Author Archives: Nick

ICTM study group on ethnochoreology publications

This is a list of the academic articles published following the symposia of the ICTM Study Group on ethnochoreology. Those who know us will know that we keep everything databased and indexed! We are not aware this reference information is available elsewhere, so I have posted our data files here. Please note there could be OCR errors, particularly in the special characters.

1Snyder, Allegra FullerCopenhagen, 1988Levels of event patterns: a theoretical model and its application to the yaqui easter ceremoniesdance event
2Ronström, OweCopenhagen, 1988The dance event - a terminological and methodological discussion of the conceptdance event
3Dunin, Elsie IvancichCopenhagen, 1988Dance events as means to social interchangedance event
4Giurchescu, AncaCopenhagen, 1988A question of method: contextual analysis of dancing at the vlachs "hora" in Denmarkdance event
5Dabrowska, GrazynaCopenhagen, 1988Der tanz als einer von komponenten der traditionellen kulturdance event
6Zile, Judy VanCopenhagen, 1988Japanese bon dancing in Hawaii: a complex cultural phenomenondance event
7Barnett, SheilaCopenhagen, 1988Jonkonnu - Jamaica masquerade as creolizing processdance event
8Ehm-Schulz, RosemarieCopenhagen, 1988New dance and custom events in the GDR as a result of revival (summary)dance event
9Torp, LisbetCopenhagen, 1988The dance event and the process of transformation - a case study of the anastenaria in Langadha, Greecedance event
10Staro, PlacidaCopenhagen, 1988Widespread models for the analysis of folk dancedance event
11Kowalska, JolantaCopenhagen, 1988Universal cultural symbols in dancedance event
12Buckland, TheresaCopenhagen, 1988Family, gender and class in an English ceremonial dance eventdance event
13Shtarbanova, Anna; Zhivkov, TodorCopenhagen, 1988The dance event: a complex cultural phenomenondance event
14Reynolds, William C.Copenhagen, 1988Where do we start in describing a dance event?dance event
15Laudova, HannahCopenhagen, 1988Die hanf- und flachsbrecheltanzfeste in Böhmendance event
16Bing, ZhouCopenhagen, 1988Ecological environment and dance culturedance event
17Vasić, OliveraCopenhagen, 1988Dance as part of the rites for the deceased in southwestern Serbiadance event
18Petrides, TedCopenhagen, 1988Greek folk dances and changedance event
19Sebök, GezaCopenhagen, 1988Ethnochoreological research in Switzerland in the eightiesdance event
20Urup, HenningCopenhagen, 1988The Danish dance history archivesdance event
21Bakka, EgilCopenhagen, 1988Report and summaries of all papers presenteddance event
22Giurchescu, Anca; Felföldi, LászlóBudapest, 1990Introduction
23Dunin, Elsie ivancichBudapest, 1990Transmission and diffusion : Macedonian dances 1938—1988
24Bakka, EgilBudapest, 1990Dance dialects: traces of local development or of processes of diffusion
25Quigley, ColinBudapest, 1990Step dancing in Newfoundland: a north American regional style
26Sebők, MariaBudapest, 1990The transmission of Hungarian dances in west-europa
27Staro, PlacidaBudapest, 1990Singing in dance diffusion and transmission
28Nilsson, MatsBudapest, 1990Dance transmission — a question of learning or teaching?
29Dúžek, StanislavBudapest, 1990Dance in the ethnographic atlas of Slovakia
30Çakir, AhmetBudapest, 1990The importance of the protection of traditional dances
31Ohtani, KimikoBudapest, 1990Bharata natyam, rebirth of dance in India
32Novák, PetrBudapest, 1990Überlieferte tanzkultur in szenischer interpretation — realität oder fiktion?
33Schofield, DerekBudapest, 1990The English long sword dance: a comparison between two contemporary traditional teams
34Bogdani, RamazanBudapest, 1990Albanian folk dances accompanied with music
35Freedman, Diane c.Budapest, 1990Gender signs: an effort/shape analysis of Romanian couple dances
36Kaeppler, Adrienne l.Budapest, 1990Me’etu’upaki and tapaki, paddle dances of Tonga and Futuna, West Polynesia
37Zile, Judy vanBudapest, 1990Chinju kommu: an implement dance of Korea
38Laudová, HannahBudapest, 1990Die schwerttänze als spezifische gattung von tänzen mit requisiten in der tschechoslowakei
39De shane, NinaBudapest, 1990Powwow dancing and the warrior tradition
40Khatchatryan, GenyaBudapest, 1990War-dancer among Armenians
41Petrosyan, EmmaBudapest, 1990
42Blom, Jan-petterBudapest, 1990Structure and meaning in a Norwegian couple dance
43Ilieva, AnnaBudapest, 1990Bulgarian men’s and women’s ritual dances with implements and attributes
44Loutzaki, IreneBudapest, 1990Structure and style of an implement dance in neo monastiri, central Greece
45Dabrowska, GrazynaBudapest, 1990Tänze mit akzessorien
46Kröschlová, EvaBudapest, 1990Discussion contribution to the “foundation of the structural and form analysis of folk dance”
47Nahachewsky, AndriyBudapest, 1990Structural analysis of the Kolomyika
48Giurchescu, AncaBudapest, 1990A comparative analysis between the căluș of the Danube: plain and călușerul of Transylvania (Romania)
49Sárosi, BálintBudapest, 1990Form-extending dance tunes
50Paksa, KatalinBudapest, 1990Connection of style and dialect in the ornamentation of Hungarian folksongs
51Tari, LujzaBudapest, 1990Musical instruments and music in Hungarian folk tales
52Giurchescu, AncaNafplion, 1992The power and the dance symbol and its sociopolitical useDance and its socio-political aspects
53Bloland, SunniNafplion, 1992The 16th annual California Greek Orthodox youth folk dance festival: a social and artistic extravaganzaDance and its socio-political aspects
54Gore, Georgina; Koutsouba, MariaNafplion, 1992‘Airport art’ in a socio-political perspective: the case of the greek dance groups of plakaDance and its socio-political aspects
55Ilieva, AnnaNafplion, 1992Bulgarian folk dance over the last five yearsDance and its socio-political aspects
56Grau, AndréeNafplion, 1992Dance and power amongst the TiwiDance and its socio-political aspects
57Kaeppler, AdrienneNafplion, 1992Dance, dress and socio-political discourseDance and its socio-political aspects
58Kubinowski, DariuszNafplion, 1992Process of integration of the poles and the white Russians on the territory of PolandDance and its socio-political aspects
59Laudova, HannahNafplion, 1992Charakteristik der tradition des Tschechischen volkstanzes vom kulturellen und soziologisch-politischen gesichtspunkt (the characteristic features of the tradition of Czech folk dance in the context of sociocultural and socio-political aspects)Dance and its socio-political aspects
60Loutzaki, IreneNafplion, 1992Dance in ‘political rhythms’Dance and its socio-political aspects
61Nahachewsky, AndriyNafplion, 1992National standards vs. rural traditions in Ukrainian Canadian danceDance and its socio-political aspects
62Öztürkmen, ArzuNafplion, 1992Folk dance and nationalism in TurkeyDance and its socio-political aspects
63Quigley, ColinNafplion, 1992A hearing to “designate the square dance the american folk dance of the united states”: cultural politics and an american vernacular dance formDance and its socio-political aspects
64Rombos-levides, MarikaNafplion, 1992The dynamic of traditional dance as a penetrating force in the formulation of modern Greek ideology and cultureDance and its socio-political aspects
65Tyrovola, VassoNafplion, 1992Dynamic aspects of the evolutional process of the popular urban culture: the case of the dance ZeibekikosDance and its socio-political aspects
66Bakka, EgilNafplion, 1992Dance and costume in contemporary folk dance performanceDance and costume
67Dabrowska, GrazynaNafplion, 1992Dance and attireDance and costume
68Khachatrijan, GenjaNafplion, 1992Connections between folk dance and folk costume in ArmeniaDance and costume
69Nilsson, MatsNafplion, 1992Some questions about dancing and dressingDance and costume
70Petrossian, EmmaNafplion, 1992Armenian dance in social aspect in the pastDance and costume
71Shturbanova, AnnaNafplion, 1992Dance, ritual and costumeDance and costume
72Snyder, Allegra fullerNafplion, 1992The dance symbol - a 1992 update demonstrating the potential effects of interactive laser technologies on research and publishing strategiesDance and costume
73Torp, LisbetNafplion, 1992Traditional peasant costumes and their usage: when preservation leads to limitation and stagnationDance and costume
74Hunt, YvonneNafplion, 1992“Ta ketsekia”Dance and costume
75Lange, RoderykSkiemiewice, 1994Ritual danceRitual dances in contemporary society
76Bogdani, RamazanSkiemiewice, 1994Dances in the albanian ritual practices: the calendrical celebrations for the revival of natureRitual dances in contemporary society
77Bröcker, MarianneSkiemiewice, 1994A village dance ritual in Lower Franconia (Bavaria)Ritual dances in contemporary society
78Buckland, TheresaSkiemiewice, 1994Embodying the past in the present: dance and ritual.Ritual dances in contemporary society
79Dahlig, PiotrSkiemiewice, 1994The ceremonial bread korowaj as an impulse to danceRitual dances in contemporary society
80Dqbrowska, GrazynaSkiemiewice, 1994Dance in the transformations of the harvest customs in PolandRitual dances in contemporary society
81Dunin, Elsie lvanovichSkiemiewice, 1994Continuities and changes: interrelationships of ritual and social dance contexts in Dubrovnik-area villagesRitual dances in contemporary society
82Dziurowicz-Kaszuba, MalgorzataSkiemiewice, 1994Wedding dance service in the region of SieradzRitual dances in contemporary society
83Eriksen, HeleneSkiemiewice, 1994The dances of universal peace: an introduction to the phenomenonRitual dances in contemporary society
84Grau, AndréeSkiemiewice, 1994Ritual dance and “Modernisation”: the tiwi exampleRitual dances in contemporary society
85Hunt, YvonneSkiemiewice, 1994Ta kechékia - a Greek gypsy carnival eventRitual dances in contemporary society
86Kaeppler, AdrienneSkiemiewice, 1994They seldom dance on star-trek: a cautionary tale for the study of dance and ritualRitual dances in contemporary society
87Khachatrjan, GenjaSkiemiewice, 1994Armenian ritual dances in contemporary societyRitual dances in contemporary society
88Laudová, HannahSkiemiewice, 1994The associate function of dancing in Czech wedding ritualsRitual dances in contemporary society
89Marcinkowa, JaninaSkiemiewice, 1994Zwei schlesische hochzeitstantze: bioty (cieszyn) und na strzewik (opole)Ritual dances in contemporary society
90Öztürkmen, ArzuSkiemiewice, 1994The Alevi cem ritual and the nationalization of semah dancesRitual dances in contemporary society
91Van Zile, JudySkiemiewice, 1994From ritual to entertainment and back again: the case of ch 'oyongmu, a Korean danceRitual dances in contemporary society
92Giurchescu, AncaSkiemiewice, 1994Dance-music relationships: an introductionDance and music relationship
93Bakka, EgilSkiemiewice, 1994Children's way of expressing musical meter by movement in singing gamesDance and music relationship
94Bielawski, LudwikSkiemiewice, 1994A system of knowledge about folk dances: the levels of ethnochoreologyDance and music relationship
95Bloland, SunniSkiemiewice, 1994Cajun dance in Luisiana and CaliforniaDance and music relationship
96Elliott, JanineSkiemiewice, 1994Who follows whom? the music and dance relationship in cotswold morris dancingDance and music relationship
97Felföldi, LászlóSkiemiewice, 1994The connection of dance and dance music: over or under-estimation of their significanceDance and music relationship
98Kilichian, NairaSkiemiewice, 1994The relation of armenian traditional and scenic dances to musicDance and music relationship
99Könczei, CsillaSkiemiewice, 1994Dance as multimedial poetic communicationDance and music relationship
100Kubinowski, DariuszSkiemiewice, 1994Dance expression within traditional and contemporary models of rural dance cultureDance and music relationship
101Nilsson, MatsSkiemiewice, 1994Let's meet in the beatDance and music relationship
102Rice, TimothySkiemiewice, 1994The dialectic of music and dance in BulgariaDance and music relationship
103Romodin, AleksandrSkiemiewice, 1994The interaction of instrumental music and dance in the folk tradition of north ByelorussiaDance and music relationship
104Steszewski, JanSkiemiewice, 1994Einige (unzusammenhangende) gedanken zu tanz-musik-beziehungenDance and music relationship
105Urbanavičiené, DaliaSkiemiewice, 1994The original style of the Lithuanian sutartines dancesDance and music relationship
106Torp, LisbetTřešt', 1996Children’s dances from Lower Saxony, Helmut Segler and Dora Kleindienst-Andrée. an introduction to keynote film and discussionChildren and traditional dancing
107Dąbrowska, Grazyna WładysławaTřešt', 1996Children’s traditional dancesChildren and traditional dancing
108Petrossian, EmmaTřešt', 1996The creation myth in Armenian children’s gamesChildren and traditional dancing
109Khachactrjan, GenjaTřešt', 1996Ritual dolls in Armenian traditionChildren and traditional dancing
110Fink, MonikaTřešt', 1996Kinderbälle als reflexion des europäischen gesellschaftstanzesChildren and traditional dancing
111Gore, GeorgianaTřešt', 1996Learning language through dance. Rhythm, rhyme, song and dance in French nursery school educationChildren and traditional dancing
112Kaeppler, Adrienne L.Třešt', 1996Dance and the concept of styleDance and style
113Laudová, HannahTřešt', 1996Style in folk danceDance and style
114Dúžek, StanislavTřešt', 1996Zu den stiländerungen im volkstanz in der SlowakeiDance and style
115Kubinowski, DariuszTřešt', 1996Interpretations of cultural patterns of dance in individual dance behaviours: the case of oberekDance and style
116Nahachewsky, AndriyTřešt', 1996Removing the bride’ s veil: structure and style in a Ukrainian wedding ceremonyDance and style
117Giurchescu, AncaTřešt', 1996Gypsy dance style as a marker of ethnic identityDance and style
118Stavélová, DanielaTřešt', 1996The influence of musical accompaniment on the emergence and transformation of a style of danceDance and style
119Pavlicová, MartinaTřešt', 1996The style of folk dance and its development: a study of exceptional dancers from south and east moraviaDance and style
120Hunt, YvonneTřešt', 1996One dance, many stylesDance and style
121Koutsouba, MariaTřešt', 1996Lemonia dance of lefkada versus kontoula lemonia dance of Epiros, GreeceDance and style
122Nor, Mohd Anis MdTřešt', 1996Blurring images, glowing likeness: a dichotomy of styles in traditional dances of MalaysiaDance and style
123Öztürkmen, ArzuTřešt', 1996Different generations, different styles: alevi semah performances in their changing contextDance and style
124Shturbanova, AnnaTřešt', 1996‘fine’ dancing: from sacred to the stylisticDance and style
125Zebec, TvrtkoTřešt', 1996Differences and changes in style: the example of croatian dance researchDance and style
126Okstad, Kari MargreteTřešt', 1996How to broaden the stylistic profile of a dance group’s repertoireDance and style
127Kilichian, NairaTřešt', 1996The formation of new elements in armenian folk dance styleDance and style
128Urbanavičiene, DaliaTřešt', 1996The influence of stage dance on the authentic style of folk danceDance and style
129Lange, RoderykTřešt', 1996The muses and the dance
130Bakka, Egilİstanbul, 1998The polka before and after polka.Historical sources
131Buckland, Theresa J.İstanbul, 1998Between pictures, words and memory: constructing past dancesHistorical sources
132Dabrowska, Graźyna W.İstanbul, 1998Traditional dances and their historical sources in PolandHistorical sources
133Dinçer, Fahriyeİstanbul, 1998Alevi semahs in historical perspectiveHistorical sources
134Foley, Catherineİstanbul, 1998Irish traditional step-dance in historical perspective: tradition, identity and popular cultureHistorical sources
135Gore, Georgianaİstanbul, 1998Present texts, past voices: the formation of contemporary representations of west African dancesHistorical sources
136Ilieva, Annaİstanbul, 1998Historical-typological approach to the study of traditional dance cultureHistorical sources
137Kaeppler, Adrienne L.İstanbul, 1998Moments in the history of Tongan dances from captain Cook to the 80th birthday of King Taufa'ahau TupouivHistorical sources
138Koepke, Bruceİstanbul, 1998Contemporary dance history of Afghanistan: the interplay of traditions, religion and politicsHistorical sources
139Koutsouba, Mariaİstanbul, 1998Understanding synchrony through diachronyHistorical sources
140Nor, Mohd Anis Mdİstanbul, 1998Between myth and history reconstructing traditional dances in southeast AsiaHistorical sources
141Nahachewsky, Andriyİstanbul, 1998Once again: on the concept of “second existence folk dance”Historical sources
142Nilsson, Matsİstanbul, 1998Dances of yesterday-dancing today. the example of Swedish polskaHistorical sources
143Noyes, Dorothyİstanbul, 1998Cultivating memory in catalan calendar customHistorical sources
144Shturbanova, Annaİstanbul, 1998Historical and typological aspect in the study of the horo dance in northwestern bulgaria.Historical sources
145Sparti, Barbaraİstanbul, 1998Traditional dance in renaissance and baroque italy (1455-1630)Historical sources
146Stavělová, Danielaİstanbul, 1998Traditional Czech dancing in historical perspectiveHistorical sources
147Van Zile, Judyİstanbul, 1998Korean dance terminology: politics and wordsHistorical sources
148Bogdani, Ramazan H.İstanbul, 1998Albanian folk dancing: improvisation and individualityImprovisation and composition
149Dejeu, Zamfirİstanbul, 1998L’improvisation dans le complexe syncretique ‘danse traditionnelle'Improvisation and composition
150Dunin, Elsie Ivancichİstanbul, 1998Dancing in the crossroads by the Skopje Roma during St. George’s dayImprovisation and composition
151Eriksen, Helene E.İstanbul, 1998An intimate look at improvisationImprovisation and composition
152Giurchescu, Ancaİstanbul, 1998Interpreting a dancer's discourse on improvisationImprovisation and composition
153Glauser, Christineİstanbul, 1998Dance improvisation in eratira, northern GreeceImprovisation and composition
154Hall, Frankİstanbul, 1998Creativity in Irish step-dancing: rewards and dangersImprovisation and composition
155Khachatryan, Zhenjaİstanbul, 1998The Armenian sources of treatment by danceImprovisation and composition
156Kilichyan, Nairaİstanbul, 1998Clap dances: the stage versionImprovisation and composition
157Kubinowski, Dariuszİstanbul, 1998The kinesthetic understanding as a methodological category in the reconstruction of traditional danceImprovisation and composition
158Okstad, Kari Margreteİstanbul, 1998Improvisation and composition in old couple dance from NorwayImprovisation and composition
159Özbilgin, Mehmet Öcalİstanbul, 1998Differences of creative processes in local communities on stage with the example of Aegean region zeybek dancesImprovisation and composition
160Torp, Jurgenİstanbul, 1998Tango: improvisation in a couple danceImprovisation and composition
161Niemčić, Ivaİstanbul, 1998Report on current activities of the institute of ethnology and folklore research and sword dance research in croatiaImprovisation and composition
162Acuña Delgado, AngelKorčula, 2000The sword dances of Andalusia: problems of semiological interpretationSword dances and related calendrical dance events
163Bagur, VidoKorčula, 2000Reviving the kumpanija in the village of Pupnat on the island of KorčulaSword dances and related calendrical dance events
164Baumann, RolandKorčula, 2000Performing the Spanish Crusade in Mexico, Andalusia and GuatemalaSword dances and related calendrical dance events
165Berlin, GabrieleKorčula, 2000The stick dance of the Tharus in Nepal: the relationship between an extinct martial art and a living dance traditionSword dances and related calendrical dance events
166Bonfiglioli, CarloKorčula, 2000The sword, the cross, and the flower: opposition and continuity in the study of two Mexican dance complexesSword dances and related calendrical dance events
167Buckland, Theresa JillKorčula, 2000Calendrical dance, ritual and drama: re-appraising pan-European theorySword dances and related calendrical dance events
168Čapo Žmegac, JasnaKorčula, 2000“Either we will behead the ox, or we will be no more!”: the Croats between traditionalism and modernitySword dances and related calendrical dance events
169Ćaleta, JoškoKorčula, 2000The peculiarities of instrument playing and singing in the revived sword dances of the Peljesac Peninsula and the island of KordulaSword dances and related calendrical dance events
170Dąbrowska, Grazyna WłladysłlawaKorčula, 2000On some sword dances: Polish brigand’s dance zbójnicki among hand-held weapon dancesSword dances and related calendrical dance events
171Doliner, GoranaKorčula, 2000Moresca, Combatimento Nazionale - an historical source from 1819Sword dances and related calendrical dance events
172Dunin, Elsie IvancichKorčula, 200020th-16th century comparative links: Yaqui Indians (North America); Lastovo Island (European Mediterranean)Sword dances and related calendrical dance events
173Giurchescu, AncaKorčula, 2000Căluș between ritual and national symbol: survival and the strategy of adaptation to contemporary social settingsSword dances and related calendrical dance events
174Laudová, HannahKorčula, 2000The time span and the cultural and social significance of sword dances in the Czech lands and in SlovakiaSword dances and related calendrical dance events
175Lozica, IvanKorčula, 2000Sword dances on the island of Korčula, and choosing the king customSword dances and related calendrical dance events
176Marošević, GrozdanaKorčula, 2000The mišnjice and the tambrlin in the kumpanija sword dances on the island of KorčulaSword dances and related calendrical dance events
177Matoš, Goran IvanKorčula, 2000Carnival sword dance in the form of contra dance in Putnikovići, CroatiaSword dances and related calendrical dance events
178Niemčić, IvaKorčula, 2000Dance and gender/sex in the Lastovo carnivalSword dances and related calendrical dance events
179Oreb, GoranKorčula, 2000Role of Korčula's “Festival for knightly dances” in the preservation of traditional valuesSword dances and related calendrical dance events
180Saban, LarysaKorčula, 2000Dances and games with weapons: Ukrainian authentic traditions and historical examplesSword dances and related calendrical dance events
181Snyder, Allegra FullerKorčula, 2000“The carnival complex” on the web, a new research strategySword dances and related calendrical dance events
182Sparti, BarbaraKorčula, 2000An 18th-century Venetian morescaSword dances and related calendrical dance events
183Staro, PlacidaKorčula, 2000La danza disarmata: a swordless danceSword dances and related calendrical dance events
184Tekavec, MarjetaKorčula, 2000Vestiges of sword dances in SloveniaSword dances and related calendrical dance events
185Zebec, TvrtkoKorčula, 2000Sword dances among the CroatsSword dances and related calendrical dance events
186Andus L’Hotellier, SanjaKorčula, 2000The opening and closing ceremonies of the Albertville Olympics: an invitation to the bal populaireReconstruction
187Bakka, EgilKorčula, 2000Voices of the revivalReconstruction
188Chao, Chi-FangKorčula, 2000Re-interpreting “authenticity”—revitalization of priestess dances in Okinawa, JapanReconstruction
189Coros, MaryKorčula, 2000The “old,forgotten,lost” dances of Crete: dilemma for an American Cretan dancer, teacher, choreographer, researcherReconstruction
190Craenenbroeck, Renaat VanKorčula, 2000Creating a traditionReconstruction
191Decoret, AnneKorčula, 2000The Court and Ceremony Dances Conservatory of Abomey, Benin: cultural and political stakes of a revival attemptReconstruction
192Dejeu, ZamfirKorčula, 2000Folklife in RomaniaReconstruction
193Eriksen, HeleneKorčula, 2000Strategies for the performance of Iranian dance in the diasporaReconstruction
194Foley, Catherine E.Korčula, 2000The Irish Céilí. appropriation, community and identityReconstruction
195Glauser, ChristineKorčula, 2000Cultural associations as agents of revival of dance traditions in northern GreeceReconstruction
196Gombos, AndrásKorčula, 2000“Master of folk art”: award for talented traditional performers in HungaryReconstruction
197Kaeppler, Adrienne L.Korčula, 2000At the Pacific festivals of art: revivals, inventions, and cultural identityReconstruction
198Kealiinohomoku, JoannKorčula, 2000New functions and contexts for old dance culturesReconstruction
199Laffranchini, MoiraKorčula, 2000The ideological revivals of timbila: 1978 and 1997Reconstruction
200Loutzaki, IreneKorčula, 2000“These are our songs and our dances”: negotiating tradition in Nea Vyssa, GreeceReconstruction
201Maners, Lynn D.Korčula, 2000Utopia, eutopia and E.U.-topia: performance and memory in former YugoslaviaReconstruction
202Manos, IoannisKorčula, 2000Politics and the power of dance in the Fiorina region, northwest Greek MacedoniaReconstruction
203Nahachewsky, AndriyKorčula, 2000Strategies for theatricalizing folk danceReconstruction
204Nilsson, MatsKorčula, 2000What, who, when, then - and why? some comments on the Swedish folkdance (and music) revival in the 1970sReconstruction
205Nor, Mohd Anis MdKorčula, 2000Dancing on the proscenium: re-constructing, revitalizing and appropriating Malay folk dances in the new performance spaceReconstruction
206Ruyter, Nancy LeeKorčula, 2000La Meri and her work in “ethnic” danceReconstruction
207Quigley, ColinKorčula, 2000Revival, presentation and identity representation through dance in TransylvaniaReconstruction
208Sklar, DeidreKorčula, 2000“That may be the way they do it in the north, but it's not the way we do it here”: reviving the past in the indio dance of Tortugas, New MexicoReconstruction
209Stavélová, DanielaKorčula, 2000Folklorism in a changing societyReconstruction
210Von Bibra, AnneKorčula, 2000Folk dance revival in Germany during 1930-1940Reconstruction
211Chao, Chi-fangSzeged, 2002Between the dancer and the cultural performer: contemporary dance practices in Taketomi, southern OkinawaDancer as a cultural performer
212Felföldi, LászlóSzeged, 2002Considerations and problems in performer-centered folk dance researchDancer as a cultural performer
213Nor, Mohd anis mdSzeged, 2002Dancing with dance-masters: shifting roles and contexts of dance research in MalaysiaDancer as a cultural performer
214Stavélová, DanielaSzeged, 2002The dancing people - status, identity, integrityDancer as a cultural performer
215Van Zile, JudySzeged, 2002Process and artefact: concurrent preservation and change in hahoe t’alch’um, a masked dance form from South KoreaDancer as a cultural performer
216Acuña Delgado, ÁngelSzeged, 2002Dance as an analytic model for social and cultural interpretation: a case studyRe-appraising our past
217Bakka, EgilSzeged, 2002Dance paradigms: movement analysis and dance studiesRe-appraising our past
218Bonfiglioli, CarloSzeged, 2002Fighting the Diablo and keeping harmony through dance: the case of Tarahumara indiansRe-appraising our past
219Cruz Manjarrez, AdrianaSzeged, 2002Performing zapotec identity, aesthetics and religiosity in the international context of migrationRe-appraising our past
220Dąbrowska, Gražyna W.Szeged, 2002Re-appraising our past, moving into the future: research on dance and societyRe-appraising our past
221Glauser, ChristineSzeged, 2002Comparative research about dance and society from the 1930s to the present in villages of the Voi'o region, northern GreeceRe-appraising our past
222Inagaki, NorioSzeged, 2002The transmission of improvisational dance: male dance in Transylvanian villagesRe-appraising our past
223Niemčić, IvaSzeged, 2002The invisible female dancersRe-appraising our past
224Özbilgin, Mehmet ÖcalSzeged, 2002Solo dances in Turkish folk danceRe-appraising our past
225Rakočević, SelenaSzeged, 2002Serbian folk dances today: the problem of authenticity and vitalityRe-appraising our past
226Roma, JosefinaSzeged, 2002The Aragonese jota: the building of an emblemRe-appraising our past
227Ruyter, Nancy LeeSzeged, 2002Autobiographical memory and fieldworkRe-appraising our past
228Smith, StephanieSzeged, 2002Research in progress: the english country dance video documentation projectRe-appraising our past
229Staro, PlacidaSzeged, 2002“Did i give you any inspiration?” the informant becomes researcherRe-appraising our past
230Urbanavičiené, DaliaSzeged, 2002The social importance of ethnochoreography in Lithuania at the end of the 19th-beginning of the 20th centuries and todayRe-appraising our past
231Vasić, OliveraSzeged, 2002Traces of ritual dances in Serbia: lazariceRe-appraising our past
232Zebec, TvrtkoSzeged, 2002Church kermis to saint roch: contemporary folklore on the stageRe-appraising our past
233Van Zile, Judy; Šturbanova, AnnaSzeged, 2002Summary statements on symposium theme: “re-appraising our past, moving into the future: research on dance and society”Re-appraising our past
234Kaeppler, Adrienne l.Szeged, 2002An introduction to aestheticsDance and aesthetics
235Giurchescu, AncaSzeged, 2002Dance aesthetics in traditional Romanian communitiesDance and aesthetics
236Grau, AndréeSzeged, 2002Tiwi aestheticsDance and aesthetics
237Nor, Mohd Anis MdSzeged, 2002Arabesques and curvilinear perimeters in the aesthetics of maritime-malay dancesDance and aesthetics
238Sparti, BarbaraSzeged, 2002“Artistic” theory of dance in fifteenth-century ItalyDance and aesthetics
239Giurchescu, AncaSzeged, 2002Report on the fieldwork experiment in Bulgaria (2001)
240Eriksen, HeleneSzeged, 2002Personal notes on conducting fieldwork in Bulgaria
241Buckland, TheresaSzeged, 2002Personal notes on conducting fieldwork in Bulgaria
242Brocker, MarianneSzeged, 2002Roundtable on iconography
243Torp, LisbetSzeged, 2002Fortieth anniversary of the ICTM study group on ethnochoreology
244Giurchescu, AncaSzeged, 2002History of the ICTM study group on ethnochoreology
245Bloland, SunniSzeged, 2002History of the ICTM study group on ethnochoreology : personal recollections
246Kroschlova, EvaSzeged, 2002History of the ICTM study group on ethnochoreology : personal recollections
247Dabrowska, GrazynawSzeged, 2002History of the ICTM study group on ethnochoreology : personal recollections
248Lange, RoderykSzeged, 2002History of the ICTM study group on ethnochoreology : personal recollections
249Torp, LisbetSzeged, 2002History of the ICTM study group on ethnochoreology : personal recollections
250Zebec, TvrtkoSzeged, 2002History of the ICTM study group on ethnochoreology : personal recollections
251Torp, LisbetSzeged, 2002History of the ICTM study group on ethnochoreology : personal recollections
252Staro, PlacidaMonghidoro, 2004Where is the content? Meanings and symbols in danceSilence of dance
253Cutti, LuciaMonghidoro, 2004Feeling well. Dancing and behaviour rules within the groupSilence of dance
254Zacchi, MassimoMonghidoro, 2004Courtesy and ceremony: The ages of danceSilence of dance
255Backer, Mumtaz AbooMonghidoro, 2004Contemporary dance in Malaysia: issues of identity, gender and feminism in the works of women choreographersVisible and invisible dance research
256Berlin, GabrieleMonghidoro, 2004Bharata Natyam postures, martial arts techniques, and the problem of interpretating symbolic movementsVisible and invisible dance research
257Bonfiglioli, CarloMonghidoro, 2004Healing and dance: the case of the “raspa de peyote” among the Tarahumara IndiansVisible and invisible dance research
258Chao, Chi-FangMonghidoro, 2004The invisible dancer in the visible dance: an analysis of the miholol ritual of the Amis in eastern TaiwanVisible and invisible dance research
259di Mariano, MartaMonghidoro, 2004Dancing for the saint and danced by the saint: perspectives on the Saint Theodor's celebration in Sorrentini (Sicily)Visible and invisible dance research
260Giurchescu, AncaMonghidoro, 2004Symbolic communication: dancing for the living, dancing for the deadVisible and invisible dance research
261Höfling, Ana PaulaMonghidoro, 2004The hapa-haole hula girls: an analysis of this 1909 song and its hula from a feminist and post-colonialist perspectiveVisible and invisible dance research
262Ilieva, AnnaMonghidoro, 2004Invocation and lamentationVisible and invisible dance research
263Kaeppler, Adrienne L.Monghidoro, 2004Ballet, hula, and cats: dance as a discourse on globalizationVisible and invisible dance research
264Niemčić, IvaMonghidoro, 2004Miss Korčula or BulaVisible and invisible dance research
265Nor, Mohd Anis MdMonghidoro, 2004Life and hereafter: interpreting the invisible in indigenous dances in MalaysiaVisible and invisible dance research
266Pätzold, Uwe UmbertoMonghidoro, 2004When the Dampeang is over, the Luambek is over - sound as a determinant of structure within a competition of inner power based on movement in West SumatraVisible and invisible dance research
267Rakočević, SelenaMonghidoro, 2004Kolo in Vojvodina: visible and invisible structures in traditional dance practiceVisible and invisible dance research
268Singer, Allison JaneMonghidoro, 2004“Hidden treasures, hidden voices”: an ethnographic study into the use of movement and creativity in developmental work with war affected refugee children (Serbia 2001-2)Visible and invisible dance research
269Staro, PlacidaMonghidoro, 2004In chorea veritas, dance as source of knowledgeVisible and invisible dance research
270Stavělová, DanielaMonghidoro, 2004How to express the patterns of life: dance in Czech novels of the late 19th centuryVisible and invisible dance research
271Torp, JörgenMonghidoro, 2004The hidden structures of tango as an improvised danceVisible and invisible dance research
272Ünlü, Ömer BarbarosMonghidoro, 2004Abezek: a choreographic poemVisible and invisible dance research
273Urbanavičiené, DaliaMonghidoro, 2004The motive of "blindness" in folk dances and games: a link with the ancient world outlook of the BaltsVisible and invisible dance research
274Van Zile, JudyMonghidoro, 2004Not-so-hidden structures: what lies behind the movements in Kosong Ogwangdae, a masked dance-drama form of South KoreaVisible and invisible dance research
275Vasić, OliveraMonghidoro, 2004Dances in ritual processions of winter and droughty seasonsVisible and invisible dance research
276Sanders, Mary LeeMonghidoro, 2004They left us their handsVisible and invisible dance research
277Ćaleta, JoškoMonghidoro, 2004Nevijska koleda - music and movement of reconstructed/transformed ritualCrossing identity boundaries
278David, AnnMonghidoro, 2004“Performing faith”: dance in current Hindu worship in the UKCrossing identity boundaries
279Dinçer, FahriyeMonghidoro, 2004Different perspectives on the cult of fire in relation to the construction of Kurdish Alevi identity in TurkeyCrossing identity boundaries
280Felföldi, LászlóMonghidoro, 2004Biographical method in ethnochoreology autobiography of a dancerCrossing identity boundaries
281Foley, CatherineMonghidoro, 2004Negotiating boundaries in Irish step dance performance practice: Colin Dunne and Piano OneCrossing identity boundaries
282Gibert, Marie-PierreMonghidoro, 2004Dance in the construction of identities in Israel: the case of the Yeminite JewsCrossing identity boundaries
283Glauser, ChristineMonghidoro, 2004The mise en scène of the community: reading social structures through dance in the region of Siatista, northern GreeceCrossing identity boundaries
284Grau, AndréeMonghidoro, 2004Contested identities: gaining credibility as a dancerCrossing identity boundaries
285Gremlicová, DorotaMonghidoro, 2004The role of the dance/ballet master in the transfer of dances through different social environments, the Czech example of the period from the end of the 18th to the end of the 19th centuriesCrossing identity boundaries
286Hellier-Tinoco, RuthMonghidoro, 2004Embodied artefacts of the viejitos dance of Lake Patzcuaro, Michoacan, MexicoCrossing identity boundaries
287Ivanova, DanielaMonghidoro, 2004Paneurhythmy in Bulgaria: philosophical aspectsCrossing identity boundaries
288Koutsouba, Maria I.Monghidoro, 2004Looking for an academic identity : the anthropological and ethnochoreological study of dance, two sides of the same coin?Crossing identity boundaries
289Kunej, RebekaMonghidoro, 2004Identity of dances at the border: a case study from Bela Krajina regionCrossing identity boundaries
290Lanki, ColleenMonghidoro, 2004Layers of male and female: liminal space for gender in Nihon BuydCrossing identity boundaries
291Nilsson, MatsMonghidoro, 2004Polska - a dance form in our time? Some reflection and examples of polska dancing in Sweden 2004Crossing identity boundaries
292Özbilgin, Mehmet ÖcalMonghidoro, 2004Cross cultural influences on contemporary folk dances in western AnatoliaCrossing identity boundaries
293Quigley, ColinMonghidoro, 2004Scholarship, ideology and the construction of danced identities in TransylvaniaCrossing identity boundaries
294Rombou-Levidi, MaricaMonghidoro, 2004Dancing along a prohibited language: a case-study in East Macedonia - GreeceCrossing identity boundaries
295Smith, StephanieMonghidoro, 2004The dancer within: identity and imaginings in English country danceCrossing identity boundaries
296Stepputat, KendraMonghidoro, 2004Balinese Gong Kebyar dances: gender-switching as normalityCrossing identity boundaries
297Bolhassan, Dayang Mariana AbangMonghidoro, 2004Ajat Indu': an identity of the Iban cultureCrossing identity boundaries
298Glauser, Christine; , et al.Monghidoro, 2004Dance life in the diaspora by sub-study group on migrations
299Bertuzzi, ElenaCluj, 2006Différentes modalités d’utilisation de la cinéetographie Laban en éthnologie de la danseFrom field to text: translations and representations
300Dankworth, LindaCluj, 2006Embodied translations of Mallorcan dance and the influence of romantic ideology as a process in the production of cultural heritageFrom field to text: translations and representations
301Eriksen, HeleneCluj, 2006From field to practice: the embodiment of field researchFrom field to text: translations and representations
302Fügedi, JánosCluj, 2006Motivic microstructures and movement concepts of expression in traditional dancesFrom field to text: translations and representations
303Misi, GáborCluj, 2006Formal methods in form analysis of Transylvanian male solo dancesFrom field to text: translations and representations
304Ivanova, DanielaCluj, 2006The folk dance group as a cultural phenomenon in Bulgaria: the period of transition after 1989From field to text: translations and representations
305Loutzaki, IreneCluj, 2006My place in the dance (film)From field to text: translations and representations
306Moen, Ruth AnneCluj, 2006Hailing from Suldal: embodying the source materialFrom field to text: translations and representations
307Olson, Judith E.Cluj, 2006The intersection of dance structure and videotape: making a record of Hungarian táncházFrom field to text: translations and representations
308Özbilgin, Mehmet öcalCluj, 2006From field to stageFrom field to text: translations and representations
309Petac, SilvestruCluj, 2006Hora de pomană - metonymic symbol of the dead one’s weddingFrom field to text: translations and representations
310Rees, VincentCluj, 2006Bereznianka: a Ukrainian dance revival?From field to text: translations and representations
311Stavělová, DanielaCluj, 2006Word and image: representing dance in a symbolic and cultural-historical frameworkFrom field to text: translations and representations
312Știuca, Narcisa AlexandraCluj, 2006“Dancing with death” (Romanian initiation rites in post-funeral context)From field to text: translations and representations
313Vellet, JoëlleCluj, 2006Du terrain au texte: la relation chercheur-danseur comme facteur de développement de la maitrise de la danse et de son enseignementFrom field to text: translations and representations
314Bakka, EgilCluj, 2006Ideological discourse and practical priorities of the Norwegian folk dance movementDiverse fields to text: revival case studies
315Zebec, TvrtkoCluj, 2006Perceptions of the staged folk dance practice in CroatiaDiverse fields to text: revival case studies
316Smith, StephanieCluj, 2006English country dance in the United States: rooted in Englishness or purely recreation?Diverse fields to text: revival case studies
317Nilsson, MatsCluj, 2006From popular to folk -> from folk to popular: the Swedish caseDiverse fields to text: revival case studies
318Nahachewsky, AndriyCluj, 2006Comparing revival case studiesDiverse fields to text: revival case studies
319Kaeppler, Adrienne L.Cluj, 2006Ritual, theatre, and spectacle: exploring the rituals of Saint George’s DayDiverse fields to text: revival case studies
320Nor, Mohd Anis Md; Hussin, HanafiCluj, 2006Mag-igal and Igal-jin: dancing the spirits of the ancestors in the rituals of Magduwata of the Bajau Kubang in Bumbum Island, Semporna, East MalaysiaDiverse fields to text: revival case studies
321Giurchescu, AncaCluj, 2006The field as a ‘culture text’ or ‘textulising’ the field realityDiverse fields to text: revival case studies
322Özbilgin, Mehmet ÖcalCluj, 20062005 Izmir / Turkey field research from the perspective of the plannerDiverse fields to text: revival case studies
323Giurchescu, AncaCluj, 2006HidrellezDiverse fields to text: revival case studies
324Dinçer, FahriyeCluj, 2006Some observations on Tahtaci ritual movements in Akçeşme village, May 2005Diverse fields to text: revival case studies
325Rabb Aydin, JaynieCluj, 2006From field to text - DVD presentationDiverse fields to text: revival case studies
326Alge, BarbaraCluj, 2006La danga or Os Pauliteiros - different spaces of a Portuguese stick danceDance and space
327Bajić, VesnaCluj, 2006Dance in space: kolo and its cultural spaceDance and space
328David, Ann R.Cluj, 2006Dancing in the deities’ space: questions of sacredness in British Hindu dance practiceDance and space
329Johnson, Sherry A.Cluj, 2006Dancing outside the box: how Ottawa Valley Step Dancers conceive of performance spaceDance and space
330Kunej, RebekaCluj, 2006The role of space in the štajeriš danceDance and space
331Ranisavljević, ZdravkoCluj, 2006The role of space in the process of forming and shaping of dance heritage: the problem of authenticity of the dance heritage of VojvodinaDance and space
332Sparti, BarbaraCluj, 2006“Partitioning the terrain”: the importance of space in 15th-century Italian danceDance and space
333Stepputat, KendraCluj, 2006From temple courtyard to amphitheater: changes in the use of space in Balinese kecak performancesDance and space
334Van Zile, JudyCluj, 2006“Invading” space: achieving goals in a South Korean masked dance-dramaDance and space
335Vasić, OliveraCluj, 2006The interrelatedness of geographical space and danceDance and space
336Visočnik, NatašaCluj, 2006Perception of space and body, and cultural anxiety in butö performances in SloveniaDance and space
337Walsh, Kristin HarrisCluj, 2006From the kitchen to the stage: shifts in spatial usage with the re-contextualization of Newfoundland set danceDance and space
338Kaeppler, Adrienne L.Kuala Lumpur, 2008Lakalaka and Mak'yong: a story of two masterpiecesTransmitting dance as cultural heritage
339Felföldi, LászlóKuala Lumpur, 2008Formation of the legal framework for the safeguarding of intangible cultural heritage in UNESCOTransmitting dance as cultural heritage
340Grau, AndréeKuala Lumpur, 2008Intangible culture, heritage and the dreamingTransmitting dance as cultural heritage
341Bakka, EgilKuala Lumpur, 2008Intangible cultural heritage: Agency and/or critical distanceTransmitting dance as cultural heritage
342Shapiro-Phim, ToniKuala Lumpur, 2008Changing models of Cambodian classical dance pedagogyTransmitting dance as cultural heritage
343Fiskvik, Anne margreteKuala Lumpur, 2008Dance and cultural politics in Norway: a “national” rather than “royal” danceTransmitting dance as cultural heritage
344Schjønsby, Turid N.Kuala Lumpur, 2008Eurythmy in Norwegian Steiner schoolsTransmitting dance as cultural heritage
345Mæeland, SiriKuala Lumpur, 2008Vestlandsspringaren; the rise and fall of authenticityTransmitting dance as cultural heritage
346Alcedo, PatrickKuala Lumpur, 2008Narrating and constructing “authenticity” in a Philippine festivalTransmitting dance as cultural heritage
347Backer, Mumtaz begum abooKuala Lumpur, 2008Embodying heritage through performativity and the empowerment of womenTransmitting dance as cultural heritage
348Blrridge, StephanieKuala Lumpur, 2008Privileging artists’ voices: writing dance as cultural heritageTransmitting dance as cultural heritage
349Ćaleta, JoškoKuala Lumpur, 2008“Traditional” dance and music for the tourists (construction, reconstruction and invention) - a researcher's experienceTransmitting dance as cultural heritage
350Dankworth, LindaKuala Lumpur, 2008Performing culture and identity: constructing heritage through tourism and danceTransmitting dance as cultural heritage
351Dinçer, FahriyeKuala Lumpur, 2008The initial folk dance seminar in TurkeyTransmitting dance as cultural heritage
352Dunin, Elsie ivancichKuala Lumpur, 2008Village “folklore” as a touristic commodity in the Dubrovnik area, a thirty-year overviewTransmitting dance as cultural heritage
353Gonzales, JosephKuala Lumpur, 2008The gender constructions in the contemporary performance of MakyungTransmitting dance as cultural heritage
354Ivanova, DanielaKuala Lumpur, 2008Bulgarian folk dance group performance in tourist settingsTransmitting dance as cultural heritage
355Jacinto, JoelleKuala Lumpur, 2008The methods of heritagization of the national artists for dance in the PhilippinesTransmitting dance as cultural heritage
356Muliati, RozaKuala Lumpur, 2008The transmitting of Minangkabau dance: from male folk play to genderless performing artTransmitting dance as cultural heritage
357Nahachewsky, AndriyKuala Lumpur, 2008The concept of 'imputed setting' in heritage danceTransmitting dance as cultural heritage
358Niemčić, IvaKuala Lumpur, 2008Applied ethnochoreology or about invisible female dancers againTransmitting dance as cultural heritage
359Öztürkmen, ArzuKuala Lumpur, 2008Negotiating the folk, the local and the national in Turkish danceTransmitting dance as cultural heritage
360Quintero, WaylandKuala Lumpur, 2008Transmission through misrepresentation: Philippine royal court dancing and playing indigenous in New York CityTransmitting dance as cultural heritage
361Rowe, NicholasKuala Lumpur, 2008Dance appropriation and authenticity in PalestineTransmitting dance as cultural heritage
362Teodoro, MelissaKuala Lumpur, 2008The embodiment of cultural syncretism: traveling down the Rio Magdalena in search of CumbiaTransmitting dance as cultural heritage
363Tuchman-Rosta, CeliaKuala Lumpur, 2008The use of archaeology in dance reconstruction: the re-creation of “classical” movement and the use of ancient spaceTransmitting dance as cultural heritage
364Wharton, Anne von BibraKuala Lumpur, 2008Changes in the transmission of Javanese dance: a case studyTransmitting dance as cultural heritage
365Bonfiglioli, CarloKuala Lumpur, 2008Mythical personages, spiritual pathways, and ritual condition: the language of the dance in the Mexican NorthwestDance and religion
366David, Ann R.Kuala Lumpur, 2008When the body becomes the dance: issues of space, place-making and empowerment in British Hindu worshipDance and religion
367Dea, AlexKuala Lumpur, 2008Does the Queen of the South Sea like cigars?Dance and religion
368Hinz, SonjaKuala Lumpur, 2008Mysticism, sensuality, and emotion in Tajik danceDance and religion
369Nor, Mohd anis mdKuala Lumpur, 2008Playing is dancing: permissibility and legitimacy of Malay-Islamic structured movement system in the Malay world of Southeast AsiaDance and religion
370Widaryanto, Franciscus xaveriusKuala Lumpur, 2008Cross-gender and dance ritual in JavaDance and religion
371, YusfilKuala Lumpur, 2008Baluambek in the Alek Pauleh Tinggi festival of Minangkabau's SicincinDance and religion
372Zebec, TvrtkoKuala Lumpur, 2008Catholicism and dance: ritual, pleasure, bans, and moralityDance and religion
373David, Ann R.Třešť, 2010Gendered orientalism? Gazing on the male South Asian dancerDance, gender, and meanings
374Girgin Tohumcu, GoncaTřešť, 2010Comment on social learning theory of Bandura: gender roles of the Romani dance in SulukuleDance, gender, and meanings
375Melin, MatsTřešť, 2010Gendered movements in Cape Breton step dancingDance, gender, and meanings
376Nor, Mohd Anis MdTřešť, 2010Dancing women performing men: reiterating gender in Makyong’s dance of Menghadap RebabDance, gender, and meanings
377Seye, ElinaTřešť, 2010Constructions of femininity in sabar performancesDance, gender, and meanings
378Smith, Stephanie; Beer, JenniferTřešť, 2010Erasing gender in English country danceDance, gender, and meanings
379Van ede, YolandaTřešť, 2010Sounding moves: flamenco, gender, and meaning in TokyoDance, gender, and meanings
380Aktaş, GürbüzTřešť, 2010Azerbaijani folkdance from Gobustan caves to proscenium stageContemporizing traditional dance
381Dunin, Elsie ivancichTřešť, 2010Performing local folklor (dances): lindjo in Croatia and čoček in Macedonia, two case studiesContemporizing traditional dance
382Giurchescu, AncaTřešť, 2010A disputed issue: contemporizing (safeguarding) the ritual căluș (Romania)Contemporizing traditional dance
383Green, NickTřešť, 2010Dance practices in Banat: ‘contra-timp’ from the Banat mountain villages in the urban contextContemporizing traditional dance
384Ivanova-nyberg, DanielaTřešť, 2010Shopska syuita forever? Bulgarian folk stage repertoire in the U.S.A. todayContemporizing traditional dance
385Kaeppler, Adrienne l.Třešť, 2010Playing with fire: contemporizing Pele, the volcano goddessContemporizing traditional dance
386Kurtişoğlu, BelmaTřešť, 2010Performing rijetko to be a BosniakContemporizing traditional dance
387Mellish, LizTřešť, 2010Choreographic networks and dance styling in the Banat region of southwest RomaniaContemporizing traditional dance
388Nilsson, MatsTřešť, 2010Contemporizing traditional dance?Contemporizing traditional dance
389Olson, JudithTřešť, 2010Hungarian dance performance in New York/New Jersey 1958-present: changing ideas of authentic dance presentation and choreographic approachContemporizing traditional dance
390Özbilgin, Mehmet öcalTřešť, 2010Staging traditional dances under the socio-political opinion of early Turkish Republican eraContemporizing traditional dance
391Phillips, MiriamTřešť, 2010D’mba lost and found: the discovery, destruction, construction and reconstruction of Baga masked dance in traditional villages of Guinea, West AfricaContemporizing traditional dance
392Ruyter, Nancy leeTřešť, 2010Views of “authenticity" in writings about staged productions of traditional danceContemporizing traditional dance
393Saarikoski, HelenaTřešť, 2010How do values find embodiment? The Finnish case of popular dances on pavilion floorsContemporizing traditional dance
394You, JiayingTřešť, 2010Preservation and innovation in Mongolian dance in ChinaContemporizing traditional dance
395Bhriain, Orfhlaith m. níTřešť, 2010Contemporizing traditional step dance in Ireland: the impact of competition culture on contemporary Irish step danceContemporizing traditional dance
396Foley, Catherine e.Třešť, 2010Contemporizing Irish step dance within a university contextContemporizing traditional dance
397Gallaí, Breandán deTřešť, 2010A choreographic investigation of the boundaries of Irish dance: finding a new voice for Irish traditional dance post RiverdanceContemporizing traditional dance
398Gremlicová, DorotaTřešť, 2010Traditional dance as a phenomenon inside the Czech modernismContemporizing traditional dance
399Stavělová, DanielaTřešť, 2010Traditional dancing on the stage: seeking authenticityContemporizing traditional dance
400Vejvoda, ZdeněkTřešť, 2010Musician and audience: stage production and reception of Czech traditional music Contemporizing traditional dance
401Torp, JörgenTřešť, 2010Tango and other Argentinian dances as intangible cultural heritageContemporizing traditional dance
402Bakka, EgilTřešť, 2010Rise and fall of dancesContemporizing traditional dance
403Karoblis, GediminasTřešť, 2010Latin American dances: compensating modernisation effects?Contemporizing traditional dance
404Aktaş, GürbüzLimerick, 2012From a village room to a stadium semah: medium of religious expression and socio-political identityDance and place
405Bajić Stojiljković, VesnaLimerick, 2012Dance and stage: a proposal for structural analysis of space of folk dance choreographyDance and place
406Bibra Wharton, Anne vonLimerick, 2012Dance and place in the Herbstadter Plantanz: a hundred year perspectiveDance and place
407Dimopoulos, KonstantinosLimerick, 2012From human voice to musical instruments, changes in poetic and melodic identity components in the community of Vathylakkos, KarditsaDance and place
408Dunin, Elsie IvancichLimerick, 2012From Croatia to the Americas and Australia: Korčula's sword dances in diasporaDance and place
409Ede, Yolanda vanLimerick, 2012Out of hands out of feet: Japanese flamenco from studio to screenDance and place
410Gibert, Marie-PierreLimerick, 2012“Is this the place to play with the dance?”Dance and place
411Girgin-Tohumcu, GoncaLimerick, 2012Romani dance versus Romani style dancing: a case study of Turkish Thrace Romani danceDance and place
412Giurchescu, AncaLimerick, 2012Placing the dance in space: norms of the past and presentDance and place
413Green, NickLimerick, 2012Dance practices in Banat: mountain village dances in the regional city of TimișoaraDance and place
414Ivanova-Nyberg, DanielaLimerick, 2012Folk dancing abroad: Bulgarian folk dance activities in the United States todayDance and place
415Kaeppler, AdrienneLimerick, 2012From Hawaiian temples and chiefly courts to festival stages in JapanDance and place
416Katarinčić, IvanaLimerick, 2012Space and place in the danceDance and place
417Koutsouba, Maria I.Limerick, 2012Places, dances(s) and 'realities': contexts and forms of the tsamikos dance in GreeceDance and place
418Kurt Kemaloğlu, BernaLimerick, 2012From field to the stage: staged folk dance performances in Turkey and the claims about authenticityDance and place
419Kurtişoğlu, BelmaLimerick, 2012Çftetelli on artistic and social stagesDance and place
420Laukkanen, AnuLimerick, 2012Hips don't lie? Affective and kinesthetic dance ethnographyDance and place
421Nor, Mohd Anis Md; Hussin, HanafiLimerick, 2012Lariangi: dancing maiden, palace and royals of the Butonese kingdom in southeast Sulawesi, IndonesiaDance and place
422Olson, Judith E.Limerick, 2012Pursuing meaning in heritage: tanchaz and intersection of conceptual and physical spaceDance and place
423Painter, ElizabethLimerick, 2012On machismo in Cuban casinoDance and place
424Rakočević, SelenaLimerick, 2012Dance, place, and cross-cultural exchange dance practice of village Svinica (Romania)Dance and place
425Ranisavljević, ZdravkoLimerick, 2012Kolo u tri in the dance tradition of the Serbs: the case of the modern Serbian weddingDance and place
426Sarkar Munsi, UrmimalaLimerick, 2012Many faces of Purulia: festivals, performances and extremist activitiesDance and place
427Spanos, Kathleen A.Limerick, 2012Weaving music and braiding tradition: Irish step dance in the percussive dance diasporaDance and place
428Staro, PlacidaLimerick, 2012E noi ci balliamo sopra (And we dance - ourselves - over)Dance and place
429Torp, JörgenLimerick, 2012Tango placed and unplaced: a historical sketch of two centuriesDance and place
430Van Zile, JudyLimerick, 2012(Re-)placing dance in Korea: advertising with and for danceDance and place
431Zebec, TvrtkoLimerick, 2012Irish Maiden - Croatian maiden with an Irishman: Irish dancing in CroatiaDance and place
432Bakka, Egil; Karoblis, GediminasLimerick, 2012How performer-spectator relationship affects private and public place distinctionDance and place
433Dankworth, LindaLimerick, 2012The state of the festival: performing politics and cultural exchangeDance and Festival
434Dinçer, FahriyeLimerick, 2012The revitalisation process of the Calf Festival (Dana Bayram) of Aftro-Turks in IzmirDance and Festival
435Gremlicová, DorotaLimerick, 2012Graduation ball as a multifunctional festivityDance and Festival
436Kunej, RebekaLimerick, 2012Let's go to veselica, Let's go dancingDance and Festival
437Loutzaki, IreneLimerick, 2012Local communities on display: the nature and role of a cultural festival viewed through the eyes of the attendeesDance and Festival
438Mellish, LizLimerick, 2012Dance performances as part of community festivals in Timișoara, RomaniaDance and Festival
439Özbilgin, Mehmet ÖcalLimerick, 2012Association for Promoting and Protecting Turkish Folk Dances" its activities and influencesDance and Festival
440Phillips, MiriamLimerick, 2012Beauty and the beast: the San Franciso ethnic dance festival's global stageDance and Festival
441Stavělová, DanielaLimerick, 2012Traditional festivities in Bohemia: continuity and revitalisationDance and Festival
442Ünlü, Ömer BarbarosLimerick, 2012Competition on the uplands of Trabzon: dance overview of the upland festivals of the Black Sea regionDance and Festival
443Vissicaro, PeggeLimerick, 2012The emergence of creative communities: Festas Junina in Sao Paulos, BrazilDance and Festival
444Giurchescu, AncaLimerick, 2012A short history of the ICTM Study Group on Ethnochoreology
445Stavělová, DanielaLimerick, 2012ICTM Sub-Study group on Field Research Theory and Methods in Vičnov : ‘The ride of the Kings’
446Rakočević, SelenaKorčula, Croatia 2014Writing movements and music: hora de pomană in ethnochoreological / ethnomusicological narrativeDance and narratives
447Mellish, Liz; Green, NickKorčula, Croatia 2014Revisiting practices commemorating the dead through dancing in Romanian Banat villagesDance and narratives
448Gore, GeorgianaKorčula, Croatia 2014Generating dance narratives through interviewingDance and narratives
449Karoblis, GediminasKorčula, Croatia 2014Dance and communism(s): how deep does it go?Dance and narratives
450Mæland, SiriKorčula, Croatia 2014Narratives about knowledge-in-dancingDance and narratives
451Aktaş, GürbüzKorčula, Croatia 2014Wolf and Lamb (kurt-kuzu): a theatrical dance of southern TurkeyDance and narratives
452Alge, BarbaraKorčula, Croatia 2014Moors, Emboabas, and Nazaré: narratives on a horse pageant in BrazilDance and narratives
453Bajić Stojiljković, VesnaKorčula, Croatia 2014Staged folk dance in theatrical narrativesDance and narratives
454Dankworth, LindaKorčula, Croatia 2014Narrative and aesthetic representations of gender in Mallorquin danceDance and narratives
455David, Ann R.Korčula, Croatia 2014Feminine narratives of selfhood: Punjabi women's song and danceDance and narratives
456Dunin, Elsie IvancichKorčula, Croatia 2014Korčula's Moreška and its Turkish connection: shipbuilders and the bulaDance and narratives
457Foley, Catherine E.Korčula, Croatia 2014Tearmanm narrative in a folk theatrical production of Siamsa Tire, the national folk theatre of IrelandDance and narratives
458Girgin-Tohumcu, GoncaKorčula, Croatia 2014Choreographing narrative and narrated choreographies: Gypsy style dancing images in Turkish cinema in the 1960sDance and narratives
459Grau, AndréeKorčula, Croatia 2014Dance and narratives of womanhoodDance and narratives
460Gruber, CorneliaKorčula, Croatia 2014Embodied narratives: Are we still fighting, or are we dancing?Dance and narratives
461Hayashi, Lucie BurešováKorčula, Croatia 2014Dancing poetry in Japanese nō theatre movement: narratives in the choreography of HagoromoDance and narratives
462Ivanova-Nyberg, DanielaKorčula, Croatia 2014Giving a name — giving a life: Bulgarian folk choreographer speakingDance and narratives
463Karin, VesnaKorčula, Croatia 2014Dance and words: dance practice of the Serbs from Lika in BačkaDance and narratives
464Krstic, NadineKorčula, Croatia 2014Dancing through sparks, Korčula's sword dance Moreška enters the 21st century (film presentation)Dance and narratives
465Kurt Kemaloğlu, BernaKorčula, Croatia 2014A critical analysis of the narratives about the Atabari danceDance and narratives
466Kurtişoğlu, BelmaKorčula, Croatia 2014Ontological shift of what halay narratesDance and narratives
467Kurtişoğlu, BülentKorčula, Croatia 2014Hasan the bandit and the hero from Debar-DramaDance and narratives
468Loutzaki, IreneKorčula, Croatia 2014Greek traditional dance as staged performance: cultural representations and signifying practicesDance and narratives
469Moura, MargaridaKorčula, Croatia 2014Traditional dances of Madeira Island: narratives in motionDance and narratives
470Neferović, Koraljka JosipaKorčula, Croatia 2014Interweaving of narratives with the Kolo of the Bokelian MarinersDance and narratives
471Nor, Mohd Anis MdKorčula, Croatia 2014Ramayana epic: corporeal narratives in Southeast AsiaDance and narratives
472Olson, Judith E.Korčula, Croatia 2014Changing narratives of authenticity among heritage groups and folk dancersDance and narratives
473Özbilgin, Mehmet ÖcalKorčula, Croatia 2014Köroğlu knife dancesDance and narratives
474Phillips, MiriamKorčula, Croatia 2014Nostalgic narratives: paths between Kathak-Flamenco collaborationsDance and narratives
475Rowe, NicholasKorčula, Croatia 2014Post-identity applied ethnochoreology: Talking Dance narrativesDance and narratives
476Ruxandra, AnaKorčula, Croatia 2014Embodied narratives of self and otherness in competitive Latin dancingDance and narratives
477Rlyter, Nancy LeeKorčula, Croatia 2014Ethnic dance, world dance, cultural forms, or "???" (research report)Dance and narratives
478Sardelić, SaniKorčula, Croatia 2014A poem about kumpanija (a sword dance event) in Žrnovo village 1928Dance and narratives
479Schjønsby, Turid NoklebergKorčula, Croatia 2014Narratives and gesture in early modem danceDance and narratives
480Singer, Allison JaneKorčula, Croatia 2014Dancing ourselves - the personal narratives of dance: a source for healingDance and narratives
481Smith, StephanieKorčula, Croatia 2014City folk: a narrative of creating community in America through English country dance (film presentation)Dance and narratives
482Staro, PlacidaKorčula, Croatia 2014Ruggero: between poetry and danceDance and narratives
483Stavělová, DanielaKorčula, Croatia 2014Narratives as a tool for understanding the inner side of dance in a socio-cultural and political contextDance and narratives
484Tércio, DanielKorčula, Croatia 2014Narratives on the Limp's danceDance and narratives
485Vellet, JoëlleKorčula, Croatia 2014Discourse in situation: tools of acquisition of dance knowledgeDance and narratives
486Vissicaro, PeggeKorčula, Croatia 2014Narratives of difference: quadrilhas caipiras of São Paulo, BrazilDance and narratives
487Zdravkova-Djeparoska, SonjaKorčula, Croatia 2014Narrativization of Macedonian traditional dancesDance and narratives
488Ćaleta, JoškoKorčula, Croatia 2014Traditional performance and the question of ownerhship: ojkanje and silent dance on the UNESCO listsDance as intangible and tangible cultural heritage
489Katarinčić, IvanaKorčula, Croatia 2014Tango dance practices in dance schools in Croatia: the tango's, multiple identitiesDance as intangible and tangible cultural heritage
490Niemčić, IvaKorčula, Croatia 2014The internet presentation of the Intangible Cultural Heritage based on the example of sword dances in CroatiaDance as intangible and tangible cultural heritage
491Zebec, TvrtkoKorčula, Croatia 2014Reinterpreting (national) intangible heritage: how do we present ourselves?Dance as intangible and tangible cultural heritage
492Viken, SjurKorčula, Croatia 2014Accentuation of beats in asymmetrical triple meterDance as intangible and tangible cultural heritage
493Stranden, MaritKorčula, Croatia 2014Variations in traditional dancesDance as intangible and tangible cultural heritage
494Mogstad, IvarKorčula, Croatia 2014The relation of Norwegian round dances to northern European musicDance as intangible and tangible cultural heritage
495Bakka, EgilKorčula, Croatia 2014Safeguarding of the Intangible Cultural Heritage (ICH) and the role of communityDance as intangible and tangible cultural heritage
496Barčot, TonkoKorčula, Croatia 2014The Sokol movement and folk dance heritage on the island of KorčulaDance as intangible and tangible cultural heritage
497Černičková, KaterinaKorčula, Croatia 2014Nine years of distinction: Slovácký Verbuňk and folk dance heritageDance as intangible and tangible cultural heritage
498Chao, Chi-FangKorčula, Croatia 2014Local versus world culture: Intangible and Tangible Cultural Heritage on Taketomi IslandDance as intangible and tangible cultural heritage
499Felföldi, LászlóKorčula, Croatia 2014From tangible to intangible: sword dance of the Saxons in TransylvaniaDance as intangible and tangible cultural heritage
500Graeff, NinaKorčula, Croatia 2014Embodying candomblé dances: safeguarding intangible heritageDance as intangible and tangible cultural heritage
501Greenblatt, EdyKorčula, Croatia 2014Israel's successful strategies for creations and dynamic preservation of recreational Israeli dance worldwideDance as intangible and tangible cultural heritage
502Hajdić, MarijaKorčula, Croatia 2014Why and how museology represents Moreška as Intangible Cultural HeritageDance as intangible and tangible cultural heritage
503Helmersson, LinneaKorčula, Croatia 2014Dance as sin or a joy: influence of religion on safeguarding of traditional dancesDance as intangible and tangible cultural heritage
504Koutsouba, Maria I.Korčula, Croatia 2014Greek perspectives on the Intangible Cultural Heritage of danceDance as intangible and tangible cultural heritage
505Kubinowski, DariuszKorčula, Croatia 2014From fieldwork to staged reconstruction of dance traditionsDance as intangible and tangible cultural heritage
506Kunej, RebekaKorčula, Croatia 2014RZD-01 -13-0003-03: the tangible form of intangible dance cultural heritageDance as intangible and tangible cultural heritage
507Nyander, AnnaKorčula, Croatia 2014Queer dance - old tradition becomes modern gender issueDance as intangible and tangible cultural heritage
508Opetcheska-Tatarchevska, IvonaKorčula, Croatia 2014Recontextualization of traditional dance culture in MacedoniaDance as intangible and tangible cultural heritage
509Panova-Tekath, GerganaKorčula, Croatia 2014Bulgarian traditional dance as a cultural heritage between east and west: continuity and innovationDance as intangible and tangible cultural heritage
510Steppeutat, KendraKorčula, Croatia 2014Tango, the not quite Intangible Cultural HeritageDance as intangible and tangible cultural heritage
511Tuchman-Rosta, CeliaKorčula, Croatia 2014Intangible heritage in motion: classical Cambodian dance at a New Years Festival in Siem ReapDance as intangible and tangible cultural heritage
512Azzarelli, SaraKorčula, Croatia 2014Dancing across gender boundaries: queer experiences in Bharatanatyam Abhinaya
513Chanta-Martin, NatasaKorčula, Croatia 2014A language that makes you dance: appropriation of and interaction with drum language in Yorubaland
514Chen, Chiao-HsinKorčula, Croatia 2014Embodied cultural heritage: harvest ritual dancing in indigenous community Makotaay, Taiwan
515Dick, Christopher S.Korčula, Croatia 2014Movement and music: a motion capture analysis of capoeira's ginga
516Dimopoulos, KonstantinosKorčula, Croatia 2014Dance configurations/patterns in space and time: the example of communities in the zone of Agrafa, Karditsa, Greece
517Kibirige, RonaldKorčula, Croatia 2014Continuity challenges of traditional dancing in multi-ethnic Uganda: the case study of Myel Bwola
518Korzenszky, TamásKorčula, Croatia 2014Traditional Hungarian Romani/Gypsy dance practices in Transylvania to Romanian electronic pop-folk music
519Luna, Jared JonathanKorčula, Croatia 2014All Style All Stars: streetdance freestyle and competition in Manila, Philippines
520Mollenhauer, JeanetteKorčula, Croatia 2014Translated traditions: comparative study of traditional dance and music in Sydney, Australia
521Rann, ShannyKorčula, Croatia 2014Potency of dance form analysis: decoding a (secret) Tibetan Lama dance
522David, Ann R.Graz, 2016Haptic codes of desire in bollywood dance sequencesDance and the Senses
523Hayashi, LucieGraz, 2016Perception of dance from the japanese body: sixth sense of a dancer - inner touch or outer sight?Dance and the Senses
524Kapper, SilleGraz, 2016Dancers' agency and formation of bodily knowledgeDance and the Senses
525Kunej, RebekaGraz, 2016Deaf and hard of hearing dancers and the folklore dance groupDance and the Senses
526Loutzaki, IreneGraz, 2016Greek communities and bodily ways of knowing: a work in progressDance and the Senses
527Mateos morante, RebecaGraz, 2016Through the looking glass i dance: an autoethnography of the dancer's gaze during the formation of the dancing body in danza espanolaDance and the Senses
528Nahachewsky, AndriyGraz, 2016Using the eyes in ukrainian danceDance and the Senses
529Nor, Mohd Anis MdGraz, 2016Dancing the qalb: sensorial perception of sufism in zapinDance and the Senses
530Quigley, ColinGraz, 2016From proxemics to proprioception in newfoundland traditional danceDance and the Senses
531Rakočević, SelenaGraz, 2016Dance, senses, and ethnochoreological fieldwork: some deliberations of sensory stimuli while experiencing dance in the fieldDance and the Senses
532Saarikoski, HelenaGraz, 2016Dance knowledge in dancers’ stories about their learning to dance, with special reference to the “sense of rhythm”Dance and the Senses
533Smith, RoriGraz, 2016Beneath the cultural body: sensory experience in continuum movement practiceDance and the Senses
534Varga, SándorGraz, 2016Use of space in the dance-house in the mezőség regionDance and the Senses
535Foley, Catherine E.Graz, 2016Steps, style and sensing the difference: an examination of Molyneaux's traditional set dances within competition cultureDance and the Senses
536Gallai, Breandán deGraz, 2016Making sense of the dance: contemporary Irish dance productionDance and the Senses
537Quintero, Wayland; Eriksen, HeleneGraz, 2016Summary - dance and the sensesDance and the Senses
538Al obeidyine, JanaGraz, 2016Re-educating the senses: exploring the role of Argentine tango in reshaping the sensory disposition of non-Argentinian urban practitionersDancing and Dance cultures in Urban Contexts
539Ćaleta, Joško; Zebec, TvrtkoGraz, 2016Urban context for rural music and dance patterns: a Croatian case studyDancing and Dance cultures in Urban Contexts
540Helmersson, LinneaGraz, 2016In the middle of modernisation - the dance heritage and the enthusiastsDancing and Dance cultures in Urban Contexts
541Inoue, AtsukiGraz, 2016The separation of dance and music in contemporary Japan: an inquiry into the standardization of ballroom danceDancing and Dance cultures in Urban Contexts
542Kaeppler, Adrienne L.Graz, 2016Two Tongan dance forms in modern contextsDancing and Dance cultures in Urban Contexts
543Koutsouba, Maria I.Graz, 2016For the syrtaki dance once more: cosmopolitanism, globalization and urbanization in continuumDancing and Dance cultures in Urban Contexts
544Staro, PlacidaGraz, 2016Altrove e altrimenti: la danza delle “anime perse”. Elsewhere and otherwise, in another way, in another time and in another place: the dance of the wandering soulsDancing and Dance cultures in Urban Contexts
545Stepputat, KendraGraz, 2016Tango journeys - going on a pilgrimage to Buenos AiresDancing and Dance cultures in Urban Contexts
546Torp, JörgenGraz, 2016Underlining differences: (urban) "popular" vs. (rural) "folk"Dancing and Dance cultures in Urban Contexts
547Kratochvíl, MatějGraz, 2016Bubble moving through the streets: music at the urban carnivalDancing and Dance cultures in Urban Contexts
548Stavělová, DanielaGraz, 2016Negotiating the place for a danceDancing and Dance cultures in Urban Contexts
549Černíčková, KaterinaGraz, 2016Private dialog with the public space: role of personality in dance repertory processDancing and Dance cultures in Urban Contexts
550Green, NickGraz, 2016Social dancers in balkan folk dance performance: communities, traditions and sensory concepts?Dancing and Dance cultures in Urban Contexts
551Ivanova-nyberg, DanielaGraz, 2016Bulgarian dance in seattle: field studies among the international folk dance community in greater seattleDancing and Dance cultures in Urban Contexts
552Mellish, LizGraz, 2016Dancing the balkans in the UK: being a little balkan in London, Manchester, EdinburghDancing and Dance cultures in Urban Contexts
553Antzaka, Lily; Seye, ElinaGraz, 2016Summary - dancing and dance cultures in urban contextsDancing and Dance cultures in Urban Contexts
554Seye, ElinaGraz, 2016In a lion's clothes: DVD presentation
555Bibra wharton, Anne vonGraz, 2016Sajojo and poco-poco: two “community” dances in Indonesia
556Čurda, BarbaraGraz, 2016Establishing lineages through discursive and choreographic practices: Odissi dancers' references to Mahari & Gotipua dances
557De rosa, SinibaldoGraz, 2016Looking at the alevi-bektaşi semah through kinetography laban
558Dick, Christopher S.Graz, 2016Digital movement: an overview of computer-aided analysis of human motion
559Fountzoulas, Giorgos K.Graz, 2016Dance and politics: the case of the gaitanaki ritual in the communities of Skala and Daphne Nafpaktia in the Greek prefecture of Aitoloakarnania
560Gayraud, Elise G. M.Graz, 2016Made in Britain: dance traditions travelling in a globalising world
561Mollenhauer, JeanetteGraz, 2016Transnational sensescapes: deploying the senses in the diaspora
562O brien, JulietteGraz, 2016The global salsa matrix
563Urbanavičiené, DaliaGraz, 2016Lithuanian traditional dance: foreign and native, from rural to urban
564Charitonidis, CharitonGraz, 2016The “re-urbanization” of an expatriated dance culture. the Greek dance-house in Hungary
565Dimopoulos, KonstantinosGraz, 2016Rural dances under the prism of the “urban framework”: the example of the movie to homa vaftike kokkino"
566Dulin, CatherineGraz, 2016The evolution of the waltz in vienna: a socio-cultural analysis of the dancing embrace

ICTM study group on music and dance in southeastern Europe publications

This is a list of the academic articles published following the symposia of the ICTM Study Group on Music and Dance in Southeastern Europe. Those who know us will know that we keep everything databased and indexed! We are not aware this reference information is available elsewhere, so I have posted our data files here. Please note there could be OCR errors, particularly in the special characters.


1Hofman, Ana2008 StrugaSounding transition: musical practices as everyday experience in post-socialist Serbiagovernment policies, patronage and censorship
2Eken Küçükaksoy, Fikret Merve2008 StrugaRevival of tradition in a new compositiontradition-transition-revival
3Tohumcu, Ahmed2008 StrugaThe identical change of tavernatradition-transition-revival
4Kostić-Marković, Branka2008 StrugaEthnomusicological data - stricto sensu et largo sensumedia
5Girgin Tohumcu, Zeynep Gonca2008 StrugaChoreography of kinetic revivaltradition-transition-revival
6Rakočević, Selena2008 StrugaBanatian dancing through the 20th centurytradition-transition-revival
7Mellish , Liz; Green, Nick2008 StrugaPerforming tradition through transition in Romania: folk ensemble performances at Festivalul Inimilor, Timișoara, Romaniatradition-transition-revival
8Christensen, Dieter2008 StrugaAgents of change. a village in Hercegovina, 1957-1974tradition-transition-revival
9Hemetek, Ursula2008 StrugaMusical representations of the balkans in Viennatradition-transition-revival
10Ilić, Danijela2008 StrugaThe assimilation of the folk elements and diferent cultures and mentalities in the I suite of the bailey “Ohrid legend” from Stevan Iiristicmusicology
11Dumnić, Marija2008 StrugaDance in cinema movies of Emir Kusturicatradition-transition-revival
12Kovačić, Mojca2008 StrugaThe music of the others or the music of the ours: balkan music among Slovenestradition-transition-revival
13Özbilen, Berna2008 StrugaFirst Ottoman - Turkish popular music kanto: transition from traditional to modern kanto periodtradition-transition-revival
14Hunt, Yvonne2008 StrugaCrossing the border: the case of the zurnaci-tapan ensembles of Bulgaria and the daoulia of the serres prefecture of Greecetradition-transition-revival
15Kurtişoğlu, Belma2008 StrugaA guslar in Istanbul to keep the traditions alivetradition-transition-revival
16Marković, Mladen2008 StrugaEthnoorganology - friend or foe?tradition-transition-revival
17Ivanova, Daniela2008 StrugaHoro se vie, izviva (observation on “horo se vie, izviva” festivalcompeting in dancing and on the activities of the new-born clubs for traditional dances in Bulgaria)tradition-transition-revival
18Balandina, Alexandra2008 StrugaThe youth open festival in Kumanovo, Macedonia: a proposal for inter-ethnic piece cooperationtradition-transition-revival
19Peycheva, Lozanka2008 StrugaStudio ethno: a radio show from Bulgaria about the global pulsations of the local musicmedia
20Dimov, Ventsislav2008 StrugaRoma musicians in the media music from Bulgaria after 1989media
21Dunin, Elsie Ivancich2008 StrugaThe “cloning” of cocek in Macedonia: an example in the role of media afecting globalization as well as localization of belly dancingmedia
22Vlaeva, Ivanka2008 StrugaMusic in northeastern Bulgaria in 1950s and 1960sgovernment policies, patronage and censorship
23Koço, Eno2008 StrugaThe preservation of an ancient tradition in the Arberesh ecclesiastical and secular musical practicegovernment policies, patronage and censorship
24Velichkovska, Rodna2008 StrugaThe integrative function of the rite singing in Macedoniamusicology
25Vasić, Olivera2008 StrugaInventing tradition: on the example of padalice from northeastern Serbiatradition-transition-revival
26Özbilgin, Mehmet Öcal2008 StrugaGovernment censorship and the impact on traditional dance and music performance in Bergama, Turkeygovernment policies
27Özdinçer, Ferruh2008 StrugaHora and karsilama dances in Edirne regiontradition-transition-revival
28Christensen, Dieter2010 İzmirThe ICTM and 'the Europeans': globalism in theory, nationalism in research practice, and the role of our Study Group
29Ahmedaja, Ardian2010 İzmirThe role of the researchers and artists in public presentations of local music and dance in Albaniapublic presentations affect perceptions and practices
30Aydın , Jaynie; Aydın, Emir Cenk2010 İzmirThe folk essence of modern Turkish belly dance: a DVD presentationpublic presentations affect perceptions and practices
31Dunin, Elsie Ivancich2010 İzmirRomani dance and music programming on Macedonian national television (1997-2007)public presentations affect perceptions and practices
32Friedman, Victor A.2010 İzmirPresentations, perceptions, and practices of chalgija music in the Republic of Macedoniapublic presentations affect perceptions and practices
33Girgin Tohumcu, Gonca2010 İzmirFrom a cultural performance to an art production: Romani/Gypsy dancing bodiespublic presentations affect perceptions and practices
34Giurchescu , Anca; Radulescu, Speranta2010 İzmirMusic and dance of pan-Balkan (and Mediterranean) fusion: the case of the Romanian maneapublic presentations affect perceptions and practices
35Green , Nick; Mellish, Liz2010 İzmirPublic presentations, regional perceptions and dance learning processes in 21st century Romanian Banatpublic presentations affect perceptions and practices
36MacMillen, Ian2010 İzmirTamburasi of the Balkanized peninsula: public concerts as international and interethnic connections in Croatia and its intimatespublic presentations affect perceptions and practices
37Niemčić, Iva; Ćaleta, Joško2010 İzmirPublic practice versus personal narratives - the example of music and dance traditions of Boka Kotorskapublic presentations affect perceptions and practices
38Opetcheska Tatarchevska, Ivona2010 İzmir“The idea behind our folk dances” - public narratives about folk dances in Macedoniapublic presentations affect perceptions and practices
39Primorac, Jaksa2010 İzmir“Microtonal klapa” - northern Adriatic kanat singing versus Dalmatian klapa singingpublic presentations affect perceptions and practices
40Ranisavljević, Zdravko2010 İzmirStage performance and process of “nationalization” of the traditional dance patterns: the case of kolo u tri in the repertoire of the Serbian national ensemble ”Kolo”public presentations affect perceptions and practices
41Šivić, Urš2010 İzmirThe double identity of traditional musicians - the case of Slovenian vocal-instrumental group from Loka-Rosnjapublic presentations affect perceptions and practices
42Sugarman, Jane C.2010 İzmirLife and art: folklore videos and community identity in the Prespa Albanian diasporapublic presentations affect perceptions and practices
43Tohumcu, Ahmed2010 İzmirA metamorphosis story: semapublic presentations affect perceptions and practices
44Tschernokoshewa, Elka2010 İzmirHow does Balkan music form life in Germany: some methodological and theoretical considerationspublic presentations affect perceptions and practices
45Velickovska, Rodna2010 İzmirPublic presentation of the traditional harvest custom and singing in the Republic of Macedoniapublic presentations affect perceptions and practices
46Vlaeva, Ivanka2010 İzmirStrategy of the international folk festivals in Bulgaria in the last two decadespublic presentations affect perceptions and practices
47Blagojević, Gordana2010 İzmirFrom media to the street and vice versa: hip-hop dance in Belgrade todayeducational systems
48Dimov, Ventsislav2010 İzmirImages of Balkan musical traditions in music textbooks from Bulgariaeducational systems
49Doğuş Varlı, Özlem2010 İzmirThe process of educating and learning music and dance from the rural area to the city: while going from Trabzon to northern Cyprus, from Afyon to Istanbuleducational systems
50Harizanov, Gueorgui2010 İzmirLearning, mastering and teaching traditional musiceducational systems
51Kurtişoğlu, Belma2010 İzmirTeferic: educational system of musical and dance experienceseducational systems
52Özbilgin, Mehmet Öcal2010 İzmirDavul galdirma tradition in Akfaalan village, Gediz county, Kutahya: an example of the teaching and learning process for traditional dances in the rural areaeducational systems
53Özdinçer, Ferruh2010 İzmirMethods used in folk dance education in Turkeyeducational systems
54Panova-Tekath, Gergana2010 İzmirTeaching Bulgarian folk dances to amateur and professional dancers from Bulgaria and Germanyeducational systems
55Peycheva, Lozanka2010 İzmirDifferent educational systems for transmission of folk music in Bulgariaeducational systems
56Rodel Hristova, Angela2010 İzmirFar from black and white: the role of the piano in Bulgarian folk singing pedagogyeducational systems
57Sümbül, Muzaffer2010 İzmirA general view to staging process of Turkish folk dance of Adana provinces from People's Houses (Halkevleri) to nowadayseducational systems
58Talam , Jasmina; Karača-Beljak, Tamara2010 İzmirNew Bosnian ethnomusicology: perspectives and challengeseducational systems
59Toksoy, Atilla Coşkun2010 İzmirAn “elementary” outlook on folk dances training in elementary schoolseducational systems
60Zakić, Mirjana; Rakočević, Selena2010 İzmirInstitutionalizing traditional music and dance: a case study of post-Yugoslav Serbiaeducational systems
61Zdravkova-Dzeparoska, Sonja2010 İzmirMethods of dance educationeducational systems
62Açıkdeniz, Banu2010 İzmirNationalizing folk dance in Turkey and Greece: a historical review of zeybek and zeibekiko
63Altınay, F. Reyhan2010 İzmirFunctionality of traditional music and dance, revival of cultural identity: in the context of immigrants, religious and traditional communities in Izmir
64Çolakoğlu, Gözde2010 İzmirThe symbolic triangle of the island of Crete: lyra, lute and dance
65Giorgoudes, Panikos2010 İzmirCyprus music: the case of
66Križnar, Franc2010 İzmirTrombonist, composer and conductor Vinko Globokar: an artist and/or a provoker?
67Özgül Turgay, Nesibe2010 İzmirImmigrant songs from both sides of the Aegean
68Pekşen, Gani2010 İzmirSchool of hard knocks carried on with oral tradition: mekteb-i irfan (school of wisdom)
69Yaltirık, Hüseyin2010 İzmirA study of two folk dances depicting seasonal transition performed by western Anatolian Yoruks in the context of imitation
70Ceribašić, Naila2012 BerovoThe status of “tradition” in Croatian ethnomusicology, and the issue of ”going pidgin” ethnomusicologyterminology and theoretical approaches
71Friedman, Victor A.2012 BerovoMusical terminology and the Balkan Linguistic Leagueterminology and theoretical approaches
72Gerazov, Branislav; Velichkovska, Rodna2012 BerovoRural singing parallels: comparison of formant shift in Macedonian and Bulgarian rural singing - first stepsterminology and theoretical approaches
73Golemović, Dimitrije O.2012 BerovoNaming in Serbian folk singingterminology and theoretical approaches
74Green, Nick2012 BerovoA consideration of structural analysis methodology in context of southeast European dance: Brâul bătrân, an example from Romanian Banatterminology and theoretical approaches
75Peycheva, Lozanka2012 BerovoWhat is folk music: examples from Bulgariaterminology and theoretical approaches
76Ranisavljević, Zdravko2012 BerovoWhose dance is kolo? Kolo in the dance traditions of the Serbs, Bosniaks, and Roms from Serbia and Bosnia and Herzegovinaterminology and theoretical approaches
77Stojkova Serafimovska, Velika2012 BerovoThe term “voice” - social and/or music expression in ritualistic traditions (Macedonian case)terminology and theoretical approaches
78Yamaner Okdan, Hale2012 BerovoThe terminology problem of Turkish traditional dance training in conservatoriesterminology and theoretical approaches
79Akat, Abdullah2012 BerovoThe structural changes in the process of adaptation of Black Sea kemenche to the changing conceptions on performanceintercultural communication
80Aydın, Emir Cenk; Aydın, Jaynie2012 BerovoA zeybek wedding: the performance of music, dance, and customary wedding traditions in a modern village in Aydin, Turkeyintercultural communication
81Beissinger, Margaret H.2012 BerovoSocial dance and traditional weddings in pre- and post-1990 southern Romaniaintercultural communication
82Blagojević, Gordana2012 BerovoDance as an emigrant: intercultural communication by salsa in Belgradeintercultural communication
83Christensen, Dieter2012 BerovoConflict and expressive behavior: observations of a cultural musicologist in a Macedonian village, 1956intercultural communication
84Dimov, Ventsislav2012 BerovoPan-Balkan musical practices in the field of recorded ethnomusic: the role of Romani music and musiciansintercultural communication
85Dunin, Elsie Ivancich2012 BerovoRomani weddings in Macedonia and migrant family contextsintercultural communication
86Efthymiou, Lampros2012 BerovoMulticulturalism in Greek Thrace: Pomaks, native Greeks and Gagauz sing a pan-Balkan mythintercultural communication
87Giurchescu, Anca2012 BerovoContinuity and discontinuities in traditional danceintercultural communication
88Ivanova-Nyberg, Daniela2012 BerovoThe South Slavic Club of the North American Midwest: Zivio Folk Dance Group repertoire todayintercultural communication
89Kurtişoğlu, Bülent; Kurtişoğlu, Belma2012 BerovoHidden Latin in Thrace: Notyalilarintercultural communication
90Margaritova, Rumiana2012 BerovoSaz across the border: maintenance of Turkish traditional practice in Bulgariaintercultural communication
91Mellish, Liz2012 BerovoDancing ethnicity: a case study of Festivalul Etnilor, Timisoaraintercultural communication
92Niemčić, Iva2012 BerovoThe portraits of professional female dancersintercultural communication
93Njaradi, Dunja2012 BerovoShe is belly dancing but what is he doing? Čoček dance in the social poetics of Balkan societiesintercultural communication
94Özbilgin, Mehmet Öcal2012 BerovoThe effects of migrations on traditional dances between southeastern Europe and Anatoliaintercultural communication
95Özdinçer, Ferruh2012 BerovoTraditional folk dances of the exchanged people who came to Sel9uk from Greeceintercultural communication
96Panova-Tekath, Gergana2012 BerovoEurope - one and for all: intercultural communication through Bulgarian traditional dancesintercultural communication
97Radulescu, Speranta2012 BerovoPreserving traditions as a way of rejecting a social order perceived as oppressiveintercultural communication
98Sençerman, Șebnem2012 BerovoMusic and dance of imagined ancestors in (re)constructing Afro-Turkish collective identity: observations from the revived calf festival in izmir, Turkeyintercultural communication
99Sharif, Malik2012 BerovoPerforming (against) the Balkansintercultural communication
100Sönmez , Onur2012 BerovoNegotiating authenticity in terms of pragmatic meaning: ülkücü (idealist) pop in Turkeyintercultural communication
101Šorak, Marija2012 BerovoThe instrumental practice of ćemane player Stojan Stojanović: the life of one marginalized traditionintercultural communication
102Unlu, Omer Barbaros2012 BerovoA henna night in Batman in the context of politics, popular culture, and danceintercultural communication
103Vlaeva , Ivanka2012 BerovoThe puzzle of music plurality in Bulgaria according to the music archivesintercultural communication
104Vukobratović, Jelka2012 BerovoThe new paths and travels of ojkanje singingintercultural communication
105Wilson, Dave2012 BerovoTeskoto and national sentiment in Macedonia: ascribing meaning, experiencing traditionintercultural communication
106Zdravkova Djeparoska, Sonja2012 BerovoCulture, boundaries and their implementation in the field of danceintercultural communication
107Nenić, Iva2012 BerovoA longing for the other: interculturality in (post) traditional and world music scene of Serbia
108Zakić, Mirjana2012 BerovoIntercultural communication and multicultural context: the place of the kaval in Serbian musical practice
109Rakočević, Selena2012 BerovoInterpreting culturality: dance practice of Svinica village
110Girgin-Tohumcu, Gonca2012 BerovoCommunicator behind the screen: Karagöz Shadow Play
111Tohumcu, Ahmed; Eken- Küçükaksoy, Merve2012 BerovoThe sound of identity: music in Karagöz Shadow Play
112Ziegler, Susanne; Primorac , Jakša2012 BerovoThe multiethnic face of balkan music in historical recordings
113Opetcheska-Tatarchevska, Ivona; Ahmedaja, Ardian2012 BerovoThe multiethnic face of balkan music in historical recordings
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115Green, Nick2014 PetnicaCommunity chain dances in Banat: uniformity or variability, is this about the group or the individual?improvisation
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117Katsanevaki, Athena2014 PetnicaIs “traditional” improvised? “East” and “West” and the improvised traditions in Greeceimprovisation
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119Kuzman, Aleksandra2014 PetnicaSome aspects of the solo instrumental improvisations in Macedonian Chalgia musicimprovisation
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122Petac, Silvestru2014 PetnicaVariation as a form of improvisation in dance texts of Căluș. Case studies: Căluș from Izvoarele, Oltimprovisation
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124Radulescu, Speranta2014 PetnicaImprovisation and one of its motifs: comments on a Romanian caseimprovisation
125Stojisavljević, Miroslav2014 PetnicaImprovisation in Serbian music: the concept of improvisation through historyimprovisation
126Tohumcu, Ahmed2014 PetnicaImprovisational dynamics of sacred music genres in Turkeyimprovisation
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130Ceribašićc, Naila2014 PetnicaHeritage music and professionalization - some examples from Croatiaprofessionalisation
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132Dumnic, Marija2014 PetnicaThe establishing of a professional folk orchestra in the interwar period in Belgradeprofessionalisation
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136Kurtişoğlu, Bülent2014 PetnicaProfessionalism process of Turkish folk dancesprofessionalisation
137Mellish, Liz2014 PetnicaProfessionalism of Romanian ensemble dancers: performances and presentationprofessionalisation
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139Petkovski, Filip2014 PetnicaProfessional folk dance ensembles in Eastern Europe and the presentation of folk dance on stageprofessionalisation
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146Krasin, Maja2014 PetnicaProfessional or non-professional players on traditional instruments in Serbia: a case study of the Kavalprofessionalisation
147Ćaleta, Joško2014 PetnicaConstruction and reconstruction of Croatian traditional “voice” through performances of the professional croatian national folk dance ensemble Ladoprofessionalisation
148Stojkova Serafimovska, Velika2014 PetnicaThe role of professionals in building the music repertoare in the State Ensemble of folk dances and songs of Macedonia “Tanec”professionalisation
149Niemčić, Iva2014 PetnicaFrom trainees to professional dancers: the case of the professional ensemble of folk dances and songs of Croatia “Lado”professionalisation
150Opetcheska-Tatarchevska, Ivona2014 PetnicaThe influence of the national ensemble of dances and songs “Tanec” in the process of dissemination of the dance knowledge in the Republic of Macedoniaprofessionalisation
151Dimov, Ventsislav2014 PetnicaResearch on the Balkan music in Cyberiainter/postdisciplinarity
152Hnaraki , Maria; Aligizakis , Agisilaos2014 PetnicaMoving bodies and souls: Cretan dancing your way to physical, social and emotional fitnessinter/postdisciplinarity
153Kurtişoğlu, Belma2014 PetnicaEthnomethodology in the use of ethnomusicology and ethnochoreologyinter/postdisciplinarity
154Njaradi, Djunja2014 PetnicaMore than meets the eye: re-thinking movement in dance anthropology and dance studiesinter/postdisciplinarity
155Rakočević, Selena2014 PetnicaIs ethnochoreology an interdicipline? Some conceptual and methodological issues in dance and music researchinter/postdisciplinarity
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159Zakić , Mirjana2014 PetnicaIn search for ethnomusicological semiotics: models and tendencies
160Nenić, Iva2014 PetnicaEnvisioning ethnomusicological praxis: theory, action-intervention and situated knowledge
161Peycheva, Lozanka2016 BlagoevgradSound syntax of masquerade games in Bulgariamyth and ritual
162Dimov, Ventsislav2016 BlagoevgradBalkan music and media mythsmyth and ritual
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166Markoff, Irene2016 BlagoevgradVeneration of Bektashi and Baba’i Saints in Bulgaria through Nefesler and local lore: demystifying the intersection of legends, history, and mystical poetrymyth and ritual
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170Petrović, Ana2016 BlagoevgradContemporary ritual behaviour of Serbs in the village of Boljare on the Pester plateau (case study of the celebration of St. Peter’s day)myth and ritual
171Efthymiou, Lampros2016 BlagoevgradThe song “The bridge of Arta” in the ritual dance of Easter: the case of Papadates communitymyth and ritual
172Bólya, Anna Maria2016 BlagoevgradTwo ritual dances in the Macedonian folklore: Djolomarsko oro and Epiphany oro - connection to the layers of folk belief systemmyth and ritual
173Stojkova Serafimovska, Velika2016 BlagoevgradRituals and context - changes and continuity in two winter rituals in the Republic of Macedoniamyth and ritual
174Ćaleta, Joško2016 Blagoevgrad(Traditional) music in Carnival traditions - experience of repetitive symbols and open meaning procedures in contemporary Bell ringer’s processionsmyth and ritual
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188Petrova, Angelina2016 BlagoevgradEmigration and intercultural symbols by Bulgarian composers after 1989post-1989
189Angelov, Goranco2016 BlagoevgradTraditional musical instruments used in strengthening the national identity of the Macedonian people since 1989post-1989
190Petkovski , Filip2016 BlagoevgradUNESCO and the notion of “staged rituals”: the case with the National Folk Dance Ensemble of Croatia “Lado”post-1989
191Rice, Timothy2016 BlagoevgradFilm as a medium for conveying theory: the case of “May It Fill Your Soul”audiovisual ethnographies
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195Küçük, İdris Ersan2016 BlagoevgradPreparation and usage of audiovisual ethnographic dance recordings as “educational material” in Turkeyaudiovisual ethnographies
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Meter in dance and music


This blog note explains the way I (as a partially competent musician) have rationalised the concept of ‘meter’ from the perspective of dancing (at which I am more competent).

The problem to somehow mediate between a dance concept and the established de facto western classical musical understanding of ‘meter’. From the dance perspective the ‘meter’ relates to sensing and moving to the music, but this is different between genres, cultures and contexts. In conventional musical theory there are a number of beats in a repeating structure (the measure) where the time duration of beats are equal. Each beat can be sub-divided by factors of 2 (but also by a factor of 3 in “compound” time). This give a metronomic basis to music where there is a constant ‘clock’ rate (taking the terminology of digital electronics) from which the beats and measures are derived.

In the European traditional dancing context ‘steps’ (actions involving contact of the foot on the ground) are connected to rhythm and are dominant in the concept of dancing. The issue of non-equal and asymmetric beat durations is common throughout Europe, almost as if it should be the norm. But it is also a norm to notate the music and dance for simplicity in the assumption that the musician knows how to interpret this. Examples such as Scandinavian polska in 3/4, Irish hornpipes in either straight or “dotted” quavers, Romanian Soroc (Ardeleana) in binary time signatures, Serbian Žikino kolo in 3/4, Bulgarian Eleno Mome in 7/8.

How I use meter with regard to dance structure

On our website ( we use the ‘dance counts’ to group dances into types and families rather than the musical notated meter.

The ‘meter’ comprises the dancer ‘counts’, it is the dance ‘count’ for steps that is important, rather than a meter derived from musical notation. These counts may all be ‘equal’ length or ‘asymmetric’ counts, but even is a simple time signature we are well aware that dance ‘groove’ twists the rhythm. One could suggest that totally equal lengths of counts and beats is a rare ideal.

For example a Transylvanian Învârtita (which might be notated in 7/8 (3+2+2) or 10/16 (4+3+3), but might be closer to <2+2+3+>3) is clearly danceable in 4 counts (steps). I say 4 counts as the melodies or dance can be transformed directly into the binary version called Hățegul or Bătuta.

Whereas, for example, versions of the Banat Brâu or Serbian Žikino kolo are often notated in 7/16 or 3/4 respectively, however these dances are clearly in 3 counts and musically close to a 10/16 (4+3+3), but the long beat is not divisible into two dance counts preventing one from, say, dancing an Învârtita to any of these. (see site)

The ratio of count lengths is very important for dancing, but can also vary between versions of the same generic dance. For example, a 4 count Șchioapa might be written in 9/8 (2+2+2+3) but this is the same generic dance as Hodoroaga generally written in 5/4 (2+2+2+2+4), and not linked in any way to the 2 count dances Rustem and Paidușca written in in 5/16. As the American folk dance expert Dick Crum says about the dance Rustem,

Written notations of Rustem tunes vary in their time signatures (2/4, 3/8, 6/8, 5/16), showing attempts to put on paper one of the distinguishing features of Rustem dances – an elusive “quick-slow” rhythm is which the ratio of quick-to-slow varies from one musician to another, from one village to another, etc.

Dick Crum[1]

The subtleties of timing for a particular genre are learned through life, so that those listening can easily tell if the music is not played by musicians from their native region. This is even more of an issue for ‘good’ dancers who know how to time their muscular impulses for jumps, hops and elevations precisely in order to use gravity and maintain a perfect timing to the music.

From a musician’s perspective the dance counts mostly include more than one note, so for the musician there is some necessary sub-division of the dance counts, maintaining the dancers groove, but traditionally these subdivisions may not be equally divided either. I like to think of it as a variable clock rate that repeats through each measure of music, this also being the case for the pauses and hesitations in many dances.

Other references …

In this case, it’s not the dancers that are weird, but the musician: pulse is a sensation. It’s a sensation for dancers and musicians. […] Real metre as perception can’t be fixed, because it’s dependent on tempo and what you’re doing to the music.

Still 2009[2]

I have always rationalised the ‘meter’ and ‘groove’ in this way since I started playing music for folk dancers (this did not help in my classical music exams!), but it seemed that no one else also thought the same way, so it is good to now find that others have published similar ideas.

Jonathon Still, a pianist who accompanies ballet classes, has many blog posts on rhythm, music and dance in the context of ballet. He validly points out that it is all about sensation[2].

Metric skills allow us to hear these subtle variations in timing as characteristic of meters in various styles, genres, and even particular performers. Thus, our knowledge of meter (a kind of procedural knowledge) involves not a few basic patterns, but a large number of context-specific, expressively-nuanced tempo-metrical types. This is the many meters hypothesis. (REF)

London 2004 [3]

Justin London discusses entrainment (synchronisation of rhythm) in perception and cognition with musical rhythms. The abstract to his chapter “The Many Meters Hypothesis” quoted below needs no further explanation. Particularly interesting in the context of Balkan rhythms is his paper of on fast tempi 2+3 and 2+2+3 meters (Paidusho and Rachenitsa in Bulgarian dance context) although he used western trained rather than Bulgarian trained musicians for his experiments[4].

However, connotations of metric organization that accompany time signatures in the literature are not always part of current performers’ conceptions. (Goldberg, 2020) page 89

Goldberg 2020:89[5]

Daniel Goldberg has written a detailed article on the meter for the Bulgarian dance Eleno mome (Elenino mome) (Goldberg, 2020) concluding that 7/8 is a close approximation. But dancers and musicians know this dance does not conform to the strict concept of beat durations of 2 and 3 in Bulgarian traditional music as it is taught. If one tries to notate the beat ratios using a constant clock rate it is clear that it is a bit short of a 7/8 so another approximation used is often 13/16, however this loses sight of that the ‘feel’ and the ‘pulse’ is slow-slow-quick-slow, even if the actual beat lengths are not exactly 2+2+1+2.

Returning to the Romanian Învârtita, Steve Kotansky a folk dance teacher in US, said for the Romanian Fecioresca men’s dance and Învârtita,

It is generally syncopated and often difficult to ascribe to a particular meter. It is therefore preferable to think of it in terms of dancer’s beats or accents. The basic breakdown of beat is 3: Long-short-short (or slow-quick-quick), but this can be further broken up.


Although my view is that it is better to think of this as 4 counts, as explained above, Kotansky has combined the first two into a ‘long’ in his perception.

What is the place for notation in analysis?


We have to think about why we are using notation and does it contribute to analysis. The wonder of the various mathematical notations is that they enable abstract logical deduction. Something that is not possible with say Roman numerals, written language or graphical dance notations. In the later there are methods to re-codify as a means of looking for particular information, I termed this ‘re-codify’ as the parameter information was available before transcription and could have been taken directly for alternative analysis. For logical analysis it remains that the parameters of interest have to be isolated and presented in a form that allows for a structural, statistical, mathematical or other form of analysis.

The method of transcription is just a way to interpret the timeline of information to be able to read it back. This leads to the two main reasons for writing a transcriptions.

Firstly to help remember a dance – for dancers and teachers.

Secondly, to communicate as an accessible written visualisation to readers within discussions about dance.

Labanotation example

Labanotation example

Romanotation example

Romanotation example

Many experienced dancers will remember the dance and be able to explain an analytical breakdown of the parts, motifs and elements without any reference to a transcription. Where communication is within a genre, a system optimised for that genre is most often used, for example Romanotation in Romanian traditional dance, or minimal descriptions of actions for English dance figures, and where the communication is across genres (such as in academia) a “universal” system is used, most commonly Labanotation.

It is impossible to notate everything necessary to reproduce dancing; the rules, the association between various bodily movements that the mind treats as one, the association to the music, the spatial form, let alone the complete body movement. So any system can only summarise the key parameters that matter to the insider. The insider may well have a different perspective to dancing to an outsider observing the movements.

Notation comparison table

Notation comparison table

I presented a comparison between one Romanian centric notation system and the international (and “universal”) Laban system to show how the Romanian system is optimised to show primarily the parameters that matter for Romanian traditional chain dances, but in doing this many features primary to other dance genres cannot easily be notated.

Our publications

Green, Nick (2016b). Fieldwork recordings and visual dance: questioning methodologies for analysing the process of local dancing.

Variation or improvisation?


At academic meetings the themes of ‘improvisation’ and the ‘individual’ are common, but what does this actually mean in the context of a chain dance? Here I summarise the three logical constructions that could be termed ‘improvisation’.

First construction

… non-Western music, in which one cannot really distinguish between improvisation and composition, cannot be said to represent either concept.

Nettl 1974:2-3[1]

The widest usage of ‘improvisation’ is as a comparative statement between two opposing forms, one which is more planned and fixed (as in western classical arts) and one which is more varied (such as jazz music), however this does not help with the understanding the improvisational process.

Second construction

The second construction is where the performer pushes and breaks the rules and boundaries, by including alternative ideas, either unplanned or more often intentionally to be ‘creative’. By definition this is not part of ‘tradition’ which is built on the concept of maintaining the established rules and conventions.

Third construction

… improvisation has a relatively small role and a lower grade.

Martin 1980:397–8[2]

Apparently limited and “poor” when compared with improvisation in solo or couple dances, the process of improvisation in chain dances is experienced by both local interpreters and audience as an intentional creative activity that expresses the aesthetic norms of the communities sharing a given dance culture area.

Giurchescu 2014[3]

For chain dances, and social dances, the logical understanding of improvisation is about using the space within the constraints of the rules and boundaries of the dance. This is the unplanned combination of the possibilities. The idea that the most common combination is the ‘norm’, that researchers as observers judge the variations against, leads to ‘improvisation’ being part of the processes for variation, something that potentially all performers do to some extent.

Performers with more skills achieve less common combinations that we might see as ‘new’, but viewing in this way will never lead to a defined point where variation becomes improvisation, this will only ever be in the judgement of the observer.

Chain dances involve a communal group dancing together. So in this case ‘improvisation’ can be about the group, not only just one individual, and is based on the process of reacting and interpreting within the chain. We can consider the idea of ‘initiators’ that lead the group to spontaneously change the group’s performance.

Our publications

Green, Nick (2016). Community chain dances in Banat: uniformity or variability, is this about the group or the individual?


  1. Nettl, Bruno (1974). Thoughts on improvisation: a comparative approach. The Musical Quarterly, 60: pages 1–19.
  2. Martin, György (1980). Improvisation and regulation in Hungarian folk dances. Acta Ethnographica Scientiarium Hungaricae, 29: pages 391–425.
  3. Giurchescu, Anca (2014). Contextual determination of improvisation: A case study of Vlach chain dances of Northeastern Serbia. Abstract submitted to the fourth symposium of the ICTM study group for music and dance in Southeastern Europe.

Defined by concept and rules


Western classical works in music and dance are generally quite tightly fixed and rigid compositions, which can be notated, and are played or danced near identically every time. However, this is not typical of social dancing and many forms of music.

… establish the rules according to which a dance performance is recognised by people as being “correct”, according to a given tradition.

Giurchescu and Kröschlová, 2007:21[1]

The ideas of “dance concept” and understanding that the dance product is the “realisation” of the dancing process (see Bakka and Karoblis[2]) is the basis of understanding a ‘dance’. However, a local dancer’s insider knowledge that defines how to dance more often leads to an understanding of the dance in terms of ‘rules’ that define the construction and limits to the degree of variation.

Basic form of Brâul bătrân

Although the local dancers only “see” the motif, they operate variations according to simple rules:
– direction can change on measures 3 and 7
– alternatives for measures 1,2,4, 5,6,8
– measure 2 mirrors 1, measure 6 mirrors 5
– measures 4 and 8 can different steps

However the product may well look different depending on the context, on occasion, or the participants, which might lead to the ethnographer who notates the product (realisation) classifying different performances under different ‘dance titles’ whereas the insider sees them as the same dance. Local music and dance often has a theme; the exact musical notes or the exact movement sequence may be different between people and occasions, but the insiders will recognise when it is considered as the same dance or when there is a significant (to them) difference that defines it as a ‘different’ dance.

Comparison between hora and četvorka

Comparison between hora and četvorka

One practical use of grouping dances by structural parameters (in this case using the ‘parity’ parameter of weight changes following Leibman[3]) was to place the dancing we observed (and participated in) at Svinița during fieldwork in 2013 in relation to the regional dance repertoire of the wider area of Romania and Serbia with the aim of contextualising our observations in the locality.

Our publications

Green, Nick (2014). A consideration of structural analysis methodology in the context of southeast European dance: an example from Banat – Brâul bătrân.

Green, Nick (2015) Placing of Sviniița’s (Serbian: Svinica) identity as seen from the perspective of community dance culture.


  1. Giurchescu, Anca & Kröschlová, Eva (2007). Theory and method of dance form analysis. In: Kaeppler, Adrienne Lois & Dunin, Elsie Ivancich (eds.) Dance structures: perspectives on the analysis of human movement. Pages 21–52 Budapest, Akadémiai Kiadó.
  2. Bakka, Egil & Karoblis, Gediminas (2010). Writing "a dance": epistemology for dance research. Yearbook for Traditional Music, 42: pages 167–193.
  3. Leibman, Robert Henry (1992). Dancing bears and purple transformations: the structure of dance in the Balkans. Doctor of Philosophy doctoral dissertation, University of Pennsylvania.

Topic: Dance structures


Nick, as a scientist by training, profession and upbringing, has always taken an interest in dance structural analysis methodologies[1], where structure is the organisation and arrangement of the parts in a system of dancing. In participative dance genres the focus often is on the repetitive patterning and the relationships between movement groupings. His feeling is that this might be the place for scientific minded logic to integrate with the process of dancing (whatever that might be). In many ways this is true, but in many respects he still has misgivings over the idea of any universal method and notation, and is concerned that this often leads an outsider’s notation of the dance “product”.

Within the southeast European traditional dance context the works of Anca Giurchescu[2] and Martin[3][4] are good examples of applying logical concepts to certain genres of dance. I have touched on some aspects of my questioning in a number of conference papers, dance meetings.

I learnt from practical science and engineering to keep one’s understanding as simple as possible and not to bind up the logic in complex words. These posts are designed to be short and to the point, starting from the basics, without wide referencing to previous history of academic discussions and conventions.


  1. Kaeppler, Adrienne Lois & Dunin, Elsie Ivancich (editors) (2007). Dance structures: perspectives on the analysis of human movement. Budapest: Akadémiai Kiadó.
  2. Giurchescu, Anca & Bloland, Sunni (1995). Romanian traditional dance: a contextual and structural approach. Mill Valley, California: Wild Flower Press.
  3. Martin, Gyorgy & Pesovar, Erno (1961). A structural analysis of the Hungarian folk dance (a methodological sketch). Acta Etnografica, 10: pages 1–40.
  4. Martin, György & Pesovár, Ernő (1963). Determination of motive types in dance folklore. Acta Ethnographica Scientiarium Hungaricae, 12: pages 295–331.

Politics of representation, identity and minorities as portrayed through local dance in the Banat Region


This paper will examine the politics of representation and identity as portrayed through dance by the co-located ethnicities in the Banat region of Romania using three main parameters, the ‘representation’ that the dancing is portraying, the context in which the dancing takes place and the adaption of the dancing to the context. Theoretically it drawn on Barth’s work on ethnic identities, Hall’s “counter politics of the local and Harrison’s expressive differentiation through “symbolic practices. Through ethnographic examples from the authors’ fieldwork among the co-located ethnicities it reveals that in social contexts local dances predominate, whereas as in presentational contexts the material presented ranges from presentations of local dances of their ethnicity, to drawing on their national ‘image’.

Mellish, Liz & Green, Nick (2019 (TBC)) Politics of representation, identity and minorities as portrayed through local dance in the Banat Region. Sandor Varga (editor), 30th Symposium ICTM study group on ethnochoreology. Szeged, Hungary.

Crazy week, the disorganised and the organised: Fărșang and “inverted” weddings in the Banat mountains

Keywords: ,

During crazy week (the week in which lent commences) carnivalesque events, in various manifestations, take place in many villages in Banat. The commonalities between these events are that they focus around local music, dance and customs and only local people are involved. Although each event may be nominally organised by a particular ethnicity the participants include people from all the co-located ethnicities. This paper is based on fieldwork undertaken at carnivalesque events between 2016 and 2019 supplemented by informal conversations with locals, local media reports, published articles and videos of events. Drawing on anthropological theory, the authors propose that these events are liminal times within the annual calendar, marking the transition between the end of the winter and the beginning (re-birth) of spring that both draw from, and contribute, to the realities of the contemporary societies in which they take place.

Mellish, Liz & Green, Nick (2020). “Crazy week, the disorganised and the organised: Fărșang and “inverted” weddings in the Banat mountains.” Tvrtko Zebec; Liz Mellish; Nick Green (editors), Music and dance In southeastern europe: Migrations, carnival, sustainable development:132-144 Zagreb, Croatia, International Council for Traditional Music Study Group on Music and Dance in Southeastern Europe, Institute of Ethnology and Folklore Research, ICTM Croatia National Committee. ISBN: 978-953-8089-61-9.

Saints’ days celebrations (ruga) in Banat – community participation, dance, music and good times

Keywords: ,

The celebration of the day of patron saint of the local church is a custom that is widespread among Christians in various parts of the world. In the plain and mountain areas of Romanian Banat this day is referred to as ruga (plural ruge), literally meaning to pray. These customary events are local community participatory festivals in the sense that they include both active and passive participants, the former join in the dancing, the latter sit and watch whilst socialising with relatives and friends. Although these events are primarily held on calendrical days fixed according to the patron saint of a specific church they are in most cases attended by representatives of the many ethnicities and confessions that live together in the Banat region.

This paper examines saint’s day celebrations in Banat as one of the prime community events where music and dancing takes place. It draws on the authors’ fieldwork undertaken at saint’s day celebrations in Romanian Banat where they observed the similarities and differences in these events. Their research is supplemented by drawing on reports from local media on ruge, historical accounts, and conversations with locals. They draw the conclusion that over the time the concept of the celebration of ruge has been maintained although the precise details of the events have changed over time as these celebrations have adapted to meet the needs of present day communities while retaining their function as participatory community celebrations.

Mellish, Liz & Green, Nick (2020). “Saints’ days celebrations (ruga) in Banat – community participation, dance, music and good times Acta Ethnografica Hungarica 65(1): pages 395–410. Akadémiai Kiadó: Budapest. ISSN: 1216-9803.