An Introduction to Stage Traditional Folk Dance and Music - STFDM

Photo Courtesy: Serbian National Ensemble of Folk Dances and Songs "KOLO"

Terminology

Stage Traditional Folk Dance and Music - STFDM (Serb.: Scenska tradicionalna narodna igra i muzika/Сценска традиционална народна игра и музика), formerly known as "Stage Folk Dance and Music - SFDM", is an umbrella term which describes the conceptualisation of every performance, presentation, and artistic creation for the stage within the genres of traditional folk dance and music. 

The term was first introduced in the interdisciplinary doctoral, and later published, thesis by the ethnochoreologist and ethnomusicologist Vesna Bajić Stojiljković in 2017 (Бајић Стојиљковић 2019), after numerous challenges in developing specific terminology for this branch of ethnochoreology, ethnomusicology, arts, performance and theatre studies:

“In a tangle of numerous terminological inaccuracies, starting with the concepts of scene, scenic, choreography of folk dance, stage performances, application of folk dance, etc., which were conceptualized in the aforementioned doctoral thesis, the phrase stage folk dance [and music] was born. It is proposed to use it as an umbrella term for the entire stage presentation of the folk dance [and music].”

— (Бајић Стојиљковић 2017: 96)

In 2023, the term was reevaluated by the ethnochoreologist and drama & audiovisual artist Nikola Petrović, due to terminological issues and concerns in the domains and contemporary practices of Serbian ethnochoreology and ethnomusicology, and changed into what would become "Stage Traditional Folk Dance and Music - STFDM" (Петровић 2023: 5-6).

Traditional Folk Dance Choreography - TFDC

A Traditional Folk Dance Choreography - TFDC is a complex and whole artistic piece that consists of traditional folk dance(s) and music, which has been processed in the dimensions of kinetics and space by the author of the choreography. These choreographies can include both non-dramatic and dramatic narratives in a time span of typically 2-15 minutes for the overall TFDC. The performance is presented on stage and accompanied by other audiovisual media, such as light effects, traditional folk costumes, etc., with adequate scenography (Бајић Стојиљковић 2019: 171). 

However, next to the TFDCs, another distinction has to be made between Stage Presentation/Stage Adaptation and Stage-Music Program. The presentation of basic dance step patterns, which were recorded and transcribed in fieldwork, are often without sufficient stylisation in kinetics and processing of space and often followed by a dramatic narrative (in this case, rituals and customs). These are termed "Stage Presentation" or "Stage Adaptation" and have, in general, a shorter duration of performance time. The aim of this category is to present an excerpt of the tangible and intangible cultural heritage through the lens of "authenticism". This category should not be confused with the general Traditional Folk Dance Choreography - TFDC, as both function and are structured differently. 

An example of a Stage Adaptation. Here, the urban traditional folk dances and songs from Bitola and Tetovo, North Macedonia, are presented by the Ensemble "Makedonija". It can be seen that there are no complex structures to the piece and the intangible cultural heritage of the area is presented in an "authentic" setting with the aim of showcasing a "living scene from the past".

In contrast, "Stage-Music Programs" are a set of choreographic and musical pieces that are presented as a whole concert. These typically last around 1h to 2h and are an integral part of programs conducted by ensembles such as the Serbian National Ensemble for Folk Dances and Songs "Kolo", Bulgarian National Folklore Ensemble "Philip Koutev", Macedonian National Ensemble for Folk Dances and Songs "Tanec", and Croatian National Ensemble for Folk Dances and Songs "Lado" (f.e.: concert of the National Ensemble "Kolo").

Choreographic Genres

In the realm of Stage Traditional Folk Dance, a categorisation of choreographies has been established, with the Traditional Folk Dance Choreography - TFDC being classified into mega-, meta-, and sub-genres. The TFDC-genres are further subcategorised into Divertissement, Dramatisation, and Variation (Бајић Стојиљковић 2019: 161-173). 

• Divertissement

  The genre of Divertissement is the most common form in TFDCs. This genre presents a structural-formal sequence of different dances, songs, and melodies. At its core, this genre emphasises pure dancing and singing, which is why no dramatic narrative can be found. However, in order to achieve dramatic success, the choreographies are processed complexly in the kinetic and spatial plans. This genre is classified into the subcategories "Local" (presentation of a specific location - f.e.: "Igre iz Pčinje") and "Regional" (presentation of a specific general area - f.e.: "Igre iz Srbije").

• Dramatisation

  Dramatisations, as the title suggests, are a complex structure and mixture of dance, song, music and dramatic narrative. Both parameters are aligned in harmony with each other. Although the plots for a Dramatisation can be vast, this genre's general division or classification is based on "Ritual-Custom" or "General-Thematic". While the subcategory "Ritual-Custom" presents, as the title suggests, a stylised, ritualistic practice throughout the entire TFDC, the "General-Thematic" choreography depicts a non-ritualistic narrative, which can be based on historical or fictional events. The dramatic narrative is not only expressed through acting but also through body movements, which resemble the symbolics of the narrative (f.e.: "Nihon-buyō"; "Igre iz Vladičinog Hana"). 

• Variation

  In particular, Variations are distinguished by their division into two subgenres: Monothematic and Polythematic. What sets Variations apart from other choreographic genres is their core reliance on one (mono) or maximal three (poly) traditional folk dances/melodies that are present throughout the entire choreography. During the longer segmentations of these dances, the surrounding elements (kinetics, music, space - Mise-en-scène) undergo such extensive variation that the length of the performance of each traditional folk dance (TFD) goes unnoticed. In terms of kinetics, the basic step patterns are varied (mono- and polykinetics) so much in a choreography that one will not be able to remember or see the original steps for a dance that were recorded or noted in fieldwork research. The duration of such choreographies varies between approximately 5min. to 10 min. While Variations present a Choreographic Genre, they reflect their own Choreographic Forms, as well, which are by their structures similar to Medleys, and Divertissements, in general. Within the history of Serbian Stage Traditional Folk Dance and Music, one name stands out as a leading figure in this genre: Dragomir Vuković-Kljaca, who is revered as the "Master of Variation". The majority of his works are based on this genre (see examples of Variations in the "Videos" section).

Classification of different genres within the sphere of Stage Traditional Folk Dance and Music by Vesna Bajić Stojiljković, modification by Nikola Petrović (Бајић Стојиљковић 2019: 173; Петровић 2023: 26).

Choreographic Forms

While choreographic genres build the overall core of a TFDC, the choreographic forms build its structure. There are several choreographic forms that exist for every choreographic genre (Абрашев 2001). 

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Divertissement

Medley

A Medley is the most common presentation of traditional folk dances, songs, and music for the stage out of every choreographic genre or form. Its form is based on a line of dances in a one-act structure. Most often, the dances are presented by their basic dance step patterns, but these and the music can be varied extensively. This choreographic form emphasises the spatial composition (Mise-en-scène), where different geometrical forms and formations are shown throughout the entire TFDC. The performers act in this form as an ensemble in unison, although the kinetic dimension can present both monokinetic and polykinetic segments. Generally, the time duration for this choreography lies anywhere between 5 min. to 13 min. The number of performers on stage is typically arranged in an even number, which results in groups of 8, 12, 16, 24, 32 dancers or sometimes even more.

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Suite

A Suite is a complexly structured form in a Divertissement. While the main focus is on dance, song, and music, the main core of this form is circulated around the segmentation of the TFDC. The Suite consists of several traditional folk dances, songs, and melodies, which can arranged in any formation. However, each segment is regarded as an independent and contrasting act that will conclude the overall choreography by the end. 

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Outplay

An Outplay is an interesting choreographic form in which dances can be sequenced. The core attribute which gives an Outplay its structure is, as the name suggests, a form of battle. This battle is presented by groups of dancers (male-male; female-female; male-female) who show their dancing skills and try to outplay/outdance the contracting group. However, the end does not have to be a side winning the battle, it can also be the intermixture of the groups, which results in the joyful and peaceful dancing by both. These choreographies typically have a shorter duration of time. 

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Quadrille

The Quadrille, as a choreographic form, presents four pairs of dancers in a regulated structure. While the geometrical form is based on a square, the dancers can circulate within it. The dance is mostly symmetrical, and every pair mirrors the movements and pathways of the contracting pair on the parallel side. At the same time, the performers inherit a certain role in the dance which would be presented in the beginning of the TFDC. 

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Dramatisation

Thematic

A thematic Dramatisation is based on a plot reflecting historical or fictional events. However, in contrast to the Sujet, it does not emphasise a concrete dramatic narrative which is present throughout the entire TFDC. Instead, it focuses on a general theme which is constantly present (f.e.: war) with certain overall roles (in this case, f.e.: general and soldiers). Although these dramatic roles are present, their character does not coherently develop since it is already in its final form.

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Sujet

In contrast to the thematic Dramatisation, a Sujet does have a concrete dramatic narrative, that is present and develops throughout the entire TFDC. The dramatic roles have specific roles and character traits. An important asset to the Sujet is a necessary problem which is presented in the beginning, evolves in the middle and finds its solution by the end after the peak of the choreography. Each dramatic role presents the performing skills of the dancers, which can be observed particularly and thoroughly. In general, the Sujet consists of eight dramatic roles and lasts anywhere between 6 min. to 12 min (Петровић 2023: 26-28). 

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Étude

An Étude is similar to a Sujet. However, the dramatic roles are minimised to one performer. In this case, the Étude presents a dramatic role (often a profession) that develops throughout the whole dramatic narrative. Imaginary dialogues can also be present through kinetic composition. This particular form intensifies the dancer's performing skills and dramatic role's presentation of emotions and character development.

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Variation

Monothematic Variation

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Polythematic Variation

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References

Абрашев, Г. (2001). Композиция и форма на танца. Sofia: Вулкан-4.

Бајић Стојиљковић, В. (2017). ”Сценска народна игра - концептуализација појма у етнокореологији”. In: Зборник Матице српске за сценске уметности и музику, бр. 57/2017. Novi Sad: Матица српска, одељење за сценске уметности и музику, pp. 95-109.

Бајић Стојиљковић, В. (2019). ”Сценска народна игра и музика: Процеси (ре)дефинисања структуралних, драматуршких и естетских аспеката у сценском приказивању традиционалне игре и музике за игру у Србији. Belgrade: Музиколошки институт САНУ.

Петровић, Н. (2023). Povastă alu Biberagă: Једно-актна драмска опште-тематска прича у кореографској форми камерног сижеа у више слика. Unpublished thesis (B.A.). Belgrade: Универзитет ”УНИОН-Никола Тесла”, Факултет за инжењерски менаџмент, Институт за уметничку игру, access:       https://www.academia.edu/102194745/Povastă_alu_Biberagă_Једно_актна_драмска_ опште_тематска_прича_у_кореографској_форми_камерног_сижеа_у_више_слика.