Anyone attending a traditional wedding in Romania during the communist period, such as in the 1970s or ‘80s, and returning to such a celebration during the 1990s or early 2000s would immediately notice that, although structurally the wedding ritual proceeds more or less the same now as before, the non-ritual music and dance that currently form part of the festivities are significantly different. Amplified instruments in many cases have replaced acoustic ones, and electronic instruments have joined and often supplanted traditional ones. Moreover, the songs now widely heard are more frequently “Balkan pop” and “Gypsy” music rather than Romanian traditional repertoire, and “Gypsy” as opposed to Romanian dance forms dominate. This article examines how and why these changes have taken place, and provides a description of a typical contemporary village wedding. I explore, in particular, how the political and cultural developments in post-communist Romania have affected music-making by Romani (Gypsy) performers at traditional weddings. My primary questions concern how Romanian wedding music and dance repertoire have changed since the communist period and why. I suggest that the developments in traditional dance since 1989 reflect, in cultural terms, Romania’s transition from forty-five years of communism to the post-communism of the present and future, envisioned as a democratic market economy in which anticipated membership in the European Union looms on a moderately distant horizon. I argue the following three points: first, the changes that have occurred in the wedding dance repertoire over the past fifteen years have generally represented a shift from Romanian traditional dance genres to genres that are or are coded as Romani. Second, these changes are a result of the more open political and social climate that followed the fall of communism, especially the freedom of speech and contacts with the outside world that were permitted. And third, issues of cultural, ethnic, and gender identity in transition in postcommunist Romanian society are mirrored in the dances now performed at weddings. My findings are based on fieldwork in southern Romania, where I have interviewed many Romani musicians and attended numerous weddings at which they performed.(1) My observations are also informed by cultural developments elsewhere in the post-communist Balkan world.(2) Brief introductory remarks on politics in twentieth-century Romania, Romani musicians, traditional weddings, and communist-period repertoire precede my main discussion of post-communist wedding music and dance genres, including a detailed treatment of two principal forms (the “manea” and “lautar hora”). I also include a summary ethnographic account of a village wedding that I attended in 2002 that illustrates, in particular, post-communist celebratory music and dance.
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