Talima

TALIMA
Bulgarian

PRONUNCIATION: tah-lee-MAH

TRANSLATION: The derivation of its name is a mystery. It has no other meaning in Bulgarian than a dance called Talima.

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

BACKGROUND: Talima is from Dobrudža in northeast Bulgaria. With the advent of World War II, Bulgaria gained Dobrudža in the September 1940 Axis-sponsored Treaty of Craiova despite Romanian negotiators' insistence that Balčik and other towns should remain in Romania. As part of the treaty, the Romanian inhabitants (Aromanian refugee-settlers, settlers from other regions of Romania, and the Romanians indigenous to the region) were forced to leave the territory, while the Bulgarian minority in the north was in turn made to leave for Bulgaria in a population exchange. The post-war Paris Peace Treaties of 1947 reaffirmed the 1940 border.

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 Dobrudža, 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 © 2011 by Dick Oakes

TALIMA Bulgarian

PRONUNCIATION:	tah-lee-MAH

TRANSLATION:	The derivation of its name is a mystery. It has no other meaning in Bulgarian than a dance called Talima.

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

BACKGROUND:	Talima is from Dobrudža in northeast Bulgaria. With the advent of World War II, Bulgaria gained Dobrudža in the September 1940 Axis-sponsored Treaty of Craiova despite Romanian negotiators' insistence that Balčik and other towns should remain in Romania. As part of the treaty, the Romanian inhabitants (Aromanian refugee-settlers, settlers from other regions of Romania, and the Romanians indigenous to the region) were forced to leave the territory, while the Bulgarian minority in the north was in turn made to leave for Bulgaria in a population exchange. The post-war Paris Peace Treaties of 1947 reaffirmed the 1940 border.

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 Dobrudža, 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 © 2011 by Dick Oakes