Notography and text - Songs and dances from Podrim

The culture of the Serbian population in Prizren offers much content, and from all those songs and dances, we have selected 'Ej, u Prizrenu zelena jabuka,' 'Razgranala grana jorgovana,' 'Oj, mori, frbo zelena,' 'Bre devojče, bre đavolče,' and 'Krleč,' and named this combination 'Songs and Dances from Podrim.'

Colleague Nadica Mladenović, a long-time player of 'Šota' and 'Venac,' was the immediate demonstrator of the style and the dance itself, including singing games and dances like krleč and ćifti.

Generous assistance was provided by the Dean of the Faculty of Arts from Pristina, then relocated to Leposavić, Zoran Karalejić, followed by Vice-Dean Anđelko Karaferić and a professor of music from the Teacher Training Faculty in Prizren, also relocated to Leposavić.

The glorious past of the imperial city has left something in the demeanor of Prizren residents that shows not only local pride but also self-awareness and the role that Prizren played in the brightest era of our medieval history. These characteristics, residents of Dušan's capital express in their way of dancing. In the kolo, which they call oro, like Stara Prizrenka, dancers exhibit peace and majesty. In the soft, gentle, and unobtrusive, but at the same time, irresistible hand movements and steps of unequal length, which Prizren residents, especially the women, perform restrainedly, measuredly, and calmly, reflect the dignity of true nobles. The dance of older women emphasizes aristocratic posture. All this together is a special kind of charm and can be called the Prizren style.

Choreographic analysis of Prizren folk dances shows that in their kolos of the oro type, the basic steps are with pulling in, crossed, with leg flicks, and others. The syncopation of steps that occurs in Kalač belongs to the South Serbian choreographic elements.

In the past in Prizren, as in most places in southern Serbia, except Peć, men danced separately from women. At weddings, the first room, where more drinking and less dancing occurred, was for older people, the second room was for the godparents, and in the third, called tabana, were the youngest participants of the wedding celebration. In that room, there was the least drinking and the most dancing. Women guests would be accommodated in a separate section.

Today in Prizren's oro, both genders dance, with a tendency towards jumping. Older Prizren residents disapprove, but are powerless to prevent it. However, the close holding of dancers in the oro when they hold hands, which the youth adhere to while dancing, has remained from the old times. The hands of neighboring dancers are completely pressed against each other from the wrist to the elbow; just as the houses in Prizren, especially in the upper part of the city, are packed, crowded, and almost built one on top of the other. However, the dancers, although so close together, do not give the impression of being cramped or scared. On the contrary, such holding, in a uniform dance, appears more as an expression of collective consciousness and general unanimity. This is in the best harmony with the previously mentioned characteristics of the Prizren style. The dancers can also hold each other in other ways. Thus, when the men are in a good mood, they grab each other either by the shoulders or by the waist.

ЕЈ, У ПРИЗРЕНУ

Ej, у Призрену зелена јабука, 

Еј, под јабуку Тута Јоргушова.

 Еј, оздoл иду три бећара млада. 

Први јој нуди јабуку румену,

 други јој нуди бурму позлатену, 

Трећи јој нуди љубав неизмерну.
 

БРЕ ДЕВОЈЧЕ, БРЕ ЂАВОЛЧЕ

Бре девојче, бре ђаволче

Чије беше ти?

Ја сам ћера ћир Јованова, не ли ме знајеш ти?

Кад смо били у азбашчу, Само ја и ти

Тад смо јели локум шећер

Само ја и ти.

ОЈ, МОРИ ФРБО

Ој, мори фрбо зелена 

Слегни ми гране до земље,

 Ја да се успем на горе,

Ти да ми чујеш дертове,

 дертове моје јадове.