Dance has been recorded as an expression of celebration and festivity as early as Exodus 15:20, where Miriam leads the women in drumbeat and dance following the crossing of the Sea of Reeds from slavery in Egypt to freedom in the desert. The Talmud records instances of women dancing in the fields and vineyards on the 15th day of the month of Av in anticipation of young men selecting their brides. In Israel, this tradition has carried over into modernity as a sort of Jewish Sadie Hawkins Day!

With the development of Hasidism at the end of the 18th century, dance began to evolve as an expression of spirituality and commitment to God. The hora, the best known Jewish dance today, may have emerged from this genre.

The hora is one of the simplest of steps and is therefore very accessible - people dance the hora at weddings, bar and bat mitzvah celebrations, and other occasions of joy. Here's how it's done, in 6 beats:

Other Dance Descriptions

The following information is courtesy of Helen Winkler's www.yiddishdance.com. Visit her site for updates and more information.

Click on underlined dance titles for sample of music

Freylekhs (also called Karahod, Redl)

This is the major group dance of the Eastern European Jews. It's the one you see in all the old movies.

You will also see people doing a version of it at most weddings and bar mitzvahs.

The concept is simple.

Either a line or circle (or both formations interchanging) formation,everyone steps in their own way to the music.

This doesn't mean that it's a free for all. There are characteristic movements like a shuffling sort of walk, a two-step, alternately stepping and stamping.

The circle/line can move to the right or to the left, snaking around the room. People can go into the middle of the circle to show off their moves. The thread the needle figure (below) can also be a part of this dance.

The community at large probably gets confused about a hora vs. a freylekhs.

The hora can mean many things. The Israeli hora is a fast paced dance done with a shoulder hold with several characteristic steps, not really much like the freylekhs (Berk),with the basic step being the same as the Romanian sarba step. There is also a slow hora which is done to very slow 3/8 music, with its own distinctive footwork, again very different from the Israeli hora or the freylekhs (personal communication Jacob Bloom). In Romanian dancing, the hora seems to bea generic word for dance but quite often refers to a sort of saw-toothed pattern that moves in and out of the line of the circle. Then, if you travel through theBalkans you will find many horas, horos and oros which are really non-specific words for dance.

How to thread the needle

Leader is leading the line to the left, is on the left end of the line. I will call the leader person #1 next in line is #2, then #3, etc.

Leader #1 turns to their own right, does not pass under the arch formed between themselves and #2. Instead the leader (#1) places their own right hand(which is joined to person #2's left hand) on #1's left shoulder.

Leader then leads the line under the arch formed between person #2 & #3. #2 does not go under the arch but places their own right hand (joined to #3's left hand) on #2's left shoulder.

This process continues until everyone is wound up. While the winding is going on, people can keep time to the music by taking small steps in place.

The wound up line then snakes around the dance floor.

To unwind, the leader does their own small circle to the left, thus unwinding themselves.Then continuing moving to the left (counterclockwise is the best way I can describe this, although you aren't in a circle) the leader leads the line under the arch between person #2and person#3, thus allowing #2 to unwind. This continues until everyone is unwound.

Sher (or Sherele - Scissors Dance)

Also known as Volzeni Dance (Rivkind) and Hakhnaah, Hebrew for respect and fear "because dancers bowed their heads. It was a gesture of respect."

According to Vizonsky, the sher is a Jewish adaptation of the quadrille dances being done in the English and French courts of the 18th century. Dvora Lapson states that thedance was originally a tailor's guild dance with the figures meant to represent a pairof shears and threading the needle. In the movie "Dancing into Marriage" it is stated

that the dance might also refer to the cutting of the bride's hair with the shears on the evening before the wedding as was customary.

Beregovski states that the sher originally was a woman's dance since men and women did not usually dance together.

In some areas, the non-Jewish community actually picked up the sher from the Jewish population. According to Beregovski, the Moldavian gentile version of the dance was called a Srayer. Further discussion on the origin of thesher can be found in the liner notes of Budowitz's CD "Mother Tongue".

Whatever its origin, the sher wasa popular dance similar to a square dance. Many versions of the sher can be found in books (Lapson, Vizonsky, Kraus) and there is an online version on Jacob Bloom's web page.

Description

There are many versions of the sher depending on the community from which the dance arose. The overall concept is that of partners visiting others and then returning to their own partner. The original dance probably went on for a long time with choruses being repeated and people visiting one at a time, as well as time for shining. You may want to do the dance in the traditional way or you may use the version below which has fewer repetitions.

Music: According to Joshua Horowitz of the band Budowitz (thanks Joshua), 2 versions of the sher became standard due to their being recorded on 78's: the Philadelphia Sher and the Russian Sher; however, other music was also used, as long as the tempo, style and length of the piece fit the dance. I have found different shers on different CD's.

Once again listen to a few and pick the one that suits your needs.

(Arrangement by Teme Kernerman of Toronto. Based on the original version of the sher. Additional information from the video Dancing Into Marriage.)

Formation: Square, 4 couples, woman on the right of the man. Sometimes danced with 2 couples per side (Rivkind);i.e., 8 couples, (numbers represent which couple is which), all facing centre. Couple 1 has their back to the music:

3
4   2
1

(A) All join hands, circle to the left for 16 counts - circle to the right for 16 counts (back to original places)

(B) Couples 1 & 3, advance towards each other for 4 counts - retire, back to place with 4 counts

Couples 1 & 3, exchange places (8 counts), see below for details of how to change places

Couples 2 & 4 advance, retire and exchange places as described for 1 & 3

Everyone now has exchanged places, it's time to go back!

The sequence is repeated exactly as above which will return everyone to their original positions.

(C) Men 1 & 3 exchange places, 8 counts

Now man 1 is with woman 3, and man 3 is with woman 1

The couples turn with the new partner for 8 counts. Position for the turn is hands on partner's shoulders, turn to the left, using small walking steps.

The whole process is repeated, including the turn, returning men to their original positions

This exchange process is now done using man 2 & 4 (exchange, turn, return, turn)

The entire dance can be repeated 2 or 3 times from the beginning.

All join hands, circle to left for 16 counts

(D) In the movie, Dancing into Marriage, Lee Ellen Friedland states that people

can go into the middle and shine (show off) after the circle.

(E) Now proceed to the thread the needle figure described under the freylekhs instructions and snake around the room. It is wise to decide ahead of time, who in the group will lead the threading. You can unwind as described in the "Thread the Needle" instructions or if the group requires a simpler method, have everyone raise their arms and then turn to the right part-way, which automatically unwinds everyone at once.

You may also choose to remain coiled as an ending to the dance.

According to Joyce Mollov, in the movie Dancing into Marriage, the Thread the Needle represents the backstitch and the unwinding represents removing the stitches without breaking the thread.

How to exchange places (couples)

One method you can use is to have one of the couples raise their arms to produce an arch, and have the other couple pass through the arch. Then, each couple must turn as a couple, with the man backing up and the lady moving forward, positioning themselves in their new spots, with the lady on the right.

Another method is to have the couples slip past each other as follows:

The couples advance towards each other, then each couple moves a bit to their own right. The couples then move past each other with the men passing left shoulders. The couples then take the exchanged position in the square.

One way to teach this technique is to have the 2 couples advance towards each other and join hands, forming their own little circle. Circle 1/2 way round to the right.

The two couples separate from one another and each backs in to the new position on the square. Eventually they can form an imaginary circle and slip past each other.

How to exchange places (individuals)

The two men advance towards each other with 4 steps (RLRL) taking a little dip on the fourth step, meeting in the middle, almost right shoulder to right shoulder.

Each man moves a bit backward and to his own right. They pass left shoulders and use the remaining 2 steps to meet the opposite lady.

The path that is traced by the men going back and forth is supposed to represent the blades of the scissors; the rotation around each other in my mind, may represent the pivot point of the scissors (does anyone know?).

Alternatively, the woman can be on the left of the man in couples 2 & 4 (see Lapson's choreography, reference listed in resource section).

This formation was used to avoid handholding between men and women who were not married, assuming all 4 couples were married couples. Instead of having 2 men exchange places as described above, this version of the dance had a man exchanging places with a woman; the turn was then done with 2 men dancing together and 2 women dancing together. The man and woman would then return to their own partner.

Discussions on the Jewish Music List (September 13 & 14, 1999) indicate that even this formation would not have been acceptable to traditional rabbis and is probably a modern development (over the last 100 years) due to a more liberalized society. At the present time separate dancing is still the rule at orthodox celebrations.

Mitzvah Dance

Based on Nathan Vizonsky's Choreography

Background: The mitzvah dance fulfilled the Torah commandment to dance before the bride. Due to the requirement that males and females not touch, either a handkerchief, a belt, or thetrain of the bride's dress was used to replace holding hands. The master of ceremonies (badkhn) traditionally called up male wedding guests to dance with the bride, one at a time. The dance was also called the kosher dance indicating the bride had undergone ritual purification prior to the wedding, and also sometimes called the Shabbes Dance.

Rivkind differentiates the term mitzvah dance as being dancing with the bride and groom, whereas the kosher dance referred specifically to dancing with the kosher (ritually pure) bride. The bride's eyes would be downcast; i.e., she would not make eye contact with the men she danced with. In addition, the kosher dance might also refer to the rabbi dancing with his followers, the Hasidim.

Modifications for the recreational setting: In a dance class, everyone wants to dance and would be unhappy sitting on the sidelines watching others dance with a fictitious bride, one at a time.

Therefore, the dance has been modified to be a couple/mixer dance. In the shtetl, everyone would have improvised their own steps and that would have worked as each person took a turndancing with the bride. In a recreational dance couple/mixer setting, it is necessary to choreograph the dance or the result would be chaos. For another example of a choreographed mitzvah dance, see Fred Berk's version in 100 Israeli Dances.

Teaching Tip: I always tell people not to worry too much if they don't get the footwork quite right. After all this was originally an improvised dance. The only concern is that people change partners at the same time to avoid colliding. To ensure everyone's safety I shout "change" each time partners change until the group seems comfortable with the dance.

Formation: partners facing in a circle, man facing out (back to centre of circle), woman facing the man. Each partner holds a diagonal corner of the handkerchief fairly high, about head level, in their right hand. Men and women do the same footwork.

Music: a 4/4 or 2/4 piece of klezmer music freylekhs or bulgar will work.

If using faster music, I prefer to use 2 beats per step. If using a slower piece of music I use one beat per step. (Vizonsky choreographed the dance to 4/4 allegretto music, using 2 beats per step,but in the shtetl the tempo probably varied.)

Beregovski notes that the preferred music for the Kosher Tanz in some regions was a Polonaise.

Notation below is for 2/4 music, one beat per step.

Measure Steps

1 Step to right with right foot (1), place left foot behind the right foot without weight (2)

2 reverse of measure 1

3 Step forward towards partner with right foot (1), touch left foot behind the right (2)

4 Bow or curtsey (1), straighten up (2)

5 while making a quarter turn to the left so the partners are now standing side by side with the handkerchief still held high, step forward with left foot(1), forward with right foot (2)

6 continue to step forward with left foot (1), touch the right foot forward (2)

7 Back up by stepping back on right (1), back on left (2)

8 step back on right(1), touch left forward (2), back to original positions, facing each other again.

9 touch left heel beside right foot (1), touch left toe beside right foot (2), man lets go of handkerchief

10 each partner now moves to their own left, men's circle will move counterclockwise, women's circle moves clockwise step sideward to left (1), bring the right foot to the left foot (2) (step, together)

11 step sideward to left (1), kick the right foot forward (2)

12 each person now moves to his/her own right, step right foot sidewards to right (1), bring the left foot to the right foot (2)

13 touch right heel beside left (1), touch right toe beside left (2), man picks up the hankie again.

14 & 15 With hankie held high, both partners make a full turn clockwise under the hankie,

beginning with the right foot (1), left (2), right (1), left (2)

16 man lets go of hankie, each person then takes 2 steps to their own right step right (1), step left (2) moving one place over, now facing a new partner, and man picks up the hankie.

Dance begins again

Slow Hora
(as described by Jacob Bloom, learned from Michael Alpert 1994 KlezKamp)

Slow 3/8 time signature

1 step per measure

If you check your klezmer CD's you are bound to find a hora which has this characteristic 3/8 time signature.

Note that the rhythm pattern is very different from the Israeli hora, and the dance is much slower.

Formation: circle or line, "w" hand hold Styling: Dance progresses to the right-steps made to the right are larger than steps to the left.

There is no movement into centre

Arms up and joined, arms raising slightly on each step (facing right) Walk right, left, right, (facing center) touch left foot (facing left) Walk left, right, left, (facing right and leaning back slightly) touch right foot

Bulgar

The steps of the Bulgar will be familiar to anyone who has experience with Balkan dance, as the steps appear under different names in different Balkan countries; e.g. sarba step in Romania. The basic step is also the same footwork pattern as the Israeli Hora.

According to Feldman's article, the bulgar became the predominant Jewish dance in the American Jewish community. He attributes this to the perception that the bulgar was a secular dance that the European Jews picked up from the surrounding community in Moldavia (bulgareasca in Moldavia); it did not have a strong association with orthodox Jewish weddings. This made it more appealing to the American Jewish community. However, even the bulgar did not survive in subsequent generations due to the overall decline of klezmer music and dance in the US.

In the book "Klezmer Music A Marriage of Heaven and Earth", the bulgar music is said to be named after the Bulgarian inhabitants of Bessarabia; however, the connection of the music itself to the Bulgarians is apparently not clear (personal communication, Joshua Horowitz).

Instructions (As described by Jacob Bloom, as taught by Michael Alpert 1994, Klez Kamp, & Mame Loshn session)

Formation: Shoulder hold, circle formation

Music: A bulgar of your choice--listen to a few as the tempo varies a great deal.

(A) Right foot steps to right

Left foot crosses in front (or behind)

(B) Right foot steps to right, left foot swings across

(C) Left foot steps to left, right foot swings across

Variations (The designated leader whether in a circle or line if the circle happens to break, determines which variation everyone does. The steps are not called; everyone just watches and imitates the leader)

1. Vary size of steps

2. A & B same as variation 1

(C) Jump onto both feet with feet spread apart, hop onto left foot with right foot swinging across

3. A & B are the same as variation 1
(C) for C substitute: step Left, stamp Right beside left

4. A & B are the same as variation 1
(C) Step Left, Right, Left (3 small quick steps in place)

5. A & B are the same as item 1
(C) leap onto L, RL (leap followed by two small quick steps in place)

6. A is unchanged (B) leap onto R, LR (in place) (C) leap onto L, R L (in place)

7. A & B unchanged (C) step on both feet with feet spread apart, step on both feet with legs crossed

8. (A) same as item 1 (B) step on both feet with feet spread apart, step on both feet with legs crossed, (C) step on both feet with feet spread apart, step on both feet with legs crossed

9. First step in A is a stamp with the Right foot (towards the outside of the circle), followed by the rest of any of the other variations.

Note: for variations 5 & 6 the leap-step-step sequences are done more or less in place like a pas-de-basque

Czardas (Jewish version)

Learned from Steve Weintraub at Winnipeg Klezmer Dance Workshop November 2001.

Notes by Helen Winkler with assistance from Steve Weintraub.

Steve learned this dance within his own family of Hungarian Jews. This dance was also done by non-religious Romanian Jews (personal communication Bob Cohen Di Naye Kapelye). Mixed dancing was not allowed in observant Chasidic communities.

Formation: Couples facingÑman's hands on woman's upper back. Woman's hands on man's shoulders.

This is an improvised dance in the sense that although there are typical figures done to it, each couple does whichever figures they chose at any given time throughout the dance.

Music: Any Jewish style Czardas 4/4 or 2/4 time (my personal favourite, Track 4 of Di Naye Kapeleye's cd Mazeldiker Yid)

Czardas Step:

The step is starting with man's right foot, (woman uses opposite footwork):

Step R foot to R, bring L foot to the right and step on L

Step R foot to R, and close the left to it, no weight on L

Then repeat this sequence beginning with the L foot this time

There is a slight dip/lean on the 4th count into the direction of the step, R when moving R, L when moving L. The weight bearing leg does a small kneebend on the 4th count.

Rida Step

Both partners begin on R foot.

Step sideward with R to R, Step left across R

Repeat this as many times as desired. Then reverse the footwork.

It's easy to change directions if you finish with 3 stamps

A buzz step may be substituted.

Chugs

Each member of the couple makes a small jump forward diagonally to their own right, knees bent.

Then they each take a small jump backwards so as to face each other again.

Then they jump forward to the left and back to place.

Repeat as desired, usually an even number of times, usually 4 or 8, to fill a phrase of music.

In Place

This step is done as a mirror image.

Man starts on R foot, woman on L foot

Do three quick little runs in place (counts:1& 2), and hold for the (&) beat.

The free leg is extended to the side slightly. The knees stay close on the 2nd beat, but the lifted heel is extended outward, sort of like a Charlston step- the knee of the gesture leg must bend slightly to accomplish this. The accent is very much on 2. In terms of the "quick runs" the first 2 are done lightly toward the ball of the foot, and the last count -2- on a firm, flat foot.

Shtock Dance/Game

Rivkind describes this as a dance/game similar to musical chairs.

Individuals walk around the room without music. One man walks with a stick. Suddenly, he drops the stick, sits down and everyone scrambles for a chair (there is one less chair than people).Whoever is left picks up the stick and the game continues.

Kozak (also kazatske, kazatchka, Cossatchok)

The Kozak, based upon the dance of the Cossacks, is frequently mentioned in articles and recent discussion on the Jewish music list suggests that it remains a popular dance in many communities. This is in contrast to Vizonsky's comment "Essentially it is the display of the warrior and was,therefore, alien to the psychology of the Jew to whom it was wholly unacceptable." Zeitlin indicates that the Cossack dance referred to the more vigorous version which included "Somersaults, handstands and flips." Cossatchok was the less vigorous version. This dance is mentioned in 2 of the dance stories on my web site, one dating back to the 1800s. The question is, in view of the history between the Cossacks and the Jews in Eastern Europe, why was/is this dance so popular among Jews?

Contact Helen Winkler if you have a dance description to share.

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