Initially, social dances from the American continent (already hybrids of Latin- American national, folk and traditional dances), flooded Europe. In this process, the British context proved to be the ...most hostile one, and the one capable of creating an effective initiative aimed at transforming the newly arrived forms into stylized and standard forms. The dance practice and the standardized versions as performed inside the sport dance community, have completely separated those dances from the ones they were based on and of which they are the "cleansed" version. However, the dance practice of sport dance is not recognized by broader public as special and different and it is constantly mixed, interlaced and related to the social dances, using the aesthetics of one in order to advertise the other. Also, from the issues concerning the imprecise (identical) terminology of dances and from the template sport dance was created on, certain confusions, overlaps, and reciprocal influences can be detected in sport dance and social dances. Relating sport dance to social, folk or national dances of areas denoted in their names, especially Latin American, still connects the sport dance to the origins of those dances that provided the basis for its' standardization. PUBLICATION ABSTRACT
Paradoxes of sport dance Katarincic, Ivana
Etnološka tribina,
01/2012, Letnik:
35, Številka:
42
Journal Article
Recenzirano
Initially, social dances from the American continent (already hybrids of Latin-American national, folk and traditional dances), flooded Europe. In this process, the British context proved to be the ...most hostile one, and the one capable of creating an effective initiative aimed at transforming the newly arrived forms into stylized and standard forms. The dance practice and the standardized versions as performed inside the sport dance community have completely separated those dances from the ones they were based on and of which they are the `cleansed' version. However, the dance practice of sport dance is not recognized by broader public as special and different and it is constantly mixed, interlaced and related to the social dances, using the aesthetics of one in order to advertise the other. Also, from the issues concerning the imprecise (identical) terminology of dances and from the template sport dance was created on, certain confusions, overlaps, and reciprocal influences can be detected in sport dance and social dances. Relating sport dance to social, folk or national dances of areas denoted in their names, especially Latin American, still connects the sport dance to the origins of those dances that provided the basis for its' standardization. Reprinted by permission of the publisher
In Step Dancing in Ireland: Culture and History, author Catherine E. Foley notes that in addition to Ireland, Irish step dancing as a dance-music practice is present today in Scotland, England, ...continental Europe, Scandinavia, the USA, Canada, Australia, New Zealand, Africa, Japan, and Russia. Foley tells a more complex story than that of either Riverdance, since 1995 the most commercial and widely known step dance show, or Lord of the Dance, which appeared later, although both have had a vital role in promoting this art. The author follows the historical and cultural development of the dance form in the context of the political and social eras of colonialism, nationalism, and postcolonialism, up to the most recent globalism.
Teorijska promišljanja plesa iz feminističke perspektive uglavnom ukazuju na subordinaciju žena u plesu. Bez pretenzija da se to opovrgava, u ovom se radu ukazuje na nedovoljno uviđanje ...stigmatizacije plesača u odnosu na plesačice. Čest pokušaj kontriranja feminilnom stereotipiziranju muških plesača u baletu protekcionističko je koloriranje baletnoga svijeta posredstvom sportskoga diskursa, najčešće strategijom isticanja mačo muškaraca u plesu. Namjera je ovoga rada da preispita pretpostavke iz kojih su se uobličile predrasude o muškarcima u plesu, koje ih, prvenstveno u klasičnom baletu, stigmatiziraju i povezuju s homoseksualnošću. Zanimljivo je pratiti kako iz predstavljanja heteroseksualne estetike baletnoga svijeta proizlazi navodna homoseksualna orijentacija muških baletnih plesača.
U prvotnome stadiju društveni plesovi s američkog kontinenta
(već hibridi uglavnom latinskoameričkih nacionalnih, narodnih, tradicijskih) preplavljuju europsko područje, među kojim se englesko
...iskazalo kao najhostilnije i sposobno djelotvornom inicijativom dovesti do transformacije pridošlih oblika u stilizirane i standardizirane. Ti se plesovi pod nazivom sportskih i unutar zajednice sportskih plesača plesnom praksom i standardiziranim
verzijama izvedbe u potpunosti odvajaju od plesova na kojima
su temeljeni i nastali kao “pročišćena”verzija. Međutim,
plesna praksa sportskih plesova među širim krugovima nije
prepoznata kao specifična i drugačija te se neprestano
miješa, prepliće i poistovjećuje s društvenim plesovima, koristeći
estetiku jednih u propagandi drugih.
The numerous dance manual publications dating from the Renaissance and Baroque eras testify to the exceptional importance of the art of dance during those eras. From as early as the 15th century, ...they noted the history of dance, conduct while dancing and the style and technique of dancing. They contained information on the performance of individual steps, their combinations and the structure of the complete choreographies, as well as instructions on exemplary behaviour on the dance podium and outside it. The representatives of the dance art were court dance masters, erudites of high reputation and dance theoreticians, who also wrote dance manuals. There are no known domestic dance manuals in existence from those eras that would have contained descriptions of dance structures, although there is no question that certain European Renaissance and Baroque dances were present in the Dubrovnik Republic region. By attending a series of dance workshops, which have been held for many years in Varazdin, Dubrovnik and Zagreb, largely those associated with the Aetas Musica international summer school of Baroque music and dance in Varazdin, along with my personal interest in the history of dance, I have been endeavouring to detect the traces and role they have left in Croatia today. After introductory examination of the phenomena of historical workshops and their reconstruction work, and a review of the historical backdrop and broader social context of the emergence and viability of historical dances, I shall try to analyse the role of the reconstruction of historical dances in the dance workshops.
Ivan Ivančan (1927-2006) Katarinčić, Ivana
Etnološka tribina,
2006, Letnik:
36, Številka:
29
Journal Article
Recenzirano
Odprti dostop
Ivan Ivančan rođen je 15. lipnja 1927. godine u Molvama. Umro je 3. kolovoza 2006. godine. Osnovnu školu završio je u Krapini. Gimnaziju i glazbenu školu pohađao je u Varaždinu i Zagrebu, gdje je ...1945. maturirao na Prvoj muškoj realnoj gimnaziji. Iste se godine pridružio pjevačkom zboru OKUD "Joža Vlahović", a poslije i novoosnovanom plesnom amaterskom folklornom ansamblu "Joža Vlahović". S tim ansamblom je mnogo putovao i nastupao te sudjelovao i prisustvovao plodonosnom "Svjetskom festivalu omladine i studenata" 1947. u Pragu, koji postaje kamenom temeljcem "svega onoga što se kasnije dešavalo na sceni, u društvenom životu, u razvijanju smotri i festivala, u sve većem sudjelovanju seoskih i gradskih amatera na pozornicama u Hrvatskoj i izvan nje" (Ivančan, 2004:53). Članovi i vodstvo ansambla, čiji je Ivančan bio dugogodišnji voditelj i mentor, preimenovali su ga u "Zagrebački folklorni ansambl dr. Ivana Ivančana".
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Polaženjem plesnih radionica koje već duži niz godina djeluju u Varaždinu, Dubrovniku i Zagrebu, a najvećim dijelom onih u sklopu Međunarodne ljetne škole barokne glazbe i plesa "Aestas Musica" u ...Varaždinu, uz osobni interes za povijest plesa pokušavam detektirati tragove i ulogu koju ostavljaju u današnjem vremenu u Hrvatskoj. Nakon uvodnog zadiranja u pojave povijesnih radionica i njihova rekonstrukcijskoga rada, te pregleda povijesne pozadine i šireg društvenog konteksta nastanka i održivosti povijesnih plesova, pokušat ću analizirati ulogu rekonstrukcije povijesnih plesova unutar plesnih radionica.
