Ethnochoreology at the Faculty of Music in Belgrade - from the folklore paradigm to the discourse of institutional and nationally specific disciplinary orientation in the time of (post)tradition
The founder of ethnochoreology as an academic scholarly discipline in Serbia is ethnologist and ethnochoreologist Dr. Olivera Vasić, whos research and educational approach continued the activities of the Ljubica and Danica Janković. The methodological basis of this scholarly paradigm is gro...
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| Main Authors: | , |
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| Format: | Article |
| Language: | English |
| Published: |
Institute of Ethnography, SASA, Belgrade
2025-01-01
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| Series: | Glasnik Etnografskog Instituta SANU |
| Subjects: | |
| Online Access: | https://doiserbia.nb.rs/img/doi/0350-0861/2025/0350-08612501107R.pdf |
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| Summary: | The founder of ethnochoreology as an academic scholarly discipline in Serbia
is ethnologist and ethnochoreologist Dr. Olivera Vasić, whos research and
educational approach continued the activities of the Ljubica and Danica
Janković. The methodological basis of this scholarly paradigm is grounded on
the folkloristically-based idea of collecting and preserving ethnically
distinctive traditional dances marked with the expression “narodna igra“
(literally: folk game) in order to construct and maintain nationally
distincitive Serbian culture, first by reconstructing old village dances
within the field research processes, and then by notation of kinetic and
musical components of particular dances and publication of dance
ethnographies of individual geographical areas. Academic ethnochoreological
education at the Faculty of Music began on the basis of this approach in
1990. After 2000, through developement of the teaching staff consisted of
young scholars who started to teach ethnochoreological courses and their
indirect education within the international academic and scholarly
framework, it began to transform. The key theoretical and methodological
turn can be considered the conceptualization of the term “traditional dance“
(see: Rakočević 2011). The use of this expression implies differentiation of
dance components (kinetics and music), making sense in the processes of
synthetic perception of textual and contextual levels of dance realizations,
and at the same time marks the diffuse expansion of folkloristic paradigm of
ethnochoreological research from rural “folk games“ from the past to various
forms of dance, interpretatively positioned within the ambiguous field of
“traditional“ cultural expression. The unique theoretical concepts that
arise from this institutionally and nationally specific ethnochoreological
discourse have a specific potential within applied scholarly activities,
which gives this discipline a distinctive meaning in the era of safeguarding
intangible cultural heritage. The paper diachronically examines and
theoretically interprets the practice of ethnochoreological education at the
Faculty of Music in Belgrade, with a special focus on the processes of
transforming institutionally and nationally specific scholarly paradigms. |
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| ISSN: | 0350-0861 2334-8259 |