Creating a Contemporary Performing Arts Archive (Rijeka, March 2021) (original) (raw)
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This paper investigates representations of performance and the role of the archive. Notions of record and archive are critically investigated, raising questions about applying traditional archival definitions to the performing arts. Defining the nature of performances is at the root of all difficulties regarding their representation. Performances are live events, so for many people the idea of recording them for posterity is inappropriate. The challenge of creating and curating representations of an ephemeral art form are explored and performance-specific concepts of record and archive are posited. An open model of archives, encouraging multiple representations and allowing for creative reuse and reinterpretation to keep the spirit of the performance alive, is envisaged as the future of the performing arts archive.
Dance, Narratives, Heritage. 28th Symposium of the ICTM Study Group on Ethnochoreology, 7-17 July 2014, Korčula, Croatia. Elsie Ivancich Dunin (ed)., 2015
The questions of professional responsibility revolve around the role of experts involved in creating cultural policy. A re-thinking of the ambivalence of the researcher's position – as participant, evaluator, and/or critic – and the ethical principles of the relationship between the researcher and the researched are presented here based on several case studies. Some of them are about ethnographic observation with participation in the communities whose music and dances are included in Croatia's or UNESCO's lists of intangible heritage; some of the cases are still in the process of being categorized as parts of a national or possibly global intangible heritage list. The intertwining and inseparability between the tangible and intangible significance of music and dance will be shown, as well as the relations between global and local, national and multinational, virtual or digital and real, and clear and hybrid forms. We also discuss the situation of tango in Croatia concerning UNESCO's inscriptions. And how we represent ourselves to others on the example of the ceremonial celebration of the accession of Croatia to the European Union, one year ago. We have presented our Croatian perspective and experiences here. Through applied work with people and with technology, we have raised certain questions about what dance and music can mean as intangible but also tangible heritage, and how the global can become local, or the contrary; how it can change through time travelling up and down, forward and backwards, embraced strongly or more relaxed, how many strong borders we have and how many of them we have to cross during these processes – questions that we are raising to ourselves all the time without clear and exact answers, because of many paradoxical situations and conditions, politics, policies, narratives, so…..context in general.
The point of departure for this interdisciplinary panel discussion will be the concept of the anniversary proper serving as self-representation—that is, self-celebration in music and other art forms with reference to the chosen heroes. The practice of packaging and repackaging heroes in the political and cultural context of Yugoslavia (as well as in the post-Yugoslav period in Serbia, Croatia, and Slovenia) by constructing, deconstructing, and reconstructing the national anniversaries will be considered in terms of music (since 1962, when the only one existing history of Yugoslav [Croatian, Serbian, Slovenian] music was written) as well as in terms of art historiography, university curricula (departments of musicology and art history), and conferences and celebrations organized by state institutions.
Joanna Krakowska, Daria Odija (eds.): Platform: East European Performing Arts Companion, Lublin - Warsaw: Adam Mickiewicz Institute - Centre for Culture in Lublin - Institute of Arts of Polish Academy of Sciences - City of Lublin, 2016.
Heritage Music and Professionalization – Some examples from Croatia
Music and Dance in Southeastern Europe: New Scopes of Research and Action; Fourht Symposium of the ICTM Study Group on Music and Dance in Southeastern Europe, eds. Liz Mellish, Nick Green & Mirjana Zakić. Beograd: ICTM – Faculty of Music, 113-119, 2016
My recent research into the money flow in Croatian traditional music has shown the orientation of music-making towards predominantly economic, social or symbolic capital, depending on the music scene in question. At the same time, it has also shown that in the post-socialist period there is a growing general tendency to link musicmaking as a cultural capital to economic capital. This paper focusses on professionalization in the sphere of heritage music, which predominantly but not exclusively relates to worldwide program of intangible cultural heritage (ICH). Specific case-studies include the arrangement of the governmental fund for ICH, the employment of ICH in the celebration of Croatian accession to the European Union and a concert dedicated to bećarac as one of elements inscribed on the UNESCO's Representative List, and the production of heritage music in the city of Rijeka.