Balkan and Turkish Romani Music and Dance Resources (PDF)
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ROMANI in the BALKAN LINGUISTIC LEAGUE Victor A
Romani in the Balkan Linguistic League 1 ROMANI IN THE BALKAN LINGUISTIC LEAGUE Valkanike @Glossologia:@ Sygkhronia kai Diakhronia/Balkanlinguistik: Synchronie und Diachronie, ed. by Chr. Tzitzilis and Kh. Symeonidełs. Thessaloniki: University of Thessaloniki. 2000. 95-105. Victor A. Friedman University of Chicago 1. INTRODUCTION The Romani language raises serious and interesting theoretical questions for the concept of the linguistic league in general and for the concept of Balkan linguistic league in particular. In this paper I wish to examine some aspects of Romani as a Balkan language and the question of Balkanisms in general. The Balkanization of Romani must be understood on several levels. From a strictly structural point of view, we can distinguish three levels of Balkanization in Romani: 1) the earliest pre-European diaspora which resulted from contact with Greek (but also with Slavic), 2) the continued contact shared by all those dialects that remained in the Balkans, whether on Austro-Hungarian or Ottoman territory, 3) the intensive contact of sedentarized dialects. Moreover, a striking feature of Balkanization in Romani is that while it has obvious effects on certain aspects at all levels from phonology through syntax, there are other areas that in the canonical Balkan languages (i.e. Albanian, Greek, Balkan Romance, and Balkan Slavic) show the effects of Balkanization but in Romani do not. I would argue that this might not be for structural reasons but rather for sociolinguistic ones. Owing to the specific social position of Romani, resistance and boundary maintenance play a special communicative role that results in the differential adoption of Balkan features. -
Chapter 4: (1960 – 1980) Branches of Čoček
Gundula Gruen Gundula Gruen MA Ethnomusicology MUM120: Ethnomusicology Major Project August 2018 Title: UNDERSTANDING ČOČEK – AN HISTORICAL, MUSICAL AND SOCIOLOGICAL EXPLORATION Module Tutor: Dr Laudan Nooshin Student Name: Gundula Gruen Student No: 160033648 Submitted in partial fulfilment of the requirements for the degree of MA in Ethnomusicology Total word count: 20,866 (including headings, excluding footnotes and references) TABLE OF CONTENTS Abstract ......................................................................................................................................... 7 Foreword: ...................................................................................................................................... 8 Acknowledgements: .................................................................................................................. 8 Definitions and Spellings .......................................................................................................... 8 Introduction: ................................................................................................................................ 11 Chapter 1: The Origins of Čoček ................................................................................................ 15 The History of Köçek in Ottoman Times ................................................................................ 16 Speculation on Older Roots of Čoček ..................................................................................... 18 Chapter 2: Čalgija -
Romani Syntactic Typology Evangelia Adamou, Yaron Matras
Romani Syntactic Typology Evangelia Adamou, Yaron Matras To cite this version: Evangelia Adamou, Yaron Matras. Romani Syntactic Typology. Yaron Matras; Anton Tenser. The Palgrave Handbook of Romani Language and Linguistics, Springer, pp.187-227, 2020, 978-3-030-28104- 5. 10.1007/978-3-030-28105-2_7. halshs-02965238 HAL Id: halshs-02965238 https://halshs.archives-ouvertes.fr/halshs-02965238 Submitted on 13 Oct 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Romani syntactic typology Evangelia Adamou and Yaron Matras 1. State of the art This chapter presents an overview of the principal syntactic-typological features of Romani dialects. It draws on the discussion in Matras (2002, chapter 7) while taking into consideration more recent studies. In particular, we draw on the wealth of morpho- syntactic data that have since become available via the Romani Morpho-Syntax (RMS) database.1 The RMS data are based on responses to the Romani Morpho-Syntax questionnaire recorded from Romani speaking communities across Europe and beyond. We try to take into account a representative sample. We also take into consideration data from free-speech recordings available in the RMS database and the Pangloss Collection. -
APPLICATION for GRANTS UNDER the National Resource Centers and Foreign Language and Area Studies Fellowships
U.S. Department of Education Washington, D.C. 20202-5335 APPLICATION FOR GRANTS UNDER THE National Resource Centers and Foreign Language and Area Studies Fellowships CFDA # 84.015A PR/Award # P015A180010 Gramts.gov Tracking#: GRANT12656311 OMB No. , Expiration Date: Closing Date: Jun 25, 2018 PR/Award # P015A180010 **Table of Contents** Form Page 1. Application for Federal Assistance SF-424 e3 2. Standard Budget Sheet (ED 524) e6 3. Assurances Non-Construction Programs (SF 424B) e8 4. Disclosure Of Lobbying Activities (SF-LLL) e10 5. ED GEPA427 Form e11 Attachment - 1 (UT_SAI_NRC___FLAS_2018___ED_GEPA_4271031661891) e12 6. Grants.gov Lobbying Form e14 7. Dept of Education Supplemental Information for SF-424 e15 8. ED Abstract Narrative Form e16 Attachment - 1 (UT_SAI_NRC___FLAS_2018___Abstract1031661937) e17 9. Project Narrative Form e18 Attachment - 1 (UT_SAI_NRC___FLAS_2018___Project_Narrative1031661995) e19 10. Other Narrative Form e72 Attachment - 1 (UT_SAI_NRC___FLAS_2018___Appendix_1___NRC_FLAS_Applicant_Profile1031661934) e73 Attachment - 2 (UT_SAI_NRC___FLAS_2018___Appendix_2___Acronyms1031661935) e74 Attachment - 3 e75 (UT_SAI_NRC___FLAS_2018___Appendix_3____Diverse_Perspectives_and_Government_Service1031661980) Attachment - 4 (UT_SAI_NRC___FLAS_2018___Appendix_4___CVs1031661968) e77 Attachment - 5 (UT_SAI_NRC___FLAS_2018___Appendix_5___Courses1031661970) e117 Attachment - 6 (UT_SAI_NRC___FLAS_2018___Appendix_6___PMF1031661971) e143 Attachment - 7 (UT_SAI_NRC___FLAS_2018___Appendix_7___Letters_of_Support1031661972) e146 11. Budget -
'Race' and Diaspora: Romani Music Making in Ostrava, Czech Republic
Music, ‘Race’ and Diaspora: Romani Music Making in Ostrava, Czech Republic Melissa Wynne Elliott 2005 School of Oriental and African Studies University of London PhD ProQuest Number: 10731268 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731268 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This thesis is a contribution towards an historically informed understanding of contemporary music making amongst Roma in Ostrava, Czech Republic. It also challenges, from a theoretical perspective, conceptions of relationships between music and discourses of ‘race’. My research is based on fieldwork conducted in Ostrava, between August 2003 and July 2004 and East Slovakia in July 2004, as well as archival research in Ostrava and Vienna. These fieldwork experiences compelled me to explore music and ideas of ‘race’ through discourses of diaspora in order to assist in conceptualising and interpreting Romani music making in Ostrava. The vast majority of Roma in Ostrava are post-World War II emigres or descendants of emigres from East Slovakia. In contemporary Ostrava, most Roma live on the socio economic margins and are most often regarded as a separate ‘race’ with a separate culture from the dominant population. -
White Woman Draft
SKYROS CARNIVAL SKYROS CARNIVAL Photographs by Dick Blau Essay by Agapi Amanatidis and Panayotis Panopoulos Audio CD and Video DVD by Steven Feld VOXLOX 3 DICK I I grew up in the theater, my father a director and my mother an actress. As a result, I devel - oped a lifelong fascination with the dramatic moment, the heightened gesture, the mysterious transfor - mation of self into other. I suppose it was inevitable that my abiding preoccupation with the stage would find its way into my photography. When Steve called one day a few years ago and told me that Panos had told him about Greece’s wildest and noisiest carnival, I put down the phone and began packing my bag and cameras. What I eventually discovered on Skyros was not exactly what I spent the next few months imagining. I had been dreaming of Dionysus, Pan, and the Eleusinian mysteries in a smoky grove, but I found myself instead in a small Greek island town with an Internet café. Normal life continued amidst the wildness. Performers and audience were mixed together. And then there were the cameras. Everyone, it seemed, was either taking pictures or posing for them. This was not simply an ancient ritual; it was a modern media event. In fact, the carnival was old and new at the same time. Skyros carnival is a hybrid form in which the goat dancers, dressed in their rough, rank animal skins and festooned in huge clanking bells, mix easily with other performers who look decidedly of our moment. I would be standing at dusk on the street waiting for the dancers to appear when a kid would float by wearing a cheap monkey mask from the grocery store, and I would instantly find myself swept up with him into the world of myth. -
The Balkans of the Balkans: the Meaning of Autobalkanism in Regional Popular Music
arts Article The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music Marija Dumni´cVilotijevi´c Institute of Musicology, Serbian Academy of Sciences and Arts, 11000 Belgrade, Serbia; [email protected] Received: 1 April 2020; Accepted: 1 June 2020; Published: 16 June 2020 Abstract: In this article, I discuss the use of the term “Balkan” in the regional popular music. In this context, Balkan popular music is contemporary popular folk music produced in the countries of the Balkans and intended for the Balkan markets (specifically, the people in the Western Balkans and diaspora communities). After the global success of “Balkan music” in the world music scene, this term influenced the cultures in the Balkans itself; however, interestingly, in the Balkans themselves “Balkan music” does not only refer to the musical characteristics of this genre—namely, it can also be applied music that derives from the genre of the “newly-composed folk music”, which is well known in the Western Balkans. The most important legacy of “Balkan” world music is the discourse on Balkan stereotypes, hence this article will reveal new aspects of autobalkanism in music. This research starts from several questions: where is “the Balkans” which is mentioned in these songs actually situated; what is the meaning of the term “Balkan” used for the audience from the Balkans; and, what are musical characteristics of the genre called trepfolk? Special focus will be on the post-Yugoslav market in the twenty-first century, with particular examples in Serbian language (as well as Bosnian and Croatian). Keywords: Balkan; popular folk music; trepfolk; autobalkanism 1. -
Article Snap2
Page: 1/5 Learner Profile: Romani This guide presents common challenges faced by Romani learners of English and typical features of language production. Please note, these guidelines are intended to advise teachers on areas where students may experience problems; however, native speakers may not all find the following points challenging. Romani is a macrolanguage with many dialects. Most Roma speakers are bilingual and are also fluent in the majority language of their host country. Roma migration Facts Language family: Romani is an Indo-European language and is one of the Western Indo-Aryan languages. This means the structure is more closely related to Gujarati. Native speakers: There may be as many as 3.5 million speakers Location: There are Romani speakers across the world. It is recognised as a minority language in Finland, Austria, Germany, Hungary, Norway and Sweden. The language originates from northern India. Writing system: There is no standard written form for Romani. When it is written, writers tend to use the Latin alphabet. The written form may be influenced by English or Czech orthography. The written form may also be based on the Vlax Romani dialect or a mix of dialects. Created by the FlashAcademy® Education Team Page: 2/5 Learner Profile: Romani Dialects There are many dierent Romani dialect families due to speakers being dispersed across Europe. More information about dierent dialects can be found here: https://romani.humanities.manchester.ac.uk/rms/. There are many discussions on grouping Romani dialects and this group is based onhttps://www.ethnologue.com/ subgroups/romani. Many of these dialect groups are highly endangered, with the most common dialect family being Vlax Romani. -
Greek Police Fear New Terrorist Groups Forming Fundraiser Underway by Shots at ND Offices and Violence Toward Greek Am
S O C V ΓΡΑΦΕΙ ΤΗΝ ΙΣΤΟΡΙΑ Bringing the news W ΤΟΥ ΕΛΛΗΝΙΣΜΟΥ to generations of E ΑΠΟ ΤΟ 1915 The National Herald Greek- Americans N c v A wEEkly GrEEk-AmEriCAN PuBliCATiON www.thenationalherald.com VOL. 16, ISSUE 797 January 19-25, 2013 $1.50 Project Hope for Greece Greek Police Fear New Terrorist Groups Forming Fundraiser Underway by Shots at ND Offices and Violence Toward Greek Am. Foundation Media Spark Worry By Constantine S. Sirigos tonakopoulos, and Chris Pa - By Andy Dabilis TNH Staff Writer pavasiliou. The Consuls general TNH Staff Writer of Greece and Cyprus, respec - NEW YORK – Because nobody tively, George Eliopoulos and ATHENS – The gunshot attack knows how much more the peo - Koula Sophianou, were also pre - on the ruling conservative New ple of Greece can withstand, or sent. Democracy Party headquarters which act of solidarity and phil - TRIAGE FIRST, THEN BUILD in which a bullet was fired into anthropy will convey to a critical A NEW GREECE the office of Prime Minister An - mass of Greeks that the diaspora Pappas said the Project was tonis Samaras, and a spate of stands at their side and that created “with three distinct ar - bombings at the homes of jour - there is hope, every new initia - eas of funding that we will sup - nalists and political parties has tive from the Greek-American port. He calls the first he calls Greek police reportedly fearful community is more than wel - “‘triage,’ helping the sick, the that new terrorism enclaves are come. homeless, the hungry, and the assembling. At Manhattan’s Stix restau - -
The George Batyi Romani Music Collection
Oberlin Conservatory Library Special Collections The George Batyi Romani Music Collection Inventory Page | 1 Series 1: Audiovisual Material Item Number Title Artist Record label Record Item details number CSC_GBA_01 The Music of Hungary Kalmar, Pal; Bura, Sandor; Laszlo, Imre; Capitol Records DT10085 1 sound disc: analog, Berkes, Bela 33 1/3 rpm; 12 in CSC_GBA_02 28 Dance Csardas Brenkacs, John B&F S640 1 sound disc: analog, 33 1/3 rpm; 12 in CSC_GBA_03 A Gypsy Night Joszy Westminster WP6016 1 sound disc: analog, 33 1/3 rpm; 12 in CSC_GBA_04 Gipsy Songs Qualiton SLPX10103 1 sound disc: analog, 33 1/3 rpm; 12 in CSC_GBA_05 Budapesti Emlekek Istvan, Balogh Fiesta FLPS1446 1 sound disc: analog, 33 1/3 rpm; 12 in CSC_GBA_06 Gypsy Music from Hungary Mihaly, Karpaty London SW99451 1 sound disc: analog, International 33 1/3 rpm; 12 in CSC_GBA_07 Qualiton LPX10073 1 sound disc: analog, 33 1/3 rpm; 12 in CSC_GBA_08 Gipsy Magic Orchestra of the Hungarian State Folk Vox VX26190 1 sound disc: analog, Ensemble 33 1/3 rpm; 12 in CSC_GBA_09 The Outstanding Gypsy Violinist and Banyak, Kalman B and F S631 1 sound disc: analog, His Orchestra Play Magyar Melodies 33 1/3 rpm; 12 in CSC_GBA_10 Tears of a Gypsy Lendvay, Kalman Westminster WP6075 1 sound disc: analog, 33 1/3 rpm; 12 in CSC_GBA_11 I Remember Hungary Lendvay, Kalman Fiesta FLP1265 1 sound disc: analog, 33 1/3 rpm; 12 in Oberlin Conservatory Library l 77 West College Street l Oberlin, Ohio 44074 l [email protected] l 440.775.5129 (last updated April 26, 2019) Oberlin Conservatory Library Special Collections The George Batyi Romani Music Collection Inventory Page | 2 Item Number Title Artist Record label Record Item details number CSC_GBA_12 Gypsy Strings Nemeth, Yoska Vox VX25220 1 sound disc: analog, 33 1/3 rpm; 12 in CSC_GBA_13 Huzd Ra Cigany! Sandor, Lakatos; Zenekara, Cigany Fiesta FLPS1421 1 sound disc: analog, 33 1/3 rpm; 12 in CSC_GBA_14 Budapest ejjel [Budapest at night] Sandor, Lakatos Qualiton SLPX10071 1 sound disc: analog, 33 1/3 rpm; 12 in CSC_GBA_15 A Ven Cygany: Hungarian Gypsy D. -
Roma As Alien Music and Identity of the Roma in Romania
Roma as Alien Music and Identity of the Roma in Romania A thesis submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy 2018 Roderick Charles Lawford DECLARATION This work has not been submitted in substance for any other degree or award at this or any other university or place of learning, nor is being submitted concurrently in candidature for any degree or other award. Signed ………………………………………… Date ………………………… STATEMENT 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. Signed ………………………………………… Date ………………………… STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated, and the thesis has not been edited by a third party beyond what is permitted by Cardiff University’s Policy on the Use of Third Party Editors by Research Degree Students. Other sources are acknowledged by explicit references. The views expressed are my own. Signed ………………………………………… Date ………………………… STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available online in the University’s Open Access repository and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed ………………………………………… Date ………………………… ii To Sue Lawford and In Memory of Marion Ethel Lawford (1924-1977) and Charles Alfred Lawford (1925-2010) iii Table of Contents List of Figures vi List of Plates vii List of Tables ix Conventions x Acknowledgements xii Abstract xiii Introduction 1 Chapter 1 - Theory and Method -
Arhai's Balkan Folktronica: Serbian Ethno Music Reimagined for British
Ivana Medić Arhai’s Balkan Folktronica... DOI: 10.2298/MUZ1416105M UDK: 78.031.4 78.071.1:929 Бацковић Ј. Arhai’s Balkan Folktronica: Serbian Ethno Music Reimagined for British Market* Ivana Medić1 Institute of Musicology SASA (Belgrade) Abstract This article focuses on Serbian composer Jovana Backović and her band/project Arhai, founded in Belgrade in 1998. The central argument is that Arhai made a transition from being regarded a part of the Serbian ethno music scene (which flourished during the 1990s and 2000s) to becoming a part of the global world music scene, after Jovana Backović moved from her native Serbia to the United Kingdom to pursue an international career. This move did not imply a fundamental change of her musical style, but a change of cultural context and market conditions that, in turn, affected her cultural identity. Keywords Arhai, Jovana Backović, world music, ethno, Balkan Folktronica Although Serbian composer, singer and multi-instrumentalist Jovana Backović is only 34 years old, the band Arhai can already be considered her lifetime project. The Greek word ‘Arhai’ meaning ‘beginning’ or ‘ancient’ it is aptly chosen to summarise Backović’s artistic mission: rethinking tradition in contemporary context. Нer interest in traditional music was sparked by her father, himself a professional musician and performer of both traditional and popular folk music (Medić 2013). Backović founded Arhai in Belgrade in 1998, while still a pupil at music school Slavenski, and continued to perform with the band while receiving instruction in classical composition and orchestration at the Belgrade Faculty of Music. In its first, Belgrade ‘incarnation’, Arhai was a ten-piece band that developed a fusion of traditional music from the Balkans with am bient sounds and jazz-influenced improvisation, using both acoustic and electric instruments and a quartet of fe male vocalists.