Ličko kolo – dance without music

In our region, influences of different cultures, visible through numerous customs, have been changing, but are relentlessly suppressed by modern civilization. Part of these customs, which contain something special in themselves, are also folk dances that are cherished and passed down.

Kolo is one of the basic forms of Croatian traditional dance culture. Because of its simplicity, it used to be widespread and at the center of village social life. Almost every region had its own kolo.

Lika kolo, tanac, and krivo kolo are the three most well-known folk dances that were danced in Lika. The harsh living conditions in this region, once filled with wolves and a climate much harsher than today, with long winters, were reflected in the folk dances. The firm and heavy dance steps vividly portray the harshness of life back then. Lika kolo is powerful and dynamic, and is mostly danced without musical accompaniment, but the sense of rhythm, the exchange of figures and pace in which it is danced, stomping feet to the ground, and the jingling of girls’ jewelry have an effect similar to music. Each dance The tambourine seems to become an instrument of that silent orchestra, which almost magically affects both the dancers and the spectators.

The fact that the circle dance has grown into a tradition is evident from numerous depictions of the dance throughout different historical periods, preserved on Illyrian grave urns dating back several centuries before Christ. Even ancient times have their not-so-rare depictions of circle dances. Dancers in a circle are a common motif on medieval tombstones.

The circle dance, once an important social institution, is dying out along with traditional rural life. Although today it is devoid of its original function and reduced to a stage performance for an audience, many young men and women, as well as older individuals, recognize the extraordinary beauty of these dances and try to rescue them from oblivion through cultural artistic societies.

Lička folk dances

The dance, also known as “rvacki” or “mišnjača”, is an extremely exhausting dance that requires dancers’ individuality and improvisation. The circle dance or nakrivendac is a funeral, mournful dance that leads the dancers in the wrong direction, to deceive the spirit of the deceased so that it does not return and commit any evil. The figures from the wrong dance can also be found on Bogomil tombstones.

The basic Lika dance, Lika kolo, is infused with elements that highlight the endurance of the dancers, both male and female, who demonstrated their strength and readiness for marriage through dance. The dance was a way of showcasing and proving vitality and strength. In some places, the kola were danced for hours at an impressive tempo; the girls proved that they could bear children and work in the house and fields by doing so, while the young men demonstrated their masculinity through high jumps.

Lika kolo is danced in a clockwise direction; in ancient times, the kolo flowed like water – calmly, without jumping, with the feet either dragging on the ground or moving from one foot to the other. Later, the style and technique of dancing changed, and jumping and hopping became part of the dance, so Lika kolo It became known by the name of ‘đikac’.
In the circle, the posture of the dancers was important; each dancer had to look upright and beautiful in every way. The beauty of the dance was particularly reflected in the vigorous spinning to the left and right, and when the best young man started spinning the girl, everyone would stop dancing and pay attention to the couple in the spin.
The stomping, the feet pounding on the dry ground, raising particles of earth that envelop the dancers and leaving a veil of mist and the fragrant trace of grass and earth, sometimes throughout the village and the hamlets where the dance tirelessly moved, spreading around a special power of youth and a mystical connection between man and nature. A dance in which people and nature are directly connected.
Leader
While all dancers are equally important in a closed circle, an open type of circle has its leader or “leader” who determines the direction and manner of movement. The leader, also called commander, arambaša, leader, and kolač, exists only in the Lika region. His role has always been important and virtuous. Oh, dear; he leads the circle, determines the change of steps, and sets the rhythm for the entire circle. The kolovodja had to be the best dancer and the most imposing lad in the village, eloquent, cheerful, entertaining, and a good singer. He was mentioned in numerous sayings and praised in many verses: “The kolovodja leads the circle – such a person is not born.”

The kolovodja was the one who started the song and dance, and therefore had to have a good ear, voice, and sense of rhythm. When he started the circle, the kolovodja would urge the lads: “Come on, lads, let’s dance!” or “Let’s play a bit!” In the circle, he would try to synchronize the dancers’ steps with his calls. After the shout “Right!”, the dancers would hit the center of the circle with their right foot and then synchronize their steps. The leader could also stop the circle: “Stop, it’s not right. Everyone, be careful!” and with the threat “Be careful, don’t ruin it, you’ll be out!” or “I’ll tell everyone that you don’t know.” If the leader went too far, someone from the circle, with the laughter of the other dancers, would shout: “You’re nasty, who would listen to you!” Sometimes, as an excuse, a dancer would shout: “I messed up!”

The leader commands: “Live”, “Swing”, “Hop”, “Spread”, “Watch”, “Jump”, “Drive, drive”, and many others, encouraging a livelier and more harmonious dance, and can also determine when the circle is over and there will be no more dancing.

The role of the dance

The Lika circle dance was most often danced in open spaces or on threshing floors, so a large number of dancers could participate in the circle. The places where the dance or circle dance was performed were called playground or dancing grounds. The circle dance was sometimes performed in front of someone’s house, on the road, at intersections, or in clearings around the church. Some circles were danced through the entire village, then across the bridge to the first, second, third hamlet, and then back, climbing up the hill to the church and returning. It was also precisely known in which village or hamlet the circle dance would be performed for a particular celebration. The bigger the circle, the prouder the leader was of their circle. If the circle dance was performed on regular days, it was mostly younger people who joined the circle, and mothers did not allow their daughters to join the circle without a close relative. However, on Easter In the past, and especially during Christmas, older people would join the circle dance and it was allowed for girls to dance as well. The circle dance could last very long, even until after midnight. On carnival nights, people would dance until morning because it was the last opportunity for entertainment before the upcoming Lent.

Dancing around water sources and springs was a common tradition in almost every village in Lika, in addition to the usual circle dance. On New Year’s Day, women would go to the spring and greet it by saying, “Good morning, water. May you bring us good health.” At particularly important springs, women from several villages would gather. It was still strongly believed that fairies danced around the water sources… In some parts, on New Year’s Day, girls would go to the spring early in the morning and dance the Lika circle dance around it, with one girl taking on the role of the leader. After the dance, the girls would bring home “fresh” water, and in the evening, they would secretly gather again, clear the snow around the spring so they could dance the circle dance in the morning and offer their respects. In springs, they throw bread and other things into the spring while chanting different songs.

Every occasion was good for dancing; they danced at fairs, gatherings, celebrations, at weddings, and when a young man asked a girl to marry him, up to a hundred people would dance. Christmas carols were performed even in the harshest winters, regardless of the snow height. Young men and women would meet and gather in the fields, after the harvest or when “the cabbage was stomped” and prepared for storage, and would sing and dance after work. They would also dance around a slain wolf brought by hunters, and sing hunter’s songs: “Host of the house, here is the wolf at your door…” When they danced in the evening, they would come with torches, so the illuminated circle could be seen from great distances, which must have been particularly impressive.

The circle had an important social role. It was where young people would meet, get to know each other, form friendships and bonds, rivals would size each other up, expressions of affection were made, and marriage proposals arose. In the circle, it was known which girl was a potential bride and which was not (brides were caught in the dance), the girls’ appearance was observed, as well as their strength and endurance while dancing, and how much expensive jewelry they wore. It was believed that a girl who left the dance before the end was not resilient or healthy enough, and the boys preferred to choose as wives those who stayed in the dance until the end.

In dancing, through singing, movement, and gesture, things that were not allowed in everyday speech could be freely expressed; villagers’ flaws were pointed out, someone was teased, a village event was criticized, someone’s mischief was revealed. By singing humorous verses, one could expose their own feelings, mentioning priests and teachers, singing about nature, about Velebit, the beauties of Lika, Lika’s girls and boys.

The Lika dance was accepted by neighboring regions, adapting it to their taste and habits, so the influence of the Lika dance can be felt from Novi Vinodolski to the islands of Zadar. The dance from the island of Pag is similar in its execution and steps. The personal and introductory song is an announcement of the circle dance. However, the greatest and most pronounced influence is evident in the Glamočko kolo, known for its numerous figures that are taken from the Lika kolo.

The Lika kolo expresses the joy of living, the cheerfulness of spirit despite difficulties, and above all – the spirit of togetherness.