{"id":1824,"date":"2025-04-11T23:08:35","date_gmt":"2025-04-11T21:08:35","guid":{"rendered":"https:\/\/cs-embe.ro\/nr-7-1-2023\/the-stylistic-characteristics-of-the-male-and-female-folk-chain-dances-in-the-documentary-film-rhythm-and-sound-1955\/"},"modified":"2025-06-04T20:48:27","modified_gmt":"2025-06-04T18:48:27","slug":"the-stylistic-characteristics-of-the-male-and-female-folk-chain-dances-in-the-documentary-film-rhythm-and-sound-1955","status":"publish","type":"page","link":"https:\/\/cs-embe.ro\/en\/nr-7-1-2024\/the-stylistic-characteristics-of-the-male-and-female-folk-chain-dances-in-the-documentary-film-rhythm-and-sound-1955\/","title":{"rendered":"THE STYLISTIC CHARACTERISTICS OF THE MALE AND FEMALE FOLK CHAIN DANCES IN THE DOCUMENTARY FILM ,,RHYTHM AND SOUND\u201d \u2013 1955"},"content":{"rendered":"

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Marjan ANDONOVSKI:<\/strong> THE STYLISTIC CHARACTERISTICS OF THE MALE AND FEMALE FOLK CHAIN DANCES IN THE DOCUMENTARY FILM ,,RHYTHM AND SOUND\u201d \u2013 1955<\/p>\n

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DOI: 10.63702\/csembe.2024.1.7.169<\/strong><\/p>\n

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Keywords: <\/strong>Ethnochoreology, traditional dances, dance, folk dance, traditional dance methodology, dance anthropology, traditional dance examples, Ensemble Tanec; documentary;<\/p>\n

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Abstract:
<\/strong>The subject of this master\u2019s thesis is the folk dances presented in the documentary Rhythm and Sound, directed by Trajche Popov. The film was released in 1955 as a Vardar Film production and constitutes one of the first Macedonian documentaries with a story revolving around the Macedonian intangible cultural heritage, here in the form of traditional dance and music. The objective of this film is to portray the traditional dances, their essence, and their meaning through select examples typical for certain Macedonian ethnographic regions. The filmmaker chooses the National Folk Dance Ensemble Tanec as the only performer of the folk dances. The entirety of the dances presented in the documentary were part of the ensemble\u2019s standard repertoire and therefore constituted its base program, which was performed during the ensemble\u2019s beginnings. However, it might be noteworthy to say that a significant part of these dances is still performed today.<\/p>\n

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References:
<\/strong>– \u0413\u0440\u0443\u043f\u0430 \u0410\u0432\u0442\u043e\u0440\u0438, (2012). \u0422\u0440\u0430\u0458\u0447\u0435 \u041f\u043e\u043f\u043e\u0432, \u041a\u0438\u043d\u043e\u0442\u0435\u043a\u0430 \u043d\u0430 \u041c\u0430\u043a\u0435\u0434\u043e\u043d\u0438\u0458\u0430, \u0421\u043a\u043e\u043f\u0458\u0435.
– \u0408\u0430\u043d\u0435\u0432\u0441\u043a\u0438, \u0412. (2013). \u041e\u0431\u043b\u0438\u0446\u0438 \u0438 \u0444\u043e\u0440\u043c\u0438 \u0432\u043e \u043c\u0430\u043a\u0435\u0434\u043e\u043d\u0441\u043a\u0438\u043e\u0442 \u0438\u0433\u0440\u043e\u043e\u0440\u0435\u043d \u0440\u0435\u043f\u0435\u0440\u0442\u043e\u0430\u0440, \u0417\u0431\u043e\u0440\u043d\u0438\u043a \u043d\u0430 \u0442\u0440\u0443\u0434\u043e\u0432\u0438 V, \u0421\u0435\u043c\u0438\u043d\u0430\u0440 \u0437\u0430 \u0442\u0440\u0430\u0434\u0438\u0446\u0438\u043e\u043d\u0430\u043b\u043d\u0430 \u043c\u0443\u0437\u0438\u043a\u0430 \u0438 \u0438\u0433\u0440\u0430, \u041d\u0423 \u0426\u0435\u043d\u0442\u0430\u0440 \u0437\u0430 \u043a\u0443\u043b\u0442\u0443\u0440\u0430, \u0411\u0438\u0442\u043e\u043b\u0430.
– \u0408\u0430\u043d\u0435\u0432\u0441\u043a\u0438, \u0412. (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.
– \u041a\u0430\u0442\u0430\u043b\u043e\u0433 \u043d\u0430 \u043d\u0430\u0446\u0438\u043e\u043d\u0430\u043b\u043d\u0438\u043e\u0442 \u0444\u0438\u043b\u043c\u0441\u043a\u0438 \u0444\u043e\u043d\u0434 1905 \u2013 2000. 2001. \u041a\u0438\u043d\u043e\u0442\u0435\u043a\u0430 \u043d\u0430 \u041c\u0430\u043a\u0435\u0434\u043e\u043d\u0438\u0458\u0430, \u0421\u043a\u043e\u043f\u0458\u0435.
– \u041f\u043e\u043f\u043e\u0432, \u0422. (1954). \u041a\u043d\u0438\u0433\u0430 \u043d\u0430 \u0441\u043d\u0438\u043c\u0430\u045a\u0435, \u041c\u0430\u043a\u0435\u0434\u043e\u043d\u0441\u043a\u0438 \u043d\u0430\u0440\u043e\u0434\u043d\u0438 \u0438\u0433\u0440\u0438, \u0421\u043a\u043e\u043f\u0458\u0435. (\u0412\u043e \u0440\u0430\u043a\u043e\u043f\u0438\u0441).
– \u041f\u043e\u043f\u043e\u0432, \u0422. (1954). \u0421\u0446\u0435\u043d\u0430\u0440\u0438\u043e \u0437\u0430 \u043a\u0440\u0430\u0442\u043e\u043a \u0434\u043e\u043a\u0443\u043c\u0435\u043d\u0442\u0430\u0440\u0435\u043d \u0444\u0438\u043b\u043c, \u0421\u043a\u043e\u043f\u0458\u0435. (\u0412\u043e \u0440\u0430\u043a\u043e\u043f\u0438\u0441).
– \u0422\u043e\u0434\u0435\u0432\u0441\u043a\u0438, \u041a.; \u041f\u0430\u043b\u0447\u0435\u0432\u0441\u043a\u0438, \u0411. (2013). \u0422\u0430\u043d\u0435\u0446 \u043f\u0440\u043e\u043c\u043e\u0442\u043e\u0440 \u043d\u0430 \u0444\u043e\u043b\u043a\u043b\u043e\u0440\u043d\u043e-\u043a\u043e\u0440\u0435\u043e\u0433\u0440\u0430\u0444\u0441\u043a\u0430 \u0448\u043a\u043e\u043b\u0430 \u0441\u043e \u043d\u0430\u0446\u0438\u043e\u043d\u0430\u043b\u0435\u043d \u043f\u0440\u0435\u0434\u0437\u043d\u0430\u043a, \u0414\u0438\u0440\u0435\u043a\u0446\u0438\u0458\u0430 \u0437\u0430 \u043a\u0443\u043b\u0442\u0443\u0440\u0430 \u0438 \u0443\u043c\u0435\u0442\u043d\u043e\u0441\u0442, \u0421\u043a\u043e\u043f\u0458\u0435.
– \u0422\u043e\u0434\u0435\u0432\u0441\u043a\u0438, \u041a. (2019). \u041e\u0441\u0442\u0430\u043d\u0438 \u0432\u043e \u0447\u0435\u043a\u043e\u0440, \u0434\u0435\u0441\u0435\u0442 \u0430\u043d\u0442\u043e\u043b\u043e\u0433\u0438\u0441\u043a\u0438 \u043a\u043e\u0440\u0435\u043e\u0433\u0440\u0430\u0444\u0438\u0438, \u0410\u0440\u0441 \u041b\u0430\u043c\u0438\u043d\u0430\u2013 \u043f\u0443\u0431\u043b\u0438\u043a\u0430\u0446\u0438\u0438, \u0421\u043a\u043e\u043f\u0458\u0435.
– \u0422\u043e\u0434\u0435\u0432\u0441\u043a\u0438, \u041a. (1999). \u0422\u0430\u043d\u0435\u0446 \u2013 \u041f\u0435\u0442 \u0434\u0435\u0446\u0435\u043d\u0438\u0438 \u0430\u043c\u0431\u043b\u0435\u043c \u043d\u0430 \u043c\u0430\u043a\u0435\u0434\u043e\u043d\u0441\u043a\u0430\u0442\u0430 \u043a\u0443\u043b\u0442\u0443\u0440\u0430 \u0438 \u0443\u043c\u0435\u0442\u043d\u043e\u0441\u0442, \u0422\u0430\u043d\u0435\u0446 50 \u0433\u043e\u0434\u0438\u043d\u0438 \u0430\u043c\u0431\u043b\u0435\u043c \u043d\u0430 \u043c\u0430\u043a\u0435\u0434\u043e\u043d\u0441\u043a\u0430\u0442\u0430 \u043a\u0443\u043b\u0442\u0443\u0440\u0430 \u0438 \u0443\u043c\u0435\u0442\u043d\u043e\u0441\u0442, \u0410\u043d\u0441\u0430\u043c\u0431\u043b \u0437\u0430 \u043d\u0430\u0440\u043e\u0434\u043d\u0438 \u0438\u0433\u0440\u0438 \u0438 \u043f\u0435\u0441\u043d\u0438 \u043d\u0430 \u041c\u0430\u043a\u0435\u0434\u043e\u043d\u0438\u0458\u0430 \u201e\u0422\u0430\u043d\u0435\u0446\u201c, \u0421\u043a\u043e\u043f\u0458\u0435.<\/p>\n

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

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Marjan ANDONOVSKI: THE STYLISTIC CHARACTERISTICS OF THE MALE AND FEMALE FOLK CHAIN DANCES IN THE DOCUMENTARY FILM ,,RHYTHM AND SOUND\u201d \u2013 1955DOI: 10.63702\/csembe.2024.1.7.169Keywords: Ethnochoreology, traditional dances, dance, folk dance, traditional dance methodology, dance anthropology, traditional dance examples, Ensemble Tanec; documentary;Abstract:The subject of this master\u2019s thesis is the folk dances presented in the documentary Rhythm and […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1501,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-1824","page","type-page","status-publish","hentry"],"yoast_head":"\nTHE STYLISTIC CHARACTERISTICS OF THE MALE AND FEMALE FOLK CHAIN DANCES IN THE DOCUMENTARY FILM ,,RHYTHM AND SOUND\u201d \u2013 1955 | Cercet\u0103ri \u0219i studii<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cs-embe.ro\/en\/nr-7-1-2024\/the-stylistic-characteristics-of-the-male-and-female-folk-chain-dances-in-the-documentary-film-rhythm-and-sound-1955\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"THE STYLISTIC CHARACTERISTICS OF THE MALE AND FEMALE FOLK CHAIN DANCES IN THE DOCUMENTARY FILM ,,RHYTHM AND SOUND\u201d \u2013 1955 | Cercet\u0103ri \u0219i studii\" \/>\n<meta property=\"og:url\" content=\"https:\/\/cs-embe.ro\/en\/nr-7-1-2024\/the-stylistic-characteristics-of-the-male-and-female-folk-chain-dances-in-the-documentary-film-rhythm-and-sound-1955\/\" \/>\n<meta property=\"og:site_name\" content=\"Cercet\u0103ri \u0219i studii\" \/>\n<meta property=\"article:modified_time\" content=\"2025-06-04T18:48:27+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/cs-embe.ro\/wp-content\/uploads\/2023\/03\/logo-acb-negru-3-limbi_var1-1.png\" \/>\n\t<meta property=\"og:image:width\" content=\"340\" \/>\n\t<meta property=\"og:image:height\" content=\"183\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/cs-embe.ro\/en\/nr-7-1-2024\/the-stylistic-characteristics-of-the-male-and-female-folk-chain-dances-in-the-documentary-film-rhythm-and-sound-1955\/\",\"url\":\"https:\/\/cs-embe.ro\/en\/nr-7-1-2024\/the-stylistic-characteristics-of-the-male-and-female-folk-chain-dances-in-the-documentary-film-rhythm-and-sound-1955\/\",\"name\":\"THE STYLISTIC CHARACTERISTICS OF THE MALE AND FEMALE FOLK CHAIN DANCES IN THE DOCUMENTARY FILM ,,RHYTHM AND SOUND\u201d \u2013 1955 | Cercet\u0103ri \u0219i studii\",\"isPartOf\":{\"@id\":\"https:\/\/cs-embe.ro\/#website\"},\"datePublished\":\"2025-04-11T21:08:35+00:00\",\"dateModified\":\"2025-06-04T18:48:27+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/cs-embe.ro\/en\/nr-7-1-2024\/the-stylistic-characteristics-of-the-male-and-female-folk-chain-dances-in-the-documentary-film-rhythm-and-sound-1955\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/cs-embe.ro\/en\/nr-7-1-2024\/the-stylistic-characteristics-of-the-male-and-female-folk-chain-dances-in-the-documentary-film-rhythm-and-sound-1955\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/cs-embe.ro\/en\/nr-7-1-2024\/the-stylistic-characteristics-of-the-male-and-female-folk-chain-dances-in-the-documentary-film-rhythm-and-sound-1955\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/cs-embe.ro\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Vol. 5, No. 7 \/ 2024\",\"item\":\"https:\/\/cs-embe.ro\/en\/nr-7-1-2024\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"THE STYLISTIC CHARACTERISTICS OF THE MALE AND FEMALE FOLK CHAIN DANCES IN THE DOCUMENTARY FILM ,,RHYTHM AND SOUND\u201d \u2013 1955\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/cs-embe.ro\/#website\",\"url\":\"https:\/\/cs-embe.ro\/\",\"name\":\"Cercet\u0103ri \u0219i studii. 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