Faculty of Music
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Item type:Publication, Reflections on Dance Identity Migrant Performing Bodies – Identity Guardians(Trabzon University State Conservatory, 2025-12-31)Zdravkova Djeparoska, Sonjan the recent years the theme of migration has received significant attention worldwide becoming a global process. Migration can be categorized as temporary or permanent. This particular study encompasses both modalities that are in intrinsic relationship with social and economic factors. Furthermore, an analysis of migration through the prism of culture, tradition and identity provides ground for investigating transformation of cultural models and their characteristics. The present research is specifically focused on the Macedonian population. To facilitate a more competent insight and comparative analysis two distinct periods, which were characterized by substantial migratory movements, have been observed: the mid -20th century (1930s-1940s) and the early 21st century (2010s-2020s), The selected periods have consequently determined the choice of geographical areas, specifically countries that were "desired" primary destinations during each respective period. To enhance understanding, the analysis was further constricted and focused on two urban centers that hosted or currently host large and significant Macedonian diasporic communities: Belgrade and Sydney. The most significant processes and effects, resulting from the undertaking of Macedonians in these researched environments, have been established through the actions and activities of migrants and the diaspora community. The intangible culture serves as a pivotal category with a specific emphasis on dance. The body, a fundamental vehicle and embodiment of cultural characteristics, is adopted as an analytical unit in this analysis. The investigation of the dancing body is justified by identification of the inextricable link between identity and culture. Based on the obtained findings, the research defines models that reflect all characteristics of the studied groups, their distinguishing forms, as well as their ultimate functions. This approach provides an expanded understanding of Macedonian culture and identity transmission processes within the countries of immigration. - Some of the metrics are blocked by yourconsent settings
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Item type:Publication, Composition for commercial: LOT(LOT, 2017-07-06)Janevska, AndrijanaComposed, arranged, played and recorded by Andrijana Janevska Singer: Andrijana Janevska - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Music and arrangement: Children of the Cosmos(CD Baby Pro, 2017-04-16) - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Performance and Religion: Dancing Bodies in Macedonian Orthodox Fresco Painting(ARTS, MDPI, 2021-12-20)Zdravkova Djeparoska SonjaAlthough dance as a topic has been explored through various theoretical and thematic discourse, little attention has been paid to the presence of dance motifs in Christian imagery. An examination of Orthodox Macedonian medieval fresco painting provides a fascinating point of entry into this overlooked subject. Analysis reveals the presence of two dominant approaches, conditioned primarily by the position of dancing in the philosophical-ethical discourse present in the Bible and other late antique and medieval theological texts. Some frescoes and icons show the body as a channel through which the Lord is glorified. Others show it as an instrument and reflection of immorality instigated by demonic powers. As in each approach, the bodies have differing semantic qualities, valuable information can be obtained about the performing practices present in this historical period - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Dancing Body as a Social Replic(Asian Journal of Interdisciplinary Research, 2021-03)Zdravkova Djeparoska, SonjaThe dance as well as the art is a part of the life of each individual, but they are also a part of the general processes in society. Dance very frequently absorbs, and nevertheless at the same time reflects the conditions that are distinctive of a specific time and space. The dance body is a medium through which the reactions and responses to a specific problem or condition are articulated. In some examples, the body is used as an instrument to promote values often dictated by the centers of power and authority. However, the dancing body is also a channel through which one can follow reactions and answers to a real problems and hardship. This characteristic will be the subject of this analysis. The Middle Ages was chosen to show the manner and forms of reaction created in crisis situations. Although we have very few authentic sources for this period, it was an additional challenge to go deeper, to explore and to emphasize another function of the dance that is not aesthetic, yet socially engaged. The body is a strong articulator and although it is rarely included in general social research, it provides very interesting material and opportunities to decoded states, attitudes and positions on a collective level. The analysis deals with presenting events that feature the medieval period that have been followed and resulted in specific reactions shaped through several dance forms. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, DETERMINATION OF THE BASIC SEMIOTIC UNITS IN THE FIELD OF DANCE(Alma Mater Press, 2020-11)Zdravkova Djeparoska, SonjaSemiotics as a science that studies signs, messages and codes is most often associated with linguistics and literature. The connection of the music and dance field with semiotics opens up opportunities for reading and decoding of the ascents that have not yet been or not sufficiently treated. General semiotic concepts will be applied in the field of dance, and their range, structure and function will be defined. Peterson Royce exposes the view that it is not possible to make a direct equalisation of the elements and its classifications that are functional in linguistics in comparison with performing arts concretely dance, due to a completely different concept and structure of the material. Hence, the attempt is to make classification, analysis and comparison of the generally accepted semiotic concepts with what is applicable in a dance performance. Theatrical / dramatic semiotics, which are significantly larger than the sources associated with dance semiotics will be considered. If we refer to the opinions of Mukařovsky regarding the definition of the basic element – the sign - and accept his classification of performance systems, we can get possible answers on this issue. The capacity and shape of a dance sign is determined and depends on the performance processes. The sign is encoded, recoded and interpreted. However, as a basic irreplaceable element of this analysis we use the dancing body, which is fundamental for modelling and coding. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Macedonian Cultural Plurality at the Crossroads ofthe Balkans: Drama, Music and Dance(MDPI, Switzerland, 2020-07-30)Sonja Zdravkova DjeparoskaDefining the Balkans as a geographic, cultural and semantic entity triggers an interpretationof them as some idea, concept, oftentimes even a stereotype. The Balkans are usually interpreted as asingular entity, generalized and set in a single framework. That generalized view is often ambivalent.The Balkans are often interpreted and presented as a ‘powder keg’, a ‘bridge between the Eastand the West’, a part of Europe that is simply different, a place of strong emotions and attractiveforms of music and dance, etc. However, the Balkans represent a set of cultural units that are inconstant interaction, with each of the cultures of the Balkans being specific and authentic. Macedonia,as one of the pages of the ‘Balkan story’, will be presented at three levels—regarding its drama,music and dance. The specific characteristics of the music and the dance fields will be presentedthrough their most significant features and examples, and the treatment of the topic of the Balkans inMacedonian drama will be covered as well. The analysis confirms that generalization is impossibleeven within a single culture, as each artist and medium of performance has its own unique expression.The cultural forms of Macedonian culture are only part of the wider pluralistic representation ofthe Balkans. It may be offered under theBalkansas the common denominator, but the truth is thatthis/representation/concept is polyvalent, multicultural, polysemic and extremely rich. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Narrativization of Macedonian tradicional dances(Institute of Ethnology and Folklore Research and ICTM Study Group on Ethnochoreolog, 2015)Zdravkova-Djeparoska, SonjaThis 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. - Some of the metrics are blocked by yourconsent settings
Item type:Publication, 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