DANCE AND MOVEMENT IN CONTEMPORARY CARNIVAL EVENTS OF SOUTHEASTERN EUROPE: CASE STUDIES FROM ROMANIA, SERBIA AND MACEDONIA (original) (raw)
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6 th Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe
Daniela Ivanova-Nyberg, Muzaffer SÜMBÜL, Lampros Efthymiou, Cicika 89, Gökçe Asena ALTINBAY-ERDEM, Dilyana Kurdova, Oliver Gerlach, Belma Ogul, Mahir Mak, Liz Mellish, Ivo Strahilov
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 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.
European Review of Applied Sociology, 2014
During Easter 2013, under the auspices of the International Council of Traditional Music study group for ethnochoreology, a group of international researchers participated in a fieldwork trip in the village of Svinița, in the Danube gorge. This visit was initiated to coincide with viewing the custom of ‘Joc de pomană’ and included participant observation of Easter customs and the evening social dances (bals). This paper focuses on observations and interviews made during this research trip and looks at how locals portrayals of their identity shifted depending on the interviewer and the situation and consequently asks whether individuals construction of their ‘identity’ is connected, or independent to, their participation in current cultural practices? It draws on concepts of positionality (Sheppard 2002) and identities that can be situational, shifting and multiple (see Barth (1969), Wilson and Hastings, (1998:13), Pistrick, (2008:358)) depending on the situation or the identity of the interlocutors. It suggests that a local conception of identity (or an ‘identity focussed on difference’) can remain closely linked to a notion that the community’s ancestry is ‘different’ or set apart from the inhabitants of the surrounding area, even in the situation that the “culture” has, and continues to, exchange and merge with the surrounding cultural practices. REFERENCE: Mellish, Liz (2014). “An outsider’s view of an interethnic community in Banat: culture and identity in the village of Svinița.” European Review of Applied Sociology, 7( 8). West University of Timișoara: Timișoara, Romania. Online: http://www.eras.socio.uvt.ro/
Placing of Svinița’s identity as seen from the perspective of community dance culture.
Dance, field research and intercultural perspectives: The Easter customs in the village of Svinița, 2016
The paper aims to situate the dance practices in contemporary Svinița (Serbian: Svinica) within the surrounding regions. During the short time the research group spent in Svinița, we attended and participated in two evening dance events. These events were in many ways typical of community festival occasions found across the Balkan region, consisting of a live music band and space for social dancing, something I, as a participant and researcher, have been familiar with during many years of research in Romania and other Balkan communities. However, for all of the study group visiting Svinița, the dance practices were not completely as expected, the question is how typical or how different is Svinița compared to the locality. The subject of this paper is to consider the Svinița dance event in relationship to the local area and the wider region with the aim to contextualise our observations in the locality. Green, Nick (2016). “Placing of Svinița’s identity as seen from the perspective of community dance culture.” Dance, field research and intercultural perspectives: The Easter customs in the village of Svinița:115–134. Pančevo: Selena Rakočević, Kulturi centar Pančevo. ISBN 978–86–918261–1–6
Music and Dance in Southeastern Europe : Myth, Ritual, Post-1989, Audiovisual Ethnographies, Fifth Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe 2016 South-West University “Neofit Rilski”, 2016
Twenty five years since the changes in regimes in southeastern Europe, local dance is still thriving and has even taken on a new vibrancy both within this area and among southeast European economic migrants. This paper evaluates these trends by focussing on two examples, recreational dance groups for adults in Romania, and Bulgarian dance clubs in the UK. After a brief historical overview highlighting the changes during the last twenty-five years, the author sets out the current situation in both instances. This is followed by a brief summary of the similarities and differences between two ethnographic case studies drawing from the authors’ participatory fieldwork. The final section raises questions regarding triggers for the increased enthusiasm for participation in Romanian or Bulgarian dancing both ‘at home’ and when living abroad and the contribution of this to social, cultural and economic values of associated industries. Mellish, Liz (2016). “The south east Europeans are (still) dancing: recent dance trends in Romania and among south east Europeans in London.” Liz Mellish, Ivanka Vlaeva, Lozanka Peycheva, Nick Green, Ventsislav Dimov (editors), Music and Dance in Southeastern Europe : Myth, Ritual, Post-1989, Audiovisual Ethnographies, Fifth Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe 2016 South-West University “Neofit Rilski”:189–195. Blagoevgrad, Bulgaria: University Publishing House “Neofit Rilski”. ISBN 978-954-00-0123-4
Writing movements and music: hora de pomană in ethnochoreological/ethnomusicological narrative
As an archaic funeral ritual, hora de pomană held in the village of Sviniţa in May 2013, represents a complex form of traditional expressive behavior in which dance has a dominant role. While observing this ritual, my personal starting point was to consider dance as an unbreakable syncretic unity of dance movements and dance music. The paper discusses the possibilities of associated verbal descriptions of the kinetic and musical elements of the hora de pomană dance and explores the potentials of comparative ethnochoreological and ethnomusicological analytical narratives of this (ritual) dance.
Music and Dance in Southeastern Europe : Myth, Ritual, Post-1989, Audiovisual Ethnographies, Fifth Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe, 2016
What we ‘see’ in a dance depends on who we are, but is this reflected in how we analyse the visual recording? When such video data is of a social activity, then the ‘context’ and ‘people’ are frequently part of anthropology papers, but dance is also about the moving. We regularly attempt to classify the product of this moving as dances which are placed in convenient categories of types, notated by exactness of position, analysed in terms of the resulting structure. I consider the case for Romanian local dance, and I question whether this relates well to the process of dancing from the perspective of a social dancing community?___REFERENCE: Green, Nick (2016). "Fieldwork recordings and visual dance: questioning methodologies for analysing the process of local dancing." Liz Mellish, Ivanka Vlaeva, Lozanka Peycheva, Nick Green, Ventsislav Dimov (editors), Music and Dance in Southeastern Europe : Myth, Ritual, Post-1989, Audiovisual Ethnographies, Fifth Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe 2016 South-West University “Neofit Rilski”:271-279. Blagoevgrad, Bulgaria: University Publishing House “Neofit Rilski”. ISBN 978-954-00-0123-4
First Symposium of the ICTM Study Group on music and dance in Southeastern Europe, 2009
This paper uses the Festival of the Hearts (Festivalul Inimilor) that has taken place in Timișoara, Romania, annually since 1990 as a window to examine the range of performative strategies employed by the folk ensembles participating in this festival. This post-communist festival is organised by the city culture house and was inaugurated to commemorate the heroes of the 1989 Romanian revolution. The discussion focuses around a case study of the Ardeleana, a couple dance found in south west Romania, which is included in the choreographies performed by many of the participating groups. It concludes with a consideration of the extent to which these twenty-first century performances are framed within the various groups’ histories in the communist and transitional period. Reference: Mellish, Liz; Green, Nick (2009). “Performing tradition through transition in Romania : folk ensemble performances at Festivalul Inimilor, Timișoara, Romania.” Velika Stoykova Serafmovska (editor), First Symposium of the ICTM Study Group on music and dance in Southeastern Europe: 4–8 September 2008, Struga R. Macedonia:75–87. Struga, Republic of Macedonia: Macedonian Composers Association - SOKOM. ISBN 978–9989–801–08–2
The Cultural Development of Folk Dance Festivals and the Sustainability of Tradition, 2018
This chapter discusses the relationship between local dance groups at festivals and sustaining local dancing in the community. Festivals in south east Europe traditionally include food, drink, music and dancing, and in Timișoara this format is used for many events from the village Saint’s day to the large international folk dance festival. It is also typical to include a staged performance of local folk dances. A trend towards NGOs and “Arts” managed festivals is breaking away from this traditional festival concept so reducing the involvement of local folk ensembles in community events. I propose that presentation of local dances and folk dance festivals that involve the community play a role in supporting the local dancing practices beyond an artistic entertainment. REFERENCE: Green, Nick (2018). “Presentational folk ensembles on the festival stage: a window into a participatory and social local dance scene in Banat Romania.” Liz Mellish; Mehmet Öcal Özbilgin (editors), The Cultural Development of Folk Dance Festivals and the Sustainability of Tradition:167-178. İzmir, Turkey: Ege University Press. ISBN: 978-605-338-238-6.
Music and dance in Southeastern Europe : new scopes of research and action, Fourth symposium of the ICTM Study group on music and dance in Southeastern Europe, 2016
This paper considers the ideas of 'improvisation' and 'variability' in the context of group dances where uniformity and community dominate, in contrast to more common discussion of improvisation considering the 'individual' and 'creativity'. As a case study, this paper considers the chain dances of the Banat region which are notable for synchrony and uniformity. This paper puts forward the idea of 'initiators' that take the focus from the 'individual' to the group when considering communal improvisation. Three alternative logical constructions for 'improvisation' are presented; that of a relative observation between two opposing forms where one is more planned or fixed than the other; the pushing of the boundaries of the dance either consciously and 'creative', or natural unconscious change; using the space within the theme for variations, such that 'improvisation' is just the perception of the less frequent products of the variation. _______REFERENCE: Green, Nick (2016). “Community chain dances in Banat: uniformity or variability, is this about the group or the individual?” Liz Mellish; Nick Green; Mirjana Zakić (editors), Music and dance in Southeastern Europe : new scopes of research and action, Fourth symposium of the ICTM Study group on music and dance in Southeastern Europe:8–15. Belgrade: Faculty of music. ISBN 978–86–88619–71–4
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