Vesna Bajić Stojiljković | Belgrade Dance Institute/Institut za Umetničku Igru, Belgrade (original) (raw)

Papers by Vesna Bajić Stojiljković

Research paper thumbnail of Music and Ethnic Minorities

Znanstvena založba Filozofske fakultete, Jun 23, 2021

Research paper thumbnail of The process of shaping stage folk music through the prism of the development of folk dance choreography

Muzikologija

Understanding the historical processes in the shaping of stage folk music raises an important que... more Understanding the historical processes in the shaping of stage folk music raises an important question about the application of traditional music in stage choreographic works. Since the 1930s in Serbia, the history of music and dance was cre?ated by prominent individuals, musicians and composers, initiated by the work of choreographers such as Maga Magazinovic, Russian artists, and later by many domestic performing artists gathered around cultural and artistic societies and the National ensemble ?Kolo?. In this article, all available data relevant for the consideration of stage folk music as a specific genre will be presented along with the stage folk dance, precisely through the form of folk dance choreography (FDC), whose developmental path was hinted at since the end of the 19th century. Defining and understanding dance music, that is, music for FDC, opens new horizons in re-examining the process of forming stage folk music in our region.

Research paper thumbnail of The Process of Shaping Stage Folk Music through the Prism of the Development of Folk Dance Choreography / Процес обликовања сценске народне музике кроз призму развоја кореографије народне игре

Musicology No. 33 (2022): Sound Heritage in Ethnomusicology and Musicology , 2022

Understanding the historical processes in the shaping of stage folk music raises an important que... more Understanding the historical processes in the shaping of stage folk music raises an important question about the application of traditional music in stage choreographic works. Since the 1930s in Serbia, the history of music and dance was created by prominent individuals, musicians and composers, initiated by the work of choreographers such as Maga Magazinović, Russian artists, and later by many domestic performing artists gathered around cultural and artistic societies and the National ensemble "Kolo". In this article, all available data relevant for the consideration of stage folk music as a specific genre will be presented along with the stage folk dance, precisely through the form of folk dance choreography (FDC), whose developmental path was hinted at since the end of the 19th century. Defining and understanding dance music, that is, music for FDC, opens new horizons in reexamining the process of forming stage folk music in our region. * Ова студија се базира на истраживањима која су делом представљена на Mеђународном научном скупу The Future of Music History (Будућност историје музике) Музиколошког института САНУ и Одељења ликовне и музичке уметности САНУ у Београду, септембра 2017. године, под називом "Folk Dance Choreography as a Representative of Music History in Serbia". ISSN 1450-9814

Research paper thumbnail of Ljubica and Danica S. Janković, ”Safeguarding our folk dances”

Journal Translingual Discourse in Ethnomusicology (TDE), vol. 4, 2018

Ljubica and Danica S. Janković, ”Safeguarding our folk dances”, Narodne igre II (Folk Dances, boo... more Ljubica and Danica S. Janković, ”Safeguarding our folk dances”, Narodne igre II (Folk Dances, book II), Chapter II, Belgrade, 11-33. Translation: Vesna Bajić Stojiljković. Lecturer in English: Liz Mellish.

Превод другог поглавља ”Чување наших народних игара” из књиге Народне игре II (1937) ауторки Љубице и Данице С. Јанковић са српског на енглески језик за часопис Journal Translingual Discourse in Ethnomusicology (TDE), vol. 4, 2018, 81–101. Eds. Regine Allgayer-Kaufmann and Gerd Grupe. University of Vienna.

ISSN: 2312-2528

https://www.tde-journal.org/index.php/tde/article/view/2762/2407

Research paper thumbnail of "Scenska narodna igra" konceptualizacija pojma u etnokoreologiji

Зборник Матице српске за сценске уметности и музику, бр. 57, 2017

Бајић Стојиљковић, Весна. 2017. „Сценска народна игра – концептуализација појма у етнокореологији... more Бајић Стојиљковић, Весна. 2017. „Сценска народна игра – концептуализација појма у етнокореологији“. Зборник Матице српске за сценске уметности и музику, бр. 57/2017, 95–109. Нови Сад: Матица српска, одељење за сценске уметности и музику. ISSN 0352-9738 COBISS.SR-ID 16339202

Od sredine 30-ih godina XX veka, kada su po prvi put u Srbiji narodnu igru kao samostalnu formu prikazale seoske grupe igrača, ali i učenice škole Mage Magazinović u Beogradu, nije se ni slutilo da će narednih decenija započeti nova, veoma intenzivna era scenske umetnosti kod nas. Nju su opovrgli i kritikovali tadašnji stručnjaci, a hvalila je i prihvatala domaća i strana publika. Ovaj fenomen pod nazivom scenska narodna igra, koji u Srbiji traje više od osam decenija, konceptualizovan je zahvaljujući temeljnim etnoteatrološkim i etnokoreološkim istraživanjima.

STAGE FOLK DANCE – CONCEPTUALIZATION OF THE TERM IN ETHNOCHOREOLOGY
Summary
In the mid-1930s, when for the first time in Serbia folk dance was presented as an independent form by village dancers, but also by students of Maga Magazinović’s school in Belgrade, it could not have been even assumed that the next decades would be a very intensive period for performing arts in our country. It was depreciated and criticized by the experts of that time, but also praised and accepted by both domestic and foreign audi- ence. This phenomenon, called stage folk dance, is conceptualized thanks to fundamen- tal ethnotheatrological and ethnochoreological doctoral dissertation research by the author. Terms stage and staging are examined not only in spatial context, but as a system of various activities in the process of creating a stage work (with a clear concept of creation, specific choreographic and compositional interventions on the kinetic and spatial levels of the dance and its music processing) and its performance (from the preparation of the dancers to the setting of the stage work, and suggesting a specific stage behavior). The concepts of stage and staging are, therefore, complex and multifaceted categories.
The rather interlaced meanings of the concepts of stage and staging in the theatro- logical and ethnochoreological discourse, in which they still need to be adequately applied, suggest four possibile ways of their perception:
1. From the perspective of the spatial dimension (where it is performed),
2. Creative activities and/or repertoire policies (what is performed and why),
3. Performing activities (how it is performed), and
4. Public performing (to whom it is performed).
Keywords: stage, staging, folk dance, stage folk dance, theatrology, ethnochoreology,
Serbia.

Research paper thumbnail of The Recording and Studying of Serbian Traditional Dances

Rеview of the National Center for Digitalization. The First South-Eastern European Digitization Initiative (SEEDI) Conference DIGITAL (re-)DISCOVERY of CULTURE (PHYSICALITY OF SOUL), 2005, Ohrid, Macedonia. NCD 8 (2006). Ed. Žarko Mijajlović. Belgrade: Faculty of Mathematics, 81-84. ISSN 1820-0109, 2006

Bajić, Vesna. “The recording and studying of Serbian traditional dances”, Rеview of the National ... more Bajić, Vesna. “The recording and studying of Serbian traditional dances”, Rеview of the National Center for Digitalization. The First South-Eastern European Digitization Initiative (SEEDI) Conference DIGITAL (re-)DISCOVERY of CULTURE (PHYSICALITY OF SOUL), 2005, Ohrid, Macedonia. NCD 8 (2006). Ed. Žarko Mijajlović. Belgrade: Faculty of Mathematics, 81-84.
ISSN 1820-0109

The first South-Eastern European Digitization Initiative (SEEDI) Conference DIGITAL (RE)DISCOVERY of CULTURE (PHYSICALITY OF SOUL) - PLAYING DIGITAL. Ohrid, Macedonia, 11-14 September 2005.

Program committee: Smile Markovski, (Macedonia), Giuliana De Francesco (Italy), Nikola Ikonomov (Bulgaria), Adolf Knoll (Czech Republic), Vesna Kostovska (Macedonia), Micheal Mac An Airchinnigh (Ireland), Žarko Mijajlović, (Serbia), Zoran Ognjanović (Serbia), Kalina Sotirova (Bulgaria) and Zasar Tonta (Turkey).

Organiser: Center for Digitization of the National Heritage at Institute of Informatics, Faculty of Natural Sciences and Mathematics, “Ss Cyril and Metodius” University in Skopje.

Research paper thumbnail of Glasbeno-plesno uveljavljanje pripadnikov srbske skupnosti na Slovenskem po letu 1991: med tradicijo in scensko umetnostjo * Music and Dance Affirmation of the Serbian Communites in Slovenia After 1991: Between the Tradition and Stage-Art

Glasba in etnične manjšine: (trans)kulturna dinamika v Sloveniji po letu 1991 (ed. Svanibor Pettan), Oddelek za muzikologijo Filozofske fakultete Univerze v Ljubljani, 2021

Čeprav je najmlajša med srbskimi »diasporami« v Evropi, ima srbska skupnost v Sloveniji več stole... more Čeprav je najmlajša med srbskimi »diasporami« v Evropi, ima srbska skupnost v Sloveniji več stoletno tradicijo. Prva naseljevanja so zabeležena v zgodnjem 16. stoletju na področju Bele Krajine, še posebej pa so intenzivirana v 20. stoletju, zlasti po drugi svetovni vojni, na ozemlju celotne Slovenije, predvsem v pomembnejših industrijskih središčih. Od razpada Jugoslavije leta 1991 srbska skupnost v Sloveniji postaja organizirana, sprva skozi obliko humanitarnih aktivnosti, nato pa, in čedalje bolj, skozi aktivnosti kulturno-umetniških društev. Danes skorajda ni mesta v Sloveniji, kjer ne bi delovalo vsaj eno srbsko kulturno-umetniško društvo s svojo folklorno in/ali pevsko skupino. Na glasbenem in plesnem področju je srbska skupnost izjemno vitalna, v zadnjih letih pa dosega izjemne uspehe tudi v mednarodnem prostoru. Mlajši in starejši, vsi so vpeti v kulturno življenje, z namenom ohranjanja lastne identitete. V zadnjih dvajsetih letih pa se tovrstne aktivnosti usmerjajo tudi v scensko umetnost in koreografsko ustvarjanje, o čemer priča tudi zrela produkcijska aktivnost posameznih društev, saj se srbski ljudski plesi, vokalno in instrumentalno izrazje, lahko vidijo in slišijo na številnih nastopih in koncertih, kot tudi v mnogih medijih v Sloveniji.

***

The contemporary Serbian community in Slovenia is very successful in preserving its
traditional values with regard to language, music and dance. United in many cultural-artistic associations throughout the country, after the split of Yugoslavia in 1991
they have made a Serbian community sustainable and able to exist as a bearer of
cultural diversity. Serbian associations organize many concerts and different cultural
events, as well as participate in many local, regional and national events in Slovenia
and abroad. One of the main characteristics of Serbs in Slovenia is their different
backgrounds, which is a consequence of their centuries-old settlements. Although
the Serbs in Slovenia, as the biggest minority in the country, still do not have a formal status of a national minority, they take part in multifaceted social and cultural
interactions with the indigenous population, presenting their traditional values, but
also including local people, as well as other ethnic groups, in their activities. Stage
folk dance and music play a significant role in these processes.

Research paper thumbnail of UPOTREBA SIMETRIJE I ASIMETRIJE U PROSTORNOJ KOMPOZICIJI KOREOGRAFIJE NARODNE IGRE (na primeru KNI Banatski motivi Branka Markovića

Vlado S. Milošević: etnomuzikolog, kompozitor i pedagog, Tradicija kao inspiracija, tematski zbornik sa naučnog skupa 2017. godine, 2019

U stvaralačkom radu koreografa narodne igre u Srbiji, simetrija i asimetrija predstavljaju znacaj... more U stvaralačkom radu koreografa narodne igre u Srbiji, simetrija i asimetrija predstavljaju znacajne koreografsko-kompozicione principe i postupke u izgradnji prostorne kompozicije koreografije narodne igre (KNI). Kroz ritam smenjivanja simetricno i nesimetricno strukturisanih mizanscena u određenoj vremenskoj procesualnosti obezbeđena je potrebna dinamizacija koreografskog toka. Sa ciljem razumevanja ovih procesa, u ovom radu bice najpre konceptualizovani pojmovi simetrija, asimetrija i njima srodni koreografsko-kompozicioni principi i postupci neophodni u stvaranju prostorne kompozicije KNI, a zatim, uz primenu strukturalno-formalne analize prostorne kompozicije, bice prikazana primena ovih koncepata u KNI Banatski motivi Branka Markovica, jednog od kljucnih koreografa na podrucju scenske narodne igre na prostoru nekadasnje Jugoslavije.

USE OF SYMMETRY AND ASYMMETRY IN SPATIAL COMPOSITION OF FOLK DANCE CHOREOGRAPHY (on the example of Banatski motivi of the choreographer Branko Marković)
In the creative work of choreographers of the folk dance in Serbia, symmetry and asymmetry represent a significant choreographic-compositional principles and procedures in the construction of a space composition of Folk dance choreography (FDC). Through the rhythm of the displacement of symmetrically and asymmetrically structured mise-en-scènesin a certain time, the necessary dynamization of the choreographic flow is ensured. In order to understand these processes, in this paperthe concepts of symmetry, asymmetry and related choreographic-compositional principles and procedures (antisymmetry, disymmetry, rotation, translation) are conceptualised.The concept of symmetry and asymmetry in FDC can be perceived on the kinetic and spatial dimension of the dance. About symmetry in the kinetics, that is, the movement in dance, has been written so far in the works of labanotators (Rudolf Laban and his suc- cessors Albert Knust and Ann Hutchinson).

Research paper thumbnail of Muzika i igra u preradi, obradi i kompoziciji - drugo poglavlje diplomskog rada, FMU Beograd, 2006.

II. СТВАРАЛАШТВО Музика и игра у преради, обради и композицији 1. Реконструкција 2. Фиксна гр... more II. СТВАРАЛАШТВО
Музика и игра у преради, обради и композицији

1. Реконструкција
2. Фиксна грађа
3. Стилизација
3.1. Нивои стилизације
3.1.1. Прерада
Анализа прераде
3.1.2. Обрада
Анализа обраде I нивоа
Анализа обраде II нивоа
3.1.3. Композиција
4. Шта је то кореографија?

Весна Бајић, Од оригиналног записа традиционалне музике и игре ка преради, обради и композицији, музичко и играчко наслеђе у културно-уметничким друштвима и образовним институцијама у Србији, дипломски рад, Факултет музичке уметности у Београду, Катедра за етномузикологију, Београд, 2006.

Research paper thumbnail of Amaterizam u muzici i igri od 30-tih godina XX veka do danas, prvo poglavlje diplomskog rada, FMU Beograd, 2006.

I. КОНТЕКСТ Аматеризам у музици и игри од 30-их година XX века до данас 1. Међуратни период ток... more I. КОНТЕКСТ
Аматеризам у музици и игри од 30-их година XX века до данас
1. Међуратни период током 30-их година XX века – Краљевина СХС
2. Период после Другог светског рата 1944 – 1991
3. Период од 1991. године до данас

Весна Бајић, Од оригиналног записа традиционалне музике и игре ка преради, обради и композицији, музичко и играчко наслеђе у културно-уметничким друштвима и образовним институцијама у Србији, дипломски рад, Факултет музичке уметности у Београду, Катедра за етномузикологију, Београд, 2006.

Research paper thumbnail of Od originalnog zapisa tradicionalne muzike i igre ka preradi, obradi i kompoziciji - sadrzaj i uvod, DIPLOMSKI RAD, FMU BEOGRAD, 2006.

Conference Presentations - published papers by Vesna Bajić Stojiljković

Research paper thumbnail of Legacies of Empires on stage folk dance and music performances in Serbia and Bosnia and Herzegovina

MUSIC and DANCE in SOUTHEASTERN EUROPE: Gender, Virtual Communications and Legacies of Empires: Eighth Symposium of the ICTMD Study Group on Music and Dance in Southeastern Europe, International Council for Traditions of Music and Dance (ICTMD), 2024

Until the beginning of the twentieth century, different parts of the territory of Serbia and Bosn... more Until the beginning of the twentieth century, different parts of the territory of Serbia and Bosnia and Herzegovina were under a great impact from the Byzantium, Ottoman and Austrian-Hungarian Empires. In the mirror of contemporary stage folk dance and music art, whose roots can be traced back to the mid-nineteenth century, reflection of different Empires can be perceived also through different choreographic forms of the unique stage genre – Folk Dance Choreography. Which influences Serbian and Bosnian choreographers consciously emphasize and why are they important today for presenting traditional Serbian or Bosnian dance on the stage, considering the fact that they shared the same imperial experience, is the topic of this paper in which results will be presented according to the analysis of dance-music parameters and choreographical principles used in their choreographies. The focus will also be put on considering similarities and differences between the Serbian and Bosnian approach to the way of choreographing.

Research paper thumbnail of Serbian diaspora in Slovenia and other European countries and challenges of their new stage presentations

Music and dance in Southeastern Europe: Migrations, Carnival, Sustainable Development: 6th Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe, ed. Liz Mellish, Nick Green and Tvrtko Zebec. , 2020

The contemporary Serbian community in Slovenia is very successful in preserving traditional value... more The contemporary Serbian community in Slovenia is very successful in preserving traditional values: language, music and dance. United in many cultural-artistic associations throughout the country, after the split of Yugoslavia in 1991, they make a Serbian community sustainable that exists as a bearer of cultural diversity. Serbian associations organise many concerts and different cultural events, as well as participate in many local, regional and national events in Slovenia and abroad. One of the main characteristics of Serbs in Slovenia is their different backgrounds, which is a consequence of their various waves of settlement. Although the Serbs in Slovenia, as the biggest minority, still do not have a formal status of a national minority, they take part in multifaceted social and cultural interactions with the indigenous population, presenting their traditional values, but also including local people, as well as other ethnic groups, in their activities. In these processes, stage folk dance and music play a significant role.

Bajić Stojiljković, Vesna. 2020. „Serbian diaspora in Slovenia and other European countries and challenges of their new stage presentations.” Music and dance in Southeastern Europe: Migrations, Carnival, Sustainable Development: 6th Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe, Sinj 2018, ed. Liz Mellish, Nick Green and Tvrtko Zebec. Zagreb: ICTM Study Group on Music and Dance in Southeastern Europe, Institute of Ethnology and Folklore Research, 24–31. ISBN: 978-953-8089-61-9.

Research paper thumbnail of Application of Kinetography/Labanotation to the Serbian Choreographed Dance Tradition

Proceedings of the Twenty-Seventh Biennial ICKL Conference, 2011

Bajić Stojiljković, Vesna. 2011. „Application of Kinetography/Labanotation to the Serbian Choreog... more Bajić Stojiljković, Vesna. 2011. „Application of Kinetography/Labanotation to the Serbian Choreographed Dance Tradition“, Proceedings of the Twenty-Seventh Biennial ICKL Conference. Institute for Musicology, Budapest, July 31 – August 7, 2011. Eds. Marion Bastien, János Fügedi, Richard Allan Ploch. Budapest: International Council of Kinetography Laban, 95-103. ISSN 1013-4468

The Laban-based system of notation has been used in ethnochoreological works in Serbia for thirty years (since 1980) primarily in the research and publishing work of Prof. Olivera Vasić, ethnochoreologist and ethnologist, then, ten years later within the subject Ethnochoreology at the Department of Ethnomusicology at the Faculty of Music in Belgrade, and through annualy workshops which has been organized by the Center for the Study of Serbian Folk Dances from the early nineties. Although the system of Labanotation was very successfully accepted and applied to Serbian dance tradition, there were no attempts to notate the complexity of staged traditional dance. Small number of such notation is primarily descriptive or based on individual way of notating. Thus, there does not exist uniformed and consistent way of notating choreogaphies which have been created in a long period of seventy years in Serbia, since the late forties until today. The aim of this paper is to present the application of Kinetography Laban to the Serbian choreographed folk dance tradition, trying to make a system and method of notating and analysing any choreogaphic work. This system enable me to start the exploration in different choreological fields which I have been developing in my doctoral thesis: analysis of the structure of the choreography on macro and micro level, dance and music interrelations, composition of the choreography, dramaturgy of dance and music, etc. Basic knowledge for Kinetography Laban and, especially, by drawing floor plans, I used from Albert Knust`s Dictionary of Kinetography Laban (Labanotation) and Ann Hutchinson Guest`s Labanotation – The System of Analyzing and Recording Movement. Due to the need to use precise terminology I applied the term and develop the concept Choreography of Folk Dance as the choreographic dance genre which indicates the main features of choreography as the art of composing, creation and assembly dances, structuring them with the music in a harmonious artistic whole.

Research paper thumbnail of Stage folk dance in Serbia as a phenomenon of professionalization

Processes of recontextualization, standardization and specialization of stage folk dance, especia... more Processes of recontextualization, standardization and specialization of stage folk dance, especially of the specific form of Folk Dance Choreography (FDC), their creating, transmitting and performing, are tacitly regarded by the achievements of different professionals, including folk dance teachers, dancers and, especially, choreographers, within the amateur institution's discourse. These 'professionals' are very well-recognized in Serbian society today and are economically quite profitable. Regarding the fact that in Serbia formal education for these professions still does not exist, the basic questions are who and how defines them as professional? This study focuses on the broader defined concept of the professionalization of staged folk dance (and music, as well) which implies different institutions that produce a specialized knowledge, professionals and products seen on the stage and economic aspects. All these criteria are used to define professionalization in the discourse of staged folk dance in Serbia, which has been recognized as an intensive process since the end of World War Two.

Research paper thumbnail of Dance and stage: a proposal for structural analysis of space of folk dance choreography

Choreography, in choreological terms, is widely described as the art of composing and/or creating... more Choreography, in choreological terms, is widely described as the art of composing and/or creating dances, structuring them with the music in a harmonious artistic whole. The modern and postmodern, mainly abstract dancing eras, brought many trends in choreography and scenic movement, using new meanings of expression and advanced technologies. Among the choreographical styles and approaches to scenic movements, the folk tradition from the Balkans and South-East Europe has been developed in its irresistible vitality through the creativity of individuals - dancers, teachers, amateur and professional choreographers - who have been giving it new life through the aesthetics of staging. Transferring traditional dance into a new, choreographic form has been a strong tradition in Serbia since the 1930s. In connection with stage place I propose a structural analysis of choreographical spatial composition which I examine through this period.

Research paper thumbnail of KOLO and Its Cultural Space

PROPOSAL FOR THE 24th SYMPOSIUM OF THE ICTM STUDY GROUP ON ETHNOCHOREOLOGY, CLUJ – ROMANIA, 10-16... more PROPOSAL FOR THE 24th SYMPOSIUM OF THE ICTM STUDY GROUP ON ETHNOCHOREOLOGY, CLUJ – ROMANIA, 10-16. JULY 2006

Research paper thumbnail of STAGED FOLK DANCE IN THEATRICAL NARRATIVES

This paper discusses how folk dance choreographers create a dramaturgical flow in Folk Dance Chor... more This paper discusses how folk dance choreographers create a dramaturgical flow in Folk Dance Choreography (FDC) and, consequently, how these choreographic procedures create "theatrical narratives" that are influenced by the specific socio-cultural context of their creation. Beside the most widespread choreographic structure of the suite, which I conceptualized through the choreographic genre medley, the involvement of different theatrical elements opened the possibility of the conceptualisation of another choreographic genre – dramatization. This is shown through two examples of FDC from Serbia.

Research paper thumbnail of The theoretical and conceptual elements of spatial composition of the Fold Dance Choreography (based on the example of the choreography Dances from Serbia, by Olga Skovran)

Key words: the spatial composition, the structural and formal analysis, the folk dance choreograp... more Key words: the spatial composition, the structural and formal analysis, the folk dance choreography, Olga Skovran.

Research paper thumbnail of Links between Moiseyev Dance Company from Russia and the Folk Dance Choreography production in Serbia

Key words: Moiseyev Dance Company, Russia, Folk Dance Choreography, Serbia.

Research paper thumbnail of Music and Ethnic Minorities

Znanstvena založba Filozofske fakultete, Jun 23, 2021

Research paper thumbnail of The process of shaping stage folk music through the prism of the development of folk dance choreography

Muzikologija

Understanding the historical processes in the shaping of stage folk music raises an important que... more Understanding the historical processes in the shaping of stage folk music raises an important question about the application of traditional music in stage choreographic works. Since the 1930s in Serbia, the history of music and dance was cre?ated by prominent individuals, musicians and composers, initiated by the work of choreographers such as Maga Magazinovic, Russian artists, and later by many domestic performing artists gathered around cultural and artistic societies and the National ensemble ?Kolo?. In this article, all available data relevant for the consideration of stage folk music as a specific genre will be presented along with the stage folk dance, precisely through the form of folk dance choreography (FDC), whose developmental path was hinted at since the end of the 19th century. Defining and understanding dance music, that is, music for FDC, opens new horizons in re-examining the process of forming stage folk music in our region.

Research paper thumbnail of The Process of Shaping Stage Folk Music through the Prism of the Development of Folk Dance Choreography / Процес обликовања сценске народне музике кроз призму развоја кореографије народне игре

Musicology No. 33 (2022): Sound Heritage in Ethnomusicology and Musicology , 2022

Understanding the historical processes in the shaping of stage folk music raises an important que... more Understanding the historical processes in the shaping of stage folk music raises an important question about the application of traditional music in stage choreographic works. Since the 1930s in Serbia, the history of music and dance was created by prominent individuals, musicians and composers, initiated by the work of choreographers such as Maga Magazinović, Russian artists, and later by many domestic performing artists gathered around cultural and artistic societies and the National ensemble "Kolo". In this article, all available data relevant for the consideration of stage folk music as a specific genre will be presented along with the stage folk dance, precisely through the form of folk dance choreography (FDC), whose developmental path was hinted at since the end of the 19th century. Defining and understanding dance music, that is, music for FDC, opens new horizons in reexamining the process of forming stage folk music in our region. * Ова студија се базира на истраживањима која су делом представљена на Mеђународном научном скупу The Future of Music History (Будућност историје музике) Музиколошког института САНУ и Одељења ликовне и музичке уметности САНУ у Београду, септембра 2017. године, под називом "Folk Dance Choreography as a Representative of Music History in Serbia". ISSN 1450-9814

Research paper thumbnail of Ljubica and Danica S. Janković, ”Safeguarding our folk dances”

Journal Translingual Discourse in Ethnomusicology (TDE), vol. 4, 2018

Ljubica and Danica S. Janković, ”Safeguarding our folk dances”, Narodne igre II (Folk Dances, boo... more Ljubica and Danica S. Janković, ”Safeguarding our folk dances”, Narodne igre II (Folk Dances, book II), Chapter II, Belgrade, 11-33. Translation: Vesna Bajić Stojiljković. Lecturer in English: Liz Mellish.

Превод другог поглавља ”Чување наших народних игара” из књиге Народне игре II (1937) ауторки Љубице и Данице С. Јанковић са српског на енглески језик за часопис Journal Translingual Discourse in Ethnomusicology (TDE), vol. 4, 2018, 81–101. Eds. Regine Allgayer-Kaufmann and Gerd Grupe. University of Vienna.

ISSN: 2312-2528

https://www.tde-journal.org/index.php/tde/article/view/2762/2407

Research paper thumbnail of "Scenska narodna igra" konceptualizacija pojma u etnokoreologiji

Зборник Матице српске за сценске уметности и музику, бр. 57, 2017

Бајић Стојиљковић, Весна. 2017. „Сценска народна игра – концептуализација појма у етнокореологији... more Бајић Стојиљковић, Весна. 2017. „Сценска народна игра – концептуализација појма у етнокореологији“. Зборник Матице српске за сценске уметности и музику, бр. 57/2017, 95–109. Нови Сад: Матица српска, одељење за сценске уметности и музику. ISSN 0352-9738 COBISS.SR-ID 16339202

Od sredine 30-ih godina XX veka, kada su po prvi put u Srbiji narodnu igru kao samostalnu formu prikazale seoske grupe igrača, ali i učenice škole Mage Magazinović u Beogradu, nije se ni slutilo da će narednih decenija započeti nova, veoma intenzivna era scenske umetnosti kod nas. Nju su opovrgli i kritikovali tadašnji stručnjaci, a hvalila je i prihvatala domaća i strana publika. Ovaj fenomen pod nazivom scenska narodna igra, koji u Srbiji traje više od osam decenija, konceptualizovan je zahvaljujući temeljnim etnoteatrološkim i etnokoreološkim istraživanjima.

STAGE FOLK DANCE – CONCEPTUALIZATION OF THE TERM IN ETHNOCHOREOLOGY
Summary
In the mid-1930s, when for the first time in Serbia folk dance was presented as an independent form by village dancers, but also by students of Maga Magazinović’s school in Belgrade, it could not have been even assumed that the next decades would be a very intensive period for performing arts in our country. It was depreciated and criticized by the experts of that time, but also praised and accepted by both domestic and foreign audi- ence. This phenomenon, called stage folk dance, is conceptualized thanks to fundamen- tal ethnotheatrological and ethnochoreological doctoral dissertation research by the author. Terms stage and staging are examined not only in spatial context, but as a system of various activities in the process of creating a stage work (with a clear concept of creation, specific choreographic and compositional interventions on the kinetic and spatial levels of the dance and its music processing) and its performance (from the preparation of the dancers to the setting of the stage work, and suggesting a specific stage behavior). The concepts of stage and staging are, therefore, complex and multifaceted categories.
The rather interlaced meanings of the concepts of stage and staging in the theatro- logical and ethnochoreological discourse, in which they still need to be adequately applied, suggest four possibile ways of their perception:
1. From the perspective of the spatial dimension (where it is performed),
2. Creative activities and/or repertoire policies (what is performed and why),
3. Performing activities (how it is performed), and
4. Public performing (to whom it is performed).
Keywords: stage, staging, folk dance, stage folk dance, theatrology, ethnochoreology,
Serbia.

Research paper thumbnail of The Recording and Studying of Serbian Traditional Dances

Rеview of the National Center for Digitalization. The First South-Eastern European Digitization Initiative (SEEDI) Conference DIGITAL (re-)DISCOVERY of CULTURE (PHYSICALITY OF SOUL), 2005, Ohrid, Macedonia. NCD 8 (2006). Ed. Žarko Mijajlović. Belgrade: Faculty of Mathematics, 81-84. ISSN 1820-0109, 2006

Bajić, Vesna. “The recording and studying of Serbian traditional dances”, Rеview of the National ... more Bajić, Vesna. “The recording and studying of Serbian traditional dances”, Rеview of the National Center for Digitalization. The First South-Eastern European Digitization Initiative (SEEDI) Conference DIGITAL (re-)DISCOVERY of CULTURE (PHYSICALITY OF SOUL), 2005, Ohrid, Macedonia. NCD 8 (2006). Ed. Žarko Mijajlović. Belgrade: Faculty of Mathematics, 81-84.
ISSN 1820-0109

The first South-Eastern European Digitization Initiative (SEEDI) Conference DIGITAL (RE)DISCOVERY of CULTURE (PHYSICALITY OF SOUL) - PLAYING DIGITAL. Ohrid, Macedonia, 11-14 September 2005.

Program committee: Smile Markovski, (Macedonia), Giuliana De Francesco (Italy), Nikola Ikonomov (Bulgaria), Adolf Knoll (Czech Republic), Vesna Kostovska (Macedonia), Micheal Mac An Airchinnigh (Ireland), Žarko Mijajlović, (Serbia), Zoran Ognjanović (Serbia), Kalina Sotirova (Bulgaria) and Zasar Tonta (Turkey).

Organiser: Center for Digitization of the National Heritage at Institute of Informatics, Faculty of Natural Sciences and Mathematics, “Ss Cyril and Metodius” University in Skopje.

Research paper thumbnail of Glasbeno-plesno uveljavljanje pripadnikov srbske skupnosti na Slovenskem po letu 1991: med tradicijo in scensko umetnostjo * Music and Dance Affirmation of the Serbian Communites in Slovenia After 1991: Between the Tradition and Stage-Art

Glasba in etnične manjšine: (trans)kulturna dinamika v Sloveniji po letu 1991 (ed. Svanibor Pettan), Oddelek za muzikologijo Filozofske fakultete Univerze v Ljubljani, 2021

Čeprav je najmlajša med srbskimi »diasporami« v Evropi, ima srbska skupnost v Sloveniji več stole... more Čeprav je najmlajša med srbskimi »diasporami« v Evropi, ima srbska skupnost v Sloveniji več stoletno tradicijo. Prva naseljevanja so zabeležena v zgodnjem 16. stoletju na področju Bele Krajine, še posebej pa so intenzivirana v 20. stoletju, zlasti po drugi svetovni vojni, na ozemlju celotne Slovenije, predvsem v pomembnejših industrijskih središčih. Od razpada Jugoslavije leta 1991 srbska skupnost v Sloveniji postaja organizirana, sprva skozi obliko humanitarnih aktivnosti, nato pa, in čedalje bolj, skozi aktivnosti kulturno-umetniških društev. Danes skorajda ni mesta v Sloveniji, kjer ne bi delovalo vsaj eno srbsko kulturno-umetniško društvo s svojo folklorno in/ali pevsko skupino. Na glasbenem in plesnem področju je srbska skupnost izjemno vitalna, v zadnjih letih pa dosega izjemne uspehe tudi v mednarodnem prostoru. Mlajši in starejši, vsi so vpeti v kulturno življenje, z namenom ohranjanja lastne identitete. V zadnjih dvajsetih letih pa se tovrstne aktivnosti usmerjajo tudi v scensko umetnost in koreografsko ustvarjanje, o čemer priča tudi zrela produkcijska aktivnost posameznih društev, saj se srbski ljudski plesi, vokalno in instrumentalno izrazje, lahko vidijo in slišijo na številnih nastopih in koncertih, kot tudi v mnogih medijih v Sloveniji.

***

The contemporary Serbian community in Slovenia is very successful in preserving its
traditional values with regard to language, music and dance. United in many cultural-artistic associations throughout the country, after the split of Yugoslavia in 1991
they have made a Serbian community sustainable and able to exist as a bearer of
cultural diversity. Serbian associations organize many concerts and different cultural
events, as well as participate in many local, regional and national events in Slovenia
and abroad. One of the main characteristics of Serbs in Slovenia is their different
backgrounds, which is a consequence of their centuries-old settlements. Although
the Serbs in Slovenia, as the biggest minority in the country, still do not have a formal status of a national minority, they take part in multifaceted social and cultural
interactions with the indigenous population, presenting their traditional values, but
also including local people, as well as other ethnic groups, in their activities. Stage
folk dance and music play a significant role in these processes.

Research paper thumbnail of UPOTREBA SIMETRIJE I ASIMETRIJE U PROSTORNOJ KOMPOZICIJI KOREOGRAFIJE NARODNE IGRE (na primeru KNI Banatski motivi Branka Markovića

Vlado S. Milošević: etnomuzikolog, kompozitor i pedagog, Tradicija kao inspiracija, tematski zbornik sa naučnog skupa 2017. godine, 2019

U stvaralačkom radu koreografa narodne igre u Srbiji, simetrija i asimetrija predstavljaju znacaj... more U stvaralačkom radu koreografa narodne igre u Srbiji, simetrija i asimetrija predstavljaju znacajne koreografsko-kompozicione principe i postupke u izgradnji prostorne kompozicije koreografije narodne igre (KNI). Kroz ritam smenjivanja simetricno i nesimetricno strukturisanih mizanscena u određenoj vremenskoj procesualnosti obezbeđena je potrebna dinamizacija koreografskog toka. Sa ciljem razumevanja ovih procesa, u ovom radu bice najpre konceptualizovani pojmovi simetrija, asimetrija i njima srodni koreografsko-kompozicioni principi i postupci neophodni u stvaranju prostorne kompozicije KNI, a zatim, uz primenu strukturalno-formalne analize prostorne kompozicije, bice prikazana primena ovih koncepata u KNI Banatski motivi Branka Markovica, jednog od kljucnih koreografa na podrucju scenske narodne igre na prostoru nekadasnje Jugoslavije.

USE OF SYMMETRY AND ASYMMETRY IN SPATIAL COMPOSITION OF FOLK DANCE CHOREOGRAPHY (on the example of Banatski motivi of the choreographer Branko Marković)
In the creative work of choreographers of the folk dance in Serbia, symmetry and asymmetry represent a significant choreographic-compositional principles and procedures in the construction of a space composition of Folk dance choreography (FDC). Through the rhythm of the displacement of symmetrically and asymmetrically structured mise-en-scènesin a certain time, the necessary dynamization of the choreographic flow is ensured. In order to understand these processes, in this paperthe concepts of symmetry, asymmetry and related choreographic-compositional principles and procedures (antisymmetry, disymmetry, rotation, translation) are conceptualised.The concept of symmetry and asymmetry in FDC can be perceived on the kinetic and spatial dimension of the dance. About symmetry in the kinetics, that is, the movement in dance, has been written so far in the works of labanotators (Rudolf Laban and his suc- cessors Albert Knust and Ann Hutchinson).

Research paper thumbnail of Muzika i igra u preradi, obradi i kompoziciji - drugo poglavlje diplomskog rada, FMU Beograd, 2006.

II. СТВАРАЛАШТВО Музика и игра у преради, обради и композицији 1. Реконструкција 2. Фиксна гр... more II. СТВАРАЛАШТВО
Музика и игра у преради, обради и композицији

1. Реконструкција
2. Фиксна грађа
3. Стилизација
3.1. Нивои стилизације
3.1.1. Прерада
Анализа прераде
3.1.2. Обрада
Анализа обраде I нивоа
Анализа обраде II нивоа
3.1.3. Композиција
4. Шта је то кореографија?

Весна Бајић, Од оригиналног записа традиционалне музике и игре ка преради, обради и композицији, музичко и играчко наслеђе у културно-уметничким друштвима и образовним институцијама у Србији, дипломски рад, Факултет музичке уметности у Београду, Катедра за етномузикологију, Београд, 2006.

Research paper thumbnail of Amaterizam u muzici i igri od 30-tih godina XX veka do danas, prvo poglavlje diplomskog rada, FMU Beograd, 2006.

I. КОНТЕКСТ Аматеризам у музици и игри од 30-их година XX века до данас 1. Међуратни период ток... more I. КОНТЕКСТ
Аматеризам у музици и игри од 30-их година XX века до данас
1. Међуратни период током 30-их година XX века – Краљевина СХС
2. Период после Другог светског рата 1944 – 1991
3. Период од 1991. године до данас

Весна Бајић, Од оригиналног записа традиционалне музике и игре ка преради, обради и композицији, музичко и играчко наслеђе у културно-уметничким друштвима и образовним институцијама у Србији, дипломски рад, Факултет музичке уметности у Београду, Катедра за етномузикологију, Београд, 2006.

Research paper thumbnail of Od originalnog zapisa tradicionalne muzike i igre ka preradi, obradi i kompoziciji - sadrzaj i uvod, DIPLOMSKI RAD, FMU BEOGRAD, 2006.

Research paper thumbnail of Legacies of Empires on stage folk dance and music performances in Serbia and Bosnia and Herzegovina

MUSIC and DANCE in SOUTHEASTERN EUROPE: Gender, Virtual Communications and Legacies of Empires: Eighth Symposium of the ICTMD Study Group on Music and Dance in Southeastern Europe, International Council for Traditions of Music and Dance (ICTMD), 2024

Until the beginning of the twentieth century, different parts of the territory of Serbia and Bosn... more Until the beginning of the twentieth century, different parts of the territory of Serbia and Bosnia and Herzegovina were under a great impact from the Byzantium, Ottoman and Austrian-Hungarian Empires. In the mirror of contemporary stage folk dance and music art, whose roots can be traced back to the mid-nineteenth century, reflection of different Empires can be perceived also through different choreographic forms of the unique stage genre – Folk Dance Choreography. Which influences Serbian and Bosnian choreographers consciously emphasize and why are they important today for presenting traditional Serbian or Bosnian dance on the stage, considering the fact that they shared the same imperial experience, is the topic of this paper in which results will be presented according to the analysis of dance-music parameters and choreographical principles used in their choreographies. The focus will also be put on considering similarities and differences between the Serbian and Bosnian approach to the way of choreographing.

Research paper thumbnail of Serbian diaspora in Slovenia and other European countries and challenges of their new stage presentations

Music and dance in Southeastern Europe: Migrations, Carnival, Sustainable Development: 6th Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe, ed. Liz Mellish, Nick Green and Tvrtko Zebec. , 2020

The contemporary Serbian community in Slovenia is very successful in preserving traditional value... more The contemporary Serbian community in Slovenia is very successful in preserving traditional values: language, music and dance. United in many cultural-artistic associations throughout the country, after the split of Yugoslavia in 1991, they make a Serbian community sustainable that exists as a bearer of cultural diversity. Serbian associations organise many concerts and different cultural events, as well as participate in many local, regional and national events in Slovenia and abroad. One of the main characteristics of Serbs in Slovenia is their different backgrounds, which is a consequence of their various waves of settlement. Although the Serbs in Slovenia, as the biggest minority, still do not have a formal status of a national minority, they take part in multifaceted social and cultural interactions with the indigenous population, presenting their traditional values, but also including local people, as well as other ethnic groups, in their activities. In these processes, stage folk dance and music play a significant role.

Bajić Stojiljković, Vesna. 2020. „Serbian diaspora in Slovenia and other European countries and challenges of their new stage presentations.” Music and dance in Southeastern Europe: Migrations, Carnival, Sustainable Development: 6th Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe, Sinj 2018, ed. Liz Mellish, Nick Green and Tvrtko Zebec. Zagreb: ICTM Study Group on Music and Dance in Southeastern Europe, Institute of Ethnology and Folklore Research, 24–31. ISBN: 978-953-8089-61-9.

Research paper thumbnail of Application of Kinetography/Labanotation to the Serbian Choreographed Dance Tradition

Proceedings of the Twenty-Seventh Biennial ICKL Conference, 2011

Bajić Stojiljković, Vesna. 2011. „Application of Kinetography/Labanotation to the Serbian Choreog... more Bajić Stojiljković, Vesna. 2011. „Application of Kinetography/Labanotation to the Serbian Choreographed Dance Tradition“, Proceedings of the Twenty-Seventh Biennial ICKL Conference. Institute for Musicology, Budapest, July 31 – August 7, 2011. Eds. Marion Bastien, János Fügedi, Richard Allan Ploch. Budapest: International Council of Kinetography Laban, 95-103. ISSN 1013-4468

The Laban-based system of notation has been used in ethnochoreological works in Serbia for thirty years (since 1980) primarily in the research and publishing work of Prof. Olivera Vasić, ethnochoreologist and ethnologist, then, ten years later within the subject Ethnochoreology at the Department of Ethnomusicology at the Faculty of Music in Belgrade, and through annualy workshops which has been organized by the Center for the Study of Serbian Folk Dances from the early nineties. Although the system of Labanotation was very successfully accepted and applied to Serbian dance tradition, there were no attempts to notate the complexity of staged traditional dance. Small number of such notation is primarily descriptive or based on individual way of notating. Thus, there does not exist uniformed and consistent way of notating choreogaphies which have been created in a long period of seventy years in Serbia, since the late forties until today. The aim of this paper is to present the application of Kinetography Laban to the Serbian choreographed folk dance tradition, trying to make a system and method of notating and analysing any choreogaphic work. This system enable me to start the exploration in different choreological fields which I have been developing in my doctoral thesis: analysis of the structure of the choreography on macro and micro level, dance and music interrelations, composition of the choreography, dramaturgy of dance and music, etc. Basic knowledge for Kinetography Laban and, especially, by drawing floor plans, I used from Albert Knust`s Dictionary of Kinetography Laban (Labanotation) and Ann Hutchinson Guest`s Labanotation – The System of Analyzing and Recording Movement. Due to the need to use precise terminology I applied the term and develop the concept Choreography of Folk Dance as the choreographic dance genre which indicates the main features of choreography as the art of composing, creation and assembly dances, structuring them with the music in a harmonious artistic whole.

Research paper thumbnail of Stage folk dance in Serbia as a phenomenon of professionalization

Processes of recontextualization, standardization and specialization of stage folk dance, especia... more Processes of recontextualization, standardization and specialization of stage folk dance, especially of the specific form of Folk Dance Choreography (FDC), their creating, transmitting and performing, are tacitly regarded by the achievements of different professionals, including folk dance teachers, dancers and, especially, choreographers, within the amateur institution's discourse. These 'professionals' are very well-recognized in Serbian society today and are economically quite profitable. Regarding the fact that in Serbia formal education for these professions still does not exist, the basic questions are who and how defines them as professional? This study focuses on the broader defined concept of the professionalization of staged folk dance (and music, as well) which implies different institutions that produce a specialized knowledge, professionals and products seen on the stage and economic aspects. All these criteria are used to define professionalization in the discourse of staged folk dance in Serbia, which has been recognized as an intensive process since the end of World War Two.

Research paper thumbnail of Dance and stage: a proposal for structural analysis of space of folk dance choreography

Choreography, in choreological terms, is widely described as the art of composing and/or creating... more Choreography, in choreological terms, is widely described as the art of composing and/or creating dances, structuring them with the music in a harmonious artistic whole. The modern and postmodern, mainly abstract dancing eras, brought many trends in choreography and scenic movement, using new meanings of expression and advanced technologies. Among the choreographical styles and approaches to scenic movements, the folk tradition from the Balkans and South-East Europe has been developed in its irresistible vitality through the creativity of individuals - dancers, teachers, amateur and professional choreographers - who have been giving it new life through the aesthetics of staging. Transferring traditional dance into a new, choreographic form has been a strong tradition in Serbia since the 1930s. In connection with stage place I propose a structural analysis of choreographical spatial composition which I examine through this period.

Research paper thumbnail of KOLO and Its Cultural Space

PROPOSAL FOR THE 24th SYMPOSIUM OF THE ICTM STUDY GROUP ON ETHNOCHOREOLOGY, CLUJ – ROMANIA, 10-16... more PROPOSAL FOR THE 24th SYMPOSIUM OF THE ICTM STUDY GROUP ON ETHNOCHOREOLOGY, CLUJ – ROMANIA, 10-16. JULY 2006

Research paper thumbnail of STAGED FOLK DANCE IN THEATRICAL NARRATIVES

This paper discusses how folk dance choreographers create a dramaturgical flow in Folk Dance Chor... more This paper discusses how folk dance choreographers create a dramaturgical flow in Folk Dance Choreography (FDC) and, consequently, how these choreographic procedures create "theatrical narratives" that are influenced by the specific socio-cultural context of their creation. Beside the most widespread choreographic structure of the suite, which I conceptualized through the choreographic genre medley, the involvement of different theatrical elements opened the possibility of the conceptualisation of another choreographic genre – dramatization. This is shown through two examples of FDC from Serbia.

Research paper thumbnail of The theoretical and conceptual elements of spatial composition of the Fold Dance Choreography (based on the example of the choreography Dances from Serbia, by Olga Skovran)

Key words: the spatial composition, the structural and formal analysis, the folk dance choreograp... more Key words: the spatial composition, the structural and formal analysis, the folk dance choreography, Olga Skovran.

Research paper thumbnail of Links between Moiseyev Dance Company from Russia and the Folk Dance Choreography production in Serbia

Key words: Moiseyev Dance Company, Russia, Folk Dance Choreography, Serbia.

Research paper thumbnail of DANCE AND STAGE: A PROPOSAL FOR STRUCTURAL ANALYSIS OF SPACE OF FOLK DANCE CHOREOGRAPHY

Keywords: Serbia; choreography; stage; space; composition; analysis

Research paper thumbnail of STAGE FOLK DANCE AND MUSIC Processes of (re)defining structural, dramaturgical and aesthetic aspects of stage presentation of traditional dance and dance-music in Serbia - SUMMARY

СЦЕНСКА НАРОДНА ИГРА И МУЗИКА Процеси (ре)дефинисања структуралних, драматуршких и естетских аспеката у сценском приказивању традиционалне игре и музике за игру у Србији, 2019

Staging traditional dance and music has a long tradition in Serbia. The vitality of this phenome... more Staging traditional dance and music has a long tradition in Serbia. The vitality of this phenomenon, traced back to the mid-nineteenth century, can generally be characterized as part of the romantic activities of the “revival” of the tradition. However, this phenomenon has been present and contemporary in every period of its historical development.

The method of formal structural comparative analysis of dance and music in folk dance choreographies presented in this book is an original contribution to the analytical study in ethnochoreology and ethnomusicology, the aim of which is to establish a valid scientific apparatus by which the analysis of choreographies will be facilitated, as well as the reconstruction of the creative principles of their authors.

Research paper thumbnail of Desanka Desa Đorđević (monography). Edition Serbian folk dance choreographers. Coauthorship with Maja Krasin.

Abstract of the second chapter: Choreographic creative work of Desanka Desa Đorđević: ethnochoreo... more Abstract of the second chapter: Choreographic creative work of Desanka Desa Đorđević: ethnochoreological and analytical narrative.

Research paper thumbnail of Maestro Branko Marković (monography). Edition Serbian Folk Dance Choreographers. Belgrade, 2017.

Abstract in English. Life and Choreographic creative work of Maestro Branko Marković, artist from... more Abstract in English. Life and Choreographic creative work of Maestro Branko Marković, artist from Belgrade: ethnochoreological and analytical narrative.

Research paper thumbnail of Koreografska forma ili smisao u koreografiji narodne igre / Choreographic form or meaning in folk dance choreography

Magazin Etnoumlje / Rubrika: Umlje i etno, 2021

Koreografska kompozicija čini osnovu studijskih programa koreografije u svetu, bilo da se radi o ... more Koreografska kompozicija čini osnovu studijskih programa koreografije u svetu, bilo da se radi o baletu, savremenoj igri, narodnoj igri ili drugim plesnim žanrovima. I na studijskom programu Scenska narodna igra i muzika Instituta za umetničku igru u Beogradu, koreografska kompozicija je glavni stručni teorijski i praktični predmet, na kom se studenti upoznaju sa zakonima kompozicije, principima koreografskog stvaranja i različitim koreografskim formama, ali i pripremaju samostalne koreografske radove.

Pod pojmom koreografska kompozicija podrazumeva se celovitost i uzajamna povezanost svih komponenata u koreografskom toku. Akcenat je postavljen na izučavanje koreografske leksike, drugim rečima, kinetike ili pokreta, i prostorne kompozicije, ali i njihovog odnosa i međusobnog preplitanja, što predstavlja najdinamičniji deo koreografskog toka.

Choreographic composition forms the basis of choreography study programs in the world, whether it is ballet, contemporary dance, folk dance or other dance genres. At the study program Stage Folk Dance and Music at the Belgrade Dance Institute, choreographic composition is the main professional theoretical and practical subject, where students learn about the laws of composition, the principles of choreographic creation and different choreographic forms, but also prepare independent choreographic works.

The term choreographic composition means the completeness and mutual connection of all components in the choreographic flow. Emphasis is placed on the study of choreographic lexicon, in other words, kinetics or movement, and spatial composition, but also their relationship and interweaving, which represents the most dynamic part of the choreographic flow.