How to do the folks dance

New to folk dancing? Ten tips

Folk dances are traditional dances from countries all over the globe, sometimes modified by later choreographers so they can be enjoyed as a form of recreational dance in the modern world.

Folk dancing is a great way to get exercise, socialize, and move to music. No previous dance experience, partner, or costume are necessary. Many dances are danced in lines or circles; others are for couples, sets of couples, or individuals. In some dances, called mixers, the dancers change partners during the dance. Some of the dances (and their music) are so beautiful they will take your breath away; others are exciting, exotic, or even on occasion a little silly!

If you can walk, you can folk dance. Many folk dances are easily done, although some are quite vigorous or complex. If a particular dance seems to be too much, you can just join those sitting and watching. There’s no need to try to learn all the dances being taught. When more experienced dancers can’t remember a dance, they simply follow what a few others do.

Here at Folk Dance Brunswick, we teach dances during the first 60–90 minutes of our weekly dance sessions, on Friday evenings. There’s no need to commit to more than a single night of dancing at a time. Just show up in casual clothes and comfortable shoes. Your second visit is free. See our homepage to learn how to find us.

All ages are welcome. Many of our members are in their 40s, 50s, and 60s — often people who first learned folk dancing in college or graduate school and then took a long break for careers and to raise a family. Others are students right now, learning for the first time. And others are seniors. We have dancers of all skill levels, so whether you’re a beginner or experienced, you’ll fit right in.

Still not sure whether folk dancing is for you? Check out our Photo Gallery and Useful Links pages to see dancers in action and hear our music.

We hope to see you soon!

— Adapted with the kind permission of the author,
Janice Rayman, of the Pasadena Folk Dance Co-op

Ten Tips for Beginners

  1. You can’t learn to dance sitting down. Stop watching from the sidelines, and get in there and dance!
  2. In the beginning, don’t worry about styling and grace. Nearly every dancer started out clumsy and three-footed. Concentrate on learning the steps first.
  3. Buy a pocket-sized notebook and keep a list of the dances you’re learning. Identify each dance in some fashion: “fast, lots of turns,” or “slow and waltzy.”
  4. Bring a portable recording device with you and record the music. Listen to the recording during the week. It doesn’t have to be high fidelity: The idea is just to become familiar with the tune.
  5. During request dancing, ask for dances you know and like or ones you want to learn.
  6. If you’re not familiar with a dance that’s being done, don’t get in the line unless you have a ‘guide’ (a friend who knows the dance well). Otherwise, stand behind the line of dancers and follow the steps.
  7. If the person next to you is not your guide, do not try to follow that person. Instead, watch a dancer four or five dancers down the line to your left or right. Don’t try to copy someone across the circle from you (you’ll wind up mirroring them — and doing everything backward!) until you’ve gotten more practiced at it.
  8. Use your head while you dance. As you learn a dance, try to identify the steps and say them to yourself (“grapevine… right Yemenite… turn left…”).
  9. In partner dances, it’s best to dance with someone who is more familiar with the dance than you are. Next best would be to dance with someone who is equally familiar. Don’t sit out just because you don’t have a partner. Stand off to one side and practice your part. (Sometimes a friendly dancer will notice you and offer to be your partner.)
  10. Relax. Smile. Contrary to what you might think, all eyes are not focused on you. But everyone on the floor is rooting for you, because they’ve all been where you are now. And be patient with yourself. Remember, Fred Astaire wasn’t all that great his first week either!

Welcome to the international family of folk dancers!

— Adapted with the kind permission
of the author, Loui Tucker


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Folk Dance Tips

Folk Dance Federation of California, South, Inc.

Folk Dance Tips
By Juneau International Folkdancers



Here are some tips about how to enhance the process of learning international folk dancing.

Come early, come often. Research shows that what really counts is muscle memory — doing the same movements over and over again. How do you get to Carnegie Hall? Practice, practice, practice.

Pick five to ten dances that you really like — the ones where you say to yourself as it ends: "I liked this dance!" Go over to the program book and see what dance it was, or ask someone. Keep a list. Request "your" dances often (programmers LIKE requests). Get the music — play it in the car. When you can dance your dances while talking to a friend or partner, you've got it! it's time to pick the next ten dances.

Tune into the steps. Identify and work on some basic figures: grapevine, step-hop, step-together-step, pas-de-bas, lift-step, etc. Once you can recognize and do this dance "language," you can master any dance fairly quickly because you can recognize the sequences.

Line strategies for intermediate to advanced dances: Once a dance has started (while you're hanging back to see whether you know it or not) join in the middle. The first three to four spots in a dance line are where the "hotshots" will congregate to do extra variations. If you need to concentrate on steps or are unsure of the dance, the middle section is good. The end is okay, but you may feel "dragged" and may, without meaning to, drag the line.

Never hesitate to get into the line. The longest journey begins with a single step-hop. But be aware that on more complicated dances, the dance is more fun for everyone if you're able to move in the line of direction! One way to work on steps is to dance behind the line. Another is to pick a dance you really, really want to learn, and ask that it be taught.

Oh yes, and don't forget . . . come early, come often!


The programmer selects the dances that will be played during the course of an evening. Plan on ten or eleven dances per hour. Select dances that are widely known. Contrast dances (couple, circle, line). Use progressive dances and mixers to allow people to become better acquainted. Among the dances of the evening should be dances taught in the previous weeks.

Possibly use request board so that people can write down the dances they want to dance (columns divided into circle/line and couple). Generally, the programmer selects a dance from this list, usually alternating fast dances with slow ones, and couple dances with circle and line dances.


Information on folk dance teachers is available through the web, folk dance magazines, and contacts with other clubs. Generally speaking, one should check with a person who has first-hand knowledge of a teacher and his or her reputation before making a commitment.

You should confirm the following details with the guest instructor in writing:

  • The workshop format (number of sessions and hours per session)
  • Type of dance styles (ethnicity, mixture of line/circle/couple)
  • Honorarium, housing, and transportation
  • Arrival and departure dates
  • Photograph and biographical sketch for publicity purposes
  • Permission to record summary of instruction
  • Appearances for interviews on radio and newspapers
  • Necessary equipment (computer, variable pitch CD or tape recorder, other machines, powerpoint, etc.)
  • Availability of dance descriptions and music.


Some helpful reminders:

  • Review the dance and music version ahead of time
  • Practice "teaching" the steps aloud — even develop a cue card
  • Check out the history behind the dance, where it's from, the correct pronunciation
  • At the teaching session, let the class hear (and preferably see) the dance once
  • Teach the dance in segments. Longer or more difficult dances should be taught and danced in segments in order to sustain interest
  • Review, review, review
  • Be patient, admit mistakes.


Arrangements for facilities should be made as soon as any particular event has been confirmed. In selecting a facility, consideration should be given to these factors:

  • Location and parking
  • Dance area, kitchen facilities, seating
  • Deposits, fees, clean-up requirements
  • Bathrooms, dressing rooms
  • Lighting, public address system, electrical outlets
  • Availability of telephone
  • Access prior to use (for pre-inspection and decorating).

Once an agreement with the owner or manager of a facility has been reached, a written confirmation of the terms (fees, time of use, access, clean-up, etc.) should be sent.


Publicity is an important ingredient in any successful activity. Start early. Every medium has a deadline.

Posters should be distributed at least ten days in advance of the event. Obtain permission for posting.

Newspapers are usually willing to publish and radio stations are willing to air public service announcements, usually up to three days before the event. Whatever the medium, information should include a description of the event, dates, place, registration, fees, general schedule of events, and a contact for further information.

Used with permission.

Folk dance. The history of the emergence and types of folk dancing - the Koryak Center for Folk Art

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  • 9000 The types of folk dances reflect the culture and life of the nation. With it, you can experience passion for the Spaniards or hot Georgians and feel the lightness of the Irish culture or the sense of unity from the Greek sirtaki, explore the philosophy of Japanese dance.

    The definition of "folk dance" is used for dances of historical significance in the culture and history of the people. Definitions of "ethnic dance" or "traditional dance" are also used, although ("traditional dance") may include characteristics of a ceremonial dance. The definition of "folk dance" is given to dances that are associated with traditions and originated at a time when there were differences between the dances of the "ordinary people" and the dances of the "high society". The terms "ethnic dance" and "traditional dance" are used to highlight the cultural roots of the dance. In this sense, almost all folk dances are ethnic.

    Not all ethnic dances are folk dances, for example, ritual dances are not considered folk dances. Ritual dances are commonly referred to as "religious dances" because of their purpose.

    Each country has its own visiting card: folk dance. The style of each country is unique - the movements themselves were formed at the dawn of the formation of nationality.

    Consider the list of the most popular dances:

    1. Russian folk dances - Birch, Goby, Crane, Kalinka, Tank, Khorovod.
    2. Irish style - Jiga, Reel, Hornpipe under the flute.
    3. Polish - Mazurka, Polonaise, Krakowiak.
    4. Turkish - Hala, Hora.
    5. Georgian - Kartuli, Lezginka, Shalakho.
    6. Hebrew - Hava Nagila, Hora, Jewish ballet.
    7. Mexican - Volador, Zapateado, Jarabe Tapatio - in soft skirts with castanets.
    8. Cuban - Cassino, Danson, Contradance
    9. Japanese - Slam drama, Kagura, Para Para.

    Ancient traditions are skillfully intertwined with modern innovations, forming new styles and types of dance.

    Russian dance

    It is no secret that Russian folk dance is the ancestor of all areas of Russian dance art that has been formed over the years. Constantly changing fashion and the rapid passage of time could not affect him in any way. This kind of creativity carries the whole history of our people. Each generation keeps the memory of its distant ancestors and respects their lives.

    Different types and techniques of dance used in different countries make it possible to learn the characteristics of a certain group of people. If we talk about what Russian folk dances are, which are widely known throughout the world, then the situation is similar.

    A certain style, which has been formed over many centuries, makes it easy to distinguish the Russian dance school from a huge number of others. But, despite the apparent similarity, there are some distinctive features.

    Being bright, Russian folk dance reflects the sensual idea of ​​its history. It embodies all the creative imagination of people, the depth of their ideas and emotions. This type of art carries a certain idea, which is very accurately reflected in the productions.

    They have: a dramatic plot, complex artistic forms, many plastic movements and images. Execution through associations.

    Jewish dance

    Seven forty is a song written on the basis of an old melody of street musicians from the square at the end of the 19th century. Based on Freilehe dances. Fast dance embodies the spirit of the 20-30s of the 20th century. There, people discovered for themselves a huge power, which they expressed in a collective dance.

    Participants, performing movements, clinging to the armholes of vests, move forward with a gait, backward or in a circle. No event can be complete without this incendiary dance, which expresses the serenity of the Jewish people.


    This dance does not have a centuries-old history, although it contains elements of Greek folk dances. In particular - Sirtos and Pidichtos. The action starts slowly, then speeds up, becoming lively and energetic, like a pidichos.

    From a few people to "infinity" can participate. The dancers, holding hands or placing their hands on the shoulders of the dancers (left and right), move smoothly. At this time, passers-by are connected, even if the dance takes place on the road.

    The Greeks, relaxed and "sun-tired", run in jerky movements that include jumping.

    Gypsy dance

    Gypsies have the most beautiful dances and long skirts. The premises of the "gypsy" was the interpretation of the dances of the surrounding people. The original purpose of the gypsy dance is to make money on the streets and squares according to the principle: whoever pays, dances.

    Irish dance

    It can easily be classified as a type of folk dance whose history dates back to the 11th century. The dancers, lowering their arms, beat the shot with their heels. Church priests considered the hand gesture meaningless, and therefore stopped using the hands in the dance. But the legs filled that void.


    Traditional lezginka is a young dance in which a temperamental, strong and skillful boy, who in the incarnation of a hawk, seeks the attention of a luxurious girl. This is especially noticeable when he is standing on tiptoe, moving around her, proudly raising his head and spreading his “wings” (arms) as if he was about to take off.

    Lezginka, like all types of folk dances, has many variations. So, for example, it can be performed jointly by men and women or only by men. In the latest version, this captivating dance speaks of the courage of Caucasians, especially if there is such an attribute as a dagger.

    Incendiary flamenco

    The dances of the peoples of the world opened the "fiery" flamenco for people. This dance was born in the Spanish province of Andalusia, originally represented by percussion, with flying hands and expressive singing to the guitar-castanets. But the adventurous nature of the Spaniards could not resist the music of the wind and dramatic singing.

    They came up with a special step: they beat the rhythm with their heels, snapped their fingers, played expressively with their hands, resulting in a passionate dance. The name speaks of the nature of their creators, and the eccentric flamenco symbolizes the energetic Spaniards.

    Classical Indian dances

    Residents used not only hands and feet, but also other parts of the body: nose, ears, lips, eyes, chin, eyebrows, cheeks. Mimicry in Indian dance expresses 9 basic emotions (Navarasa): peace (Shanta), anger (Rudra), heroism (Vira), sadness (Karuna), horror (Bhayanaka), love (Shringara), disgust (Bibhatta), satisfaction (Hasya). ), surprise (Abhuta).

    What dances of the peoples of the world are performed with virtuosity and rhythm? Naturally Indian. It is one of the oldest, it includes different styles:

    • odyssey;
    • bharatanatyam;
    • kathak;
    • kuchipudi.

    Dancers always wear body and head ornaments, cotton, silk saris, lehenga-choli, gagra-choli, dancers, dressed in embroidered vests, long shirts, with colorful turbans on their heads.

    Movements, gestures from smooth to active and accompanied by singing or reciting poetry. Nothing else so accurately recreates the history of previous generations as the dances of the peoples of the world.

    Chinese dance art

    Chinese folk dances are associated with theater and martial arts. All movements are saturated with courage, arms, shoulders, lower back, legs are actively used.

    In ancient times, dances were used to appease the gods. The dancers depicted animals, the process of hunting, harvesting or military operations, movement with weapons. This was so that in battles there would always be a good catch, prey, harvest and victory.

    The Lion, Dragon (performed on New Year's Eve), and Courtier (with fans) dances are among the dances of the Chinese people, which are distinguished by colorful clothing, colorful jewelry, and makeup.

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    • 9000 9000 9000 9000

    Russian People's Town - Gosty from the depths of the grains.

    From the point of view of the West, the energetic movements that abound in Russian folk dance were acquired by them thanks to the harsh northern climate. Allegedly, during the holidays that took place in Russia mainly in autumn and winter after the harvest, the Slavs had fun heartily and, in order to keep warm, came up with dances full of jumps, jumps, flexion and extension of the body, fast intricate "play" of the legs and wide " scattering" hands.
    Well, it makes sense. But is Russian dance so primitive? Maybe we should look into its history a little deeper and make sure that it is a multifaceted folk art with a capacious meaning and its own secrets?

    To live a millennium is not a field to pass.

    Only changes are constant in the world. And the fashion for dancing is also changing along with the lifestyle, new generations and their passions. Now it is hard to imagine that Russian folk dance will become as popular as samba, latina, bellydance and other modern styles. Of course, the Russian dance is not forgotten, but it is clearly not in favor with the masses of the people today. And absolutely in vain! It is bright, beautiful, emotional and able to give odds to all Western dance innovations!

    Fashion is fashion, and Russian dance was born long before hip-hop, lives with all new-fangled styles, and will continue to live, based on the fact that this is not just Russian folklore, but part of the deepest historical heritage, in which secret knowledge of the ancient Slavs, and the multifaceted Russian character, and way of life, and feelings, and unity with nature, and the memory of ancestors, and what is called the soul of the people.

    The ancient Slavs acted out a drama in dances.

    Russian folk dance has undergone a surprisingly long evolution. In historical documents, Russian dance "debuted" in 907. The official mention concerns a dance with bears, which was demonstrated to guests at the celebration by Prophetic Oleg in Kyiv of the victory over the Greeks.

    Unfortunately, neither the exact dates of the origin of the dance art of ancient Russia, nor a complete idea of ​​what Russian dance was like dozens of centuries ago, is known for certain. All that we know about the dances of those times from epics, oral traditions and songs is their ritual meaning and close sacred connection with nature.

    In addition to the fact that Russian dance, like the creativity of any nation, reflects the temperament, way of life, character and experiences of its people, it has several striking features that undoubtedly distinguish it from the background of world dance culture.

    And the main feature is a reflection of reality .

    Russian dance never reproduced fictitious pictures, was not distinguished by pretense, exaggeration, and moreover, did not create fictitious, mythical images and plots, and did not look into the future. It was intended to reflect the current present or the accomplished past, the daily life of people, woven from events, communication with nature, holidays, love or sadness. This the deep dramatic basis of allowed the Russian dance to express strong, genuine emotions, to take, as they say, “for a living”.

    Superimposed on the multifaceted Russian character, the dance was also different - lyrical and provocative, demonstrated prowess, breadth of soul, the joy of victory, the bitterness of defeat, that is, everything that our ancestors came into contact with every day.

    But at the very beginning, the purpose of the dance was somewhat different.

    Russian dance was originally part of the rituals.

    Every spring in Russia a new cycle of agricultural rituals began. They were timed to coincide with the most critical moments, requiring, according to the ancient Slavs, the support of the gods - the time of sowing, the ripening of bread, the beginning and end of the harvest.

    Russian folk dance was an integral part of ritual actions. Round dances run around a newly blossomed birch, personifying fruit-bearing power; they went around the fields in round dances on the Kupala night and chanted special conspiracies to protect the harvest from fire and evil spirits; round dances in the fields were supposed to ensure good weather during the harvest.

    And since we are talking about round dance, this is the most ancient Russian dance - the ancestor of all types of folk choreography. We can say that Russian dance appeared, breaking the chain of the round dance.

    His choreography is extremely simple. However, in terms of its meaning and purpose, this Russian dance has, perhaps, the most powerful sacred foundation. Its design reflects the shape and movement of the sun, paying tribute to the luminary, which was worshiped in pagan times. In the round dance, personal boundaries are erased and the idea of ​​\u200b\u200buniting people and their strength, the idea of ​​​​joy shared with each other, is realized.

    That's why the round dance accompanied almost any Slavic holiday. This Russian folk dance was an indispensable attribute of rituals in honor of the newlyweds and a "favorite" of folk festivals. The round dance, over time, lost its ritual meaning, but the pattern of the dance remained unchanged. He still decorates family and children's holidays and looks amazingly beautiful on stage.

    Game dances act out a certain plot. Usually such a Russian dance is very feminine. The synchronized movements of the dancers' hands, the curves of their bodies, create the image of animals, birds or other characters, make up pictures of blooming flowers or depict the traditional activities of Russian young ladies. For example, the drawing of the round dance "Spindle" shows girls doing needlework, "Swan" accurately reflects the habits and grace of a noble bird.

    Ornamental round dances, without any specific plot, often use wreaths of wild flowers or scarves, with the help of which an additional “zest” is woven into a fancy dance pattern (“snake”, “eight”, etc.). Waving and quivering glances, folding hands, low tilts and turns around its axis, long sundresses to the floor - this is natural beauty and tenderness, demonstrating the modesty and dignity of a Russian woman.

    This Russian dance has always been loved for the fact that it is available for all ages. Children, old people, men and women can take part in the round dance. That is why this Russian dance has come down to our days, which serves as a symbol of bright solar energy, transmitted through a chain from hand to hand.

    However, the Russian dance had more than just ritual significance.

    Secret martial art of Russian women.

    Few people know that the ancient Slavs were not at all defenseless when they were alone in the village, without men, with old people and children in their arms. Among them were women - Beregini, who mastered the dance, or rather a real martial art, which, under the guise of seduction, hid a powerful effect on a person's biologically active points.

    If the enemy entered the village, open resistance could lead to the death of the whole family. It was also impossible to use herbs and poisons, since the same food and water were forced to be given to children. And the women went to the trick. For centuries, a dance has been honed, akin to oriental martial arts of internal influence, based on a deep knowledge of not only physiology, but also the biologically active contour of a person. One can only marvel at the depth of knowledge of our ancestors.

    Russian dance Beregini.

    The bewitching dance was a complex, well-thought-out system in which all movements were subject to clear time intervals, and the plasticity of movements hid blows that seemed to be delivered into the void, but aimed precisely at the limbs of a stranger. He himself, fascinated by the flexibility of the dancer, her deliberately invocative movements, looked at her with voluptuousness and did not suspect how strong the weapon was directed against him. And the woman during the dance, arching her whole body, clinging to the ground and then sharply "floating" on the man, methodically inflicting invisible blows, changed the resonant-wave characteristics of her own biofield and processed his biologically active zones. The dance simply caused a malfunction in the systems of the enemy organism and was a formidable slow-acting weapon.

    A similar Russian dance is also mentioned in connection with the fact that the ancient beauties treated their men in this way, with the difference that they affected other points. Causing a strong sexual arousal in a loved one through dance, they greatly increased his sensory perception, activated resonant-wave structures and "started" the balancing of the body. Wounds received in battles healed faster, and signs of various diseases disappeared.

    Maybe it's not for nothing that some doctors recommend sex as a cure for headaches?

    But let's not get carried away, but rather give our answer to the West.

    We dance not for the sake of warmth, but for fun!

    Such complex and energetic elements of Russian dance as “Pistol”, “Pike”, “Barrel”, “Goat”, “Arabic”, “Bedouin”, “Raznozhka” and others can only partly be considered as a means of warming the body. The dynamics of Russian dance was formed under the influence of two more reasons.

    Firstly, pagan culture left a noticeable imprint on Russian folk dance. People in those days felt themselves an integral part of the world around them. Therefore, Russian dance was often based on imitation of the behavior of animals and birds, or reflected natural phenomena. “Crane”, “Gusachek”, “Dergach”, “Bullhead”, “Metelitsa” - there are no such names in Russian dance. Russian folk dance could imitate the haughty gait of a black grouse, cockfights, jumping roe deer, bear impudence, and therefore its pattern often had rather sharp movements.

    Subsequently, such imitation became the basis of one of the genres of Russian folk dance - play. “Fish”, for example, a guy came out to dance - he began to jump, spin and stomp his feet, then suddenly fell to the ground and exactly repeated the movements of the fish thrown onto land. He bent so that the heels at the back of his head turned out to be. The play Russian dance especially amused the people, since it included not only the imitation of the habits of animals, but also the desire of the dancer to give the character traits of a human character.

    Secondly, the Russian dance was assimilated with the militant dances of unfriendly neighbors. During numerous wars, occupations and long captivity, a mixture of cultures took place. Cheerful and carefree Slavic dances, smooth and unhurried dances were saturated with new energetic elements. This is also evidenced by the names of the elements themselves, for example, the same "Arabic" and "Bedouin".

    But no matter how great the influence of other cultures on Russian dance was, the people passed all the changes through the prism of their spirituality and presented us, as a result, an original and vibrant art.

    Let's see what dance heritage our ancestors left behind.

    Russian dance "Squatting".

    This colorful Russian dance was presented to us in 1113 by the Grand Duke of All Russia Vladimir Monomakh, who noticed in Kyiv a daring young man - a bricklayer Petro Prisyadka. After a hard day at work, Petro used to take it “on his chest” and went out to Khreshchatyk to stretch his stiff leg muscles, jumping vigorously. There he was noticed by Monomakh with his strange dance and soon danced for the prince at every breakfast, lunch and dinner. The Russian dance "under the squat" quickly became fashionable and was carried by buffoons throughout Russia.

    Folk game dance and dance - the language of communication.

    It is interesting that Russian dance, for the most part, has simple and capacious names that clearly reflect either the pattern of the dance, or the number of dancers, or the music to which it is performed, or a certain plot. Among the dances - improvisations are widely known: "Lady", "Balalaika", "Dance with Spoons", "Veselukha", "Topotukha", "Monogram", "Boots", "Timonya", "Polyanka", "Siberian fun ”, Russian dance “Matryoshka”, “Pleskach”, “Circular-dancing”, “Kamarinskaya”, “Polka”, “Chebotukha”, “Canopy”, “Gate”, “Steam Room”, “Four” and others.

    All Slavic dances have a characteristic feature - cheerfulness and a pronounced sense of self-worth. What unites Russian folk dances is a demonstration of prowess, a breadth of movements that echoes lyricism and modesty, as well as fullness of meaning.

    Russian dance is not danced, but as if they are telling something... They are telling beautifully, emotionally. With a glance, expressive facial expressions, gestures, the dancer conveys a story, no worse than a real theater actor. Same "Kamarinskaya" eloquently reproduces the arrogant, boastful exit of a drunken Kamarin peasant, jokingly plays up the "disobedience" of roaming legs, sincere surprise and a cheerful brawl.

    Russian dance requires majestic, swan-like smooth movements from women and energy from men. But he is also often mischievous and mischievous. For example, the Russian folk dance "Trepak" is lively, dynamic, where the partner and the partner perform fractional steps and stamping, jumping and whirling at a fast pace, they can freely improvise and turn on others from the first minute of performance. And the costumes for him are chosen completely different: short colorful sundresses, skirts flying out of the sun and bright embroidered blouses. Trepak can be performed as a single male dance or a pair dance.

    Another wonderful Russian dance is "Troika" , where a man dances with two partners. Folk art could not ignore the invariable symbol of any holiday - the Russian troika. The dance imitates it, representing galloping horses harnessed to a wagon. And again, imitation of animals is the observance of old traditions.

    At holidays, fairs, weddings, Russian dance often acquired a competitive character - dance . And now the dance is very popular in folk dance. Two dancers participate in a kind of dance duel. Many elements can be used in the dance, and their combination and sequence is pure improvisation of the dancer. The participants of the dance compete in strength, agility, endurance and ingenuity. The task is to dance the opponent.

    Such a variety of dances makes it possible to express any feelings and emotions, "adapt" Russian dance to any important event, make it a means of releasing excess energy and getting aesthetic pleasure.

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