Folk Dance Techniques 5

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Code Completion Credits Range Language Instruction Semester
107TEL5 Z 2 2T Czech winter

Subject guarantor


Name of lecturer(s)


Learning outcomes of the course unit

Students are to achieve the masterfull performance of folkdance steps.

Mode of study

Performance of presented dances. Individual variations and whole dances with their variants. Students develop their skills in a dance hall.

Prerequisites and co-requisites

Active participation in lessons. Creation of variations from coverd steps and their phrasing with emphasis on the regional characteristics.

Course contents

Dance step material: Rokycanská, Hulán, Kalamajka a Maděra, Bystřický and Trnka, Ruška z Opavska, Mrákotín, Polonéz, Černá vlnka

Students read dance notation descriptions and help each other learn them. They first select dance steps that need to be technically mastered and then the entire dance motif. Step motifs are exchanged and enriched in execution, partner holds and in space. Joining steps: Sousedská and three-beat turning steps, Single and double Zakladáčká, turns in semi-running in connection with Wallachian steps, Maděra Polka with hops jumps and girls turning, Russian Polka and its variations in partner holds and without holds changing partner places, Hopping turning Obkročák to more difficult directions = in direction of the circle to the left, opposite circling to the right, divided Polonez step with divisions into 1, 2, and 3 beat measures, Polonez Quadrille, Wallachian Cifrováni variations for dances Černá vlnka a Bystřický a Trnka. Various manners of playing out some dance and their space and step variations. Executing an entiredance with piano accompaniment and its reading then with music recording accompaniment: Students studz the entire dance notation. They work with piano accompaniment and notation. The dance is discussed in individual sections which the students mark in he notation. Music recordings are used for the technical mastery of the dance. To master the dance several repetitions are needed. Each dance has its own final form and other tempo than that to which the students are used to with piano accompaniment and when played with folk music the experience is completely different.

Recommended or required reading

Bonuš, František; Kos, Bohumil; Mišurec, Z.: Zbojnické písně a tance, Praha 1953.

Bonuš, František: Lašské tance, SNKLHU Praha 1951.

Bonuš, František; Kos, Bohumil: Lidové tance ve školní tělesné výchově (doprovodný text ke gramofonovým nahrávkám) Supraphon Praha 1984.

Kos, Bohumil: Lidové tance ve školní tělesné výchově, SPN Praha 1983.

Seidl, Jan; Špičák, Josef: Zahrajte mi do kola, Praha 1945.

Vycpálek, Josef: České tance, Praha 1921.

Jelínková, Zdenka: Lidové tance z Kopanic, Brno 1957.

Jelínková, Zdenka: Valašské tance, SNKLHU Praha 1953.

Jindřich, Jindřich: Jindřichův chodský zpěvník, Domažlice 1929-1930.

Zálešák, Cyril: Pohronské tance, Martin 1953.

Socha, Vincenc: Lašské tance, vlastní náklad Lhotka 1950.

Mázorová, Mária; Ondrejka, Kliment a kol.: Slovenské ludové tance, Bratislava 1991.

Assessment methods and criteria

Credit is awarded based on: activity in exercises, knowledge of the dances covered and their variations.



Schedule for winter semester 2019/2020:

room H2041
white studio

(Hartigovský palác)
Date Day Time Tutor Location Notes No. of paralel
Fri 09:00–10:30 Marie FRIČOVÁ white studio
Hartigovský palác

Schedule for summer semester 2019/2020:

The schedule has not yet been prepared

The subject is a part of the following study plans