Hopak (, ) is a Ukrainian folk dance originating as a male dance among the Zaporozhian Cossacks, but later danced by couples, male soloists, and mixed groups of dancers. It is performed most often as a solitary concert dance by amateur and professional Ukrainian dance ensembles, as well as other performers of folk dances. It has also been incorporated into larger artistic opuses such as operas, ballets and theatre. The hopak is often popularly referred to as the "National Dance of Ukraine" and has become very popular in Poland. There are similar folkloric dance tunes known as Sirmpa in Leros, Greece. Etymology The name hopak is derived from the verb hopaty () which means "to hop," as well as the corresponding exclamation hop! () which can be uttered during a jump as an expression of surprise or amazement. It is also referred to as gopak from the Russian form. History Medieval history The Hopak developed initially as a Cossack social dance (, translit. pobutovi tantsi), and was practiced in the lands of present-day Ukraine beginning in the 16th century. While the militaristic Zaporizhian Sich generally frowned upon amusements and diversions from military training, such regulations were overlooked when Kozaks returned victorious after battle. Kobzars and other musicians would gather their instruments - violins, bagpipes, bandura, cimbaloms, and fifes - while other participants would dance. This celebratory was performed only by male participants, as they took place in an all-male environment. The performers were young, boisterous mercenaries, and not professional dancers; as such, the dance steps performed were predominantly improvisational, reflecting the performers' sense of manliness, heroism, speed and strength. The steps exhibited included many acrobatic jumps (, translit. ). Often fights from the battlefield would be re-enacted in pantomime, with real swords, lances or other weaponry, as the performer lashed out at invisible enemies. These dances were not tied down to specific rhythms, and the dancers could change tempo at any point. Such festive dancing differed greatly in character from the older ritual dances (, translit. obryadovi tantsi), such as the Khorovod, which had previously been the dominant choreographic works in Ruthenian lands. A primary distinction was the gender of the participants – all male – as opposed to the predominantly all-female ritual dances. With the elevation of Cossack status in the region, began to appear in the villages within their domain. Unlike the all-male dances found in the Sich,