- Chestnut Cottage
Ballina Killaloe
Tipperary
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- Ethnomusicology, Ethnochoreology, Folklore, Music and Politics, Intangible Cultural Heritage (Culture), Eastern European and Romani style, and 30 moreTraditional Music, Folk Music, Irish Music, World music, Postsocialism, Performance Studies (Music), Music, Festival Tourism, Romanian Studies, Hungarian Studies, Music and identity, Performance Studies, Hungarian, Anthropology of Music, Festivals and music, Philosophical Hermeneutics and Music, Dance Anthropology, Anthropology Of Dance, Music and Media, Sociology of Music, Phenomenology, Hermeneutics, Smithsonian Folklife Festival, National Identity, Technologies Applied to Cultural Heritage, Cultural Heritage, Traditional Irish Music, Romani Studies, Dance Studies, and Dance and Politicsedit
- Dr. Colin Quigley is retired Course Director and Senior Lecturer in Ethnomusicology at UL and Emeritus Professor UCLA... moreDr. Colin Quigley is retired Course Director and Senior Lecturer in Ethnomusicology at UL and Emeritus Professor UCLA Ethnomusicology, World Arts and Cultures. His broad disciplinary affiliations are to ethnomusicology, ethnochoreology and folkloristics. His research interests are in European and European-American traditions of music and dance. He has published on both as found in Newfoundland, Canada. Close to the Floor (1985) examined the traditional dancing of the province’s small fishing communities, Music from the Heart (1995), the creative process of an outstanding French-Newfoundland fiddler. He began work in east central Europe following 1989 and curated the 1999 Smithsonian Institution Folklife Festival 'Gateways to Romania' exhibit. While on a Fulbright senior research fellowship he investigated the inter-ethnicity of dance and dance music in Transylvania. Field recordings from this project are incorporated, along with extensive annotation, in the Indiana University EVIA Digital Archive (www.eviada.org). Colin worked for two years in Budapest observing its lively traditional and world music scene before moving to Ireland in 2008. He is the initiating co-editor of the Oxford Handbook of Ethnochoreology now in preparation. His work has appeared in journals including Ethnomusicology; The Yearbook for Traditional Music; World of Music; Acta Ethnographica Hungarica; and Journal of Folklore Research.edit
A Publication of the Society of Dance History Scholars The Origins of the Bolero School, edited by Javier Suárez-Pajares and Xoán M. Carreira Carlo Blasis in Russia by Elizabeth Souritz, with... more
A Publication of the Society of Dance History Scholars The Origins of the Bolero School, edited by Javier Suárez-Pajares and Xoán M. Carreira Carlo Blasis in Russia by Elizabeth Souritz, with preface by Selma ...
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Music from the Heart follows Emile Benoit, a fiddler from French Newfoundland, through a rapidly changing musical milieu as he moves from a small rural community to international musical and folk festivals. Seeing himself as a... more
Music from the Heart follows Emile Benoit, a fiddler from French Newfoundland, through a rapidly changing musical milieu as he moves from a small rural community to international musical and folk festivals. Seeing himself as a representative of French Newfoundland, Benoit viewed his music as an expression of that identity. In Benoit's tunes one finds reference to the people, places, communities, roads, and natural landmarks that have framed his life. The compositions included represent a range of work that evokes his ...
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Jacques Bouët, Bernard Lortat-Jacob, and Speranţa Rădulescu. À tue-těte: Chant et violon au pays de l'Oach, Roumanie. Nanterre: Société d'ethnologie, 2002. 333 pp., photographs, diagrams, transcriptions, bibliography, discography, DVD. ISBN 2-901161-66-9. - Victor Alexandre Stoichita,. Fabricants...more
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Nick Spitzer film on African American dance-hall music in French-speaking southwest Louisiana, with Dolon Carriere, Armand Ardoin, and Alphonse “Bois Sec” Ardoin.
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Both in Ireland and regions of North America vernacular traditional dance includes the percussive use of feet on the floor by individual dancers that is generally called step dancing.i Performance of this widely diffused way of dancing is... more
Both in Ireland and regions of North America vernacular traditional dance includes the percussive use of feet on the floor by individual dancers that is generally called step dancing.i Performance of this widely diffused way of dancing is socially organized in many different ways. Individuals may perform step dancing singly or in groups. It may be thought of as a dance in and of itself or be found in the context of a group figure dance. Step dancing is sometimes improvised, sometimes choreographed before a performance, sometimes codified as a system and formally structured in its performance and sometimes not. Step dancing throughout its range often shares many kinetic elements, that is, the little bits of movement that make up the action of dancing: a tap of the toe, a drop of the heel, a change of weight from one foot to the other. It even shares many kinemic units, that is, natively recognizable coherent groupings of elements.ii These are usually called, not surprisingly, steps.
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Rakočević, Selena; Mellish, Liz (editors) 2016. Dance, field research and intercultural perspectives: The Easter customs in the village of Svinița. Pančevo: Selena Rakočević, Kulturi centar Pančevo. ISBN 978–86–918261–1–6
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Step dancing is a general term used to describe a genre of often percussive footwork dance which is widespread in North America. Step dancing may be performed by individuals alone or in groups, as a dance itself or in the conte2rt of a... more
Step dancing is a general term used to describe a genre of often percussive footwork dance which is widespread in North America. Step dancing may be performed by individuals alone or in groups, as a dance itself or in the conte2rt of a group figure dance. The stylistic variants of step dancing in North America share manyif not most of their kinetic and even kinemic elements, andthereis a similar range of structural patterns in most regions. It is sometimes improvised, sometimes choreographed, sometimes codified and formally structured and ...
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This volume makes available, for the first time and in definitive English translation, a comprehensive selection of György Martin’s most important papers. It fulfills a longheld ambition to disseminate the work of this internationally... more
This volume makes available, for the first time and in definitive English translation, a comprehensive selection of György Martin’s most important papers. It fulfills a longheld ambition to disseminate the work of this internationally known Hungarian ethnochoreologist to a scholarly readership. This significant oeuvre in folk dance research is thus, only now, being introduced to scholars of dance folklorisitics and all those who are interested in the reasearch and practice of traditional dances. The present volume comprises four main parts. The first section, “Prolegomena:
György Martin’s Role in Ethnochoreology and Dance Folkloristics” includes summary overviews, specific interpretations, and critical reassessments of Martin’s various essays, by way of an introduction to the merits of his work and the indispensable role he played in Hungarian ethnochoreology. These overviews and commentaries are meant to help readers interpret Martin’s studies within their social, historical, and intellectual contexts. Other readers, seeking an unfiltered impression of his distinctive voice, may choose to begin with Martin’s own works, here presented in translations that revise earlier versions when the editors have deemed appropriate. However readers approach this collection, the editors have aimed for a well-rounded representation of Martin’s contributions in a contemporary light when taken as a whole.
György Martin’s Role in Ethnochoreology and Dance Folkloristics” includes summary overviews, specific interpretations, and critical reassessments of Martin’s various essays, by way of an introduction to the merits of his work and the indispensable role he played in Hungarian ethnochoreology. These overviews and commentaries are meant to help readers interpret Martin’s studies within their social, historical, and intellectual contexts. Other readers, seeking an unfiltered impression of his distinctive voice, may choose to begin with Martin’s own works, here presented in translations that revise earlier versions when the editors have deemed appropriate. However readers approach this collection, the editors have aimed for a well-rounded representation of Martin’s contributions in a contemporary light when taken as a whole.
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In this essay, I aim to augment the extensive commentary, interpretation, and critique of György Martin’s role in traditional dance research from the Hungarian perspective that is presented in this volume. I review the presence of... more
In this essay, I aim to augment the extensive commentary, interpretation, and critique of György Martin’s role in traditional dance research from the Hungarian perspective that is presented in this volume. I review the presence of Martin’s work as represented in English language dance ethnology during the years before the political and ideological barriers, which separated research and researchers in North America and Western Europe from Eastern Europe, were definitively breached following the collapse of socialist state regimes in 1989.1 The distinction between anthropological and choreological approaches in ethnochoreology as rooted in an “Atlantic divide” is commonplace in the field. While this contrast in perspective remains a productive tension in the area, it is no longer primarily geo-intellectual in nature.2 Martin’s work was, and has continued to be, seen in the West as choreological, but I will argue
that it escapes this categorization; indeed, my Hungarian colleagues have chosen to use “dance folkloristics” as a more historically appropriate denomination for it. The formerly contrasting approaches to dance study to be found in Eastern Europe and the West have been subsumed by a much larger mix of theoretical perspectives. On the occasion of the publication of these new and definitive English translations of György Martin’s most significant articles, it seems appropriate to ask what English readers knew of his work, how it was perceived, and whether it was well understood. See Foundations in Hungarian Ethnochoreology: Selected Papers of György Martin (2020).
that it escapes this categorization; indeed, my Hungarian colleagues have chosen to use “dance folkloristics” as a more historically appropriate denomination for it. The formerly contrasting approaches to dance study to be found in Eastern Europe and the West have been subsumed by a much larger mix of theoretical perspectives. On the occasion of the publication of these new and definitive English translations of György Martin’s most significant articles, it seems appropriate to ask what English readers knew of his work, how it was perceived, and whether it was well understood. See Foundations in Hungarian Ethnochoreology: Selected Papers of György Martin (2020).
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Abstract This article makes the case for an explicit ethno-choreomusicology. We propose a research methodology that deploys a set of complementary techniques: detailed formal analyses of specific choreomusical genres; analyses of features... more
Abstract
This article makes the case for an explicit ethno-choreomusicology. We propose a research
methodology that deploys a set of complementary techniques: detailed formal
analyses of specific choreomusical genres; analyses of features that link movement
and sound articulation based on detailed sound and movement documentation of specific
realisations; discourse analysis to reveal concepts that inform both music and
dance ethnotheory and aesthetics; video-elicitation and guided interviews to bring
forward participants’ movement and sound experience; ethnographic documentation
to support analysis of social situations as choreomusical phenomena; oral history and
narrative analysis of interview material to broaden the interpretations of choreomusical
interaction beyond specific performance situations.
This article makes the case for an explicit ethno-choreomusicology. We propose a research
methodology that deploys a set of complementary techniques: detailed formal
analyses of specific choreomusical genres; analyses of features that link movement
and sound articulation based on detailed sound and movement documentation of specific
realisations; discourse analysis to reveal concepts that inform both music and
dance ethnotheory and aesthetics; video-elicitation and guided interviews to bring
forward participants’ movement and sound experience; ethnographic documentation
to support analysis of social situations as choreomusical phenomena; oral history and
narrative analysis of interview material to broaden the interpretations of choreomusical
interaction beyond specific performance situations.
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Abstract This article looks back to dance and music practice in villages of the Transylvanian Plain throughout the long twentieth century in which the potential for conflict between Roma musicians and village dancers was carefully managed... more
Abstract
This article looks back to dance and music practice in villages of the Transylvanian
Plain throughout the long twentieth century in which the potential for conflict between
Roma musicians and village dancers was carefully managed through long established
customary practice.1 We apply an ethnochoreological approach to investigate the
ways in which moments of choreomusical performance intimacy offer a possibility
for social repositioning. The focus of previous studies has been on the formal analysis
of music and dance in their own terms as parallel systems, only occasionally on
the relationship of these to one another, and almost never on the production of social
meaning in their joint performance. We aim to redress this imbalance, arguing that an
ethno-choreomusical focus is needed to examine the complex field of social interaction
among these groups, that informs these dance events.
This article looks back to dance and music practice in villages of the Transylvanian
Plain throughout the long twentieth century in which the potential for conflict between
Roma musicians and village dancers was carefully managed through long established
customary practice.1 We apply an ethnochoreological approach to investigate the
ways in which moments of choreomusical performance intimacy offer a possibility
for social repositioning. The focus of previous studies has been on the formal analysis
of music and dance in their own terms as parallel systems, only occasionally on
the relationship of these to one another, and almost never on the production of social
meaning in their joint performance. We aim to redress this imbalance, arguing that an
ethno-choreomusical focus is needed to examine the complex field of social interaction
among these groups, that informs these dance events.
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DANCE, SENSES, URBAN CONTEXTS Dance and the Senses · Dancing and Dance Cultures in Urban Contexts 29th Symposium of the ICTM Study Group on Ethnochoreology
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Ethnic-national discourse in traditional music and dance practice and theory in Central Transylvania is pervasive and persistent. Scholarship in the field has been deeply implicated in the elaboration and imposition of national ideologies... more
Ethnic-national discourse in traditional music and dance practice and theory in Central Transylvania is pervasive and persistent. Scholarship in the field has been deeply implicated in the elaboration and imposition of national ideologies by cultural elites and, while ethnicity is a naturalized category, the local practice of music and dance in social life need not be primarily so marked. The identification of traditional music and dance in this region as Romanian, Hungarian or Romani as established by 20th century scholarship and as institutionalized in practice is examined and critiqued. A theoretical perspective that moves away from the re-iteration of these categoies is suggested and the possibility of escaping from them in practice is considered.
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PRE-PUBLICATION VERSION see http://www.akademiai.com/toc/022/60/1 Abstract: Apart from a few key works on dance structure, improvisation and Central European traditional dance, the breadth and depth of Martin’s work remains inaccessible... more
PRE-PUBLICATION VERSION
see http://www.akademiai.com/toc/022/60/1
Abstract: Apart from a few key works on dance structure, improvisation and Central European traditional dance, the breadth and depth of Martin’s work remains inaccessible to the English reading audience and little known in dance studies. One such unacknowledged area of significant contribution is his important work in applied ethnochoreology through key interventions in Hungarian presentational stage choreography and participatory social dance revival. In both spheres Martin made a significant contribution at key moments in their development. At least two fundamental concepts drawn from his theoretical work informed his activist interventions. First, that folk dancing needs to be conceptualized, and studied, as process (táncfolyam). Second, that this process cannot be excised from its complete con- textualization in the lives and history of its practitioners if it is to be fully understood. This theorization of dance is relevant far beyond the village dance idiom that so absorbed him. It should be more widely known, acknowledged and, indeed, applied specifically within ethnochoreology as well as dance stud- ies in general today. As work in the application of scholarly knowledge outside the walls of academia becomes ever more important in our field, it is worth remembering that this is not an activity without precedent. Martin’s theoretically informed interventions in both participatory and presentational dance practices in Hungary provide an excellent model for such work.
Keywords: traditional dance, applied ethnomusicology, applied ethnochoreology, participatory dance revival, presentational choreographic representation, applied ethnochoreology, György Martin, Ernő Pesovár, theory and practice
see http://www.akademiai.com/toc/022/60/1
Abstract: Apart from a few key works on dance structure, improvisation and Central European traditional dance, the breadth and depth of Martin’s work remains inaccessible to the English reading audience and little known in dance studies. One such unacknowledged area of significant contribution is his important work in applied ethnochoreology through key interventions in Hungarian presentational stage choreography and participatory social dance revival. In both spheres Martin made a significant contribution at key moments in their development. At least two fundamental concepts drawn from his theoretical work informed his activist interventions. First, that folk dancing needs to be conceptualized, and studied, as process (táncfolyam). Second, that this process cannot be excised from its complete con- textualization in the lives and history of its practitioners if it is to be fully understood. This theorization of dance is relevant far beyond the village dance idiom that so absorbed him. It should be more widely known, acknowledged and, indeed, applied specifically within ethnochoreology as well as dance stud- ies in general today. As work in the application of scholarly knowledge outside the walls of academia becomes ever more important in our field, it is worth remembering that this is not an activity without precedent. Martin’s theoretically informed interventions in both participatory and presentational dance practices in Hungary provide an excellent model for such work.
Keywords: traditional dance, applied ethnomusicology, applied ethnochoreology, participatory dance revival, presentational choreographic representation, applied ethnochoreology, György Martin, Ernő Pesovár, theory and practice
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The Torocko farsangtemetes--the carnival funeral--is an important outlet for relatively uninhibited uncensored commentary on the post-socialist progress of life in the village. It makes explicit the mood of challenge to authority that is... more
The Torocko farsangtemetes--the carnival funeral--is an important outlet for relatively uninhibited uncensored commentary on the post-socialist progress of life in the village. It makes explicit the mood of challenge to authority that is performed in the processional parody of authority figures and the social order. The text addresses social tensions both directly and indirectly, with wry humor and self-deprecating irony that make its harsh judgements more palatable.
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The study, from which this material comes, as a whole, investigates instances of folklore performance profoundly implicated in the constitution of national and ethnic identities. This essay focuses the role of Romanian and, more briefly,... more
The study, from which this material comes, as a whole, investigates instances of folklore performance profoundly implicated in the constitution of national and ethnic identities. This essay focuses the role of Romanian and, more briefly, Hungarian dance scholarship in such processes.
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Notions of cultural revival and the representation of cultural identity are powerful engines driving the current practice of dance in Transylvania. In particular the interplay of these two shaping ideologies on the well known couple... more
Notions of cultural revival and the representation of cultural identity are powerful engines driving the current practice of dance in Transylvania. In particular the interplay of these two shaping ideologies on the well known couple dance cycles of central Transylvania are examined using excerpts of video recordings made at dance events emphasizing Hungarian, Romanian, and Gypsy identity formations. Different attitudes toward revival and representation have an important impact on the configuration of these identities in dance within the shared tradition characteristic of the region.
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Vernacular Sociality and Regional Iconicity in Step Dance Colin Quigley Both in Ireland and regions of North America vernacular traditional dance includes the percussive use of feet on the floor by individual dancers that is generally... more
Vernacular Sociality and Regional Iconicity in Step Dance
Colin Quigley
Both in Ireland and regions of North America vernacular traditional dance includes the percussive use of feet on the floor by individual dancers that is generally called step dancing. One of the most common ways of characterizing variation in this idiom is in terms of regional style. Popular literature and media publications generally treat step dancing in this way: as Cape Breton step dancing; Appalachian clogging; Ottawa Valley step dancing; and of course, Irish step dancing. In Newfoundland different vernacular regions, and smaller networks based on community residential and kinship patterns displayed preferences for a particular musical repertoire, rhythms and steps. Within a dance community, however, step dance style is used primarily to express sexuality and individuality. These two domains of meaning are raised to a dominant level of significance in Newfoundland due to the conditions of social life and the expressive role of dance and music with in this system. The Newfoundland example stands, I think, as illustration of the dynamics of step dancing which existed throughout North America apart from the self-conscious regionalism engendered by changing social conditions that challenge traditional patterns of life.
Colin Quigley
Both in Ireland and regions of North America vernacular traditional dance includes the percussive use of feet on the floor by individual dancers that is generally called step dancing. One of the most common ways of characterizing variation in this idiom is in terms of regional style. Popular literature and media publications generally treat step dancing in this way: as Cape Breton step dancing; Appalachian clogging; Ottawa Valley step dancing; and of course, Irish step dancing. In Newfoundland different vernacular regions, and smaller networks based on community residential and kinship patterns displayed preferences for a particular musical repertoire, rhythms and steps. Within a dance community, however, step dance style is used primarily to express sexuality and individuality. These two domains of meaning are raised to a dominant level of significance in Newfoundland due to the conditions of social life and the expressive role of dance and music with in this system. The Newfoundland example stands, I think, as illustration of the dynamics of step dancing which existed throughout North America apart from the self-conscious regionalism engendered by changing social conditions that challenge traditional patterns of life.
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Music from the Heart follows Emile Benoit, a fiddler from French Newfoundland, through a rapidly changing musical milieu as he moves from a small rural community to international musical and folk festivals. Seeing himself as a... more
Music from the Heart follows Emile Benoit, a fiddler from French Newfoundland, through a rapidly changing musical milieu as he moves from a small rural community to international musical and folk festivals. Seeing himself as a representative of French Newfoundland, Benoit viewed his music as an expression of that identity. In Benoit's tunes one finds reference to the people, places, communities, roads, and natural landmarks that have framed his life. The compositions included represent a range of work that evokes his ...
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An academic directory and search engine.
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COLIN QUIGLEY UNIVERSITY OF CALIFORNIA, LOS ANGELES iddling is one of the most pervasive genres of traditional instrumental music in North America. 1 With a history dating to the earliest colonial settlement, North American fiddling... more
COLIN QUIGLEY UNIVERSITY OF CALIFORNIA, LOS ANGELES iddling is one of the most pervasive genres of traditional instrumental music in North America. 1 With a history dating to the earliest colonial settlement, North American fiddling demonstrates both continuities with old world sources and a variety of new world manifestations. Widely represented in commercial recording, as well as subject to an intensive" revival" with its attendent collections, instructional materials, and the like, 2 North American fiddling is also the ...
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" Dance in its socio-political aspects," one theme of the ICTM Ethnochoreology Sub-Group Symposium at which this paper was presented1, was a timely one immediately following, as it did, the Los Angeles riots of... more
" Dance in its socio-political aspects," one theme of the ICTM Ethnochoreology Sub-Group Symposium at which this paper was presented1, was a timely one immediately following, as it did, the Los Angeles riots of spring 1992. At that time, one could open the arts section of a newspaper or magazine to find debate raging over such concepts as multiculturalism and diversity. Such controversy within the arts community might have seemed merely a sideshow to the profound inter-racial,-ethnic, and-class conflicts that erupted then in Los Angles into ...
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Step dancing is a general term used to describe a genre of often percussive footwork dance which is widespread in North America. Step dancing may be performed by individuals alone or in groups, as a dance itself or in the conte2rt of a... more
Step dancing is a general term used to describe a genre of often percussive footwork dance which is widespread in North America. Step dancing may be performed by individuals alone or in groups, as a dance itself or in the conte2rt of a group figure dance. The stylistic variants of step dancing in North America share manyif not most of their kinetic and even kinemic elements, andthereis a similar range of structural patterns in most regions. It is sometimes improvised, sometimes choreographed, sometimes codified and formally structured and ...