MUSIC AND DANCE IN

SOUTHEASTERN EUROPE
MYTH
RITUAL
POST-I ggg
AUDIOVISUAL
ETHNOGRAPHIES
 Fifth Symposium of the ICTM Study Group
on Music and Dance in Southeastem Europe 2016
South-West University "Neofit Rilski", Blagoevgrad, Bulgaria

Music and Dance in Southeastern Europe:

Myth, Ritualo Post-1989, Audiovisual Ethnographies

Blagoevgrad ' 20 i 6

University Publishing House 'Neofit Rilski"

This book is based on the Fillh Symposium ofthe ICTM Study Group on Music and Dance in Southeastern
Europe $hich rvas held at South-West University "Neofit Rilski" on 2-8 May 2016 in Blagoevgrad, Bulgaria

lntemational Council for Traditional Music (ICTM)

Stud) Group on Music and Dance in Southeastern Europe

Local Organizer:
South-west University "Neofit Rilski", Faculty of Arts

Organisation committee :

Ivanka VIaeva, Lozanka Peycheva, Ventsislav Dimov, Yordan Coshev

Program committee:
Ardian Ahmedaja (Austria./Albania), BeLna Kurtigoglu (Turkey), Carol Silverman (USA),
lva Niemdii (Croatia), Selena Rakoievii (Serbia) - Chair, Ventsislav Dimov (Bulgaria)

Editors:
lvanka Vlaeva, Liz Mellish, Lozanka Peycheva
Green, Ventsislav Dimov
^Nick

Compiled by
Ivanka Vlaeva, Lozanka Peycheva, Ventsislav Dimov

Ed itorial assistance:
Ana Petrovii, Belma Kurtitoglu
Sonja Zdrvkova-Djeparovska, Tvrtko Zebec

Pictures:
Bilyana Topalova, Ivanka Vlaeva, Krum Ivanov

Book cover design:

Tzvetan Stoyanov

G raphi c design:
Nick Green

First published 2016

Publisher:
University Publishing House "Neofit Rilski", Blagoevgrad

O International Council for Traditional Music (ICTM), Study Group on Music and Dance in
Southeastem Europe
O South-West University 'Neo{it Rilski", Blagoevgrad, Bulgaria
The publication ofthe book is funded by South-West University 'Neofit Rilski"

I SBN 978-95 4-00-0 | 23 -4

 ICTM STUDYGRoUP oN MUsIc AND DANCE IN SoUTHEASTERN EURoPE:20I6 SYMP0SIUM-BLACOEVCMD. BULGARIA

Panel

AUDIOVISUAL RECORDING OF DANCE AND MUSIC IN

ETHNOCHOREOLOGY AIID ETHNOMUSICOLOGY

Even though audio and visual recording of dance and music has been an essential
tool for collecting data since the foundation of both disciplines, especially in East
European countries, its theoretical, practical and ethical implications have rarely been
discussed among ethnochoreologists and ethnomusicologists. It is even more releant at
the time of the expansion of available technology and wide accessibility of video and
musical clips on the Intemet and in various media to raise methodological issues of
capturing dance and musical performances through audio and visual recording processes
which directly influence their fuither interpretation.
This panel raises questions about the methodology of audiovisual recording of
dance and music and its implications on the "representation" of recorded material in
ethnochoreological and ethnomusicological discourses. The presenters address their own
personal experiences of filming dance and music and consider various issues which
include: general discussions ofpractical and technical matters while filming dance dwing
field research and peculiarities of simultaneous filming dance and musical performance
(Rakodevi6); the further use and interpretation Fy both scholars and practitioners of
recorded material opposed to classification, ndtation and structural dance analysis
pointing out that local practitioner's concepts of value in their dancing and the flexible
layers of construction in the process of dancing are important (Green); specificities of
various ways of capturing elusive and complex performances of epics as an intensive
communication between guslars and their listeners promoting audiovisual
ethnomusicology as a potential sub-disciplinary field which opens up new possibilities for
music research (Laji6).
Starting from the premise that ethnochoreology and ethnomusicology are cognatc
and interlinked scholarly disciplines, questions of similar methodologies of audiovisual
recording of dance and music, as well as an implicit call on the <.:omparison of audiovisual
recordings, are also important topics discussed in the following papers.
 SYMPosluM-BLAGoEVGRAD' BULGARIA
ICTM STUDYGRouP oN Muslc AND DANCE IN SoUTHEASTERN EuRoPE:2016

Selena Rakotevii
(Belgrade, Serbia)

ISSUES IN VIDEO
FILMING IN THE FIELD: SOME METHODOLOGICAL
RECORDING IN ETHNOCHOREOLOGY

dance research for a long time'

Video recordings have been present in ethnographic
and documentary^evidence to the scholarly
and appear both as lnaiviauat puUtications
as a syncretrc
*ritinjr. Ho*"u.', the methodology of capturing dance "realization" to a greater extenT'
been discussed
unity of dance movemenrs and dance music has not fjil?^flli
Simple questions ,t"rt ut *ft"i i" film' where
to stand' what *1 *h"
]"
parts of the body' individual dancers or the group muslcrans
*ttoie uoay or specific
and/or dancers), una *n"tfl"' i" itftlil or join the dance. trying not to disturb the
;;t;;;";"
of the ;id€o camera' ha'r'e not been the
subject
performance proces' *ith ;;; more
have become
of scholarly debate Additio;ally' only recently researchers
editing' selecting and presentlng
conscious that filming methodolo; togeiher with the
its subsequent rnterpretation The aim of
of the recorded material directly influence
m€thodology of video recording as one
this article is to mise qu"rtion, ion".rning the
o"'i"'iJ' eih"nocrroreotogical research and' consequently'
of the important, ir "t
""t
constructing knowledge in this scholarly discipline'

video recording
Keywords: field research; ethnochoreologyl

Introduction: historical remarks research for a long time

Video recording, t uu" f,""n p"tent in ethnographic,dance
as an irreplaceable, albeit
ireiia for capturing ttdllt^O:,1t-1|a1tii
""""'i'*aiv-"""ilableof village dancers were made alreaoy ln
0.ri"""""'..t. orthough the first sileni footages in Hurgarv tFelfoldi 2007:1581, Nordic
the 1g20s and 1g30s, u. it i, tt* "ur" for exariple
2008:281' in the scholarlv
counnies [Bakka and Birk"p ;;6;;dii -Je'tgr*a teiadite collection and research of
organized
traditions of most European "o"nt'i"' institutionally the Second
dance which included ."kd;;; itit' ttutt"a'*t!^i" ttte decades after
World War. Let us mentron6;"ft* ;t"pltt
on3 of the first' if not the very first'
ethnic groups of the former Yugoslavia
organized filming of folk dances of various
Uy luat* nlm in 1948 [see more in Dunin
republics in their local contJi' *ut *uat
provides the earliest tangible records of
the
2009:611. This remarkable ;;;";;;*y
stvles from a1l over former
individual dances and u'io* t"gionul^ performance Ivan lvandan' which included
activities of
Yusoslavia. In Croatia, tfre r'iielong Eoflecting
folk dances, started already in
various forms of silent *a *"ri'?ra"" J*u-."ntutionot
late i950s [compare P""l"ti;J;;i;ilgf ' Al;
it the.1950s' in F{ungarv' orylry^YT:"
1noa"t of structural dance analysis based
and Em6 pesovriLr establisd;;" ;; ;r.ur"t
2001:1591' In Romania' in the period
on the exploration of uia"o ,"i"Ji"g' irtir"rai
department of the Institute of Ethnograpn-v
from 1g53 to lg7g,."r"."t.r' iio- tf,. dun""
and Folklore in Bucharest pt"i*tJ "
gt*t number of silent films with the simultaneous
[Giurchescu 1999:42;
recording of the accomp-v-e- ;1ir" on .the
tape
"a new wave of colleition and research" of
-rccorder
Giruchescu and Bloland lggi:til'In Norway
folk dances based on th.i' ;;1;;;;;a in teaot putta 1999"75; Bakka and Biscop
2007:1031. In Turkev ,h" ;;;::;; itht of folk dancers v"ere made in 1968 [see
Ozbilgrn inthis plX*:iTl and
filming dances for rhe purpose of rhe.ir collecrion$hich
exploration mentioned uuou" *"'! linked
with the state research institutions
provided financial support i; the te"hnologicaf
itpto*-*t of research into dance'r

261
 EUROPE: 20 16 SY1',I?OSruM.BLAC'oEVGRAD' BL'I-GARIA
ICTM STUDY GROUP ON MUSIC AND DANCE IN SOUTHEASTERN

European countries video

Nevertheless, in spite of cases mentioned above, in most East
lqoiprn*t was not widely available for a long time and only started to b"-T:^t"
seri-ously

includedaSanimportantmethodofdancefieldresearchduringthel9S0swiththe
;;;;;" of the vHS cameras designed for non professional users. In Serbia, for
,

,iri-" i;,rbicu und Danica Jaikovi6 in theii comprehensive article devoted to pointed
"I""-pi",
ir," iJ"trroaorogv of ethnochoreological fieldwork which was published
in_.1952,
even discussed some
out tt i-po.tince of the audiovisiral recording of folk dance and
"
u"ry p.*,i"d issues of filming [Jankovi6 and Jankovii 1952'17-ZJ]' However'
neither
them, nor the later ."r"ur"h"rsin Serbia, had appropriate equipment
for filmine.11{ the
f"" was made only in 1988 by
"".V
footage taken during ethnochoreological Flt*:tk
ni,irit.ij" Cof"riovi6 and OtvEra Vasio [RakoJevid 2016.:350]'2
Despite different circumstances th;t caused its earlier or later
implementation, video
methods
recording durine {leld research was considered as one of the piimary.freldwork
in Europe'-. lts theoretlcal or
u-ong iliny eihnochoieologists and dance researchers^
p.actiial issues, however, have seldom been the subject of scholarly wrltrngs"
InthedecadesafterthesecondWorldWarmanyscholarsintheUnitedStatesalso
purposes and
pointed out the advantages of filming dance for documentary and research
research of dance
itu*a a widely use it. While diicussing the freld .of scholarly"Panorama of dance
.rfr""i"gy, Cert uae prokosch Kurath in hL anthological article
dance analysis and notation'
,thnoloEy;' drew attention to the possibility of using film. in
techniques were discussed, by, ll"
*J inii"ur"A that problems relating io film conference in Bloommgton alreaoy ln
Intemational Folk Muiic council at its third world
within
isi0 rr*ut}, 1g6}:2a6__2a7ji, Dir"usring epistemological issues of using notation
also clearly
ii" u",rtt"p"r"gical approach
^of
to dancJ research, Su'utte Youngerman
i"ai"","a ihe n-ecessity filming dance during fieldwork as the re-analyzable source
whichcanbeverihedbyothers-[Youngermanl975:I|9i'Epistemologicalissuesof
unfortunately have
filming dance and its rheoretical implications in dance anthropology
rarely been discussed.'
parts of the globe also
Along with dance researchers, ethnomusicologists,from both
in fieldwork and post-
considered audiovisual recordings as an indispensable tool
step further by
it"f,O*"tf.'.*"f ysis, but during th; 1970s and 1980s they went a major
discussing some of p.u"ti"?L theoretical, a1d 9t]ri9al aspects
filqrn-e-
.m1sic
of
m *t" n"ia [for Hood 197r:269-283; Lomax r973:3r5-334;Fetd
;;;i;;"; example,
aspects of filming music
iii AJDI-iiZS; Zamp 1988:3931n1' n recent years' various
example' M91a and
occupy the scholarly attention of ethnomusicologists again [for
tvtor"o*2009:3-19;Pistrick,scaldaferriandSchwdrer20ll;Clalton'DueckandLeante
ioli,lz-tll. Within the ICTM [ICTM 2010-2016] the new sub studv group on
audiovisualethnomusicologyhasrecentlybeenestablishedandwillhaveitsfirstmeeting
in this volume]'
in LpUf.iunu n eugust 2016 [see more in Laji6 Mihajlovid
- - tfant inspirilng debates on various asiects of ethnographic filming or' to use Colin
of the-basic research
voung;, ;r* the o6servational cinema [Ylung 1973:100]' as one
for example Hockings 2003
tool ii anthropology also arose during tg6os and 1g70s_[see
Felto ancl pelto 1978:1121, since that time even the
i;;;lj; M;d""g;il D78:405425;
new subfield ofsocial anthropology - visual anthropology - which
includes, video
academic settings in the United
representation, has began slowliy to-be e{a91isl:9 in the.
Statesandwestemtsurope[seemoreinPink2006:3_4].Duringlgg0stheuse.ofvideoin
spread through.the
ua.ious air"ipfina.y nia, of the social sciences also widely
narrative reports in the fo,rm of video case studies called
"pprr""r", "ir,"tgraphic
"T prickson zo1 t: t 84; Knoublauch 2012:252-2531'
;'iia"ogruptty"
 ICTMSTUDYGRouPoNMUsIcANDDANcEtT-SourHEAsrEtuNEuRoPEl20l6SYN{PosluM_BLAcoEvcRAD'BuLcARlA

media in
However, despite the methodological achievements of the usage of visual
including
social sciences, anthropology, and ethnomusicology, dance researchers
ethnochoreologists, dance ethnologists and dance anthropologists'
in the United States
a research tool
hul,r" not discussed melhodological issues of filming dance as
-J E*op", part ol
in their dis;iplinary fields, even though miking video footage is an inextricably
mentioned, filming is
the fieldwork of rnost of them from the 1990s and, as it is already
continuously determined as one of the basic sources for dance field
research data
1975:119;
documentation [see for example, Jankovii and Jankovii 1952:20; Youngerman
Giurchescu and Torp 1991:8, footnote 7; Bakka and Karoblis 2012:1871'
The ,"u.o.t, *hy methodological and theoretical aspects of video recording
have
video equipment
not been explored between dance scholars are various. The fact that
Startedtobewidelyavailableandthusanessentialdeviceforfieldworkonlyfewdecades
were
ulo, ia j"rt one of th"m. It seems that more important is that dance researchers
to their heldwork. While
pi.o".uii.d with other research and disciplinary themes related
dance anthropologists were engaged in consideiation of the epistemology
of the personal
withiritheir particifait observation as both an overall and at the same time a
""p.rf..*t for
prirnury rou.." for gaining emic knowledge of the researched dance culture [see
and
;;;ili., Kaeppler lsss,z1; williams t999:29; Sklar 2000:751, ethnochoreologists
danceethnologistswerepreoccupiedwithmakingcriticaloverviewsofcollectingand
for
research traditions in their own countries in historical perspectives [see -e_xample,
2016:343-3591'
Felfttldi 1999:64; Bakka 1999:75 -77;Zebec 199697-99; Rakodevii
Based on critical reflections of my own experience of long-time
fieldwork in Banat
andeditingtheanthologyofvideorecordingsoftraditionaldancesinthisregion
is to raise questions ofthe methodoiogy ofvideo
[Rakodevii2014], the aim of this article research and'
recording as one of the important, if not basic tooli of ethnochoreological
it
constructing knowledge within this scholarly discipline' As is discussed
"onr"qr,Jntty, dance is consrdered
;h"*lj;;, iisciptinary sp-ecific ethn-ochoreological knowledge aboutand theories of both
as scholaily knowledge tased on analltical-descriptive procedures
textual and contextual dimensions of iance as endemic aspects of
research [Rakodevi6
2015a:361.
The verbs
,filming' and'video recording' are here used as synonyms although there
isanessentialdifferencebetweenethnographicfilmsanduneditedfootageswhichwillbe
here as an inseparable
discussed later. considering the fact that dance is conceptualized
syncretic r.urity of dance movements and dance musio video
recording during
field work should consist of audio/visual information of both dancers
"ifrno"troreotogical
and musicians.

Ethnochoreological fieldwork and the video camera

The stanipoint that the video camera is an essential research tool to in
One..is related
ethnochoreological fieldwork is based on two underlying presumptions'
of a
the undershni'ing of the video footage itself, and the other to conceptualization
dance as the primary object of ethnochoreological research'
Some scholars agree in their discussions on epistemological- aspects
of
lor
filming/video recording lhat it is capable of documenting events 'pso facto -.fsee
emphasize the difference
;;;pi", Hocking 20ot U9731:512; MacDougall 1918:4161and
between ethnographic film and unedited, raw video footage'
Even th-ougtr the cameraman or filmmaker, as Steven Feld points
out'
,,systematically m-akes selections in every stage of planning, shooting and editing'' [Feld
,.i pro".* of cognitive priorities of what will
Gieng,l,ane filming itself is undoubt"dly
scholars also agree
be noted" as Colin Young stresses [Young 2003 [1973]:1001, many

263
 ICTM STUDY GRoUP oN MUsIc AND DANCE n.{ SoUTHEASTERN EURoPE: 20 16 SYMPoSIUM-BLAGoEVGRAD. BL'LCARIA

that the video footage as a two-dimensional moving image could be treated as a source of
primary data, the piece of evidence which has the immanent revelatory power to show us
what has happen in real timing even though the recorded event is re-contextualized in the
new media of "the screened" form [for example, Hocking 2003 11973]:51; Rouch 2003
[1973]:88; Mera and Morcom 2009:71.o The video footages made during fieldwork
should be thus separated from the ethnographic films created in subsequent editing
processes in which the sequences shot are ordered according to the intentional nanative
of the editor. As David MacDougall succinctly formulated in this usefi.rl distinction, while
footage represents "a raw material that comes out of camera", films are "structured works
made for presentation to an audience" [MacDougall 1978:406]. Compound issues of
creation of an ethnographic film as "a comple_x symbolic communication system" [Feld
1976:3001 will not be discussed this time,i but my attention will be paid to the
methodology of filming/video recording during field research and the relevance of, we
may say, the ethnochoreological video recording to disciplinary foundation.
I
The other theoretical presumtion which am starting from refers to dual
conceptualisation of 'a dance' as the realisation and the concept. While "the realisation
makes dance available perceptualll', the concept of it includes "the potential of skills,
understandings and knowledge" [Bakka and Karoblis 2010:172-1731. Filming dance "in
the field" thus means fixing the dance realisation as happened. Even thoughit
epistemological sources for gaining academic ethnochoreological knowledge about a
dance could be wide and various. tle notion of the "field" orimarilv refers to the dance
event itself.s The recorded material as a lasting dodumerrt of dancinj could have multiple
purposes. Before we discuss some of them, let us first consider some more issues of
ethnochoreological filming in the field, that mearts during dance event, which include its
practical aspects.

There is no doubt that ethnochoreological filming without some prior knowledge

about the researched dance culture which embraces botl contextual and textual issues is
not sufficient. The researcher should be prepared in advance about the dance event that he
would observe and decide beforehand if he would like to give priority to filming it or to
observe the dancers and other aspects of the event or to participate in dancing. Of course,
he can also talk with people, but interviews should not be taken during the performance,
but before or after it togethel with the possibility of making field notes. All of the
researched methods are valuable sources of obtaining knowledge about a dance and of
course should be combined during field work. However, since "memory cannot be
trusted" [Pelto and Pelto 1978:691 especially memories of various elusive, short and
mutually complementary visual, auditory and somatic sensory stimuli during dancing
and/or observing it, as I discussed further elsewhere [Rakodevi6 2015b:.51441' Rakodevid
2015c:2-81, I am in favour of the standpoint that the primary choice of methods of
ethnochoreological fieldwork should be filming the dance realization on the spot. Thus,
the hand-hold camera should be carried by the ethnochoreologist who, as much as is
possible, creates the working conditions of shooting. That means that he makes decisions
of who should be recorded, as well as how, for how long, when and where the
ethnochoreological video recording should be made.
The focus of
ethnochoreological filming should be the very object of
ethnochoreological research. That means that the ethnochoreological lens should be
primarily focused on dancing. Of course if we concentrate on the dancing many aspects
of social communication at the whole event will be missed but. our human observational

264
 ICTM STUDY GRoUP oN MUsIc AND DANCE IN SoUTHEASTERN EUROPE: 20I6 SYMPOSIUM-BLAGOEVGRAD, BULG,{RIA

possibilities are an)'!vay, limited. If we pay attention during frlming to othel segments of
ih" dun"" event rather than on the dancing many aspects and maybe delicate unrepeatable
moments of the performance will be lost forever.
who will be in the camera frame and for how long depends on the characteristics of
the dance performance. If an individual dancing is in question there is no dilemma.
However, when we are recording a group dance, then we have two options: to zoom onto
certain individuals or to use the so-called total frame. While we afe focusing on the
individual dancers we also have two options: to frame on the most proficient or, on the
contrary, the average performers who are not marking themselves apart from others. Ifthe
performers are constantly moving through the space, decisions about whether we will
move along with them, or remain on a fixed spot must also be rnade. If we do not have
space, which often happens when a lot ofpeople dance in small rooms, we should focus
on the parts of the body which produce dance movements. In the aim ofjustifuing these
statements, let me mention some of my negative experiences. While I was collecting and
selecting from a large amount of material for an anthological DVD ofvideo recordings of
traditional dances of the Serbs in Banat [Rakodevii 2014], I had to exclude a great
number of footages made by myself or other researchers because they did not present
sufficient information about the dancing: the camera lens most often was focused on the
smiling faces orjust on the feet ofthe dancers without any other visual information about
dancers, musicians and the encompassing context'
Considering the fact that dance movements are inseparable from their musical
accompaniment, filming dancing should also certainly mean video recording the
inusicians. My work in preparing this ethnochoreological DVD also taught me that a huge
number ofvideo recordings of traditional dances of the Serbs in Banat did not have visual
information about music at all. of course in most cases it could be auditory concluded if
music was played from some technical device or performed by the musicians, but all
other information about creating a musical performance was hopelessly lacking. As we all
know musicians most often create dancing reperloire immediately on the spot and their
decisions can be influenced by various factols among which is fluid communication with
the dancers and immediately adjusting to their movements and enthusiasm in dancing
during the particular performance Although we will inevitabl)'miss a lot of countless and
exciting deiails which are happening all around us, my standpoint is that while filming in
the field beside capturing dancers we should make at least some visual information about
the musicians and their playing or about the sound device which produces dance music
In post-event analysis those footages could have revealed so many previously unnoticed
aspects of the dance/music interrelations.
Finally, if we are also interested in communicational aspects between performers
and their audience who are also active participants in a dance event, than we should keep
adjusting our ethnochoreological lens to captue as much as i1 is possible retaining it open
in a total frame. It is good from the practical point if the footage is taken as long as the
performance lasts: it can be cut afterwards if it is necessary and still we would have both
a continual and full-scale recording ofthe performance.
All the attitudes mentioned above towards filming dancers and musicians l{ho
perform dance music in the field are based on my previous experience of making
nu-"rou, bad and some good footages which, as an ethnochoreologist, I subsequentll
tried to use for various purposes. Because of those various experiences, I would like to
argue here that what definei ethnochoreological video recording should be a thoughtfu'
and meaningful snapshot, which at least will try to give as comprehensive as possible
information about the dance event as a whole, but with the primary focus on dancing. Let
me quote here Felicia Hughes-Freeland: "The filming, like traditional participajlt-

265
 ICTM STUDY cRoUP oN MUsIc AND DANCE TN SoUTHEASTERN EURoPE: 2016 SYM}OSIUM-BLAGOEVGRAD, BULGARIA

observation, is determined by a process of planning and intention, which is disrupted by

accidents and enhanced by serendipity" [Hughes-Freeland 1999:1201' Depending or the
dance process itself we should combine our decisions, change the strategy, and, with our
cameras, actively follow the dancers in all unpredictable situations. To paraphrase the
ethnographic filmmaker Jean Rouch, let our camera really be "the dancing camera".'

Possible advantages of ethnochoreological filming

The advantages and purposes of filming dance in the field and making
ethnochoreological video recordings are multiple. First of all, video recording Iepresents
the re-producible and thus re-analyzable campus of elusive dance realizations. It could be
used as apar excellence mnemonic device which opens the possibility of re-experiencing
the event in countless repeated observations. Nonetheless, is the fact that some it
knowledge about dance performances is only available through repeated video
observation of the specific movement itselfby zooming it or playing it in different speeds
whether by slowing down or speeding up. Feedback observation of the recordings taken
by the researcher himself, by other researchers or by dancers and other interlocators opens
up the concept of, to use Joseph Shaeffer's term, "intersubjective reliability" [Shaeffer
2003 [19731:255.1 and certainly multiply and radiate possible interpretation of a dance.
Mutual comparison of recordings also creates opportunities for comparative research,
which has been neglected in ethnochoreology in recent decades. As tangible artefacts,
video recordings also function as undeniable documents of dancing as intangible
expressive behaviour, which could be archived and used subsequently for various
puposes such are research, education and safeguarding dance as cultural heritage. Least,
but not last, video clips made in the field could also be a kind of audiovisual counter-gift
for local dancers whose skill is often marginalized in the community and hidden for the
wider audience. It could upgrade the relationship with the researcher and approve his
future research. Of course many ethical issues could also be raised considering the use of
the camera during dance events in relation to whether the dancers want to be recorded or
not. Beyond a doubt, the researcher must fully respect the performers. However, as a
public activity which is in some \ /ays exffovert in itself, dancers rarely object to being
filmed.

Closing remarks
As it is already pointed out while filming in the field the ethnochoreologist will
certainly miss many of the important aspects ofthe dance event such as the possibility fot
gaining the immediate somatic experience of dancing or taking part in the mutual
iommunication with dancers and sharing an unique joy with them. On the other hand,
ethnochoreological video footage could have various usages if controlled, systematized
and combined with other fieldwork methods.
Along with filming dancers and musicians during dance events one of the focuses
of etbnochoreological video recording should also be capturing interviews with the
performers but also with all other individuals who have knowledge about a dance we are
interested in. Additionally we can also make visual records of dance props, written
material about dancing and musicians such as postcards, newspapers reviews, invitation
cards or dance event programs. Various intemet sources such as Facebook, Instagram or
YouTube are also very important for research. Along with all that, acquiring our o\r11
individual experience about the researched dance practice is a special issue that attracts
the attention of many dance researchers in recent decades [for example, Sklar 1999:17;
Gore and Bakka 2007:93-97; Bakka and Karoblis 2010:180-1811. As it is already
emphasized, methods of gaining knowledge about a dance could be very heterogeneous,

266
 SYMPOSIUM.BLAGOEVGMD, BULCARIA
ICTM STUDY GROUP ON MUSIC AND DANCE IN SOUTHEASTERN EUROPE:20I6

experienced in the
but the repeatable and valuable source for exploration ofwhat we once
should be fiiming. From ihe polnt of the methodological issues
p.iit'fv of
ioia,
that is disciplinafu specific knowledge about a dance, it could be said
"rir"""'n-""r"gy,
that video .".iiding, made in the ireld and their subsequent analysis directly
serve the
empiricismofthere-searchandconsequentlycontributetoitspossibledevelopment.

Endnotes
Zagreb (today the Institute ot
l. For example: Ivan Ivandan worked at the Institute for Folk Art inMartin and Em6 Pesovdr worked
Eil;i";t ffi i"lklore Research) d'ot rssq [zebec 1gg7:183]:-Gvorgv ,h.
work at the Institute of Fotk en i;.g;; academy of sitenies (Felfoldi 2007:1591; 9l: :f
"iirri
mostactiveinstitutionsinNorwayisTheCe-ntreoftheNorwegiancouncilforfolkmusicandfolkdance
[see more in Bakka 1991:54].
2.ltwasmadeduringalocaldanceeventon8thofMarchlg88inthevillageofMokrininBanat.Footages 2014]'
oirlu.ruiJ".." p"rfirmances llom this recording have been published later on fRakodevid
of using video technology in -the
3. Here I do not consider numerous discussions about various aspects
appeared in recent years [for
processes of choreographing and p"ifo'ting p'"'"ntational art dance which
ixample Bailey at. al. 2009 :279318061.
+.oneoftheexceptionsisthearticleofFeliciaHughes-Freeland..Danceonfilm:Stmtegyand
Serendipity" in which she oo.ur,"t lttt-uufut of the ethnolraphic
film as a research tool in dance studies
fiims of Javanese dances (bddhaya ard tqyban)
based on her own experrence ot nluting |th"ogtaphic
[Hughes-Freeland 1999 : | 1 | -1221.
pape$ on the issues of filming a dance in the USA is
5. One ofthe exceptions in the production of scholarly
the article of Virginia Loring erooks devoted to procedural aspects
of video recording of artistic
pertbrmancet Ouiltg itt actual performance on stage and specifically for the camera
choreographed dance
1988:15-26]'
[see more in Virginia Loring Brooks
intentioned ethnographic ftlml th.e.re 1e
6. As Mera and Morcom polnt out "even in the most honestly
hence 'distortion' or frctionalisation
processes of representation, de-, t"-, unJ ttunt- contextualizati;n and
iMera and Morcom 2009t121
ethnomusicological film and aspects of making " t!"p 'd]lf:Tl^""
7. For an exciting discussion about.res"..n
;;,*J':;,fi"fiy dichotomizini nf- ind 'presentation; film" see more in Feld 1976:302-
3 03.
for adequate research on dance and
8. The concept of a dance event which is of a primary significance
dancing was first promoted u-ong ift. *ia* gtoup of OanJe sctrolars during the symposium lh^t^lc:y
"f
in 1988 [see more in Torp 1989; Zebec 2009 '140;
il;fit;; on eihnochoreotogy'tttla i1 cop"tnttugen
Rakodevii 2016:3521
Rouch discussed many issues ofusing-the so-called
9. In an anthological article "A camera and man", Jean
participant camera in tlt-int; tnis terrn was first used by Luc de Heusch [Rouch 2003
"ttrnogrupni"
lr9'731.82).

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