Faculty of Music

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Narrativization of Macedonian tradicional dances
(Institute of Ethnology and Folklore Research and ICTM Study Group on Ethnochoreolog, 2015)
Zdravkova-Djeparoska, Sonja
This paper aims to show the ways of narrativization where performances of traditional dance in Macedonia are associated with a specific meaning and text. In traditional Macedonian dance we follow two levels of narrativization: one is the performance whose meaning is supplemented with various dramatic elements added, and the second is the long process of creating meaning in some chain dances as a result of historical and processes of national marking. The first level includes several chain dances from the professional ensemble Tanec. The second level of narrativization dance, is exampled by Teshkoto, carrying cult significance for the Macedonians. It gained its meaning gradually as part of the process of creating national symbols.
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National Theatre: Characteristics, Influences, Distinguishing Features
(Adam Mickiewicz Institute Centre for Culture in Lublin Institute of Arts of the Polish Academy of Sciences, 2016)
Zdravkova-Djeparoska, Sonja
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Chain Dance Teshkoto – Cultural Identity Marker of Macedonians
(İTÜ TMDK (Istanbul Technical University Turkish Music Conservatory), 2017)
Zdravkova-Djeparoska, Sonja
Every nation through the process of building identity chooses symbols that shall identify and represent it. Unlike many examples of taking heraldic symbols, emblems associated with the geographic, political, religious characteristics; Macedonia is a rare case where a dance becomes an identification code. That is Macedonian dance Teshkoto, from the Reka region. Regarding the construction of Teshkoto as an identity marker, we can notice two separate processes. The first one was the emergence and development of components that cre ated and complemented the meaning of the dance. The second phase was the process of acceptance and establishment of this dance form as a national symbol. Its development as a cultural marker can be followed through two periods - the period of the Socialist Re public of Macedonia as a part of SFR Yugoslavia and the period of independence of the Republic of Macedonia. Namely, despite differences in the socio-political context, the trend of promoting and glorifying exact folk dance form - Teshkoto continues. The example of Teshkoto shows the process of inauguration of a consciously chosen identity marker and its acceptance as a national symbol.
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High School Graduation Quadrille – a Contemporary Dance Ritual
(University Publishing Hause “Neofit Rilski”, 2016)
Zdravkova-Djeparoska, Sonja
Social practice has proved that certain dance forms occasionally transit in relation to their role in society, thus obtaining new meanings. Quadrille is a dance that typically belonged in 19th century social events. However, beginning with the practice initiated by the dance club “Urshka” from Slovenia in 2001, quadrille has become a contemporary dance ritual practiced by the youth. High school graduates gather on a predetermined date (in the second half of May) outdoors – on a square, in a wider street – and they dance quadrille. The idea behind these performances is to popularize the event and to increase the number of countries that participate in this event. At present this list covers Slovenia, Croatia, Serbia, Macedonia, Bulgaria, Albania, Montenegro, Ukraine, Bosnia and Herzegovina and Romania. The quadrille starts at the same time for all the performers in all the countries, and they all dance an identical choreography. Macedonia joined this event in 2007 and the number of participants is growing up every year. This kind of “contemporary ritual of the initiation" has several functions: it denotes high school graduation, completion of the second level of education, at the same time marking the collective age of maturity. Further, it unites the youth into one single common idea. This dance event is especially important for the community where it takes place, which is obvious from the wide media coverage of the event (announcements in the newspapers, reports, interviews, and so on.). The performance of the high school graduation quadrille has entered the Guinness book of records. Quadrille –a ballroom dance, is slowly turning into a modern phenomenon practiced in current, modern spheres of the society, through which the high school graduates from southeastern Europe identify and present themselves.
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From Yugoslav Ballet to Post-Yugoslav Contemporary Dance:Permutations in Collaborative Practices between Macedonian and Slovenian Dance Scenes
(AMFITEATER /ARS ACADEMICA, 2018-12)
Zdravkova-Djeparoska, Sonja
;
Aldo Milohnić
Our aim in this text is twofold: first, to offer a preliminary overview of cooperative activities between Slovenian and Macedonian ballet and dance artists, national institutions and non-governmental organisations in the last 25 years, that is, in the period of independence of both states, with a short excursus into the time preceding that period; and second, to offer a kind of a prima vista analysis of the main achievements as well as obstacles in those collaborative practices. In the period of its existence the Yugoslav Federation provided not only material support to professional theatre institutions, but also stimulated cultural collaboration among federal republics. Especially non-verbal forms of artistic expression, such as ballet and dance, were adequate communicators in a multinational and multilingual state as was the Socialist Yugoslavia. The official cultural policies of the newly established states declaratively (i.e. in ratified bilateral agreements) advocated the preservation of cultural connections that existed from the era of the former Yugoslavia. However, the level of intercultural exchange presupposed in these bilateral agreements is rather modest and unambitious, especially in the field of dance. The processes of dissolution of the former Yugoslavia and the establishing of the independent states of Macedonia and Slovenia produced significant changes in the field of dance and opera theatre. The main characteristics of these changes were, on the one hand, a rapid diminishing of the collaboration between national ballet and opera institutions, and on the other hand, a gradual increasing of cooperation between non-governmental organisations active in the creation, promotion and exchange of contemporary dance productions.
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Reflections on dance theatre: Insights and parallels
(Faculty of Dramatic Arts, 2019-11)
Zdravkova-Djeparoska, Sonja
The need for classification, subordination and grouping sometimes imposes a serious task upon us, which on the one hand means forcing the performing arts into some frames and categories, but on the other hand it facilitates their interpretation, reading and decoding. Wanting to engage in one of the possible classifications, I referred to Peter Brook’s cult book The Empty Space, in which he distinguishes different types of contemporary theatre. Starting from there, but without an attempt to rigidly apply his types of theatre, this research yielded its own internal classification. The results have shown that theatre and its functions can fluctuate considerably within each category. Both polarities within each type show dramatically different features, purposes, receptions and reactions. Each of the three types defined here are supported by a suitable scientific instrumentarium and practically validated through appropriately selected performances which have been listed in the text.
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FOLKLORE, DANCE IN THE CONTEXT OF MODELING IDEOLOGICAL MESSAGES
(Klaipėdos universitetas, 2018)
Zdravkova-Djeparoska, Sonja
Studying Macedonian culture, we can not help noticing the particular role of folklore ensembles in fostering traditional music and dances, with a view to cherishing the national characteristics. This process is directed by the highest political bodies, which have disseminated the idea in a few spheres. Firstly, by means of actualization of certain matrices in the national folk ensemble Tanec, which was the benchmark followed by amateur ensembles. On the other hand, state television and radio MRTV, started broadcasting performances of folk music ensembles and programs with specific contents, i.e. where folklore prevailed. Analyzing the situation with the folk dance ensemble Tanec, we can notice that its Statute, as well as its first director Mr Manuel Chuchkov (senior political official) emphasized application, promotion and actualization of folklore in the context of socio-ideological engagement. Several papers written by Chuchkov, consider the usage of folk dances by placing them in historical and ideological contents. Such are the examples of folk dances from this period, into which drama elements are imputed, giving the dances specific historical features and being supposed to encourage patriotic feelings. Folklore used to be used as a tool in the socialist period, but it is still being actualized, in Macedonia nowadays.

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