{"title":"四次“反对”:苏联、美国、民主和移民模式的保加利亚舞蹈","authors":"Gergana Panova-Tekath","doi":"10.3986/traditio2020490204","DOIUrl":null,"url":null,"abstract":"The urban interest in traditional Bulgarian dances constructed different communal realities in Bulgaria and abroad before and after 1989. The author discerns subtle protest in dancing the Bulgarian way and elaborates the meaning of this resistance in four contexts, whereby even the Soviet period is analyzed with great nuance. The phenomenon is defined as a reflexive expression of identity that allows fluid concepts of nationality. It persists as a survival strategy even during this pandemic.","PeriodicalId":35228,"journal":{"name":"Traditiones","volume":"1 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"FOUR TIMES “CONTRA”: THE SOVIET, AMERICAN, DEMOCRATIC, AND EMIGRANT MODELS OF DANCING THE BULGARIAN WAY\",\"authors\":\"Gergana Panova-Tekath\",\"doi\":\"10.3986/traditio2020490204\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The urban interest in traditional Bulgarian dances constructed different communal realities in Bulgaria and abroad before and after 1989. The author discerns subtle protest in dancing the Bulgarian way and elaborates the meaning of this resistance in four contexts, whereby even the Soviet period is analyzed with great nuance. The phenomenon is defined as a reflexive expression of identity that allows fluid concepts of nationality. It persists as a survival strategy even during this pandemic.\",\"PeriodicalId\":35228,\"journal\":{\"name\":\"Traditiones\",\"volume\":\"1 1\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-12-30\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Traditiones\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3986/traditio2020490204\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q1\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Traditiones","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3986/traditio2020490204","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"Arts and Humanities","Score":null,"Total":0}
FOUR TIMES “CONTRA”: THE SOVIET, AMERICAN, DEMOCRATIC, AND EMIGRANT MODELS OF DANCING THE BULGARIAN WAY
The urban interest in traditional Bulgarian dances constructed different communal realities in Bulgaria and abroad before and after 1989. The author discerns subtle protest in dancing the Bulgarian way and elaborates the meaning of this resistance in four contexts, whereby even the Soviet period is analyzed with great nuance. The phenomenon is defined as a reflexive expression of identity that allows fluid concepts of nationality. It persists as a survival strategy even during this pandemic.
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