Tvrtko Zebec - Academia.edu (original) (raw)
Papers by Tvrtko Zebec
Narodna umjetnost: Croatian Journal of Ethnology and Folklore Research, Jul 15, 1990
Tekst je prikaz zbornika sa skupa etnokoreologa Međunarodnoga vijeća za tradicijsku glazbu (Inter... more Tekst je prikaz zbornika sa skupa etnokoreologa Međunarodnoga vijeća za tradicijsku glazbu (International Council for Traditional Music – ICTM) koji se održao u Kopehagenu 1988. godine. Članovi studijske skupine za etnokoreologiju ICTM-a doživljavaju ga kao važnu prekretnicu u epistemološkom i istraživačkom smislu jer se otada na skupovima te studijske skupine ne okupljaju samo europski etnokoreolozi nego istraživači plesa iz cijeloga svijeta (antropolozi plesa i strukturiranoga ljudskog pokreta, etnolozi plesa i etnokoreolozi). Okupljaju se bienalno.
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Narodna umjetnost: hrvatski časopis za etnologiju i folkloristiku, 2002
The appearance and the positive and the negative reception of the staged performance of a contemp... more The appearance and the positive and the negative reception of the staged performance of a contemporary church feast by the profession and the TV, as a public medium, have enticed the rethinking of the ways of evaluation and the authorities which decide on the
representativeness of certain folklore performances. The text discusses the questions of folk art, especially folk dance, song, costume, their stage presentation, and the questions — what is these days considered authentic in this field of cultural activity and evaluation, what is considered representative, who creates contemporary folklore, who evaluates and interprets it and how, what is the current state of this field in Croatia, and how public opinion on this matter is created and shaped. These questions do not refer exclusively to ethnochoreology, but also to ethnology and folklore studies as a whole. By analysing and interpreting the staged performance of a contemporary church feast and partly the situation with the current folklore festival paradigms, the author answers the questions about himself and his ethnologist and folklorist coprofessionals, i.e. about the current state of the profession in Croatia. He intends to show various perspectives by which complex social relations in a part of the contemporary Croatian community are revealed.
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47. Međunarodna smotra folklora, Zagreb / Hrvatska, 16.-21. 7. 2013. 47th International Folklore Festival, Dec 4, 2013
Hr: Europsku plesnu baštinu u Hrvatskoj, uz drugo, predstavljaju i brojne inačice plesa njemačkog... more Hr: Europsku plesnu baštinu u Hrvatskoj, uz drugo, predstavljaju i brojne inačice plesa njemačkoga imena Siebenschritt – sedmokorak. U Hrvatskoj je vrlo rasprostranjen, a tijekom vremena se mijenjao u doticaju s drugim plesovima. Njegovo je urastanje u različite lokalne tradicije vidljivo i u promjenama naziva, najčešće u kroatiziranim izvedenicama iz njemačkog imena siebenschritt / zibenšrit ili talijanskoga sette passi / setepaši i slično.
Eng: The European dance heritage in Croatia is also represented, among others, by numerous variants of the dance bearing the German name Siebenschritt. It is widely disseminated in Croatia and has changed over time in contact with other dances. Its embedment in various local traditions is also evident in the changes in its name, usually in the form of Croatian derivations of the German name Siebenschritt / zibenšrit, or the Italian sette passi / setepaši and the like.
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Dance and Society, Dancer as a cultural performer, 22nd Symposium of the ICTM Study Group on Ethnochoreology, Szeged, Hungary, 2002. Elsie Ivancich Dunin; A. von Bibra Wharton, Laszlo Felföldy (editors), 2005
This paper answers some questions about field research, about the role of choreographers, perform... more This paper answers some questions about field research, about the role of choreographers, performers, and "specialists", of my own and of my Croatian ethnologists colleagues. Carrying out a different set of positions in debate, I discuss the authorship, the role of ethnochoreologists and ethnologists in the creation of the "specialist", and the public's judgment on the "appropriation" of staged representations. There is also mention of the "expert's" fear of opening "Pandora's box" with the presentation of folklore on the stage and putting it into a category of "unskilled type presentations".
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Dugogodisnjim iskustvom u popularizaciji etnologije i njezinoj prakticnoj primjeni Zorica Vitez a... more Dugogodisnjim iskustvom u popularizaciji etnologije i njezinoj prakticnoj primjeni Zorica Vitez angažirano se ukljucuje u provedbu i primjenu Konvencije za ocuvanje nematerijalne kulturne bastine Unesca. U ovom prigodnom zborniku u cast Zorici Vitez, u tekstu se razmatra nematerijalna kulturna bastina iz perspektive Instituta u kojemu Zorica Vitez provodi najveci dio svoje profesionalne karijere.
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Stummer Reigentanz aus dem Dalmatinischen Hinterland (Dalmatinska zagora) ist eigenartig nach sei... more Stummer Reigentanz aus dem Dalmatinischen Hinterland (Dalmatinska zagora) ist eigenartig nach seiner Auffuehrung. The silent circle dance of the Dalmatian Hinterland is unique in its manner of performance. The text has more information about the dance.
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Najwazniejsze wyniki europejskiego sondazu praktyk badawczych oraz potrzeb cyfrowych w humanistyc... more Najwazniejsze wyniki europejskiego sondazu praktyk badawczych oraz potrzeb cyfrowych w humanistyce i naukach o sztuce, przeprowadzonego przez grupe roboczą DARIAH Digital Methods and Practices Observatory (DiMPO). Badanie jest efektem wspolpracy europejskich badaczy z roznych krajow w ramach Grupy Roboczej DiMPO. Badanie zostalo pomyślana jako ponadregionalny sondaz podluzny, przeprowadzany co kilka lat online w krajach europejskich. Jego celem jest dostarczenie opartego na danych przeglądu praktyk badawczych, potrzeb i postaw europejskich badaczy z nauk humanistycznych wobec zasobow cyfrowych, metod i narzedzi, w perspektywie przestrzennej i czasowej. Wyniki pierwszego sondazu (zakonczonego w marcu 2015) zostaną zaprezentowane w wieloautorskim raporcie, ktory zawiera analizy zbiorcze i porownawcze oraz piec raportow narodowych. Kolejne badanie planowane jest na 2017-2018. Wiecej informacji: bit.ly/scholarlypractices Przeklad na polski: Maciej Maryl (Centrum Humanistyki Cyfrowej Ins...
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Ce rapport resume l'analyse statistique des resultats d'une enquete en ligne, conduite pa... more Ce rapport resume l'analyse statistique des resultats d'une enquete en ligne, conduite par l'Observatoire des Pratiques et Methodes Numeriques (DiMPO), un groupe de travail du VCC2 de l'infrastructure de recherche DARIAH (Digital Research Infrastructure for the Arts and Humanities). Afin de fournir un tableau base sur des faits, mis a jour et signifiant, des pratiques, besoins et reflexes des chercheurs en sciences humaines au sein d'un monde academique numerique et europeen en pleine evolution, l'enquete en ligne a implique une equipe trans-nationale de chercheurs de plus d'une douzaine de pays, et s'est interessees aux pratiques, reflexes et demandes de la recherche numerique dans toutes les regions de l'Europe, et a travers differents contextes et disciplines en sciences humaines.
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Autori obrađuju ulogu i razlicite funkcije koje folklorna glazba i ples imaju u životu ljudi te i... more Autori obrađuju ulogu i razlicite funkcije koje folklorna glazba i ples imaju u životu ljudi te izlažu tipicne znacajke raznolikih stilova folklorne glazbe i plesa, kao i glazbala karakteristicnih za pojedina podrucja Hrvatske.
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Este informe resume el analisis estadistico de los resultados de una encuesta online que ha sido ... more Este informe resume el analisis estadistico de los resultados de una encuesta online que ha sido llevada a cabo por el Digital Methods and Practices Observatory (DiMPO), un grupo de trabajo del VCC2 de la infraestructura de investigacion DARIAH (Digital Research Infrastructure for the Arts and Humanities). Para proporcionar resultados basados en evidencias reales y actualizadas sobre las practicas que se estan desarrollando actualmente, asi como las necesidades y actitudes de los investigadores europeos que implican el uso del entorno digital, esta encuesta se ha llevado a cabo gracias a un grupo internacional de investigadores de mas de una docena de paises, y se ha realizado centrandose en analizar las practicas, actitudes y necesidades del mundo digital en la investigacion en Europa a traves de diferentes disciplinas de artes y humanidades y sus contextos de aplicacion.
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Die europaische Umfrage zu wissenschaftlichen Praktiken und digitalen Bedurfnissen in den Geistes... more Die europaische Umfrage zu wissenschaftlichen Praktiken und digitalen Bedurfnissen in den Geisteswissenschaften ist das Produkt eines kollaborativen Unterfangens europaischer Forschender, die mit der DiMPOArbeitsgruppe zusammenarbeiten. Sie wurde als uberregionale Langsschnittstudie konzipiert, die in einem europaischen Rahmen nach einigen Jahren jeweils wiederholt werden soll. Ziel der Studie ist es, einen evidenzbasierten Ausblick uber wissenschaftliche Praktiken sowie die Bedurfnisse und Einstellungen europaischer DH-Forschender zu digitalen Ressourcen, Methoden und Werkzeuge zu geben. Die Ergebnisse der ersten Studie (Marz 2015 abgeschlossen) werden in einem von mehreren Autoren und Autorinnen verfassten Bericht zusammengetragen, der vergleichende und konsolidierte Analysen sowie sechs Landerprofile enthalt. Eine neue Erhebung ist fur 2017/18 geplant. Weitere Informationen: bit.ly/scholarlypractices Deutsche Ubersetzung: Beat Immenhauser (Schweizerische Akademie der Geistes- und...
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This report summarizes the statistical analysis of the findings of a web-based survey conducted b... more This report summarizes the statistical analysis of the findings of a web-based survey conducted by the Digital Methods and Practices Observatory (DiMPO), a working group under VCC2 of the DARIAH research infrastructure (Digital Research Infrastructure for the Arts and Humanities). In order to provide an evidence-based, up-to-date, and meaningful account of the emerging information practices, needs and attitudes of arts and humanities researchers in the evolving European digital scholarly environment, the web survey involved a transnational team of researchers from more than a dozen countries, and addressed digitally-enabled research practices, attitudes and needs in all areas of Europe and across different arts and humanities disciplines and contexts.
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Narodna umjetnost 28, 1991
Na primjeru drmeša - čestoga plesa sjeverozapadne Hrvatske koji je i danas vrlo aktualan u životu... more Na primjeru drmeša - čestoga plesa sjeverozapadne Hrvatske koji je i danas vrlo aktualan u životu zajednica zagrebačkoga prigorja, autor analizira strukturu plesa i situacije u kojima se izvodi. Promatra ga na primjeru dvaju plesnih događaja u Markuševcu i Gračanima. Terminologija i teorijsko-metodološki problemi istraživanja plesa takoder su predmet autorove rasprave.
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Dance Cultures Around the World. Lynn E. Frederiksen; Shih-Ming Li Chang (editors). Human Kinetics, 2024
There are many dance forms and diverse dance practices in Croatia. Traditional, or folk, dances a... more There are many dance forms and diverse dance practices in Croatia. Traditional, or folk, dances are shaped by the uneven cultural heritage of the regions, with significant variation resulting from historical development and context, as well as contemporary practices. Their diversity shows how they cannot be reduced to just one traditional dance form. As with many elements of traditional culture in Croatia, folk dance repertoire is heterogeneous, reflecting varied cultural heritages throughout the country. The musical instruments and their geographic lineage are particularly important in traditional dance. The dance centers on the music, and the main characteristics of traditional musical instruments in Croatia are their number and diversity over what is a relatively small territory. Thus the richness and color of the dance styles, and the songs, music, and musical instruments that accompany them continue to reflect Croatia’s multifaceted heritage.
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The Cultural Development of Folk Dance Festivals and the Sustainability of Tradition Mehmet Öcal Özbilgin, Liz Mellish (Editors), 2018
The International Folklore Festival has been held in Zagreb every July since 1966. In 2014, this ... more The International Folklore Festival has been held in Zagreb every July since 1966. In 2014, this Festival was declared a festival event of national significance by the Ministry of Culture of the Republic of Croatia. The official documents of the Ministry of Culture emphasised that the International Folklore Festival reinforces the specific values of traditional, national culture and also the values of native-place dance, music and customary modes of expression. The direction of the Festival has always been conferred to experts, mostly ethnochoreologists but the Festival has not been the subject of academic interest to the same extent. This chapter offers an overview of the development and changes in this Festival, discusses the relationship between tradition and festival representation, as well as its strengths and weaknesses and the circumstances in which it is held.
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Music, Politics, and War. Views from Croatia. Svanibor Pettan (ed.), 1998
A time of sudden political changes-the democratization of society on the one hand, and the impose... more A time of sudden political changes-the democratization of society on the one hand, and the imposed war and its consequences on the other-gave new meaning to certain social phenomena in Croatia. With the objective of implementing the idea of the Oneness of the Southern Slavs, the Communist authorities during the past fifty years had suppressed the national feelings of the individual nations in the former Yugoslavia, including those of the Croats. This was accompanied by an ongoing process of de-Christianization. After half a century of ideological pressures, individuals, groups, and communities as a whole, became aware of the possibilities for free public expression of identity. Stage presentation of folklore was seen to be one of the way of expression which drew attention to the causes and context of social changes. The performers' messages are sometimes clearly expressed and audiences easily comprehend them, reacting spontaneously and with approval. Those messages which are sometimes concealed, are often more profound and significant. On the basis of two case-studies with different historical and social backgrounds, I shall show that public dance events can be interpreted as political rituals.
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Zagreb i glazba / Zagreb and Music 1094–1994. Zagreb i hrvatske zemlje kao most između srednjoeuropskih i mediteranskih glazbenih kultura / Zagreb and Croatian Lands as a Bridge Between Central-European and Mediterranean Musical Cultures. Stanislav Tuksar (ed.)., 1998
The dance Siebenschritt is a good example of how a traditional dance might connect different coun... more The dance Siebenschritt is a good example of how a traditional dance might connect different countries and nations. The text brings forward a historical overview of the dance and its origin. It also discusses the structure and variants of the dance in three cultural zones in Croatia, as well as similarities of numerous variants of the Siebenschritt in Central-European and Danubian countries with the variants of the dance in Croatia, where it is present also in the Mediterranean zone. Furthermore, two levels of transformation of the dance have been noticed. They are related to changes in the context in which the dance was performed in the past and in which it is being performed today.
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Narodna umjetnost: Croatian Journal of Ethnology and Folklore Research, Jul 15, 1990
Tekst je prikaz zbornika sa skupa etnokoreologa Međunarodnoga vijeća za tradicijsku glazbu (Inter... more Tekst je prikaz zbornika sa skupa etnokoreologa Međunarodnoga vijeća za tradicijsku glazbu (International Council for Traditional Music – ICTM) koji se održao u Kopehagenu 1988. godine. Članovi studijske skupine za etnokoreologiju ICTM-a doživljavaju ga kao važnu prekretnicu u epistemološkom i istraživačkom smislu jer se otada na skupovima te studijske skupine ne okupljaju samo europski etnokoreolozi nego istraživači plesa iz cijeloga svijeta (antropolozi plesa i strukturiranoga ljudskog pokreta, etnolozi plesa i etnokoreolozi). Okupljaju se bienalno.
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Narodna umjetnost: hrvatski časopis za etnologiju i folkloristiku, 2002
The appearance and the positive and the negative reception of the staged performance of a contemp... more The appearance and the positive and the negative reception of the staged performance of a contemporary church feast by the profession and the TV, as a public medium, have enticed the rethinking of the ways of evaluation and the authorities which decide on the
representativeness of certain folklore performances. The text discusses the questions of folk art, especially folk dance, song, costume, their stage presentation, and the questions — what is these days considered authentic in this field of cultural activity and evaluation, what is considered representative, who creates contemporary folklore, who evaluates and interprets it and how, what is the current state of this field in Croatia, and how public opinion on this matter is created and shaped. These questions do not refer exclusively to ethnochoreology, but also to ethnology and folklore studies as a whole. By analysing and interpreting the staged performance of a contemporary church feast and partly the situation with the current folklore festival paradigms, the author answers the questions about himself and his ethnologist and folklorist coprofessionals, i.e. about the current state of the profession in Croatia. He intends to show various perspectives by which complex social relations in a part of the contemporary Croatian community are revealed.
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47. Međunarodna smotra folklora, Zagreb / Hrvatska, 16.-21. 7. 2013. 47th International Folklore Festival, Dec 4, 2013
Hr: Europsku plesnu baštinu u Hrvatskoj, uz drugo, predstavljaju i brojne inačice plesa njemačkog... more Hr: Europsku plesnu baštinu u Hrvatskoj, uz drugo, predstavljaju i brojne inačice plesa njemačkoga imena Siebenschritt – sedmokorak. U Hrvatskoj je vrlo rasprostranjen, a tijekom vremena se mijenjao u doticaju s drugim plesovima. Njegovo je urastanje u različite lokalne tradicije vidljivo i u promjenama naziva, najčešće u kroatiziranim izvedenicama iz njemačkog imena siebenschritt / zibenšrit ili talijanskoga sette passi / setepaši i slično.
Eng: The European dance heritage in Croatia is also represented, among others, by numerous variants of the dance bearing the German name Siebenschritt. It is widely disseminated in Croatia and has changed over time in contact with other dances. Its embedment in various local traditions is also evident in the changes in its name, usually in the form of Croatian derivations of the German name Siebenschritt / zibenšrit, or the Italian sette passi / setepaši and the like.
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Dance and Society, Dancer as a cultural performer, 22nd Symposium of the ICTM Study Group on Ethnochoreology, Szeged, Hungary, 2002. Elsie Ivancich Dunin; A. von Bibra Wharton, Laszlo Felföldy (editors), 2005
This paper answers some questions about field research, about the role of choreographers, perform... more This paper answers some questions about field research, about the role of choreographers, performers, and "specialists", of my own and of my Croatian ethnologists colleagues. Carrying out a different set of positions in debate, I discuss the authorship, the role of ethnochoreologists and ethnologists in the creation of the "specialist", and the public's judgment on the "appropriation" of staged representations. There is also mention of the "expert's" fear of opening "Pandora's box" with the presentation of folklore on the stage and putting it into a category of "unskilled type presentations".
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Dugogodisnjim iskustvom u popularizaciji etnologije i njezinoj prakticnoj primjeni Zorica Vitez a... more Dugogodisnjim iskustvom u popularizaciji etnologije i njezinoj prakticnoj primjeni Zorica Vitez angažirano se ukljucuje u provedbu i primjenu Konvencije za ocuvanje nematerijalne kulturne bastine Unesca. U ovom prigodnom zborniku u cast Zorici Vitez, u tekstu se razmatra nematerijalna kulturna bastina iz perspektive Instituta u kojemu Zorica Vitez provodi najveci dio svoje profesionalne karijere.
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Stummer Reigentanz aus dem Dalmatinischen Hinterland (Dalmatinska zagora) ist eigenartig nach sei... more Stummer Reigentanz aus dem Dalmatinischen Hinterland (Dalmatinska zagora) ist eigenartig nach seiner Auffuehrung. The silent circle dance of the Dalmatian Hinterland is unique in its manner of performance. The text has more information about the dance.
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Najwazniejsze wyniki europejskiego sondazu praktyk badawczych oraz potrzeb cyfrowych w humanistyc... more Najwazniejsze wyniki europejskiego sondazu praktyk badawczych oraz potrzeb cyfrowych w humanistyce i naukach o sztuce, przeprowadzonego przez grupe roboczą DARIAH Digital Methods and Practices Observatory (DiMPO). Badanie jest efektem wspolpracy europejskich badaczy z roznych krajow w ramach Grupy Roboczej DiMPO. Badanie zostalo pomyślana jako ponadregionalny sondaz podluzny, przeprowadzany co kilka lat online w krajach europejskich. Jego celem jest dostarczenie opartego na danych przeglądu praktyk badawczych, potrzeb i postaw europejskich badaczy z nauk humanistycznych wobec zasobow cyfrowych, metod i narzedzi, w perspektywie przestrzennej i czasowej. Wyniki pierwszego sondazu (zakonczonego w marcu 2015) zostaną zaprezentowane w wieloautorskim raporcie, ktory zawiera analizy zbiorcze i porownawcze oraz piec raportow narodowych. Kolejne badanie planowane jest na 2017-2018. Wiecej informacji: bit.ly/scholarlypractices Przeklad na polski: Maciej Maryl (Centrum Humanistyki Cyfrowej Ins...
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Ce rapport resume l'analyse statistique des resultats d'une enquete en ligne, conduite pa... more Ce rapport resume l'analyse statistique des resultats d'une enquete en ligne, conduite par l'Observatoire des Pratiques et Methodes Numeriques (DiMPO), un groupe de travail du VCC2 de l'infrastructure de recherche DARIAH (Digital Research Infrastructure for the Arts and Humanities). Afin de fournir un tableau base sur des faits, mis a jour et signifiant, des pratiques, besoins et reflexes des chercheurs en sciences humaines au sein d'un monde academique numerique et europeen en pleine evolution, l'enquete en ligne a implique une equipe trans-nationale de chercheurs de plus d'une douzaine de pays, et s'est interessees aux pratiques, reflexes et demandes de la recherche numerique dans toutes les regions de l'Europe, et a travers differents contextes et disciplines en sciences humaines.
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Autori obrađuju ulogu i razlicite funkcije koje folklorna glazba i ples imaju u životu ljudi te i... more Autori obrađuju ulogu i razlicite funkcije koje folklorna glazba i ples imaju u životu ljudi te izlažu tipicne znacajke raznolikih stilova folklorne glazbe i plesa, kao i glazbala karakteristicnih za pojedina podrucja Hrvatske.
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Este informe resume el analisis estadistico de los resultados de una encuesta online que ha sido ... more Este informe resume el analisis estadistico de los resultados de una encuesta online que ha sido llevada a cabo por el Digital Methods and Practices Observatory (DiMPO), un grupo de trabajo del VCC2 de la infraestructura de investigacion DARIAH (Digital Research Infrastructure for the Arts and Humanities). Para proporcionar resultados basados en evidencias reales y actualizadas sobre las practicas que se estan desarrollando actualmente, asi como las necesidades y actitudes de los investigadores europeos que implican el uso del entorno digital, esta encuesta se ha llevado a cabo gracias a un grupo internacional de investigadores de mas de una docena de paises, y se ha realizado centrandose en analizar las practicas, actitudes y necesidades del mundo digital en la investigacion en Europa a traves de diferentes disciplinas de artes y humanidades y sus contextos de aplicacion.
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Die europaische Umfrage zu wissenschaftlichen Praktiken und digitalen Bedurfnissen in den Geistes... more Die europaische Umfrage zu wissenschaftlichen Praktiken und digitalen Bedurfnissen in den Geisteswissenschaften ist das Produkt eines kollaborativen Unterfangens europaischer Forschender, die mit der DiMPOArbeitsgruppe zusammenarbeiten. Sie wurde als uberregionale Langsschnittstudie konzipiert, die in einem europaischen Rahmen nach einigen Jahren jeweils wiederholt werden soll. Ziel der Studie ist es, einen evidenzbasierten Ausblick uber wissenschaftliche Praktiken sowie die Bedurfnisse und Einstellungen europaischer DH-Forschender zu digitalen Ressourcen, Methoden und Werkzeuge zu geben. Die Ergebnisse der ersten Studie (Marz 2015 abgeschlossen) werden in einem von mehreren Autoren und Autorinnen verfassten Bericht zusammengetragen, der vergleichende und konsolidierte Analysen sowie sechs Landerprofile enthalt. Eine neue Erhebung ist fur 2017/18 geplant. Weitere Informationen: bit.ly/scholarlypractices Deutsche Ubersetzung: Beat Immenhauser (Schweizerische Akademie der Geistes- und...
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This report summarizes the statistical analysis of the findings of a web-based survey conducted b... more This report summarizes the statistical analysis of the findings of a web-based survey conducted by the Digital Methods and Practices Observatory (DiMPO), a working group under VCC2 of the DARIAH research infrastructure (Digital Research Infrastructure for the Arts and Humanities). In order to provide an evidence-based, up-to-date, and meaningful account of the emerging information practices, needs and attitudes of arts and humanities researchers in the evolving European digital scholarly environment, the web survey involved a transnational team of researchers from more than a dozen countries, and addressed digitally-enabled research practices, attitudes and needs in all areas of Europe and across different arts and humanities disciplines and contexts.
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Narodna umjetnost 28, 1991
Na primjeru drmeša - čestoga plesa sjeverozapadne Hrvatske koji je i danas vrlo aktualan u životu... more Na primjeru drmeša - čestoga plesa sjeverozapadne Hrvatske koji je i danas vrlo aktualan u životu zajednica zagrebačkoga prigorja, autor analizira strukturu plesa i situacije u kojima se izvodi. Promatra ga na primjeru dvaju plesnih događaja u Markuševcu i Gračanima. Terminologija i teorijsko-metodološki problemi istraživanja plesa takoder su predmet autorove rasprave.
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Dance Cultures Around the World. Lynn E. Frederiksen; Shih-Ming Li Chang (editors). Human Kinetics, 2024
There are many dance forms and diverse dance practices in Croatia. Traditional, or folk, dances a... more There are many dance forms and diverse dance practices in Croatia. Traditional, or folk, dances are shaped by the uneven cultural heritage of the regions, with significant variation resulting from historical development and context, as well as contemporary practices. Their diversity shows how they cannot be reduced to just one traditional dance form. As with many elements of traditional culture in Croatia, folk dance repertoire is heterogeneous, reflecting varied cultural heritages throughout the country. The musical instruments and their geographic lineage are particularly important in traditional dance. The dance centers on the music, and the main characteristics of traditional musical instruments in Croatia are their number and diversity over what is a relatively small territory. Thus the richness and color of the dance styles, and the songs, music, and musical instruments that accompany them continue to reflect Croatia’s multifaceted heritage.
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The Cultural Development of Folk Dance Festivals and the Sustainability of Tradition Mehmet Öcal Özbilgin, Liz Mellish (Editors), 2018
The International Folklore Festival has been held in Zagreb every July since 1966. In 2014, this ... more The International Folklore Festival has been held in Zagreb every July since 1966. In 2014, this Festival was declared a festival event of national significance by the Ministry of Culture of the Republic of Croatia. The official documents of the Ministry of Culture emphasised that the International Folklore Festival reinforces the specific values of traditional, national culture and also the values of native-place dance, music and customary modes of expression. The direction of the Festival has always been conferred to experts, mostly ethnochoreologists but the Festival has not been the subject of academic interest to the same extent. This chapter offers an overview of the development and changes in this Festival, discusses the relationship between tradition and festival representation, as well as its strengths and weaknesses and the circumstances in which it is held.
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Music, Politics, and War. Views from Croatia. Svanibor Pettan (ed.), 1998
A time of sudden political changes-the democratization of society on the one hand, and the impose... more A time of sudden political changes-the democratization of society on the one hand, and the imposed war and its consequences on the other-gave new meaning to certain social phenomena in Croatia. With the objective of implementing the idea of the Oneness of the Southern Slavs, the Communist authorities during the past fifty years had suppressed the national feelings of the individual nations in the former Yugoslavia, including those of the Croats. This was accompanied by an ongoing process of de-Christianization. After half a century of ideological pressures, individuals, groups, and communities as a whole, became aware of the possibilities for free public expression of identity. Stage presentation of folklore was seen to be one of the way of expression which drew attention to the causes and context of social changes. The performers' messages are sometimes clearly expressed and audiences easily comprehend them, reacting spontaneously and with approval. Those messages which are sometimes concealed, are often more profound and significant. On the basis of two case-studies with different historical and social backgrounds, I shall show that public dance events can be interpreted as political rituals.
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Zagreb i glazba / Zagreb and Music 1094–1994. Zagreb i hrvatske zemlje kao most između srednjoeuropskih i mediteranskih glazbenih kultura / Zagreb and Croatian Lands as a Bridge Between Central-European and Mediterranean Musical Cultures. Stanislav Tuksar (ed.)., 1998
The dance Siebenschritt is a good example of how a traditional dance might connect different coun... more The dance Siebenschritt is a good example of how a traditional dance might connect different countries and nations. The text brings forward a historical overview of the dance and its origin. It also discusses the structure and variants of the dance in three cultural zones in Croatia, as well as similarities of numerous variants of the Siebenschritt in Central-European and Danubian countries with the variants of the dance in Croatia, where it is present also in the Mediterranean zone. Furthermore, two levels of transformation of the dance have been noticed. They are related to changes in the context in which the dance was performed in the past and in which it is being performed today.
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58. Međunarodna smotra folklora Zagreb / International Folklore Festival. UNESCO-ovi kulturni prostori, Šokadijo, lipa i bogata! / UNESCO Cultural Spaces. Beautiful and rich Šokadija! 17. - 21. 7. 2024., Zagreb, Hrvatska / Croatia., 2024
The book is a catalogue about the 58th Zagreb International Folklore Festival in Zagreb, Croatia,... more The book is a catalogue about the 58th Zagreb International Folklore Festival in Zagreb, Croatia, 17-21 July 2024 with the main theme: UNESCO Cultural Spaces. Beautiful and rich Šokadija. ISSN 2584-3788. Tvrtko Zebec, editor. Programme, participants, concerts, exhibitions, book presentations, workshops, course, and project presentation.
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HR: Tijekom 2023. godine obilježava se stotinu godina od etnografske pokupske ekspedicije. Uz dvo... more HR: Tijekom 2023. godine obilježava se stotinu godina od etnografske pokupske ekspedicije. Uz dvojicu kustosa Etnografskog muzeja u Zagrebu, Vladimira Tkalčića (1883.–1971.) i Milovana Gavazzija (1895.–1992.), u ekspediciji su sudjelovala i dva slikara (Srećko Sabljak i Maksimilijan Vanka) te još petero njihovih prijatelja. Preplovivši udaljenost od stotinjak kilometara, u četiri su tjedna obišli 34 sela s lijeve i desne obale Kupe, istražujući etnografski relevantne pojave te kulturno-umjetničku baštinu u cjelini. Četiri godine nakon osnutka Muzeja, bio je to odličan pothvat koji im je dugoročno osigurao dobre kontakte s terenom. Programom 57. Međunarodne smotre folklora Zagreb obilježava se velika obljetnica toga jedinstvenog pothvata te programom prikazuje suvremeno stanje folklornih skupina Pokuplja. // ENG: The year 2023 marks the 100th anniversary of the ethnographic expedition in the Kupa River basin. The expedition included two curators of the Ethnographic Museum in Zagreb, Vladimir Tkalčić (1883 – 1971) and Milovan Gavazzi (1895 – 1992), as well as two painters (Srećko Sabljak and Maksimilijan Vanka) and five of their friends. In four weeks, they sailed a distance of about 100 kilometers and visited 34 villages on both the left and right banks of the Kupa River to explore relevant ethnographic manifestations and cultural heritage in general. This great endeavour took place four years after the Museum was established and secured its good contacts with the people in the field. The program of the 57th Zagreb International Folklore Festival celebrates the jubilee of the endeavour and presents the current situation of folklore groups along the Kupa River.
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56. Međunarodna smotra folklora Zagreb / 56th Zagreb International Folklore Festival, Između srednje Europe i Mediterana / Between Central Europe and the Mediterranean, 20. – 24. 7. 2022. Zagreb, Hrvatska / Croatia, 2022
The main program of the 56th Zagreb International Folklore Festival will take place from July 20 ... more The main program of the 56th Zagreb International Folklore Festival will take place from July 20 to July 24, 2022. The themed program planned for the previous two years focused on the traditional heritage Between Central Europe and the Mediterranean, postponed due to the COVID-19 pandemic, will finally come to be this year. We are therefore expecting more international groups, mostly from Central Europe, as well as from Greece, Portugal, and the US (Utah). In intense contact between Central European hubs and their perimeters ethnographic heritage has developed through folklore arts and cultures of intertwined and migrating peoples and cultures, groups and individuals between Central Europe and the Mediterranean. Many of these similarities are seen in customs, costumes, dances and music.
The intention of the program for the 56th International Folklore Festival is to showcase the values of ethnographic and folk arts that have been transferred to us and to the modern life of the European Union, stemming from a common or close historic sources. It will primarily present the Croatian cultural heritage in comparison to examples from neighbouring countries and cultures since similarities and differences can be traced in traditional music, as well as in some elements of church folk music, traditional costumes, customs, rituals, etc. The program of the Festival will present those interrelationships and characteristic examples of folklore legacy confirming the connections between neighbouring cultures, as well as their distinctions.
Young men’s dance-off is one of the particularities that reveal interconnections, while also presenting the wealth of diversity through its versions specific to dance traditions of the connected cultures. Groups and ensembles participating in the festival were, of course, chosen by this thematic criterion, since it has always been one of our goals to present the geographical reach of certain elements, often caused by migrations. The program of the Festival will therefore include folklore traditions of Croatian communities that migrated to other countries (Burgenland Croats) or of those living outside Croatia due to historical changes of borders (Croats in Bačka in Serbia and those in the Bay of Kotor in Montenegro). The Festival will also present the traditional heritage of Croats from Bosnia and Herzegovina, where they are one of the three constituent ethnic groups. The program will also include the musical and folklore art of Ukrainians in Croatia, an ethnic minority taking in their compatriots who fled the war-torn country.
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55. Međunarodna smotra folklora Zagreb / 55th Zagreb International Folklore Festival – Nematerijalna kultura kao živa baština / Intangible Culture as Living Heritage. 23. 6. - 31. 7. 2021. Zagreb, Hrvatska / Croatia, Tvrtko Zebec (editor), catalogue, 2021
Book is a catalogue of the 55th Zagreb International Folklore Festival. It has traditionally been... more Book is a catalogue of the 55th Zagreb International Folklore Festival. It has traditionally been held since 1966. The Festival's objective is to present and affirm the status of traditional culture and folklore of its numerous local and international participants. The theme of the 55th edition of the Festival, taking place during the pandemic, is Intangible Culture as Living Heritage. Most of the program planned for this year will be performed by individuals, small groups and select folklore groups. The festival program consisting of concerts in July held at the Klovićevi dvori Gallery Atrium and the Gradec stage will be preceded by round table discussions, book presentations, ethnographic film screenings and exhibitions promoting folk art and values. The program for July starts on Sunday, July 4, 2021 at the Concathedral Church of Sts. Cyril and Methodius with the concert of traditional folk Greek Catholic singing in Croatia called "Tebe pojem, Gospodi". The concert feature the diverse heritage of vocal liturgical tradition of the Križevci Eparchy and of the Ukrainian Greek Catholic minority of Lipovljani. The program at the Gradec Stage includes presentations of intangible cultural heritage in the Register of Cultural Goods of Croatia, as well as some from the UNESCO’s Representative List of Intangible Cultural Heritage of Humanity: Slavonian Queens – ljelje, the ojkan and circle dance with the kuterevka tamburitza from Lika, the band of gunjci from Pazin, songs and dances of Međimurje, the sailors’ dance (mornarski bal) from the island of Murter, ganga from Herzegovina (BiH), Slavonian sung kolo dances, bagpipes and bećarac, the linđo poskočica kolo of the Dubrovnik Primorje, the bitinada od Rovinj and Didi from Kamešnica carnival group; traditional urban songs and reveilles accompanied by farkašica tamburitzas, as well as filipovčice from Komletinci, ojkanje and kolo dances from the Dalmatian Hinterland, Slavonia, and Moslavina.
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Music and Dance in Southeastern Europe. 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. ISBN 978-953-8089-61-9, Nov 2020
Scholars from fourteen countries presented their work at the sixth symposium of the ICTM Study Gr... more Scholars from fourteen countries presented their work at the sixth symposium of the ICTM Study Group on Music and Dance in Southeastern Europe that took place in the town of Sinj in Croatia in April 2018. This publication presents a full record of that Study Group’s biennial symposium. Twelve presenters did not submit their articles; their participation in the event is recognised by the inclusion of their original abstracts. Two panels are documented by three articles and one abstract, while the remaining abstracts are grouped at the end of this volume. Editors are Liz Mellish, Nick Green and Tvrtko Zebec.
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Waltzing Through Europe: Attitudes towards Couple Dances in the Long Nineteenth Century, 2020
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54. Međunarodna smotra folklora Zagreb / 54th Zagreb International Folklore Festival. Stoljeće Seljačke sloge / A Century of Peasant Harmony. 15.-19. 7. 2020.Zagreb, Hrvatska / Croatia, Tvrtko Zebec (editor), catalogue, 2020
Tema o stotinu godina djelovanja Seljačke sloge trebala bi pokazati izvore i kontinuitet svih dan... more Tema o stotinu godina djelovanja Seljačke sloge trebala bi pokazati izvore i kontinuitet svih današnjih folklornih nastupa i smotri, osobito Međunarodne smotre folklora u Zagrebu. Ona je i osnovana na temeljima smotri seljačke kulture koje su se u glavnom hrvatskom gradu organizirale između dvaju svjetskih ratova. Međunarodnost se ovaj put utoliko ne ogleda u broju inozemnih izvođača, nego u raznolikosti programa i prikazu kultura iz raznih krajeva svijeta koje mogu ponuditi domaći izvođači ili stranci koji Hrvatsku doživljavaju kao svoju drugu domovinu. Ovogodišnju Smotru zato karakterizira nešto više vokalno-instrumentalnih programa s manjim brojem izvođača na pozornici, s plesom na mjestima na kojima nam to epidemiološka situacija omogućuje uz poštovanje sigurnosnih mjera. // The theme based on the hundred years of Peasant Harmony (Concord) activity aims to present the sources and the continuity of all current folklore shows and festivals, particularly the Zagreb International Folklore Festival. The Festival was built on the foundations of peasant culture festivals that were organized in the Croatian capital between the two world wars. This time, the international character of the festival will not be reflected as much in the number of international participants, but rather in the diversity of programs and the display of cultures from different parts of the world offered by Croatian performers or those who consider Croatia to be their other homeland. This year’s Festival will, therefore, feature more vocal and instrumental shows with fewer performers on stage, while dancing will be present only when allowed by the circumstances of the epidemic, while respecting all safety measures.
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53. Međunarodna smotra folklora Zagreb / 53rd Zagreb International Folklore Festival, 17.-21. 7. 2019. Tvrtko Zebec (editor), catalogue, 2019
With the thematic program reported in the catalogue of the 53. MSF/IFF in Zagreb it can be read a... more With the thematic program reported in the catalogue of the 53. MSF/IFF in Zagreb it can be read about the ethnographic and folklore traditions, local speeches and vernaculars along the historical roads Karolina and Lujzijana in Gorski Kotar in direction to Rijeka, European Capital of Culture (2020).
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Katalog je pregled programa i izvođača 51. Međunarodne smotre folklora sa svim popratnim manifest... more Katalog je pregled programa i izvođača 51. Međunarodne smotre folklora sa svim popratnim manifestacijama, izložbama, okruglim stolom, radionicama. Smotra je posvećena etnografskoj baštini Banovine i Pounja kao područja koje je premalo poznato javnosti. / Catalogue is an overview of the programme and participants of the 51st International Folklore Festival together with all accompanying events, exhibitions, roundtables, workshops. The main theme of the Festival is ethnographic heritage of Banovina and Pounje as regions not so known to the wide audience.
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Katalog je pregled programa i izvođača 52. Međunarodne smotre folklora u Zagrebu u Europskoj godi... more Katalog je pregled programa i izvođača 52. Međunarodne smotre folklora u Zagrebu u Europskoj godini kulturne baštine posvećene temi Baština i migracije, s popisom popratnih priredbi, izložbi, radionica, okruglim stolom. // Catalogue is an overview of the programme and participants of the 52nd International Folklore Festival in Zagreb together with accompanying events. In the European Year of Cultural Heritage the main theme of the Festival is Heritage and Migrations.
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6 th Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe, 15 – 21 April, 2018, Sinj, Croatia, Migrations, Carnival, Sustainable Development, Programme and Abstract Booklet, 2018
Programme and abstract book contains 6th ICTM Study Group on Music and Dance in Southeastern Euro... more Programme and abstract book contains 6th ICTM Study Group on Music and Dance in Southeastern Europe Symposium programme, three panel abstracts with eleven papers and twenty nine individual papers that cover three main Symposium themes – Carnival, migrations and sustainable development. Symposium has been held from April 15-21, 2018 in Sinj, Croatia.
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Anyone thinking to find in this book primarily descriptions of the tanac dances performed on the ... more Anyone thinking to find in this book primarily descriptions of the tanac dances performed on the Island of Krk will, perhaps, be disappointed. True enough, the tanac dances, with their richness, diversity, and, at the same time, their particularity in relation to other dances from the island, other places in Croatia, and much further afield, in Europe, were what prompted my research and the writing of this book. However, the purpose and rationale of this research was not the notation of the variants of the tanac dance. I realised that tanac dances have particular significance and meaning for their performers – the dancers and, of course, the sopci, the players of the traditional wind instrument, the sopela (large and small), a type of oboe, the tanac rarely being performed without sopela accompaniment. The tanac dance also has special meaning for all those who are onlookers at the performance and comment upon it. What does the tanac dance mean to the islanders? Is it a dance at all to them? Are they all equal when they perform it and as they perform it? Who leads it, who is the main dancer, is anyone else given prominence? How do the performers behave during the tanac – as male or female dancers or as musicians? How do the tanac dances differ, and in what are they similar? When is the tanac danced well, can it be danced badly, who decides what's good and what's bad? Does the tanac dance change, was it different in the past, what factors influenced change? Is it danced by priests and, if so, when and why? The reader will, I trust, understand why I have not placed the emphasis on noting the variants of the tanac dance. They are particularly important, but not so that we can pinpoint them and note them for some future time, but because the variants are created by people – the performers – so as to differ from one another as individuals within their communities, and, outside them, so as to differ as members of their own communities in relation to their neighbours, Others. Consequently, the intention of this book is to show that the research concentrated on the tanac dance uncovered a host of other reasons, stimuli and meanings in the life of the islanders, connected with the dance events and the roles of all those who take part in them. Speaking generally, dance is a particular phenomenon, a way of communication, and a way of expressing feelings. The emotions are embodied in dance. To this extent, dance is a matter of the individual, the performer who expresses his or her joys or anxieties though the dance. Each dancer does this individually and somewhat differently every time, depending on his/her mood. This is what makes each performance a creative process – a particular energy is realised by the body in time and space. This energy has something that makes it identifiable. The individual's gestures, movements and style set him/her apart from others in the community in which he/she lives and dances. For its part, when one observes the collective act of dancing from a distance, externally, or in relation to some other community, one notices certain common characteristics, the feeling for rhythm and tempo along with the gestures and style of the group of people in question. That is why dance research is directly connected with research into identity. In other words, in dance, too, as in the process of identification of the individual, differences are emphasised, while similarities are noted in collective identification (Jenkins 1996:116). Individuals, who are frequently together in everyday life, are mutually identified in dance largely according to their particularities. However, when observed from a distance, their common characteristics stand out more. According to the social anthropologist, Richard Jenkins, while insiders recognise each other according to the symbols of their togetherness and diversity in relation to others, on some imagined border and/or in an encounter between insiders and outsiders – in the internal-external dialectics of recognising a community – there is constant play between similarities and diversities. Both are symbolic constructs. *** In the first, Croatian, part of the book, the text abounds in quotations in the local Čakavian dialect (one of the three dialects in the Croatian language). The underlying idea in presenting material in this way is to give a colourful picture that will bring Croatian readers closer to the culture of the islanders, with the descriptions written by insiders providing readers with conceptions of what the islanders themselves have bequeathed to their communities, tradition and culture. In this, I do not experience culture or tradition as some unyielding, assigned and unchanging categories from the past. We participate with our lives in their creation. Current research into identification processes is showing that the collective stance towards such categories changes, just as the individual one does (see Jenkins 1996; Čapo Žmegač 2002; Ceribašić 2003). I have omitted the quotations and many other details, which would lose their sense in translation, from shorter, English, part of the book. So the chapters in English are not translations of the entire chapters in the Croatian text; rather they are mere reviews of them, which do not even fully correspond in order to the Croatian part of the book. This has been done in order to adapt the text for non-Croatian readers.
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Expert Conference: Fostering European Cooperation for Cultural Heritage at Risk, 26–28 February 2020, Dubrovnik – Lazareti; Ministry of Culture of the Republic of Croatia, 2020
From the moment of its recognition and selection, intangible culture is at risk because of its dy... more From the moment of its recognition and selection, intangible culture is at risk because of its dynamic nature as living heritage. It reflects the social relationships, subjects to daily changes. As experts in the field of living heritage, we are aware of the risks this heritage is exposed to at all levels on a daily basis. I am pointing out some of them because each case is specific and special in its own way. Examples will show experiences from the post-war revival in the 1990s, post-flood restoration of costumes, a long tradition of folk festivals and will again open the questions of community and representation.
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