Enon Valley Fall Folk

Total Page：16

File Type：pdf, Size：1020Kb

The Tuesday Night Folk Dance Group of Pittsburgh Presents Enon Valley Fall Folk Dance Camp Michael Ginsburg (Balkan) has been teaching Balkan folk Ahmet Lüleci (Turkish) is a native of Turkey, and an dance for over 50 years, starting in 1964 with Michael accomplished choreographer, dance teacher and performer as with Herman's Folk Dance House in New York City. He well as a researcher of Anatolian culture. He is currently the continues to teach a weekly Balkan dance class in New York artistic director of the Boston based Collage Dance Ensemble, City. He is an expert in the complex rhythms of Balkan which allows him to further his goal of making folk dance and Ahmet Lüleci music and has made several research trips to Bulgaria and music accessible to a wider audience. He is the winner of the former Yugoslavia, and studied in Macedonia with Pece Crash Art's " Dance Straight Up! 2004 and 2006", " Ten's the Turkish Dances Atanasovski. Michael has taught workshops all over North limit 2005" and Boston Dance Umbrella's " Boston Moves America, as well as in Brazil, Japan, Israel, Germany, 2001" awards for choreography. His choreography set for Austria, and Switzerland. Michael has been on the teaching Budlet dance company won the Gold medal at "Hong Kong and staff of many folk dance camps and seminars, including open Dance Competition 2004". He was also recently Stockton Folk Dance Camp, Kolo Festival in San Francisco, presented with the 2002 Award for Outstanding Achievement and the annual Macedonian Pearls Seminars in Berovo, in the Arts & Humanities by ATAA (the Assembly of Turkish Michael Ginsburg North Macedonia. Also a musician, Michael has been American Associations. His company Collage has won the director and lead trumpet player of Zlatne Uste Balkan Brass fifth place at the world dance competition in year 2003. His Balkan Dances Band since 1983. He accompanied ZU to brass festivals in college major was music, specializing in voice. Just as his love Guca, Serbia, three times between 1987 and 1990, as well as of folksongs guided him toward academic study of music, in 2003 and 2005, where he and ZU were able to play and Ahmet's fascination with dance led him to conduct scholarly party with local brass bands and experience the music in its research into the historical, social and cultural background of September 17-19, 2021 natural setting. Michael is also lead trumpet player with the costumes and spoon dances from Turkey's Mediterranean Kavala Brass Band, which features brass music of Northern coast. His efforts resulted in an exhaustive, 400 page study for Greece as well as music from North Macedonia. Michael which he was awarded First Place in the 1985 national at has toured as a percussionist with Bulgarika, a Bulgarian competition in research on the folkdances of Turkey by the band that specializes in traditional Bulgarian dance music, Turkish ministry of Youth, Sports, and Education. In 1997 SNPJ, Enon Valley, PA and plays tupan with the Bulgarian group "Cerven Traktor." Ahmet completed a second degree in Fine Arts. He is This is Michael's first time at Enon Valley, and we're thrilled currently the Artistic Director of Collage Dance Ensemble and that he'll be joining us. served as an International Art Director of "Outside the Box" International Arts Festival in 2015, takes place in Boston. .

Copy Link

Recommended publications

Fanfare Cioca Rlia
�� Fanfare Ciocărlia Wednesday, April 13, 2016, 7:30 p.m. �� Gartner Auditorium, the Cleveland Museum of Art �� PROGRAM �� Toba Mare �� Sirba Monastirea ��
[Show full text]
Brasslands English Dialog List MASTER
BRASSLANDS DIALOG LIST Text: Meerkat Media Collective Presents It is said that time stops when the trumpet festival begins So I'm winding all my clocks now. Text: Guča, Serbia Population 2,200 Text: Brasslands Text: This summer, half a million people will ﬁll this valley for the world's largest trumpet festival. Text: For the 50th anniversary, bands from around the world will come to compete in the ﬁrst international competition. Text: Brooklyn, New York 4,524 miles from Guča 3'28" Thank you Thank you. Thank you very much. We're Zlatne Uste. Thank you very much. Nobody's Serbian though. Nobody's Serbian, but you guys are so authentic. Thank you, thank you. You made my year, Michael. Still good after all these years! Lower Third: Michael Ginsburg Middle School Gym Teacher Hello, I'm Michael Ginsburg and I am the director of Zlatne Uste, and have been since its beginnings in 1983. "Zlatne Uste," is that a Serbian… It's kind of a pan… it's not correct Serbian… It's grammatically incorrect Serbian. What does it translate to roughly? Well, umm… Golden Lips. Ah, very good. Okie doke. Time to go. Next set. 6'50" That was Demiran's Cocek. And it was named after Demiran Cerimovic the leader of the Pearls of Vranje. This is one of the bands we studied with in Serbia. We play as close to the Serbian style of playing as we can. Lower Third: Emerson Hawley Retired Biomedical Engineer Not that we succeed, but we try as hard as we can to be really hard on attacks and make some parts percussive.
[Show full text]
Medlemsmagasin Nr31
Julealbum Spesial Sol og varme i vintermørket Norske og internasjonale Un Siecle de Tango side 9-13 Side 14-15 BARTOK ALBUM - Muzsikas, RAGA DVD Marta Sebestyen, Side 34 A Musical Experience of OM 3 og 4 CD bokser India Mustica og Festival Side 35-39 Side 16-17 Katalog nr 31 Nov. - Des. 2002 Nye CD'er fra Etnisk Musikklubb: Viser på vandring - Vol. 1 Slåtter på vandring se side 8 og 28 STORE PAKKER UNDER JULETREET I ALLE PROFILER Det beste i irsk folkemusikk The Alternative Christmas Album Side 40-41 1 Valle vidaregåande skule Vinstra vidaregåande skule 2640 VINSTRA 4747 VALLE Folkemusikkline Musikk, dans og drama landsline med fordjuping i folkemusikk - gk, VKI og VKII Vinstra vgs Musikk, dans og drama Open skule på kveldstid og i helgene. landsline med fordjuping i folkemusikk - GK, VKI og VKII Studietid innlagt i timeplanen. Ein dag kvar veke til å konsentrere seg - elevar frå heile landet kan søkje - skulen har eigne tiltak for hybelbuarar berre om eitt fag. Musikkturné i USA i VK II. Ta kontakt med skulen på tlf. 61 29 23 00 eller besøk oss på www.vinstra.vgs.no Nybygd Spelestoge i bruk frå nyttår. Aktivitetstilbod i helgene. Søknadsfrist 1. mars. Send søknaden til: Elevar frå heile landet kan søkje. Skulen har to hybelbygg. Oppland fylkeskommune Opplæring og kompetanse www.valle.vgs.no Inntakskontoret 37 93 77 30 2626 LILLEHAMMER STUDERE TIL HAUSTEN? " Folkemusikk i Europa" Nytt linjetilbod på Årsstudier og 3-årige bachelorstudier i – Folkemusikk Fana Folkehøgskule! – Folkekunst, tre, metall, tekstil Halvårskurs starter 6. januar 2003 Frå haust 2003 Heilårskurs starter august 2003 Masterstudium i tradisjonskunst, folkemusikk og folkekunst.
[Show full text]
Noesintro For
Kaminsky, David. 2015. “Introduction: The New Old Europe Sound.” Ethnomusicology Forum 24(2): 143–158. Introduction For all that ‘world music’ as a commercial genre purports to represent the entire planet in its diversity, it has always consisted of components selected for the effectiveness with which their musical and cultural capital can be transformed into economic capital. Given that the cultural capital of ethnic and national identity is not a consistent commodity, but rather subject to the vagaries of global geopolitics, it follows that trends in commercial world music can function as an indicator of geopolitical shifts. The essays in this volume all engage with a recent major development on the world music scene—one that has not previously received focused scholarly attention—as well as its attendant geopolitical implications. In the 1990s, Celtic fiddles, pipes and voices were the iconic sounds of European world music. Over the past quarter century, however, this music has slowly declined on the global stage and been replaced by an East European bricolage—Balkan, Romani and klezmer music, and, perhaps most significantly, the generic mixing of all three. Commercial world music has not given a name to this trend, but for our purposes we have come to call it the ‘New Old Europe Sound’. [143/144] Ethnomusicologists who have treated this music to date have tended to approach it from the context of a constituent genre—Gypsy punk, European neo-klezmer or Balkan brass, for example—without explicit acknowledgment of a more general trend. Yet a number of family resemblances in these apparently disparate revivals suggest the usefulness of taking a broader view: (1) Appropriation.
[Show full text]
The Dick Crum Collection, Date (Inclusive): 1950-1985 Collection Number: 2007.01 Extent: 42 Boxes Repository: University of California, Los Angeles
http://oac.cdlib.org/findaid/ark:/13030/kt2r29q890 No online items Finding Aid for the The Dick Crum Collection 1950-1985 Processed by Ethnomusicology Archive Staff. Ethnomusicology Archive UCLA 1630 Schoenberg Music Building Box 951657 Los Angeles, CA 90095-1657 Phone: (310) 825-1695 Fax: (310) 206-4738 Email: [email protected] URL: http://www.ethnomusic.ucla.edu/Archive/ ©2009 The Regents of the University of California. All rights reserved. Finding Aid for the The Dick Crum 2007.01 1 Collection 1950-1985 Descriptive Summary Title: The Dick Crum Collection, Date (inclusive): 1950-1985 Collection number: 2007.01 Extent: 42 boxes Repository: University of California, Los Angeles. Library. Ethnomusicology Archive Los Angeles, California 90095-1490 Abstract: Dick Crum (1928-2005) was a teacher, dancer, and choreographer of European folk music and dance, but his expertise was in Balkan folk culture. Over the course of his lifetime, Crum amassed thousands of European folk music records. The UCLA Ethnomusicology Archive received part of Dick Crum's personal phonograph collection in 2007. This collection consists of more than 1,300 commercially-produced phonograph recordings (LPs, 78s, 45s) primarily from Eastern Europe. Many of these albums are no longer in print, or, are difficult to purchase. More information on Dick Crum can be found in the Winter 2007 edition of the EAR (Ethnomusicology Archive Report), found here: http://www.ethnomusic.ucla.edu/archive/EARvol7no2.html#deposit. Language of Material: Collection materials in English, Croatian, Bulgarian, Serbian, Greek Access Collection is open for research. Publication Rights Some materials in these collections may be protected by the U.S.
[Show full text]
MICHAEL GINSBURG Michael Began Teaching Balkan Folk Dance In
MICHAEL GINSBURG Michael began teaching Balkan Folk Dance in 1964 at Michael Herman's Folk Dance House in New York City. He continues to teach a weekly Balkan Dance Class in New York City. He has taught workshops in Balkan Dance all around the United States and Canada, as well as in Brazil, Japan, Israel, Germany, Austria and Switzerland. Michael has been on the teaching staff of many folk dance camps and seminars including Stockton, Kolo Festival in San Francisco, the Annual Balkan Music and Dance Seminars in Mendocino, California, and Rock Hill, New York, as well as, the Macedonian Pearl Seminars in Berovo, Macedonia. Also a musician, Michael plays tupan with Cherven Traktor, a band that plays Bulgarian Folk Music on traditional instruments, and trumpet with Kavala Brass Band, a band that specializes in Brass music of Aegean Macedonia. He is a founding member and lead trumpeter of Zlatne Uste Balkan Brass Band -- formed in 1983. In 1987, they were the first foreign band to appear at the Annual Gathering of Trumpeters in Guca, Serbia. They also represented the United States in the first International Competition at Guca in 2010. Michael also heads the Program Committee of the Golden Festival in Brooklyn, New York, an event that attracts 4000 participants and features over 60 musical groups each Year. DANCES TAUGHT BY MICHAEL GINSBURG AS OF 2018 Acano Mlada Nevesto - Macedonia U Kruševo Ogin Gori - Macedonia Banjsko Oro - Macedonia Žikino Kolo – Serbia Bronx Pharo - USA/Macedonia/Gypsy Ajd’na Ljevo – Croatia Ciganko - Bulgaria Baba Djurdja
[Show full text]
Gypsy Music, Hybridity and Appropriation: Balkan Dilemmas of Postmodernity
Ethnologia Balkanica 15 (2011) Gypsy Music, Hybridity and Appropriation: Balkan Dilemmas of Postmodernity Carol Silverman, Eugene OR Abstract Balkan Gypsy music has recently become globalized – it is found in festivals of Balkan music and world music, on YouTube, and in dance club remixes by DJs. As Europe’s largest minority and its quintessential “other,” Roma face severe marginalization, yet ironically, their music, especially brass bands, commands growing attention. Referenc- ing debates about how collaborations and hybridity may be liberating and/or exploitative, I explore strategies through which non-Roma appropriate, perform, and consume Balkan Gypsy music. Noting that Roma are rarely in charge of their own representations, I illus- trate how the image of the fantasy Balkan Gypsy has been created, and who participates in and who benefits from the popularization of Gypsy arts. I focus on DJs and club cul- ture in western Europe and North America and tie my analysis to performative displays of European multiculturalism. The global musical landscape of Balkan Romani music has expanded dramati- cally in the last two decades. While in the early 1990s it was admired by a small group of fans, by 2002 Time magazine’s music section proclaimed “Roma Rule” (Purvis 2002: 70–71) and in 2007 Newsweek wrote “The World Embraces Gyp- sy Culture” (Brownell, Haq 2007). In 2006 Balkan Romani music exploded on the Borat movie soundtrack, and today young people dance to Balkan Gyp- sy remixes played by DJs in cites such as New York, San Francisco, Brussels,
[Show full text]
Exploring Balkanology in South African Popular Culture
‘Hopa!’: Exploring Balkanology in South African Popular culture By Zinaida Mhlongo A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements of the degree of Master of Music. Johannesburg, July 2013 i Declaration I declare that this study is my own original work. Where use is made of the work of others it is indicated and acknowledged by means of complete references. It is submitted for the degree of Master of Music at the University of the Witwatersrand, Johannesburg, South Africa. It has not been submitted before for any other degree or examination in any other university. ___________________________ Johannesburg, 22 March 2013 ii ACKNOWLEDGEMENTS I never quite imagined my Balkanology project would be as rewarding as it was. As a musician and an individual, it has brought me home, to the Balkans, through music and beautiful memories. I have to thank a few people for this: the Wits Music Department for their encouragement, and Dr Grant Olwage and Dr Susan Harrop-Allin for their amazing research course. Susan, I simply could not have written my thesis without your guidance; Prof. Malcolm Nay, for believing in me; Eugenie Chopin, for working hard on my singing voice and for your incredible patience and knowledge. iii ABSTRACT This thesis is a study of a popular music culture in South Africa called Balkanology. The research examines Balkanology as a club culture, explores its constituent elements, documents and then interprets Balkanology as a musical scene in South Africa. I examine Balkanology, its complexities and its social relevance, practices and processes.
[Show full text]
Monsieur Doumani and Reinventing Cypriot Traditional Music
‘Our Land is the Whole World’: Monsieur Doumani and Reinventing Cypriot Traditional Music Nicoletta Demetriou Wolfson College, University of Oxford [email protected] The lights went out. A projector began showing old photos of the Cypriot countryside, modified with bright, sometimes neon, colours. A trombone began playing at the back of the room, only to be joined seconds later by a guitar and a tzouras, a plucked string instrument, like a smaller version of a bouzouki. The trio – with the somewhat cryptic name ‘Monsieur Doumani’ – began walking through the crowd, the tables and chairs, towards the stage, still playing, and with the slides and lights still flashing in the direction they were heading. The three men who made up the group, all of them in their early to mid-thirties, funkily dressed – one in a chequered shirt and cap, the second with bright red suspenders, the third one sporting a turban – took their places on stage. They were playing Cypriot traditional songs on instruments that were new for that music, with new arrangements and harmonies, and modified lyrics. ‘Don’t think this is any old kind of traditional music’, the owner of the venue had earlier informed me as he was showing me to my seat. ‘This is Cypriot music all jazzed up’. With this hard-to-define piece of information – a warning? a promise? a threat? – I settled into my seat, behind small tables where other attendees were already enjoying their beer or wine, waiting for the concert to begin. As I was soon to discover, in addition to variations on older songs, Monsieur Doumani were playing new compositions with lyrics that reflected life in present-day Cyprus; one of them, for instance, was about the current financial crisis.
[Show full text]
Religious History and Culture of the Balkans
Religious History and Culture of the Balkans Edited by Nicolae Roddy 7. The Vision of the Balkans in Musical Culture Between Viennese Operetta and Eurovision Anna G. Piotrowska, Jagiellonian University, Poland Abstract This article addresses the representation and conceptualization of the Balkans in musical culture since the nineteenth century. It argues that typical strategies of (self-)exoticizing and the approximation of dominant musical tendencies promoted Balkan musical uniqueness by underlining its naturalness and authenticity and are part of the legacy of nineteenth-century ideological and musicological theories. A few carefully selected examples, namely, Viennese operettas, popular films by Emir Kusturica, and Balkan performances in the Eurovision Song Contest (specifically the 2007 winner Marija Šerović’s “Molitva” [“Prayer”] which transcended religious and ethnic boundaries in its appeal), will demonstrate the primary types of narratives used to depict Balkan music to the outside world. Keywords: Balkan, musical culture, Viennese operetta, Eurovision, Gypsy music 124 Religious History and Culture of the Balkans Introduction The goal of this article is to demonstrate how the Balkans have been represented and conceptualized in the realm of musical culture since the nineteenth century. It does not provide a concise history of music in the region, nor does it aim at characterizing musical practices one encounters there. Rather, on the basis of a few carefully selected examples that take into consideration different musical genres, contexts, etc., the paper examines the types of narratives used to capture the spirit of the Balkans for listeners throughout Europe. The main assumption driving this paper is the hypothesis that the actual place and role of the Balkans on the musical map of Europe should be, on the one hand, regarded as part of the legacy of the nineteenth century ideology that favored nation-states, and on the other hand, the product of the nineteenth century academic system in which musicology became an academic discipline.
[Show full text]
Contested Racial Imaginings of the Serbian Self and the Romani Other in Serbia’S Guˇcatrumpet Festival
arts Article Contested Racial Imaginings of the Serbian Self and the Romani Other in Serbia’s GuˇcaTrumpet Festival Jelena Gligorijević Department of Musicology, University of Turku, FI-20014 Turku, Finland; jelgli@utu.fi Received: 3 February 2020; Accepted: 20 April 2020; Published: 26 April 2020 Abstract: In this article, I will address issues of race using the “Romani question” in Serbia’s Guˇca trumpet festival as a case study. I will specifically consider a selection of Guˇca-related themes pertinent to the question of race, while simultaneously discussing the theoretical and ideological underpinnings of this complicated concept vis-à-vis issues of national identity representation in post-MiloševićSerbia. Informed by previous critical studies of race and popular music culture in South/Eastern Europe within the larger postcolonial paradigm of Balkanism, this work will seek to illustrate the ambiguous ways in which the racialization of the Serbian Self and the Romani Other is occurring in the Guˇca Festival alongside the country’s and region’s persistent denial of race. Using the above approaches, I will conduct a critical cultural analysis of selected racial issues in the festival with reference to eclectic sources, including more recent critical debates about race and racism in South/Eastern Europe within the broader context of postsocialist transition, EU integration, and globalization. My final argument will be that, despite strong evidence that a critical cultural analysis of the “Romani question” in Serbia’s GuˇcaFestival calls for a transnational perspective, earlier Balkanist discourse on Serbia’s indeterminate position between West and East seems to remain analytically most helpful in pointing to the uncontested hegemony of Western/European white privilege and supremacy.
[Show full text]
Beat Hierarchy and Beat Patterns—From Aksak to Composite Meter
Beat Hierarchy and Beat Patterns—From Aksak to Composite Meter Aleksandra Vojčić In his study of Steve Reich’s phase–shifting music, Richard Cohn points to a specific analytical challenge that transcends the repertoire at hand: “Given the relative poverty of our rhythmic terminology, the challenge for the theorist is to discover a means to characterize this material that is not only descriptively adequate, but also allows for exploration of its proper- ties, its behavior under transformation, and its relations to other potential material” (1992, 149).1 This essay responds to Cohn’s call to action, singling out one of the many under–determined modes of rhythmic continuity in post–tonal music—(asymmetrical) composite meters. It rehearses a wide– ranging application of a new conceptual framework that can be used in accounting for the frequency and formal salience of composite meters in twentieth–century repertoire. Through analysis of select musical examples, I relate composite asymmetrical meters to compound and aksak meters, showing how certain types of “asymmetrical” meter exemplify non–iso- chronous duple and triple meters and, further, how composite meters combine two or more different metric units into a recurring whole (e.g., isochronous duple followed by non–isochronous triple meter). Along the way, I introduce a number of new concepts (meta–measures, duplication) and a new form of graphic representation (the time signature map). Isochronicity refers to the durational equality of temporal units such as beats and beat groups. Isochronous beats cohere into symmetrical meters, such as symmetrical duple meter, or 2/4, whereas non–isochronous beats give rise to asymmetrical meters.
[Show full text]