27.-U-Sest

U ŠEST : Serbia
PRONUNCIATION: oo SHEST
TRANSLATION: In six
BACKGROUND: U ┼íest is short for U ┼íest koraka, meaning “in six steps.” According
to Dick Crum, noted Balkan dance researcher, the Serbian definition of a
“step” (korak) is “a shift of weight onto a given foot plus whatever
follow-up movement of the other foot.” The step pattern described here
as “sedam,” along with its accompanying “syncopated threes,” is the
basis for the naming of this “kolo,” or circle dance, which is the most
popular dance type in Serbia. Most Serbians do not know the dance by the
name “U ┼íest;” they simply call it “kolo,” although it is also known in
some circles (so to speak) as “Moravac” after one famous U ┼íest melody
because of its popularity
MUSIC: There are thousands of shest recordings. The Skimos band does a nice
one that they call ΓÇ£Surbsko kolo, chickenΓÇ¥
FORMATION: Open cir or line of mixed M and W with hands joined and held down in
“V” pos, or linked arm-in-arm in “Q” pos as if being escorted, or
(especially when danced only by M) on neighbors’ shldrs in “T” pos. End
dancerrs may place free hand at small of back, hold lapel of vest or
coat, or even put it in a trouser pocket. The end person at the R is the
leader.
METER/RHYTHM: 2/4
STEPS/STYLE:

In Serbia, this dance is freely improvised by each dancer within
the symmetrical pattern of 4 meas to the R and 4 meas to the L using the
arms as flexible shock absorbers. The selected steps described below may
be danced in any order and for any number of repetitions depending upon
the whim of each individual dancer.

SYNCOPATED THREES: Turning to face slightly L, step R slightly swd
with the heel slightly turned out, bending supporting knee slightly (ct
1); pause (ct &); step L next to R (ct 2); step R next to L (ct
&). For next meas repeat with opp ftwk.

NOTE: The Syncopated Threes also may be danced with bounces instead
of steps on cts 2,&.

Style varies considerably from dancer to dancer–from the easy,
relaxed, soft, rolling walk of the elderly or tired to the highly
energetic leaping and bouncing of the young or “hot shots.”
MEAS MOVEMENT DESCRIPTION
I. HAJDE (KOKONJE┼áTE) – “let’s go!” (“noble”)
1 Facing slightly R and moving R, step R (ct 1); bend R knee slightly
(ct &); step L across in front of R (ct 2); bend L knee slightly (ct
&);
2 Turning to face slightly L of ctr, step R slightly swd with the heel
sloghtly turned out (ct 1); bend R knee slightly (ct &); touch L
heel next to R instep (ct 2); bend R knee slightly (ct &);
3 Repeat action of meas 2 to L with opp ftwk;
4 Repeat action of meas 2.
5-8 To continue this Fig, repeat action of meas 1-4 to L with opp
ftwk.
II. ─îUJE┼á – “listen”
1 Facing slightly R and moving R, step R, bending R knee slightly (ct
1); low hop R (ct 2); step L actoss in front of R (ct &);
2-4 Dance 3 Syncopated Threes in place.
5-8 To continue this Fig, repeat action of meas 1-4 to L with opp
ftwk.
III. ─îETIRI – “four”
1 Step R swd (ct 1); step L across in back of R (ct &); step R swd
(ct 2); step L across in back of R (ct &);
2-4 Dance 3 Syncopated Threes in place.
5-8 To continue this Fig, repeat action of meas 1-4 to L with opp
ftwk.
NOTE: If the dancer prefers, he may dance the first meas crossing in
front or even alternating back and front or front and back.
IV. TRI SKO─îI – “three hops”
1 Step R swd, bending R knee slightly and at the same time bringing L
heel to R instep (ct 1); low hop R (ct 2); step L across in back of R
(ct &);
2-3 Repeat action of meas 1 two more times;
4 Dance 1 Syncopated Three in place.
5-8 To continue this Fig, repeat action of meas 1-4 to L with opp
ftwk.
V. SEDAM (U ┼íest) – “seven”
1 Step R swd (ct 1); step L across in back of R (ct &); step R swd
(ct 2); step L across in back of R (ct &);
2 Step R swd (ct 1); step L across in back of R (ct &); step R
swd, bending R knee slightly (ct 2); pause (ct &);
3-4 Dance 2 Syncopated Threes in place, beg L.
5-8 To continue this Fig, repeat action of meas 1-4 to L with opp
ftwk.
NOTE: If the dancer prefers, he may dance the first two meas
crossing in front or even alternating front and back or back and
front.
VI. ─îEKAJ – “wait”
1 Step R swd, extending slightly bend L leg fwd (ct 1); pause (ct 2);
quick shift of wt momentarily onto ball of L in front of R (ct
&);
2-4 Dance 3 Syncopated Threes in place.
5-8 To continue this Fig, repeat action of meas 1-4 to L with opp
ftwk.
COMBINATION FIGURES
There are many other steps available to the native
dancer. Because this is a “still living” dance form, its variations are
constantly evolving and changing. For instance, combinations may be made
from just the above steps to further enhance the dance, such as these
(each followed by 1 Syncopated Three):
Čuješ-Skoči-Čuješ
Skoči-Čuješ-Skoči
─îitiri-Sko─ìi-Sko─ìi
Sko─ìi-Sko─ìi-─îitiri
Čuješ-Čitiri-Skoči
Skoči-Čuješ-Čitiri
Skoči-Čitiri-Čuješ
Čitiri-Skoči-Čuješ
Čuješ-Skoči-Čitiri
Čitiri-Čuješ-Skoči
etc.
By adding ─îekaj in place of any one of the above steps,
the list extends even more!
Copyright © 2004 by Dick
Oakes
(with minor changes by John Pappas)

MORE BACKGROUND: Originally called U šest koraka, the name was
shortened to U šest, and it is now shortened even more to šest. So how
did this most typical Serbian dance come to be danced by Macedonians? To
be honest, it is not danced universally by Macedonians, because there is
still some resentment among some Macedonians of anything Serbian. But at
one time Macedonia was known as Southern Serbia and there were Serbs
scattered throughout Macedonia. In addition, in the USA, many Serbian
and Macedonian bands play at each otherΓÇÖs functions, or at the least,
Macedonians go to Serbian functions, and vice-versa. And, it is a nice
dance. Also remember that borders do not stop culture from crossing
over. Shest has crossed the border and is now danced in Skopie and
heading south.