This entry is part of the Lexicon of Klezmer Terminology (LKT). The LKT compiles a wide array of source materials that shed light on the historical and contemporary state of knowledge about klezmer music. Each entry includes a number of citations from primary and secondary sources that include or refers to the term in question. It also indicates whether musical notation or sound recordings are included in the source. By clicking on the bibliographic hyperlink at the end of each citation, you get the full reference.
“... One of the most beautiful dances on display during this event is no doubt the ‘tekhiat ha-metim’ dance, or in popular language ‘tekhies hameysim tants’. A pair of dancers execute this dance the whole of which consists of a choreographic story in three scenes:...This dance is into three parts, borrowing three different melodies, the first section of the dance performed to the ‘doyne’ melody, which is also practically the melody of the ‘beroyges’ tants’ dance. The second section of the dance, performed even on the ‘doyne’ melody establishing sadness and crying, during the third part the melody changes to an especially happy ‘doyne’ melody.” . Fridhaber 1978a, p. 8.