PRONUNCIATION: pah-sah-REHL-skah TRANSLATION: From Pasarel SOURCE: Dick Oakes learned this dance from Rubi Vučeta, a prominent Balkan dance leader and teacher in the 1950s and 1960s in the Los Angeles, California, area. Rubi taught the dance as described below. Measures 5 and 6 are danced differently in the San Francisco bay area as taught by Dean Linscott and Suzanne Rocca-Butler. BACKGROUND: Pasarel (Dolni Pasarel), Bulgaria, is home to a nearby moderately-sized hydro-electric power station commissioned in 1956. The town is located on the Iskar River some twenty kilometers southeast of the center of Sophia and just five kilometers from the Iskar reservoir. The dance description is said to have been translated from a Bulgarian dance book in the 1960s, but no other information has been found. MUSIC: XOPO (45rpm) X-330
XOPO (LP) X-LP-4, Horo and Racenica Dances of Bulgaria
Mediterranean (45 rpm) 4003
DANSSA (LP) Bulgarian Folklore Songs & Horos, "Makadonsko Horo"
FORMATION: Lines of mixed M and W with hands grasping neighbors' belts in "X" pos with R arm under, L arm over, leader at R end. End dancers hold free hand on hip (often with fingers pointed back) or leader may flourish a handkerchief. If belt hold cannot be used, join hands low in 'V" pos. METER/RHYTHM: 7/8. Pasarelska is played in a "slow-quick-quick" rhythm pattern conventionally notated in 7/8 meter, with three dancers beats or counts. After several measures, the tempo quickens into 7/16 meter. STEPS/STYLE: Movements are small and sharp and the knees are flexed. The style is simple, rustic, and unsophisticated. MEAS MOVEMENT DESCRIPTION INTRODUCTION - None. THE DANCE 1 Facing ctr, leaning fwd at hips, and looking R, step R swd (ct 1); step L across in front of R (ct 2); pause (ct 3); 2 Repeat action of meas 1; 3 Straightening body and looking fwd, small step R swd and slightly back, bending supporting knee slightly (ct 1); step L next to R (ct 2); step R next to L (ct 3); 4 Small step L swd, bending supporting knee slightly (ct 1); step R next to L (ct 2); step L next to R (ct 3); 5 Moving twd ctr, step R (ct 1); step L (ct 2); rise on L, raising bent R knee in front (ct 3); 6 Repeat action of meas 5; 7 Keeping bent R knee raised, rise again on L, pivoting to face L (ct 1); step R swd twd ctr (ct 2); bending R knee and bending fwd slightly at hips, stamp L next to R (ct 3); 8 Straightening body and turning to face ctr, step L bwd, bending supporting knee slightly (ct 1); step R bwd (ct 2); step L bwd (ct 3); 9 Step R bwd, bending supporting knee slightly (ct 1); step L bwd (ct 2); step R bwd (ct 3); 10 Step L diag fwd to L, bending supporting knee slightly (ct 1); step R in front of L (ct 2); step L in place (ct 3). Repeat entire dance from beg. NOTE: After the tempo quickens, the music becomes so fast that the the rise on ct 1 of meas 7 becomes the beg of a leap that ends on ct 2. SAN FRANCISCO BAY AREA VARIATION 5 Moving twd ctr, step R (ct 1); step L (ct 2); begin to bring R ft low fwd (ct 3). 6 Lift on L bringing R ft up in front (ct 1); step R (ct 2); step L (ct 3).
Copyright © 2016 by Dick Oakes