Floricica Oltenească

FLORICICA OLTENEASCĂ
Romanian

PRONUNCIATION: floh-rih-CHEE-kah ohl-teh-NEHS-kuh

TRANSLATION: Little flower from Oltenia

SOURCE: Dick Oakes learned this dance from Mihai David who learned it during the years 1963 to 1965 while dancing with the Romanian State Folk Ensemble and subsequently taught it at the 1973 Stockton Folk Dance Camp.

BACKGROUND: Floricica Olteneasca is a Sârba (Sîrba) from Lesser Walachia (Oltenia). In Oltenia, several dances bear the names of plants, such as, Alunelul (the hazelbush) and Trandafirul (the rose).
In Oltenia, the dances are mainly for mixed groups, danced in a circle or semi-circle. The dancers hold each other by the hand in the Hora and by the shoulders in the Sârba -- Hora and Sârba being the two main dances in the province. The Sârba, which is thought to have originated in Oltenia or possibly in Muntenia (Greater Walachia), is the dance that has spread most widely to the other provinces of Romania. While the Sârba is danced almost everywhere approximately in the same fashion, its melodies are simply countless.
Some of the intruments used are remarkably simple. A leaf, a blade of grass, a sliver of birch bark, the scale of a fish, even a slip of plastic material, are capable of rendering into musical sounds the feelings that move the folk artist. The instrument on the recordings listed below is the mouth harp (drîmba). It consists of a metal frame, usually of iron, in a horseshoe or epaulette shape, in the middle of which is one or more metal tongues (a harp with as many as 12 tongues is known). The tongue's free end is formed in a right angle. Its vibrations, provoked by plucking with the finger, are strengthened and molded by the cavity of the player's mouth before which the instrument is held. Doinas (free-form melody with a pronounced improvised character, a relatively small number of motifs, and with lyrical expressiveness), songs, and dances may be played on the drîmba within the limits of the series of harmonics that the instrument can produce.

MUSIC: The Lark (45rpm) L-3709;
The Lark (10"LP) FLDR;
Gypsy Camp Vol. 1 (LP) GC 5201-1.

FORMATION: Open cir of mixed M and W with hands grasping near shldrs of neighbors in "T" pos.

METER/RHYTHM: 4/4

STEPS/STYLE: The body is held proudly erect with the feet and legs having almost a ballet quality to their movements. Stamps are made slightly fwd instead of immediately next to the supporting ft, except where noted, and are without wt.

MEAS MOVEMENT DESCRIPTION

PART ONE

INTRODUCTION

1 Facing slightly to R in LOD, walk R,L,R (cts 1,2,3); facing ctr, close L to R without wt (ct 4).

2 Repeat action of meas 1 to L with opp ftwk.

3-4 Repeat action of meas 1-2.

I. STEP-HOPS; SWD

1 Facing ctr, step R slightly swd, extending L low fwd (ct 1); low hop R, raising and bending L knee slightly (ct &); step L slightly swd, extending R low fwd (ct 2); step R swd (ct 3); step L across in back of R (ct &); step R swd, extending L low fwd (ct 4) low hop R, raising and bendng L knee slightly (ct &).

2 Repeat action of meas 1 to L with opp ftwk.

3-4 Repeat action of meas 1-2.

II. STEP-HOP, STEP-STAMP, TO CTR AND BACK

1 Step R slightly swd, extending L low fwd (ct 1); low hop R, raising and bending L knee slightly (ct &); step L slightly swd (ct 2); stamp R next to L without wt (ct &); step R slightly swd, extending L low fwd (ct 3); low hop R, raising and bending L knee slightly (ct &); step L slightly swd (ct 4); stamp R next to L without wt (ct &);

2 Repeat action of meas 1.

3 Walking twd ctr, step R,L,R (cts 1,2,3); step L fwd, bending supporting knee slightly (ct 4); stamp R next to L with wt (ct &);

4 Step R,L bwd (cts 1,&); step R bwd, bending supporting knee slightly (ct 2); stamp R next to L without wt (ct &); step R,L bwd (cts 3,&); step R bwd, bending supporting knee slightly (ct 4); stamp R next to L without wt (ct &).

III. TRAVEL IN LOD

1 Facing slightly R and moving in LOD, step R (ct 1); hop R (ct &); step L (ct 2); hop L (ct &); step R (ct 3); close L to R taking wt (ct &); step R (ct 4); hop R (ct &).

2 Repeat action of meas 1 in same dir with opp ftwk.

3-4 Repeat action of meas 1-2.

Repeat action of Fig I through Fig III.

Repeat action of Fig I through Fig II.

NOTE: There is a 2-ct pause between PART ONE and PART TWO.

PART TWO

INTRODUCTION

1-4 Repeat acton of PART ONE, INTRODUCTION, meas 1-4.

I. TRAVEL IN LOD

1-4 Repeat action of PART ONE, Fig III, meas 1-4.

II. IN PLACE

1 Facing ctr, jump to both ft apart in place (ct 1); jump, clicking ft together in air (ct &); land on L (ct 2); step on ball of R across in back of L (ct &); hop R, raising L extended fwd (ct 3); slap sole of L ft fwd (ct &); hop R, raising extended L diag fwd to L (ct 4); slap sole of L ft diag fwd to L (ct &);

2 Step L next to R (ct 1); quickly step R in front of L (ct uh); quickly step L in place (ct &); step R next to L (ct 2); quickly step L in front of R (ct uh); quickly step R in place (ct &); jump to both ft apart in place (ct 3); jump, clicking ft together in air (ct &); land on L, extending R fwd in air (ct 4); slap sole of R ft fwd (ct &).

I. TO CTR, IN PLACE

1 Hop L, touching R fwd in front of L (ct 1); hop L, touching R diag fwd to R (ct &); hop L, touching R fwd in front of L (ct 2); step R fwd (ct &); hop L, touching R fwd in front of L (ct 3); hop L, touching R diag fwd to R (ct &); hop L, touching R fwd in front of L (ct 4); step R fwd (ct &);

2 Hop L, touching R fwd in front of L (ct 1); step R fwd (ct &); hop R, touching L fwd in front of R (ct 2); step L fwd (ct &); lift bent R knee in front (ct 3); pause (ct &);

step R in place (ct 4); step L next to R (ct &);

3 Step R next to L, extending L fwd (ct 1); slap sole of L ft fwd (ct &); step L next to R, extending R fwd (ct 2); slap sole of R ft fwd (ct &); step R next to L (ct 3); quickly step L next to R (ct uh); quickly step R in place (ct &); step L slightly swd (ct 4); stamp R next to L (ct &);

4 1/2 MEAS: Jump to both ft apart in place (ct 1); jump, clicking ft together in air (ct &); land on L, extending R fwd in air (ct 2); slap sole of R fwd (ct &).

IV. BACK OUT, IN PLACE

1 Step R bwd (ct 1); step L bwd (ct &); step R bwd (ct 2), stamp L next to R without wt (ct &); step L bwd (ct 3); step R bwd (ct &); step L bwd (ct 4); stamp R next to L without wt (ct &);

2 Repeat action of meas 1;

3 Stamp R across in front of L without wt and perpendicular to L (ct 1); stamp R next to L without wt (ct &); hop L, bringing R around in back (ct 2); touch ball of R across in back of L (ct &); slap sole of R ft fwd (ct &); hop L, raising R fwd in air (ct 4); slap sole of R diag fwd to R (ct &);

4 step R next to L (ct 1); quickly step L next to R (ct uh); quickly step R in place (ct &); step L slightly swd (ct 2); stamp R next to L (ct &); jump to both ft apart in place (ct 3); jump, clicking ft together in air (ct &); land on L, extending R fwd in air (ct 4); slap sole of R fwd (ct &).

Repeat action of PART TWO, Fig I through Fig IV.

Copyright © 2012 by Dick Oakes

FLORICICA OLTENEASCĂ Romanian

PRONUNCIATION:	floh-rih-CHEE-kah ohl-teh-NEHS-kuh

TRANSLATION:	Little flower from Oltenia

SOURCE:	Dick Oakes learned this dance from Mihai David who learned it during the years 1963 to 1965 while dancing with the Romanian State Folk Ensemble and subsequently taught it at the 1973 Stockton Folk Dance Camp.

BACKGROUND:	Floricica Olteneasca is a Sârba (Sîrba) from Lesser Walachia (Oltenia). In Oltenia, several dances bear the names of plants, such as, Alunelul (the hazelbush) and Trandafirul (the rose). In Oltenia, the dances are mainly for mixed groups, danced in a circle or semi-circle. The dancers hold each other by the hand in the Hora and by the shoulders in the Sârba -- Hora and Sârba being the two main dances in the province. The Sârba, which is thought to have originated in Oltenia or possibly in Muntenia (Greater Walachia), is the dance that has spread most widely to the other provinces of Romania. While the Sârba is danced almost everywhere approximately in the same fashion, its melodies are simply countless. Some of the intruments used are remarkably simple. A leaf, a blade of grass, a sliver of birch bark, the scale of a fish, even a slip of plastic material, are capable of rendering into musical sounds the feelings that move the folk artist. The instrument on the recordings listed below is the mouth harp (drîmba). It consists of a metal frame, usually of iron, in a horseshoe or epaulette shape, in the middle of which is one or more metal tongues (a harp with as many as 12 tongues is known). The tongue's free end is formed in a right angle. Its vibrations, provoked by plucking with the finger, are strengthened and molded by the cavity of the player's mouth before which the instrument is held. Doinas (free-form melody with a pronounced improvised character, a relatively small number of motifs, and with lyrical expressiveness), songs, and dances may be played on the drîmba within the limits of the series of harmonics that the instrument can produce.
MUSIC:	The Lark (45rpm) L-3709; The Lark (10"LP) FLDR; Gypsy Camp Vol. 1 (LP) GC 5201-1.

FORMATION:	Open cir of mixed M and W with hands grasping near shldrs of neighbors in "T" pos.

METER/RHYTHM:	4/4

STEPS/STYLE:	The body is held proudly erect with the feet and legs having almost a ballet quality to their movements. Stamps are made slightly fwd instead of immediately next to the supporting ft, except where noted, and are without wt.


MEAS	MOVEMENT DESCRIPTION


PART ONE

	INTRODUCTION

1	Facing slightly to R in LOD, walk R,L,R (cts 1,2,3); facing ctr, close L to R without wt (ct 4).
2	Repeat action of meas 1 to L with opp ftwk.
3-4	Repeat action of meas 1-2.

I.	STEP-HOPS; SWD

1	Facing ctr, step R slightly swd, extending L low fwd (ct 1); low hop R, raising and bending L knee slightly (ct &); step L slightly swd, extending R low fwd (ct 2); step R swd (ct 3); step L across in back of R (ct &); step R swd, extending L low fwd (ct 4) low hop R, raising and bendng L knee slightly (ct &).
2	Repeat action of meas 1 to L with opp ftwk.
3-4	Repeat action of meas 1-2.

II.	STEP-HOP, STEP-STAMP, TO CTR AND BACK

1	Step R slightly swd, extending L low fwd (ct 1); low hop R, raising and bending L knee slightly (ct &); step L slightly swd (ct 2); stamp R next to L without wt (ct &); step R slightly swd, extending L low fwd (ct 3); low hop R, raising and bending L knee slightly (ct &); step L slightly swd (ct 4); stamp R next to L without wt (ct &);
2	Repeat action of meas 1.

3	Walking twd ctr, step R,L,R (cts 1,2,3); step L fwd, bending supporting knee slightly (ct 4); stamp R next to L with wt (ct &);
4	Step R,L bwd (cts 1,&); step R bwd, bending supporting knee slightly (ct 2); stamp R next to L without wt (ct &); step R,L bwd (cts 3,&); step R bwd, bending supporting knee slightly (ct 4); stamp R next to L without wt (ct &).

III.	TRAVEL IN LOD

1	Facing slightly R and moving in LOD, step R (ct 1); hop R (ct &); step L (ct 2); hop L (ct &); step R (ct 3); close L to R taking wt (ct &); step R (ct 4); hop R (ct &).
2	Repeat action of meas 1 in same dir with opp ftwk.
3-4	Repeat action of meas 1-2.

	Repeat action of Fig I through Fig III.
	Repeat action of Fig I through Fig II.

	NOTE: There is a 2-ct pause between PART ONE and PART TWO.


PART TWO

	INTRODUCTION

1-4	Repeat acton of PART ONE, INTRODUCTION, meas 1-4.

I.	TRAVEL IN LOD

1-4	Repeat action of PART ONE, Fig III, meas 1-4.

II.	IN PLACE

1	Facing ctr, jump to both ft apart in place (ct 1); jump, clicking ft together in air (ct &); land on L (ct 2); step on ball of R across in back of L (ct &); hop R, raising L extended fwd (ct 3); slap sole of L ft fwd (ct &); hop R, raising extended L diag fwd to L (ct 4); slap sole of L ft diag fwd to L (ct &);
2	Step L next to R (ct 1); quickly step R in front of L (ct uh); quickly step L in place (ct &); step R next to L (ct 2); quickly step L in front of R (ct uh); quickly step R in place (ct &); jump to both ft apart in place (ct 3); jump, clicking ft together in air (ct &); land on L, extending R fwd in air (ct 4); slap sole of R ft fwd (ct &).

I.	TO CTR, IN PLACE

1	Hop L, touching R fwd in front of L (ct 1); hop L, touching R diag fwd to R (ct &); hop L, touching R fwd in front of L (ct 2); step R fwd (ct &); hop L, touching R fwd in front of L (ct 3); hop L, touching R diag fwd to R (ct &); hop L, touching R fwd in front of L (ct 4); step R fwd (ct &);
2	Hop L, touching R fwd in front of L (ct 1); step R fwd (ct &); hop R, touching L fwd in front of R (ct 2); step L fwd (ct &); lift bent R knee in front (ct 3); pause (ct &);

	step R in place (ct 4); step L next to R (ct &);
3	Step R next to L, extending L fwd (ct 1); slap sole of L ft fwd (ct &); step L next to R, extending R fwd (ct 2); slap sole of R ft fwd (ct &); step R next to L (ct 3); quickly step L next to R (ct uh); quickly step R in place (ct &); step L slightly swd (ct 4); stamp R next to L (ct &);
4	1/2 MEAS: Jump to both ft apart in place (ct 1); jump, clicking ft together in air (ct &); land on L, extending R fwd in air (ct 2); slap sole of R fwd (ct &).

IV.	BACK OUT, IN PLACE

1	Step R bwd (ct 1); step L bwd (ct &); step R bwd (ct 2), stamp L next to R without wt (ct &); step L bwd (ct 3); step R bwd (ct &); step L bwd (ct 4); stamp R next to L without wt (ct &);
2	Repeat action of meas 1;

3	Stamp R across in front of L without wt and perpendicular to L (ct 1); stamp R next to L without wt (ct &); hop L, bringing R around in back (ct 2); touch ball of R across in back of L (ct &); slap sole of R ft fwd (ct &); hop L, raising R fwd in air (ct 4); slap sole of R diag fwd to R (ct &);
4	step R next to L (ct 1); quickly step L next to R (ct uh); quickly step R in place (ct &); step L slightly swd (ct 2); stamp R next to L (ct &); jump to both ft apart in place (ct 3); jump, clicking ft together in air (ct &); land on L, extending R fwd in air (ct 4); slap sole of R fwd (ct &).

	Repeat action of PART TWO, Fig I through Fig IV.
Copyright © 2012 by Dick Oakes