Прилог проучавању недоумица у тумачењима црногорске плесно-музичке праксе: покрет и пјесма
Contribution to the study of doubts in the interpretation of Montenegro dance and music practice: motion and song

Summary/Abstract: „After all, Montenegro is a huge archive and museum of antiquities in the ethnographic sense, so, considering its isolation, on the one hand, and conservatism, on the other, nothing else can be expected.“ (Kuba, 1996: 104) One of the main problems in the study and application of traditional dances in Montenegro is that indigenous dances and songs are not included in the programs of secondary schools,especially music schools and the Academy of Music. Only a few examples of author’s editions, mainly songs,represent a step forward in this sense,for the reason that the inadequate treatment of the musical accompaniment of the dances (songs) by most dance groups (Cultural and Artistic associations), the media, and even the competent ministries, creates problems for all those who would like to scientifically deal with traditional dance.Arbitrary and quasi-scientific treatments of Montenegrin musical and dance heritage almost systematically distance it from what it essentially meant in the past in the context of the costume in which it was practiced (end of the 19th and beginning of the 20thcentury.). Stage adaptations that are presented as "traditional" are almost not"tradition" in the true sense of the word,but mostly "kitschy" alterations. We have a situation where beliefs about Montenegrin dances are collapsing like a"house of cards", which is the result of decades of misconceptions and unprofessional interpretations. The aforementioned also represents a reaction to the discrimination of: a) autochthonous musical accompaniment to the dance and b) the metrorhythmic relationship between the motion and the music that accompanies it. In the recorded past, Montenegrin archaic dances were never accompanied by instrumental or vocal instrumental music.

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