Introduction by Živio’s General Director:

Introduction by Živio’s General Director

By the time I first became acquainted with Živio in 2001, it had already accumulated 25 years of history. As a group, Živio had experienced being virtually unknown, sometimes prominent, and everywhere in between. The numbers of people involved have ranged from less than 10 to more than 50 members. As directors came and moved on, the style and focus of the group have changed accordingly. It seems incredible that Živio could have weathered so many upheavals without changing its fundamental nature, but somehow it has done just that.

I believe the reason that this chameleon of a group has remained “Živio” after so many years is due to one dependable constant: the dedication of its members. As a whole, this group has carried a certain feeling or spirit, something that passes on from person to person and remains unchanged even when specific people come and go. This feeling is simply a love and passion for folk music and dance. Since the beginning, directors and performers alike have used their creative fires to keep Živio alive, forming an outlet for people who feel the same passion to express it, share it, and teach it to others.

This history is my tribute to them, not just to preserve their memory, but also so that we can celebrate who we are today through knowing who we were yesterday. Here’s to life—Živio!

- Sara Vandermolen

History

The Beginning

Živio Ethnic Arts Ensemble began in 1980 as the Folkdance Underground. The initial group consisted of eleven folk dancers, musicians, and singers staging street performances at Trolley Square in Salt Lake City, Utah. This early group was very much a close community: according Sarah Miller, a founding member of the group, "Being part of the group was like being part of an extended family." This was the age of folk dancing, when performing with an international group was a popular idea. In this environment, the new group quickly attracted many members. By the late 1980’s, the group had grown to more than forty performers and was making a name for itself not only in Utah, but out of state and country as well.

As the group began to expand, their opportunities for performing grew as well. Not only were more places offered, but the group made some of its own opportunities. From 1984 to 1994, the Folkdance Underground presented an annual Spring Concert which took place in various venues throughout Salt Lake City, finally ending up at Kingsbury Hall on the University of Utah campus for the last five years. During the time of the Spring Concerts, guest performers included Dionysius Greek Dancers, Eastern Arts, Erdély Ensemble, Kismit, Jomoka, and Buckle Busters. In 1983, the Folkdance Underground initiated the Utah Slavic Festival. It was originally called “Utah Slavia”, and the first performance took place in Memory Grove. The following year it moved to The Old Mill, where it remained until 1994. Largely under the direction of Karen Zinner, who remains an active dancer, the Folkdance Underground produced as well as performed in the event for 13 consecutive years. This was a great opportunity to bring together Utahns of Slavic descent, emigrants from the Slavic countries, and performers representing those countries. The Folkdance Underground later loaned the festival to others, but the group still performs in the Slavic Festival regularly.

Živio Abroad Back to Top

Then, in 1985, the Folkdance Underground embarked on the first of three international tours. The group had received an invitation to participate in an International Folk Festival in Poland. They switched gears from their usual repertoire of Balkan dances, instead performing American folk dances with a strong emphasis on Utah traditions. Two years later in 1987, the group again traveled abroad, this time to the old Yugoslavia. There, at the International Folk Festival in Ohrid, the Folkdance Underground was honored with a “Judges Award for Best Presentation.” While they were there, they also purchased authentic Croatian costumes—these remain a treasured possession of the group to this day.

It was just after this tour that they considered changing the group's name. According to Ken Poppleton, who performed in Yugoslavia as a new dancer, the name "Folkdance Underground" was difficult to explain while abroad. People raised speaking other languages didn't grasp that "underground" could mean "antiestablishment" as well as literally under the ground. So when the group returned, they held a meeting to discuss new names. In the end, they chose to rename the group "Živio Ethnic Arts Ensemble".

The change occurred just in time: the last of Živio’s international venues came in 1989 when the ensemble toured Hungary. They spent three weeks touring two cities and their surrounding areas: Szentendre (a suburb of Budapest) and Szeged. These events abroad were more than opportunities for exposure, for traveling also provided the performers a rich opportunity to study the music, dance, language, and culture of the regions they toured.

Fun Times Back to Top

When Živio bought their Croatian costumes during an international tour, they were taking advantage of an incredible opportunity to wear costumes actually from the country they represent. Other costumes required some creativity.... The men’s Bulgarian costumes are a good example: the authentic looking embroidery on the shirts was actually sewn by the women of Živio. As dancer Ken Poppleton laughingly recalls, “My shirt had one sleeve done by Lisa [Poppleton], and the other sleeve by Leslie Peterson.” The white pants men don to go with those shirts have even more humble beginnings… they were purchased at a Penny’s department store!

Živio needed all this creativity in truckloads—the rapidly expanding group required huge numbers of costumes, dances, and choreographies. By the late 80’s and early 90’s, Živio had grown into a group of 50-odd people and was capable of pulling off complex dances from many places. Of course, they never ceased their efforts to expand and improve. In fact, the group’s success made that process easier because it allowed them to bring in teachers from all over to instruct them in new music, dances, and choreographies. These experts proved especially useful when the dancers and musicians were exploring new territory, because it allowed them to get the styling correct from the beginning.

Sometimes, however, the best teachers were to be found right within Salt Lake City. Barry Goldman, Živio’s Dance Director during the late 80’s (and a former member of Seattle’s folkdance group, Radost), routinely taught both men’s and women’s parts for many dances and choreographies. At a time when there were 50+ members, this was an especially impressive feat. Rehearsals would go for three hours, and efforts before performances were especially intense. Because it was a large, stressful task to put on these massive shows, Živio would have group retreats to places like Park City for a short time of bonding, learning, and partying. Several live folk bands and orchestras would play until 2:00 in the morning, accompanied by dancers all the while.

Slowing Down Back to Top

Živio’s momentum slowed a bit around the mid 1990’s. The generation of dancers who began Živio now had a different set of demands on their time—for some it was work, for others it was children. Some moved away. So for a while, a mere handful of members kept the group going. The band became more prominent in this period, and at one time remained the only active part of Živio. The current Music Director, Jan Root, did a stellar job of holding the band together throughout those “down” years.

New Life Back to Top

In the year 2000, the dancers received an upswing of energy from a new, energetic dance director: 16 year old Elana Vandermolen. A professional dancer since age 13, she worked especially hard at creating new dances and choreographies. She watched numerous old videos of performances, and from those figured out how to teach both male and female parts dances to the rest of the group. Throughout Elana’s push to update the group’s repertoire, she always insisted on precision and proper styling.

Although Elana remained dance director for only a few years, the rest of the group took up that energy and began to feel enthusiastic once more. Živio even began traveling again- albeit more modestly. Some of the group’s more common venues currently include the International Festival in Rock Springs, WY, the Arts Festival (SLC), First Night (SLC), and the Brown Bag Concert Series (SLC). Ken Poppleton, long-time dancer, kept the group going during this transition period.

When Sara Vandermolen was elected General Director in 2005, her platform included expanding the group’s area of interest. She wanted to include not only the Balkans, but also some of the surrounding areas: the Ukraine, Russia, and some Middle-Eastern countries. Jan Root, the Music Director, took this idea and ran with it; she began to teach the band songs from many diverse places, including Israel, France, and even an old American rag. This new direction and energy began to bear fruit quickly. Most notably, Živio added three new pieces in a single year—and one of those hailed from a culture the group had not represented before. These successes have strengthened Živio as a group, and promise good things to come in the future.

The Heart of Živio Back to Top

At its core, Živio is a group where people have a chance to express the joy they receive from playing, singing, or dancing. Although this type of entertainment may not be as refined as a ballet or symphony, it still provides its own value. It is a legacy of heartfelt and genuine merriment, reminding us of a time when even the poorest villager could dance or play away their troubles for an evening. It calls to mind bonfire dances and communities gathering together for simple but sincere celebrations of life. This is the legacy Živio perpetuates by sharing—but more importantly, living—the traditions begun so long ago.

If you have any memories or stories you would like to add to this history, please contact Sara Vandermolen

(801) 455-1286 ; director@zivio.org

Živio's leaders over the years...

General Directors

Bonnie Baty: 1980 to ----
Craig Miller: ---- to 1987
Craig Kuramada: 1987 to 1993
Jan Root: 1993 to 1994
Karen Zinner: 1994 to 1997
Karen Bradakis: 1997 to 2001
Ken Poppleton: 2001 to 2005
Sara Vandermolen: 2005 to present

Dance Directors

Jana Rickel: ---- to ----
Barry Goldman: 1987 to 1989
Lisa Poppleton: 1990 to 1991 (1995?)
Elana Vandermolen: 2000 to 2002

Artistic Directors

Barry Goldman: 1987 to 1991

Music Directors

Julian Ward: ---- to ----
Jan Root: ---- to present

Costume Directors

Kathy Randa: ---- to ----
Lisa Rogers: ---- to ----
Karen Zinner: ---- to present

This list is still under construction. If you have additional information or a correction for this list, please contact Sara Vandermolen at director@zivio.org