Safeguarding Intangible Cultural Heritage in the Republic of Macedonia

Serafimovska, Velika Stojkova; Wilson, Dave; Tatarčevska, Ivona Opetčeska

doi:10.5921/yeartradmusi.48.2016.0001

Cited by 3 publications

(1 citation statement)

References 21 publications

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“…However, the interest that follows, namely this dance, starting from the 30s of the 20th century in the time of the Kingdom of Yugoslavia, the socialist Macedonia and the independent Republic of Macedonia is evident. This is confirmed by the huge number of papers written on this topic by domestic and foreign authors (Ivančić-Dunin and Višinski 1995;Мironska Hristovska 2002;Zdravkova Djeparoska and Opetcheska Tatarchevska 2012;Wilson 2014;Silverman 2015;Stojkova Serafimovska et al 2016;Zdravkova Djeparoska 2019). One of the most versatile and dedicated researchers of Macedonian dance, Ivančić-Dunin, notes "'Macedonian dance' is often synonymous with an image of Teškoto-a line of pill-box-capped mеn holding hands, the support leg is flexed while the other leg is lifted forward, the lead dancer is perched on one leg on top of a drum" (Ivančić-Dunin and Višinski 1995, p. 263).…”

Section: Dances Of the Macedonian Bal-kanmentioning

confidence: 84%

Macedonian Cultural Plurality at the Crossroads of the Balkans: Drama, Music and Dance

Zdravkova-Djeparoska¹

2020

Arts

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Defining the Balkans as a geographic, cultural and semantic entity triggers an interpretation of them as some idea, concept, oftentimes even a stereotype. The Balkans are usually interpreted as a singular entity, generalized and set in a single framework. That generalized view is often ambivalent. The Balkans are often interpreted and presented as a ‘powder keg’, a ‘bridge between the East and the West’, a part of Europe that is simply different, a place of strong emotions and attractive forms of music and dance, etc. However, the Balkans represent a set of cultural units that are in constant interaction, with each of the cultures of the Balkans being specific and authentic. Macedonia, as one of the pages of the ‘Balkan story’, will be presented at three levels—regarding its drama, music and dance. The specific characteristics of the music and the dance fields will be presented through their most significant features and examples, and the treatment of the topic of the Balkans in Macedonian drama will be covered as well. The analysis confirms that generalization is impossible even within a single culture, as each artist and medium of performance has its own unique expression. The cultural forms of Macedonian culture are only part of the wider pluralistic representation of the Balkans. It may be offered under the Balkans as the common denominator, but the truth is that this/representation/concept is polyvalent, multicultural, polysemic and extremely rich.

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Section: Dances Of the Macedonian Bal-kanmentioning

confidence: 84%

Macedonian Cultural Plurality at the Crossroads of the Balkans: Drama, Music and Dance

Zdravkova-Djeparoska¹

2020

Arts

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Political Complexities of Ethnochoreological Research: The Facets of Scholarly Work on Dance in the Countries of Former Yugoslavia

Rakočević

2020

AEthn

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As independent scholarly discipline grounded in folkloristics, ethnochoreology was predominantly founded within the state institutions of the socialist regime of former Yugoslavia after World War II and was consequently molded theoretically and methodologically in accordance with the prevailing ideology of the ruling socialist political system. In post-socialist regimes established in former Yugoslavian republics after the 1990s, which led to emerging market economies and caused huge modifications in the official social and educational policies of each country, ethnochoreology continued to be linked with state institutions. At the same time, however, it has been subject to extensive remodeling which included changes within the discipline itself along with its repositioning in the academic and educational system. This article examines political facets of ethnochoreological research in former Yugoslavian republics, comparing the experiences of many individual dance scholars. Based on interviews with colleagues from Serbia, Croatia, Bosnia and Herzegovina, Macedonia and Montenegro, the study will explore the general position of ethnochoreologists as well as their attitudes toward the relationships between dance research and the concrete political situations in each of their countries. Questions discussed encompass standpoints about how the political realities we are living in influence the remodeling of ethnochoreology in epistemological and methodological terms, but also its position in academic, educational and research contexts.

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Depiction and Empowerment of Women in Indigenous Igbo Music

Forchu

2023

Ethnomusicology

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This article aims to understand how modern Igbo women in a patriarchal, dynamic, and fast-globalizing southeastern Nigerian society interpret and create meaning through the concept and practice of traditional music. I employed ethnographic and musicological research methods and focused on the organization, performance practice, and musical contents of three Igbo women's ensembles. One of my major findings is that joint music-making efforts among Igbo women enhances bonding and reinforces group identity that yields psychological empowerment. I argue that the psychotherapeutic intentions of African music offer an ideal medium through which Igbo women can achieve psychological and social empowerment.

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Safeguarding Intangible Cultural Heritage in the Republic of Macedonia

Cited by 3 publications

References 21 publications

Macedonian Cultural Plurality at the Crossroads of the Balkans: Drama, Music and Dance

Macedonian Cultural Plurality at the Crossroads of the Balkans: Drama, Music and Dance

Political Complexities of Ethnochoreological Research: The Facets of Scholarly Work on Dance in the Countries of Former Yugoslavia

Depiction and Empowerment of Women in Indigenous Igbo Music

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