engleski

Tanac dances from the island of Krk: different contexts, aesthetics, learning

Through examples of the traditional dance tanac from the island of Krk different systems of learning/teaching these dances are mentioned. The sopele players have an important role in islands life and are among the best informed about Krk traditions, and Glagolitic history and culture. They are the most important mediators in the process of transmission of traditional knowledge and experience. They have always known best to access the qualities of the dancers. At the same time, the quality of each tanac has always depended on the sopele-players and their music-making. Background knowledge, aesthetics and the way of learning depend today on the context and performance groups. In keeping with the change in context, the competence of the choreographer is no longer based on the aspiration to show "truthfully", or authentically, the selected community, but rather on harmonising the relations of the performers and the audience. As ethnochoreologists we are obliged to encompass the multi-layered and diverse discourses, diverse concepts and modes of presenting tradition. Our academic or professional authority as "guardians of the truth", based on knowledge of culture and tradition, and the responsibility that we bear in that process, must not be exclusive. We direct attention to various levels of observation and the possibilities available that could overcome diverse viewpoints.

tanac; dance; changes; aesthetics; transmission

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