Dissertation committee:
Βασιλική Τυροβολά
Ομότιμη Καθηγήτρια Ελληνικού Παραδοσιακού Χορού -
Μορφολογίας του Ελληνικού Παραδοσιακού Χορού
(Επιβλέπουσα Καθηγήτρια)
Σχολή Επιστήμης Φυσικής Αγωγής και Αθλητισμού - Ε.Κ.ΠΑ.
Ιωάννης Ζέρβας
Ομότιμος Καθηγητής Αθλητικής Ψυχολογίας
Σχολή Επιστήμης Φυσικής Αγωγής και Αθλητισμού - Ε.Κ.Π.Α.
Κωνσταντίνος Καρτερολιώτης
Καθηγητής Μεθοδολογίας της Έρευνας στη Φυσική Αγωγή
Σχολή Επιστήμης Φυσικής Αγωγής και Αθλητισμού - Ε.Κ.ΠΑ.
Μαρία Κουτσούμπα
Αναπληρώτρια Καθηγήτρια Ελληνικού Παραδοσιακού Χορού
(Μέλος της τριμελούς συμβουλευτικής επιτροπής)
Σχολή Επιστήμης Φυσικής Αγωγής και Αθλητισμού - Ε.Κ.Π.Α.
Λάμπρος Λιάβας
Καθηγητής Εθνομουσικολογίας και Κοινωνικής Ανθρωπολογίας
Τμήμα Μουσικών Σπουδών - Φιλοσοφική Σχολή - Ε.Κ.Π.Α
Βασιλική Λαλιώτη
Επίκουρη καθηγήτρια Ανθρωπολογίας της Επιτέλεσης
(Μέλος της τριμελούς συμβουλευτικής επιτροπής)
Τμήμα Μουσικών Σπουδών - Φιλοσοφική Σχολή - Ε.Κ.Π.Α
Γεώργιος Λυκεσάς
Επίκουρος Καθηγητής Διδακτικής Ελληνικών Παραδοσιακών Χορών
Σχολή Επιστήμης Φυσικής Αγωγής και Αθλητισμού - Α.Π.Θ.
Summary:
Τhe aim of this paper is to study the content, methods and style of teaching of the Greek traditional dance within the timeless annual seminar of the association “En Choro” that is celebrated in Greece. It is especially investigated whether the night festivities are part of the educational process, the concept of “authenticity” is considered, and the way it is perceived by the organizers, originators and participants. It is also considered the contribution of the seminar in the safeguard of the Greek traditional dance. Data collection was based on the principles of the ethnographic method through participant observation. To analyze the teachings and the systematic observation of the courses are used: a) the teaching methods of the Greek traditional dance: partial, overall, mimic, common kinetic pattern method, morphological method, b) the teaching styles that Mosston and Ashworth (1994) suggest and c) The Cheffers Adaptation of Flanders Interaction Analysis System (CAFIAS). To analyze, elaborate and interpret the ethnographic data related to the Greek traditional dance management and safeguard as a cultural good, the Convention of UNESCO (2003), for the protection of the intangible cultural heritage and the Presidential Decree are used as methodological instruments where the ways of inventory, imprinting and documentation of the intangible cultural heritage are institutionalized. A comparative interpretation of those in relation to the interpretative versions of the informants is attempted having as a guide the prevalent aspects in the literature of the folklore, folklorism, tradition and authenticity. From the results of the research it was found that the originators regardless of the teaching method they adopt, the reproduction of the knowledge is promoted through a teacher-centered type of approach (Gibbons 2007; Mosston & Ashworth 2008). Regardless of the announcement that the seminar achieves the “authentic” transmission of the traditional dance, it actually achieves the formation of a new frame where the “aim can’t be any given ΄authenticity΄” (Liavas 2013) since the traditional dance as an intangible product turns into a product of management, creating new dancing performances through the night festivities and the teacher-centered teachings. Conclusively, the seminar “En Choro” has doubtless contributed to the promotion, show and rescue of the Greek popular cultural heritage outside and inside Greece. However, the organizers must find new tactics and gain specialized knowledge in the field of research, inventory archiving and documentation of the seminar material so as an overall and more creative contribution to the preservation of the Greek traditional dance can be achieved.
Keywords:
Greek traditional dance, seminar, teaching, authenticity, preservation.
