The field of research in this work is on the only national and professional folk dance ensemble of Macedonia- Tanec, to whom I relate personally. In the beginning I explore the historical and political aspects of Tanec which play a great role into defining my research question analysis. I compare this information with the current position of the ensemble and I reflect on the changes in repertoire and dance politics that happened throughout the years. My research tries to define the approaches that have been purposely or non-purposely created by various choreographers or directors of the ensemble in a time span of sixty- six years of staging and choreographing folk dance. This question is approached by consulting international and Macedonian discourses of literature and literature that explores various problems of folk dancing from a more global perspective. As part of the fieldwork, I observed rehearsals and I have also conducted interviews with some of the choreographers and dance leaders in the ensemble and gathered video material of all of the dances of Tanec‟s repertoire. This provided enough material for structural analysis of the dances in the ensemble and helped me to define five approaches in choreographing and staging folk dance in the ensemble. These approaches are presented separately, through a structural analysis of a given dance that is used as a representative to define the approach. I conclude that Tanec unpurpousley created its own choreographic ideology that was and it is still being transmitted in the country through the work of Tanec dancers in the amateur ensembles. The proposed five approaches define the process of arranging folk dance which was the result of the dance ideology of Tanec‟s many directors.
Key words: choreography; stage adaptation; Tanec; authentic dance; stylized dance||nb_NO