Music, Dance and Memory: Towards Deliberation of Field Research of Dance
Музика, плес и памћење: ка преиспитивању метода теренског истраживања плеса
Keywords:
Етнокореологија и етномузикологија, теренско истраживање, партиципација, искуство, памћењеAbstract
Although ethnochoreology and ethnomusicology as related academic disciplines have decades-long histories, reviewing and redefining their basic epistemological and methodological principles remained one of the main focuses of disciplinary discussion. Most ethnochoreologists and ethnomusicologist agrees that “field” work (in all its traditional and contemporary forms) remains an essential and constitutive quality of their research and disciplinary fields. The inherent interdisciplinary networking of ethnochoreology and ethnomusicology starts from the theoretical premise that the relationship between the kinetic and musical components of dance is not only unbreakable, but also interactive, and that complex and dynamic manifestations of dance performances represents an expressive medium through which a particular community constructs and represents itself. Since the importance of the individual experience of researchers has been ephasized during the last few decades, a comprehensive method of participant observation remains a central and unifying aspect of fieldwork, both in ethnochoreology and ethnomusicology. Based on field research of musical and dance practices of the village of Svinica (Sviniţa) in Romania, this paper reviews the application and combination of various methods of field research (observation, participation in the performance process, filming, interviews and writing field notes) as the primary tools for the acquisition and shaping of scientific knowledge about dance and music. Issues that will be discussed include the following questions: What are the advantages of personal kinetic/auditory experience during simultaneous perception of dance movement and dance music? How can different methods of field research be combined in order to improve cognitive processes? Are there border areas between ethnochoreological and ethnomusicological fieldwork? Does the variety of methods of field research represents a weakness of the interdisciplinary approach or its advantage? On which information recorded during the fieldwork does a researcher usually build his post-field ethnochoreological/ethnomusical narratives? Through discussion of all these issues, particular emphasis will therefore be placed on the consideration of processes of memorization (visual, auditory and kinetic) when applying the method of participation in the dance performance.
References
Bakka, E.; Karoblis, G. (2010) “Writing a dance: Epistemology for dance research”, Yearbook for traditional music, 42: 167–193.
Bernard R. H. (2006) Research methods in anthropology. Qualitative and quantitative approaches, Lanham: AltaMira Press.
Boyer, P.; Wertsch J. V. (2009) “In mind, culture, and history: a special perspective”, In Memory in mind and culture. Cambridge: Cambridge university press.
Buckland, T. (1999) “Introduction: Reflecting on dance ethnography”, Dance in the Field. Theory, methods and issues to dance ethnography, In T. J. Buckland (ed.) London: Macmillan Press, 1–10.
Giurchescu A.; Torp L. (1991) “Theory and methods in dance research: a European approach to the holistic study of dance”, Yearbook for traditional music, 23: 1–10.
Green, N. (2014), електронска преписка, писмо упућено 27. 01. 2014. године. Гласник Етнографског института LVIII (2010/2), свеска 2, Београд: Етнографски институт.
Големовић, Д. (2011) „Истраживач на терену – терен у истраживачу”, у М. Ивановић–Баришић (ур.) Теренска истраживања – поетика сусрета, Зборник радова Етнографског института 27 Београд: Етнографски институт, 199–202.
Buckland, T. J. (ed.) (1999) Dance in the field. Theory, methods and issues to dance ethnography, London: Macmillan Press.
Draškić, М. (1971) „Stanovništvo limitrofnog srpskog sela Svinjice u Rumuniji” (Population of the limitrofic village of Svinjica in Romania), у Д. Недељковић (ур.) Зборник радова, нова серија, књига 1, Београд: Етнографски музеј, 7–19.
Дрљача, Д. (1994) „Монографије села као извор за проучавање Срба у Румунији”, у Темишварски зборник бр. 1, Нови Сад: Матица српска, 131–136.
Радојичић Д. (ур.) (2005) Етнологија и антропологија: стање и перспективе, Зборник радова Етнографског института 21, Београд: Етнографски институт.
Закић, М. (2014) „Делатност Љубице и Данице Јанковић на плану етномузикологије”, Музикологија 17: 245–258.
Недељковић, Д. (ур.) (1971) Зборник радова, нова серија, књига 1. Етнографски институт, књ. 5, Београд: Етнографски институт. Zebec, T. (1996) “Dance research in Croatia”, Narodna umjetnost, 33/1: 89–110.
Јанковић, Д. и Љ. (1952) „Истраживање, скупљање и проучавање народних игара”, Народне игре, VII књига, Београд: Просвета.
Јанковић, Љ. (1964) „Етномузикологија и етнокореологија”, у Споменица у част новоизабраних чланова Српске академије наука и уметности 26, Београд: Српска академија наука и уметности, 87–92.
Костић, А. (2010) Когнитивна психологија, Београд: Завод за уџбенике и наставна средства.
Lajić-Mihajlović, D. (2012) “Ethnomusicological research of the guslars memory: a pilot study”, In D. Despić, J. Jovanović and D. Lajić-Mihajlović (eds.) Musical practices in the Balkans: Ethnomusicological perspectives, Beograd: Muzikološki institut, 67–86.
Миленковић, М. (2007) Историја постмодерне антроплогије. Теорија етнографије, Етнолошка библиотека, књига 24, Београд: Српски генеалошки центар.
Мирковић Радош, К. (1996) Психологија музике, Београд: Завод за уџбенике и наставна средства.
Nahachewsky, A. (2012) Ukrainian dance. A cross–cultural approach, Jefferson, North Carolina & London: McFarland & Company.
Rakočević, S. (2013а) “Tracing the discipline: Eighty years of ethnochoreology in Serbia” In M. Veselinović–Hofman (ed.) New Sound 41, Belgrade: Department of Musicology, Faculty of music, 58–86.
Rakočević, S. (2013б) “Ethnochoreological research: Dance practice of the village of Svinica (Romania)”, Традиција као инспирација. Зборник радова са научног скупа „Владо С. Милошевић етномузиколог, композитор и педагог”, Бања Лука: Академија умјетности и Музиколошко друштво Републике Српске, 247–263.
Rakočević, S. (2014a) “Dance, place and cross–cultural excange: dance practice of village Svinica”, In E. Ivancich Dunin and C. E. Foley (eds.) Dance, Place, Festival. Articles from 27th Symposium of the International council for traditional music Study Group on Ethnochoreology , Limerick: University of Limerick, 145–151.
Rakočević, S. (2014б) “Writing movements and music: hora de pomană in ethnochoreological/ethnomusicological narrative”, 28th Symposium of the ICTM Study Group on Ethnochoreology, 7/17 July 2014, Korčula, Croatia (рукопис).
Rakočević, S. (2015а) “Ethnochoreology as an interdiscipline in a postdisciplinary era: A historiography of dance scholarship in Serbia”, In Yearbook for traditional music 47, 27–44.
Rakočević, S. (2015б) „Terenska istraživanja u etnokoreologiji u Srbiji i Bosni i Hercegovini: Fundiranje naučne discipline i potencijali njenog budućeg razvoja”, Владо С. Милошевић. Етномузиколог, композитор и педагог. Традиција као инспирација, Међународни научни скуп, Академија умјетности, Бања Лука, 17. и 18. април 2015 (rukopis).
Rice, Т. (2008) “Toward a mediation of field methods and field experience in ethnomusicology”, In G. Bartz and T. J. Cooly (eds.) Shadows in the field. New perspectives for fieldwork in ethnomusicology, Oxford, New York: Oxford University Press, 41–61.
Rice, T. (2014) Ethnomusicology. A very short introduction. Oxford: Oxford University Press.
Barz, G. and Cooley, T. J. (eds.) (1997, 2008) Shadows in the Field: New Perspectives on Fieldwork in Ethnomusicology New York: Oxford University Press.
Sklar, D. (1999) “All the dances have a meaning to that apparition: Felt knowledge and the danzantes of Tortugas, New Mexico”, Dance research journal, 31/2, 14–33.
Sklar, D. (2000) “Reprise: On dance ethnography”, Dance research journal, 32/1: 70–77.
Сикимић, Б. (1994) „Проучавања језика Срба у Румунији. Библиографија радова о језику Срба у Румунији” у Темишварски зборник 1, Нови Сад: Mатица српска, 229–237.
Станојловић, А. (1938) Монографија Банатске клисуре (Monography of Banatska klisura), Петровград.
Степанов, Љ. (2008) Статистички подаци о Србима у Румунији, Темишвар: Савез Срба у Румунији.
Стојанов, М. (1994) „Прилог социолошкој анализи дијаспоре” (Appendix to the sociological analysis of the Diaspora), Темишварски зборник бр. 1, Нови Сад: Матица српска, 259–268.
Ивановић–Баришић, М. (ур.) (2011) Теренска истраживања – поетика сусрета, Зборник радова Етнографског института 27, Београд: Етнографски институт.
Томић, М. (1989). По Дунавској клисури. Букурешт: Издавачко предузеће „Критерион”.
Farnell, B. (1999) “It goes without saying – but not always”, In T. J. Buckland (ed.) Dance in the field. Theory, methods and issues to dance ethnography, London: Macmillan Press, 145–160.
Felföldi, L. (2007) “Structural approach in Hungarian folk dance research” In A. L. Kaeppler and E. Ivancich Dunin (eds.) Dance structures, Budapest: Akadémiai Kiadó, 155–184.
Hall, F. (1999) “Madness and recall: storied data on Irish dancing”, In T. J. Buckland (ed.) Dance in the field. Theory, methods and issues to dance ethnography, London: Macmillan Press, 123–133.
Clifford, J. (1986) “Introduction: Partial truths” In J. Clifford and G. E. Marcus (eds.) Writing cultures. The poetics of ethnography, Berkeley, Los Angeles: University of California Press, 1–26.
Williams H. L.; Conway M. A. (2009) “Networks of autobiographical memories” In Memory in mind and culture, Cambridge: Cambridge University Press, 33–61.
Downloads
Published
Issue
Section
License
Copyright (c) 2015 MUZIKOLOGIJA-MUSICOLOGY
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported License.
You are free to:
- Share — copy and redistribute the material in any medium or format.
The licensor cannot revoke these freedoms as long as you follow the license terms.
Under the following terms:
-
Ауторство — You must give appropriate credit, provide a link to the license, and indicate if changes were made.
You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. -
Некомерцијално — You may not use the material for commercial purposes.
-
NoDerivatives — If you remix, transform, or build upon the material, you may not distribute the modified material.
- No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
