Milanovo Kolo

MILANOVO KOLO
Serbian

PRONUNCIATION: MEE-lah-noh-voh KOH-loh

TRANSLATION: Milan's circle dance (Milan is a man's name)

SOURCE: Dick Oakes learned this dance from John Filcich who taught it to folk dancers in the United States in 1953 and taught it at the 1963 and 1970 Stockton Folk Dance Camp. It may be found in his book Igra Kolo.

BACKGROUND: Milanovo Kolo is one of the many easy Serbian dances that were made popular in the early 1950s by John Filcich, Dick Crum, and other fine folk dance teachers. Because of Yugoslavia's unique position on the centuries-old East-West trade routes, its Slav culture was brought into contact with many non-Slavic peoples. Serbia, long under Turkish domination, has retained an unmistakably Eastern flavor in its musical style.
Western Serbs (Gary, Indiana to Arizona to California) raise their arms in part 1 while Eastern Serbs (St. Paul to Pittsburgh to New York) raise their arms in part 2. Dick Crum spread the eastern version in 1952 and John Filcich spread the western version around 1953. The western version is described below.

MUSIC: Festival Records (45rpm) FLP-4505
RCA (45rpm) EPA-4129
RCA (LP) LPM 1620
Stanchel (78rpm) 1011-B
Geisler, Richard. "Milanovo Kolo" (sheet music), The Yugoslav Collection, The Village & Early Music Society, 15181 Ballantree Lane, Grass Valley, CA 95949-7633.
Sheet Music: Vancouver International Folk Dancers Music Book, Vol. 2., Deborah Jones, 1982.

FORMATION: Open cir of mixed M and W, hands joined and held dn in "V" pos. End persons have free hand clenched behind back.

METER/RHYTHM: 2/4

STEPS/STYLE: Hops are danced low--close to the floor.

MEAS MOVEMENT DESCRIPTION

INTRODUCTION - None.

I. STEP-HOPS, WALK

1 Bringing hands fwd to a low angle, step R diag to R twd ctr (ct 1); hop R (ct 2).

2 Keeping hands fwd at a low angle, and continuing in the same dir, step L (ct 1); hop L (ct 2).

3 Bringing joined hands down to sides, and turning to face diag L twd ctr, but moving diag bwd to R, step bwd R (ct 1); step bwd L (ct 2).

4 Step bwd R (ct 1); bring L to R ankle (ct 2).

5-8 Repeat action of meas 1-4 to L with opp ftwk.

II. CROSSES FWD AND BWD

1 Facing and moving slightly twd ctr, step R in front of L (ct 1); rock back onto L in place (ct 2);

2 Rock fwd onto R (ct 1); hop R, bringing L around in front (ct 2).

3 Step L in front of R (ct 1); rock back onto R in place (ct 2).

4 Rock fwd onto L (ct 1); hop L, leaving R in back (ct 2).

5 Step R bwd (ct 1); draw L to R and step L slightly across R (ct 2).

6 Step R bwd (ct 1); hop R, bringing L around in back of R (ct 2).

7 Step L bwd (ct 1); draw R to L and step R slightly across L (ct 2).

8 Step L bwd (ct 1); hop L, bringing R to L ankle (ct 2).

Repeat entire dance from beg.

Copyright © 2012 by Dick Oakes

MILANOVO KOLO Serbian

PRONUNCIATION:	MEE-lah-noh-voh KOH-loh

TRANSLATION:	Milan's circle dance (Milan is a man's name)

SOURCE:	Dick Oakes learned this dance from John Filcich who taught it to folk dancers in the United States in 1953 and taught it at the 1963 and 1970 Stockton Folk Dance Camp. It may be found in his book Igra Kolo.

BACKGROUND:	Milanovo Kolo is one of the many easy Serbian dances that were made popular in the early 1950s by John Filcich, Dick Crum, and other fine folk dance teachers. Because of Yugoslavia's unique position on the centuries-old East-West trade routes, its Slav culture was brought into contact with many non-Slavic peoples. Serbia, long under Turkish domination, has retained an unmistakably Eastern flavor in its musical style. Western Serbs (Gary, Indiana to Arizona to California) raise their arms in part 1 while Eastern Serbs (St. Paul to Pittsburgh to New York) raise their arms in part 2. Dick Crum spread the eastern version in 1952 and John Filcich spread the western version around 1953. The western version is described below.
MUSIC:	Festival Records (45rpm) FLP-4505 RCA (45rpm) EPA-4129 RCA (LP) LPM 1620 Stanchel (78rpm) 1011-B Geisler, Richard. "Milanovo Kolo" (sheet music), The Yugoslav Collection, The Village & Early Music Society, 15181 Ballantree Lane, Grass Valley, CA 95949-7633. Sheet Music: Vancouver International Folk Dancers Music Book, Vol. 2., Deborah Jones, 1982.
FORMATION:	Open cir of mixed M and W, hands joined and held dn in "V" pos. End persons have free hand clenched behind back.

METER/RHYTHM:	2/4

STEPS/STYLE:	Hops are danced low--close to the floor.


MEAS	MOVEMENT DESCRIPTION


	INTRODUCTION - None.

I.	STEP-HOPS, WALK

1	Bringing hands fwd to a low angle, step R diag to R twd ctr (ct 1); hop R (ct 2).
2	Keeping hands fwd at a low angle, and continuing in the same dir, step L (ct 1); hop L (ct 2).
3	Bringing joined hands down to sides, and turning to face diag L twd ctr, but moving diag bwd to R, step bwd R (ct 1); step bwd L (ct 2).
4	Step bwd R (ct 1); bring L to R ankle (ct 2).
5-8	Repeat action of meas 1-4 to L with opp ftwk.

II.	CROSSES FWD AND BWD

1	Facing and moving slightly twd ctr, step R in front of L (ct 1); rock back onto L in place (ct 2);
2	Rock fwd onto R (ct 1); hop R, bringing L around in front (ct 2).
3	Step L in front of R (ct 1); rock back onto R in place (ct 2).
4	Rock fwd onto L (ct 1); hop L, leaving R in back (ct 2).
5	Step R bwd (ct 1); draw L to R and step L slightly across R (ct 2).
6	Step R bwd (ct 1); hop R, bringing L around in back of R (ct 2).
7	Step L bwd (ct 1); draw R to L and step R slightly across L (ct 2).
8	Step L bwd (ct 1); hop L, bringing R to L ankle (ct 2).

	Repeat entire dance from beg.
Copyright © 2012 by Dick Oakes