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Description

Kalattut (often called the Greenlandic polka) is a traditional Greenlandic dance-music style that blends European couple-dance rhythms—especially polka, schottische, waltz, and contra—into a uniquely Inuit/Greenlandic social dance context.

Music for kalattut is typically instrumental and led by accordion and/or fiddle, played at a lively tempo suitable for set dances and figure changes. Tunes are usually short, memorable, and arranged in repeated strains (AA–BB), supporting circle or line formations and playful partner exchanges.

Although related to broader European folk-dance music, kalattut has its own steps, figures, and pacing shaped by Greenlandic social gatherings, making it a distinctive local tradition rather than a direct copy of European forms.

History

Origins (19th century)

European traders, whalers, and missionaries brought couple-dance repertoires such as polka, schottische, waltz, and contra to Greenland during the 1800s. Greenlandic communities adapted these rhythms and figures to their own social dances, giving rise to kalattut—sometimes known as the "Greenlandic polka."

Localization and community role

As the style took root, Greenlandic dancers and musicians developed characteristic steps, formations, and pacing that matched local festivities and communal gatherings. Accordions and fiddles became the core instruments, with music arranged in short, repeated strains to support figure changes and group participation.

20th century continuity and revival

Despite shifting cultural pressures over the 20th century, kalattut remained a vital community tradition, performed at holidays, weddings, and village events. In the late 20th century, cultural revitalization and education initiatives helped sustain and formalize teaching of kalattut steps and tunes in schools and community centers.

Today

Kalattut is widely recognized in Greenland as a symbol of local identity and sociability. It is performed at civic celebrations and cultural festivals, with musicians preserving core repertoires while introducing new tunes that respect the dance’s traditional structure and feel.

How to make a track in this genre

Instrumentation and texture
•   Lead with accordion (diatonic or piano accordion) or fiddle; guitar or simple percussion can provide light accompaniment. •   Keep textures transparent so dancers can hear the pulse and phrase boundaries clearly.
Rhythm and tempo
•   Favor duple-meter dances at a lively but comfortable tempo (~110–124 BPM for polka-like pieces; ~90–110 BPM for schottische; ~80–100 BPM for waltz interludes in 3/4). •   Emphasize a steady, danceable groove with clear downbeats and occasional pickup notes to cue figure changes.
Form and phrasing
•   Use short, repeated strains (e.g., AA–BB) of 8 or 16 bars each, with clear cadences to signal repeats and transitions. •   Arrange tunes in sets that alternate polka, schottische, and occasional waltz to match traditional dance sequences.
Harmony and melody
•   Keep harmony simple and diatonic (I–IV–V progressions with occasional ii or vi). In minor keys, use functional, folk-friendly motion. •   Write singable, catchy melodies with limited chromaticism, balancing stepwise motion and small leaps.
Performance and feel
•   Maintain consistent tempo; avoid dramatic rubato that could disrupt group figures. •   Articulate phrases cleanly so dancers anticipate turns, advances, and partner changes. •   While the music is typically instrumental, occasional calls or spoken cues may be used informally to guide figures.

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