Dances of the current season

Orakel fragen
Choreography: Thea Maass

Consulting the oracle is a custom which has its roots in Thuringia. Hoping to behold the face of their dearest, the young women drop their self-twined wreaths into a stream or a pond in springtime. Normally, no one is allowed to disturb them during their activities. But, of course, the young fellows are secretly trying to sneak up on the girls …

Niedersorbische Freite
Choreography: Bernhardt Wossin

This dance is rooted in Lusatia. The women are entrusted in men’s care for one year. Their men have to conduct them to every official festivity.
Proudly cherished feature of this dance is that the women lower their glance during the first part, but nevertheless have to show agility and their emotions for their partners.

Rühler Springer
Choreography: Thea Maass

This lively dance comes from the little village Ruhla and shows the high spirits of his former inhabitants very clearly. The men jumped up so strongly, so the sound of their shoes was heard over miles away.
The music of this dance is supposed to originate from the feather of the young Johann Sebastian Bach.

Winzertanz
Choreography: Aenne Goldschmidt

The base of this cheerful dance is the Rheinlaender step. Different working processes of wine production in Loessnitz, the most northern wine producing area of Germany, are represented.
So, for example, the pressing of the grapes and the degustation of the wine with its consequences are shown.

Varsovienne
Choreography: Aenne Goldschmidt / Thea Maass
This dance coming from Poland is a form of the Warschauer, that, however, is danced meanwhile in whole Germany. His special feature is the constant change between forceful mazurka steps and atmosphere-full waltz forms. Our Varsovienne is from Pomeranians and danced in a Weizacker costume.

Ländlicher Walzer
Choreography: Aenne Goldschmidt

Waltz is often referred to as the national dance of the Germans. It derives from Swabian culture.
In our Rural Waltz we show different waltz forms from all over Germany, which are danced with great ardor. It is performed in a Betzinger costume.

Neckmazurka
Choreography: Thea Maass

“Lovers like to tease each other”… or to dance with each other.
In the choreography mazurka forms from all regions of Germany are shown.

Hütejungen
Choreography: Günter Neubert

In former times herdsmen had been alone on the pasture with their animals for many hours during the day. In order to pass the time, they trained various skills with their herdsmen sticks, so they could prove their temper and courage.
In our dance, four lively herdsmen meet and impressively show their skills.

Alte Polka
Choreography: Rosemarie Elm-Schulz

A young couple from Mecklenburg forgets their work while teasing and dancing.

Am Pfingstbrunnen
Choreography: Maud Butter

In this choreography we present old customs from Saxony-Anhalt to maintain the well of the village with his vital water. Young men and women clean and adorn their well at Whitsun. A young lad dresses up as a frog every year, as symbol of fertility. Of course, all the girls want to dance with him in order to find out, who is hiding beneath the mask this year.

Wer zuerst am Maibaum ist ...
Choreography: Maud Butter

In Altmark a race to a birch, adorned with bands and cloths, had been organized by young women in spring. The winner kept the cloths, the girls also danced with marvelously.

Wenn im Herbst die Trauben reifen - Pfälzer Suite
Choreography: Thea Maass

This choreography is one of the master pieces of folkloristic dance. It shows typical dance forms and customs from the wine-growing area Pfalz.
The girls proudly show how to dance with a filled glass on top of their heads without spilling one drop of wine. The boys show their skill, strength and courage in a lively dance with chairs.

Further repertoire dances

Webertanz
Choreografie: Aenne Goldschmidt

Der Webertanz stammt ursprünglich aus dem norddeutschen Raum und ist auch in Schweden belegt. In ihm sind die Arbeitsvorgänge der bäuerlichen Handweberei in meisterhafter Weise tänzerisch dargestellt. So erkennt man den Webrahmen, die Spindeln, das Karoweben und das Weben der Schiffchen. Am Ende wird der gewebte Stoff auf seine Festigkeit geprüft und in einen Ballen gerollt.

Dreisteyrer
Choreografie: Thea Maass

Grundlage dieser Choreografie bilden steyrische Wicklerformen aus Bayern und Österreich für einen Burschen und zwei Mädchen. Dabei besteht die Geschicklichkeit darin, während der vielfältigen Wicklerfiguren, die Hände nicht zu lösen.
Der Tänzer versucht, beide Mädchen gleichzeitig zu erobern und muss dann mit der „Konsequenz“ leben.

Gaben zur Hochzeit
Choreografie: Maud Butter

Die Choreografie stellt den Teil des Schenkens einer Bauernhochzeit dar. Die Gaben zur Hochzeit hatten neben ihrem rein materiellen Wert, der für den neu zu gründenden Hausstand notwendig war, immer auch eine symbolische Bedeutung.
Die Kunkel oder der Spinnrocken sollte die Braut zum fleißigen Spinnen und somit zur Vervollkommnung des Hausstandes animieren.
Der Stoffballen und der überlieferte Brauch des Einwickelns des Brautpaares in ihn dienten auf recht drastische Weise der Fruchtbarkeit. Oftmals wurde das Brautpaar so eingewickelt auf das Brautbett gelegt und dann sich selbst überlassen!
Mit dem Anheften von möglichst vielen Babysachen an die tanzende Braut sollte die Anzahl der zu erwartenden Kinder des Brautpaares bestimmt werden.
Kuchenbretter hatten neben der rein praktischen Bedeutung auch den Sinn, das Haus bzw. die Küche zu verschönern. Das Tanzen des Brautpaares auf ihm sollte das Paar eng aneinander binden.

Lichtertanz
Choreografie: Thea Maass

Feierlicher Tanz von 12 Tänzerinnen,
die mit brennenden Kerzen auf dem Kopf tanzen.