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.
“You had Polish dance tunes like krakowiak, oberek, na wesolo, mazur and polonez, and of course polkas and mazurkas and waltzes. And tangos--Polish tangos were very big in the ‘30s.” [Warsaw, Poland, 1930s]. Alpert 1996a, pp. 16-17.
“It can also happen that a dance has a Yiddish name and the melody for the dance is borrowed from another people. Thus, a polonaise might always be played for a košer-tanc. Many klezmorim, when we asked them for such a dance, played Aginski’s popular polonaise ‘Les adieux à la patrie.’” Beregovski 1937 [= Beregovski/Slobin 1982, p. 535].
“It must be acknowledged, that among our large masses, for a long time now the folkdance has had been accompanied by singing and song; and not only to [modern couple dances such as] the polka did people improvise and sing songs, but also to the polonaise, quadrille, waltz, raynlender, mazurka, sher, beroyges-tants and others.” Cahan 1952b, p. 89.
“I went to Odessa on the Moldavanke, I danced a polonaise/with a charlatan!] [Podalia, pre-World War II]. Cahan 1957, pp. 232-33 (#237, 239).
“‘Kosher tants.’ Even though the the name of this dance (‘kosher dance’) is originally Jewish, in all instances its music was typically foreign and taken from outside sources. In most cases the dance’s accompaniment was with a Polonaise (Polish dance in 3/4 in a festive step...) Many klezmorim accompany the ‘kosher-tants’ with a Polonaise tune of Auginski (1765-1833), that burst into popularity during his time and was called by the name ‘Separation from Birth’. Indeed the musical literature of the klezmorim was original and characteristic, but they responded to the requests and did not avoid also airing Polonaises, Minuets, Gavottes, etc. Rather they would ‘enrich’ this music in the ‘klezmer mode,’ meaning they would add all kinds of ornaments (‘dreydlakh’) in their characteristic manner.” Fridhaber 1960, p. 31.
“Afterwards the klezmer play a polonez and the groom’s father dances with the bride with the edge of a handkerchief, with his hand not touching the bride... the entire crowd takes each other’s hands, the klezmer launch immediately fom the polonez into a freylekhs and everyone jumps up and skips about...” [Staro-Konstantin, Ukraine, 1820s-30s]. Fridkin 1925, pp. 44-7.
“The name ‘sherele’ is the diminuitive form of the old ‘sher’ or ‘shir’ which used to be danced at weddings by two rows facing each other. While singing the rows would come together and then move apart. This dance is similar to one of the old Polish national dances, the Polonaise. As far as lyrics go, they are part of a longer song actually sung by grown-ups at weddings.” Pipe 1971b, p. 571.
“The dance-song is a collective folk-expression which derived from the need to sing for the dance and to dance for the song. The social dances that have no accompanying song emerged in the modern era. The dance-song was preserved by the Jewish masses a long time after the social dances had spread... Also it has been proven that to the new dances like the polka, the mazurka, the polonaise, the quadrille, [and] the waltz, words were sung which went with the rhythms.” Stutschewsky 1959, pp. 166-67, n. 55.