Savila se Bela Loza

SAVILA SE BELA LOZA
Serbian

PRONUNCIATION: SAH-vee-lah seh BEH-lah LOH-zah

TRANSLATION: A pretty vine entwined itself

SOURCE: Dick Oakes learned this dance from Dennis Boxell who presented it in 1965.

BACKGROUND: The first verse to the song to which this dance is done is "Savila se bela loza vinova, uz tarabu, vinova," meaning "entwining itself a pretty grapevine, along a fence, a grapevine." The song goes on to say that Todor tricked Toda and kissed her three times -- it was really not a pretty grapevine along the fence, but rather two lovers. The dance comes from Šumadija, the great heartland that extends southeast of Belgrade (Beograd), the capital city of Serbia. The area is heavily covered with forests, hence the name (from šuma or "forest"). During the 18th century, the forests of Šumadija were the refuge for the Hajduks that fought against Ottoman occupation.

MUSIC: Carousel (45rpm) CR-701
Festival (45rpm) EP-109
Folkraft (45rpm) 1496x45
Geisler, Richard. "Savila Se Bela Loza" (sheet music), The Yugoslav Collection, The Village & Early Music Society, 15181 Ballantree Lane, Grass Valley, CA 95949-7633.

FORMATION: Open cir of mixed M and W with hands joined and held at sides in "V" pos

METER/RHYTHM: 2/4

STEPS/STYLE: SIDE SCHOTTISCHE R: Facing ctr, step R swd (ct 1); step L next to or in front of R (ct 2); step R swd (ct 1); hop or lift on R, bringing L to R ankle (ct 2). Step takes two meas.
DOUBLE HOPS R: Small hop on L (ct 1); step R swd (ct &); step L in front of R (ct 2); pause (ct &); step R swd (ct 1); hop R, bringing L to R ankle (ct 2). Step takes two meas.
Body is held erect with the arms relaxed.

MEAS MOVEMENT DESCRIPTION

INTRODUCTION - None.

I. RUNNING

1-9 Facing diag R and moving in LOD, run 18 steps, two per meas.

10 Turning to face ctr, step R swd (ct 1); hop R, bringing L to R ankle (ct 2).

11-20 Repeat action of meas 1-10 to L in RLOD with opp ftwk.

1 NOTE: The running is danced with an easy smoothness.
During meas 1-10, the leader at the right end may snake the dance around the floor or wind the first several dancers into a small spiral. During meas 11-20, it is the responsibility of the dancer on the left end to lead the line back out into the large open cir. The person on the left end should be a strong leader, and should never initiate a snake or spiral variation.

II. SCHOTTISCHE

1-2 Facing ctr, dance one Schottische R.

3-4 Repeat action of meas 1 swd to L with opp ftwk.

5-12 Repeat action of meas 1-4 two more times.

Double Hops Variation

1 Some dancers may wish to dance the Double Hops variation in place of the Schottische in Fig II. It is not necessary for all dancers to be dancing the same Schottische variation at the same time

Repeat entire dance from beg.

SAVILA SE BELA LOZA
Serbia

Savila se bela loza vinova,
//Uz tarabu vinova.//

Chorus:
/ Todor Todi podvalio,
Tri put curu poljubio. /

To ne beše bela loza vinova,
/ Uz tarabu vinova. /

Chorus

Već to beše dvoje mili i dragi,
/ Dvoje mili i dragi. / The white wine grapevine wound around the fence.

Chorus:
Todor tricked Toda, kissed the girl three times.

That was not the fair grapvine around the fence.

Chorus

Rather, that was two lovers, two lovers.

Copyright © 2012 by Dick Oakes

SAVILA SE BELA LOZA Serbian

PRONUNCIATION:	SAH-vee-lah seh BEH-lah LOH-zah

TRANSLATION:	A pretty vine entwined itself

SOURCE:	Dick Oakes learned this dance from Dennis Boxell who presented it in 1965.

BACKGROUND:	The first verse to the song to which this dance is done is "Savila se bela loza vinova, uz tarabu, vinova," meaning "entwining itself a pretty grapevine, along a fence, a grapevine." The song goes on to say that Todor tricked Toda and kissed her three times -- it was really not a pretty grapevine along the fence, but rather two lovers. The dance comes from Šumadija, the great heartland that extends southeast of Belgrade (Beograd), the capital city of Serbia. The area is heavily covered with forests, hence the name (from šuma or "forest"). During the 18th century, the forests of Šumadija were the refuge for the Hajduks that fought against Ottoman occupation.

MUSIC:	Carousel (45rpm) CR-701 Festival (45rpm) EP-109 Folkraft (45rpm) 1496x45 Geisler, Richard. "Savila Se Bela Loza" (sheet music), The Yugoslav Collection, The Village & Early Music Society, 15181 Ballantree Lane, Grass Valley, CA 95949-7633.
FORMATION:	Open cir of mixed M and W with hands joined and held at sides in "V" pos

METER/RHYTHM:	2/4

STEPS/STYLE:	SIDE SCHOTTISCHE R: Facing ctr, step R swd (ct 1); step L next to or in front of R (ct 2); step R swd (ct 1); hop or lift on R, bringing L to R ankle (ct 2). Step takes two meas. DOUBLE HOPS R: Small hop on L (ct 1); step R swd (ct &); step L in front of R (ct 2); pause (ct &); step R swd (ct 1); hop R, bringing L to R ankle (ct 2). Step takes two meas. Body is held erect with the arms relaxed.

MEAS	MOVEMENT DESCRIPTION


	INTRODUCTION - None.

I.	RUNNING

1-9	Facing diag R and moving in LOD, run 18 steps, two per meas.
10	Turning to face ctr, step R swd (ct 1); hop R, bringing L to R ankle (ct 2).
11-20	Repeat action of meas 1-10 to L in RLOD with opp ftwk.

1	NOTE: The running is danced with an easy smoothness. During meas 1-10, the leader at the right end may snake the dance around the floor or wind the first several dancers into a small spiral. During meas 11-20, it is the responsibility of the dancer on the left end to lead the line back out into the large open cir. The person on the left end should be a strong leader, and should never initiate a snake or spiral variation.

II.	SCHOTTISCHE

1-2	Facing ctr, dance one Schottische R.
3-4	Repeat action of meas 1 swd to L with opp ftwk.
5-12	Repeat action of meas 1-4 two more times.

	Double Hops Variation

1	Some dancers may wish to dance the Double Hops variation in place of the Schottische in Fig II. It is not necessary for all dancers to be dancing the same Schottische variation at the same time

	Repeat entire dance from beg.