People’s Organic Orcy Tradition created and practiced through centuries periods in the past. In ⅹⅰⅹ c. It started the more intensive development of the city folk culture, and in its framework and the city orsque tradition, which was in a traditional way until the fifties of the last century, when the creation of choreographies from authors-individuals. Accordingly, the first period belonged to the village orcasal practice, typical of life in rural areas. Orata of these two periods were created in different conditions and lifestyle and differ as according to the function also according to the stylistic characteristics and overall aesthetic characteristics. Unlike city, village dances are strictly divided into male and female, and a good part of them are directly related to rituals (Rosalian, wedding, etc.). As a whole, all the village dances are characterized by the limitation and uniformity of the expression elements, the simplicity of motives and choreographic content. Also, the instrumental escort, as an inseparable part of the performances of the rural dances, is simple and with limited opportunities, because they were not accompanied by orchestras, but mostly from one instrument – baglet, caven, Duduca, gucia, etc. For the characteristics of the city or ski folklore in Macedonia, however, a crucial role played a diametrically altered living conditions in urban areas, and above all developed and intensive communications, where in addition to mutual impacts within multinational coexistence, with its location Macedonia are He found in the center of the two major influences from the direction of Western Europe towards the East and vice versa. Hence, the high diversity, the high aesthetic achievement and wealth among the Macedonian city of Ora, celebrated widely in the world. In the amended city behavior, the division of male and female plow was exceeded, and one part of them were played in a mixed composition. Nevertheless, they retained the continuity with the basic features of the village dances (playing in a semicircle, with expressive functions of the condition and tail). On the other hand, aided by the influences of foreign language traditions, largely from Turkish dances, Macedonian male city dances significantly developed the choreographic form and content through contrasting changes to the pace and rhythm, but also with many other elements such as rinses, duccos, revolutions , kneeling, etc. Apart from those senior, the choreographic content of the city dances, a significant aesthetic contribution, the high level of instrumental melodies performed by various orchestral compositions of factory-produced instruments, which, in a plastic way, supplemented the impression of the great and unrivaled beauty of those Orko-musical performances. F. M. F.
Original article in Macedonian language Cyrillic alphabet
Кириличен напис НАРОДНИ ОРА