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Growing awareness of the need for intercultural learning in musicians' professional development in the globalized world produced many ideas and practices both in formal and non-formal education. These ideas arised from developments in ethnomusicology, world music and education in general, with special emphasis on the lifelong learning, intercultural education and education for active and democratic citizenship. In that sense, some of the non-formal youth music programs arised as opportunities for youth empowerment and creating intercultural dialogue. The potential of music to explore and give value to cultural diversity, as well as to change social climate, is recognized in the Ethno World youth program, organised worldwide by Jeunesses Musicales International since 1990. The program gathers young musicians aged 13-30 in annual international summer music camps, where they share traditional, folk and world music from their cultures, with a mission to revive and keep alive global cultural heritage. What emerged in more than 30 years of Ethno is the need for educating 'Ethno artistic mentors', skilled professionals who facilitate the youth gatherings usually in collaborative way. Many of them make a transition from participant to mentor position within the years of attending the Ethno gatherings, but the program can also be a great upgrade for those musicians and music educators, who are trained in the formal education systems, to expand their professional horizons on youth work. In last 10 years there are specialised trainings created to offer pedagogical insights into approaches to learning and facilitation used in Ethno. This research presents an exploratory case study which was conducted at Ethnofonik AllStars training in November/December 2017 in Paris, in order to describe and evaluate Ethnofonik, a non- formal training orginally made for musicians who want to become or already are Ethno artistic mentors. The research is examining three dimensions of the Ethnofonik training: (1) the value and position of the training in musicians' professional development ; (2) development of the Ethnofonik training in the context of Ethno gatherings ; (3) development of the training in the context of connections with the vertical formal education system. Questions arised during this pilot research are: (1) What is the scope of the Ethnofonik training? (2) To what extent Ethnofonik follows the Ethno gathering concept (does it offer competences which are over-growing the Ethno concept)? (3) Is the Ethnofonik training model relevant to other contexts? To answer these questions qualitative methodology was used. Besides content analysis and process observation, the research is enriched with five semi-structured interviews conducted with the leadership team. Results are analyzed by thematic coding and they offer a insights for further development of similar trainings, as well as re- thinking the system of higher music education in the direction of collaborations with non-formal sector.

Tema završnog rada bavi se izradom kolekcije odjeće koja je inspirirana elementima slavonske narodne nošnje. Istraživački dio rada bavi se povijesti slavonske narodne nošnje, opisom glavnih dijelova ruha. Također se kroz rad obrađuju modni dizajneri i etno utjecaj u njihovim kolekcijama zatim odnos suvremene umjetnosti i etno tradicije. Na kraju rada se opisuje kolekcija, fotografije skica i gotovog proizvoda., The theme of the final paper is the creation of a collection of clothing inspired by elements of Slavonian folk costumes. The research part of the paper deals with the history of Slavonian folk costumes, describing the main parts of the folk costume. Furthermore, it deals with fashion designers and ethno influence in their collections and the relationship between contemporary art and ethno tradition. At the end of the paper, the collection, photos of sketches and the finished product are described.

The aim of the Ethno pedagogy and professional development research was to document local, national and global understandings of Ethno pedagogy, and to describe and theorize its processes in action, including the ways it was perceived to play a role in the professional development of Ethno stakeholders. The following research questions were addressed: 1. What are discourses concerned with Ethno World’s stated and unstated pedagogical and professional development tenets? 2. How are these understood and enacted in its activities at local, national and global levels? How do the Ethno professional development structures develop, how are they reinforced and what are the implications of these structures for pedagogy? 3. What are the pedagogical principles and practices that are perceived as being transformational, within the context of Ethno gatherings? 4. What are the pedagogies that support amateur and professional music makers in developing multi- faceted musicianship and interdisciplinarity through Ethno gatherings?

Serbian hip hop scene rose during the nineties and quickly blossomed into several historical, stylistic and ideological orientations, sometimes seen as "waves" in popular, emic discourse of hip-hop fans. Its grasp over the concept of authenticity mostly deals with the construction of an imagined, localized "ghetto", ranging from urban neighborhoods of Belgrade to an idea of neoliberal Serbia as ghettoized state and cultural territory where various forms of resistance take place. In the present dispersion of the scene, discourse on ethnicity (and locality) can be pinpointed as an important, albeit not overtly dominant axis of Serbian hip-hop, that yet steadily gains recognition. This reach towards ethnicity initially was propagated by the members of rap collectives such as Belgrade based Beogradski sindikat, and in recent years followed by other hip-hop performers as well. Although the idea of national culture thus became visible in overall discourse of hip hop community, the use of particular local, "ethnic" sounds, motives and manners wasn't so common for rap songs. However, this has been changing recently, as so called "ethno" music consisting of neotraditional or popularized local traditional music forms, became a source for rap music's current endeavor to propose a viable alternative to dominant political and cultural discourses - both dominant ones and those within rap. Serbian hip hop performers use ethnic music as a clear indexical sign pointing toward the authenticity and historicity of traditional music, and thus attempt to add a "flavor" or a local rendition to globalized, popular and common rap tropes and sounds. The songs "Next year in Prizren" by group Beogradski sindikat and Nikac od Rovina by rapper RIZBOw SENSEI can be taken as separate case studies that indicate how Serbian rap music utilizes sounds labeled as ethnic, as well as the forms of cooperation with hip-hop 'outsiders', in order to promote a powerful call of interpellation possibly reaching beyond the community of 'hip-hop nation'.

Summary: An ethno-medicinal survey was conducted in District Swabi, Pakistan. Data were collected through field assessment as well as from traditional healers and local inhabitants by conducting personal interviews and questionnaires. Information about 63 medicinal plants belonging to 36 families was recorded. Some plants including Foeniculum vulgare Mill. (Apiaceae), Curcuma longa L. (Zingiberaceae), Cuscuta reflexa L. (Cuscutaceae), Fagonia arabica L. (Zygophyllaceae), Lepidium sativum L. (Apiaceae), Mirabilis jalapa L. (Nyctaginaceae), Ricinus communis L. (Euphorbiaceae), Tamarix aphylla L. (Tamaricaceae), Tribulus terrestris L. (Zygophyllaceae) and Zingiber officinale L. (Zingiberaceae) were found to be of great pharmacological interest for novel compounds and substitute for the antibiotics. Industrial relevance: Medicinal plants are still widely used for the treatment of different ailments in the area of Swabi, therefore survey of medicinal flora should be carried out to explore and bring up-to-date the catalogue of existing natural plant resources of the area especially in agricultural country like Pakistan. Small scale government processing units of agroforestry should be implemented to reduce the overuse and motivate the cultivation of valuable medicinal plants. Majority of the people use various formulations of medicinal plants for different ailments treatment. The phytochemicals greatly varied in medicinal plants and cause a marvelous effect on human illnesses. The objective of the present study was to document the information of folk medicines, its identification, collection of samples, study of its chemical constituents and uses by the local people of District Swabi, Pakistan.

Ethno Estonia youth music camp has for more than two decades built a (g)local community, successfully bridging borders between formal, non- formal and informal education in the country. The camp itself links all Estonian institutions and NGOs connected with the folk music with Viljandi Folk Music Festival and gathers people of diverse ages, cultural, musical and educational backgrounds. The purpose of this pilot case study is to explore the significance and impact of the Ethno Estonia experience for participants and volunteers-participants, as well as for the local community. The report is based on the historical background, people’s experiences and theoretical insights from democratic music pedagogies, community music and service-learning. Using qualitative methodological approach, the research examines the impact that Ethno has on the local community, participants’ musical, personal and social development, as well as on the participant- volunteers’ development, who through service- learning connect organizers and artistic leaders’ teams with the group of participants. Besides connection between folk music university and music schools which send their students to the Ethno Estonia camp (and vice versa), this report presents narratives of four participants. As trained classical musicians with different cultural identities, each participant challenges themselves by entering the Ethno world of experiment, curiosity and sharing. The data is collected through participant observation, individual and group semi-structured interviews, audio-visual documentation (July 2019) and follow- up evaluation after the camp (September/October 2019). The research suggests that Ethno Estonia is an example of good practice, pointing towards the positive development of‘ethno-ecosystems’ in the local communities.

espanolResumen Se busca identificar en el departamento del Vaupes las diferentes oportunidades, amenazas, fortalezas y debilidades -en cuanto a turismo- por medio de un diagnostico en donde se realiza una revision abordando lo politico, cultural, ambiental, geografico e historico para finalizar con un modelo estrategico adaptado a seis etapas a desarrollar; en la primera etapa se observa la ubicacion geografica y se han senalado las zonas con actividad intensiva, extensiva y primitiva, durante la segunda etapa se realiza un plan de los posibles sitios a visitar demarcandolos en el mapa correspondiente, la tercera fase hace enfasis a la arquitectura que deberia de usarse en el lugar para el desarrollo del turismo; dicho esto la cuarta etapa establece los mecanismos para la generacion de ingresos seguido por el manejo y monitoreo del impacto de los visitantes y finaliza con los aspectos que deben tener los guias naturalistas. Asi las cosas, se hizo uso de una metodologia descriptiva y exploratoria para tener un mayor alcance; se empleo el manual de desarrollo del ecoturismo creado por “The Nature Conservancy”; ademas de aprovechar la tecnica etnocultural como base de la infraestructura apoyados en procesos computarizados para su diseno. EnglishAbstract It is sought to identify in the department of Vaupes the different opportunities, threats, strengths and weaknesses -in terms of tourism- by means of a diagnosis where a review is made addressing the political, cultural, environmental, geographical and historical to finalize with a model strategic adapted to six stages to develop; In the first stage the geographical location is observed and the areas with intensive, extensive and primitive activity have been indicated. During the second stage, a plan of the possible sites to be visited is demarcated in the corresponding map, the third phase makes emphasis on the architecture that should be used in the place for the development of tourism; said this the fourth stage establishes the mechanisms for the generation of income followed by the management and monitoring of the impact of visitors and ends with the aspects that naturalist guides should have. Thus, a descriptive and exploratory methodology was used to have a greater scope; the ecotourism development manual created by “The Nature Conservancy” was used; besides taking advantage of the ethnocultural technique as a base of the infrastructure supported by computerized processes for its design. portuguesResumo Busca-se identificar no departamento de Vaupes as diferentes oportunidades, ameacas, pontos fortes e fracos - em termos de turismo - por meio de um diagnostico onde se faz uma revisao abordando o politico, cultural, ambiental, geografico e historico para finalizar com um modelo estrategico adaptado a seis etapas para desenvolver; No primeiro estagio a localizacao geografica e observada e as areas com atividades intensivas, extensas e primitivas tem sido indicadas.Na segunda etapa, um plano dos possiveis locais a serem visitados e demarcado no mapa correspondente, a terceira fase faz enfase na arquitetura que deve ser usada no lugar para o desenvolvimento do turismo; A quarta etapa estabelece os mecanismos para a geracao de renda, seguida pela gestao e monitoramento do impacto dos visitantes e termina com os aspectos que os guias naturalistas devem ter. Assim, uma metodologia descritiva e exploratoria foi utilizada para ter um escopo maior; o manual de desenvolvimento de ecoturismo criado por “The Nature Conservancy” foi usado; alem de aproveitar a tecnica etnocultural como base da infraestrutura suportada por processos informatizados para o seu design.

Objective This study aims at providing a comprehensive documentation on ethanoveterinary plant knowledge of the tribal people in order to preserve the fost eroding knowledge and resources of the kalasapadi hills, Pappireddipatti revenue Tk, Dharmapuri.Methods Field work was conducted from 2015-2016. Moreover 36 informants were interviewed. First, successive oral free listing and semi structured interviews were performed. The veterinary diseases as described by the informants were categorized according to the symptoms they cause and the organs they affect. Information on the cited plants, informant consensus factor ICF and fidelity level FL was calculated based on use reports.Results Utilization of 49 plant species, belonging to 30 genera under 31 families, has been recorded against livestock ailments. Plant parts, such as leaf, root, flower, bark, resin, and rhizome, are used in the preparation. Among the plant parts, bark is predominately used. Most of the preparations include parts of more than one plant as the ingredients, and many of such combined preparations are used for treating more than one ailment.Conclusion According to the local people, the most often mentioned species have high medicinal potential. At the same time the comprehensive pharmacological investigations of the herbal plants will be helpful in development of new drugs for a particular condition. There is a need to conserve the knowledge of medicinal plant use in the Kalasapadi hills for future generations and to incorporate it into existing livestock health care services. Rajesh P | Meenakshi R | Rajkumar R | Selvam K "A Survey on Ethnoveterinary Medicines used by the Tribal Peoples of Kalasapadi Hills, Dharmapuri District of Tamil Nadu" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-1 | Issue-5 , August 2017, URL: https://www.ijtsrd.com/papers/ijtsrd2429.pdf

This article focuses on Serbian composer Jovana Backovic and her band/project Arhai, founded in Belgrade in 1998. The central argument is that Arhai made a transition from being regarded a part of the Serbian ethno music scene (which flourished during the 1990s and 2000s) to becoming a part of the global world music scene, after Jovana Backovic moved from her native Serbia to the United Kingdom to pursue an international career. This move did not imply a fundamental change of her musical style, but a change of cultural context and market conditions that, in turn, affected her cultural identity. [Projekat Ministarstva nauke Republike Srbije, br. 177004: Serbian Musical Identities within Local and Global Frameworks: Traditions, Changes, Challenges]

Ethno veterinary study on plants of Chail valley was conducted during 2013-2014.55 plants species belonging to 46 families were studied i.e. 4 species in Asteraceae, 3 in Euphorbiaceous and 3 in Lamiaceae. Rest of the families contain two or single species. Among the recorded plants fifty one species are Dicots and four are monocots. In all these plants species about 40 are herbs, 9 are shrubs and 6 are Trees. Some species are commercially collected in the Chail valley like Dioscorea deltoidea, Skimmia laureola, Saussurea atkinsonii, Paeonia emodi, Podophyllum emodi, Rheum emodi and Thymus linearis. All these medicinal plants are extensively used. Most people of the area depend on live stocks. Because of poverty, exploitation of wild life, erosion deforestation, and unauthorized collection, most of the plant species are threatened slowly and gradually. Valuable medicinal plants and locally knowledge is disappearing. In Chail valley most of the women and children are involved in the collection of different medicinal plants for selling and local uses. Journal of Biodiversity and Environmental Sciences-JBES is an open-access scholarly research journal, published by International Network for Natural Sciences-INNSPUB. JBES published original scientific articles in different field of Environmental Sciences and Biodiversity. JBES published 2 Volume and 12 issue per calendar year., J. Bio. Env. Sci. 10(1), 133-139, January 2017.

This article focuses on Serbian composer Jovana Backović and her band/project Arhai, founded in Belgrade in 1998. The central argument is that Arhai made a transition from being regarded a part of the Serbian ethno music scene (which flourished during the 1990s and 2000s) to becoming a part of the global world music scene, after Jovana Backović moved from her native Serbia to the United Kingdom to pursue an international career. This move did not imply a fundamental change of her musical style, but a change of cultural context and market conditions that, in turn, affected her cultural identity. Архаи је животни пројекат српске композиторке Јоване Бацковић (рођене 1980. године). Истоимени бенд је основала 1998. године у Београду, вођена жељом да изводи традиционалну музику у савременим аранжманима. У својој првој, београдској ‘инкарнацији’, бенд је окупио десет музичара, претходно активних у доменима традиционалне, класичне, џез и рок музике. Године 2008. Јована Бацковић је уписала докторске студије из електронске музикe на Универзитету Источне Енглеске (University of East Anglia) у граду Норвичу (Norwich) и преселила се у Велику Британију. У Норвичу је упознала гитаристу Адријана Ливера (Adrian Lever), са којим је реактивирала Архаи; ова друга, британска инкарнација бенда је ускоро наставила делатност у престоници Уједињеног Краљевства, Лондону. Централна теза мог текста јесте да је бенд Архаи, у Србији посматран као део локалне етно сцене, веома популарне од краја деведесетих година XX века до данас, преласком у Велику Британију постао део глобалне world music сцене и своју делатност прилагодио новим тржишним условима, као и новој публици. У тексту најпре разматрам бројне недоумице око одређења појмова етно музика и world music, како у српским тако и у глобалним оквирима. Указујем на проблематичност ових термина (који су првенствено настали као комерцијално-маркетиншке одреднице, а затим прерасли у сложене културолошке конструкте) и на бројне тачке преклапања између њих. Увидом у опсежну литературу закључујем да српски етномузиколози и теоретичари културе имају различита и често опречна мишљења о саодносу ових феномена, те да не постоји консензус око критеријума за жанровско разграничавање, као ни око тога који се извођачи могу сврстати у један или други табор. Заступам тезу да при покушају разграничења не смемо узети у обзир само музичке карактеристике ових жанрова, већ да се мора сагледати целокупан културни контекст, као и функција коју поједини музички жанрови задобијају у њему. Након теоријских разматрања, анализирам два досад објављена албума групе Архаи, Mysterion (2006, ПГП РТС, Београд) и Eastern Roads (2013, Лондон). Разматрам бројне разлике између ових издања, које се огледају у инструментаријуму, аранжманима, географској ширини захвата у фолклорни материјал, односу према имагинарном Оријенту и, уопште, начинима на које је традиција посредована и реинтерпретирана у другачијим тржишним условима. Ипак, уочавам и известан континуитет између два издања, оличен како у препознатљивом гласу Јоване Бацковић, тако и у чињеници да је, у обе своје инкарнације, српској и британској, бенд Архаи представио хибрид „аутентичних” (мада комодификованих) фолклорних музичких пракси са просторȃ имагинарног Балкана (и изван њега) и других, већ по себи хибридних стилова, као што су Latin jazz, fusion jazz (jazz rock), worldbeat, art rock, synth pop,trip hop и други. Јована Бацковић проналази извесне заједничке деноминаторе за све ове, наизглед разнородне музичке правце (на пример: константно варирање као основни обликотворни принцип; примену остинатних фигура и мело-ритмичких модела – рифова; педалне, бордунске хармоније и текстуре; пентатонске и друге модалне системе; избегавање решења типичних за западноевропску класичну хармонију и сл.) и на тај начин остварује убедљиву и кохерентну синтезу.

The chapter examines relations between Croatian popular music and Croatian state policies, in a sense in which they represent a locked-in whole, or, using Laclau & Mouffe's term, a 'hegemonic universality'. A hegemonic relation, i.e. one "by which a certain particularity assumes the represen­tation of a universality entirely incommensurable with it" (Laclau & Mouffe, 2001, x) is analysed through the discourse of popular music which hereby serves the function of an indirect lens with an additional mirroring effect. The goal is to break down the hermetic and empirically confusing notion of totality to a matrix of elements and forces which render it possible. For that purpose, the chapter points to formative agents on the popular scene, observing their function(s) within the matrix and pointing to a disrupted primary relation between the field of popular music and its supposed content and function (music and entertainment), in favour of a secondary, political relation.

I Balcani sono sempre stati frazioni di imperi diversi dai confini geografici ed etnici incerti, una fucina di rancori e instabilità. Migrazioni secolari hanno prodotto contaminazioni, forme originali di sincretismo che non aiutano a districare i noti etnico-nazionali in un modo che abbiano un fondamento storico e poggi sul diritto. Il fondamento dello “spirito Ottomano” è la differenza fra ethnos e genos. Negli enormi spazi aperti, dove si mescolavano popoli diversi che si definivano in base agli stili di vita associati alla lingua, alla religione, alla posizione ricoperta nella società. L’integrazione con l’Europa sembra essere una esplicita e sentita esigenza animata dall’aspirazione ad un maggior benessere il quale essendo strettamente legato al modello di sviluppo capitalistico liberale dell’occidente non è facilmente assimilabile né divisibile in una parte politico-sociale ed una economica