Last weekend, Irina Gocheva accomplished a small feat in Chicago. Perhaps that’s not entirely accurate. It’s certain that she wasn’t the only hero—so were Todor Gochev, Krasimir Marinov, Dimitar Dimitrov, Mariana Marinova, Petya Dimitrova, Mariana Mankova, Beatrice Mineva, Eleonora Daskalova, Stefana Stefanova, Tsvetanka and Stoycho, Svetla Stoilova, Albena Daskalova, Hristina Burdanska, Persiana Simeonova, Veneta Pencheva… Am I missing anyone?
Yes, it’s a shame that Chicago doesn’t yet have a commemorative medal or some kind of award to give as recognition to those who have done a great job. In this case, it was an incredible folk evening that Dance Ensemble “Horo” gifted to their fellow Bulgarians in Chicago. And there’s more. What made the evening unique was that Irina and her team invited, and he accepted and joined us—Ivaylo Ivanov, the chief choreographer of the National Folklore Ensemble “Filip Kutev” in Sofia. It’s like inviting Guardiola from “Barcelona” and having him come to chat with you at the “Saint Sofia” Church. That’s why I say Irina is a hero, and the entire “Horo” ensemble is heroic because it’s difficult to organize, but people like this must be invited and brought to Chicago! And Father Popzonkov is also a hero, as the hall at the BPC “Saint Sofia” is always ready and always perfect for good meetings!
I’m not sure what Ensemble “Filip Kutev” represents for everyone, but for some sensitive Bulgarians, it is akin to the defenders of Shipka. Or an institution like the Bulgarian Academy of Sciences (BAS), a university, or the Rila Monastery. The scale may differ, but the impact is the same. It is a spiritual fortress of Bulgarian spirit and culture. And when such a fortress falls into dust and oblivion, it’s a sure sign that Bulgaria herself is bending a little, and her legs are starting to falter.
But “Filip Kutev” is not falling. It sways in the wind, but it has clenched its fists and still stands strong and beautiful. I asked our guest, a man standing at about six feet tall, with a strong but flexible build—likely a light but resilient dancer before taking up the role of choreographer—whether the state, as it reforms with an eye on a distant, beautiful future, is causing too much suffering for today’s travelers. And will our folklore reach that future, or will it get lost in the thickets? Ivaylo said that a new law on the performing arts is awaited.
Today, the ensemble comprises 16 musicians, 20 choristers, and 30 dancers, which is a heavy burden on the budget. They rehearse in the former Polytechnic premises in Sofia, their costumes are stored across town in the “Emil Markov” neighborhood, and they don’t have their own hall. There are few venues in Bulgaria where they can stage their performances, not to mention the costs of plane tickets and hotel rooms when traveling abroad.
With us is Simeon Stoilov, the Consul General of Bulgaria in Chicago, who not only attends every community event but also always starts thinking and working with us to do something “for the benefit of the people.” We’re now discussing whether there will ever be such a celebration in Chicago—with “Filip Kutev” among the skyscrapers.
Later, we listened to Stoilov’s words during his greeting: “Your visit is important to us. It is also a high recognition of our ensembles in Chicago and a direct link between ‘this part’ and ‘that part’ of Bulgaria. We thank Irina Gocheva for the invitation. We will make every effort to bring you, this time with the ensemble, back to Chicago so that all Bulgarians, and many Americans, can see you…”
We heard from Ivaylo about how they reconcile stage performance with authentic folklore at “Filip Kutev,” and we saw, even if only on film, the magnificence and mastery of their musicians, singers, and dancers! We agreed with him that dance is the highest expression of inner emotion—without it, we would have to call it “gymnastics.” There has to be something to convey through dance.
Ivaylo also saw our dancers from “Horo” and the reinforcements from “Vereya”—I think he was genuinely impressed by the skills of our Chicago dancers. Later, we all marveled at the group of Americans who performed a whole bouquet of Bulgarian dances in the best Bulgarian manner. This group is called “Ethnic Dance Chicago,” and it includes Paul Collins, Lara Kins, George Davis, Diana Davis, Colon Kan, Mari Aspin, Sara Evans, Steve Speer, Fran Gilbert, and Nina Lusterian.
Our Guest Ivaylo Ivanov
6,200 Concerts in 60 Years!
In November 2011, the National Folklore Ensemble “Filip Kutev,” as it is known today, celebrated its 60th anniversary. Currently, the Ensemble’s director is Prof. Dr. Elena Kuteva, with Georgi Andreev serving as the principal conductor and conductor of the orchestra, Ivaylo Ivanov—our guest in Chicago at the end of November—as the chief choreographer, Georgi Genov as the choir conductor, and Dimitar Todorov as the concertmaster.
The Ensemble was founded in 1951 under the name State Ensemble “Filip Kutev” by the brilliant Bulgarian composer Filip Kutev, whose name it still proudly bears. From the very beginning, the creators defined its mission: “to translate the diversity of traditional Bulgarian folklore into a stage language, presenting it through arranged or newly composed songs, dances, instrumental pieces, rituals, and customs based on folklore.”
Over its 60 years, Ensemble “Filip Kutev” has performed over 6,200 concerts in Bulgaria and around the world.
The role of “Filip Kutev” in reviving and preserving the Bulgarian spirit and traditions, as embodied in folk art, is monumental. It is an artistic formation rarely seen not only in Bulgaria but worldwide.
His name is associated with composers and choreographers such as Filip Kutev, Krasimir Kyurkchiyski, Kosta Kolev, and Margarita Dikova. Many of the fantastic stage costumes worn by the performers were designed by renowned Bulgarian artists Neva Tuzsuzova and Venera Naslednikova.
The repertoire of the “Filip Kutev” ensemble includes legendary artistic achievements. Notable among them are works by Filip Kutev, Georgi Andreev, Georgi Genov, and our guest in the USA, invited by our Chicago ensemble “Horo,” Ivaylo Ivanov. These works include “Lale li si, ziumbiul li si,” “Aide, sunce zaide,” “Kate, Kate,” “Chichovata,” “Kozhelyo,” “Chichovite konye,” “Karakachani,” “Sharena gaida,” and more recently, “Trakiiski motivi.”
One song, reimagined by Filip Kutev, has become the ensemble’s signature piece—”Polegnala e Todora.”
Filip Kutev (1903-1982) created an institution that brought living Bulgarian folklore to the stage, refined by talented and trained masters. Many similar ensembles were established in Bulgaria following his model, and after a tour in 1956 in France, Belgium, and the United Kingdom, global interest in Bulgarian folklore grew. It is said that Filip Kutev’s work spread far beyond the country’s borders, fostering much admiration and friendship for Bulgaria and its culture among various nations.
In 1963, the ensemble represented Bulgaria in the United States, and here’s what The New York Times wrote on that occasion: “There is a myth that Orpheus was born where Bulgaria is now. It seems this is true, not a myth, as his descendants showed us that they still sing there!”
On November 1, 2011, the Union of Bulgarian Music and Dance Artists honored the National Folklore Ensemble “Filip Kutev” with Crystal Lyres for its contribution to the development of Bulgarian folklore. The Crystal Lyre in the field of dance folklore was awarded for the choreography of “Bulgarians of Old” (a co-production with the Musical Theater) and for the choreography of the ceremonial concert “The Bulgarian” by chief choreographer Ivaylo Ivanov.
Kliment Velichkov, Chicago
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