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Halpern M. Joel, Kerewsky-Halpern Barbara (USA)

Halpern M. Joel, Kerewsky-Halpern Barbara (USA)

Halpern M. Joel, Kerewsky-Halpern Barbara (USA)

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of view. It is, of course, obvious that the government was of two views on these<br />

matters. That is, on the one hand, they were happy to subsidize and emphasize peasant<br />

arts and performance because these were items which would attract tourists and also<br />

affirm traditional heritage. Importantly, the communist state could both control and<br />

selectively preserve cultural heritages within the defined political framework.<br />

On the other hand, those in government did not want to see their socialist country<br />

portrayed as backward but as a country with a successful socialist system which was<br />

building a modern industrial state. It seems appropriate to point out in this connection<br />

that social-cultural anthropology as a discipline simply did not exist in Macedonia at<br />

this period. Branko Rusi}, then the sole ethnologist at the university, was traditionally<br />

oriented ethnographer and, as Ljupco Risteski has pointed out in his monograph, he<br />

was rather isolated in his efforts. It is, of course, true that in a previous generation, i.e.<br />

before World War II, Milenko Filipovi}, the distinguished Serbian ethnologist, had<br />

taught for a time in the 1930s at the University of Skopje. He was a student of Jovan<br />

Cviji}, the French trained human geographer, who had earlier in the century (at the time<br />

of World War I) helped establish ethnology as a field of study at the University of<br />

Belgrade. Our overt interests in folk costume and customs were thus in harmony with<br />

the traditional ethnological perspective then dominant at that time and we were<br />

influenced in this regard by our contacts with ethnologists in Belgrade.<br />

Finally, it is obvious, but it does need restatement, that writings originally intended<br />

only as informal letters home to parents are, at best, and with difficulty, presented as<br />

some sort of formal academic record. But that context is also their strength. That is<br />

there is a kind of artless quality to these accounts. They were not written to convince<br />

anyone of a particular point of view or to support a specific theoretical perspective.<br />

These notes of travels, while obviously selective and representative of a point of view,<br />

do represent our enthusiasms and pleasure in having the opportunity to spend time<br />

with an engaging and hospitable people who took pride in their heritage. We enjoyed<br />

what we did, we cannot claim more than that although we do hope we learned something<br />

as well.<br />

These notes ere edited by <strong>Barbara</strong> and <strong>Joel</strong> <strong>Halpern</strong>. The bracketed comments<br />

interspersed throughout the text were written in 2004 by <strong>Joel</strong> <strong>Halpern</strong>*. <strong>Barbara</strong> <strong>Halpern</strong><br />

is responsible for much of the original writing but they do reflect what was then in<br />

many cases our joint point of view since the notes were prepared together but written<br />

down by <strong>Barbara</strong>. At the same time there is a significant part of the notes that reflects<br />

<strong>Barbara</strong>’s gender oriented descriptions particularly in the case of the peasant costumes.<br />

<strong>Joel</strong> and <strong>Barbara</strong> <strong>Halpern</strong><br />

Amherst, Massachusetts<br />

April 2, 2004<br />

*All items in parenthesis represented our editorial comments to clarify context for the<br />

reader. The notes are arranged chronically.<br />

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