В крак с времето. Нови парадигми и теоретични постижения на българската етнохореология
Being in step with the times. New paradigms and theoretical achievements of Bulgarian ethnochoreology

Summary/Abstract: The paper is a follow-up to my paper of a decade ago occasioned by the sixtieth anniversary of art studies at BAS. It notes the completion of the theory of dancing Bulgarian style as an intra- and intercultural nonverbal communication on four continents and over two periods. It allows treating the objects under consideration at a political microlevel within four modes, at a social intermediate level through ‘complexes of motives’, and at an individual micro-level as a ‘semantic star’. The significance of the Institute is highlighted as a place where Raina Katsarova gave birth to Bulgarian ethnochoreology and invaluable folk archives have been collected. Nowadays, science draws attention to urban populations and their communication, integration into and adaptation to multicultural societies. A distinctive feature of contemporary Bulgarian ethnochoreology is its close relation to practice. Examples are adduces relating to festivals in immigrant model. Predecessors were two festivals held in Canada, initiated by Yves Moreau. Sts Cyril and Methodius Festival, San Francisco was launched by Tanya Kostova in 2001 and is defined as a fair. Chicagobased Verea Festival organised by Konstantin Marinov was launched in 2010 as stage, having regulating functions within the diaspora. The European Heritage Festival came to existence in 2013 in San Diego, where Kalin Krumov and Petro Dushkov offer since 2013 a magical entry into a new and free ancestral culture.

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