Talima

TALIMA
Bulgarian

PRONUNCIATION: tah-lee-MAH

TRANSLATION: No translation.

SOURCE: Yves Moreau learned this dance from the Art and Culture Committee, Sofia, in 1975 and subsequently taught it to folk dancers in the United States.

BACKGROUND: Talima is from Dobrudja in northeast Bulgaria.

MUSIC: Laridaine (7" EP) ML-3
Nevofoon (LP) 15025

FORMATION: Closed or open circle with M and W at opposite ends, joined hands held down at sides in "V" pos.

METER/RHYTHM: 2/4

STEPS/STYLE: TWO-STEP: step L, close R to L, step L (alternate with opp ftwk).

MEAS MOVEMENT DESCRIPTION

INTRODUCTION - None.

I. BASIC

1-2 Walk 4 steps in LOD R, L, R, L;

3 Facing ctr, small step R swd (ct 1); touch L next to R (ct 2);

4 Small step L twd ctr, bringing arms slightly fwd (ct 1); small step L bwd, bringing arms to sides (ct 2).

5-6 Walk 4 steps in RLOD L, R, L, R;

7 Step LRL (Two-step), turning to face LOD (cts 1&2);

8 Step R bwd in RLOD (ct 1); small step L bwd in RLOD (ct 2).

9-16 Repeat action of meas 1-8.

II. BASIC WITH HOP

1-2 Repeat action of meas 1-2, Fig I;

3 Hop L, turning to face ctr and bringing R slightly up in back (ct 1); small leap R swd (ct 2);

4 Repeat action meas 4, Fig I but with small leaps (cts 1,2).

5-8 Repeat action of meas 5-8, Fig I.

9-16 Repeat action of meas 1-8.

III. COORDINATION

1-2 Repeat action of meas 1-2, Fig 2;

3 Hop L, turning to face ctr and bringing arms bwd and R ft up in back (ct 1); jump to both in place, bringing hands up to shldr level in "W" pos (ct 2);

4 Straddle jump with ft shldr width apart, extending hands fwd from shldrs (ct 1); jump with ft together, bringing hands dn to sides (ct 2).

5-6 Dance 2 two-steps LRL, RLR in RLOD;

7-8 Repeat action of meas 7-8, Fig I.

9-16 Repeat action of meas 1-8.

NOTE: In Dobrudja, only the M would do the arm movements and jumps in Fig III, or a squat on ct 2 of meas 3, or rising on ct 1 of meas 4. W would dance the movements of Fig II. For performers and purists, Talima should be danced in this manner.

Recreationally speaking, however, . . .

Copyright © 2004 by Dick Oakes

TALIMA Bulgarian

PRONUNCIATION:	tah-lee-MAH

TRANSLATION:	No translation.

SOURCE:	Yves Moreau learned this dance from the Art and Culture Committee, Sofia, in 1975 and subsequently taught it to folk dancers in the United States.

BACKGROUND:	Talima is from Dobrudja in northeast Bulgaria.

MUSIC:	Laridaine (7" EP) ML-3 Nevofoon (LP) 15025

FORMATION:	Closed or open circle with M and W at opposite ends, joined hands held down at sides in "V" pos.

METER/RHYTHM:	2/4

STEPS/STYLE:	TWO-STEP: step L, close R to L, step L (alternate with opp ftwk).


MEAS	MOVEMENT DESCRIPTION


	INTRODUCTION - None.

I.	BASIC

1-2	Walk 4 steps in LOD R, L, R, L;
3	Facing ctr, small step R swd (ct 1); touch L next to R (ct 2);
4	Small step L twd ctr, bringing arms slightly fwd (ct 1); small step L bwd, bringing arms to sides (ct 2).
5-6	Walk 4 steps in RLOD L, R, L, R;
7	Step LRL (Two-step), turning to face LOD (cts 1&2);
8	Step R bwd in RLOD (ct 1); small step L bwd in RLOD (ct 2).

9-16	Repeat action of meas 1-8.

II.	BASIC WITH HOP

1-2	Repeat action of meas 1-2, Fig I;
3	Hop L, turning to face ctr and bringing R slightly up in back (ct 1); small leap R swd (ct 2);
4	Repeat action meas 4, Fig I but with small leaps (cts 1,2).
5-8	Repeat action of meas 5-8, Fig I.

9-16	Repeat action of meas 1-8.

III.	COORDINATION

1-2	Repeat action of meas 1-2, Fig 2;
3	Hop L, turning to face ctr and bringing arms bwd and R ft up in back (ct 1); jump to both in place, bringing hands up to shldr level in "W" pos (ct 2);
4	Straddle jump with ft shldr width apart, extending hands fwd from shldrs (ct 1); jump with ft together, bringing hands dn to sides (ct 2).
5-6	Dance 2 two-steps LRL, RLR in RLOD;
7-8	Repeat action of meas 7-8, Fig I.

9-16	Repeat action of meas 1-8.

	NOTE: In Dobrudja, only the M would do the arm movements and jumps in Fig III, or a squat on ct 2 of meas 3, or rising on ct 1 of meas 4. W would dance the movements of Fig II. For performers and purists, Talima should be danced in this manner.

	Recreationally speaking, however, . . .

Copyright © 2004 by Dick Oakes