Abstract
Defining the Balkans as a geographic, cultural and semantic entity triggers an interpretation of them as some idea, concept, oftentimes even a stereotype. The Balkans are usually interpreted as a singular entity, generalized and set in a single framework. That generalized view is often ambivalent. The Balkans are often interpreted and presented as a ‘powder keg’, a ‘bridge between the East and the West’, a part of Europe that is simply different, a place of strong emotions and attractive forms of music and dance, etc. However, the Balkans represent a set of cultural units that are in constant interaction, with each of the cultures of the Balkans being specific and authentic. Macedonia, as one of the pages of the ‘Balkan story’, will be presented at three levels—regarding its drama, music and dance. The specific characteristics of the music and the dance fields will be presented through their most significant features and examples, and the treatment of the topic of the Balkans in Macedonian drama will be covered as well. The analysis confirms that generalization is impossible even within a single culture, as each artist and medium of performance has its own unique expression. The cultural forms of Macedonian culture are only part of the wider pluralistic representation of the Balkans. It may be offered under the Balkans as the common denominator, but the truth is that this/representation/concept is polyvalent, multicultural, polysemic and extremely rich.
Highlights
Defining the Balkans as a geographic, cultural and semantic entity triggers an interpretation of them as some idea, concept, oftentimes even a stereotype
Linguistic point of view, they interpret the Balkans from a broader scientific and theoretical level. This approach provides a foundation for the creation of a generalized position, which equates the countries of the peninsula with the general term Balkans
It would be completely wrong to represent everything by a single color, sound or movement, when it is a kaleidoscope of cultural units which compose the image of the Balkans as a part of Europe
Summary
In spite of starting to write this text quite enthusiastically and with a sense of familiarity with the general situation and the straightforwardness of things, I was faced with some serious dilemmas at the very beginning of the process. While I remain strongly reserved with regard to its unverified and unrefined content, it does clarify some very interesting aspects This web page emphasizes the liminality of interpretation and representation of the Balkans, especially since it keeps changing as you select to read the article in a different language (which in turn provides insight into the political positions of the relevant national discourse). One of the most widely accepted metaphors for the Balkans is the title of Dejan Dukovski’s [Деjaн Дукоски] play Powder Keg, as something extremely flammable and highly explosive This idiom/image of the Balkans relies on historical events (the Balkan Wars as well as the Yugoslav Wars of the 1990s).The general view has been that it should be isolated, detached, preferably kept away from Europe at a safe distance, where it could keep opening and closing the road to the Balkan ‘island’ should the need arise (regarding accession to the European Union, NATO and other international organizations). For some arrogant Frenchmen, Germany is associated with the Balkanian Eastern savagery. (Žižek 1999)
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