FRULA AT MILLSAPS, MARCH 7, 2006

The ancient Greeks used music to enhance three main areas of life: religion, patriotism, and love (eros, NOT agape or philos!) So it was that FRULA, a folk-dance troupe from eastern Europe, celebrated love in their program. I hasten to add that they did nothing explicit, nor was their dancing even erotic, but the end result of these dances in their natural setting was, after all, procreation. In 16 of the 18 selections they performed, men and women were paired at some point, and in the one dance with women only, the object was the weaving of the linens for a bride-to-be's trousseau.

There were 11 men and 11 women dancing, in a complicated series of highly stylized selections from various peoples living in the Balkans (Yugoslavian, Macedonian, Albanian, Romanian, Bulgarian, Hungarian, Ukrainian, Serbian, etc). There were astounding acrobatics by the men, with graceful and sometimes intense moves by the women.

The costumes were exquisite and varied and always colorful. While the choreography on stage was obviously extensive (at least 1-1/2 hours-worth), the choreography back-stage must have been almost as complicated, because there were costume changes between all the dances. Although most of the dances featured smaller groups, a few used the entire troupe; these were preceded by orchestral pieces to allow all 22 dancers to change costumes! In this context the term "dress rehearsal" takes on its fullest meaning.

It was refreshing to have live musicians performing instead of recordings (for the latter, think Olympic ice-skating). With skilled instrumentalists, a more expressive performance is possible - subtle tempo changes, even some improvisation, which are impossible with a recording. There were six players: string bass, accordian, guitar, clarinet, violin, and flute. They were onstage with the dancers, playing from memory and improvising, in a variety of styles. Altogether this was a memorable evening of music and dance.

- Glenn A. Gentry

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