Bulgarian Folk Dance Ensemble as a Cultural Phenomenon

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Book summary in English, including illustrations and references. Full text may be accessed here: https://www.academia.edu/35433400/Bulgarian_Folk_Dance_Ensemble_as_a_Cultural_Phenomenon_book.pdf
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  Ñúñòàâúò    çà   íàðîäíè   òàíöè   êàòî   êóëòóðíî   ÿâëåíèå   â   Áúëãàðèÿ   ñúâìåñòÿâà êóëòóðíî-èñòîðè÷åñêèÿ ïîäõîä ñ àíàëèçà íà àíòðîïîëîãà è åòíîõîðåîëîãà. Êíèãàòà ðàçãëåæäà åòàïèòå, â êîèòî ñå ñúçäàâà è ðàçâèâà áúëãàðñêèÿò ìîäåë „òàíöîâà ãðóïà/ñúñòàâ” è òåõíèòå ïðîìåíÿùè ñå îáùåñòâåíî-ïîëèòè÷åñêè è êóëòóðíè êîíòåêñòè. Ïðîñëåäÿâà ñå ïðèåìñòâåíîñòòà  ìåæäó ñòàðèÿ ñåëñêè ôîëêëîðåí òàíö è ñúâðåìåííàòà ìó ñöåíè÷íî îðèåíòèðàíà âåðñèÿ; êàê è êàêâî ïî-òî÷íî ñå „òðàäèðà“ (ïðåäàâà è ïðèåìà); êîè ñà äåéñòâàùèòå ëèöà â òîçè ïðîöåñ è â êàêâî ñå èçðàçÿâà òåõíèÿò êóëòóðåí ñìèñúë. Èçïîëçâàíè ñà ðàçíîðîäíè èçòî÷íèöè; åäíè îò òÿõ îòðàçÿâàò ïðîöåñèòå íà èäåîëîãè÷åñêî âìåøàòåëñòâî, äðóãè ðàçêðèâàò êàê òàëàíòúò è òâîð÷åñêàòà åíåðãèÿ – ÷åðïåéêè îò ôîëêëîðíàòà òðàäèöèÿ – òðàíñôîðìèðàò è îæèâîòâîðÿâàò îíîâà, äî êîåòî ñå äîêîñâàò, ïðåâðúùàò ãî â ñâîå è ðîäíî.  Ä-ð Äàíèåëà Èâàíîâà-Íàéáåðã å ðîäåíà ïðåç 1963 ã. â Ñîôèÿ. Çàâúðøèëà å áúëãàðñêà ôèëîëîãèÿ, ôèëîñîôèÿ è êóëòóðîëîãèÿ â ÑÓ „Ñâ. Êëèìåíò Îõðèäñêè” è èìà ñïåöèàëèçàöèÿ ïî ôîëêëîðèñòèêà. Õîðåîãðàôñêî îáðàçîâàíèå ïîëó÷àâà â Èíñòèòóòà çà ìóçèêàëíè è  õîðåîãðàôñêè êàäðè â Ñîôèÿ, à äîêòîðñêà ñòåïåí – â Èíñòèòóòà çà èçñëåäâàíå íà èçêóñòâàòà – ÁÀÍ. Ïðåïîäàâàëà å â ðàçëè÷íè  ó÷åáíè è êóëòóðíè èíñòèòóòè, èçíàñÿ ëåêöèè è âîäè òàíöîâè êëàñîâå ó íàñ è â ìíîãî ñòðàíè ïî ñâåòà. Èçñëåäîâàòåëñêèòå é èíòåðåñè ñà â îáëàñòòà íà åòíîõîðåîëîãèÿòà è òàíöîâàòà àíòðîïîëîãèÿ. Ïóáëèêóâàëà å ïîðåäèöà íàó÷íè ñòàòèè ó íàñ è â ÷óæáèíà.  Àâòîð å è íà ñòèõîñáèðêàòà „Ìèðèñ íà âîäà”. 9 789542 925040 ISBN 978-954-2925-04-5Öåíà: 18.00 ëâ  ÑÚÑÒÀÂÚÒ ÇÀ ÍÀÐÎÄÍÈ ÒÀÍÖÈÊÀÒÎ ÊÓËÒÓÐÍÎ ßÂËÅÍÈÅ Â ÁÚËÃÀÐÈßÄàíèåëà Èâàíîâà-Íàéáåðã  Òîçè ïðîåêò å ðåàëèçèðàí ñ ôèíàíñîâàòà ïîäêðåïà íà Ìèíèñòåðñòâîòî íà êóëòóðàòà è ñ ëþáåçíîòî ñúäåéñòâèå íà Bulgarian Culture and Heritage Center of Seattle, îáùíîñòè íà ëþáèòåëè è öåíèòåëèíà áúëãàðñêèÿ ôîëêëîð îò ÑÀÙ© Ä-ð Äàíèåëà Èâàíîâà-Íàéáåðã,  àâòîð © Þëèÿ Äèìèòðîâà,  õóäîæåñòâåíî îôîðìëåíèå Èçäàâà “Ìàðñ 09” ÅÎÎÄISBN 978-954-2925-04-0  Íà êîðèöàòà:  èçïúëíåíèå íà Ñòóäåíòñêè ôîëêëîðåí àíñàìáúë“Çîðíèöà”, Ñîôèÿ, 2010  ÑÚÑÒÀÂÚÒÇÀ ÍÀÐÎÄÍÈ ÒÀÍÖÈÊÀÒÎ ÊÓËÒÓÐÍÎ ßÂËÅÍÈÅ ÁÚËÃÀÐÈß Äàíèåëà Èâàíîâà-Íàéáåðã ÑÎÔÈß2011  466 Bulgarian Folk Dance Ensembleas a Cultural Phenomenon  I was born and raised in Sofia, the Bulgarian capital, and started folk dancing ata very young age. My grandmother, a native of the Shope region near Sofia, held myhand, and step by step, at age four and five, I learned from her most of the populartraditional Bulgarian dances. As a young, small, and enthusiastic dancer, I caughtpeople’s eyes at every wedding my family went to. Every band had a varied repertoire,among which were many popular line dances. At that age I had no intellectualunderstanding of symmetrical and asymmetrical meters, but I felt all these rhythmsinside me and got up for every dance. Watching me jump along with the adults in theline, many wedding guests asked my parents: “Where does this kid practice? Sheshould join a children’s performance group.” For a couple of years, no one was availableto drive me to rehearsals. Then, in 1974, my parents finally brought me to RosnaKitka, at the Palace of Pioneers, Folk Dance Ensemble—one of the most prestigiouschildren’s dance ensembles. At ten, I was already too old for the beginning groups. Iwas allowed, however, to join my age group only because of my tear-filled eyes andthe choreographer’s good heart. The choreographer warned my parents that I hadpractically no chance of competing with hundreds of talented children who had beendancing regularly since the age of six. “It will be awfully difficult,” she said, and shewas right. I had no idea I was about to start a long journey in learning literally thousandsof steps while also adopting completely new-to-me elements of Bulgarian characterexercise (based on the classical exercise). Thanks to my parents’ love and support, Ididn’t give up, although I must confess, sometimes I was very close. As a result of myefforts, and with a great bit of luck (and blessings), at age 12 I was chosen for a month-long concert tour in France. This was the beginning of my folk dance ensembleexperience, with its many stages of study and practice that all brought to my lifeprofessional and personal fulfillment and joy.“Why am I researching the folk dance ensemble?” is the very first question inthis book and the autobiographical introduction and foreword expose the personalconnection to my subject. My research interest, however, reaches far beyond myinvolvement as a folk dancer and choreographer. Cultural-anthropological researchreveals the depths of this phenomenon if we apply the methodological tools of thediscipline. Why a folk dance ensemble? then led to a series of questions under therubrics of what, who, when, where, and how. These applied to the beginning and BULGARIAN FOLK DANCE ENSEMBLE AS A CULTURAL PHENOMENON
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