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Videos by Daniela Ivanova-Nyberg
Хореография и постановка: Даниела Найберг Музикален подбор: Даниела Найберг, Васил Денев Муз... more Хореография и постановка: Даниела Найберг
Музикален подбор: Даниела Найберг, Васил Денев
Музикално оформление/аранжимент/нотно описание: Васил Денев.
Оркестър: Васил Денев (кавал), Петър Алексиев – Усмивката (гайда), Ангел Добрев (гъдулка), Константин Маринов – тъпан
За хореографията са използвани теренни записи на проф. Анна Илиева, записи от Националния събор за народно творчество в Копривщица, както и други източници.
Записът е от десетото издание на Фолк Фест „Верея“ – Чикаго (29 април – 1 май, 2022)
Видео материал: Деси Пискова
„Сиатъл чета“ посвещава „Игри от Средногорието“ на светлата памет на професор Анна Илиева (1933 – 2021).
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Papers by Daniela Ivanova-Nyberg
The Choreography of Traditional Dance on Stage: Crises, Perspectives and Global Dialogues, 2024
This paper discusses the various challenges that the topic of cultural transmission of choreograp... more This paper discusses the various challenges that the topic of cultural transmission of choreographic knowledge presents but also reveals the fascination with the new avenues for further study it offers. The text includes a theoretical part, fieldwork documents (accompanied
by analytical commentaries), and a concluding remark. The theoretical part brings the author’s “dialogue” with the concepts of cultural transmission and choreographic knowledge; the “presentational” one presents fieldwork documents in a search for cultural transmission of choreo-
graphic knowledge within the Bulgarian context with some examples from the US. This section includes references to universities’ programs, traces the history of the discipline of Bulgarian Folk Choreography (and the genre of Bulgarian Dance Art Based on Folklore), and presents
mentor-disciple influence. The adopted interdisciplinary research method combines historical, anthropological, and ethnochoreological research approaches by incorporating a philosophical perspective. This research leads to the conclusion that there is a strong institutional foundation
and well-established practices in offering practical choreographic knowledge/education in Bulgaria which opens the door to further studies on both theoretical and fieldwork sides.
Keywords: cultural transmission, choreographic knowledge, Bulgaria, continuity, innovation.
...
The Choreography of Traditional Dance on Stage: Crises, Perspectives and Global Dialogues, edited by Dunja Njaradi, Miloš Rašić, and Krešimir Dabo has just been released. The collection of papers is in open-access format and can be downloaded free from the website of the Institute of Ethnography of the Serbian Academy of Sciences and Arts (https://etno-institut.co.rs/en/edited-volumes).
БЪЛГАРИ ОТВЪД ЕВРОПА: Институции и културно наследство, 2023
Текстът обобщава литературни инициативи и практики, провеждани в САЩ, наблюдавани в периода 2011... more Текстът обобщава литературни инициативи и практики, провеждани в САЩ, наблюдавани в периода 2011-2021 г. Панорамното очертаване се опира на интервюта с личности, развиващи писателска, издателска, организационна и друг вид дейности. Авторката обръща внимание на трансформациите в литературните инициативи, настъпили вследствие на COVID-19. Като посочва нарастващата роля на интернет (особено при физическото изолиране на света), текстът свързва съвременните литературни практики (с повишаващото се значение на технологиите) с по- общите глобални процеси и, респективно, промени.
Текстът е включен в сборника "БЪЛГАРИ ОТВЪД ЕВРОПА: Институции и културно наследство".
Съставители:
Боян Кулов, Лина Гергова, Мариянка Борисова, Таня Матанова, Яна Гергова
Автори:
Анелия Авджиева, Благовест Нягулов, Валентин Воскресенски, Владимир Пенчев, Даниела Найберг, Диляна Иванова Зиске, Лина Гергова, Мариянка Борисова, Мартин Колев, Невена Димитрова, Николай Вуков, Пенка Пейковска, Роман Хаджикосев, Светлана Караджова, Таня Матанова, Уилям Фредерик Зиске, Ценка Генова, Щерьо Щерев, Яна Гергова
DANCE AND ECONOMY, DANCE TRANSMISSION, Proceedings of the 31st Symposium of the ICTM Study Group on Ethnochoreology, 12–18 July, 2021, Klaipėda, Lithuania , 2022
In the United States and Canada, in the past decade, there has been a very dynamic development of... more In the United States and Canada, in the past decade, there has been a very dynamic development of the Bulgarian folk dance groups for children and adults. Often, the children's groups were established first, and the instructor/choreographer is the same for both groups. But what models and styles of cultural transmission can be defined in environments that also include the Balkan folk dancing in North America? How does the fieldwork in today's changing world inform such a study? What research approaches would be best? This paper proposes that the mutual involvement of parents and children in folk dance activities invites study of transmission via "legitimate peripheral participation" [Lave and Wenger 1991], in considering a Bulgarian dance community abroad as a "community of practice" [Wenger 1998]. The execution of an interdisciplinary approach reveals a multi-faceted model of cultural transmission. Outcomes resulting from this study are intended to contribute to dance and migration studies.
Keywords: Bulgarian dance; Bulgarian communities; North America; cultural transmission; community of practice.
The 7th Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe, Turkey (onli... more The 7th Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe, Turkey (online)
2021
Migrations, Carnival, Sustainable Development Sixth Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe Held in Sinj, Croatia 15 April – 21 April 2018 , 2020
This paper addresses various examples of Bulgarian folk dances performed by Bulgarians in Bulgari... more This paper addresses various examples of Bulgarian folk dances performed by Bulgarians in Bulgaria and by Bulgarians and non-Bulgarians in the Unites States. The focus is on style. What happens to Bulgarian dance when it is performed by people of different ethnic origins and dance experiences? This paper proposes that Bulgarian dance, in its traditional, ensemble, and club forms accordingly, developed specific structures and styles. These various forms and styles have all migrated to the United States even though there is great variety in the details used and applied.
Keywords: Bulgarian dance; style; migration; Bulgaria; United States.
This paper addresses representations of the Bulgarian nation by looking at the repertoire politic... more This paper addresses representations of the Bulgarian nation by looking at the repertoire politics of two professional ensembles that use ‘national’ in their names: the first is the state’s National Folklore Ensemble Philip Koutev (est. 1951) and the second is the private National Folklore Ensemble Bulgare (est. 2002). What do these two ensembles have in common and how can one define their approaches in representation of the nation? How do each of them portray the current political and cultural situation in Bulgaria? How shall we discuss the topic, “Performing Democracy” today? This paper’s leading themes are analyzed from the perspective of the relationships between dance and politics.
INTERPRETATION OF DANCE IN THE MUSEUM SPACE: EXPOSITIONS AND PRACTICES AT THE SEATTLE ART MUSEUM... more INTERPRETATION OF DANCE IN THE MUSEUM SPACE:
EXPOSITIONS AND PRACTICES AT THE SEATTLE ART MUSEUM – SAM
WITH EXAMPLES FROM BULGARIA
(Field Notes)
Abstract
Seattle Art Museum (SAM) stimulates an ethnochoreological research project for various reasons. In addition to its permanent exhibits of Native American and African Art (with archival dance video materials), it invites dance events in which the performers are representatives of different cultures and create educational programs that incorporate movement. Observations here include dance performances – from classical Indian dance at Diwali Family Festival to modern dance in dialogue with paintings. Dance events from the past decade and a recent program (Art-and-Movement) are also reviewed. Documentary notes were taken during fieldwork at SAM between October 2019 – January 2020 and include voices of museum employees. This initial investigation suggests that addition of dance and movement at SAM came in response to evolving perceptions about the museum, the human body, and performance space. In this transition from static to dynamic (opening its doors to dance and movement) imaginative programing by curators is crucial for success.
Key words: dance; movement; performance; art; Seattle; SAM; museum; curator; field notes.
ИНТЕРПРЕТАЦИЯ НА ТАНЦА В МУЗЕЙНОТО ПРОСТРАНСТВО:
ЕКСПОЗИЦИИ И ПРАКТИКИ В МУЗЕЯ ЗА ИЗКУСТВО – SAM, СИАТЪЛ, ВАШИНГТОН, С ПРИМЕРИ ОТ БЪЛГАРИЯ
Резюме
Музеят за изкуство в Сиатъл с неговите постоянни изложби на индианско и африканско изкуство (с архивни видео-кадри), арт-събития, включващи танц, (в които участниците са представители на различни култури), както и с образователните си програми е място, което приканва разглеждане на посочените дейности от хореоложка перспектива. Наблюденията тук обхващат индианска експозиция с архивни видеоматериали, както и различни видове танцови пърформанси. Под внимание са взети документирани танцови изяви, а също и Арт-и-движение програма, създадена по повод гостуваща изложба. Текстът обобщава бележки от теренна работа, провеждана в Музея за изкуство – SAM в периода октомври, 2019 – януари, 2020 г., като наред с описанията са предадени и гласове на музейни служители. Работната хипотеза, която първоначалните проучвания захранват е, че наблюдаваното в SAM разнообразие от танцови и телодвигателни прояви идва в резултат на променящите се представи за музея и тялото и прехода на музея от статика към динамика. Ролята на музейните служители в този процес е определяща.
Ключови думи: танц, движение, пърформанс, изкуство, Сиатъл, SAM, музей, куратор, теренни бележки
Proceedings of the 30th Symposium of the ICTM Study Group on Ethnochoreology in association with ... more Proceedings of the 30th Symposium of the ICTM Study Group on Ethnochoreology in association with the Hungarian Association for Ethnochoreology, Symposium hosted by the Department of Ethnology and Cultural Anthropology, University of Szeged and the Research Centre for the Humanities, Institute for Musicology of the Hungarian Academy of Sciences, Budapest, July 28 - August 4, 2018.
Publication to be announced.
2020 (Publication to be announced) Tvrtko Zebec (editor), Sixth Symposium of the ICTM Study Group... more 2020 (Publication to be announced)
Tvrtko Zebec (editor), Sixth Symposium of the ICTM Study Group on Music and Dance in South-Eastern Europe, 2018 Sinj, Croatia.
2020 (Publication to be announced) Tvrtko Zebec (editor), Sixth Symposium of the ICTM Study Group... more 2020 (Publication to be announced)
Tvrtko Zebec (editor), Sixth Symposium of the ICTM Study Group on Music and Dance in South-Eastern Europe, 2018 Sinj, Croatia.
This is the Bulgarian version of the paper “Ethnography and folklore at Bulgarian secondary schoo... more This is the Bulgarian version of the paper “Ethnography and folklore at Bulgarian secondary school: a possible method of teaching,” presented during the 19th World Congress on Dance Research, Larnaca, Cyprus, 2005.
Available In Much More Than Movement. Proceedings 19th World Congress on Dance Research, CD ROM Collection, 2005. Larnaca, Cyprus
This text summarizes more than a decade of fieldwork throughout the United States, researching th... more This text summarizes more than a decade of fieldwork throughout the United States, researching the dynamic development of Bulgarian folk dance outside the homeland. Under investigation is the common ground between:
- American Bulgarian recreational folk dance repertoire and the folk dance repertoire of the Bulgarian communities living in the States, and
- American Bulgarian performance repertoire and performance repertoire as observed in 2011-2016 during the Chicago’s Bulgarian Folk Fest, “Verea.”
The researcher suggests, and develops her arguments in the analyses, that the “meeting venue” for the Bulgarian and American recreational repertoire is the so called “generic patterns.” Performance repertoires of both Bulgarian and American groups mirror to a great extent the model of the Bulgarian folk ensemble tradition. The nature of the repertoire of Bulgarian groups, on the other hand, could be properly understood only by taking into account the remarkable folk dance club movement inside Bulgaria, facilitated by YouTube and social media.
Key words: Bulgarian dance, Bulgarian groups, American Bulgarian folk dance repertoire, performance, USA.
“'Let our dancing lesson begin!' An experiment of the Bulgarian National Radio.” (In Serbian). Ve... more “'Let our dancing lesson begin!' An experiment of the Bulgarian National Radio.” (In Serbian). Vesna Mikic; Tatyana Markovic (editors), 2004. Music and Media: Folklore-Music-Work-of-Art 6th International Symposium: 176-181. Belgrade: Faculty of Music.
This volume was also published in English.
Musicologist, 2019
This text is the result of an ethnochoreological and anthropological investigation of folk dance ... more This text is the result of an ethnochoreological and anthropological investigation of folk dance practices at Balkan Fest in San Diego, California (2013 et seq.), in which the Bulgarian community plays a central role. Although Balkan Fest has already been approached in one of my earlier works, and the California Bulgarian community has been addressed in a paper discussing the ‘re-discovery’ of Bulgarian folk dance, there was no focus on transnational and transcultural approaches (and experiences) in these works, which are addressed in the present text; these approaches are adopted here for setting the context and supporting my analysis. Balkan Fest reveals “ways of belonging”, in which Bulgarian music and dance play an important role. This article proposes that, to many of the festival’s attendees, the festival’s campground became a space (a ‘village,’ a ‘home’) where one is physically absent, but spiritually and emotionally present in one’s country of origin. Besides being a playground – both metaphorically and literally – the festival offers various activities for children to retain their Bulgarian ethnic identity (although raised as Bulgarian-Americans). Simultaneously, this is a California ‘Balkan Fest,’ in which people of different backgrounds meet, and where the dance floor becomes a venue for the convergence of various dance traditions.
Key words: music, dance, festival, Bulgarian community, U.S.A.
Българският текст е подготвен през 2004 г. и е мислен като есе, базиращо се на "включени" наблюд... more Българският текст е подготвен през 2004 г. и е мислен като есе, базиращо се на "включени" наблюдения от периода 2000-2003 г. Като доклад на английски език той е представен по време на срещата на изследователската група по етнохореология при ICTM (International Council for Traditional Music) в Болоня през 2004 г. Сборникът с доклади е публикуван през 2008 г. Вж.
“Paneurhythmy in Bulgaria: philosophical aspects.” Elsie Ivancich Dunun; Ann von Bibra Wharton (editors), Proceedings for The 23rd Symposium of the ICTM Study Group on Ethnochoreology, 2004: 221-226. Monghidoro (Bologna), Italy: ICTM Study Group on Ethnochoreology; ‘E Bene Vega Maggio’ Association, Monghidoro; Institute of Ethnology and Folklore Research, Zagreb, Croatia.
https://www.academia.edu/20276850/Philosophical_Aspects_of_Paneurhythmy
This paper investigates the Bulgarian folk dance scene in the past ten years when, along with the... more This paper investigates the Bulgarian folk dance scene in the past ten years when, along with the long-established folk dance ensembles, the folk dance clubs began touring abroad to participate in international folk dance festivals and competitions. Members of such groups are people of all ages, enthusiasts, the majority of whom are without previous dance training. That began by learning various hora * for recreation only. However after the first few years (and even months) club members began enjoying attendance in festivals/competitions at home and abroad. The latter led to disapproval by some professional folk choreographers/ensembles because of the " spoiled image " of Bulgaria (in the near past the country was represented abroad by only highly trained professional and semi-professional folk ensembles). Some village groups also toured abroad but they presented their programs under the category of " authentic " or " not-arranged " folklore. Research topics to this paper are: What is more precisely considered to be the Bulgarian national image, if indeed there is a single one that needs to be preserved? In which ways do political and cultural environments produce new national images? How does professional ensemble training relate to the " nation branding " (after Anholt)? The research proposes that the majority of the folk dance club repertoires today reflect neither the ensemble nor the village repertoire. Some clubs over the years developed two platforms: one for recreational dancing and another – for performance; these platforms are clearly named and identified. There are various approaches in designing club's repertoires and activities. These depend on the background of the leader, participants 'profile, group's goals, and more) and these need to be taken into account while analyzing the current situation. This anthropological and ethnochoreological research suggests that the " roots " of the existing friction today lies way back in the 1960s and 70s when the Bulgarian national choreography school and its highly trained ensemble model were established. The socialist government generously supported this activity and carefully selected dancers and dance ensembles that would travel
Хореография и постановка: Даниела Найберг Музикален подбор: Даниела Найберг, Васил Денев Муз... more Хореография и постановка: Даниела Найберг
Музикален подбор: Даниела Найберг, Васил Денев
Музикално оформление/аранжимент/нотно описание: Васил Денев.
Оркестър: Васил Денев (кавал), Петър Алексиев – Усмивката (гайда), Ангел Добрев (гъдулка), Константин Маринов – тъпан
За хореографията са използвани теренни записи на проф. Анна Илиева, записи от Националния събор за народно творчество в Копривщица, както и други източници.
Записът е от десетото издание на Фолк Фест „Верея“ – Чикаго (29 април – 1 май, 2022)
Видео материал: Деси Пискова
„Сиатъл чета“ посвещава „Игри от Средногорието“ на светлата памет на професор Анна Илиева (1933 – 2021).
40 views
The Choreography of Traditional Dance on Stage: Crises, Perspectives and Global Dialogues, 2024
This paper discusses the various challenges that the topic of cultural transmission of choreograp... more This paper discusses the various challenges that the topic of cultural transmission of choreographic knowledge presents but also reveals the fascination with the new avenues for further study it offers. The text includes a theoretical part, fieldwork documents (accompanied
by analytical commentaries), and a concluding remark. The theoretical part brings the author’s “dialogue” with the concepts of cultural transmission and choreographic knowledge; the “presentational” one presents fieldwork documents in a search for cultural transmission of choreo-
graphic knowledge within the Bulgarian context with some examples from the US. This section includes references to universities’ programs, traces the history of the discipline of Bulgarian Folk Choreography (and the genre of Bulgarian Dance Art Based on Folklore), and presents
mentor-disciple influence. The adopted interdisciplinary research method combines historical, anthropological, and ethnochoreological research approaches by incorporating a philosophical perspective. This research leads to the conclusion that there is a strong institutional foundation
and well-established practices in offering practical choreographic knowledge/education in Bulgaria which opens the door to further studies on both theoretical and fieldwork sides.
Keywords: cultural transmission, choreographic knowledge, Bulgaria, continuity, innovation.
...
The Choreography of Traditional Dance on Stage: Crises, Perspectives and Global Dialogues, edited by Dunja Njaradi, Miloš Rašić, and Krešimir Dabo has just been released. The collection of papers is in open-access format and can be downloaded free from the website of the Institute of Ethnography of the Serbian Academy of Sciences and Arts (https://etno-institut.co.rs/en/edited-volumes).
БЪЛГАРИ ОТВЪД ЕВРОПА: Институции и културно наследство, 2023
Текстът обобщава литературни инициативи и практики, провеждани в САЩ, наблюдавани в периода 2011... more Текстът обобщава литературни инициативи и практики, провеждани в САЩ, наблюдавани в периода 2011-2021 г. Панорамното очертаване се опира на интервюта с личности, развиващи писателска, издателска, организационна и друг вид дейности. Авторката обръща внимание на трансформациите в литературните инициативи, настъпили вследствие на COVID-19. Като посочва нарастващата роля на интернет (особено при физическото изолиране на света), текстът свързва съвременните литературни практики (с повишаващото се значение на технологиите) с по- общите глобални процеси и, респективно, промени.
Текстът е включен в сборника "БЪЛГАРИ ОТВЪД ЕВРОПА: Институции и културно наследство".
Съставители:
Боян Кулов, Лина Гергова, Мариянка Борисова, Таня Матанова, Яна Гергова
Автори:
Анелия Авджиева, Благовест Нягулов, Валентин Воскресенски, Владимир Пенчев, Даниела Найберг, Диляна Иванова Зиске, Лина Гергова, Мариянка Борисова, Мартин Колев, Невена Димитрова, Николай Вуков, Пенка Пейковска, Роман Хаджикосев, Светлана Караджова, Таня Матанова, Уилям Фредерик Зиске, Ценка Генова, Щерьо Щерев, Яна Гергова
DANCE AND ECONOMY, DANCE TRANSMISSION, Proceedings of the 31st Symposium of the ICTM Study Group on Ethnochoreology, 12–18 July, 2021, Klaipėda, Lithuania , 2022
In the United States and Canada, in the past decade, there has been a very dynamic development of... more In the United States and Canada, in the past decade, there has been a very dynamic development of the Bulgarian folk dance groups for children and adults. Often, the children's groups were established first, and the instructor/choreographer is the same for both groups. But what models and styles of cultural transmission can be defined in environments that also include the Balkan folk dancing in North America? How does the fieldwork in today's changing world inform such a study? What research approaches would be best? This paper proposes that the mutual involvement of parents and children in folk dance activities invites study of transmission via "legitimate peripheral participation" [Lave and Wenger 1991], in considering a Bulgarian dance community abroad as a "community of practice" [Wenger 1998]. The execution of an interdisciplinary approach reveals a multi-faceted model of cultural transmission. Outcomes resulting from this study are intended to contribute to dance and migration studies.
Keywords: Bulgarian dance; Bulgarian communities; North America; cultural transmission; community of practice.
The 7th Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe, Turkey (onli... more The 7th Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe, Turkey (online)
2021
Migrations, Carnival, Sustainable Development Sixth Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe Held in Sinj, Croatia 15 April – 21 April 2018 , 2020
This paper addresses various examples of Bulgarian folk dances performed by Bulgarians in Bulgari... more This paper addresses various examples of Bulgarian folk dances performed by Bulgarians in Bulgaria and by Bulgarians and non-Bulgarians in the Unites States. The focus is on style. What happens to Bulgarian dance when it is performed by people of different ethnic origins and dance experiences? This paper proposes that Bulgarian dance, in its traditional, ensemble, and club forms accordingly, developed specific structures and styles. These various forms and styles have all migrated to the United States even though there is great variety in the details used and applied.
Keywords: Bulgarian dance; style; migration; Bulgaria; United States.
This paper addresses representations of the Bulgarian nation by looking at the repertoire politic... more This paper addresses representations of the Bulgarian nation by looking at the repertoire politics of two professional ensembles that use ‘national’ in their names: the first is the state’s National Folklore Ensemble Philip Koutev (est. 1951) and the second is the private National Folklore Ensemble Bulgare (est. 2002). What do these two ensembles have in common and how can one define their approaches in representation of the nation? How do each of them portray the current political and cultural situation in Bulgaria? How shall we discuss the topic, “Performing Democracy” today? This paper’s leading themes are analyzed from the perspective of the relationships between dance and politics.
INTERPRETATION OF DANCE IN THE MUSEUM SPACE: EXPOSITIONS AND PRACTICES AT THE SEATTLE ART MUSEUM... more INTERPRETATION OF DANCE IN THE MUSEUM SPACE:
EXPOSITIONS AND PRACTICES AT THE SEATTLE ART MUSEUM – SAM
WITH EXAMPLES FROM BULGARIA
(Field Notes)
Abstract
Seattle Art Museum (SAM) stimulates an ethnochoreological research project for various reasons. In addition to its permanent exhibits of Native American and African Art (with archival dance video materials), it invites dance events in which the performers are representatives of different cultures and create educational programs that incorporate movement. Observations here include dance performances – from classical Indian dance at Diwali Family Festival to modern dance in dialogue with paintings. Dance events from the past decade and a recent program (Art-and-Movement) are also reviewed. Documentary notes were taken during fieldwork at SAM between October 2019 – January 2020 and include voices of museum employees. This initial investigation suggests that addition of dance and movement at SAM came in response to evolving perceptions about the museum, the human body, and performance space. In this transition from static to dynamic (opening its doors to dance and movement) imaginative programing by curators is crucial for success.
Key words: dance; movement; performance; art; Seattle; SAM; museum; curator; field notes.
ИНТЕРПРЕТАЦИЯ НА ТАНЦА В МУЗЕЙНОТО ПРОСТРАНСТВО:
ЕКСПОЗИЦИИ И ПРАКТИКИ В МУЗЕЯ ЗА ИЗКУСТВО – SAM, СИАТЪЛ, ВАШИНГТОН, С ПРИМЕРИ ОТ БЪЛГАРИЯ
Резюме
Музеят за изкуство в Сиатъл с неговите постоянни изложби на индианско и африканско изкуство (с архивни видео-кадри), арт-събития, включващи танц, (в които участниците са представители на различни култури), както и с образователните си програми е място, което приканва разглеждане на посочените дейности от хореоложка перспектива. Наблюденията тук обхващат индианска експозиция с архивни видеоматериали, както и различни видове танцови пърформанси. Под внимание са взети документирани танцови изяви, а също и Арт-и-движение програма, създадена по повод гостуваща изложба. Текстът обобщава бележки от теренна работа, провеждана в Музея за изкуство – SAM в периода октомври, 2019 – януари, 2020 г., като наред с описанията са предадени и гласове на музейни служители. Работната хипотеза, която първоначалните проучвания захранват е, че наблюдаваното в SAM разнообразие от танцови и телодвигателни прояви идва в резултат на променящите се представи за музея и тялото и прехода на музея от статика към динамика. Ролята на музейните служители в този процес е определяща.
Ключови думи: танц, движение, пърформанс, изкуство, Сиатъл, SAM, музей, куратор, теренни бележки
Proceedings of the 30th Symposium of the ICTM Study Group on Ethnochoreology in association with ... more Proceedings of the 30th Symposium of the ICTM Study Group on Ethnochoreology in association with the Hungarian Association for Ethnochoreology, Symposium hosted by the Department of Ethnology and Cultural Anthropology, University of Szeged and the Research Centre for the Humanities, Institute for Musicology of the Hungarian Academy of Sciences, Budapest, July 28 - August 4, 2018.
Publication to be announced.
2020 (Publication to be announced) Tvrtko Zebec (editor), Sixth Symposium of the ICTM Study Group... more 2020 (Publication to be announced)
Tvrtko Zebec (editor), Sixth Symposium of the ICTM Study Group on Music and Dance in South-Eastern Europe, 2018 Sinj, Croatia.
2020 (Publication to be announced) Tvrtko Zebec (editor), Sixth Symposium of the ICTM Study Group... more 2020 (Publication to be announced)
Tvrtko Zebec (editor), Sixth Symposium of the ICTM Study Group on Music and Dance in South-Eastern Europe, 2018 Sinj, Croatia.
This is the Bulgarian version of the paper “Ethnography and folklore at Bulgarian secondary schoo... more This is the Bulgarian version of the paper “Ethnography and folklore at Bulgarian secondary school: a possible method of teaching,” presented during the 19th World Congress on Dance Research, Larnaca, Cyprus, 2005.
Available In Much More Than Movement. Proceedings 19th World Congress on Dance Research, CD ROM Collection, 2005. Larnaca, Cyprus
This text summarizes more than a decade of fieldwork throughout the United States, researching th... more This text summarizes more than a decade of fieldwork throughout the United States, researching the dynamic development of Bulgarian folk dance outside the homeland. Under investigation is the common ground between:
- American Bulgarian recreational folk dance repertoire and the folk dance repertoire of the Bulgarian communities living in the States, and
- American Bulgarian performance repertoire and performance repertoire as observed in 2011-2016 during the Chicago’s Bulgarian Folk Fest, “Verea.”
The researcher suggests, and develops her arguments in the analyses, that the “meeting venue” for the Bulgarian and American recreational repertoire is the so called “generic patterns.” Performance repertoires of both Bulgarian and American groups mirror to a great extent the model of the Bulgarian folk ensemble tradition. The nature of the repertoire of Bulgarian groups, on the other hand, could be properly understood only by taking into account the remarkable folk dance club movement inside Bulgaria, facilitated by YouTube and social media.
Key words: Bulgarian dance, Bulgarian groups, American Bulgarian folk dance repertoire, performance, USA.
“'Let our dancing lesson begin!' An experiment of the Bulgarian National Radio.” (In Serbian). Ve... more “'Let our dancing lesson begin!' An experiment of the Bulgarian National Radio.” (In Serbian). Vesna Mikic; Tatyana Markovic (editors), 2004. Music and Media: Folklore-Music-Work-of-Art 6th International Symposium: 176-181. Belgrade: Faculty of Music.
This volume was also published in English.
Musicologist, 2019
This text is the result of an ethnochoreological and anthropological investigation of folk dance ... more This text is the result of an ethnochoreological and anthropological investigation of folk dance practices at Balkan Fest in San Diego, California (2013 et seq.), in which the Bulgarian community plays a central role. Although Balkan Fest has already been approached in one of my earlier works, and the California Bulgarian community has been addressed in a paper discussing the ‘re-discovery’ of Bulgarian folk dance, there was no focus on transnational and transcultural approaches (and experiences) in these works, which are addressed in the present text; these approaches are adopted here for setting the context and supporting my analysis. Balkan Fest reveals “ways of belonging”, in which Bulgarian music and dance play an important role. This article proposes that, to many of the festival’s attendees, the festival’s campground became a space (a ‘village,’ a ‘home’) where one is physically absent, but spiritually and emotionally present in one’s country of origin. Besides being a playground – both metaphorically and literally – the festival offers various activities for children to retain their Bulgarian ethnic identity (although raised as Bulgarian-Americans). Simultaneously, this is a California ‘Balkan Fest,’ in which people of different backgrounds meet, and where the dance floor becomes a venue for the convergence of various dance traditions.
Key words: music, dance, festival, Bulgarian community, U.S.A.
Българският текст е подготвен през 2004 г. и е мислен като есе, базиращо се на "включени" наблюд... more Българският текст е подготвен през 2004 г. и е мислен като есе, базиращо се на "включени" наблюдения от периода 2000-2003 г. Като доклад на английски език той е представен по време на срещата на изследователската група по етнохореология при ICTM (International Council for Traditional Music) в Болоня през 2004 г. Сборникът с доклади е публикуван през 2008 г. Вж.
“Paneurhythmy in Bulgaria: philosophical aspects.” Elsie Ivancich Dunun; Ann von Bibra Wharton (editors), Proceedings for The 23rd Symposium of the ICTM Study Group on Ethnochoreology, 2004: 221-226. Monghidoro (Bologna), Italy: ICTM Study Group on Ethnochoreology; ‘E Bene Vega Maggio’ Association, Monghidoro; Institute of Ethnology and Folklore Research, Zagreb, Croatia.
https://www.academia.edu/20276850/Philosophical_Aspects_of_Paneurhythmy
This paper investigates the Bulgarian folk dance scene in the past ten years when, along with the... more This paper investigates the Bulgarian folk dance scene in the past ten years when, along with the long-established folk dance ensembles, the folk dance clubs began touring abroad to participate in international folk dance festivals and competitions. Members of such groups are people of all ages, enthusiasts, the majority of whom are without previous dance training. That began by learning various hora * for recreation only. However after the first few years (and even months) club members began enjoying attendance in festivals/competitions at home and abroad. The latter led to disapproval by some professional folk choreographers/ensembles because of the " spoiled image " of Bulgaria (in the near past the country was represented abroad by only highly trained professional and semi-professional folk ensembles). Some village groups also toured abroad but they presented their programs under the category of " authentic " or " not-arranged " folklore. Research topics to this paper are: What is more precisely considered to be the Bulgarian national image, if indeed there is a single one that needs to be preserved? In which ways do political and cultural environments produce new national images? How does professional ensemble training relate to the " nation branding " (after Anholt)? The research proposes that the majority of the folk dance club repertoires today reflect neither the ensemble nor the village repertoire. Some clubs over the years developed two platforms: one for recreational dancing and another – for performance; these platforms are clearly named and identified. There are various approaches in designing club's repertoires and activities. These depend on the background of the leader, participants 'profile, group's goals, and more) and these need to be taken into account while analyzing the current situation. This anthropological and ethnochoreological research suggests that the " roots " of the existing friction today lies way back in the 1960s and 70s when the Bulgarian national choreography school and its highly trained ensemble model were established. The socialist government generously supported this activity and carefully selected dancers and dance ensembles that would travel
This paper discusses the role of intuition in dance research by looking at two scholarly publicat... more This paper discusses the role of intuition in dance research by looking at two scholarly publications: The first is entitled " The typology of the archaic layers in Bulgarian music and dance folklore, " by Iskra Racheva and Anna Ilieva (A History of Bulgarian Music Culture, Volume 1, Folklore, Sofia, Prof. Marin Drinov Academic Publication, 1998). The second is the seminal article, " Theory and methods in dance research: a European approach to the holistic study of dance " (Yearbook for Traditional Music, XXIII, pp. 1-10, 1991) by Anca Giurchescu and Lisbet Torp. " Intuition " is understood more broadly as " entering into the things " (inspired by Henri Bergson). It raises questions such as " How shall one define the role of intuition in dance research? " " In which ways does intuition help the dance scholar in reconstructing phenomena of the past? " and " In which ways does intuition help a dance scholar in his/her constant endeavors to expand one's knowledge? " Racheva and Ilieva's reconstruction sheds light on the very foundation of Bulgarian music and dance culture where the artefacts are very limited. However, because of their broad research background and powerful intuition, they succeeded in producing a publication that connects multiple resources (history, mythology, culturology, philosophy, and others). This gave Bulgarian music and dance research disciplines an especially valuable contribution: an example for a research into Bulgaria's historic and cultural past that inspired other scholars. While Racheva's and Ilieva's intuition facilitates the reconstruction of the past, Giurchescu and Torp's shared intuition was directed toward the future. They recognized the meeting ground between the anthropological and ethnochoreological research approaches-although they do not overlap and opened the horizon for the further development of the discipline. This work stimulated further exploration of the dynamics of the field and the opportunities to combine multiple research approaches. Proposed answers are brought mainly from the field of philosophy.
The Cultural Symposium 'THE UNKNOWN' 2024 12-13 October, Plovdiv At the center of this study are... more The Cultural Symposium 'THE UNKNOWN' 2024 12-13 October, Plovdiv
At the center of this study are Bulgarian cultural practices abroad, which build and feed representations of/for ourselves while simultaneously building portraits of the "imagined" Bulgaria. Personal stories (narratives) of people from Bulgarian communities in the USA and Canada are discussed when they contain the "before-and-after" threshold of engaging in an activity or activities related to Bulgaria. What happens, realizes, changes when someone who has never danced folk dances or played a traditional instrument (at all paid attention to folklore in its various manifestations) suddenly feels attracted by the sound of a bagpipe, a pattern of embroidery, or dance steps after some living abroad? Or unexpectedly (for oneself), one sees her/himself as a participant in a Bulgarian literary (or film) club? What exactly is happening? How? What does such a person discover about her/himself and her/his country? Does this person manifest such an awareness, and if so, how? Does she/he involve her/his children, and how? What does all this mean in the more general framework of "imagined communities" (after Benedict Anderson) when we talk about national identity while living in another country? This paper suggests that cultural activities, such as music, dance, literature, and other artistic pursuits, play a pivotal role in self-discovery and self-making for individuals living abroad. These activities have the power to unearth latent qualities and aspirations that may have remained dormant otherwise. The process mentioned above goes in parallel with a re-examination of the merits of one's native culture, often via the Internet, thus feeding a somewhat idealized image. "Documents" shared on social networks have a double value; they represent an archive (personal and collective of the respective community) but also a bridge-with the hope of being seen and recognized as such.
Проучване, което ще бъде представено под формата на доклад в рамките на КУЛТУРЕН СЕМИНАР „НЕПОЗНА... more Проучване, което ще бъде представено под формата на доклад в рамките на КУЛТУРЕН СЕМИНАР „НЕПОЗНАТИТЕ“ 2024
12 – 13 октомври, Пловдив
Семинарът се организира от Сдружение "НЕПОЗНАТИТЕ" - ПЛОВДИВ
в партньорство с Института за етнология и фолклористика с Етнографски музей при БАН, Катедра „Етнология“ към Философско-историческия факултет на Пловдивския университет „Паисий Хилендарски“, Академия за музикално, танцово и изобразително изкуство „Проф. Асен Диамандиев“ – Пловдив и Регионален етнографски музей – Пловдив.
To be presented at The International Symposium, In New Disguise: Folk Music and Dance Revival Mov... more To be presented at The International Symposium, In New Disguise: Folk Music and Dance Revival Movements, Ljubljana, 22 -24 August 2024
This research is concerned with performer-audience connection, or with ways of communication, in ... more This research is concerned with performer-audience connection, or with ways of communication, in shared online videos where performers are Bulgarians living in North America, the medium is social media, and the audience includes Bulgarians and non-Bulgarians across the globe. The study suggests that we look at this connection as correspondence (after Ingold). The analysis rests on Mikhail Bakhtin’s “Speech genres and other late essays” (1986). Such an approach sheds light on an unexplored dimension of Bulgarian folk dance activities abroad and their relationships with the homeland. The research aims to contribute to both dance and migration studies.
Keywords: dance, festival, performance, media, correspondence, Bulgarians.
This paper was presented during the AFS 2020 Virtual Annual Meeting
October 13-17, 2020.
41st World Conference of ICTM St. John's, Canada Memorial University of Newfoundland 13-19 July... more 41st World Conference of ICTM
St. John's, Canada
Memorial University of Newfoundland
13-19 July, 2011
This paper was presented in an abridged version during The International Council for Traditional... more This paper was presented in an abridged version
during The International Council for Traditional Music (ICTM)
World Conference, Chulalongkorn University, Bangkok, Thailand
July 11-17, 2019
by Belma Ogul, Liz Mellish, Daniela Ivanova-Nyberg, Ivo Strahilov, Mahir Mak, Muzaffer SÜMBÜL, Gökçe Asena ALTINBAY-ERDEM, Cicika 89, Lampros Efthymiou, Dilyana Kurdova, and Oliver Gerlach
The 45th Annual DCFF Kress Pavilion in Egg Harbor, WI July 12-14, 2024 (Online discussion) This ... more The 45th Annual DCFF
Kress Pavilion in Egg Harbor, WI
July 12-14, 2024
(Online discussion)
This talk discusses various experiences of dancing to live music v/s dancing to recorded music. I observe the Balkan Night NW Festival in Seattle and the Verea-Chicago Bulgarian Festival. I trace these lines: the ways in which local leaders (musicians) are responsible for creating a musical environment that evokes a particular emotional and psychophysiological response (and repertoire). Second, the music that the Bulgarian folk dance leaders introduce to their groups (as researched and observed during the editions of the Verea-Chicago Festival since 2012). Third, I address the role that the Bulgarian professional musicians residing in the States play in creating a dance experience that differs from those of dancing to recorded music. I conclude with a note on the importance of the live music-and-dance events (for both dancers and musicians) in keeping folk dancing close to its essence.
...
Slides were submitted afterward to the Festival's committee for its archive.
This discussion traces the history of the Bulgarian folk dance club movement (from the beginning ... more This discussion traces the history of the Bulgarian folk dance club movement (from the beginning of our century to the present day). It addresses the folk dance club movement’s dynamics, teacher’s approaches, and repertoire development in Bulgarian and the United States.
The invitation for this discussion was offered by Paul Collins, co-director of Door County Folk F... more The invitation for this discussion was offered by Paul Collins, co-director of Door County Folk Festival. It came as a follow-up of an interview with Paul in preparing the paper, “Archives as Embodied Individual and Social Memory: Field Research Among the American and Bulgarian Folk Dance Communities in the United States,” 46th World Conference of ICTM, Lisbon, Portugal, 21-27 July, 2022.
A talk about the activities of the Bulgarian Cultural and Heritage Center of Seattle - September ... more A talk about the activities of the Bulgarian Cultural and Heritage Center of Seattle - September 30, 2021
This is the fifth lecture from the BULGARIAN MUSIC AND DANCE LECTURE SERIES (2015-), initiated by... more This is the fifth lecture from the BULGARIAN MUSIC AND DANCE LECTURE SERIES (2015-), initiated by the Bulgarian Cultural and Heritage Center of Seattle and hosted by Simpson Center for the Humanities, University of Washington.
Previous titles included:
- Winter Rituals
- Carnival Practices
- Spring Rituals
- Nestinari Dance (Dance on the glowing embers)
The lecture on dance and politics is congruent with the spirit of events devoted to the 30th anniversary of the fall of the Berlin Wall and the consequent dramatic changes in the countries of the former Socialists Bloc.
Presentation delivered as an invited speaker for Tradicija NOVA National Scientific Conference, o... more Presentation delivered as an invited speaker for Tradicija NOVA National Scientific Conference, organized by Serbian National Song and Dance Ensemble ‘Kolo’ and Faculty of Music – University of Arts in Belgrade
20 -23 October, 2017, Belgrade, Serbia
(Summary)
Cultural session presented at DOOR COUNTY FOLK FESTIVAL in 2009.
Срещи с български хореографи в жанра "Сценично танцово изкуство на фолклорна основа" (2000-2002) ... more Срещи с български хореографи в жанра "Сценично танцово изкуство на фолклорна основа" (2000-2002)
Издателство „Лексикон“ (електронен формат)
https://lexicon.bg/store/book/1914/khoreograft-kulturen-geroy?fbclid=IwAR0CQ_9ql6NyvbpcVMB9g-fXXP1qr4wwCZy1YVfa9zzcyx2FOxPOA2KfXFg
Иван Тодоров
Агрипина Войнова
Тончо Тончев
Бойчо Янев
Васил Герлимов
Димитър Дойчинов
Митко Иванов
Тодор Бекирски
Лъчезария Павлова
Симеон Симеонов
Димитрина Радулова
Венцислава Еленска
Мария Кърджиева
На корицата:
Лъчезария Павлова и Тодор Бекирски в „Овчар и Юда девойка“, Пловдив, 1975 г. Личен архив на Лъчезария Павлова
Съставът за народни танци като културно явление в България, 2011
Submitted for the 33rd Symposium of the ICTMD Study Group on Ethnochoreology (21- 28 July 2024, I... more Submitted for the 33rd Symposium of the ICTMD Study Group on Ethnochoreology (21- 28 July 2024, Izmir, Turkey).
Анкетата търси да „чуе“ мнения по темата за танцуването на запис vs. танцуването на жива музика. ... more Анкетата търси да „чуе“ мнения по темата за танцуването на запис vs. танцуването на жива музика. Насочена е към ръководители на танцови групи и любители-танцьори, както и към български професионални музиканти, свирещи народна музика и живеещи в Северна Америка. Сред въпросите към групите (ръководители и членове) основни са следните: Каква музика избирате за своите представяния за сцена? Как? Защо? Търсите ли (и кога) „живи“ музиканти? Какво носи (дава) на танцуващите играенето на запис? А живата музика?
Сред въпросите към музикантите водещите са: „Практикувате ли професионалните си музикални умения? Ако да – кога, къде, кой Ви кани, колко често?“ В анкетата са поканени да се включат и български музиканти-любители с изграден репертоар и практика.
Защо тази тема е важна? Защото разглежда динамиките в развитието на българските културни практики в чужбина в тяхната взаимовръзка с (но и от-граниченост от) фолклорната танцова „сцена“ в България в едно с политическия, икономически и културен контекст.. Т.е. за тяхното проследяване работещо би било съчетаването на исторически и етнохореоложки изследователски подходи. Същевременно „плътното описание“ на явлението „Българска танцова група в чужбина“ (в случая в САЩ и Канада), с фокус върху отношенията музика-танц и музициращи-танцуване-танцуващи открива по-широки изследователски перспективи. То надскача специфичността на разглеждания феномен и се свързва с други проучвания върху живото човешко музикално-танцово преживяване.
Обобщените данни с тяхното интерпретиране ще бъдат представени под формата на доклад по време на предстоящия симпозиум по етнохореология (The 33 Symposium of the ICTMD Study Group on Ethnochoreology, 21-28 July 2024, Izmir, Turkey).
АНКЕТАТА е насочена към българи, живеещи в САЩ и Канада, ангажирани с културни дейности, свързан... more АНКЕТАТА е насочена към българи, живеещи в САЩ и Канада, ангажирани с културни дейности, свързани с България (организационни, образователни, певчески, танцови, литературни, театрални, изобразително изкуство, филмов кръг, други).
Предвижда се данните от проучването да бъдат обобщени и представени под формата на доклад в рамките на КУЛТУРЕН СЕМИНАР „НЕПОЗНАТИТЕ“ 2024, 12-13 октомври, Пловдив. (Семинарът се организира с подкрепата на Института за етнология и фолклористика с Етнографски музей при БАН, Катедра „Етнология“ към Философско-историческия факултет на Пловдивския университет „Паисий Хилендарски“, Академия за музикално, танцово и изобразително изкуство „Проф. Асен Диамандиев“ – Пловдив и Регионален етнографски музей – Пловдив)
...
Когато „непознатите“ сме ние
(резюме)
Даниела Иванова-Найберг
Български културен център в Сиатъл
Това проучване се интересува от български културни практики в чужбина, изграждащи и захранващи представата на/за себе си, но и за „въобразената“ България.
Дискутират се лични истории (наративи) на хора от български общности в САЩ и Канада, когато те съдържат момента „преди-и-след“ ангажирането с дейност или дейности, свързани с България. Какво се случва, осъзнава, променя, когато някой, който никога не е танцувал народни танци, свирил на традиционен инструмент (изобщо обръщал внимание на фолклора в разнообразните му форми и проявления), след известно живеене в чужбина изведнъж се почувства привлечен от звук на гайда, шарка на шевица, стъпки на хоро? Или пък неочаквано (за самия себе си) се види участник в български литературен (или пък филмов) клуб? Какво по-точно се случва? Как? Какво един такъв човек открива за себе си, но и за родината си? Дали го манифестира и как? Дали и как ангажира децата си? И какво всичко това означава в по-общата рамка на „въобразените общности“ (по Бенедикт Андерсон), когато говорим за национална идентичност при живеене „навън“.
Работната хипотеза е, че заниманията с музика, танц, литература и други изкуства и културни дейности провокира, „изважда“ от живеещия в чужбина неподозирани за самия него качества и стремежи. Процесът на себеоткриване и себенаправа върви успоредно с преразглеждане на достойнствата на родната култура, често чрез интернет, като по този начин захранва една идеализирана до известна степен представа. Споделените в социалните мрежи „документи“ имат двойна стойност; те представляват архив (личен и колективен на съответната общност), но също и мост – с надеждата да бъде видян и разпознат като такъв.
Ключови думи:
българи, Северна Америка, идентичности, културни практики, „въобразена общност“
This essay is composed of three parts. 1 The first provides a general picture of the Bulgarian fo... more This essay is composed of three parts. 1 The first provides a general picture of the Bulgarian folk dance club movement's birth and development, with its historical and political background; the second elaborates on the club genre and the 'national genre spectrum,' and the third addresses the club's performances abroad, the Bulgarian national image, and the 'branding of Bulgaria' today. How does the 21st-century Bulgarian folk dance club/group for recreational dancing differ from the ensemble model and folk dance clubs for recreational dancing in other parts of the world? And why?
The essay "Something Exotic from the Past: Nestinarstvo and Nestinari in Present-day Bulgaria" is... more The essay "Something Exotic from the Past: Nestinarstvo and Nestinari in Present-day Bulgaria" is part of the Bulgarian Dance in Migration book project.
Proofreading and editing: Liz Mellish.
"Wedding as a stage: examples from the Bulgarian urban wedding scene" An essay from the Bulgarian... more "Wedding as a stage: examples from the Bulgarian urban wedding scene"
An essay from the Bulgarian Dance in Migration book project
...
What does an urban wedding look like if it includes a folk performance? What kind of performances may one observe? How do weddings relate to the folk dance scene and the country's sociopolitical, cultural, and economic environment? These are the leading questions that triggered my interest in today's weddings. My field research went through different stages, constantly provoking further studies.
“Rachenitsa! Try to outdance me!” On improvisation in competition settings An essay from the Bulg... more “Rachenitsa! Try to outdance me!” On improvisation in competition settings
An essay from the Bulgarian Dance in Migration book project
These are introductory notes to the Bulgarian Dance in Migration book project.
GROW, PINE, GROW! Koleda Concert of the Bulgarian Community of Seattle organized by The Bulgarian... more GROW, PINE, GROW! Koleda Concert of the Bulgarian Community of Seattle organized by The Bulgarian Cultural and Heritage Center of Seattle
December 9, 5:00 PM, sponsored in part through a grant from 4Culture.
These introductory notes are part of the Bulgarian dance in migration book project. BULGARIAN DA... more These introductory notes are part of the Bulgarian dance in migration book project.
BULGARIAN DANCE IN MIGRATION
Essays on Bulgarian dance in Bulgaria and in the United States
CONTENTS
Preface
Acknowledgments
Book’s structure
On terminology
Prologue
Bulgarian dance in 20 pages
PART 1
BULGARIAN DANCE IN BULGARIA
Bulgarian dance in Bulgaria (Notes from the Socialist and Post-socialist periods)
1. Bulgarian folk dance ensemble model: establishment and development
2. On choreographer. Coming of age as a choreographer in Bulgaria
3. Giving a name – giving a life: Bulgarian folk choreographers speaking
4. “Rachenitsa! Try to outdance me!” On improvisation in competition settings
5. Wedding as a stage: examples from the Bulgarian urban wedding scene
6. “Something exotic from the past”: nestinarstvo and nestinari in present-day Bulgaria
7. On the Bulgarian folk dance club movement
PART 2
BULGARIAN DANCE IN THE UNITED STATES
Balkan folk dance phenomenon in the United States
1. The Balkan folk dance phenomenon: a few analytical observations
2. Shopska syuita forever? Bulgarian folk stage repertoire of the American troupes and ensembles
3. The South Slavic Club of the North American Midwest: Živio folk dance group repertoire
4. Bulgarian dance in Seattle. Field studies among the International folk dance community
5. “There will not be another Koleda:” (folk dance) narratives and the study of dance
6. No illusions, music matters: the role of Balkan Night Northwest in bringing communities together
7. Bulgarian dance style(s) in migration: fieldwork in Bulgaria and the United States
Bulgarian dance re-discovered: field research among the Bulgarian ethnic communities in the United States
1. Folk dancing abroad: Bulgarian folk dance activities in the United States today
2. Performing Bulgarian dance in Minnesota
3. Bulgarian folk dance (re)discovered: examples from the Californian Bulgarian community
4. Go folkdance! Folk dancing as vital vs. folk dancing as obsolete
5. Verea – Chicago Bulgarian festival: who are these people and what they are doing there?
6. “What's your name?” Names and cultural representation of Bulgarian folk dance groups in North America
7. “Bravo, Bulgarians!” Observations on performer-audience connection via social media
Epilogue
Notes
References
Index
Отговори на въпроси, подготвени от Диляна Денева, в навечерието на откриването на сезон 2023-2024... more Отговори на въпроси, подготвени от Диляна Денева, в навечерието на откриването на сезон 2023-2024 за Глаголницата - Обществото за поезия и литературна проза при Българския културен център в Сиатъл.
Публикацията е достъпна тук: https://azcheta.com/kak-chetesh-daniela-nyberg/
Thinking of the Bulgarian folk dance ensemble model as compared to the models of other former com... more Thinking of the Bulgarian folk dance ensemble model as compared to the models of other former communist/socialist countries in Europe, the first thing coming to mind is this Leo Tolstoy’s phrase, “All happy families resemble one another, but each unhappy family is unhappy in its own way. Indeed, the folk ensembles/groups in all of the former socialist countries wore a “happy” face. Yes, this happy expression was politically “prescribed.” However, no people were forced to dance and attend dance rehearsals for years. On the contrary, these people had happier lives (and faces) because they experienced the joy of dance and dancing, performing, and socializing through it. Dancers had genuinely happy experiences practicing their hobby or profession; most claimed that the years of folk dancing were the best in their lives.
But what about the differences?
...
These research notes were written while rewriting the Bulgarian Folk Dance Ensemble Model: Establishment and Development essay.
This essay is part of the BULGARIAN DANCE IN MIGRATION book project.
Анкетата е насочена към любители, танцуващи в клубове/състави/ансамбли, участващи в танцови състе... more Анкетата е насочена към любители, танцуващи в клубове/състави/ансамбли, участващи в танцови състезания/фестивали/събори,
включващи надигравания на ръченица по двойки.
В електронен формат анкетата е достъпна тук:
https://forms.gle/ZCCXKM52zFuWrMeYA
Анкетата е насочена към ръководители на клубове/състави/ансамбли, подготвящи двойки за участия в... more Анкетата е насочена към ръководители на клубове/състави/ансамбли, подготвящи двойки за участия в танцови състезания/събори/фестивали за любители,
включващи надигравания на ръченица по двойки.
В електронен формат анкетата е достъпна тук:
https://forms.gle/ZdfPBrFKwWQKoGPo9
This essay is a two-fold retrospection. It traces the Bulgarian folk ensemble’s history and dynam... more This essay is a two-fold retrospection. It traces the Bulgarian folk ensemble’s history and dynamics and defines the Bulgarian ensemble model’s peculiarities. Simultaneously, this review of research conducted twenty years ago (and contoured for another decade) exposes the author’s first fascination with the ethnochoreological discipline, offering an opportunity for self-dialogue by adding up-to-date data and approaches. This whole endeavor aims to provide a concise record of the urban folk dance scene in Bulgaria from the 1950s up to the beginning of our century, facilitating at the same time the author’s current research on Bulgarian dance in migration.
…
Part of Bulgarian dance in migration book project
Observations on Weddings in the Northwest and California, with Examples from the State of Illinoi... more Observations on Weddings in the Northwest and California, with Examples from the State of Illinois
...
American Folklore Society Annual Meeting
The theme: ROOTS, ROOTLESSNESS, AND UPROOTING
The 135th annual meeting of the American Folklore Society will be held in Portland, Oregon, at Hilton Portland Downtown, 1-4 November, with virtual sessions on October 11-12, 2023
Анкетата е насочена към мъже танцьори-студенти в танцови департаменти, като по-конкретно е ориент... more Анкетата е насочена към мъже танцьори-студенти в танцови департаменти, като по-конкретно е ориентирана към студентите в танцовия департамент на ВСУ "Черноризец Храбър".
Същевременно повечето въпроси са мислени като по-общи въпроси към активно танцуващи мъже-участници в танцови групи и ансамбли.
The Paradox of Authenticity is dedicated to "all lovers of folklore, devoted and unfaithful, mad ... more The Paradox of Authenticity is dedicated to "all lovers of folklore, devoted and unfaithful, mad and demure, sincere and insincere" (v). But how is it possible to be a folklore lover and unfaithful, sincere and insincere? What folklore? What devotion? It is precisely here, on the first page, where Feinberg places his "hook" that doesn't sound like a meant-to-be provocative dedication, but it does serve as such, throwing forward a promise for work worth reading. Which this book truly is. It is a book about folklore and folklorism, authenticity and inauthenticity, participation and performance, embodiment and representation, intimacy and publicity. (...)