From being faitfull to "revolutionary mass" to representing of SFRY abroad: National Ensemble of Folk Dances and Songs of Serbia/Ensemble "Kolo"(1948−1955)

Abstract

Tema ovog rada je delatnost nacionalnog Ansambla narodnih igara i pesama Srbije, tj. Ansambla “Kolo” od osnivanja 1948. do 1955. godine. Autorka se bavi složenim pitanjima osnivanja datog nacionalnog folklornog ansambla u SFRJ u kontroverznom periodu delovanja Agitpropa i Informbiroa, čiji su uticaji bili prisutni u svim sferama kulture, te s tim u vezi, „upotrebom” narodne muzike u kontekstu opštih društvenih promena i obnove. Kako su već prvi period delatnosti date institucije obeležile uspešne turneje u inostranstvu, najpre se sagledava njihova recepcija i izgradnja ugleda u SFRJ. S tim u vezi, analizira se koncept rada koji je Ansambl uspostavio u ovom periodu i mapira njegova pozicija u mreži jugoslovenskih amaterskih kulturno-umetničkih društava. U ovom tekstu se razmatraju problemi poimanja „izvornosti“, „izvornosti, pedagogije“ u SFRJ, odnosa folklorne igre prema visokoj umetnosti i baletu, te dotiče važno mesto uloge foklornih ansambala u konstruisanju imidža SFRJ u prvoj fazi Hladnog rata. Korišćena je arhivska građa Arhiva Jugoslavije, periodika, memoarska građa, a konsultovane su i brojne istorijske studije o politici, kulturi i ideologiji SFRJ.

The paper presents the work of National Ensemble of Folk Dances and Songs of Serbia from its establishing in 1948 to 1955. The author deals with complex issues of setting up this Serbian national folk ensemble in Socialist Federal Republic of Yugoslavia (SFRY), in controversial period during which Agitprop and Informbiro influenced all spheres of culture. In this paper author explains the “use” of folk music in the context of extensive social changes and revival. Since successful tours abroad marked the founding days of this ensemble, reception and reputation-building are accessed first. The author analysis the sounding concept of work of Ensemble “Kolo” and outlines its position in the existing network of like Yugoslav amateur ensembles. Main problems identified and examined are “authenticity” (izvornost), pedagogy in SFRY, folk dance relations towards high art and ballet practice in SFRY and role of folk dance ensembles in construction of the SFRY image in the first phase of the Cold war. The author consults archive collections from the Archive of Yugoslavia, periodicals and historical essays on politics, culture and ideology of SFRY.