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By tradition, Byzantine dance is linked with both classical antiquity and today’s folk dances of the southern Balkans. Turkish influence on the latter seems limited primarily to musical instruments and melody but does not appear to include rhythm. In antiquity, and in Byzantine times, the simple rhythmic foot was divided into  arsis  and  thesis , the ‘up’ and ‘down’ of a step, and the ratio of their lengths (in time units) determined the rhythmic  genus , 1:1 dactylic, 2:1 iambic, 3:2 paeonic and 4:3 epitrite. This implies measures of 2, 3, 4, 5 or 7 units and certain multiples. In addition, there were also composite rhythmic feet which combined simple feet of different  genera . In early Byzantium, for example, measures of 11 and probably of 9 units were used. These seem to correspond to the forms 3+3+2+3, 2+3+2+2+2 and 2+2+3+2. This would suggest that the asymmetric rhythms of Greek, Bulgarian and Macedonian folk dances derive from ancient and Byzantine predecessors.

Byzantinischer Tanz zwischen antiker Rhythmik und neuzeitlichen Volkstänzen