Interview with Miroslav Bata Marčetić

Have you ever attended a performance put on by the Academy of Serbian Folk Dancing? If not, I heartily recommend it and guarantee that it will captivate you. And if you have, you know exactly what I am talking about. Rich, flowing music is weaved together by the sounds of traditional Serbian instruments – accordians, flutes, and drums – while a sea of colourfully-outfitted children ebb and flow as one perfect unity of youthfulness, sound, and movement. Each dance is followed by roaring shouts and applause from the audience. Ultimately, strong emotions are always induced, as well as the occasional tear.

What does folk dance mean to us, immigrants from the former Yugoslavia in Canada? I believe that it develops a new dimension here, one which does not exist in the homeland. Here, it is not merely a song and dance, but a feeling of belonging, a retention of our tradition, language, and entire culture. It is a tie to our homeland and food for our souls. For children, folk dance is an experience they cannot find anywhere else. They do not merely memorize the steps, they learn about their culture and, most importantly, they learn to socialize, establishing lifelong friendships. All of this is accomplished under the strong leadership of an exceptional man, a true perfectionist, Miroslav Bata Marčetić.

Miroslav Bata Marčetić is an excellent choreographer and a great enthusiast of folk dancing, and thanks to his efforts hundreds of Canadian children dance the “kolo” better than many children in Serbia. He is the founder and president of the Academy of Serbia Folk Dancing and is renowned among our fellow immigrants. But many do not know that, as a great expert who is very familiar with traditional dancing, he also holds seminars and lectures at universities and various educational institutions around the world. Thus, students in Israel, Taiwan, Brazil, Japan, Germany, across the United States, and many other countries are given the opportunity to learn from one of the best.

Where does your love for traditional dancing and music come from?

My love for our tradition and folk dancing goes as far back as my childhood, as far back as my birthplace of Pančevo, where my mother would take me to performances of the “kolo” where I would watch the dancers excitedly, imagining that I was one of them. Soon after I joined KUD “Abrašević,” whose choreographer at the time was Dobrivoje Putnik, who had some of the greatest familiarity with Serbian folk dancing and traditions I have ever seen.

When did you realize that folk dancing would be your career?

As I mentioned, I fell in love with dancing when I was very young, but it was around the end of high school that I began to think that I could make a career out of it. At nineteen, I auditioned and was accepted as a permanent working member of the Ensemble of National Dance and Song “Kolo,” where we worked with the best choreographers: Olga Skrovan, Dobrivoje Putnik, Desa Đorđević, Dragomir Vuković, Petar Josimović, and others. Aside from my regular work in “Kolo,” I did private work as well. During my time off, I would go out into the field to record and compile our dances and customs from the elders who were well acquainted with these national treasures. The recording and compiling of dances increased my love of our valuable national folk dancing, our traditions, and our customs even further, so that folk dancing became a part of me, and, as a result, a part of my career.

How was the idea to found a school (the Academy) realized?

When I arrived in Canada, twenty-three years ago, there were already ensembles dedicated to our national folk dancing, but they were not high caliber. I don’t want to sound pretentious, but they lacked in the details, and the details are of the utmost importance in completing the big picture. There are many little pieces that need to fit together to form this mosaic: the choreography, instrumental accompaniment, vocals, the setting of the stage, etc. Altogether, the performances speak profusely about out traditions and customs, and they need to be presented precisely and authentically, since that is the only way to preserve them. Despite many skeptical voices, I have seen great potential in Canada and that was how I came to where I am today, with the Academy of Serbian Folk Dancing.

What was your approach to working with children?

What I do is very similar to education in formal schools, except the focus is on dance and song. The children are divided by age group, and they work on relevant songs and dances accordingly. At the Academy we have several groups: one which is for 3-5-year-olds, then the 5-9 group, and so on through high schoolers and college-age students, to a recreational group which is the oldest. Each ensemble has their own program which is suitable for their age and capabilities. Our rich tradition has something to offer for everyone. The Academy also has well-trained collaborators, professionals and educators which work with the children in various spheres of the art of dance, from movement and choreography to vocal instruction and instrumental accompaniment. Because of this approach, the Academy has more than 350 dancers and 20 musicians that form our orchestra.

What motivates you and from where do you draw the strong energy which enables you to endure, always pushing forward with your work?

What motivates me, above all else, are the children, and then their parents who have a great interest in preserving our traditions and dance. I see in the children a sincere desire to perform well and be their best. Apart from that, they also get along very well as they work on their dancing, and they form great friendships. We perform often, we tour in other cities, and this is certainly a big motivating factor for them as well as for me. I look to our rich heritage for inspiration. I always strive to include new content into our program and to be novel in everything I do, but without straying from our roots. The heritage which we posses is interesting not only to us, but to Canadians too, which allows us to be leaders and not followers in the multi-cultural environment of Canada.

In working with children, you have indisputably left a mark on many childhoods and lives, how does that feel?

That is a wonderful feeling. It often happens that I meet my students at some wedding, Slava, or other social occasion, and I see them as grown-up, mature people who are educated and successful, have families and homes of their own, yet are still in touch with friends from the time when they did folk dancing. Those are children who have passed through my hands, the hands of the Academy, and just the thought that I am partly responsible for their success gives me the greatest pleasure. That is what I am truly proud of and what provides me with enough positive energy to continue my work with the same amount of love. 

What advice would you give to others in your profession, especially the younger generations?

I would advise my younger colleagues, especially those in Serbia, to remain true to our tradition and culture. Some think that we need imitate Riverdance or Broadway shows, and I do not agree with this. We have enough material in our rich heritage to constantly produce original material. We are neither ballet nor tango dancers. We must draw from our roots for ideas, and not invest in the roots of others.

Is there any award or performance that you are particularly proud of?

Every performance, no matter the size, is equally important, and at every performance we strive to achieve something unique. However, I can distinguish a couple of performances that are particularly significant and close to my heart. There was, for example, the first performance in my hometown of Pančevo which was attended by my collegues and neighbours. That was a great honor for me. I also felt very honored to perform in Guča and Kraljevo. Here in Canada, CHIN is comparable, especially since we have received first place three times in a row, which is a true testament to our quality. I can also think of our performances on Canada Day in Yonge-Dundas square, where I always feel especially proud to present our country among many other nations. In Canada there is so much importance placed on promotion multi-cultural values, and we truly have something to offer in this regard. Our motto is a testament to how we feel: “the Pride of Canada – the Soul of Serbia.”