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V prispevku je predstavljeno glasbeno in plesno delovanje pripadnic in pripadnikov narodnih manjsin, ki jih sestavljajo Albanci, Bosnjaki, Crnogorci, Hrvati, Makedonci in Srbi v Sloveniji, s katerim želijo izraziti svojo nacionalno pripadnost. K ustvarjanju lastne identitete pristopajo razlicno: nekateri izmed njih na podlagi neposredne izkusnje ob glasbi in plesu v državi porekla, drugi pa posredno – na podlagi glasbe in plesa, ki temelji na motivih države njihovega porekla. Raziskovanje procesov iskanja in ustvarjanja novih skupnih izkusenj je kompleksno: uposteva subjektivne izkusnje pripadnikov skupnosti, kot so na primer spomini in projekcija prostora, in tudi raziskovalno metodologijo aplikativne etnomuzikologije. *** This article presents the music and dance activities of members of the Albanian, Bosnian, Croatian, Macedonian, Montenegrin, and Serbian minorities in Slovenia that have chosen to express their ethnic identity through music and dance. They build their identity in various ways: some of them have the experience of music and dance from their countries of origin, whereas their children have this experience indirectly. Researching processes of creating new common experiences is complex: it addresses the individual experiences of community members, such as their memories and place projections, and it includes methods of applied ethnomusicology.

traditiones - inštitut za slovensko narodopisje, ljubljana/traditiones

GLASBA IN PLES NARODNIH MANJŠIN V SLOVENIJI: NACIONALNA IDENTITETA, EKSOTIKA, PAST STROKE<br>MUSIC AND DANCE OF ETHNIC MINORITIES IN SLOVENIA: NATIONAL IDENTITY, EXOTICISM, AND THE PITFALLS OF ETHNOMUSICOLOGY</br>

GLASBA IN PLES NARODNIH MANJŠIN V SLOVENIJI: NACIONALNA IDENTITETA, EKSOTIKA, PAST STROKEMUSIC AND DANCE OF ETHNIC MINORITIES IN SLOVENIA: NATIONAL IDENTITY, EXOTICISM, AND THE PITFALLS OF ETHNOMUSICOLOGY

GLASBA IN PLES NARODNIH MANJŠIN V SLOVENIJI: NACIONALNA IDENTITETA, EKSOTIKA, PAST STROKE
MUSIC AND DANCE OF ETHNIC MINORITIES IN SLOVENIA: NATIONAL IDENTITY, EXOTICISM, AND THE PITFALLS OF ETHNOMUSICOLOGY