24

Activities in Physical Education and Sport

2015, Vol. 5, No. 1, pp. 24-29

TRADITIONAL FOLK DANCES OF SOUTH-WEST

SERBIA IN TEACHING MUSICAL CULTURE AND
PHYSICAL EDUCATION
(Professional paper)

Biljana Pavlović1, Branko Popović2 and Nevenka Zrnzević3

Teacher training faculty in Prizren-Leposavic,
1

University of Pristina -Kosovska Mitrovica, Serbia

2
Teacher training faculty in Užice, University of Kragujevac, Serbia
3
Teacher training faculty in Prizren-Leposavic,
University of Pristina-Kosovska Mitrovica, Serbia

Abstract
This paper analyzes the traditional folk dances of Southwest Serbia, from the standpoint of
teaching music culture and physical education in the elementary grades. Special attention is given to
dances accompanied by singing from the regions of Raska, Novi Pazar and Sjenice. The aim is to establish
their presence and importance in music and physical education. Analyzed are the curricula of music and
physical education, as well as music culture textbooks, to determine which dances of this region have been
proposed for inclusion in the classroom teaching. It is concluded that the dances of southwestern Serbia
are insufficiently covered by the curriculum of these two subjects and that they were omitted from the
textbooks of music culture. For this reason, this work’s tasks were to analyze the musical-pedagogical and
ethno musicological literature that deals with the area of Southwest Serbia; to select suitable examples to
work with students of junior school age; to determine their educational importance in teaching. Through
highlighted examples, the students will be able to learn about the specifics of the traditional folk dances of
Southwest Serbia, and to gain insight into the richness and beauty of folk musical creativity of this region.

Keywords: games with singing, musical capabilities, traditional folk dances of Southwest Serbia,
elementary grades, music folklore, curricula of music culture, curricula of physical education,
musical-pedagogical literature, ethno musicological literature

INTRODUCTION The first record about the Southwest Serbia folk

This paper analyses traditional folk dances of South-
west Serbia, with reference to teaching of music culture
and physical education. Special attention is given to
dance tradition of Raska, Novi Pazar and Sjenica – the
areas of Southwest Serbia. The incentive to work on this
subject came from the observation that the traditional
dances are neglected in the curriculum of music culture
and physical education in the lower grades of elemen-
tary school. The aim of this paper is to gain insight into
the richness and beauty of the traditional dancing musi-
cal heritage of Southwest Serbia, and its importance in
achieving educational tasks in teaching. As the curricu-
lum of the primary school asserts using of the contents
rich with the music tradition from the surrounding area
of a particular school, the choice of dances offered in
this paper will be of great use to the teachers from the
territory of Southwest Serbia. At the same time, these
dances will also help the teachers from the other regions,
through introducing the music folklore of this area to
their pupils.
dances can be found in the survey of the Ministry of Ser-
bia from 1948. (Djukić (Ђукић), 1996). This document
comprises of a large number of dances performed in the
Raska area. Traditional folk dances of Southwest Serbia
were also analyzed in the works of (Vasić, 1984), who
was interested in the dances of Pester Plateau; (Djukić
(Ђукић), (1996), who did a research on the dances of
Raska and its surroundings. The folk dances from Novi
Pazar were also partially depicted in the work of (Djukić
(Ђукић), (1996). We consider them worth of a more
detailed ethno musicological and ethno choreographic
analysis. Plenty of melodies of dances with singing are
recorded by (Vasiljević, 1953). Nevertheless, the focus
of his research were the melodies, not the description
or analysis of the dances. Ljubica and Danica Jankovic,
who described a great number of folk dances from the
territory of Serbia, Vojvodina, Kosovo and Metohija,
Crna Gora, Bosna and Herzegovina, Macedonia, and
certain parts of Slovenia, unfortunately did not do a
detailed research of the dancing tradition of Southwest

Serbia. The musical-pedagogical literature which can
be used for choosing the games from Southwest Serbia
for teaching in primary school, is the collection of folk
songs and dances Rasanski motivi (Motivʼs from Raska,
2004).
Basic characteristics of the dancing
musical heritage of southwest serbia
The dances of Southwest Serbia belong to dinaric
dancing zone. The main feature of dances of Raska area
and Sjenica-Pester Plateau, as well as folk dances of
Novi Pazar and its surroundings, is energetic dancing,
with feet flat on the floor. The knees are firm, almost
fixed. It is generally danced in half circle, than in the
circle, and sometimes in pairs. The dancers hold each
other by the hands which are positioned by their sides, or
under their arms. Sometimes they hold each other by the
waist (Djukić (Ђукић),1996). On Pester plateau there is
a dance called – silent circle dance – Klapara, which is
performed without singing or instrumental background.
According to the research of the ethnomusicologist
Olivera Vasić, “these were dances for the opening of
dancing gatherings. Today, they are performed only by
the elderly people on family gatherings” (Vasić, 1984:
191). The dances of the Muslim people in Novi Pazar
are performed softly, with the bodies and knees bend.
While dancing, the arms are raised at shoulder height.
Men sometimes hold each other by the shoulders. These
dances are characterized by turns and squats with quite
a lot of solo dancing (Djukić (Ђукић),1996). In the past,
the Muslim women and men used to dance separately.
If occasionally a mixed circle dance was performed, the
men and women used to hold each other by handker-
chiefs. Today, men and women dance together in a circle
dance.
The instrumental background music of Raska con-
sists of various pipes – long and short, gajde (bagpipe),
and lately goc (goch) and klanet. Serbian dances from
Novi Pazar and the surroundings are also accompanied
by various pipes. In recent times the background music
consisted of goc and klanet. Muslim traditional dances
from Novi Pazar, in the middle of 20th century, were ac-
companied by the tambura, accordion, def, darbuka and
the violin. On the Pester Plateau, the dances go along
with pipes – long and short, gajde and goc. The dances
of Southwest Serbia which are followed by the singing
only, are known as kolanje. Their name comes from the
first lines of the song Coban Mara (The Shepherdess
Mara), Hajde kolo da skocimo (Let’s leap into the cir-
cle), Usijala sjajna mesecina (The moon shining bright)
etc. Kolanje is present among both Serbs and Muslims.
In Southwest Serbia, as well as in other parts of it, the
reasons for dancing were various. In the villages people
gathered and rejoiced after finishing moba (bee), during
prelo (spinning), poselo (social evenings), on the occa-
sion of a holiday or a custom. In towns, dances were
performed on weddings, dancing parties and other cel-
ebrations.
TRADITIONAL FOLK DANCES OF SOUTH... 25
The importance of traditional folk dances in
teaching of music culture and physical education
In teaching of musical culture, traditional dances are
important in many ways. First of all, they are signifi-
cant in raising awareness of national affiliation. Then,
they improve moral and aesthetic components of a pu-
pil’s personality. They are also of great importance in
improving musical capabilities of a pupil: a sense of
rhythm and melodic phrase, voice, musical hearing, a
sense of tempo and dynamics, musical memory, ability
of active listening and experiencing music. Movements
in accordance with a song entice creative potentials of
a pupil.
A harmonious and group performance of traditional
dances in teaching physical education develops aesthetic
criteria and builds up motor skills. Pupils adopt the el-
ements of walking and different tempos, acquire basic
hands, legs and body movements, step hop and step and
close, learn moving left and right, forward and back-
ward. Traditional dances are also important for physical
development and good posture, as well as an adequate
function of internal organs, blood flow, heart and lungs.
They also have a beneficial effect on nervous system
(Djurić & Stijepović, 1976).
Throughout the primary education pupil should get
introduced with the traditional dances, primarily of their
own nation, and subsequently of the other ones. This
process should be started with the dances pupils are fa-
miliar with, namely the dances from their own surround-
ings, and then gradually include the dances of the other
areas of Serbia. Getting acquainted with the traditional
dances of other nations and nationalities is of great sig-
nificance for improving intercultural education.
Presence of southwest serbia dances in the school
curriculum of musical culture and physical
education and in the music textbooks
Music culture school curriculum for the first grade
of elementary school comprises only four traditional
dances with singing: Pod onom (Beneath that green hill),
Ja posejah lan (I sew flax seed), Zetsko kolo (Zeta circle
dance), Pesma u kolu (Circle dance song) (Regulations
(Правилник), 2004). None of these songs is from the
area of Southwest Serbia. The school curriculum for
the second grade suggests eight traditional dances with
singing: Ajd’na levo (Let’s go left), Dunje ranke (Early
quinces), Ja posejah lubenice (I sew watermelon seed),
Prolecno kolo (Spring circle dance), Razgranala grana
jorgovana (The lilac branches branched out), Decija pos-
kocica, Mitku noge zabolese (Mitka’s legs hurt) (Regu-
lations (Правилник), 2004). The dance Ajd’na levo
brate Stevo comes from the Pester Plateau. The school
curriculum for the third grade suggests only one dance
with singing – Savila se bela loza vinova (White grape-
vine entwined), and one circle dance – Niski vez (Em-
broidery of Nis) (Regulations (Правилник), 2005) both
of which do not belong to the Southwest Serbia area.
The school curriculum for the fourth grade comprises
only one dance with singing – Poduna mori poduna, and
26 B. Pavlović et al.
two circle dances – Radmilino kolo (Radmila’s circle
dance) and Narodno kolo (Folk circle dance) (Regula-
tions (Правилник), 2006). These dances are not from
the territory of Southwest Serbia.
By analyzing the music culture school curriculum,
it has been determined that traditional dances with sing-
ing are not sufficiently present in teaching music culture,
considering their significant educational value. Also,
there is a considerable disproportion in the number of
suggested dances through the grades, as well as a notice-
able disregard of traditional dances from Southwest Ser-
bia. Among the fourteen dances with singing suggested
for all four grades, there is only one from the territory
of Southwest Serbia, namely Hajd’na levo brate Stevo.
However, this dance is performed in the other parts of
Serbia, so it cannot be a representative dance of this area.
Traditional dances with singing are also pres-
ent in physical education school curriculum. The sug-
gested traditional dance for the first grade is Ja pose-
jah lan, and one optional circle dance (Regulations
(Правилник), 2004). The school curriculum for the
second grade suggests one optional circle dance (Regu-
lations (Правилник), 2004). The school curriculum for
the third grade proposes the analysis of traditional dance
Savila se bela loza vinova (Regulations (Правилник),
2005). The fourth grade school curriculum includes
Srpsko kolo (Serbian circle dance), and one local circle
dance (Regulations (Правилник), 2006). It is obvious
that none of the mentioned dances is from the territory
of the Southwest Serbia. Our opinion is that traditional
dances in general deserve much more attention regard-
ing teaching of physical education, especially in correla-
tion with teaching of music culture.
Music textbooks analysis
The textbooks of the two following publishing
Example 1
Oj ružo, oj ružice
(Oh rose, my little rose)
Okolina Raške Весело
Забележила: Б.Павловић
Oj, ruzo, oj ruzice, Oh rose, my little rose,
Rumena, rumenice Crimson, blushing,
Procvetaj, procvetaj, Bloom, and blossom,
Ruzo Rumena The crimson rose
Kraj poto, kraj potoka Besides the stream
Studeno, studenoga. The cold, cold stream.
houses were subject to the analysis: Institute for text-
book publishing and teaching aids and Creative centre.
The aim of the analysis was to determine the number of
dances from Southwest Serbia in the textbooks.
The analysis of the textbooks published by Insti-
tute for textbook publishing and teaching aids, gave the
following results: The textbook for the first grade in-
cludes one dance with singing which is performed on
Pester plateau – Hajd’na levo brate Stevo (Stojanović,
Vasiljević & Drobni (Стојановиђ, Василљевић &
Дробни), 2005).
The textbook for the second grade does not contain
traditional dances of Southwest Serbia (Stojanović &
Vasiljević (Стојановиђ & Василљевић), 2008). The
textbook for the third grade does not contain traditional
dances of Southwest Serbia (Stojanović, (Стојановиђ),
2004). The textbook for the fourth grade does not con-
tain traditional dances of Southwest Serbia (Stojanović
& Protić (Стојановић & Протић), 2005).
The analysis of the music textbooks from the first to
the fourth grade, published by the Institute for textbook
publishing and teaching aids, showed that the area of
Southwest Serbia is represented by one dance with sing-
ing only, in the first grade – Hajd’na levo brate Stevo.
The textbooks for the second, third and the fourth grade
do not contain dances from this area.
The analysis of the textbooks of the Creative centre:
The textbook for the first grade does not contain tra-
ditional dances of Southwest Serbia (Ilić (Илић), 2009).
The textbook for the second grade does not contain tra-
ditional dances of Southwest Serbia (Ilić (Илић), 2008).
The textbook for the third grade does not contain tradi-
tional dances of Southwest Serbia (Ilić (Илић), 2010).
The textbook for the fourth grade does not contain tra-
ditional dances of Southwest Serbia (Ilić (Илић), 2006).
The analysis of the music textbooks published by
 TRADITIONAL FOLK DANCES OF SOUTH... 27
Example 2
Ugrijala sjajna mesečina
(The moon is shining bright)
Novi Pazar
Умерено
Забележила:Б.Павловић

Ugrijal, jal mi jala, The moon is shining bright

Sjajna mesecin, cin mi cina Reveling, as far as Novi Pazar
Sjajna mesecina. Two bachelors fighting.
Pa se vi, vij mi vidi, Do Novog Paza zar Pazara
Do Novog Pazara.
Tu se bi, bij mi biju
Dva mlada beca, caj becara
Dva mlada becara.

Example 3
Oj nevene šestopere
(Oh, six-petaled marigold)
Selo Štaval, okolina Sjenice
Умерено
Забележила:Б. Павловић

Oj, nevene sestopere Oh, six-petaled marigold

A sto si mi uvenuo?
Il’te sunce preplanulo
Il te voda potkopala?
“Nit’me sunce preplanulo,
Nit’me voda potkopala,
Vec se dvoje zavoljese,
Na mene se naslanjase,
Zato sam ti uvenuo.
Why have you withered?
Has the sun scorched you?
Has the water uprooted you?
‘’Neither the sun has scorched me
Nor the water has uprooted me,
But the two lovers,
Were leaning on me,
That’s why I have withered.

the Creative centre showed that they do not contain tra-
ditional dances of Southwest Serbia. Regarding the in-
sufficient presence of the traditional dances of this area
in the school curriculum of music culture and physical
education, and in the music culture textbooks, in the
continuation of the paper we are going to suggest several
examples of dances from the territory of Raska, Novi
Pazar and Sjenica. The characteristics, lyrics and cho-
reography of the following dances, are suitable for the
pupils of lower grades.
The choice of dances from the territory
of raska, novi pazar and sjenica
By analyzing the musical-pedagogical literature
dealing with the music tradition of Southwest Serbia,
and the information gathered by field research, we de-
28 B. Pavlović et al.
termined which dances with singing from the territory
of Raska, Novi Pazar and Sjenica could be used in the
lower grades of the primary school. They are the follow-
ing: Hajde kolo da skoknemo (Let’s leap into the circle
dance) (Vasiljević, 1953: 16); Smiljevo, cvece sareno
(Immortelle, the colorful flower) (Vasiljević, 1953: 26);
Tri junaka, tri sokola (Three heroes, three great men)
(Vasiljević, 1953: 49); Sto no zvonce (Why is the jingle
bell tingling?) (Vasiljević, 1953: 65); Oj, ruzice rumena
(Oh, you crimson rose) (Vasiljević, 1953: 264); Ja pose-
jah proju ( I sew a corn seed) (Vasiljević, 1953: 252);
Ovce pasla cobanica Mara (The shepherdess Mara is
taking her sheep on pasture) (Vasiljević, 1953: 4); Mara
mi bere (Mara is picking) (Vasiljević, 1953: 13); Kolo
igra na livadi (Circle dance in a meadow) (Vasiljević,
1953: 53); Nevena, sestro moja rodjena (Nevena, my
dear sister) (Vasiljević, 1953: 72); Adzina sceri (Aja’s
daughter) (Vasiljević, 1953: 92); Ja sam stari radikal (I
am a long time radical) (Vasić, 1984: 240); Momak jede
jabuku (A boy eating an apple) (Vasić, 1984: 250); Oj
Nevene (Oh, my marigold) (Pavlović (Павловић), 2004:
68); Coban Mara (The shepherdess Mara) (Pavlović
(Павловић), 2004: 69). We present several examples
with musical notes, recorded on field. There are per-
formed in a half circle, with simple steps of the teacher’s
choice, bearing in mind the characteristic of the dances
of Southwest Serbia. These are Oj ruzo, oj, ruzice (Oh,
my rose), Ugrijala sjajna mesecina (The moon shining
bright) and Oj nevene sestopere (Oh, my six-petaled
marigold).
Methodical technique for analyzing traditional folk
dances with singing would start with the analysis of the
song by ear, in music culture class, followed by the anal-
ysis of the steps in physical education class. It is very
important to acquaint pupils with the place of origin of
the dance, on what occasion was it performed, is it a part
of some kind of ritual or it was just entertainment. It
would be desirable to show the folk costume of the area
where the song was performed.
CONCLUSION
This paper reviewed traditional folk dances of
Southwest Serbia regarding teaching of musical culture
and physical education. The focus is on the dances from
the area of Raska, Novi Pazar and Sjenica. The aim of
the paper was to encourage interest in dancing music
tradition of this area and to draw attention to their rele-
vancy in teaching music culture and physical education.
It pointed out the literature which deals with traditional
dances of Southwest Serbia. The conclusion is that the
dances of this region should be analyzed in more details
from the ethno musicological and ethno choreographic
as well as pedagogical point of view.
Furthermore, we considered basic characteristics
of the folk dances of Southwest Serbia. Obviously,
this area is extremely rich with dances, especially with
dances with singing, known by the name kolanje. There
are so called silent circle dances, in the villages around
Sjenica, most of which are performed along with the
instrumental background. The attention is focused on
dances with singing because they are simpler and more
adequate for pupils of the lower grades.
The school curriculums of music culture and physi-
cal education, together with the music culture textbooks
from the first to the fourth grade, were also a subject of
the analysis, with the aim of determining which danc-
es with singing from Southwest Serbia are included in
teaching these two school subjects. The analysis showed
that teaching music in lower grades includes the song
with singing Hajd’na levo, brate Stevo. This dance is
performed in the vicinity of Sjenica, but also in the other
parts of Serbia, therefore it does not represent the char-
acteristic example of the folk dance of this region. The
dances of Southwest Serbia are completely omitted from
the textbooks of musical culture. The school curriculum
of physical education suggests several dances with sing-
ing, yet none of them represents dancing music tradition
of Southwest Serbia.
This paper points out the adequacy of the traditional
dances in teaching music and physical education. The
conclusion is that these dances are highly significant
in improving moral and aesthetic components of a pu-
pil’s personality. They contribute to raising awareness
of national affiliation. They develop music skills and
children’s creativity. They are also significant in improv-
ing motor skills, movements, and they are important for
physical development. They entice cheerfulness and op-
timism among pupils.
Considering the fact that the traditional dances of
this area are neglected in the lower grades of primary
school, this paper gives a choice of the dances, as a
suggestion for teaching. The literature mentioned can
serve teachers as a source where they can find a content
for analysis of traditional dances of Southwest Serbia.
These dances are suitable for pupils in lower grades of
primary school, their music and psycho-physical capa-
bilities. It is concluded that due to their doubtless ethical
and aesthetical values, the dances of Southwest Serbia
should be more included in teaching music culture and
physical education in primary school.
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Correspondence:
Biljana Pavlović
University of Priština – Kosovska Mitrovica, Serbia
Teacher training faculty in Prizren - Leposavić,
Nemanja bb, 38218 Leposacvić, Serbia
E-mail: bilja.pavlovic@yahoo.co.uk
TRADITIONAL FOLK DANCES OF SOUTH... 29
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J. Bjelodinović (Eds.), ‘’Narodne melodije igre i nošnje
Pešterski-Sjenićke visoravni’’, [Folk melodies, dances
and costumes of Sjenica-Pester Plateau. In Serbian.] (str.
1-344). Београд: Радио Београд.