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Sarakinskoto

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BACKGROUND

Information: A dance.

Sarakinskoto is essentially a "paiduško" type, although the limping sensation is created by a ratio of 3:4 (7/16) rather than the more common 2:3 (5/16). A somewhat different, ten-measure version of this dance is described by Dennis Boxell in his notes to the Folkraft album listed below.

Translation: Sarakinskoto refers to the village of Sarakina near Thessalonika.

Pronunciation: sah-rah-KEEN-skoh-toh

Region: Greek Macedonia

Meter: 7/8

Rhythm: 3 + 2 + 2 – dancers' counts 1 & uh 2 & 3 &

Music: Folkraft LP – 24 Macedonian Folk Dances, Vol. II, Side A, Band 6

Formation: Men and women in a mixed, open circle with male leader at right; or, men and women in separate open circles, each with its own leader on the right, the men's circle outside (behind) the women's.

Steps and Style: Based on men's styling. Women do the same steps, but never lift free leg high or cross it in front of weight-bearing foot. In general, they hold their feet and legs closer together and the free foot is often kept beneath the body.

Note: Presented by Bob Leibman.


BARS ACTION

I.   Figure 1
1 Face center or just right of center. Lift on L. At the same time, free R is raised high so that the thigh is almost parallel to the ground, and the R foot is in front of the L knee. There is a somewhat staccato or jerky manner to this movement.
2 Body turns somewhat to the right of center. Step R to right (LOD). Foot points diagonally to the right
 
II.   Figure 2
1 Lift or hop R in place. Free L is brought up forward (style is as in I,1 above.) Body turns even further to the right of center.
2 Step forward on L (across in front of R). Moving right (LOD).
 
III.   Figure 3
1 Hop L in place and raise free R (as in I,1). Body may turn a bit twds. center.
2 Step to right (LOD) on full R ft. Body turns more towards right again.
3 Slight flex of R knee and prepare to leap forward onto L.
 
IV.   Figure 4
1 Moving right LOD. Leap forward onto L. Body and foot both point diag. rt. of ctr.
2 Step R forward. (LOD). This foot points more directly right.
3 Slight flex of R knee.
 
V.   Figure 5
  Repeat IV.
 
VI.   Figure 6
1 Like IV, 1.
2 Step R to right and slightly out of circle as body turns to face the center. At the same time, free L may retain its former position long enough to be forced to turn at the ankle to accommodate the body's turn. This is done by moving the ankle in a CCW arc about the ball of the foot which maintains contact with the ground.
 
VII.   Figure 7
1 Hop on R in place. Free L is raised high and crossed in front of R. (As in II, 1.)
2 Hop on R in place. Free L is raised high and crossed in front of R. (As in II, 1.)
 
VIII.   Figure 8
1 Step or leap onto R across in front of L to left. Keep R ft. pointed towards the center. Body turns slightly to left of center.
2 Step L to left and somewhat back of R. L ft. is pointed a bit L of center. Body returns to previous position, facing center.
 
IX.   Figure 9
  Repeat VIII.
 
Note: During the more lively music towards the end, the men can make a CW turn while moving right (CCW) LOD. Begin with the step on I,2 and finish by the hop on III, 1. Hands are held high, arms bent at elbow, while executing this turn.

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