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'''Zeibekiko''' ({{lang-el|Ζεϊμπέκικο}}) is a ] with a rhythmic pattern of 9/4<ref>Kilpatrick, David. "Ethnomusicology", Vol. 6, No. 3, ''Canadian Issue'' (Sep., 1972), p. 577.</ref> or else 9/8. It is most commonly broken down as:<br/> 1/8 + 1/16 + 1/16 + 1/8 + 1/8 + 1/8 + 1/16 + 1/16 + 1/8 + 1/8 + 1/8<br/> or as:<br/> 1/16 + 1/8 + 1/16 + 1/8 + 1/8 + 1/16 + 1/8 + 1/16 + 1/8 + 1/8 + 1/8. | '''Zeibekiko''' ({{lang-el|Ζεϊμπέκικο}}) is a ] with a rhythmic pattern of 9/4<ref>Kilpatrick, David. "Ethnomusicology", Vol. 6, No. 3, ''Canadian Issue'' (Sep., 1972), p. 577.</ref> or else 9/8. It is most commonly broken down as:<br/> 1/8 + 1/16 + 1/16 + 1/8 + 1/8 + 1/8 + 1/16 + 1/16 + 1/8 + 1/8 + 1/8<br/> or as:<br/> 1/16 + 1/8 + 1/16 + 1/8 + 1/8 + 1/16 + 1/8 + 1/16 + 1/8 + 1/8 + 1/8. | ||
Revision as of 15:05, 27 December 2016
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Zeibekiko (Template:Lang-el) is a Greek folk dance with a rhythmic pattern of 9/4 or else 9/8. It is most commonly broken down as:
1/8 + 1/16 + 1/16 + 1/8 + 1/8 + 1/8 + 1/16 + 1/16 + 1/8 + 1/8 + 1/8
or as:
1/16 + 1/8 + 1/16 + 1/8 + 1/8 + 1/16 + 1/8 + 1/16 + 1/8 + 1/8 + 1/8.
The name is derived from Zeibek warriors of Anatolia.
The dance is of free choreographic structure. Although in older times the dance was danced by a pair of either the same or opposite sex, it has been evolved a solo dance strictly masculine and is considered in some cases offensive to be interrupted by another dancer. Occasionally dancers perform feats such as standing on a glass of wine or a chair or fireplace, or picking up a table, adding a sense of a little braggadocio and humor.
See also
- Antikristos
- Bouzouki
- Greek dances
- Hasapiko
- List of dances
- Rebetiko
- Kamilierikos
- Zeibekiko of Evdokia
- Zeibeks
References
- Kilpatrick, David. "Ethnomusicology", Vol. 6, No. 3, Canadian Issue (Sep., 1972), p. 577.
- Babiniotis, Georgios (1998). "ζεϊμπέκικος". Lexiko tis Neas Ellinikis Glossas. Athens: Kentro Lexikologias. p. 709.
- Many authors. Ζεϊμπέκικος. Pandect: The World of Greek Dance (in Greek). Retrieved 19 June 2013.
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