NAMA Drmeš Medley

NAMA DRMEŠ MEDLEY
Croatian

PRONUNCIATION: NAH-mah DRR-mesh MED-lee

TRANSLATION: Medley of three Croatian dances

SOURCE: Dick Oakes learned these dances from Dick Crum.

BACKGROUND: Drmeš iz Zdenčine, Kriči Kriči Tiček, and Kiša Pada (Posavski Drmeš) are the three "drmeši" (shaking dances) in this medley for which the transitions have been arranged by David Owens, the director of the NAMA Orchestra. Dick Crum says that the drmeš (pronounced DRR-mesh), or shaking dance, is the most typical dance form in the northwestern part of Croatia. Drmeši are rarely danced today, except at weddings or other celebrations, and usually only by older dancers, dancing as couples or in small circles of three or four. Otherwise, the drmeš is usually only seen when performed by amateur dance groups who may select a tune and some movements culled from the older dancers for presentation to audiences as living museum pieces. Sometimes, groups from adjacent villages will select different movements and sequences for a particular melody common to both, giving rise to what puzzled American folk dancers sometimes think of as conflicting versions of the same dance.
Drmeš iz Zdenčine (DRR-mesh ees SDEHN-chee-neh) comes from the village of Zdenčina, about half-way between Zagreb and Karlovac (near Jastrebarsko). It was collected in 1954 by the noted researcher Dick Crum.
Kriči Kriči Tiček (KREE-chee KREE-chee TEE-chek) means "chirp chirp little bird" and originates in the Prigorije district, just north of Zagreb. This dance was also collected by Dick Crum in 1954. Kriči Kriči Tiček is one such dance that has undergone the natural preservative process.
Kiša Pada (KEE-shah PAH-dah), meaning "it rains," is a popular tune for a dance from the Posavina area (east of Zagreb) called "Posavski Drmeš." This dance was collected by Zvonimir Ljevaković, choreographer for the LADO Croatian Folk Ensemble. It was taught by Dick Crum and John Filcich.
Croatia declared independence from socialist Yugoslavia in 1991. War broke out in 1991 with Yugoslav National Army open attacks on Croatia. At the end of 1991 there was full-scale war in Croatia. The war was between the Serbs, in what had been the Republic of Serbia in the former Yugoslavia, and Croats in the newly independent Croatia. The reasons for the war are quite complex. To greatly simplify, while Croatia and Slovenia wanted to separate from Yugoslavia, Serbs were largely unwilling to allow this to happen, probably largely for economic reasons.

MUSIC: NAMA (LP) 1001, side A, band 4.
For those dancers who wish to dance these selections separately, many recordings are available including:
DRMEŠ IZ ZDENČINE: Folk Dancer (45rpm) MH 3030; Folkraft (45rpm) 1500x45
KRIČI KRIČI TIČEK: Folk Dancer (45rpm) MH 3021; Festival (45rpm) F-4002
POSAVSKI DRMEŠ (Kiša Pada): AMAN (LP) A-102, side 2, band 1; Festival (45rpm) F-4003; Folkraft (45rpm) 1491x45

FORMATION: Closed cir of mixed M and W in either front-basked hold ("F" pos), joining hands with the second dancer on either side (left arm under), or with a back-basket hold ("B" pos) joining hands with the second dancer on either side across in back of nearest dancer (taller person's arms over shorter person's for comfort).

METER/RHYTHM: 2/4

STEPS/STYLE: Dancers take small steps.

MEAS MOVEMENT DESCRIPTION

DRMEŠ IZ ZDENČINE

Part 1-a - Fast Drmeš

1 Facing ctr, fall onto full R, bending R knee (ct 1), stamp onto full L beside R, sharply straightening both knees and taking wt (ct &), repeat action of cts 1& (cts 2&),

2-7 Repeat action of meas 1 six more times,

8 Stamp R in place, taking wt (ct 1), stamp L in place, taking wt (ct 2).

NOTE: The movements in meas 1-7 are all even, loudly stamped, and have a distinct down-up action.

Part 1-b - Slow Drmeš

9 Step R twd ctr (ct 1), quickly flex and straighten R knee (ct &), step bwd L (ct 2), quickly flex and straighten L knee (ct &),

10-15 Repeat action of meas 9 six more times,

16 Stamp R in place, taking wt (ct 1), stamp L in place, taking wt (ct 2).

NOTE: The cir moves gradually to the L during meas 9-15.

Part 2 - Step-hop-steps L,R

1 Turning to face slightly L, step R across in front of L (ct 1), hop R, extending L along the cir and near the floor in preparation for the next step (ct 2), step swd L (ct &),

2-8 Repeat action of meas 1 seven more times, turning the cir rapidly to the L,

9 Stamp R strongly across in front of L, taking wt (ct 1), pivot sharply 1/2 to the R and hold (ct 2),

10 Facing slightly R, stamp L strongly next to R, taking wt (ct 1), hold (ct 2),

11 Stamp R strongly next to L, taking wt (ct 1), hold (ct 2),

12 Moving to the R, step L across in front of R (ct 1), hop L, extending R along the cir and near the floor in preparation for the next step (ct 2), step swd R (ct &),

13-15 Repeat action of meas 12 three more times, turning the cir rapidly to the R,

16 Step L across in front of R (ct 1), hop L, pivoting to face ctr (ct 2), hold (ct &).

Repeat entire dance from beginning,
Repeat Part 1-a and Part 1-b,
Step R across in front of L (ct 1 -- 1/2 meas only).

At this point, the next dance in the medley begins. With the addition of 1/2 meas, it automatically puts the dancers' wt on the correct ft (R).

KRIČI KRIČI TIČEK

Part 1 - Hop-step-steps L

1 Facing slightly L, hop R, extending L along the cir and near the floor in preparation for the next step (ct 1), step swd L (ct &), step R across in front of L (ct 2),

2-8 Continuing to move the cir CW to the L, repeat action of meas 1 seven more times.

Part 2 - Walking L,R

9 Continuing in the same dir, walk L (ct 1), walk R (ct 2),

10-11 Repeat action of meas 9 two more times,

12 Walk L (ct 1), pivoting on L to face opp dir, hold (ct 2),

13-16 Reverse action of meas 9 in the opp dir for a total of 8 walking steps (no hold and remain facing slightly R).

Part 3 - Hop-step-steps R

1-8 Reverse action of Part 1 to R with opp ftwk.

Part 4 - Walking R,L

9-16 Reverse action of Part 2 beginning to R with opp ftwk.

Repeat entire dance from beginning,
Repeat action of Part 1,
Walk L (ct 1 -- 1/2 meas only).

At this point, the next dance in the medley begins. As in the previous transition, the addition of 1/2 meas automatically puts the dancers' wt on the correct ft (L).

POSAVSKI DRMEŠ (Kiša Pada)

Part 1 - Buzz-step L

1 Facing slightly L, step R across in front of L, bending R knee (ct 1), step on ball of L fwd along the cir, moving the cir CW to the L (ct 2),

2-8 Repeat action of meas 1 seven more times.

Part 2 - Drmeš

9 Facing ctr, stamp onto R, bending R knee and taking wt (ct 1), rise onto ball of R as L moves slightly swd to L (ct &), bounce on both heels with wt on both (ct 2), bounce on both heels taking wt onto L (ct &),

10-16 Repeat action of meas 9 seven more times.

Repeat entire dance from beg.

NOTE: Some dancers like to end by stamping RLR with wt on the final meas. Several variations of this last dance have been introduced to American folk dancers since 1957.

KRIČI KRIČI TIČEK
Croatia

/ Kriči, kriči, tičk, na suhem grmeku. /
/ Kaj je tebi, a moj tiček, kaj si tak turoben? /

/ Kriči, kriči, tičk, na suhem grmeku. /
/ Kaj je tebi, a moj tiček, kaj si tak turoben? /

/ Kaj si zgubil dragu, kaj te je lubila? /
/ Kaj je tebe a moj tiček, draga ostavila? /

/ Nije mene moja draga ostavila. /
/ Nije mene moja mila draga ostavila. /

/ Već sam zgubil krila, nem'rem poleteti. /
/ Već sam zgubil laka krila, nemrem poleteti. /

/ Zato tebe, draga, v jesen nem'rem zeti. /
/ Zato tebe4, mila draga, v jesen nem'rem zeti. /

Chirp, chirp little bird, on the dry branch.
What’s the matter, my little bird, why are you so sad?

Chirp, chirp little bird, on the dry branch.
What’s the matter, my little bird, why are you so sad?

Did you lose your sweetheart who loved you?
Did your sweetheart leave you, my little bird?

My dear sweetheart did not leave me.
My dear sweetheart did not leave me.

I have lost my wings, I can no longer ﬂy.
I have lost my light wings, I can no longer ﬂy.

That’s why, darling, I can’t marry you this fall.
That’s why, darling, I can’t marry you this fall.

POSAVSKI DRMEŠ
(Kiša Pada)
Croatia

Precveli su plavi tulipani,
/ Ženite se garavi derani, /
Precveli su plavi tulipan.

Chorus:
Ana ana ini nena evo mojega dragana.
Ana ana ini nena evo mojega dragan.

Kiša pada, neven vene,
/ Zaboravi diko mene. /
Kiša pada neven ven.

Chorus

Višnja zrije, polje se zeleni,
/ Hoće noćas dika doći meni? /
Višnja zrije, polje se zelen. The blue tulips have bloomed.
Get married, you dark guys.

Chorus:
Here's my sweetheart.

Rain falls, the marigold wilts.
Forget me, sweetheart.

Chorus:

The cherry is ripe, the ﬁeld is green.
Will my sweetheart come to my place tonight?

Copyright © 2012 by Dick Oakes

NAMA DRMEŠ MEDLEY Croatian

PRONUNCIATION:	NAH-mah DRR-mesh MED-lee

TRANSLATION:	Medley of three Croatian dances

SOURCE:	Dick Oakes learned these dances from Dick Crum.

BACKGROUND:	Drmeš iz Zdenčine, Kriči Kriči Tiček, and Kiša Pada (Posavski Drmeš) are the three "drmeši" (shaking dances) in this medley for which the transitions have been arranged by David Owens, the director of the NAMA Orchestra. Dick Crum says that the drmeš (pronounced DRR-mesh), or shaking dance, is the most typical dance form in the northwestern part of Croatia. Drmeši are rarely danced today, except at weddings or other celebrations, and usually only by older dancers, dancing as couples or in small circles of three or four. Otherwise, the drmeš is usually only seen when performed by amateur dance groups who may select a tune and some movements culled from the older dancers for presentation to audiences as living museum pieces. Sometimes, groups from adjacent villages will select different movements and sequences for a particular melody common to both, giving rise to what puzzled American folk dancers sometimes think of as conflicting versions of the same dance. Drmeš iz Zdenčine (DRR-mesh ees SDEHN-chee-neh) comes from the village of Zdenčina, about half-way between Zagreb and Karlovac (near Jastrebarsko). It was collected in 1954 by the noted researcher Dick Crum. Kriči Kriči Tiček (KREE-chee KREE-chee TEE-chek) means "chirp chirp little bird" and originates in the Prigorije district, just north of Zagreb. This dance was also collected by Dick Crum in 1954. Kriči Kriči Tiček is one such dance that has undergone the natural preservative process. Kiša Pada (KEE-shah PAH-dah), meaning "it rains," is a popular tune for a dance from the Posavina area (east of Zagreb) called "Posavski Drmeš." This dance was collected by Zvonimir Ljevaković, choreographer for the LADO Croatian Folk Ensemble. It was taught by Dick Crum and John Filcich. Croatia declared independence from socialist Yugoslavia in 1991. War broke out in 1991 with Yugoslav National Army open attacks on Croatia. At the end of 1991 there was full-scale war in Croatia. The war was between the Serbs, in what had been the Republic of Serbia in the former Yugoslavia, and Croats in the newly independent Croatia. The reasons for the war are quite complex. To greatly simplify, while Croatia and Slovenia wanted to separate from Yugoslavia, Serbs were largely unwilling to allow this to happen, probably largely for economic reasons.
MUSIC:	NAMA (LP) 1001, side A, band 4. For those dancers who wish to dance these selections separately, many recordings are available including: DRMEŠ IZ ZDENČINE: Folk Dancer (45rpm) MH 3030; Folkraft (45rpm) 1500x45 KRIČI KRIČI TIČEK: Folk Dancer (45rpm) MH 3021; Festival (45rpm) F-4002 POSAVSKI DRMEŠ (Kiša Pada): AMAN (LP) A-102, side 2, band 1; Festival (45rpm) F-4003; Folkraft (45rpm) 1491x45
FORMATION:	Closed cir of mixed M and W in either front-basked hold ("F" pos), joining hands with the second dancer on either side (left arm under), or with a back-basket hold ("B" pos) joining hands with the second dancer on either side across in back of nearest dancer (taller person's arms over shorter person's for comfort).

METER/RHYTHM:	2/4

STEPS/STYLE:	Dancers take small steps.


MEAS	MOVEMENT DESCRIPTION


	DRMEŠ IZ ZDENČINE

	Part 1-a - Fast Drmeš
1	Facing ctr, fall onto full R, bending R knee (ct 1), stamp onto full L beside R, sharply straightening both knees and taking wt (ct &), repeat action of cts 1& (cts 2&),
2-7	Repeat action of meas 1 six more times,
8	Stamp R in place, taking wt (ct 1), stamp L in place, taking wt (ct 2).

	NOTE: The movements in meas 1-7 are all even, loudly stamped, and have a distinct down-up action.

	Part 1-b - Slow Drmeš
9	Step R twd ctr (ct 1), quickly flex and straighten R knee (ct &), step bwd L (ct 2), quickly flex and straighten L knee (ct &),
10-15	Repeat action of meas 9 six more times,
16	Stamp R in place, taking wt (ct 1), stamp L in place, taking wt (ct 2).

	NOTE: The cir moves gradually to the L during meas 9-15.

	Part 2 - Step-hop-steps L,R
1	Turning to face slightly L, step R across in front of L (ct 1), hop R, extending L along the cir and near the floor in preparation for the next step (ct 2), step swd L (ct &),
2-8	Repeat action of meas 1 seven more times, turning the cir rapidly to the L,

9	Stamp R strongly across in front of L, taking wt (ct 1), pivot sharply 1/2 to the R and hold (ct 2),
10	Facing slightly R, stamp L strongly next to R, taking wt (ct 1), hold (ct 2),
11	Stamp R strongly next to L, taking wt (ct 1), hold (ct 2),

12	Moving to the R, step L across in front of R (ct 1), hop L, extending R along the cir and near the floor in preparation for the next step (ct 2), step swd R (ct &),
13-15	Repeat action of meas 12 three more times, turning the cir rapidly to the R,
16	Step L across in front of R (ct 1), hop L, pivoting to face ctr (ct 2), hold (ct &).

	Repeat entire dance from beginning, Repeat Part 1-a and Part 1-b, Step R across in front of L (ct 1 -- 1/2 meas only).

	At this point, the next dance in the medley begins. With the addition of 1/2 meas, it automatically puts the dancers' wt on the correct ft (R).



	KRIČI KRIČI TIČEK

	Part 1 - Hop-step-steps L
1	Facing slightly L, hop R, extending L along the cir and near the floor in preparation for the next step (ct 1), step swd L (ct &), step R across in front of L (ct 2),
2-8	Continuing to move the cir CW to the L, repeat action of meas 1 seven more times.

	Part 2 - Walking L,R
9	Continuing in the same dir, walk L (ct 1), walk R (ct 2),
10-11	Repeat action of meas 9 two more times,
12	Walk L (ct 1), pivoting on L to face opp dir, hold (ct 2),
13-16	Reverse action of meas 9 in the opp dir for a total of 8 walking steps (no hold and remain facing slightly R).

	Part 3 - Hop-step-steps R
1-8	Reverse action of Part 1 to R with opp ftwk.

	Part 4 - Walking R,L
9-16	Reverse action of Part 2 beginning to R with opp ftwk.

	Repeat entire dance from beginning, Repeat action of Part 1, Walk L (ct 1 -- 1/2 meas only).

	At this point, the next dance in the medley begins. As in the previous transition, the addition of 1/2 meas automatically puts the dancers' wt on the correct ft (L).



	POSAVSKI DRMEŠ (Kiša Pada)

	Part 1 - Buzz-step L
1	Facing slightly L, step R across in front of L, bending R knee (ct 1), step on ball of L fwd along the cir, moving the cir CW to the L (ct 2),
2-8	Repeat action of meas 1 seven more times.

	Part 2 - Drmeš
9	Facing ctr, stamp onto R, bending R knee and taking wt (ct 1), rise onto ball of R as L moves slightly swd to L (ct &), bounce on both heels with wt on both (ct 2), bounce on both heels taking wt onto L (ct &),
10-16	Repeat action of meas 9 seven more times.

	Repeat entire dance from beg.

	NOTE: Some dancers like to end by stamping RLR with wt on the final meas. Several variations of this last dance have been introduced to American folk dancers since 1957.