was exclusively danced by the IFD community and at parties hosted by members of Koleda and Radost. That version was the short one without the added 16 measures. It was in my opinion a more beautiful, graceful dance. The Chicago čačak was and is somewhat crude version with very exaggerated stepwork and added silly music, Not knowing too much about folklore at the time but with a growing interest, I was curious about this dance, particularly the music. In about 1983 or so, the two Čačaci collided when tamburitzans and IFD and Radost dancers ended up at the same parties. If we played the Chicago melody, those dancers did not know what to do. If the Radost musicians played it, our kids did not know what to do. There were times then, there would have to be two separate lines. I asked Atanas Kolarovski at one of those,parties and he explained the difference. This dance and music in my opinion had to have been born in the Chicago Serbian and,Croatian performing group scene and was most likely choreographed to fit the music. Alex you're Mom may remember which group/ teacher and when it appeared. My guess the late 1960s to early 1970s. In Seattle, the Chicago Čačak died out in 1990 for a couple of reasons. For the most part, Serbian dances were generally no longer played at Croatian parties and we no longer played at Serbian events. Secondly, since we were the only tambura band that played kolos for community based parties-- Serb or Croat we had full control of what got played. I prefered the traditional music so when there was a need for us to play it, that's what I play. Prerogative of the band leader in this case i suppose. Today we only play it in IFD settings. To my knowledge, the Chicago version no longer is danced at Seattle Serbian events because the musicians who play those parties are Serbian born and would have never heard the Chicago melody.

Robert Leibman, December 13, 2014 Neat. We can do a city by city history - just to be sure, the Chicago version you

Godecki Cacak Discussion from EEFC Listserv - December 2014 23 Compiled by Laura Blumenthal refer to is the full 17 measure dance with the extra 6 measure of dance at the end (and maybe 1 extra in the first part)? https://www.youtube.com/watch?v=zBw7DRh_bK8 (17 measure version) Bob

Larry Weiner, December 13, 2014 If my memory serves me correctly (is that enough of a caveat?), the first time I heard that particular Cacak tune played in https://www.youtube.com/watch?v=zBw7DRh_bK8 was when Dick Crum taught it at a workshop in Boston in the early '60. And I think the tune he used was on a Jugoton Record (http://folklorediscography.org/Jugoton-LPM-1.htm) record produced in 1953 and that tune later appeared on http://folklorediscography.org/Epic-LN-3571.htm.(produced in the early 60's). So my best guess that the tune did come from the "old country" but the 17 measure variant of cacak developed in N. America. I'd be interested in knowing of any recordings of this tune made by N. American bands before 1953. Larry

Bob Leibman, December 13, 2014 I think you are probably correct. Maybe Ivan F will know. I feel that I did it early on - in early 60s in Chicago. I have a CD which is reissue plus extra of the Dunav Orch from Chicago and it has Cacak kolo (part of the originl material.) The original LP was BAL2000, over 30 years older. Can't see a date of issue for the CD. I think Dunav was around back in 60s. Could not find a list of all releases by Balkan, and then there were other producers. So..? Bob

John Kuo, December 14, 2014 [Responding to John Morovich's post above] John et al, Yiu are most welcome. By the early 1970s, Cacak Kolo was already well

Godecki Cacak Discussion from EEFC Listserv - December 2014 24 Compiled by Laura Blumenthal established in Chicago both among the tambura communities. I bought the Kapugi Bros Balkan Records 45rpm record in the early 1970s and suspect that ot was produced in the 1960s. Buried somewhere in our archives is a catalogue of tbe Balkan Records catalogue. I can also ask Joe Gornick, formerly with the Muselin Continentals and now with Braca Tamburasi tbe next time I see him (maybe at the 50th Anniversary Spring Festival, hint, hint). Jim Popson would know as be had been lugging his Ampex reel-to-reel recorder to southside tambura gigs since the 1950's. Ivan Filcich should be able to speak to the period going back ae far as the 1930's. As you know tbe Croatians in Chicago are differentiated into several sub-communities. One group are those comprised mostly of far south side (called "east side") and SW side CFU affiliated groups. Another are those with more recent immigrants who are affiliated with St Jerome's Zrinski Frankopan, the Holy Angels northside church, and the Croatian cultural center. From 1977 to 1984, I was teaching kolos to groups in both categories including the Indiana Harbor, Melodic Strings, Chicago CFU (all CFU affiliated) as well as Sacred Heart (non-CFU) groups along side tambura legends such as Roko Abramovich, Jerry Banina of the Star Serenaders, John Gusic, Ladas (last name escaping me), and others and watching the emergence of the tambura players now carrying on tbe tradition such as tbe Krillich Brothers, Joe Kirin, John Gornick, Dave Nanista, etc. Sloboda, where Tony Muselin taught tambura, also invited me but I could not accept because I was already teaching four Croatian groups, dancng with Ensemble Balkanske Igre, and helping with the UC International Folk Festival...in addition to holding a full-time job. It was hectic but very interesting. Nothing like hearing good, live tambura music played accoustically almost every day of the week by some of best masters of this tradition, and being entrusted with teaching young Croatians their precious folk heritage. I was most privileged and fortunate. John Kuo

John Morovich, Dec 16 I thought I had a recording of the version I am talking about, but it was not on the LP I thought it was on. I did find Cacak on one of the Popovich Brothers LPs from 1965, but oddly or not so oddly enough its not on any other old tambura record in my collection. I don't think Cacak gained any real popularity in the wider tambura and kolo scene until well after World War II. Remember that the Serbian tamburasi John Kuo mentioned, Popovich, Kapugi Crljenica et al hailed from Croatia as did the better part of the Serbs in America. It wasn't till after the war that Serbs came in larger numbers from Serbia proper. The Serbs from Croatia did not dance Cacak, neither did the Banat Serbs.

Godecki Cacak Discussion from EEFC Listserv - December 2014 25 Compiled by Laura Blumenthal Rather, they danced similarly to the Croats. And they very much liked tamburas, which the post WWII generally did not and still do not like as it as viewed as being too Croatian. John Filcich is the only one who will know for sure when Cacak first appeared. I am going to make an educated guess and say in the late 1950s or early 1960s probably first in Pittsburgh. If you guys want the Popovich recording which is very fast and not very danceable, I can send you the mp3 I will poke around the sheet music to see which is the oldest printed copy. I am pretty sure Crnkovich did not print the music in the 30s, 40s and 50s when he was printing every kolo imaginable. Jm

Side thread about the Duquesne Tamburitzans:

John Morovich, johnmorovich5@hotmail.com, December 10, 2014 So I chatted with Tom Roncevic and Rudy Grasha, who were members of the Duquesne University Tamburitzans. This is what I found out from the two of them regarding Godecki Cacak. From Rudy Grasha: I believe this was recorded around 1967-1968. Dick Crum had us record this one, as well as BUCIMIS, ORIJENT, and TUROPOLSKI DRMES on 45's. The accordion work was done by me and Bob Turba. I believe the brac's were Paul Pavlik and Steve Vesolich. If I remember correctly, Dave Kolar on Violin, Frank Yurkovac on clarinet, Jim Sambol on flute, Rudy Choich on bass and Steve Kovacev on Bugaria. Dick wanted to record these numbers for use in the folk dance circles, as well as a foundation for the FOLK DANCE INSTITUTE they were considering. Dick had several other numbers he wanted to do, but we never recorded them. He was looking to provide recorded numbers to the dances he taught, so groups could continue to dance to them in the choreography he taught, and teachers could use them to teach as well. As to the nationality, I can't say. He selected them, I wrote them up, and we recorded them. Dick did a choreography for the Tammies for the 1964-1965 year. It was dances from the Nisava valley. I believe it was a serbian dance suite. Godecki Cacak was one of the numbers, along with Ripna Maca, and Jove Malo Mome. From Tom Roncevic: Yes, Годеч (Godeč) is in Bulgaria, but the people from around Niš in the west to Sofia in the east, and around Pirot in the north to about Kyustendil in the south, all consider themselves to be shopi. The more west and

Godecki Cacak Discussion from EEFC Listserv - December 2014 26 Compiled by Laura Blumenthal north they are they consider themselves to be Serbian shopi. And the more east and south they are they consider themselves to be Bulgarian shopi. Godeč is right in the middle of this area. When Bulgaria drew up the maps in the 1800's they included Godeč, but I think both Serbians and Bulgarians lived there. Incidently, Godečki Čačak comes from a Bulgarian book where I think it's called "Sitno Horo" and the 10-measure pattern is typical shopi. And Rudy Grasha was right - that was about 6 or 7 years before my time that all those 45's were recorded. The music is also in that book

Added on December 11th: Tom said that it was smallish book printed in about 1960 or so. He could not remember the exact title but it was something like Dances of Godech. He donated the book to a Bulgarian group in PGH. He will try to find the title. Sent from my Windows Phone ________________________________ From: Robert Leibman<mailto:bleibman@att.net> Sent: 2014- 12- 10 7:28 PM To: John Morovich<mailto:johnmorovich5@hotmail.com>; EEFC EEFC<mailto:eefc@eefc.org> Subject: Re: [eefc] Godecki Cacak Good info. Wonder which book. Bob

Henry Goldberg, henrybgoldberg@gmail.com, December 11, 2014 I wonder if it is is an earlier edition of these books that Suze has listed on her web site: *Bk51-51 $15. Български Народни Танци от Средна Западна България [Folk Dances from Central Western Bulgaria]* 296 pp hardcover 5¾" x 8¾" 1990 Sofia This vintage book tells everything, if you can read Bulgarian! Complete dance descriptions, notes, maps, songs, music: - methodological guidelines - description of movements - dances of Sofia, Pernik, Kyustendil, Godech, etc - cover shelf worn, color rubbed off - 16pp of color photographs, costumed dancers

Godecki Cacak Discussion from EEFC Listserv - December 2014 27 Compiled by Laura Blumenthal *Bk51-52 $15. Български Народни Танци от Северозападна и Средна Севернаа [Folk Dances from Northwest and North Central Bulgaria]* 333pp hardcover 5¾" x 8¾" 1986 Sofia This vintage book tells everything about folk dancing, if you can read Bulgarian! - book corners worn - many old photos, poor blurry quality - folk instruments section - complete dance descriptions, notes, maps, songs, music - methodological guidelines - description of movements - charming sketches to show hand holds

John Morovich, December 11, 2014 He said it was only about 40 pages.