Other dances of the Dubrovnik area

In the 19th century, the occurrence of new dances in Croatia, and thus in the Dubrovnik area, was strongly influenced by Central European dances. Particularly strong impact was made by Siebenschritt (Sedmokorak), or Šetepaši, in Dalmatia known by its version called Kvatropas (Četverokorak), in which every second step was counted. By splitting the Siebenschritt, there emerged Schottish (and its variant Sir Roger), here known as Šotić or Dva paša. In the 19th century, polka also developed from Siebenschritt. Polka emerged in 1830, and was invented by Anna Slezáková. According to the interpretation of A. Waldau, the word “polka” originated from pulka, meaning half, as in half-steps. With polka, in our region mazurka also spread, a Polish three-part folk dance in which the posture of couples was similar to that in civil dances. In Konavle, in the 19th and 20th centuries there were dances called Kvatropas, Denči, Čičak or Čičo, Mazorka, Namiguša or Ciciljona, Milica, Damijen polka, Damijen valcer, Valcer and Seljančica.

The name Denči came from the Italian danzare and was a variant of the mentioned Duo passo, or Šotić. This dance was also known in Istria, and in Konavle it was performed with the accompanying verses: Kad idem spati, stanem te zvati, Marice moja, ljubim te ja; Sve mi se para da si mi ti najveća moja ljubavi (eng. When I go sleep, I start calling you, oh, my Mary, I kiss you; It seems to me that you are my greatest love). In Palje Brdo, Denči was danced as kvatropas. Elsewhere, kvatropas was accompanied by the song Kvatro paso nama novi dom! Kvatro paso nama novi dom! The impact of the Alpine Spitzbaumpolka in Konavle was expressed in the dance called Čičak ili Čičo. Name "čičak" was given after clapping, and it was also accompanied by stomping of feet on the ground and finger threatening. Mazorka, which is also known as Mazolka, normally a three-part dance, in Palje Brdo, Pridvorje and Pičete was recorded as a two-part dance. Valcer (waltz) was danced alongside verses which have been preserved only partially: U toj bašti cvijet najmirisni, šetasmo se ja i ti (eng. In this garden of the most scented flowers, you and I were walking). In addition to a regular waltz, there was also a Damijen valcer (eng. Ladies' waltz), in which female dancers would choose a dance partner, as in Damijen polka (eng. Ladies' polka). In the period between the two world wars, in Konavle, by means of Tamburitza orchestras, there arrived a Milica dance, accompanied by verses: Milica je lijepo dijete, što je momci ne volite. Milicu jedinicu, Milicu jedinicu. Milica je večerala i na sokak istrčala, da vidi, da čuje đe joj dragi lumpuje. Milica je tuku pekla i meni je komad rekla. Milice jedinice, milice jedinice (eng. Milica is a pretty child, why is she not loved by boys. Milica the only child, Milica the only child. Milica had supper and ran out to the street, to see, to hear, where her darling is having fun. Milica roasted a turkey and promised me a slice. Oh, Milica the only child, oh, Milica the only child). As Milica, Seljančica also came to villages from urban centres and ballrooms and became domesticated as part of fun rural folklore.

Seljančica was performed with melody of the song with the following verses: Kad se Cigo zaželi pečenih kolača, on pošalje ciganku da po selu vrača, grmi, sijeva, nevrijeme se sprema, a Ciganke varošanke još iz sela nema (eng. When a Gipsy man feels like eating cakes, he sends out his wife to village to read fortune to the folk, thunder, lightning, a storm is coming, and the Gipsy’s wife is still in the village). In the Parish, people also danced Seljančica, but to somewhat different verses: Kad se Cigo zaželi pečenih kolača, on pozove Ciganku da kroz selo gača, desno, lijevo, slama, sijeno, neće mene moja mati za Cigana dati (eng. When a Gipsy man feels like eating cakes, he sends out his wife to walk through the village, to the right, to the left, oh the straw, oh the hey, my mother won’t marry me off to a Gipsy). To a similar melody, Ančica dance was performed in the Parish, accompanied by the verses: Mani se Anka, dubrovačkih đaka, đaci đavoli, profesori još gori; A trgovci mladi momci igraju se s novci (eng. Stay away, Anka, from Dubrovnik students, students - devils, teachers – even worse; And young traders – money players). In addition to poskočica (leaping dance), integral parts of the popular folklore were the parish polka and mazorka, which were considered older dances. Duveta dance was danced to the following verses: Došlo pismo iz Bosne da se šiške ne nose, a iz Beča stigo glas, da se nose i danas; A ja ću ih nositi makar da ću prositi (eng. A letter came from Bosnia that fringes are not fashionable, and news from Vienna says that they are still worn today; And I am going to wear them even if they reduce me to beggary).

A dance to a similar melody is known in Baranja as Jabučice. In the 20th century, to the Parish and Rijeka Dubrovačka came a dance called Brsaljera, a polka which got its name after Italian soldiers – bersaglieri, and was mostly accompanied by accordion. The dance is also known in Istria, and in Italy it is called La bersagliera. From France, a dance called raspa came to the Parish, here known as rašpa, but known also in Mexico, and here it was danced during the carnival. In Rijeka Dubrovačka, valcer (waltz) was danced – balcer, damen polka, denči, duo paso, kaina, poskočica, kvatro pasi, malferina, mazorka, polka, linđo, ragaca (quadrille), škampa boško, stočića. Schotisch was also danced, here known as sotić, as well as Ciciljona or Čičarona, known as sotić pušteni. The Dubrovnik Coastal Region had the dances of dva pasa, polka, mazolka, špicpolka, and ragacu, which were danced only in Orašac. As a newer entry in the local tradition after the Second World War, in Dubrovnik Coastal Region there came preskaka and trusa from the neighbouring Herzegovina, as well as a circle dance called I rešeto srce ima. On the Pelješac peninsula, mostly in Ponikve, polka and mazorka were danced, and in Orebić there was polonaise, the well-known Captain's dance. In Orebić, wedding dances were well-known. Podviruša was danced similarly to kontradanca, Miš was a dance in which a young man would peek left and right from behind a neighbouring female dancer, and would then jump after her and spin her in a circle dance. Zvrk was a dance in which a dance couple would take a neighbouring girl with which it would spin, and then they would take her dancing partner and then circle danced together. Other wedding dances were Điger, Kadena, U trojicu and Majka Maru. In the Pelješac parish, a quadruplet was danced. In Imotica, the songs were sung in a circle, walking around, usually by the women, before starting a circle dance. In circle dancing, they would sing Rešeto, in which partners were chosen. The dancers would move in a circle, in one direction, lightly skipping, bent in the direction of the movement, with a person in the middle, and the circle would go around him or her and sing: I rešeto srce ima, koje nam se sviđa svima; Biraj, biraj Mare, koga ti je drago, samo nemoj onega, koga nemaš rado; Ako nećeš nikoga, šibaj vanka iz kola (eng. Even a sieve has a heart, that we all like; Chose, chose Mary, whoever you wish, just not the one, who you don’t like; If you don’t want anyone, get out of the circle). The circle would stop in order for the girl to choose a young man to dance with him briefly, and the other participants would applaud and sing: Sad se vidi, sad se zna, 'ko se kome dopada (eng. Now we see, now we know, who likes who).