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1

Rahvatantsu harrastamine ja suurpidudest osavotmine: pohjused ja seosed subjektiivse heaoluga

100%
Nemeržitski S., Zajedova I.
Mäetagused
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2015
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vol. 62
55-74
EN
Big festivals and folk culture events have been a centuries-old tradition in Estonia. Today, alongside the preservation of national traditions and being cultural events, these events have also become popular leisure activities. Leisure activities are known for their positive effect on humans’ subjective wellbeing through emotional, social and psychological effects. This article focuses on adults’ motivation, both in Estonia and abroad, to engage in folk dance activities and their possible impact on subjective wellbeing. The study was carried out among Estonians living in Estonia and abroad, and it was designed as a mixed methods research. The results indicate that social factors play an important role in motivating adults to engage in folk dance, but also educational aspects are involved, which contribute to the general wellbeing of a folk dancer.
2

Eesti kultuuri suurpeod maailmaparandis

100%
Zajedova I.
Mäetagused
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2016
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vol. 63
7-20
EN
The tradition of Estonians’ cultural festivals is a rich topic and may be considered profoundly distinctive for Estonian people. It is a unique way of maintaining and advancing the traditions of national heritage through a variety of activities. Since after World War II a forced separation took place in Estonian national culture and many citizens of the former Republic of Estonia escaped from the Soviet occupation to the Free World (thereby splitting geographically into the groups of homeland Estonians and Estonians abroad), the tradition of cultural festivals continued on both sides of the Iron Curtain, in an effort to maintain traditions under different circumstances. This special issue of the journal is the outcome of a project begun in 2012, to investigate the role of folk dance hobby activities and festival traditions in the maintenance of national culture. During the compilation of the special issue the focus shifted towards the question of the role of Estonians’ traditional festivals in the ever-changing world – their viability and transmission of the traditions of national identity both in Estonia and abroad. This issue covers the experiences of hobbyists in traditional cultural activities, their involvement in festivals, and their cultural contribution, both in Estonia and in communities outside it. Among the basic themes of the articles the following deserve special attention: the place of the Baltic countries’ song festivals in the world cultural heritage and the relationship between new and traditional songs; the role of dance festivals in the preservation and transmission of traditional dancing skills in contemporary Estonia and the nature of cultural heritage being maintained at dance festivals; the role of folk dance among the Skolt Saami, our neighbours in the North, in shaping their history, identity, and future, as well as the connections between contemporary Skolt Saami folk dance and identity; the revitalisation of old folk musical instrument traditions both in Estonia and among the Estonian diaspora; the split and repression in the realm of choir music, due to the forced separation by a foreign power; the recording of World War II refugees’ cultural events on narrow gauge film in Sweden and the identification of the filmed individuals by a group of experts. Another and not less important goal of this issue is to stimulate a more wide-ranging discussion in Estonian society about the role of hobbies and traditional festivals, especially outside Estonia, which are an integral part of Estonian national culture and Estonian folk culture.
3

The Influence of the Contest for the Best Dancer of Slovácko Verbuňk on the Existence and Form of the Verbuňk Dance in the Ethnographic Area of Podluží

100%
Teturová J.
Národopisná revue (Journal of Ethnology)
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2020
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issue 4
306 - 316
EN
The study submits results of the first stage of research on the influence of the Contest for the Best Dancer of Slovácko verbuňk on the existence and form of the verbuňk dance with focus on the current situation in the ethnographic area of Podluží. The Contest has been organized at the International Folklore Festival Strážnice every year since 1986, and since 2005 is has been part of safeguarding measures for verbuňk as an element inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. The authoress presents results of field search conducted among three groups of respondents in Podluží, meaning contemporaries (former dancers regardless their participation in the Contest), local authorities directly connected with the Contest (successful participants in the Contest), and young active dancers who dance verbuňk at the Contest and also at usual dance occasions. Respondents’ opinions prove the influence of the Contest on the popularization and promotion of verbuňk in the field, and they draw attention to the issue of interventions in the natural development of regional style. The mentioned findings will be used to compare results from further stages of the research, which are conducted in other sub-regions of the ethnographic area of Slovácko.
4

Czech Ethnochoreology in the Context of Time and Society

100%
Pavlicová M.
Národopisná revue (Journal of Ethnology)
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2017
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vol. 27
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issue 5
19 - 29
EN
The history of Czech ethnochoreology follows the general development of the interest in traditional folk culture and formation of ethnochoreology in the European geographical space. At present, ethnochoreology is perceived as part of ethnology; however, it overlaps beyond this discipline, especially towards the art-historical study of dance and music. The beginnings of ethnology’s current dance specialization may be part of the abovementioned interest in traditional folk culture in the late 19th century. The work Jak se kdy v Čechách tancovalo [How People Used to Dance in Bohemia] (1895) with the sub-title Dějiny tance v Čechách, na Moravě, ve Slezsku a na Slovensku od nejstarší doby až do konce 19. století se zvláštním zřetelem k dějinám tance vůbec [The History of Dance in Bohemia, Moravia, Silesia and Slovakia from the Oldest Times to the End of the 19th Century with Special Respect to the History of Dance in General] by the historian of culture Čeněk Zíbrt remains a hitherto unequalled Czech synthesis about the history of dance. The work was published again in 1960 as a commented edition. From the late 19th century, dances began to be collected in particular regions and the first collections with folk dances were published. The always stronger wave of the interest in folk dance was intensified by the disappearing dance tradition in the countryside. The intellectuals’ efforts did not focus only on recording the dance, but also on maintaining them. The folklore movement, which built its social position between the two world wars, became stronger in the second half of the 20th century. At that time, the institutionalized aspect of ethnochoreology developed in the Czech lands, and both levels, the practical and the theoretical one, complemented each other. Czech ethnochoreology became involved in international professional structures and the subject-matter of its interest began to spread beyond the borders of traditional folk culture. It focuses not only on folk dance, but on dance as a phenomenon that is one of the oldest expressions of people’s souls and emotions in human existence.
5
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Menuet v české lidové hudbě : analýza a hudební typ

88%
Vejvoda Z.
Český lid: etnologický časopis (Český lid: Ethnological journal)
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2016
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vol. 103
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issue 4
597-622
EN
The long-term research of the characteristics of Czech folk dance melodies reveald that the songs and instrumental melodies from the collections from the 19th and 20th centuries be divided into several distinct musical groups. Besides the already described types of triple meter, “round and round”, „ländler“, „mazurka“ or polonaise-like rytmical.melodical structures there is also a distinctive musical type, minet or folk minuet. The present study aims to confi rm the subjectively perceived musical quality of Czech minets through the method of computer structural analysis and to present them in the context of so far published historical researches and musicological analyses
6

Tantsumuusika ja tantsud Kuusalu rannas

88%
Kont-Rahtola A.
Mäetagused
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2011
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vol. 49
93-114
EN
This paper consist an analysis of the music and dances of Kuusalu coastal area culture during the first half of the 20th century. Kuusalu parish is known as one of the richest in the North-Estonian folk culture. About two hundred instrumental tracks and notations, mostly dance music, and hundreds of dance manuscripts have been collected from this region. The collected material is located mainly in the Museum of Estonian Literary in the department of the Estonian Folklore Archives, Estonian Theatre and Music Museum in the department of the Music. Content and quality of the dance recordings are essentially very different. They vary from full transcripts to more general descriptions if the dance is known or not. Recorded music and written materials from the archives are from the period of 1905–1938. My goal is to find out where, how much and what were the dances and instrumental pieces in Kuusalu parish. The data are presented by the villages. As a result, I got a versatile overview about the variation of the dances. It turned out that some villages had clearly different dance repertoires. In the villages where there were good musicians, there was also active dance culture. Comparison of both instrumental and dance music is essential to understand their development. This can be used as a tool to evaluate spreading and development of different folk music pieces.
7
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Lidový tanec jako pohyb i emoce

88%
Pavlicová M.
Národopisný věstník
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2009
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vol. 26_(68)
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issue 1
76-84
EN
It is first of all ethnology, which deals professionally with the folk dance in the Czech milieu, even when the interest in it falls into the other branches of science. Musicology or choreology consider it rather as a marginalized object of their research. It is a certain paradox, because ethnology, in certain phases of its development, considered the dance as folk art and in this spirit it dealt with this phenomenon. Attention was concentrated on the aesthetically valuable dance presentations and interest was thus oriented, above all, to the traditional dance culture and its residues. Human being, however, expresses his emotions by all kinds of motion and disappearance of traditional repertoire did not imply disappearance of the dance as such. The anthropological approaches help us to study dance culture in the broadest sense of the word. It is the stage folklorism, which we should include in this culture as well. In addition to intermediation of the folk dance knowledge, this way of dance can reveal the inner world of the dancer. Broadly defined research and interference of branches is thus the basis for further development of ethnochoreology, a significant subdiscipline of ethnology.
8

Folk Dance, City, and Lifestyle (using an example of Prague, Brno and Bratislava)

88%
Kolačkovská L.
Národopisná revue (Journal of Ethnology)
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2023
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vol. 33
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issue 1
18 - 32
EN
The wide spectrum of folklore activities organized regularly in the urban environment confirms the stability of folk dance position in the contemporary society. The study presents current forms of folk dance, using an example of selected folklore activities, such as dance houses, dance parties with cimbalom music, and folklore aerobic. Although these folklore activities have different contents and stories, they share their essential participatory feature. The basic methodological starting point consists in the perception of the dance as a cultural product, not only as a physical phenomenon that takes place in a certain time and space. The research was carried out in three cities: Prague in the Czech Republic, Brno in Moravia, and Bratislava in Slovakia. Events associated with the environment in which folklore activities take place are lively and growing in their intensity (e.g. new events develop). The author is interested in the importance of these activities in the urban environment. In her treatise, she also deals with the issues of identity and conscious relationship to folklore, which result in the development of so-called folk-love communities. The text is based on ongoing field research.
9
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Slovácký verbuňk jako tradice i performance

75%
Jagošová A.
Národopisný věstník
|
2023
|
vol. 40_(82)
|
issue 1
29-40
EN
The Slovácko verbuňk is a solo male dance of jumping nature. Originally, it was part of military recruiting and was danced by soldiers or, much more often, by the recruiters. Verbuňk had many functions. Some of them, for example the psychological and the symbolic and social ones, have already disappeared, some others, such as the identification, erotic, and competitive ones have survived to date. It is due to the competitive feature of the dance that a “dance race” has been organized at the International Folklore Festival in Strážnice since its foundation; the Festival has given rise to the Contest for the Best Dancer of the Slovácko Verbuňk. This has significantly changed the form of the Slovácko verbuňk - for example, the Contest has supressed the improvisation, but increased the awareness of the dance and attracted many dancers who want to learn it. The performance of the Slovácko verbuňk by child dancers is a phenomenon of the last twenty years. This fact has its supporters and opponents among Slovácko verbuňk dancers and leaders of folk ensembles.
10

Loomulikkuse kusimus

75%
Sille K.
Mäetagused
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2015
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vol. 59
27-50
EN
The article is written to unveil the important values and understandings accepted in our deepest subconsciousness, which form the basis for speaking about traditional folk dancing as a ‘natural’ way of motion, and for the desire and suggestions to dance ‘naturally’. In contemporary urban culture, various dance styles have been described as ‘natural’, but the topic of this article is traditional folk dance today. My dance ethnographic fieldwork for this research was carried out in Estonia during the years 2008–2014, at the main traditional folk dance events such as festival dance nights, concerts, group rehearsals, and workshops, as well as in other dance learning environments. Spoken and written statements about traditional folk dance during the research period are also taken into account. In general, one can say that the ‘natural’ qualities of traditional folk dance in today’s Estonia spring from the fact that the individual freedom of the dancer is highly valued. The meaning of ‘naturalness’ is based on the dance knowledge and experience of each dancer or speaker, and may consist in • the sense of gravity and optimised work of muscles when the dancer has decided that it is sustainable and best for his/her living body; • posture and manners acquired by training in any other dance style if the dancer perceives it as comfortable, familiar, and normal; • goal-oriented imitation of parents or other cultural models when the dancer thinks this is the essence of learning the tradition; • spontaneous, unconscious, uncontrolled movement, which the dancer thinks to be with no rules and no need to learn or know something special. Various combinations of these meanings and their reasons are also possible. The study proves that today the ‘naturalness’ of traditional folk dancing is constructed by each dancer in light of their own beliefs and convictions, including faith in the primacy of individual freedom. This result is usable in ethnochoreological research into any more concrete issues concerned with traditional folk dances, but even more important for dance learning and teaching processes, with reference to the need to always ask and explain in detail what is meant by doing something ‘naturally’. Additionally, the analysed data also reveal the ambivalent position of traditional folk dance among other cultural practices in present-day Estonia. For one group of people interest in traditional folk dance and music is related to other aspects of ecological-organic lifestyles, such as place of residence, food, clothing, re-use and reduction of consumption; also there is another group whose traditional folk dancing is just an alternation in their mainstream urban lifestyle. In both cases, traditional folk dancing is considered more ‘natural’ than other dance styles due to its origin in peasant culture, allegedly unspoiled and cleaner than our contemporary environment. Thus, in present-day traditional folk dance practices, forgotten peasant dance texts are actualised again, but with new aspects emphasised, which refer to characteristic ideas in our society today, for example, a search for some fixed points in the general urban uncertainty. Through learning and performing ancestors’ dances people raise their self-awareness, sense of security and physical and mental well-being. Direct ways for improving and maintaining physical health are also seen in the ‘naturalness’ of traditional folk dancing, especially when compared to stage folk dance or other stage dance styles with higher risks of overload and injuries due to their external requirements or strenuous workout. Different perceptions are similar in the recognition that dancers today feel traditional folk dancing raise their subjective well-being. In spite of different reasons, in general, the cultural proposal that traditional folk dance can be a lifelong and healthy way of movement, has been accepted as cognitively adequate. Today, topics related to physical and mental health are usually rather intimate, and this once more explains the deeply individualistic character of ‘naturalness’, which traditional folk dancing seeks to achieve.
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