{"id":1820,"date":"2025-04-11T23:13:03","date_gmt":"2025-04-11T21:13:03","guid":{"rendered":"https:\/\/cs-embe.ro\/nr-7-1-2023\/historical-aspects-of-the-%d0%bainetography-inscriptions\/"},"modified":"2025-06-03T22:49:51","modified_gmt":"2025-06-03T20:49:51","slug":"historical-aspects-of-the-%d0%bainetography-inscriptions","status":"publish","type":"page","link":"https:\/\/cs-embe.ro\/en\/nr-7-1-2024\/historical-aspects-of-the-%d0%bainetography-inscriptions\/","title":{"rendered":"HISTORICAL ASPECTS OF THE \u041aINETOGRAPHY INSCRIPTIONS"},"content":{"rendered":"

[et_pb_section fb_built=”1″ _builder_version=”4.21.0″ _module_preset=”default” background_enable_color=”off” background_image=”http:\/\/cs-embe.ro\/wp-content\/uploads\/2023\/03\/paper.jpg” custom_padding=”||0px||false|false” animation_style=”fade” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.27.4″ _module_preset=”default” custom_padding=”||80px||false|false” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

Hristijan NIKOLOVSKI:<\/strong> HISTORICAL ASPECTS OF THE \u041aINETOGRAPHY INSCRIPTIONS<\/p>\n

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DOI: 10.63702\/csembe.2024.1.7.181<\/strong><\/p>\n

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Keywords: <\/strong>Historical aspects; Kinetography letters; Yugoslav kinetography; Labannotation;<\/p>\n

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Abstract:
<\/strong>In this paper, we will try to make an analytical review of cinetographic letters that were used in the territory of the former Yugoslav state, which included the territories of today’s Serbia, Macedonia, Croatia, Bosnia and Herzegovina, Slovenia and Montenegro. We will also give a critical review of Laban’s cinetography, its acceptance, use and influences that are still felt and clearly seen in these spaces even today. As we said, we would like to highlight the cinetographic letters through their representatives and their works, which are of great importance and leave lasting marks in ethnochoreology science.<\/p>\n

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References:
<\/strong>– Ivana\u010d\u0430n, Ivan, (1985). Narodni plesni obi\u010daji ju\u017ene Dalmacije. Narodna plesna kultura u Hrvata (Folk Dance Customs of Southern Dalmatia: Folk Dance Culture in Croatia), Vara\u017edin
– Ivana\u010d\u0430n, Ivan, (1956). Narodni plesovi Hrvatske I (Croatian Folk Dances),1. Zagreb.
– Ivana\u010d\u0430n, Ivan, (1996). Narodni plesni obi\u010daji u Hrvata (Croatian Folk Dance Customs), Zagreb.
– Karin, Vesna, (2018). Nove tendencije razvoja kinetogrfije u Srbiji I region. U: \u0423: \u0415\u0442\u043d\u043e\u0430\u043d\u0442\u0440\u043e\u043f\u043e\u043b\u043e\u0448\u043a\u0438 \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u0438, \u0431\u0440.13, sveska 3. \u0423\u0440. \u041f\u0440\u043e\u0444. \u0434-\u0440 \u0414\u0440\u0430\u0433\u0430\u043d\u0430 \u0410\u043d\u0442\u043e\u043d\u0438\u0458\u0435\u0432\u0438\u0447. \u0411\u0435\u043e\u0433\u0440\u0430\u0434: \u041e\u0434\u0435\u043b\u0435\u045a\u0435 \u0437\u0430 \u0435\u0442\u043d\u043e\u043b\u043e\u0433\u0438\u0458\u0443 \u0438 \u0430\u043d\u0442\u0440\u043e\u043f\u043e\u043b\u043e\u0433\u0438\u0458\u0443 \u0424\u0438\u043b\u043e\u0437\u043e\u0444\u0441\u043a\u043e\u0433 \u0444\u0430\u043a\u0443\u043b\u0442\u0435\u0442\u0430 \u0423\u043d\u0438\u0432\u0435\u0440\u0437\u0438\u0442\u0435\u0442\u0430 \u0443 \u0411\u0435\u043e\u0433\u0440\u0430\u0434\u0443, 825 \u2013 840.
– Ko\u0161uta, Miran; Nadja, Kri\u0161\u0107ak; Breda, Pahor; Franka, Slavec; Peter, Suhadolc; Dragica, Ule- Maver; Bojana, Vatovec, (1985). Deklica Podaj Roko, ljudski plesi, pesmi in nosa Slovencev v Italiji. Ljubljana.
– Miljkovi\u0107, \u017divojin, (1995). Priru\u010dnik za zapisivanje narodnih igara 1, Narodne igre. Gra\u0111a, sveska 8, ur. Olivera Vasi\u0107, Beograd: Centar za prou\u010davanje narodnih igara Srbije Fakulteta muzi\u010dke umetnosti, 169-180.
– Miljkovi\u0107, \u017divojin, (1996). Priru\u010dnik za zapisivanje narodnih igara 2, Narodne igre. Gra\u0111a, sveska 9, ur. Olivera Vasi\u0107, Beograd: Centar za prou\u010davanje narodnih igara Srbije Fakulteta muzi\u010dke umetnosti, 155-167.
– Miljkovi\u0107, \u017divojin, (1996). Priru\u010dnik za zapisivanje narodnih igara 3 Narodne igre. Gra\u0111a, sveska 10, ur. Olivera Vasi\u0107, Beograd: Centar za prou\u010davanje narodnih igara Srbije Fakulteta muzi\u010dke umetnosti, 97-118.
– Miljkovi\u0107, \u017divojin, (1997). Priru\u010dnik za zapisivanje narodnih igara 4, Narodne igre. Gra\u0111a, sveska 11, ur. Olivera Vasi\u0107, Beograd: Centar za prou\u010davanje narodnih igara Srbije Fakulteta muzi\u010dke umetnosti, 157-174.
– Rakocevi\u045b, Selena (2018). Sestre Jankovic I Labanova kinetografija. Muzicka I igracka tradicija multietnicke i multikulturalne Srbije (br. 177024). Ministarstva prosvete, nauke I tehnoloskog razvoja republike Srbije. Beograd.
– Ravnikar, Bruno, (1969). Koreografija, ljudskega plesa, Ljubljana.
– Ravnikar, Bruno, (1980). Kinetografija, s.l.: Savez kulturnih organizacija Slovenije.
– Ravnikar, Bruno, (1980). Kinetografija, s.l.: Savez kulturnih organizacija Slovenije.
– Ravnikar, Bruno, (2004). Kinetografija, plesin gib, Kranj.
– Stojiljkovi\u0107 – Baji\u0107, Vesna (2006). Od z\u0430pis\u0430 tr\u0430dicion\u0430lne muzike i igre k\u0430 prer\u0430di, obr\u0430di i kompoziciji (muzi\u010dko i igr\u0430\u010dko n\u0430sle\u0111e u kulturno-umetni\u010dkim dru\u0161tvim\u0430 i obr\u0430zovnim institucij\u0430m\u0430 u Srbiji), diplomska naloga, F\u0430kultet muzi\u010dke umetnosti u Beogr\u0430du. (u rukopis)
– \u0414\u0438\u043c\u043e\u0441\u043a\u0438, \u041c\u0438\u0445\u0430\u0438\u043b\u043e, (1977). \u041c\u0430\u043a\u0435\u0434\u043e\u043d\u0441\u043a\u0438 \u043d\u0430\u0440\u043e\u0434\u043d\u0438 \u043e\u0440\u0430, \u0418\u043d\u0441\u0442\u0438\u0442\u0443\u0442 \u0437\u0430 \u0444\u043e\u043b\u043a\u043b\u043e\u0440, \u0421\u043a\u043e\u043f\u0458\u0435, \u0441\u0442\u0440. 80.
– \u0408\u0430\u043d\u0435\u0432\u0441\u043a\u0438, \u0412\u043b\u0430\u0434\u0438\u043c\u0438\u0440, (2013). \u0415\u0442\u043d\u043e\u043a\u043e\u0440\u0435\u043e\u043b\u043e\u0448\u043a\u0438 \u043a\u0430\u0440\u0430\u043a\u0442\u0435\u0440\u0438\u0441\u0442\u0438\u043a\u0438 \u043d\u0430 \u043c\u0430\u043a\u0435\u0434\u043e\u043d\u0441\u043a\u0438\u0442\u0435 \u043d\u0430\u0440\u043e\u0434\u043d\u0438 \u043e\u0440\u0430 (\u043f\u043e \u0438\u0437\u0431\u0440\u0430\u043d\u0438 \u043f\u0440\u0438\u043c\u0435\u0440\u0438), \u0418\u043d\u0441\u0442\u0438\u0442\u0443\u0442 \u0437\u0430 \u0444\u043e\u043b\u043a\u043b\u043e\u0440, \u0421\u043a\u043e\u043f\u0458\u0435.
– \u0408\u0430\u043d\u0435\u0432\u0441\u043a\u0438, \u0412\u043b\u0430\u0434\u0438\u043c\u0438\u0440, (2019). \u0415\u0442\u043d\u043e\u043a\u043e\u0440\u0435\u043e\u043b\u043e\u0448\u043a\u0430 \u043a\u043b\u0430\u0441\u0438\u0444\u0438\u043a\u0430\u0446\u0438\u0458\u0430 \u043d\u0430 \u043e\u0440\u0430\u0442\u0430 \u0432\u043e \u041c\u0430\u043a\u0435\u0434\u043e\u043d\u0438\u0458\u0430, \u0417\u0434\u0440\u0443\u0436\u0435\u043d\u0438\u0435 \u043d\u0430 \u0435\u0442\u043d\u043e\u043a\u043e\u0440\u0435\u043e\u043b\u043e\u0437\u0438 \u043d\u0430 \u041c\u0430\u043a\u0435\u0434\u043e\u043d\u0438\u0458\u0430, \u0421\u043a\u043e\u043f\u0458\u0435.
– \u0408\u0430\u043d\u043a\u043e\u0432\u0438\u045b, \u0409\u0443\u0431\u0438\u0446\u0430 \u0438 \u0414\u0430\u043d\u0438\u0446\u0430, (1934). \u041d\u0430\u0440\u043e\u0434\u043d\u0435 \u0438\u0433\u0440\u0435, \u043a\u045a\u0438\u0433\u0430 I, \u0411\u0435\u043e\u0433\u0440\u0430\u0434.
– \u0424\u0438\u0440\u0444\u043e\u0432, \u0416\u0438\u0432\u043a\u043e; \u041f\u0430\u0458\u0442\u043e\u043d\u045f\u0438\u0435\u0432, \u0413\u0430\u043d\u0447\u043e, (1953). \u041c\u0430\u043a\u0435\u0434\u043e\u043d\u0441\u043a\u0438 \u043d\u0430\u0440\u043e\u0434\u043d\u0438 \u043e\u0440\u0430, \u0418\u043d\u0441\u0442\u0438\u0442\u0443\u0442 \u0437\u0430 \u0444\u043e\u043b\u043a\u043b\u043e\u0440 \u041c\u0430\u0440\u043a\u043e \u0426\u0435\u043f\u0435\u043d\u043a\u043e\u0432, \u0421\u043a\u043e\u043f\u0458\u0435.<\/p>\n

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Published:
<\/strong>15.07.2024<\/strong><\/p>\n

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Hristijan NIKOLOVSKI: HISTORICAL ASPECTS OF THE \u041aINETOGRAPHY INSCRIPTIONSDOI: 10.63702\/csembe.2024.1.7.181Keywords: Historical aspects; Kinetography letters; Yugoslav kinetography; Labannotation;Abstract:In this paper, we will try to make an analytical review of cinetographic letters that were used in the territory of the former Yugoslav state, which included the territories of today’s Serbia, Macedonia, Croatia, Bosnia and Herzegovina, Slovenia and Montenegro. 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