An Epirus dance that celebrates bravery and valor. It is lively and spirited. Its name comes from the abrupt stopping of the music every 22 steps, when the dancer stops moving and raises their arms overhead. This pause is enough for everyone to admire and appreciate the dancer’s presence and bearing. The 22 steps are counted as three groups of six and one group of four. The second step always comes behind the right foot. It is danced by both men and women, holding hands at the palms with the elbows bent upward. The dance is in 2/4 time. Its steps are similar to those of the Kalamatianos. The starting position is the attention stance.

It is danced in Preveza, mainly by women, with the dancers holding each other by the shoulders. Its name comes from a particular wind that blows in the area. This is why the rhythm of the dance is fast, in contrast to most other dances from Epirus. It consists of 16 steps, counted in two groups of eight. The starting position is the attention stance, with a slight turn of the body to the right. The dance is in 9/8 time.

It is called “Vlacha of Konitsa” because it is danced in Konitsa, Epirus, and “Embroidered Apron,” after the lyrics of the song. It is danced by women, holding hands at the palms, in 2/4 time. The starting position is the attention stance. The dance consists of 8 steps, repeated twice.

It is danced by both men and women in Epirus, holding each other by the shoulders, to the well-known song “Menousis the Birbilis and Mehmet Agha… drunk Menousis goes and kills her; in the morning, sober again, he goes and mourns her.” The dance consists of 10 steps. The starting position is with the right foot crossed over the left, as in the Tsamiko. The dance is in 2/4 time.

It is danced in Epirus, usually by women, holding hands at the palms. The dance consists of 32 steps, divided into four groups of eight steps, followed by a Kalamatianos section, which is repeated twice. The dance is in 2/4 time. The starting position is the attention stance.

This dance is performed not only in Epirus but also in other regions, such as Thessaly and Macedonia, by both men and women. It consists of 6 walking (slow) steps. The steps of this dance can be found in many other Greek dances. The starting position is the attention stance. The dancers usually hold hands at the palms, although in some regions, “Syrtos in Three” is danced with the dancers holding hands at the palms with their elbows bent. In Epirus, particularly in the Ioannina region, it is danced by both men and women, holding hands at the palms and in 2/4 time. The dance consists of two parts. Part A consists of 15 steps, repeated twice, while Part B consists of 16 steps. Eight steps are performed in the direction of the line of dance and eight against it, moving to the left. However, the steps of Part B can also all be performed in the direction of the line of dance.

It is danced by both men and women in Zagori, Epirus, with the dancers holding each other by the wrists and keeping their elbows bent. The dance consists of 16 steps, divided into four groups of four. The dance is in 5/8 time. The starting position is the attention stance.

It is called “Vasilio, the Noblewoman,” after the lyrics of the song, which tell the story of the daughter of the nobleman Nikolaos Averoff from Metsovo, who was kidnapped by bandits and exchanged for as much gold as she weighed. In Metsovo, this song is not danced but is performed as a lament, a mournful song. In the Ioannina region, however, and especially in the village of Syrrako, it is danced by both men and women, holding hands at the palms with their elbows bent. “Vasilio, the Noblewoman” consists of 12 steps. The starting position is the attention stance.

It is danced by both men and women in Epirus, particularly in the Ioannina region, holding hands at the palms. Its name comes from the lyrics of the song (“Dense and pearly teeth…”). The dance consists of two parts. Part A has 12 steps, repeated three times. Part B consists of 16 hopping steps performed in the direction of the line of dance. The starting position is the attention stance, and the dance is in 3/8 time.

It is danced in the Pogoni region of Ioannina by both men and women, to the well-known song “I will become a basil plant at your window.” The dance consists of two parts. Part A has 6 steps, repeated 6 times. Part B consists of 24 cross steps, danced with the left foot crossing over the right. The dancers hold hands at the palms with their elbows bent and begin the dance with the left foot. The starting position is the attention stance, and the dance is performed in 4/4 and 2/4 time.

Its name comes from the lyrics of the song, which mention “Doctor Nikolis.” This dance originates from the Korçë region of Northern Epirus and is now danced throughout Epirus by both men and women, with the dancers holding each other by the wrists and keeping their elbows bent. The dance consists of 11 steps. On the 11th step, there is an abrupt stop, followed by a forceful stamp on the ground with either the left or right foot, depending on which foot is used to begin the dance. The dance can start with either the left or the right foot. The starting position is the attention stance, and the dance is in 2/4 time.

It is danced by both men and women in Epirus, particularly in the Ioannina and Arta regions, to the song “You didn’t like Ioannina, Fezo-Dervenaga.” The dance consists of two parts. Part A, which is slow, is danced with the dancers holding hands at the palms and keeping their elbows bent, while Part B, which is fast, is danced with a Kalamatianos-style handhold. The starting position is the attention stance, and the dance is performed in 4/4 and 2/4 time.

This dance originates from Zagori in Epirus and is danced throughout the region, particularly in the village of Syrrako in Ioannina, by both men and women, using exactly the same steps as “Vasilio, the Noblewoman.” Its name comes from the lyrics of the song, “I had my beloved as a tree, my Verginada, etc.” Here, “Verginada” is used metaphorically to describe a graceful, slender, and strong young woman.

It is danced in the village of Syrrako in Ioannina by both men and women, holding hands at the palms with their elbows bent. It is said that the dance was named after the well-known fighter Gianni-Kostas from Krapsi, Ioannina, who took part in many battles during the Greek War of Independence in 1821, including the uprising and destruction of Syrrako, the capture of Arta alongside Rangos, the First Siege of Missolonghi alongside Markos Botsaris, and many other battles. The dance consists of two parts. The starting position is the attention stance.

It is danced by both men and women throughout Thessaly, with the dancers holding hands at the palms and keeping their elbows bent. There are several theories regarding the origin of the name Karagouna. One theory is that it derives from the Karagounides, the inhabitants of Thessaly who traditionally engage in agriculture and livestock farming. Another theory is that it comes from “Kara-gouna,” meaning “black fur.” In Thessaly, the dance usually begins with the Svarniara, also known as the Slow Karagouna. The dancers move continuously forward, in the direction of the line of dance, using the same steps as the Syrtos but with a much heavier and slower movement, accompanied by the song “Karagouna Goes to the Fountain.” After dancing the Svarniara several times, they transition into the Karagouna proper, accompanied by the song “Ante Karagouna – Gouna Karagouna.” It is a slow and majestic dance. The starting position is the attention stance, and the dance is performed in 4/4 and 2/4 time. It consists of three sections of 8 steps each, followed by a Kalamatianos section of 24 steps.

It is a Thessalian dance performed by women, particularly in the Karditsa region, with the dancers linking arms at the elbows and accompanied by the song “Pera Ston Pera Mahala.” In the past, at traditional weddings, it was the bride’s dance. The starting position is the attention stance, with a slight turn of the body to the right.

It is danced by both men and women in Pelion, with the dancers holding hands at the palms. Unlike other Thessalian dances, which are performed slowly, it is very fast-paced. It consists of 12 steps. The starting position is the attention stance. The dance is in 2/4 time.

It is danced by both men and women in Thessaly, with the dancers holding hands at the palms. It is a slow dance, performed either in a circle or in pairs, to the song “Giourgia sta Paliourgia” or “To Nero Sto Rema.” In Thessaly, the term Svarniara is also used for the “slow” Karagouna, which is danced continuously forward, in the direction of the line of dance. The starting position is the attention stance, and the dance is in 2/4 time. The dance consists of two parts.

It is danced by both men and women throughout Thrace, particularly in Soufli, with a crossed handhold, meaning the left hand of one dancer is held over the right hand of the next. The starting position is the attention stance, and the dance is in 2/4 time. It consists of two sections of 6 steps each. The first section is slow, while the second is fast.

It is a Syrtos dance from Thrace, performed in Karoti, Didymoteicho, by both men and women, holding hands at the palms. The men form a line at the front, followed by all the women behind them. It is a fast, lively dance traditionally performed on Saturday evening at the bride’s home. “Gikna” is the name given to the orange-colored dye that the bride’s friends use to paint her fingernails and fingertips when they visit her home. The dance takes its name from this tradition. The dance consists of 8 steps performed in a circle. The starting position is the attention stance, with a slight turn of the body in the direction of the line of dance.

It is danced by both men and women in Thrace, holding each other by the sashes, to the song “Aradiastite Stou Choro,” from which the dance takes its name. The dance consists of 6 steps, performed with a trembling movement of the entire body. The starting position is the attention stance, and the dance is in 2/4 time.

It is called Zonaradikos because the dancers hold each other by their sashes (zonaria). It is traditionally a men’s dance, particularly associated with older men, who lean slightly forward as they dance. There are, however, many variations of the Zonaradikos, performed with 6, 8, or 12 steps. The starting position is with the feet in the attention stance, while the body leans slightly forward. The dance is performed in 4/4 and 2/4 time.

It is danced by both men and women throughout Crete, particularly in Chania, from which it takes its name. The dancers hold hands at the palms, with their elbows bent. The dance consists of small, smooth steps performed simultaneously by all the dancers, without large jumps or squatting movements. There are many variations of the “Chaniotikos Syrtos,” which differ from one region to another. The dance consists of 11 steps performed over 12 counts. The final step can therefore be counted as (11, 12). The starting position is the attention stance, and the dance is in 2/4 time.

It is danced by both men and women throughout Crete, who line up in two rows facing one another. At the beginning, the dance may be performed in a circle, with the dancers holding hands at the palms and keeping their elbows bent. Then, after repeating the Sousta steps several times, the circle breaks and the dancers face one another in two rows. The Sousta appears to be the ancient “Pyrrhichios” dance. However, with the introduction of women into the dance, its character changed. From being purely a war dance, it became a romantic or romantic-war dance. Its name probably comes from the Italian word “Susta” (spring), because during the execution of the steps, the dancers make a small up-and-down bouncing movement, much like a spring, through the knee and ankle joints.

In the Sousta, dancers move on the balls of their feet, using small steps, slightly bent knees, and rhythmic movements of the torso, which in Crete are known as “kokkalies” or “tsakismata.” The Sousta consists of stationary steps, performed in place; traveling steps, performed forward, backward, to the right, and to the left; changes (“scissors”); and side steps. The dance consists of 12 steps, with the rhythm, or counting of the steps, following the same pattern as the Kalamatianos (1–2, 3, 4–5, 6, 7–8, 9, 10–11, 12). The starting position is the attention stance, and the dance is in 2/4 time. The dance begins with the left foot.

It is danced by both men and women throughout Crete, with the dancers holding each other by the shoulders. Its name comes from the Cretan word “Zalo,” meaning “step,” and because the dance consists of five “Zala,” as the Cretans count them, it is called Pentozalis. Cretans begin with a slow version, known as “Kondylies,” and then transition into the faster tempo. The dance consists of 8 hopping steps, always performed on the balls of the feet. Dancers may begin the dance either with the left foot or with the right foot. In both cases, however, they perform the same steps with a different counting pattern. The starting position is the attention stance, and the dance is in 2/4 time.

It is danced by both men and women in the Heraklion area, as well as throughout Crete, with the dancers holding hands at the palms and keeping their elbows bent. Representative of the agile character that defines Cretan dances, it is danced on the balls of the feet with fast, lively, and hopping steps. Its name comes from Heraklion, which was formerly known as “Kastro,” while it is also called Maleviziotikos after the Malevizi region. The dance consists of 8 steps, performed once with the right foot in the direction of the line of dance, and then backward, against the direction of the line of dance, with the left foot. To allow the circle to move forward, the backward steps are naturally smaller. Once they have completed a full circle, or sometimes even earlier, Cretans also dance the steps forward and backward: 8 steps with the right foot toward the center of the circle, followed by 8 steps backward, with the left foot. Kastrinos is also called “Pidichtos” because all of its steps are performed as hops on the balls of the feet. The starting position is the attention stance.

It is danced by both men and women, with the dancers holding hands at the palms, in the village of Akrita, formerly known as Boufi, in Florina, from which it takes its name. It consists of 12 steps. The dance is in 2/4 time.

It is danced by both men and women in Prosotsani, Drama, with the dancers holding hands at the palms, accompanied by the song “Nas­tasia goes to fetch water, and you do not give her any.” The starting position is the attention stance, and the dance is in 6/8 time.

It is danced by women in Nigrita, Macedonia. The dance consists of three parts. The starting position is the attention stance, and the dance is in 7/8 time.

It is danced by both men and women in Macedonia, particularly in the Kastoria region, from which it takes its name, with the dancers holding hands at the palms, accompanied by the song “Penelope Karana, whom will you make your mother-in-law?” The starting position is the attention stance, and the dance is in 2/4 time. The dance consists of three parts.

It is danced by both men and women in the villages of Alona and Akrita in the Florina region, with the dancers holding hands at the palms. In Kratero, the same name (Leventikos) is used for a dance with different steps and music. The dance consists of 15 steps, which can be divided into three groups of five. The starting position is the attention stance, and the dance is in 9/8 time.

It is danced by older men in Alona, Florina, with the dancers holding hands at the palms and keeping their elbows bent. It is a slow and stately dance, perfectly suited to the older dancers. Through this dance, the elders sought to compare themselves with the younger generation and show them that, despite their age, they could still dance. The dance consists of 12 steps, divided into three groups of four. The starting position is the attention stance, and the dance is in 3/4 time.

It is a men’s dance performed in Pylaia, formerly known as Kapoutzida, in Thessaloniki, with the dancers holding hands at the palms and keeping their elbows bent, or holding each other by the shoulders. It consists of 6 basic steps. The starting position is the attention stance, and the dance is in 2/4 time.

It is danced by both men and women in the villages of the Pindus Mountains, Epirus, Thessaly, and Western Macedonia, with the dancers holding hands at the palms. It is, however, the national dance of Samarina. It is danced exactly like the Syrtos in Three Steps, accompanied by the song “Children from Samarina.” The starting position is the attention stance, and the dance is in 2/4 time.

It is danced by men in many parts of Macedonia, particularly in the Florina region, with the dancers holding each other by the shoulders. It consists of two parts, with 6 and 8 steps respectively. The first part is slow, while the second part is fast. The starting position is the attention stance, and the dance is in 4/4 and 2/4 time.

It is danced by both men and women in Ano Oreini, Serres, from which it takes its name, with the dancers holding hands at the palms. It consists of 12 steps. The starting position is the attention stance, and the dance is in 2/4 time.

It is danced by men and women facing one another, with the lady facing the gentleman, at a distance of 3–4 meters. Everyone holds a handkerchief in their right hand and moves it to the rhythm of the dance. The women place their left hand on their waist, while the men place theirs behind their back. The dance consists of 4 steps, performed once with the right foot and once with the left. These steps are used to create various formations.

It is danced by women in Macedonia, particularly in the Siatista region, with the dancers initially holding hands at the palms. As soon as the dance begins, however, the dancers release their hands and turn in the direction of the line of dance. At the same time, they place their right hand, palm down, on the left shoulder of the dancer in front of them, while their left hand holds the right hand of the dancer behind them, whose hand rests on their left shoulder. The starting position is the attention stance, and the dance is in 4/4 and 2/4 time. The dance consists of two parts: the first has 30 steps and the second has 24.

It is danced by both men and women in Pylaia, formerly known as Kapoutzida, in Thessaloniki, with the dancers holding hands at the palms. The starting position is the attention stance. The dance is in 2/4 time and consists of 12 steps.

It is danced by women, holding hands at the palms, with two men—one at the front and one at the back—who perform various jumps, squats, and turns. It is also danced in pairs, with one pair following another. Each pair faces in the direction of the line of dance and holds hands at the palms with their elbows bent. Their other hand, the one facing outward, is placed on their waist. The starting position is the attention stance, and the dance is in 2/4 time. The dance consists of 12 steps.

It is danced by women in Corfu, with the dancers holding hands at the palms. All the dancers hold large, thin handkerchiefs of various colors. As they stand in the circle, each dancer holds one end of her handkerchief with one hand and the other end with the other, while simultaneously holding the edge of the handkerchief of the dancer next to her with her left hand and that of the dancer before her with her right. Their arms are now lowered, and the handkerchiefs form a straight line in front of them. They dance to the well-known song “Kato, ston Ai-Giorgi sto kryo to nero…” (“Down at Saint George, by the cold water…”). The song refers to the unjust death at the hands of the Turks of Emperor Andronikos’ son, named Giannis. It therefore belongs to the cycle of Akritic songs, which celebrated the exploits of the Akritai of the Byzantine Empire. It is said that this dance came to Corfu from Paxos. The starting position is the attention stance. The dance is in 2/4 time and consists of 10 steps.

It is a circle dance performed by women in the Megara region, usually at Easter, with a crossed handhold, meaning the left hand of one dancer is held over the right hand of the next. The dance represents the movements made by fishermen as they pull in their trawl nets, which is how it got its name, Trata. The starting position is the attention stance, and the dance is in 2/4 time.

It is danced by both men and women in Ikaria, from which it takes its name, with the dancers holding hands at the palms. The dance consists of two parts. The starting position is the attention stance, and the dance is in 2/4 time.

Ballos is a romantic dance performed by couples on almost all the islands of the Aegean. The gentleman always faces the lady with a smile, trying to express his inner romantic feelings, while she, with her eyes lowered, avoids his advances. There are many different versions of Ballos. They are all characterized, however, by the same smooth steps based on the “Promenade Waltz.” Ballos consists of: 1) “Promenade Waltz” steps, 2) side steps, and 3) cross steps. Not all dancing couples perform the same variations. Each couple performs whichever variation they choose, whenever they choose, and as many times as they wish. However, I believe the dance is more impressive when all the couples perform the same variations simultaneously, especially when it is presented by organized dance groups.

It is danced by both men and women, with the dancers holding hands at the palms. It takes its name from Selybria in the Black Sea region. The dance usually precedes the Ballos, although it is also performed independently. The dancers enter the dance circle with the gentleman first and the lady second. They then begin the dance in this alternating formation. The starting position is the attention stance, and the dance is in 2/4 time. The dance is based on the “Promenade Waltz.”

This dance is performed by women in Corfu and consists of two parts. The first part consists of 8 walking steps (4 to the right and 4 to the left) and is danced with the dancers holding hands at the palms. The second part consists of 8 hopping steps (4 to the right and 4 to the left) and is danced with the dancers holding each other by the shoulders. The starting position is the attention stance, and the dance is in 2/4 time.

It is danced by both men and women, with the dancers holding hands at the palms, accompanied by the song “Misevo Kai Ta Matia Mou.” The gentleman enters the dance circle first, followed by the lady. The dance consists of two parts, each comprising 11 steps. The starting position is the attention stance, and the dance is in 2/4 time.

It is danced by both men and women throughout the Dodecanese, with a crossed handhold, as in the Trata, and accompanied by the well-known song “Pera Ston Pera Kampo.” Sousta dances are performed in Crete, the Dodecanese, and Cyprus. Their name probably comes from the Italian word “Susta” (spring), because during the execution of the steps, the dancers make a small up-and-down bouncing movement, much like a spring, through the knee and ankle joints. In the Sousta, dancers move on the balls of their feet, using small and rhythmic steps. The dance consists of side steps, as well as steps performed toward the center of the circle and back again. A couple may also dance in the center of the circle, sometimes holding hands and sometimes separating. The starting position is the attention stance, and the dance is in 2/4 time.

It is danced by both men and women in Tsakonia, in the Kynouria province of Arcadia, from which it takes its name, with the dancers holding each other by the elbows (linked-arm hold). The dance represents Theseus entering and leaving the labyrinth. For this reason, as it is danced, the line coils and winds like a snake. Traditionally, it is said to be the dance Theseus performed with his companions. When the dancers begin to unwind, the lead dancer immediately turns to the right, with his back facing the others. Once the line has fully unwound, the first two dancers form an arch for the others to pass underneath.

The fact that this dance is performed in Tsakonia should not seem surprising, given that there were frequent movements of people from Crete to the Peloponnese and from the Peloponnese to Crete, depending, of course, on the circumstances created by wars and destruction.

It is danced by women in Arachova in the Peloponnese. (In the past, Arachova was known as Karyai.) The starting position is the attention stance, and the dance is performed in 2/4 and 7/8 time. The dance is based on the “Promenade Waltz.” The dancers form two circles, one inner and one outer, holding hands at the palms. The dancers in the outer circle, positioned in the spaces between those in the inner circle, raise their arms overhead and pass them over the heads of the dancers in the inner circle. In this way, they form a single circle and begin Part A of the dance. The dance consists of two parts. Part A has 6 steps. Part B consists of two sets of 12 Kalamatianos steps.

Syrtos, or Kalamatianos, is the best-known traditional dance performed throughout Greece by Greeks everywhere, with minor variations from one region to another. It appears to be the ancient “Hormos,” as Lucian calls it, and dates back to a very early period. This is suggested by depictions of dances on various ancient vases and frescoes, which display many of its characteristic features. Further evidence of the ancient origins of the Syrtos is provided by a 1st-century AD inscription from a religious festival in Boeotia, at the sanctuary of Apollo on Mount Ptoo, near Lake Copais. This marble inscription, erected in honor of a man named Epaminondas, states: “He faithfully performed the great ancestral processions and the ancestral dance of the Syrtoi.” The word “ancestral” therefore leads us to conclude that Syrtos dances existed long before the 1st century and were passed down to our ancient ancestors by their forefathers. Finally, we see that the inscription refers to multiple Syrtos dances, something that we still encounter today throughout Greece.

Regarding the origin of the name “Kalamatianos,” which is found in most parts of Greece, it is worth noting that the dance also has other names, such as Syrtos, Isios, and others. Many believe that it was named after the city of Kalamata, as is the case with many other modern Greek dances that take their names from the regions where they are performed (Pogonisios, Zagorisios, Cretan). However, if we pay attention to the lyrics of the song that accompanies the dance, the picture appears somewhat different: “And if you go to Kalamata and return safely, bring me a handkerchief to tie around my neck.” The song therefore speaks of a silk handkerchief that a young woman asks her beloved to bring her if he happens to go to Kalamata, which was a renowned center for silk processing and production at the time, and return safely. These lyrics clearly confirm that this dance was not performed only in Kalamata, but also in other regions of Greece. I therefore believe that the Kalamatianos took its name not from the city of Kalamata, but from the lyrics of the dance, which referred to the silk handkerchief—a sacred symbol of traditional wedding ceremonies—and which were among the most commonly sung verses accompanying the dance.

Its basic sequence consists of 12 steps, performed simultaneously by all the dancers. Only the lead dancer—the one who leads the line—performs various improvised figures, such as turns, jumps, scissors, squats, and so on. When the dance is presented by an organized dance group or by school students as part of a dance performance, however, all the variations of the dance are performed simultaneously by all the dancers. The dancers hold hands at the palms. The starting position is the attention stance, with a slight turn of the entire body to the right. The Kalamatianos is danced in 7/8 time.

The majority of traditional Greek dances are circular, as their basic formation is a circle or semicircle. There are, of course, also dances performed facing one another (antikristoi), as well as others danced in pairs. Circular dances date back to ancient times, when they were performed around the “thymele,” near which the flute players were also positioned. This is also the origin of the tradition that continues today, in which folk musicians sit in the center of a circular dance. Depending on their rhythm, circular dances can be divided into two main categories: syrtoi and pidichtoi. Syrtoi are smooth and are characterized by modesty, simplicity, and harmony; the Kalamatianos belongs to this category. Pidichtoi, on the other hand, include the Tsamiko, which expresses pride, bravery, and valor. It is a dance featuring numerous figures, jumps, stamps, and kneeling movements.

The Tsamiko, also known as Kleftikos because it was traditionally danced by the armatoloi and klephts, is the most spirited and characteristic of all Greek dances. In the past, it was a men’s dance, but today it is also danced by women, who form an inner semicircle in front of the men. This formation—with the men holding hands in the outer circle and the women positioned in front of them in the inner circle—is still used today in many regions, particularly in the villages of Epirus. It was established as a matter of modesty, so that a young man would not have to hold a young woman’s hand until it was their turn to dance.

The Tsamiko takes its name from Tsamouria, a region around Paramythia and several other villages in the Thesprotia region. Its steps vary from one area to another. In villages, when women also participate, it is usually danced with 8 or 10 steps, and only rarely with 12. Only the lead male dancer performs the figures, while the rest of the dancers, both men and women, follow with the basic steps of the dance. When the dance is performed only by men, however, it becomes very difficult to distinguish individual steps, especially when the lead dancer is “meraklis” and dances “in place,” as they commonly say in the villages. Today, it has become customary for the dance to be taught with 12 steps in schools—although these differ from the 12-step version danced in the villages—as well as by organized dance groups. In order to create a more impressive performance, all the dancers perform the same figures simultaneously, which traditionally would be performed by the lead dancer alone at village festivals. As with the Kalamatianos, the Tsamiko has many variations (figures). The dancers hold hands at the palms with their elbows bent. The dance is in 3/4 time. In the starting position, the right foot crosses over the left, resting on the toes.

It is danced by both men and women from Eastern Rumelia, in Macedonia and particularly in Thrace, with the dancers holding hands at the palms. The dance consists of 8 steps. The starting position is the attention stance, and the dance is in 2/4 time.

It is danced by both men and women in Thrace, with the dancers holding hands at the palms with their elbows bent, or by their sashes. It appears to be a Zonaradikos. It is also a dance of Eastern Rumelia. The dance consists of 6 steps, performed quickly and with hopping movements. The starting position is the attention stance, and the dance is in 4/4 and 2/4 time.

It is danced by both men and women in Macedonia and Thrace who originate from Eastern Rumelia, with the dancers holding hands at the palms. The dance consists of two parts, each comprising 7 steps. The starting position is the attention stance, and the dance is in 2/4 time.

It is danced by both men and women in Thrace and Macedonia. It is also a dance of Eastern Rumelia. The starting position is the attention stance, with the dancers holding hands at the palms. The dance consists of 8 steps. The dance is in 2/4 time, and the starting position is the attention stance.