Kuidas uurida eesti rahvatantsu tänapäeval? Teooriatest, meetoditest ja nende rakendamisest Eestis

Kapper, Sille

doi:10.7592/mt2009.41.kapper

Cited by 2 publications

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“…In the article about the opportunities of Estonian folk dance research today (Kapper 2009), I used the term 'folk dance' in its broadest sense, including the dancing performed by any 'folk' (Dundes 2002) with any purpose, in the past and present, and also author choreographies. When approaching dance folklorism in Estonia at the turn of the 20th century (Kapper 2006(Kapper , 2008, I narrowed the concept 'folk dance' down to peasantry dance traditions practised in their primary or secondary contexts (Honko 1998), and excluded author choreographies in order to distinguish between variable traditional dancing and the fixed rules of stage dance style.…”

Section: Introductionmentioning

confidence: 99%

Estonian Folk Dance: Terms and Concepts in Theory and Practice

Kapper¹

2013

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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: Introductionmentioning

confidence: 99%

Estonian Folk Dance: Terms and Concepts in Theory and Practice

Kapper¹

2013

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Motivational Underpinnings of Estonian Folk Dance Practices among the Estonian Diaspora over Time

Rüütel¹,

Zajédová²,

Arraste³

2013

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This article is a part of a wider research on Estonian folk dance, aiming to map the emergence of folk dance groups and to study the practices and role of folk dance among the Estonian diaspora. The article sets out to explore incentives contributing to intergenerational transmission of Estonian folk dance tradition. 54 interviews (21 men and 33 women aged 38 to 87) were carried out with Estonians living in Australia, Canada, Germany, Great Britain, Sweden and the United States. The analysis of the interviews is based on two research questions: 1) What incentives have guided Estonians' folk dance activity in historical perspective from World War II until today? 2) What qualities originating in Estonian folk dance have motivated people to carry on Estonian folk dance practices? The principles of grounded theory were used in the analysis of interviews. The article discusses the results of two sets of analyses. Motivational changes in folk dance as a leisure pursuit have brought into focus three historical periods of folk dance transmission. Incentives originating from dance and dancing (selfexpression, self-determination, cooperation, emotion, physical training) and the external qualities accompanying dance and dancing (socialising, 'Estonianness', tradition) are discussed in the context of continuity of Estonian folk dance tradition among the Estonian diaspora.

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Kuidas uurida eesti rahvatantsu tänapäeval? Teooriatest, meetoditest ja nende rakendamisest Eestis

Cited by 2 publications

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Estonian Folk Dance: Terms and Concepts in Theory and Practice

Estonian Folk Dance: Terms and Concepts in Theory and Practice

Motivational Underpinnings of Estonian Folk Dance Practices among the Estonian Diaspora over Time

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