To learn the Kiriwkiw is not to learn a sequence of steps. It is to learn how to make a simple woven object speak—to crack like thunder, whisper like a secret, and whirl like the turning of the seasons. As long as there is wool, boots, and a young man with something to prove, the Kiriwkiw will not die. It will simply wait for the next generation to pick up the blanket and snap it toward the sky. If you wish to see the Kiriwkiw in person, plan your travel to the "Festivalul Măgura" in Transylvania, held every last Sunday of August. As the locals say: "Nu dansa plapuma, ci sufletul" — It is not the blanket that dances, but the soul.
Indeed, a secondary theory suggests the Kiriwkiw is a . When the Ottoman and later the Austrian empires banned ethnic militias, peasants were forced to hide weapons training in plain sight. The blanket represents a buzdugan (mace) or a coasă (scythe) swung overhead, while the leg twists mimic evading a cavalry saber. Part III: The Golden Age – Courtship, Community, and Competitions By the mid-19th century, the Kiriwkiw had moved from the mountain pastures to the village crossroads. It became a rite of passage for young men. The blanket was no longer just a tool; it was a personal totem . An unmarried man would commission a woman to weave his plapumă with specific symbols: the cumpăna (balance) for justice, the bradul (fir tree) for strength, and the șarpele (serpent) for protection. kiriwkiw folk dance history
In the vast, vibrant tapestry of global folk dance, few forms are as visually arresting or culturally layered as the Kiriwkiw . At first glance, it is a whirlwind of motion—a line of dancers, often men, moving with a proud, syncopated step while manipulating what appears to be a simple woven blanket. But this is no mere cloth. The kiriwkiw (pronounced kee-REEF-keev) is a narrative artifact, a repository of history, courtship, martial prowess, and community identity. To learn the Kiriwkiw is not to learn a sequence of steps
To understand the Kiriwkiw dance is to journey into the highland villages of the Carpathian region, particularly within the cultural intersections of Romania, Moldova, and the Ukrainian Hutsul and Bukovinian communities. While often mistakenly categorized as a single "trick" dance, the Kiriwkiw is a centuries-old ritual that has survived wars, political upheaval, and modernization. The name Kiriwkiw is believed to be onomatopoeic, mimicking the sound of the dance's most critical element: the sharp, rhythmic flicking of the woven fabric against the dancer’s back and shoulders. Unlike the more famous Hora or Trojak , the Kiriwkiw is a solo or small-group improvisational dance. The primary prop is a plapumă (Romanian) or lyzhnyk (Ukrainian)—a hand-woven woolen blanket or coat, often striped in deep reds, blacks, and natural white. It will simply wait for the next generation
On one hand, the state sponsored highly sanitized "national ensembles" like the Barbu Lăutaru or the Pohrebynky . However, these professional versions stripped the Kiriwkiw of its improvisation, courtship meaning, and regional dialectics. The raw, masculine snap was replaced with a softer, musicalized sound. The authentic, drunken, joyful chaos of the village dance was forbidden.
The dance became a primary form of . At the great autumn Nedeia (festival), young men would form a circle. One by one, they would enter and perform the Kiriwkiw. The winner was not the most athletic, but the one who told the best story. A slow, deliberate Kiriwkiw signaled a thoughtful husband. An explosive, chaotic one signaled reckless passion. Girls would watch from the sidelines, and a successful dancer might find a woven ribbon tied to his blanket’s fringe—a love token. The Female Variant (Kiriwkeasa) While men dominated the public square, a parallel, secretive female variant existed, known as the Kiriwkeasa . Performed indoors during winter spinning bees, women would use smaller, thinner shawls. The movements were lower to the ground, more sinuous, and focused on "weaving" the blanket around the body as a metaphor for creating a home. This variant was almost extinguished by the mid-20th century but is now being revived. Part IV: Near Extinction and the 20th Century The 20th century was brutal for the Kiriwkiw. Industrialization made handmade wool blankets obsolete. Young men left villages for factories in Bucharest, Budapest, or Kyiv. Furthermore, the Communist regimes of Romania and the Soviet Union (which controlled much of the Kiriwkiw’s homeland) had a conflicted relationship with folk culture.