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Volume XVI, Number 2 • June 1996

Serbs in Boston

by Tom Pixton

The Serbian community in greater Boston numbers about 1000, a mere fraction of the thriving groups in Toronto, Detroit, Chicago or Pittsburgh. While many families are well established here, a large number have come over only in the last 4 to 10 years. The St. Sava Serbian Orthodox Church of Boston purchased its own church building in Wakefield in 1995, and is reaching out to Serbs in this area to build the kind of community long established in other cities. [Update: St. Sava parish moved to a larger church building in North Cambridge, MA in 2006. -Ed.]

It was with a little apprehension and much enthusiasm that Flying Tomatoes recently accepted a gig at St. Sava’s church to play for their St. George’s Day (Djurdjev Dan) church dinner. Having heard our “Nishka Banja” at Balkan Music Night a few months ago, one of their members was tireless in his determination to have live music at their next church social.

Flying Tomatoes is not really a kolo band, but we have learned a number of songs in what the Serbs call “Kyuchek” style from our teacher and mentor, Tatiana Srbinska. Over the years we also have learned lots of great Macedonian songs in what we call “Lesnoto” rhythm. We were advised by our friend Goiko Damjanovic to play longer sets of these types of tunes as well as other material from Serbia, Bosnia and Macedonia.

None of this could have prepared us for the reception we got as we piled into the basement of St. Sava’s. We were warmly received by Slatko Stojanov, president of the church, who handed us each a slivovic (indigenous, and potent, plum brandy) and made us feel instantly at home. Subsequently, we met other members, including a few youthful ones who “helped” us set up, as Serbian songs crooned over a tape player. Eastern European hospitality being the house rule, long tables soon began filling up with friendly faces of all ages, and we were fed a substantial lamb dinner, along with more slivovic, beer, and wine.

By the time we actually started playing, we felt more like a family band playing for our relatives. While many got up instantly to dance, others sat and listened. The band really hit its stride with Ramo Ramo: the whole room got up, and many of the younger guys sang along, amazed we knew such material. Other songs brought a similar response, but “Nishka Banja” was received with the most enthusiasm. We repeated it later, at a slower, more sultry, tempo, to even greater effect. After obliging with requests for polkas and waltzes, we were asked to play a particular favorite, the Beer Barrel Polka. Having spent the past five years concentrating on music far removed from this genre, it was a strange feeling to launch into a piece of music none of us had ever played, but knew all too well! And later, when we took a break, we were surrounded with admiration and respect.

Having learned to dance to this music at international folk dance events, we were intrigued with the dance steps people did. No concern over correct hand hold, step-behind or step-in-front, everyone joined in and followed the leader. Like other dancing we have seen in Eastern Europe, there was one general step modified for whatever rhythm we played. And this lasted for as long as we played, sometimes up to ten minutes. Old and young alike danced. However, certain tunes seem to bring out certain steps, including an in-place clapping figure for the refrain on Nishka Banja. The crowd sang along with another favorite, “Aj Fato, mori, dushmanke,” which we ended with a stunning cadence: the fire alarms in the crowded hall all went off. “Wow, you guys are hot!” exclaimed one enthusiastic guest.

Our hosts also welcomed us into their dance circles, and we joined in as they danced to some very contemporary music from Belgrade. Synthesizer and full drum kit along with raucous singing filled the hall. It was as honor to be welcomed so warmly, and to be familiar enough with some of this music to play it for the people whose culture created it. It was a pleasant surprise to know that these dances are not relics of the past, but are still an expression of communal celebration. We felt proud to know that what little we have learned through International folk dancing can be connected so strongly to a culture which is vital right here under our very noses in Boston. As international folk dancers who have learned bits of some remote choreography, created for a stage long forgotten, it is exhilarating to see how authentic folk dancing can be. We wish more of our fellow folk dancers could have this experience.

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