My engagement with Balkan ethnographic heritage is not limited to research, curation, or presentation.

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Beyond the theoretical and curatorial dimension of my work, I have been directly involved in the making of traditional musical instruments. This hands-on experience has given me a comprehensive understanding of the complete process — from raw material selection and structural conception to carving, shaping, assembly, acoustic balance, and finishing.

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As a musician who plays several traditional instruments, I approach instrument making not only as a craftsman, but also as a performer. This dual perspective — practical and artistic — allows me to understand the instrument both as an object and as a living sound-producing body.

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Over the years, I have worked closely with master instrument makers and have personally engaged in the crafting of instruments, gaining insight into both traditional methods and contemporary adaptations. I am familiar with the historical construction principles of instruments such as the frula and the gusle, as well as with modern refinements that respond to current performance standards.

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This combined knowledge — practical, historical, acoustic, and cultural — provides a holistic understanding of instrument making. In particular, my expertise is deeply rooted in the fields of frula and gusle craftsmanship, where structural precision, material sensitivity, and cultural continuity are inseparable.

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For me, craftsmanship is not an accessory to curatorial work. It is its foundation.