Although singing was evident on most songs, dancing was the focus of their performance as members danced in large groups, with entering and exiting the stage intermittently. Men and women generally danced together either while interlocking arms, holding hands, tips of fingers, or a man’s arm around a woman’s waist.

One particular dance gesture that quickly captured my attention included a dipping motion on the final count of a triple meter. As the dancers paraded around stage with any sort of upper torso gesture, they would all dip on the 3rd count. It soon became apparent after the second time this occurred, that this was a traditional movement. Stomping the feet rather loudly was another gesture. Although there were two instances where women executed this, it was generally done by male dancers.

What I also found fascinating was the performance of two dances that resembled the dances calenda and umbigada. In the former, two rows of women faced each other and advanced forward a couple of times then dispersed to another routine. The latter dance which truly resembled the umbigada - - an African and Brazilian dance - - featured two men jumping in the air towards each other and touching their stomach/chest while airborne.

With regard to the instrumental accompaniment, the band included six violins, flute, clarinet, trumpet, accordion, and a single drum with a cymbal attachment. Five violinists and the flute player were women, while the remaining instruments were played by men. The clarinetist appeared to be the conductor, as he often motioned with his instrument to begin, pause, and end a piece. In addition to the instrumentalists there were three women standing with them, up and stage right, whose primary function was to sing with the larger dance ensemble. To add variety to the overall performance, these same three women singers would perform a song at center stage with the instrumentalists standing behind them. All songs were played and sung without needing to read music.

Members of the ensemble displayed a level of dedication and respect for Polish culture and tradition. At a time in history when young people have easy access to, and are influenced by current dance and music trends and social behavior it is rather refreshing to see such a high level of dedication to folklore. I highly recommend attending a performance of the Zespólu Tanca Ludowego.

I had the pleasure of enjoying a most wonderful performance of the Zespólu Tanca Ludowego ensemble on Sunday, October 23, 2005. The performance occurred on an early Sunday evening in the Centrum Theater at the University of Marie Curie Sklodowskiej (UMCS). Adorned with what one would imagine among people of the 1800s, the vivid colored costumes along with the spectacular dancing, singing, and instrumental accompaniment made this a fabulous night of entertainment. This 45-piece ensemble performance of men and women between the ages of 18 and 22 performed for an audience of about four-hundred people.

Men were all dressed in long pants and boots, while women always sported colorful, just below the ankle, dresses. Some male attire included blue military uniforms, black pants, and rust colored pants with vertical green stripes.

Women graced the stage with a greater variety of colors. Dresses, with the exception of the final number, included wide horizontal lines of blue, green, red, yellow, rust, purple, and black colors that ran continually around the garment.

As I entered the nearly full theater, with free admission, I quickly took note of the audience and their enthusiasm to find a seat as people were rushing to sit with their family or friends. The theater was a typical curved arena with an orchestra pit section (though no orchestra was situated there), a mezzanine section, mezzanine back section, and a balcony. In the single row of reserved seats - - the first row of the mezzanine section - - sat four or five retired military men and their wives, and what appeared to be a couple of known academic and government officials. The general audience consisted of individuals from college age to those in their 60s, and to my surprise only three or four children on this Sunday early evening performance. I had assumed young children would be impressed with the dancing, singing, and music accompaniment, and this performance is very suitable for children.