Folk Dance Revival Strategies

Nahachewsky, Andriy

doi:10.7202/018834ar

Cited by 3 publications

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“…This refers to intermingling of presentational and participatory dance in folk dance group settings, which has also been noticed before: Torop (2008: 15) mentions in the definition of 'folk dance group' that folk dances are learned there just for fun or for presentation. I would use 'and' instead of 'or' because they both occur at the same time but are of different importance, depending on the inner culture of the group, value judgements, activity period or concrete situation (Kapper 2006;Nahachewsky 2008). The presence of both participatory and presentational categories was confirmed by the folk dance functions listed by dancers, and likewise the fact that the concept of 'stage folk dance' fits well into their broader concept of 'folk dance'.…”

Section: Sille Kappermentioning

confidence: 99%

Estonian Folk Dance: Terms and Concepts in Theory and Practice

Kapper¹

2013

FEJF

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Abstract:The article provides an overview of the changes that have occurred in the concept of 'folk dance' in Estonia from the end of the 19th century until today. The diachronic analysis of both theoretical and practical discourses is based on Estonian-language paper and web publications where the word rahvatants (folk dance) has been used as a term or where the concept is defined; an inquiry among the members of a folk dance group, and my personal ethnographic fieldwork in the folk dance world of Estonia. My borderline position between the roles of a dance researcher and a dancer and folk dance teacher in practice makes it possible to switch between different discourses and find their intersections. Shifts that occur in terms and concepts used in both scientific and public classifications, as well as in specialised discourses situated between them, reflect varied trends in the Estonian dance tradition during the 20th century and explain the development of the present situation.Keywords: folk dance, traditional folk dance, folklore, stage folk dance, national dance, choreography, dance as art form, performing arts INTRODUCTIONIn the minds of contemporary Estonians, the meaning of 'Estonian folk dance' is diverse, ranging from more or less staged presentations of earlier village dances to any kind of dancing that ordinary people practise in Estonia today. In everyday speech and popular discourse folk dance is often defined through the national costume worn by the dancers, no matter what the choreographic text that they perform. Former Folk Dance Celebrations 2 have been renamed as Dance Celebrations to contend against such a definition, but the participants are still called folk dancers. So do I, introducing myself usually as a folk dance teacher just because this is the shortest way to refer to my field of activity.I graduated from the university as a choreographer, have been teaching traditional and stage folk dance for about 25 years, and doing conscious, prepared and organised ethnochoreological dance research for the last eight years. Those two different activities have placed me in a borderline position between theory http://www.folklore.ee/folklore/vol54/kapper.pdf 74 www.folklore.ee/folkloreSille Kapper and practice, and this is where I start my search for the answer why the essence of the term 'folk dance' is constantly fluctuating in our minds.Estonians often hold lively discussions about the term 'folk dance'; some of us express very clear principles about what is or is not the (Estonian) folk dance, and sometimes we do not understand each other because of the different meanings assigned to the term. Estonians are not the only ones to have these terminological problems. Similar arguments arise internationally, among dance scholars as well as enthusiasts. However, these discussions show that the topic is important for the discussants. To improve understanding between different parties, I would first like to show how the present situation has emerged in Estonia and then look for intersections betwee...

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Section: Sille Kappermentioning

confidence: 99%

Estonian Folk Dance: Terms and Concepts in Theory and Practice

Kapper¹

2013

FEJF

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Section: Re-independent Postmodern Estoniamentioning

confidence: 99%

“…However, the vagueness of the term 'folk dance' has been observed by many researchers worldwide (e.g. Hoerburger 1965Hoerburger , 1968Hoppu 2004;Nahachewsky 1995Nahachewsky , 2008, including Estonians (Tampere 1962(Tampere , 1975Torop 1992Torop , 1995Krause 2007). The concepts of folk and traditional music in Estonia have been thoroughly addressed and their changeability has been considered by Estonian ethnomusicologists Ingrid Rüütel (1987Rüütel ( , 2004 and Taive Särg (2002Särg ( , 2004Särg ( , 2005Särg ( , 2010Särg & Johanson 2011).…”

Section: Introductionmentioning

confidence: 99%

Untitled

2013

FEJF

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The current issue is published in cooperation between the Department of Folkloristics of the Estonian Literary Museum and the Estonian Sports Museum. This is certainly not a coincidence that it happens exactly in 2013-the year when the Estonian Sports Museum celebrates its 50th anniversary. As the aim of the Estonian Sports Museum is to foster and preserve the traditions of Estonian sport, the special issue of our journal is dedicated to sport and physical movement culture, games and folk dance. The writings deal with different problems of sport and traditional games phenomena in heritage (fan movements and traditions, different outputs of traditional sport culture, sports and games in new media, sport folklore and semiotics, etc.). Here we should bear in mind that the broad definition of the term 'sports' considers, along with the development of physical shape and mental well-being, also facilitation of social interactions as a function of sport, which enables us to regard expressions of sports and sports-related activities (especially folkloric) as one of the forms of culture. The issue begins with an article on an extremely topical theme-doping in sport. Piret Voolaid and Liisi Laineste (Estonian Literary Museum) analyse the doping scandal that broke out in April 2011 and concerned the esteemed Estonian crosscountry skier and Olympic gold medal winner, Andrus Veerpalu. The doping case was a collective shock that attracted the attention of the media immediately and channelled into various stories, for instance, the newslore and contemporary sports folklore that was based on the fiery public discussion. The article provides a contribution to the evolution of an athlete as a mythic national hero on the Internet. The first article is followed by two treatises on ballgames in traditional folk culture. We all know that the relationship between sport (football) and violence is a hot topic in contemporary sociology and anthropology. Laurent Sébastien Fournier (University of Nantes) suggests that the example of folk football in England and Scotland enables us to better understand the relationship between sport and violence. The violence that regularly appears in modern sport and hooliganism can be interpreted as an unconscious restoration of very old dual

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“…However, they were no longer the spontaneous expression of an organic peasant culture, but stylized reinventions and reinterpretations by middle-class "cultural producers" like Avramenko, designed to be performed on the concert stage and consciously associated with the modern Ukrainian nationalist movement. 16 The decade also witnessed the founding of dozens of choirs and orchestras, dramatic societies, reading circles, and community cultural centres.…”

Section: The Canada-wide Celebration Of the Diamond Jubilee Of Confedmentioning

confidence: 99%

Public Commemoration and Ethnocultural Assertion: Winnipeg Celebrates the Diamond Jubilee of Confederation

Cupido¹

2010

Urban History Review

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The Canada-wide celebration of the Diamond Jubilee of Confederation was intended to promote the idea of a “new nationality” based on the linguistic and cultural dualism associated with Canada’s two “founding races.” The widespread participation of New Canadians in the celebrations was expected to accelerate their assimilation into the “melting pot” of the new nationality, which did not recognize the legitimacy of dual identities and loyalties. Winnipeg’s diverse and marginalized ethnic communities challenged both the official meanings of the Diamond Jubilee and the hegemonic Anglo-conformity of the city’s civic culture. They transformed the celebrations into a vehicle for representing their ethnocultural identities in the public sphere and asserting an alternative, pluralistic version of Canadian nationality. Winnipeg’s Jubilee celebrations became a milestone in an ongoing “dialectic of resistance and accommodation” that allowed immigrant groups to negotiate the terms of their integration into Canadian society, and that continues to structure the relationship between minority and mainstream cultures in the twenty-first century.

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Folk Dance Revival Strategies

Cited by 3 publications

References 3 publications

Estonian Folk Dance: Terms and Concepts in Theory and Practice

Estonian Folk Dance: Terms and Concepts in Theory and Practice

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Public Commemoration and Ethnocultural Assertion: Winnipeg Celebrates the Diamond Jubilee of Confederation

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