I N S T I T U T E O F L I T H UA N I A N L I T E R AT U R E A N D F O L K L O R E
KO M M I S S I O N F Ü R V O L K S D I C H T U N G
Human Relationships
in and through Songs:
Meanings and Contexts
The 49th International Ballad Conference
Vilnius, 20–24 May 2019
Editor Jurgita Ūsaitytė
Language editor Thomas A. McKean
Layout and cover design by Rokas Gelažius
Cover illustration by Kęstutis Šiaulytis
The conference is organized by
the Institute of Lithuanian Literature and Folklore
in collaboration with the Kommission für Volksdichtung.
The conference is supported by
the Research Council of Lithuania
(grant No S-LIP-19-29).
Conference organising committee
Vita Ivanauskaitė-Šeibutienė
Modesta Liugaitė-Černiauskienė
Thomas A. McKean
Bronė Stundžienė
Giedrė Šmitienė
Jurgita Ūsaitytė
INSTITUTE OF
LITHUANIAN
LITERATURE AND
FOLKLORE
ISBN 978-609-425-254-9
© Authors, 2019
© Institute of Lithuanian Literature and Folklore, 2019
INSTITUTE OF
LITHUANIAN
LANGUAGE
CONFEREN C E T HEM E
Human Relationships in and through Songs:
Meanings and Contexts
The focus of the conference is one of the dominant interests in folklore studies, namely, human relationships. Two main lines of discussion are suggested: to examine relationships as they are revealed in
songs and to consider inter-human communication that develops
through singing.
The paradigm of human relationships in folk songs and ballads
includes various communication patterns shaped by tradition. These
patterns can be interpreted taking into account family affiliation or
situational, contextual belonging to the groups distinguished by origin, social status, gender, age, etc. Belonging to a particular group determines customary and ritual nature of the relationship.
Singing itself is to be perceived as a distinct activity in which the
relation of a community or an individual to the tradition reveals.
What kind of relation has it been earlier and still is today? Obviously,
traditional songs are still being sung in many countries. The song itself is still perceived as a phenomenon bridging peoples and generations. As the folklore tradition undergoes change, new ways of songcreating and singing are being formed and a new relation to the old
singing culture is emerging. Singing brings the community together
and shapes mutual relations between people – both in the past and
in the present.
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Conference themes
• aspects of human relationships (ritual, social, ethical) in songs;
• family, gender, cross-generational relationships;
• emotional diversity of relationships;
• relationships between different ethnic groups in songs;
• relations to Other in songs;
• the significance of relationship generating social medium;
• the ways of establishing and maintaining relationships (gift giving,
etc.);
• the socializing role of singing;
• the song and singing as a way of initiation of mutual relationship
and maintaining solidarity;
• the relation of singing individual / community to the tradition;
• the role of song and singing in communal interactions;
• traditional singing maintaining and practicing community and its
socio-cultural environment.
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PROGRAMME
MONDAY, M AY 20
Institute of Lithuanian Literature and Folklore, Antakalnio str. 6
Conference Hall
10.00–11.30: Arrival and registration
Welcome and Opening remarks
AUŠRA MARTIŠIŪTĖ-LINARTIENĖ
(Director of the Institute of Lithuanian Literature and Folklore)
LINA BŪGIENĖ
(Vice-director of the Institute of Lithuanian Literature and Folklore)
THOMAS A. McKEAN
(President of the Kommission für Volksdichtung)
PLENARY SESSION
Chair: THOMAS A. MCKEAN (Aberdeen, Scotland)
12.00–12.45: AINĖ RAMONAITĖ (Institute of International Relations and
Political Science, Vilnius University, Lithuania)
The Bonding Power of Songs: A Study of the First Urban
Folk Group in Lithuania
12.45 Lunch
14.30–16.00 S E S S I O N 1
Chair: GIEDRĖ ŠMITIENĖ (Vilnius, Lithuania)
14.30 JURGITA ŪSAITYTĖ (Institute of Lithuanian Literature and
Folklore, Vilnius, Lithuania)
Song in the Period of Lithuanian National Revival: Public’s
Relationship to the Oral Tradition
15.00 DAVID ATKINSON (London, England)
Human Relationships, Society, and Ideology in the Core
Repertoire of Eighteenth-Century Ballads in English
15.30 THOMAS A. MCKEAN (Elphinstone Institute, University of
Aberdeen, Scotland)
Refracting Ballads across a Generation
17.00–19.00 Guided tour in Vilnius
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TUESDAY, MAY 21
Institute of Lithuanian Language, P. Vileišio str. 5
Conference Hall
9.00–11.00 S E S S I O N 2
9.00–9.30:
Chair: SIGRID RIEUWERTS (Mainz, Germany)
MARJETA PISK (Institute of Ethnomusicology of the ZRC SAZU,
Ljubljana, Slovenia)
(Folk) Singing in Language(s) of Other?
9.30–10.00: ECKHARD JOHN (Centre for Popular Culture and Music of
University of Freiburg, Germany)
Bilingual Songs as a Research Field
10.00–10.30: MARJETKA GOLEŽ KAUČIČ (Institute of Ethnomusicology of
the ZRC SAZU, Ljubljana, Slovenia)
Singing Other: Singing in Two Languages or CodeSwitching/Stitching
10.30–11.00: MARIJA KLOBČAR (Institute of Ethnomusicology of the ZRC
SAZU, Ljubljana, Slovenia)
“Whither Shall We Wander, My Wanderer?” The Cultural
Dimensions of Language Selection in Song Practices
11.00 Coffee break
11.30–13.00 S E S S I O N 3
Chair: MARJETKA GOLEŽ KAUČIČ (Ljubljana, Slovenia)
11.30–12.00: JANIKA ORAS (Estonian Literary Museum, Tartu, Estonia)
Singing Outdoors in Estonian Oral Tradition: Practices,
Experiences, Meanings
12.00–12.30: VARSA ZAKARIENĖ (Lithuanian Academy of Music and Theatre,
Vilnius, Lithuania)
Preconditions for Singing Together: A Women’s
Ethnographic Group in Lynežeris Village
12.30–13.00: EERO PELTONEN (Helsinki, Finland)
Sacred Encounters: Ancient Echoes of Painted Cliffs in
Finland
13.00 Lunch
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14.30–16.00 S E S S I O N 4
Chair: E. WYN JAMES (Cardiff, Wales)
14.30–15.00: SIGRID RIEUWERTS (Johannes Gutenberg University, Mainz,
Germany)
“A chronicle of old songs & storys” – Female Singers in the
Scottish Border Communities of Ancrum and Longnewton
in Roxburghshire
15.00–15.30: TAMAZ GABISONIA (Ilia State University, Tbilisi, Georgia)
The Issue of Gender in Georgian Folk Music: Factors and
Correlations
15.30–16.00: LARYSA VAKHNINA (M. Rylsky Institute of Art Studies, Folklore
and Ethnology, Kyiv, Ukraine)
Female Characters in Ukrainian Ballads: The Motif of
Transformation
16.00 Coffee break
16.30–18.00 S E S S I O N 5
Chair: DAVID ATKINSON (London, England)
16.30–17.00: ANASTASIYA NIAKRASAVA (Institute of Musicology,
University of Warsaw, Poland)
Songs of the Vegetarians: Contemporary Contexts for the
Performance of Traditional Songs in the City
17.00–17.30: MODESTA LIUGAITĖ-ČERNIAUSKIENĖ (Institute of
Lithuanian Literature and Folklore, Vilnius, Lithuania)
Singing on the Threshold: Kristina Leikauskienė
17.30–18.00: MARI SARV (Estonian Literary Museum, Tartu, Estonia)
Me, You and my Old Coat: Communication Acts in
Estonian Runosongs
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WEDNESDAY, MAY 22
Institute of Lithuanian Literature and Folklore, Antakalnio str. 6
9.00–11.00 S E S S I O N 6 (Conference Hall)
9.00–9.30:
Chair: RŪTA ŽARSKIENĖ (Vilnius, Lithuania)
RIIKKA PATRIKAINEN (University of Eastern Finland, Joensuu,
Finland)
Singing for the Dead or for the Living? – Death Songs and
Laments as a Communicative Event in Rural Greece
9.30–10.00: INGA KOROLKOVA (Saint-Petersburg State Conservatory,
Russia)
Mourning Rituals as a Special Form of Women’s
Communication
10.00–10.30: OLHA KOLOMYYETS (Ivan Franko National University of Lviv,
Ukraine)
“Cry for Me, Cry”: Social and Musical Aspects of Ritual
Funeral Laments in the Ukrainian Carpathians
10.30 Coffee break
11.00–12.30 P A R A L L E L S E S S I O N S 1 A N D 2
P A R A L L E L S E S S I O N 1 (Conference Hall)
Chair: MARIA HERRERA-SOBEK (Santa Barbara, USA)
11.00–11.30: CARMEN SALAZAR SICROFF (Los Angeles Valley College,
USA)
Skulls and Skeletons: Celebrating Mexico’s Day of the Dead
through Poetry and Song
11.30–12.00: AUŠRA ŽIČKIENĖ (Institute of Lithuanian Literature and
Folklore, Vilnius, Lithuania)
“We wish you a very long life”: Songs and Singing on
Anniversary Birthdays of Seniors, a Lithuanian Case
12.00–12.30: MICHELE TITA (University of Tartu, Estonia)
Healing Music and Songs in Southern Italy: The Case of
Tarantism
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P A R A L L E L S E S S I O N 2 (Archives Room)
Chair: AUSTĖ NAKIENĖ (Vilnius, Lithuania)
11.00–11.30: OKSANA MYKYTENKO (M. Rylsky Institute of Art Studies,
Folklore and Ethnology, Kyiv, Ukraine)
“My small apple has rolled away”: The Poetic Peculiarities
of Funeral Laments for Children in Ukrainian and South
Slav Folklore Traditions
11.30–12.00: OLHA SHARAYA (The Centre for Belarusian Culture, Language
and Literature Research, Minsk, Belarus)
Traditional Notions of an Orphan in Ritual Laments and
Wedding Songs: Cross-cultural Comparison
12.00–12.30: OLENA SERKO (M. Lysenko National Musical Academy, Lviv,
Ukraine)
Musical Communication as a Means of Contact in the
Village Klyntsi (in the Dubno District of the Rivne Region)
12.30 Lunch
14.00–15.30 P A R A L L E L S E S S I O N S 3 A N D 4
P A R A L L E L S E S S I O N 3 (Conference Hall)
Chair: GERALD PORTER (Vaasa, Finland)
14.00–14.30: ARBNORA DUSHI (Institute of Albanology, Prishtina, Kosovo)
The Motif of Brother and Sister Reunion: Meanings and
Contexts within National Culture
14.30–15.00: ANA MARIA PAIVA MORÃO (University of Lisbon, Portugal)
Relationship among Siblings in Portuguese Versions of the
Pan-Hispanic Ballad “Delgadinha”
15.00–15.30: IHOR YUDKIN-RIPUN (M. Rylsky Institute of Art Studies,
Folklore and Ethnology, Kyiv, Ukraine)
The Other’s Image in Balladry as the Source of Monodrama
in Ukrainian and Polish Theatre of the Early Twentieth
Century
P A R A L L E L S E S S I O N 4 (Archives Room)
Chair: JANIKA ORAS (Tartu, Estonia)
14.00–14.30: ERI IKAWA (Ohkagakuen University, Aichi, Japan)
“The Grey Selkie” in Orkney Isles: Time, Place and
Occasion for a Story
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14.30–15.00: OLIMBI VELAJ (Aleksandër Moisiu University, Durrës, Albania)
Rrapo Hekali (a Fighter against the Ottomans):
Relationships in Songs of Rebellion
15.00–15.30: TAIVE SÄRG (Estonian Literary Museum, Tartu, Estonia)
Singing in Folk Narratives
15.30 Coffee break
16.00–17.30 S E S S I O N 7 (Conference Hall)
Chair: INGA KOROLKOVA (Saint-Petersburg, Russia)
16.00–16.30: LARYSA LUKASHENKO (M. Lysenko National Music Academy,
Lviv, Ukraine)
Musical Culture of Podlasie: Assimilation-TransformationChange
16.30–17.00: ELENA SHISHKINA (State Astrakhan Scientific and
Methodological Centre of Folk Culture, Russia)
Social Relations of Characters in the Ballads of Povolzhye
Germans: Tradition and Evolution
17.00–17.30: THEANG TERON (University of Tartu, Estonia)
Understanding the Cultural Universe of a Karbi Folk
Muse – A Brief Discourse
19.00: Conference dinner
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THURSDAY, MAY 23
Institute of Lithuanian Language, P. Vileišio str. 5
Conference Hall
9.00–10.30 S E S S I O N 8
9.00–9.30:
Chair: DELIA DATTILO (Cagliari, Italy)
BAIBA KROGZEME-MOSGORDA (Institute of Literature,
Folklore and Art of the University of Latvia, Rīga, Latvia)
Social Classes in Latvian Folksongs: Changing Contexts of
their Presentation in Folksong Editions of the Twentieth
Century
9.30–10.00: BRONĖ STUNDŽIENĖ (Institute of Lithuanian Literature and
Folklore, Vilnius, Lithuania)
Different Approaches towards Lithuanian talalinės (Folk
Couplets): Hushed-up Songs
10.00–10.30: LIINA SAARLO (Estonian Literary Museum, Tartu, Estonia)
“Tee, tee titmouse!”: On the Contextualization of Childlore
Collections
10.30 Coffee break
11.00–12.30 S E S S I O N 9
Chair: AUŠRA ŽIČKIENĖ (Vilnius, Lithuania)
11.00–11.30: DELIA DATTILO (University of Cagliari, Italy)
Spaces and Possibilities: Ancient Youths’ Social Dynamics
in Southern Italy between Love, Loss, Fear and other
Sentiments
11.30–12.00: JURGA SADAUSKIENĖ (Institute of Lithuanian Literature and
Folklore, Vilnius, Lithuania)
Idyllic Family Relationships in Traditional Lithuanian
Songs
12.00–12.30: AUSTĖ NAKIENĖ, RŪTA ŽARSKIENĖ (Institute of Lithuanian
Literature and Folklore, Vilnius, Lithuania)
Emotional Relationship with the Homeland in the
Folksongs of Lithuanians in the USA
12.30 Lunch
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14.00–15.30 S E S S I O N 1 0
Chair: ANA MARIA PAIVA MORÃO (Portugal)
14.00–14.30: ANDREW C. ROUSE (University of Pécs, Hungary)
(Brow-)beaten Spouses: Connubial Violence
14.30–15.00: MARTHA MARIA LOPEZ RAMOS (National Autonomous
University of Mexico), GILLES ANIORTE-TOMASSIAN
(Chicago, USA / Mexico City, Mexico), MARIO LOPEZ GARCIA
(Zacatecas, Mexico)
Songwriting Workshops with a Gendered Perspective to
Raise Awareness and Prevent Violence against Women
15.00–15.30: MARIA HERRERA-SOBEK (University of California, Santa
Barbara, USA)
Crime and Punishment in the Corrido: Broken Hearts and
Broken Relationships in Prison-Themed Mexican Ballads
15.30 Coffee break
16.00–17.30 S E S S I O N 1 1
Chair: ANDREW C. ROUSE (Pécs, Hungary)
16.00–16.30: GERALD PORTER (University of Vaasa, Finland)
Songs from a Workforce of Iron in the English Midlands
16.30–17.00: E. WYN JAMES (School of Welsh, Cardiff University, Wales)
Songs of Work and Wassail in Nineteenth-Century
Glamorgan
17.00–17.30: ÉVA GUILLOREL (University of Caen Normandy, France)
Les chansons du mouvement des «Gilets jaunes» (Songs of
the «Yellow Vests» Movement)
F RIDAY, M AY 24
9.30–10.30: KfV business meeting
11.00–17.00: Excursion to Trakai
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A BST RACTS
DAVI D AT KI NSON
London, England
Human Relationships, Society, and Ideology in the Core
Repertoire of Eighteenth-Century Ballads in English
The core repertoire of ballads in English printed during the eighteenth
century, and introduced at last year’s KfV conference in Prague, covers
a wide range of human relationships – familial, romantic, comic, tragic.
Although it is unrealistic to survey all of them in a short paper, it is possible to describe the relationships presented in a selection of ballads. Although chosen almost at random, there is enough variety here to warn
the reader against any simplistic interpretation of what ballad relationships might have meant in their historical context. With a corpus such as
this, with its wide social range, it is virtually impossible to substantiate
the claim that ballads express the cultural preoccupations of a group.
Instead, it is necessary to place them within broader considerations of
ideology and aesthetic reception.
DE LIA DAT TILO
University of Cagliari
Italy
Spaces and Possibilities: Ancient Youths’ Social Dynamics
in Southern Italy between Love, Loss, Fear and other
Sentiments
E via!
Ammore senza genio è ‘na pazzia.1
(Neapolitan motet)
In this presentation, I will focus on genre’s dynamics among the youth of
1850–1900s Southern Italy (particularly Calabria), searching for traces of
habits, attitudes, rebellions, expressions of moral rules, and social prac1
Here we go! Love without feelings is crazy, cf. Imbriani Casetti 1872: 254.
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tices as they appeared in popular poetry and folk songs collected between
the end of nineteenth and the beginning of the twentieth centuries. From
these – relics, to us – it is possible to deduce a partial but significant portrait of the most common processes of communication between men and
women of that generation, within a highly hierarchical and seemingly
archaic society. Through songs and singing, southern Italian youth found
a way to pass on what was forbidden to say or express in everyday life and
its contexts, as stated in this folk song from Montella:
Quanto è bello ro sape’ canta’!
Ma pe’ lo canto vai addo’ tu vuoi;
Viri la bella e non li puo’ parlare,
Rinto a lo canto li rici che buoi.
(How good it is to know how to sing
Through singing you go where you want to
You look at that beautiful girl and cannot talk to her
[But] inside your song you can tell her what you want.2)
I will show some examples of songs and poetry as they were perceived, interpreted, and published in Calabria in the second half of the
nineteenth century by philologists, demologists and anthropologists
(Canale, 1859; Casetti e Imbriani, 1782; De Simone Brouwer, 1895; Lombardi Satriani). These anthologies are all made up of love and hanger
(sdegno) songs, but a minor (and significant) part of them is made up of
lontananza and spartenza songs from which we can build a context with
some help from the local literature of that time (Padula, Accattatis, Lombroso, Pigorini-Beri, et al.) that already focused on wooing strategies,
abduction phenomena, ostentation of violence, and other social realities
whose evidence appears in folk songs, poetry, and proverbs.
2
Imbriani Casetti 1872, II: 307, XII.
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A RB NO RA DUSHI
Institute of Albanology
Prishtina, Kosovo
The Motif of Brother and Sister Reunion:
Meanings and Contexts within National Culture
Ballads are sometimes thought of as monuments of spiritual heritage
which contain the essence of national mentalities, but they also show us
a great deal about human relationships. Through them we may come to
know something about our cultural identity held their for centuries.
In this paper I have chosen to treat ballads with the motif of brother
and sister reunion, which are very old creations in Albanian folklore, but
which continue to be sung today. Ballads with this motif form a special
category in Albanian folklore in which the best known is “Lute Fukaraja”. This motif is also found in cinematography. Although it is in other
circumstances, in entirely new contexts, the continued presence of the
motif proves its fluidity and longevity. By analyzing the cultural backgrounds of this motif, but also its present-day artistic variations, I will try
to outline its meanings and contexts in Albanian culture. Comparisons
to this motif in the ballads of other cultures might be helpful as well. I
will build my analysis on the works of Albanian authors, as well as other
authors who have worked on the motif.
TAMAZ GABISONIA
Ilia State University
Tbilisi, Georgia
The Issue of Gender in Georgian Folk Music:
Factors and Correlations
It is noteworthy that the issue of gender in Georgian folk music does
not arouse much interest in researchers and practitioners today, which
testifies to a “normative perception” by both men and women. It is well
known that the folklore of women in Georgia quantitatively and, in some
sense, even qualitatively, lags behind that of men, and joint performance
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is not so common either, though joint female-male performance, as well
as female art in general, is more diverse in mountain regions (Svaneti,
Racha, Tusheti) and the regions relatively detached from the influence
of the Christian church (Achara, Samegrelo). This paper is an attempt to
discuss possible reasons for such correlations.
One factor in the relative dearth of women’s folklore in Georgia is
undoubtedly the fact that, on field expeditions before the 1970s–80s,
folk scholars paid less attention to women’s folklore than they did to the
overtly complex and artistic men’s traditions. Generally, female creative
work, especially collectively, is strictly segregated from men, a case particularly common in East Georgian lowland regions. Lullabies, healing
songs, rituals changing the weather, laments, mourning ballads, songs
for needlework have historically been the basic genres of the Georgian
female repertoire. It is also interesting that women, much more than
men, traditionally have the role of mediums with the otherworld.
There was a certain prominence given to women’s folklore in the Soviet era, which saw female solo singers performing from the male repertoire and even directing ensembles. From the 1980s, the activity of the
all-female ensemble Mzetamze did much to revive Georgian song. Nevertheless, there is still inadequate attention paid towards the issue of gender in Georgian folk music. For example, there is no mention of women’s
folklore in the discussions about musical dialects, it is not included the
repertoire of state ensembles, etc.
M ARJE T KA GOLEŽ KAUČIČ
Institute of Ethnomusicology SRC SASA
Ljubljana, Slovenia
Singing Other: Singing in Two Languages
or Code-Switching/Stitching
This two-part paper discusses the switching of language codes and the
influence of such switching on the collective whole.
Part one deals with the question of how the use of Macaronic songs
(Porter 2008) and switching between the language codes relates to the
Other. Macaronic songs, by switching and connecting two different lan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
guage codes (Thomason, Grey-Kaufman 1988), hybridizing within the
songs, may establish a dialogue between two different cultures, or illustrate the domination of one over the other. The latter is/was often in environments where a majority dominates the minority (German-Slovenian,
Italian-Slovenian, English-Irish, German-Turkish, but maybe not German-French) (Pazarkaya 1983). We could argue this is a manipulation of
two languages and words like “code switching” or “code stitching” (Posen
1992) point to a kind of multiculturalism, or to language colonization.
The second part of the paper addresses the question of whether the
use of a particular language code (e.g., dialect or the supra-dialect) in
songs and speech actually directs identification with a collective (Fikfak
1999). The choice of a language code always depends on the social setting
in which the bearer of a song is performing. The language of a song is an
intermediate stage between dialect and literary language. The collective
consciousness of the local (Botkin 1949) stems from the identification of
the local through dialect (conversation, memories, reflection) (Duličenko
1981), whereas group consciousness of national identity stems from identification through the supra-dialect (singing songs, folklore as the soul of
the nation). I will emphasize that both questions reveal communication
with Other or Others, with singers, with researchers and with cultures.
ÉVA GU I LLOREL
University of Caen Normandy
France
Les chansons du mouvement des «Gilets jaunes»
(Songs of the «Yellow Vest» Movement)
En décembre 2018, le mouvement des « Gilets jaunes » a pris de court les
autorités politiques françaises par son ampleur : des centaines de milliers
de Français ont manifesté, bloqué des ronds-points et organisé des rassemblements pacifiques ou violents pour s’opposer à la politique du gouvernement d’Emmanuel Macron. Ils ont aussi chanté. Comment peuton analyser ces chansons à partir d’une grille d’analyse ethnologique ?
Qu’ont-ils chanté, où, comment et quel sens peut-on donner à ces interprétations publiques et collectives ? Quelles ressemblances et différences
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peut-on établir entre leurs répertoires et styles de performances d’une
part, et les pratiques chantées héritées d’une culture de la manifestation
publique fortement ancrée en France depuis des générations d’autre part ?
L’analyse des chansons entendues au cours du mouvement des « Gilets
jaunes » invite à appliquer les méthodes de la recherche ethnographique
à des pratiques très contemporaines mais qui présentent des parallèles
intéressants avec les répertoires de tradition orale, que ce soit dans le
choix des airs et des paroles ou dans les modèles de communication et de
transmission. L’analyse sera développée à partir d’observations de terrain
et de l’étude des vidéos diffusées sur les réseaux sociaux. (Presentation in
French with PowerPoint file in English)
M ARI A HE RRERA- SOBEK
University of California
Santa Barbara, USA
Crime and Punishment in the Corrido: Broken Hearts and
Broken Relationships in Prison- Themed Mexican Ballads
Vicente T. Mendoza, the renowned Mexican corrido scholar, collected a
wide gamut of texts including those related to prisoners. In his collection
Corridos Mexicanos (1954), there is a section titled “Carcelarios” (prisoners) containing five texts (nos. 82–87). Each of these narratives portray
men or women who have been sent to prison for various crimes, from
running away with a sweetheart to killing an unfaithful lover. The titles include: “De la Presa”, “De Cananea”, “Del Prisionero de Juan de Ulúa”, “De la
Prisió de Granaditas”, “De la Cuerda a las Islas Marías”, and “De Lucrecia”.
In this study, I focus my analysis on the various broken relationships
depicted by the prisoner-themed corrido lyrics. There are seven major
broken relationships narrated within the group and these include:
•
•
•
•
•
The law and its representatives: police, jailers, and so forth
Lovers
Parents and, more specifically, the mother
The community – friends
The Mexican nation
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• Society and the world
• God and other sacred beings – religious representatives
For my critical analysis, I plan to incorporate Michel Foucault’s Birth
of the Prison: Discipline and Punishment (1977) and more recent studies
on Chicano and African American prisoners. These ballads are narrated
in the first person and detail how the protagonists have broken the law.
By breaking the law, other broken bonds ensue. The protagonist generally admits his crime and, in most cases, demonstrates deep remorse at
hurting his parents and particularly his mother. Many of these prisonerthemed corridos serve as morality tales of what not to do (for otherwise
severe punishment ensues).
ERI I KAWA
Ohkagakuen University
Aichi, Japan
“The Grey Selkie” in the Orkney Isles:
Time, Place and Occasion for a Story
“Selkies (seal people)”, “mermaids”, “mermen” are just a few of the names
of the creatures which have been used to characterise the mysteries of
the sea, and the fortunes and misfortunes of those living with it. My fieldwork started in the 1990s focusing on “selkie” or “mermaid” legends in
the Orkney and Shetland Isles located off the northern coast of Scotland. The tellers of the stories and singers of the songs have inherited
them from surroundings close to the seals, where seal hunting had often
taken place. This proximity of seals and people means these stories and
songs are particularly relevant to their lives. These oral traditions have
been passed down, not only between family members, but also from local heroes who often led the boys to the sea or to enticing adventures in
fishing or hunting. One of the Orkney Islanders interviewed, Mark Ross,
recounts the scene when he learned a selkie ballad and stories from John
“Jock” Sinclair, perhaps one of the most researched Orcadians. Ross’s experience emphasises the importance of context to storytelling, namely
time, place, and occasion. And indeed, when, where, and how these sto20 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ries and ballads were passed on, and their connection to the experience
of the recipient, is perhaps the most interesting “story” of all.
Keywords: “The Grey Selkie of Sule Skerry”, Orkney, Shetland, Scotland, ballads
E. WYN JAM ES
School of Welsh, Cardiff University
Wales
Songs of Work and Wassail
in Nineteenth-Century Glamorgan
From the very beginnings of the Welsh language in the sixth century,
songs have played an integral part in Welsh communal and cultural life.
After giving a general overview of the role of song in work and recreation in Wales over the centuries, this paper will concentrate on two types
of song which are closely associated with the county of Glamorgan in
southeast Wales in the nineteenth century.
The first of these comes from the world of work, namely oxen songs.
Singing to oxen as they work is a very ancient practice internationally.
Using teams of oxen rather than horses continued in Glamorgan longer
than in most of Wales and a number of oxen-songs have survived from
nineteenth-century Glamorgan, when those songs were such an attraction that people in the Vale of Glamorgan could be seen pausing their
carts to listen to the plough-boys singing in the fields.
The other type of song under consideration in this paper comes from
the world of recreation, and is linked especially to the custom of wassailing. While a number of wassailing traditions and their songs have been
recorded in Wales, the best known is undoubtedly the colourful Mari
Lwyd mid-winter custom, where groups of singers, one of them wearing
a decorated horse’s skull as a hood, go from house to house requesting
entry. Although commonly regarded as an ancient Welsh custom, its origins are obscure and it would seem to have developed in the industrial
communities of Glamorgan in the late eighteenth and early nineteenth
centuries.
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ECKHARD JOHN
Centre for Popular Culture and Music of University of Freiburg
Germany
Bilingual Songs as a Research Field
Thoughts and feelings in human relationships are essentially expressed
through language. Wherever there are language barriers and multicultural regions, there are bilingual songs. Up to now, traditional folk-song
research has shoved them aside as a negligible form of popular and traditional songs: as a marginal phenomenon that seemed neither qualitatively nor quantitatively relevant. The historical reality is different. On
the one hand, the lecture illustrates that there have been bilingual songs
to a far greater extent than previously assumed, on the other hand draws
attention in this context to so far completely unnoticed features of the
Southeastern European region. These underline the far-reaching transnational character that such songs may develop and reveal the culturalhistorical significance of bilingual songs.
MARIJA KLOBČAR
Institute of Ethnomusicology SRC SASA
Ljubljana, Slovenia
“Whither Shall We Wander, My Wanderer?” The Cultural
Dimensions of Language Selection in Song Practices
The love song “Kam bova vandrala, vandrovček moj” (Whither Shall We
Wander, My Wanderer) was first recorded in Slovenia in 1898, when the
Hungarian researcher Béla Vikár recorded it on a wax cylinder at Tišina
in Prekmurje, together with other songs in the Prekmurje dialect. The
song itself would not have attracted any particular attention if Macaronic
German-Slovenian versions of the song had not also appeared among
the variants later transcribed. These were recorded in central Slovenia
as well as in Austrian Carinthia and Styria – that is, in an environment
where both Slovenian and German were spoken. In ethnically mixed
Austrian Carinthia, monolingual Slovenian versions were also recorded
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at the same time, revealing various degrees of dialect features.
I will analyze the love song “Wither Shall We Wander, My Wanderer”
to determine the relationships revealed through monolingual song practices, the options offered by bilingualism, the places where it manifested
and why, and the role of dialects in all this. Both the status of an individual within the community and social contexts (intergenerational and
interethnic) are taken into account and, alongside the singing context,
the analysis also includes the context of transcription. From this perspective, the author outlines the role of folklore studies in various periods, including today’s interest in song tradition, which – in an ethnically mixed
environment or an environment where Slovenian has disappeared from
use – seeks to create a connection between two nations and a bridge to
forgotten tradition through bilingual songs.
OLHA KO LO MYYETS
Ivan Franko National University of Lviv
Ukraine
“Cry for Me, Cry”: Social and Musical Aspects of Ritual
Funeral Laments in the Ukrainian Carpathians
A funeral, in its traditional form, is one of those “rites of passage” that
reflects in the most concentrated way the human relationships within a
family (internal) and a community (external). Moreover, the ritual signifies what has come of a deceased person’s life.
Music in the traditional funeral ritual of the Hutsulshchyna region of
the Carpathian Mountains of Ukraine, both vocal and instrumental (significant for the region), plays one of the main roles in transmitting particular information about, to, and from the deceased and elicits emotions
that create a unique atmosphere which unites family and community.
In this presentation, based on archive materials and my own fieldwork, I would like to explore the main characteristics of the musical element of the Hutsul funeral ritual, paying special attention to vocal genres
in the context of the rite’s musical system, as well as the context of time
and the motives of purpose. I will also discuss the performers’ experience
and explore how they become intermediaries between the deceased and
their community.
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I NGA KO RO L KOVA
Saint-Petersburg State Conservatory
Russia
Mourning Rituals as a Special Form
of Women’s Communication
This study, based on material recorded in northwest Russia by the St Petersburg Conservatory in the 1980s, considers female mourning rituals, in which
the singing and crying itself are the most meaningful parts. In Russian tradition, crying was used as an instrument of active influence on various objects. The act of lamentation is both an individual and a collective practice,
as is the object(s) of mourning – me, other, one, versus us or a group.
There are different types of communication, each with its own functions within the ritual:
1. The mourning of the object (dead, the bride, the recruit, the ancestor, mythological character). The function of this type of mourning
is to establish mental contact with the object. It also has a structural value in the ritual marking its main stages (communication
model: I–Other One, I–Others, We–Other One, We–Others.
2. The mourning of women’s fate. The function of this type of mourning is to strengthen relationships between women, to help them to
converse with each other and share and exchange emotions (communication model: I–We, We–Us, We–Me).
3. The mourning of personal fate. The function of this type of mourning is reflexion, and it can be defined as auto-communicative
(communication model: I–Me).
These mourning rituals are represented in a variety of folklore genres –
laments, lyrical songs, special non-verbal vocalizations (aukaniya), calendar songs. Their tunes have similarities and are based on the same intonation. The content of the poetic texts of laments and songs are also close.
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BAI BA KRO GZEME- MOSGORDA
Institute of Literature, Folklore and Art of the University of Latvia
Rīga, Latvia
Social Classes in Latvian Folksongs:
Changing Contexts of their Presentation
in Folksong Editions of the Twentieth Century
The group of folksongs (dainas) in Latvian tradition that describe the
historical class structure of society is quite narrow as compared to other
thematic groups. The song texts reveal various aspects of power relations between wealthy and poor members of society, i.e., between Latvian farmers or German landlords on the one side and Latvian peasants
on the other.
In the first complete scholarly edition of Latvian folksongs, Latvju
dainas (1894–1915), which became the basis for the thematic classification of Latvian folksongs, song texts were arranged ethnographically, that
is, according to their use in the everyday customs and rituals of Latvian
peasant life. The songs about relations among social classes were placed
at the end of the edition, in a separate chapter apart from the broad folksong circles about the human life and work. A specific subchapter, “Mutual Relations between Latvians and Germans”, was created as a reference to the ideology of the Latvian first national awakening.
In the 1950s, when work started on a new complete scholarly folksong edition, based on Soviet ideology and corresponding methodology,
the songs about the social classes became the departure point for the historical interpretation of folksongs that should reflect the economic and
political development of Latvian society. With these songs, the Latviešu
tautasdziesmas edition (1955–1957) was started, and later they formed
a separate volume in the academic edition of Latvian folksongs (1979–
2018).
Thus the publication history of songs about social classes helps us
not only to follow the interpretation of their contents in different editions, but also to view the development of Latvian folksong research in
changing ideological contexts.
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MO DE STA LIUGAITĖ- ČERNIAUSKI E N Ė
Institute of Lithuanian Literature and Folklore
Vilnius, Lithuania
Singing on the Threshold: Kristina Leikauskienė
Folklore research often refers to singing as something already framed
within traditional community structures. The very genre divisions (work,
wedding, children’s songs, etc.) presume a particular communally structured lifestyle. A singer is considered as a member of the community and
as a representative voice of same, while singing itself signifies an already
existing community.
On the other hand, attempts have recently been made in Lithuania
to apply the concept of liminality as developed by anthropologist Victor Turner, who argues that there are two major “models” for human
interrelatedness, juxtaposed and alternating. The first describes society
as a structured, differentiated, and often hierarchical system of politicolegal-economic positions, separating individuals in terms of “more” or
“less”. The second, which emerges recognizably in the liminal period, is
of society as an unstructured or rudimentarily structured and relatively undifferentiated communitas. The idea of liminality opens a distinct
perspective on singing, that of a voice coming out of individual destiny,
abandonment, a marginal (liminal) state, and gathering a community of
different kind, understood as communitas.
I will focus on one case, though there were undoubtedly many in postwar Lithuania. The discussion of ballads by South Lithuanian (Dzūkija)
singer Kristina Leikauskienė-Kašėtaitė (1920-2003) from the village of
Žiūrai in the Varėna district, is put in the context of her life story: widowhood, misery and poverty, illness, and the death of her son who left to
work in mines. Looking back at her past, Kristina used to say: “If I hadn’t
sung, I would have gone crazy. Had there not been such good neighbours, I would have lost my life.” Thus, her singing can be interpreted as
a way to share threshold, liminal experiences with others. In the hardest times of Kristina Leikauskienė’s life, her neighbours, rural women,
were her supporters, her communitas, in which the singing served as an
expression of communion. In the 1960s, the singers and songsters from
Žiūrai and nearby villages got together in an ethnographic ensemble, and
Kristina Leikauskienė became wholeheartedly involved in its activities.
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M ART HA MARIA LOPEZ RAMOS
National Autonomous University of Mexico
G I L LE S ANIO RTE-TOMASSIAN
Chicago, USA / Mexico City, Mexico
M ARI O LO P E Z GARCIA
Zacatecas, Mexico
Songwriting Workshops with a Gendered Perspective to
Raise Awareness and Prevent Violence against Women
Song lyrics from different musical genres have been used to promote violent values. Based on the idea of the Mexican corrido as an epic popular
genre, this presentation analyzes the narrative structures and the various
archetypes of the corrido’s heroes.
This musical genre, usually concerning themes of everyday life, the
history of the Mexican Revolution, or even wayward bootleggers and
narcotraficantes, mainly features sexist and machismo lyrics, while also
being primarily performed in highly masculine spaces (e.g., local bars).
The high level of diffusion and popularity of the corrido makes it an unusually effective propaganda tool.
In this project, we used the corrido song as a tool to create social
awareness about the different forms of violence that women endure. The
song becomes an undercover agent of violence prevention in a tough,
male environment. First, we began a discussion with participants from
different walks of life, engaging in a process of composing and writing
about gender stereotypes that reproduce or induce different forms of violence against women. And so was born our corrido with a fresh gender
perspective: “The Story of Lupe Fernández”.
We then worked with professors, social workers, counsellors, and directly with children, teenagers, and victims of gender-oriented violence,
as well as other students already registered in music classes.
In 2018, we conducted a survey with groups we had previously
worked with, to assess results, and realized that the workshops had gone
beyond our original goals. We had created a safe space for discussion, a
truly levelling and democratic mobile meeting space, where participants
could freely share experiences, ask questions, creating a feeling of relief
for themselves and empathy from the listeners.
The workshops were places of diverse participation, where the writing process allowed revival of participants’ voices, encouraged teamwork,
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and supported their talents through the creative process. The playlist of
the videos reflecting the work done can be found at www.youtube.com/
playlist?list=PLcyGHNRNcH4K8Whvc9N-rV3yF1UzDi-jR
The project is specifically designed to address violence against women, but is always adapted to the local cultural perspective of the participants. We focus on teaching values against violence in a participatory
horizontal manner where attendees can create their own personal materials and integrate them into the popular song/musical repertoire. By
working with such a powerful tool where the popular musical repertoire
is reinvented with a message, or at least is utilized as a tool for raising
awareness, we are reaching into communities in two ways.
First, through the direct impact of the workshops on participants,
academics, and the audience, by giving them tools to create their own
personal change regarding stereotypes and their use in conversation or
songwriting (a very similar process).
Second, by working with street musicians and other public space
musicians, we ensure that the songs enter the communities’ psyches,
whether consciously or subconsciously, intending that the nonviolent,
gender perspective become a standard within the social construct, getting rid once and for all of violence against women.
A traditional version of the song “La Historia de Lupe Fernandez”,
with English subtitles, recorded in El Saucito community near the Zacatecas/ San Luis Potosi State border can be heard at youtu.be/uki3YUx7xks.
After the song was written, we invited some of our urban international
musician friends to add some spice to it, creating a bridge between genres, cultures, and countries, a beautiful addition to make the songs even
more accessible to a broader audience:
soundcloud.com/gilles-aniorte/sets/corridos-with-a-gender.
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L ARYSA LU KASHENKO
M. Lysenko National Music Academy
Lviv, Ukraine
Musical Culture of Podlasie:
Assimilation-Transformation-Change
Podlasie is a territory of ethnic borderlands, where the Polish, Ukrainian,
and Belarusian cultures have coexisted for centuries. Political conflicts of
the last century, and deportations during “Operation Wisla”, have led to a
situation where today the territories of northern and southern Podlasie,
which some decades ago featured a unified ethnic dialect, now differ in
ethno-cultural terms.
Traditional musical folklore (mostly in passive repertoires) existed in
the northern part of Podlasie (which was not touched by the mass transmigration of the mid-1940s) until the end of the twentieth century, and
continues nowadays, to an extent. Native folklore and traditional culture
are supported by the local Ukrainian and Belarusian communities (with
support of the Polish Government), which periodically organize various
concerts, competitions, festivals, etc.
In southern Podlasie, native music culture has partially been recovered by people who, in 60s and 70s returned from exile to northern Poland. However, today Ukrainian musical folklore has almost disappeared;
it has been replaced predominantly by Polish non-ritual music, which
existed among the local Polish population earlier, partly complemented
by the musical repertoire of resettled Poles starting from mid-twentieth
century. Today there are scarce remnants of the Ukrainian folk music
which dominated just a few dozen years ago, and they make up a small
part of the newly formed musical culture, consisting of fragments of heterogeneous ethnic, territorial and social-demographic origin.
My paper investigates the dynamics of this transformation in Southern Podlasie using audio recordings from the last third of the twentieth
and the beginning of the twenty-first century. Particular attention is paid
to the processes of interpenetration and assimilation of the repertoire
by closely co-existing Polish and Ukrainian musical cultures. The final
aspect of the study is a comparison of ethnic and cultural processes in
northern and southern Podlasie.
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THO M AS A. MCKEAN
Elphinstone Institute, University of Aberdeen
Aberdeen, Scotland
Refracting Ballads across a Generation
The late Stanley Robertson was a storyteller and singer extraordinaire, a
giant of tradition, capable of telling stories round a campfire and lecturing to a university audience with equal ease and fluency. He was very
deliberate about passing on his tradition to others, characterising it as
a chalice to be looked after, used, polished, and passed. Included in this
model of transmission is his own family who were implicitly and explicitly instructed in the fine points of Scottish Traveller culture: old roads and
pathways, beliefs, customs, and, of course, ballads and songs. Through
interviews with Robertson’s children, I will explore the very different
legacies individuals can inherit from a single source.
OKSANA MYKYTENKO
M. Rylsky Institute of Art Studies, Folklore and Ethnology
Kyiv, Ukraine
“My small apple has rolled away”:
The Poetic Peculiarities of Funeral Laments for Children
in Ukrainian and South Slav Folklore Traditions
Traditional notions about unjustified death at a young age shape the special character of the funeral ritual for children and these are reflected in
the funeral lament. As a rule, such events are subject to the most mournful sympathy and sincerity reflected in the emotional basis of the text. At
the same time, it was not usual to mourn after a baby’s or a first child’s
death. This was evident in the tendency to raise the social and age status
of the dead child on the ritual level (e.g., with vestments). The motif of
the death-wedding is perhaps the most frequently seen in this cycle. We
also pay attention to traditional oppositions – male/female children (especially evident in the South Slav folklore tradition) – which are reflected
on the lexical level. The poetic style of the text is based mainly on two ar30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
tistic “codes” – vegetable (metaphors of withering, etc.) and ornithological and zoological symbols. The style and composition of the mourning
are characteristic features of the improvised ritual folklore text.
AU ST Ė NAKI ENĖ, RŪTA ŽARSKIENĖ
Institute of Lithuanian Literature and Folklore
Vilnius, Lithuania
Emotional Relationship with the Homeland
in the Folksongs of Lithuanians in the USA
Massive emigration from Lithuania started in the 1860s and lasted up
until World War I. Most immigrants were peasants who left in search of
a better life in Pennsylvania’s coal mines or Chicago’s stockyards. They
built churches, published newspapers, established schools, brass bands,
choirs, etc., in their colonies, socializing and marrying mostly among
their own as they tried to (re)create an environment that was dear to
their hearts.
This paper presents the folklore of Lithuanian immigrants recorded
by Dr Jonas Balys, who came to the USA after World War II. He visited
Lithuanian immigrants from 1949 to 1951 and recorded numerous songs,
folktales, and other folklore genres on magnetic tape. From this material, Balys prepared a two-volume publication Lietuvių dainos Amerikoje
/ Lithuanian Folksongs in America. The first volume, with the subtitle
Narrative Songs and Ballads, appeared in 1958, and the second, Lyric
Songs of Love, Customs, Work, Feasts and Entertainments, in 1977. These
books contain 1174 folk songs representing traditional rural ways of life,
but there were also some immigrant songs relating the reminiscences of
their homeland. “Even today I see everything in my imagination and I
don’t forget anything. Lithuania stands like a mirror, like an altar before
my eyes”, said Uršulė Žemaitienė, Balys’s most prolific singer.
Immigrant songs describe the pain of parting from loved ones, and
give impressions of the strange new land. Among them most popular
were songs “Užaugau kaimely, pas savo tėvelį” (I grew up in the village
with my father) and “Aš, Lietuvos bernužėlis, laiškelį rašysiu” (I, a Lithuanian lad, will write a letter). The latter song was printed on postcards,
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for even a non-literate person could sign a postcard and send it back
home. Thus, through song, Lithuanians could return to their homeland
in their thoughts.
A NASTASI YA NIAKRASAVA
Institute of Musicology, University of Warsaw
Poland
Songs of the Vegetarians: Contemporary Contexts
for the Performance of Traditional Songs in the City
The starting point of my paper is the belief in the unbreakable bond between the traditional vocal repertoire with the daily life of the performer;
the world that surrounds a performer is by default reflected in his or
her songs. Referring to examples of old Belarusian songs (the domain of
women), I show this connection and the direct link the singers’ own fates
have with the content of songs they perform.
In the face of changing traditions and in the search for new means
of expression, townspeople have discovered in rural polyphonic songs a
world of beauty and the possibility of restoring social bonds. They have
started practising community singing. My practice as a workshop conductor has confirmed that people from big cities like Warsaw are fascinated by multipart songs from the East.
Participants are of different ages and during workshops they strive to
preserve the polyphonic style and peculiar manners of traditional singing. For the performers, adapting to the traditional sound is as important
as the meaning of the lyrics being sung, but it turns out that contemporary performers have the similar need to identify with the “sung word” as
former “traditional” performers. What should one do, for example, when
attitudes toward women, gender in general, or animals in the songs do
not correspond to the viewpoints of these contemporary performers? It
is a challenge and often a difficult choice for singers. In one case, part of
the tradition is rejected and perishes and in the second, it is rewritten or
“corrected”. The modern rendition of traditional songs is thus part of a
globalization process wherein rural traditions revive in the city and the
multipart songs of other countries become rooted in a new area.
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Finally, I will show how old songs continue to be able to express people’s state of mind today. But they do not resonate simply in the comfort
of your home, but most revealingly on the street during demonstrations
in defence of your own and other’s rights.
JANI KA O RAS
Estonian Folklore Archives of Estonian Literary Museum
Tartu, Estonia
Singing Outdoors in Estonian Oral Tradition:
Practices, Experiences, Meanings
In this paper, I will give a systematic overview of different ways of singing outdoors/in nature in pre-modern Estonian oral singing culture. To
understand the diverse functions, meanings, and effects of outdoor singing in traditional rural communities, I try to include as many aspects
of the performance as possible, e.g., the ethno- and zoomusicological,
ecoacoustic and music-psychological studies.
Outdoor performance situations can be categorized by the types of
communication. At one end of the scale there are important communal
rituals in which participants sang together and focused on communication with each other, while at the other end, there are situations in which
the main dialogue partner of the singer was nature, and in which the
singing had an auto-communicative function. The type of communication in different situations influenced not only bodily behaviour, the positioning of the singer in space, coordinating the voices, voice production,
etc., but also the purely musical and specific textual features of the songs.
My special focus is on loud singing in nature – communication not
only with other people but also, or predominantly, with nature. Beyond
different practical functions, this kind of singing had emotional effects
on the participants, quite difficult to apprehend from the old handwritten texts, and also difficult to explore during an interview. These functions are connected to special states of mind and create overwhelmingly
positive feelings – pleasure, safety, belonging – that are reflected in the
personal remembrances of participating or observing.
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A NA MARIA PAIVA MORÃO
University of Lisbon
Portugal
Relationship among Siblings in Portuguese Versions
of the Pan-Hispanic Ballad “Delgadinha”
“Delgadinha” (0075) is one of the most widespread ballads (“romances”)
in the pan-Hispanic world, found in Portugal, Spain, Brazil, Latin-America, Sephardic communities, North American Portuguese and Spanish speaking communities, and perhaps one of the most studied. Many
scholars have produced articles and theses about the ballad from different perspectives or have used it to illustrate their ideas about its structure or meaning. Among them are Mercedes Diaz Roig, Ana Valenciano,
Diego Catalán, Manuel Gutiérrez Estévez, Beatriz Barroso, José Manuel
Pedrosa, Paloma Díaz-Mas, J. J. Dias Marques, Teresa Araújo, Bráulio
do Nascimento, Sarah Portnoy, Beatriz Mariscal Rhett, Maria HerreraSobek, Teresa Catarella, and myself.
The main theme of “Delgadinha” is an attempted father-daughter incest, so studies usually focus on the problems caused within the family by
father’s proposal and daughter’s refusal. They may emphasize the cruelty
of the punishment, the reactions of the mother and other family members to girl’s begging for water, or the reasons why she dies just before
water is taken to her.
This paper will focus on the reactions of Delgadinha’s siblings in about
300 Portuguese versions published between 1820 and 2000 (as recorded
in Pere Ferré, Bibliografia do Romanceiro Português da Tradição Oral
Moderna), including those contaminated with “Silvana”, another incest
romance. In particular, I will concentrate on the segment of the narrative
in which Delgadinha’s brothers and sisters do not help her, grouping their
excuses by type. Variation will be studied in order to understand the differing relationships of siblings within the family structure.
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RI I KKA PAT RI KAINEN
University of Eastern Finland
Joensuu, Finland
Singing for the Dead or for the Living? – Death Songs
and Laments as a Communicative Event in Rural Greece
In the Greek culture of death, especially in the rural parts of the country,
two different traditions have existed side by side: that of the Eastern Orthodox Church and of folk tradition.
The Orthodox tradition and its performers in Greece are men
(priests, singers), whereas the folk traditions of death and its rituals are
guided by women. The vernacular worldview that appears in demotic
death songs or laments is distinctively different from that of the Church.
This is noteworthy, especially considering that these traditions have coexisted in this area for a very long time. In the case of funerals, these two
traditions never intermingle, yet they belong to the same sphere of rituals
in which everything and everyone has its own role and function.
During my fieldwork in three mountain villages of Northern Greece
in 2017, I collected songs and laments related to death from lament specialists, elderly women. These orally transmitted songs illustrate what
people believe happens after death. They convey the longing and pain at
the loss of a close one. The songs are also historically relevant since they
are evidence of an ancient culture surrounding death. In 2018, on Good
Friday, I observed the female folk tradition of singing the lament of the
Mother of God (το μοιρολόι της Παναγίας) in the church of Aiani during the decoration of the epitaph of Christ with flowers. This tradition is
closely connected with Greek mortuary rituals.
The singing and lamenting is mainly, but not exclusively, directed towards the afterlife. The main audience for the act of singing is the community of the tradition-bearers. In this paper, I examine the way folk tradition and the tradition of the Orthodox Church co-exist in the Greek
culture of death. How does the concept of the Otherworld appear in the
fieldwork data and how does it differ from the perception of the Church?
By comparing these traditions, I will discuss performer-recipient relationships and the control of the funeral ceremony.
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EE RO P E LTONEN
Helsinki, Finland
Sacred Encounters:
Ancient Echoes of Painted Cliffs in Finland
This presentation focuses on archaeoacoustics, a research field which
unites Archaeology and Ethnomusicology. I will introduce a recent research project by the University of Helsinki in which the acoustics and
echo features of prehistoric paintings on lakeside cliffs in Northern Finland
were measured with scientific tools and data. The exceptional echo effects
at the cliffs and the images of drummers and possible witches/shamans
painted on them suggest that these places have been the subject of rituals
in which the voice, song, and possibly drumming, played a central role.
This summer the University research team will measure the echoes
of the painted cliffs in Eastern Finland. I will be joining them, bringing
his experience of the human voice, traditional music, and prehistoric
art. At the conference, I will explore the origin, meaning, and possible
uses of these sacred archaeological sites. I will also discuss the inspiration to compose tradition-based runosongs suitable for the soundscapes
and images at the cliffs. This process is carried out by singing and playing with the echo of the painted cliffs and by letting this interplay create
melodies, rhythms and poetry.
MARJE TA P I SK
Institute of Ethnomusicology SRC SASA
Ljubljana, Slovenia
(Folk) Singing in Language(s) of Other?
From its disciplinary beginnings, folk song research in Central Europe
was tightly connected with the efforts of national movements. Researchers have thus often played an affirmative role by collecting only songs in,
for example, Slovenian, stressing the cohesive function that songs have
in the processes of building a nation. Folklorists collecting in the border
region of Gorica/Gorizia, however, reported that people “cling to foreign
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songs” and nineteenth-century local newspapers are full of complaints
about singing in other languages.
What motivates people to sing in the language of the Other, or to
combine languages in one song. The historical analysis of (folk) singing
in different languages of the Other (Italian, Friulian, German) besides
in Slovenian in Goriška Brda, will be complemented with the questions
arising from today’s practices in nearby Venetian Slovenia, especially of
youth singing in a language of an (ethnic) background that is different
from their colloquial language. What does the decision to sing in one
language reveal about singer’s inclination to or even affiliation with one
particular group? How does singing in a particular language reflect and
affect the relations between different groups living in one community?
Have these processes in local contexts remained the same despite the
globalized world, or have they changed through the time?
G E RALD P O RTER
University of Vaasa
Finland
Songs from a Workforce of Iron in the English Midlands
Iron production has been one of the backbones of the English Midlands
for at least seven centuries, and around it has grown a diverse song culture. Even the simplest songs discussed here can be regarded as dismantling the barriers between work, the raw material of ore and the wider
social and political life of the workers. The later songs take up a position,
a place to stand, and characteristically the position of the singers offers
resistance to authoritarian and life-denying attitudes. Significantly, many
of the songs, both in the iron- and later in the steel-works, were sung at
work, and at least partly in unison, a practice that has been emphasised
in recent research in other fields (Korczynski, Pickering and Robertson
2013, Porter 2018). Singing in the arduous conditions of a workplace in
this way can be called performing a role, a way that singers assert their
sense of community. In fact, songs for individual singers which were actually performed are often even harder to find, and have usually been
written by outsiders and in recent times (Ewan MacColl, “My Old Man”).
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A I NĖ RAM O NAITĖ
Institute of International Relations and Political Science
Vilnius University, Lithuania
The Bonding Power of Songs:
A Study of the First Urban Folk Group in Lithuania
The paper explores the birth and the reasons for vitality of “Ratilio”, the
first urban folk group in Lithuania. Established in 1968 at Vilnius University, the ensemble emerged against the backdrop of fragmentation and
alienation of Soviet society, as well as the harsh Soviet programme of
modernization. At the time, the practice of singing as a mechanism of
community building was still alive but rapidly vanishing in the Lithuanian countryside. A longing for community and intimate social bonds
in an urban setting, and particularly in a society characterized by distrust
and estrangement, were the main triggers for establishing the group.
After presenting the socio-historical context of the birth of the folk
movement in Lithuania in late 1960s to the early 1970s, I will analyse the
social and political role of singing in Lithuania in the Soviet era, during
the period of the so called “Singing revolution” of 1988–91 and, finally, in
the current post-modern urban society of independent Lithuania. The
paper draws on more than forty in-depth interviews, collected in 2010–
18, with former and current members and leaders of “Ratilio”.
SIGRID RIE UWERTS
Johannes Gutenberg University
Mainz, Germany
“A chronicle of old songs & storys”:
Female Singers in the Scottish Border Communities
of Ancrum and Longnewton in Roxburghshire
In consequence of seeing a fragment of the Ballad “Mary Hamilton”
(MSB 41; Child 173) in the Minstrelsy of the Scottish Border, Mrs Greenwood wrote to the editor, Walter Scott, and offered a more complete and
“correct” version. “There are many old songs I remember to have heard
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in my youth,” she claimed and described her ballads as a genuine female
repertoire. She had learned Border ballads like the ones Scott published
in the Minstrelsy from her mother and her aunt and they in turn had
learned “an innumerable Selection” of ballads from an old woman named
Kirstan Scott; thus there were three generations of female tradition bearers. According to Greenwood, this old woman was “quite a chronicle of
old songs & storys”. Since both her mother and aunt were above sixty
years of age in 1805, they must have learned these ballads in the first half
of the eighteenth century in Longnewton (which is situated roughly halfway between Jedburgh and Melrose), where they were born and where
Kirstan Scott lived.
By focusing on the Scottish Border communities of Ancrum and Longnewton in the eighteenth century and by addressing questions of age and
gender, I will explore the Sitz-im-Leben of some Border ballads that found
their way into Scott’s Minstrelsy of the Scottish Border (1802–30).
A NDRE W C . ROUSE
University of Pécs
Hungary
(Brow-)beaten Spouses: Connubial Violence
There is a centuries-long history/tradition of ballads and songs about domestic violence towards, and murder of, one’s spouse. While this paper
examines these, it will also look at less drastic, though doubtless unpleasant domestic conflicts between the spouses, when the “victim” is not so
much beaten as browbeaten. The number of such pieces reflects a popular relish for the gothic and macabre hardly surprising when one notes
the press of people attending public hangings, by far the most popular
form of entertainment in the United Kingdom until public executions
were abolished in 1868 (partly through the strenuous lobbying of reformers like the author Charles Dickens and PM Robert Peel). The last woman
to be publicly executed (in that very year) was Frances Kidder, hanged
for murdering her husband’s daughter; he was there to witness the event.
True to the genre, many songs about domestic violence and upheaval
abound in humour, both in text and tune. It is possible that the prevalence
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of song texts with seemingly inappropriate tunes, while partly being a
way in which otherwise gruesome/unpleasant topics, can be performed
in such a way as to diminish their unpleasant impact, just as humour is
used as a safety valve against otherwise horrible events. It is also yet further proof, should any be needed, that the number of texts circulating far
outnumbered the corpus of tunes.
L I I NA SAARLO
Estonian Literary Museum
Tartu, Estonia
“Tee, tee titmouse!”:
On the Contextualization of Childlore Collections
In the 1920s and 1930s, the focus of fieldwork and studies on Estonian
folklore shifted from classical genres like runosong and folk tales to the
peripheries of oral tradition. Genres considered uninteresting and trivial
before, such as childlore, found themselves the subjects of massive collection campaigns.
Walter Anderson, the first professor of folklore at the University of
Tartu, and a representative of the historic-geographic school, organized the collection of children’s songs all over Estonia, with the help of a
published questionnaire. The campaign succeed because it was targeted
at school teachers and pupils. During those two decades, about 60,000
pages with thousands of song variants were sent in. His success inspired
several local contributors – like a school teacher of Laiuse parish, Priidu
Tammepuu – to continue collecting on their own, using the same methods and sometimes the same questionnaire.
The childlore collections of Anderson and his followers can be considered to be a thick corpus in many ways. First, literally – the questionnaires were answered by whole grades and schools, and the childlore
tradition was documented exhaustively. Second, pupils were instructed
to follow the principles outlined and added contextual data about the
origins of the documented songs.
Nevertheless, the collections derogated and marginalized by Estonian folklorists for many years, first because of the implied triviality and
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second because of supposed inauthenticity. The general assumption was
that pupils fabulated and cribbed from each other.
The tasks of archivists, researchers, and publishers of these collections are undoubtedly complicated, but the methods of digital and interdisciplinary humanities can yield very interesting and fruitful results.
This paper will discuss ways to contextualize Anderson’s and Tammepuu’s childlore collections from Laiuse parish.
JU RGA SADAUSKIENĖ
Institute of Lithuanian Literature and Folklore
Vilnius, Lithuania
Idyllic Family Relationships in Lithuanian Traditional Songs
In the eighteenth century, German philologists noted the subtleness of the
expression of emotion in traditional Lithuanian songs. In the nineteenth
century, Lithuanian, Polish, and Russian folklorists built up an elaborate
myth of the naïve, virtuous, ethical peoples of Lithuania. This romantic ideal has not been problematised until the mid-twentieth century. In fact, our
archival sources contain verses revealing a rougher life altogether, featuring,
for example, obscene episodes and fighting. Lithuanians liked ballads about
violent behaviour in the domestic sphere, too, so it is not surprising to hear
about the scourge as an element of childhood in oral tradition.
Nevertheless, in the oldest layer of songs, there are plenty of texts
where the family’s life is portrayed in a glowing, positive way. The subject of an idyllic home atmosphere reaches its apogee in wedding, family,
and youth songs. Usually, the subject is a young person who cares deeply
about his close relatives, who is proud of his family, and the farming craft
and lifestyle adopted from their parents. The identity of that person is
usually explained simply – I, the son of my father; I, the daughter of my
mother – though sometimes other family members are added – I, the
sister of five brothers, or I, the brother of five sisters.
In this paper, I will analyze the identity of these subjects, the motifs that form their image, and the traditional culture of the countryside,
along with the ethics and psychology of these people in order to find and
explanation for their portrayal.
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CARME N SALAZAR SICROFF
Los Angeles Valley College
California, USA
Skulls and Skeletons: Celebrating Mexico’s Day
of the Dead through Poetry and Song
No other festival reveals Mexican national identity better than the celebrations on 2 November, All Souls’ Day, better known as the Day of the Dead.
A long tradition that goes back to pre-Columbian times, the commemorative event survives, constantly changing and evolving, acquiring new forms
and attitudes. Although the Day of the Dead is a time of remembrance, it
is also a time of celebration with festivities that may last several days in
which art and music play an important role. This paper focuses on the humorous literary poems called “Calaveras” (skulls) and songs performed on
this special occasion. Both the poems and songs use humour as a means of
communicating Mexicans’ attitude and relationship to death. I analyze the
evolving nature of songs, from the melancholic and tragic themes of love
and death found in the traditional sones with their slow-paced rhythms, to
the more contemporary spirited songs that humanize death, treating her
as a “friend”, or mocking her as a skeletal figure that induces laughter. Symbolically represented by a female skeleton figure, Death has over a hundred
names that give title to the many songs that explore the Mexicans’ attitude
towards life and death. However, I will highlight those that include themes
that fall within the context of social consciousness.
TAI VE SÄRG
Estonian Literary Museum
Tartu, Estonia
Singing in Folk Narratives
Narration and singing are combined in many oral cultures. The collections of the Estonian Folklore Archives are useful in surveying the Estonian narrative genres that contain singing or musical vocalisation, and
in analysing singing as a special way of communication through stories.
There are more and less reliable ways to combine narrative and musical expression in folklore. Folktales with songs, stories containing musical
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vocalisation (e.g., imitations of natural sounds, shouts, calls, or charms) and
jokes with songs, form relatively fixed genres. There are also different narrative genres that contain more or less consistently onomatopoetic formulas and other concise expressions with a musical character. In addition to
these, due to the specific nature of folklore collections, many folk songs or
musical vocalisations are presented as parts of different conversations, personal narratives, descriptions, or interviews during communication with
the collector. For example, vocal imitations of instrumental music might
be included in memorates about musicians or dancing, the ritual songs and
chants that occur in descriptions of old calendar or wedding traditions, etc.
What role does singing have as a special way of communication in
narrative genres? Who communicates with songs and why? My hypotheses, developed at the initial stages of this study are based on folktales
with songs, stories containing musical vocalisation, and jokes with songs.
Besides archival collections, the sources of material and inspiration have
been the works of the Estonian folklorists Kristi Salve and Vaike Sarv,
Seto Folk Tales with Songs (1987) and Pille Kippar’s Estonian Animal
Tales (1997). In the context of a story:
1. Singing communicates information about the identity and character of a person; a song can even be used as a “password” that
combines a voice-identity and a formula (e.g., if a person’s face is
not seen as in the case of a girl incarnated as a singing tree).
2. As far as singing is related to the identification of a person, it can
be used to mask one’s identity through imitating the voice and
learning the formula it is possible to “steal the password” (e.g., a
wolf behind the door).
3. The song has a crucial effect on the storyline and singing is often related to dramatic turns of events (e.g., the wolf ’s song to the
goats is like fate knocking at the door).
In the context of storytelling:
1. Singing communicates information about the identity and character of a performer.
2. Songs contribute emotionality to tales, helping to structure the
story and to anticipate the pivotal points.
3. Songs and other singing voices add emotionality and perceptibility
to speech. They help to paint “musical pictures”.
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MARI SARV
Estonian Folklore Archives of the Estonian Literary Museum
Tartu, Estonia
Me, You and my Old Coat:
Communication Acts in Estonian Runosongs
The Estonian runosong tradition forms a branch of larger Finnic tradition known among most of the Finnic ethnic groups. Especially in the
Estonian area, but also elsewhere, it is peculiar to this tradition to express
many things through the eyes of lyric first-person “I”. This does not apply
to all songs, but still is a prevalent tendency in Estonian songs. The lyric
“I” can be a narrator, or the song text may be conceived as a communication act, with the intention to directly influence the listener: Let us go
and do things!; Shut up you unworthy!; Grow, rye!
There also exist song types that are usually sung in the third person,
without the engagement of the singer; these are more often narrative
songs and songs about animals. In the Karelian tradition, where mythological narratives prevail among recorded song texts, the plot is usually
told in the third person, with the mythological singer Väinämöinen as
the main character. When the same motifs occur in Estonian tradition,
the lyric “I” of the singer is usually engaged as a mythological character
itself or somehow taking part in the actions. For example, in the song
about creating the world, the bird who lays its eggs and later on distributes the nestlings as sun, moon, stone, etc., is looking for a nesting place
in “our backyard”. In brief, the main character in Estonian runosongs is
“I”, the singer.
Another feature reflected in runosong tradition is an animistic
worldview present in the Finnic belief system. As all the world is considered to be animated, the communication acts in runosongs do not happen only between humans, but also between singer and the entities or
phenomena in the environment: trees, wind and cold, feast days, field,
human limbs, etc. The communication between birds and animals can
be allegorical or not.
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OLE NA SE RKO
M. Lysenko National Musical Academy
Lviv, Ukraine
Musical Communication as a Means of Contact in the
Village Klyntsi (in the Dubno District of the Rivne Region)
During one of the expeditions to the Dubno district in 2018, I received
a video recording of the wedding ceremony “Korovay”,1 shot in 2011 by
people from the village of Klyntsi.2 The bearers of culture, seeing that
their traditions are going into oblivion, are trying to preserve their own
rituals for future generations by themselves.
Baking a wedding bread – korovay, the first important wedding rite –
is accompanied by ritual music, that is, the use of musical communication.
According to the video, the direct participants of verbal communication
are hosts, korovainytsi (women-cooks), and the headman. The same musical communication is reproduced in ritual folk songs performed by the
ensemble of korovainytsi. In this case, the ensemble acts as one person,
because all of their actions are common. They create musical accompaniment and do not personally participate in mixing the wedding bread.
In the process of the korovay rite it is monitored interpersonal, group
communication, as well as communication with the higher forces. Interpersonal communication is presented by verbal, musical instruments
and gestures:
• Between korovainytsi (those who bake korovay and those who
sing) contact occurs with folk songs
• Between hosts – by verbal means – by respectful attitude to one
another, the community of actions in anticipation of the korovainytsi and in the blessing
• Between korovainytsi and hosts, with the help of words different
questions are answered according to the korovay
• Between the korovainytsi and the headman – women ask for
broom, shovel, communication is done with the song
• Between the hosts and the headman – at the moment of blessing
for baking and putting korovay into the stove.
1
2
The video recording was kindly shared with me by Nadiya Yatsyuk, a resident of
Lypa village in the Dubno district of Rivne region.
Situated 7 km away from Lypa village.
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A special role is played by communication with higher forces, which
should provide a happy future for newlyweds. This is presented exclusively by musical means:
• Appeal to the korovay
• To the stove
• To God, to the blessed
The women’s ensemble plays a very important role in the korovay
baking ceremony. On the one hand, they are participants of the action,
asking for a blessing for korovay, a broom from headman, talking directly
to the korovay, to the stove, to the bride, to the korovainytsi, and, on the
other, the third person, who gradually recounts the actions of all the participants in the rite. An interesting moment of communication during
the final stage of korovay is the ritual dance with baked bread.
All participants of the korovay rite are partners of mass (group) ritual
communication. The reciprocity of their thoughts on the idea of the recording of korovay, the commonality of actions in the process of reproduction of the rite, is called for the desire to preserve the musical folklore
of their native land.
O LHA SHARAYA
Centre for Belarusian Culture, Language and Literature Research
Minsk, Belarus
Traditional Notions of an Orphan in Ritual Laments
and Wedding Songs: Cross-cultural Comparison
The particular semantics, pragmatics, and axiology of the orphan, from
verbal and ritual perspectives, have been revealed through cross-cultural
comparisons of the traditional notion of an orphan in ritual laments and
wedding songs in the traditional culture of Belarus, Russia, Ukraine, Bulgaria, Serbia, and the Finno-Ugric territories. Traditionally, the orphan
has been considered with respect to the historical family forms and kinship systems.
This paper takes into consideration geographic differentiation on the
basis of presence/absence and the degree of spread of bridal laments and
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orphan songs, which can be widely spread, very local, or entirely absent.
I will consider the most common motifs of funeral laments and laments
relating to the orphan bride and will show that many peoples share ideas,
in their funeral rites and laments, but that there are significant differences in the wedding rituals, laments, and songs. Patrilineal family structures have influenced the formation of traditional notions of the orphan
in various cultural traditions.
The research explores the connection between family rituals and folk
religiosity associated with ancestor worship and shows how an orphan’s
wedding among Finno-Ugric peoples, Russians, and Belarusians reflects
traditional beliefs according to which the dead ancestors influence the
life of their descendants.
EL ENA SHI SHKINA
State Astrakhan Scientific and Methodological Centre of Folk Culture
Astrakhan, Russia
Social Relations of Characters in the Ballads
of Povolzhye Germans: Tradition and Evolution
The present research deals with various genres of the Povolzhye German
folklore, such as ballads, spiritual hymns, and songs about homeland. In
German ballads, the characters’ relationships originate in tradition and
change in agreement with the social historic vision. The Volga German
characters inherited from the German medieval tradition, such as millers
and hunters, tailors and dukes, kings and grand ladies, nuns and burghers, apprentices and students, soldiers, monks and knights, have been
preserved in today’s Volga German tradition.
This paper will explore some reasons for this vitality in the epic tradition of the Volga Germans’ folklore at the end of the twentieth and the
early twenty-first centuries, including the continuous underground folk
singing tradition begun in the 1940s.
The research demonstrates that the genre of Povolzhye German ballads has been well preserved by soloists and singing groups in Russia
since the eighteenth century. 252 ballad plots exist in Germany, according to published sources, while 48 have been preserved in living tradition
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in Russia. (I recorded 67 musical ballad texts in Russia between 1992 and
2018.)
The inevitable Russification occurring at the end of the twentieth
century led to the development of predetermined development of the
ballads choral versions in a number of cases. Our analysis detected their
close connection to such components of Russian polyphony as timbre,
harmony, melodics.
The report touches upon some results of the Russian German genocide in 1941–1956, such as active migration after the Deportation that
caused deterioration of the Russian Germans’ culture, some loss of their
ethnic identity. Some modern characteristics of the subculture’s mentality are also dealt with.
I consider the ballad to be one of major markers of ethnic identity for
the Volga Germans, whose solo monotonic ballad variants, with richly
embellished tunes, rhythmic capriciousness, and refinement, have been
an unexpected discovery in modern records of ballads.
BRO NĖ ST U NDŽIENĖ
Institute of Lithuanian Literature and Folklore
Vilnius, Lithuania
Different Approaches towards
Lithuanian talalinės (Folk Couplets): Hushed-up Songs
Talalinės (folk couplets) is a genre of Lithuanian folk songs belonging to
the culture of laughter, which have not, to date, had serious interest from
researchers. In Lithuanian folklore research, this deliberately “hushedup” song repertoire had a reputation of consisting of inferior, lightweight
songs. This likely has led to the situation where academic discourse was
content with mere primary information about these songs, while other
forms of sung folklore were given much broader and more detailed presentation in the publications that appeared in the second half of the twentieth century.
In fact, these witty songs are a novel form of folklore in which “a
cheerful mood is expressed and occurrences of daily life and people are
vividly portrayed and aptly judged, sometimes with mild mockery, some48 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
times with biting irony”. They appear in the middle of the nineteenth century and continued to be quite popular, though, as the same text goes on
to say, their “survival, collection and appreciation has been partly impeded by the fact that many of them are obscene”.
Nevertheless, folk couplets found their place in the first book addressing the genres of Lithuanian folklore, published in 1963. In a small review,
the author writes a verdict destined to last: the folk couplets (talalinės),
in particular the sung couplets with obscene content, are said to be of low
“ideological-artistic value”. At that time, this sent a clear cautionary message: it is simply inappropriate to tolerate this inferior form of folklore.
As a matter of fact, there is little disagreement about the deep distinction between the folk couplets, which represent a “low” style, and
other sung folklore of a quite different kind, one which raises national
self-esteem. The performers of folk couplets and their listeners saw this
distinction pretty well, but that by no means diminished their interest in
singing them.
This presentation will discuss this embarrassing cultural situation
and explore people’s relation to manifestations of obscenity, the pragmatics of these folk couplets, and the question of why, along with the fear
of these songs going public, there is certain benevolence towards them
within the community.
THE ANG T E RON
University of Tartu
Estonia
Understanding the Cultural Universe
of a Karbi Folk Muse – A Brief Discourse
I believe that music is the heart of every culture and the soul of every
human expression. My paper will focus on the tradition of folksongs and
ritual incantations practised by the Karbi, an indigenous tribe situated in
the Karbi Anglong Autonomous district of central Assam in north-eastern India. The Karbi possess a rich oral tradition, much of which consists
of undocumented verses used in rituals, ceremonies, and on festive occasions. Karbi folksongs are mostly oral, generally repetitive in structure,
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lengthy, and seemingly dissonant and monophonic to first time listeners,
and maybe considered vocal songs, although Karbi folk instruments also
have a role. Karbis are “ancestor worshippers” who engage in a series of
life-preserving rituals, verses in the songs narrate multiplicity of relations and origin stories of the people.
This paper will analyse function, style, and performance, as well as
discussing the songs’ cultural significance and social role they play.
Further, I shall explore the compositional structures of Karbi folk songs
and discuss methods used by the performers in different performance
settings, as well as highlighting taboos and precautions a performer must
observe in order to perform. I suggest that the aesthetics and performative aspects of the performer, the significance of the ritual language of
songs and chants, serve as both sacred and secular purposes.
MI C HE LE T ITA
University of Tartu
Estonia
Healing Music and Songs in Southern Italy:
The Case of Tarantism
Songs are a significant genre of folklore and it is possible to witness practices of traditional singing in a wide variety of places and settings. The
case that I am going to talk about in this presentation appears in the context of south-eastern Italy up until the 1960s: the practice of singing and
playing instruments as a form of healing for people affected by tarantism,
a culture-bound syndrome of that geographical area that is nowadays
extinct (apart from recent processes of heritagization).
Tarantism takes its name from the tarantula, which was said to sting
mostly women around the end of June. Music and songs, belonging to
the traditional and wider genre of pizzica, were used to treat them. It was
considered that they could get rid of the venom of the spider by dancing
with this music and these songs (even though definitive healing could
only have been obtained by the grace of Saint Paul).
The aim of this presentation is to explore some examples of pizzica
as witnessed by ethnomusicologists and played nowadays, highlighting
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their social role in both healing and recreational contexts. I will do this
with the help not only of academic literature about the syndrome but also
of fieldnotes made during fieldwork in June 2018 in Galatina, Italy, one of
the most important places related to this peculiar phenomenon.
References
Carpitella, Diego, L’esorcismo coreutico-musicale del tarantismo, from De Martino, Ernesto, La terra del rimorso: contributo ad una storia religiosa del sud (Il
saggiatore, Milano, 1961), pp. 335–370.
Fieldwork notes, 20 June 2018 to 3 July 2018
JU RGI TA Ū SAITYTĖ
Institute of Lithuanian Literature and Folklore
Vilnius, Lithuania
Song in the Period of Lithuanian National Revival:
Public’s Relationship to the Oral Tradition
Lithuanian folk song was acknowledged by “official culture” only in the
first half of the nineteenth century. In response to the ideas of Romanticism prevailing in Europe, the first songbooks were published, thus formally presenting a fragment of Lithuanian folk song tradition. The intellectuals of that time, who identified themselves, first and foremost, with
Polish culture and the Russian administration which ruled the country,
considered Lithuanian folklore to be a mere museum exhibit, a small nation’s dwindling heritage. This attitude was created by a disconnect between the political and cultural elites and ethnic Lithuanians belonging
to the peasantry.
The second half of the nineteenth century saw an increased interest
in Lithuanian folklore, largely due to the mass movement known as the
Lithuanian National Revival. Those involved promoted cultural and civic
autonomy for the Lithuanian nation and thus encouraged the collection
of folklore and oral tradition as one of the features of the nation’s identity.
Folklore, especially songs, was being presented in public discourse as an
expression of a unique identity and the linguistic and cultural autonomy
of the majority of country’s population. The integration of folk songs into
official (written) culture was, however, seriously hampered by the policy
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of Russification aggressively implemented in Lithuania at that time as a
reaction to the long-lasting influence and supremacy of Polish culture.
Nevertheless, literate Lithuanians sent written-down songs to the
initiators of folklore collection, while representatives of the intelligentsia, who were concerned with civic and cultural education of Lithuanian
peasants, illegally published songs, along with individual poetry, which
were distributed through smuggling. Folksongs and individual poetry
spread from these publications to personal collections. The written form
conferred, in a way, a new, symbolic value on traditional song. Personal
notes not only allowed authors to express their national, cultural identity,
but also grew into a form of civic resistance.
The presentation will discuss in detail the specific features of personal text collections in the nineteenth century, the circumstances of their
compilation, and their influence on the oral tradition.
L ARYSA VAKHNINA
M. Rylsky Institute of Art Studies, Folklore and Ethnology
Kyiv, Ukraine
Female Characters in Ukrainian Ballads:
The Motif of Transformation
This paper will discuss one of the most common motifs in Ukrainian
balladry: the transformation of the female character into a tree, usually
a poplar (sometimes a pine wild ash), through a mother-in-law’s or rival’s curse. The motif is also reflected in artistic works, in particular, in
Shevchenko’s “The Poplar”:
В нещасливу годиноньку свекруха закляла
Молода невісточка тополею стала.
(The mother-in-law cursed her at an unfortunate moment
And the young bride became a poplar.)
The ballad plotline is embodied in the popular lyric song “Не рубай
тополю” (Do Not Cut the Poplar), which became a hit. The character of a
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girl is often associated with a Viburnum (“Girl-Viburnum”), as well, while
the evil mother-in-law is compared to the nettle.
Oleksiy Dey, Filaret Kolesa, Mykola Kravtsov, Yuriy Smyrnov, Sofia
Hrytsa and others have noted plot and structural-typological parallels in
Ukrainian, Belarusian, and Polish ballads. Kolesa draws attention to the
motif ’s origin and diffusion, suggesting that it is typical for central and
eastern Ukraine, in particular, the Poltava region, while the transformation of the girl into a bird is more common in the Carpathians and the
Ukrainian-Polish borderland. The climax of the plot, when the poplar or
bird begins to speak in the voice of its heroine, differs regionally as well.
Bilingual plots are found in the border areas of Ukraine with Poland, and with Belarus. The best-known examples from the latter region are “Дівчина, зачарована в дерево” (A Girl Enchanted in a Tree)
and “Свекруха губить невістку” (The Mother-in-Law Who Slew the
Daughter-in-Law). Similar Ukrainian-Polish plots with a corresponding
motif of transformation recorded by Dey and Yavorska include “A Girl
Enchanted into a Tree”, “Girl Bird”, “Enchanted in Poplar”. It is likely that
this motif has a pre-Christian origin in the Ukrainian tradition, and is
possibly associated with the animistic concepts of our ancestors.
OLI MB I VE LAJ
Aleksandër Moisiu University
Durrës, Albania
Rrapo Hekali (a Fighter against the Ottomans):
Relationships in Songs of Rebellion
This paper is focused on a significant historical moment for nineteenthcentury Albanians: tentative liberation from the Ottoman Empire. A
number of popular songs were made and my study is based on a special
case, that of a peasant who became a hero in the South Albanian rebellion.
Rrapo Hekali was a well-known Albanian fighter who remains a hero
in the popular imagination, especially in southern regions. In 1847, many
villages in southwest Albania were against the Ottoman “Reforms of
Tanzimati”, the levying of many taxes over Albanian peasants. Recruiting teenagers as soldiers was one of peasant families’ obligations. Most
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of the population was unable to pay, and many of rebels in those regions
cooperated with each other. For many months they were successful, but
in the end one of the rich families betrayed them. Many rebels were killed
or sent to jail; Rrapo Hekali died in jail in Manastir, a city now is part of
Former Republic of Macedonia.
My paper aims to reveal relationships between the fighters in South
Albania, how the rebellion against the Ottomans became successful
through cooperation, how context and pressure shapes identity of groups
and classes, how identity is structured by these relationships, how those
relationships produced hope in a society that hopeless for centuries, and,
finally, how destruction of these relationships produced death and, ultimately, loss of hope.
Keywords: Rrapo Hekali, popular songs, hero, rebellion, Albania, Ottoman Empire
I HO R YU DKIN- RIPUN
M. Rylsky Institute of Art Studies, Folklore and Ethnology
Kyiv, Ukraine
The Other’s Image in Balladry as the Source
of Monodrama in Ukrainian and Polish Theatre
of the Early Twentieth Century
The ballad opera has become a starting point for development of very
diverse interpretations of ballad materials. The existence of the Other, as
an element of the ballad’s subjective perspective, allows for the evolution
of a dramatic mode of utterance. In particular, this image becomes that
of the outside observer and the eyewitness, thus imparting the properties
of a “monodrama” to a staged play.
The principal dramatis personae in Ukrainian and Polish dramas of
the fin de siècle often turn into such outsiders reporting on witnessed
events. Thus, in Lesya Ukrainka’s “Stony Master” (that elaborates the
widespread ballad plot of Don Juan), the principal hero becomes a puppet for the feminine dramatis personae. In Leopold Staff ’s “Godiva” (as
opposed to Tennyson’s), the heroine becomes the victim and the lord
acts as an outsider while abusing his own promise. The role of outsider
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is occupied with Michael in Ivan Franko’s “The Stolen Happiness”, derived from a ballad on adultery. In his another play, “The Stony Soul”,
dealing with a plot on rebellion, the outsider becomes the husband of
the sweetheart of the rebels’ leader. Mark Kropyvnytski’s “The Disorder”
represents the balladic plot of a husband, who feigned death, returning
at the wedding of his supposed widow with an unexpected resolution.
In Stepan Vasylchenko’s “Don’t Sing, Ye Roosters”, balladic motifs of the
youngsters’ nocturnal communication are resolved in a disaster of fire.
Stanislaw Wyspianski’s “The Marriage” restores the wedding rite of examination with riddles.
In such samples the features of a monodrama, in which the protagonist discloses conflict with the Other, can be traced.
VA RSA ZAKARIENĖ
Lithuanian Academy of Music and Theatre
Vilnius, Lithuania
Preconditions for Singing Together:
A Women’s Ethnographic Group in Lynežeris Village
Lynežeris is a small village in the woods of Dzūkija, in southeast Lithuania, around 10 km from the nearest railway. Villages closer to transport, such as Žiūrai, Marcinkonys, and Margionys, were often visited
by folklorists and this is where the first ethnographic ensembles were
established, becoming very popular in the 1960s and 70s. They were considered to represent Dzūkija’s folklore in Vilnius and at various festivals
abroad. Lynežeris was not participating in these ethnographic ensembles
and, in 2004, the women of the village decided that they and their songs
were as good as their neighbours and began to sing together and established an ethnographic ensemble.
This study examines the motives of Lynežeris women through qualitative interviews, paying particular attention to interpersonal relationships and intergroup relationships with other ensembles from neighbouring villages and from Vilnius, their song repertoire, and the criteria
for in-group and out-group relationships.
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AU ŠRA ŽI Č KIENĖ
Institute of Lithuanian Literature and Folklore
Vilnius, Lithuania
“We wish you a very long life”: Songs and Singing on
Anniversary Birthdays of Seniors, a Lithuanian Case
This paper examines the anniversary birthday celebrations of ordinary
people aged 50 and over in Lithuania using video recordings uploaded to
the internet over the past decade.
An anniversary or jubilee, is a way to exalt an individual, to honour him with special attention. Modern-day rituals, just as those of the
past, represent a rich system of actions that can have obvious or hidden
meanings. We can clearly observe symbolic connections between past,
present, and future and these events take place at significant, exceptional
locations. The guests express respect and give attention to the celebrants
through their dress, gifts, special speeches, and celebratory poems. Relatives and family members gather and the most important past events are
reviewed. The celebrants are honoured by emphasizing their accomplishments, and mentioning good deeds. Ritualized hopes for the celebrant’s
future are rehearsed through saying or singing wishes of goodwill. Feasts
and music, mostly songs, are mandatory attributes of such celebrations.
My main goal is to reveal the celebrations’ structure, repertoire, musical form, and style.
56 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
LIST OF PART IC I PA NTS
Albania
Olimbi Velaj
Hungary
Andrew C. Rouse
Poland
Anastasiya Niakrasava
Belarus
Olha Sharaya
Italy
Delia Dattilo
Portugal
Ana Maria Paiva
Morão
Estonia
Janika Oras
Liina Saarlo
Taive Särg
Mari Sarv
Theang Teron
Michele Tita
Japan
Eri Ikawa
Finland
Riikka Patrikainen
Eero Peltonen
Gerald Porter
France
Éva Guillorel
Germany
Eckhard John
Sigrid Rieuwerts
Georgia
Tamaz Gabisonia
Great Britain
David Atkinson
E. Wyn James
Thomas A. McKean
Kosovo
Arbnora Dushi
Latvia
Baiba KrogzemeMosgorda
Lithuania
Modesta LiugaitėČerniauskienė
Austė Nakienė
Ainė Ramonaitė
Jurga Sadauskienė
Bronė Stundžienė
Jurgita Ūsaitytė
Varsa Zakarienė
Rūta Žarskienė
Aušra Žičkienė
Russia
Inga Korolkova
Elena Shishkina
Slovenia
Marjetka Golež Kaučič
Marija Klobčar
Marjeta Pisk
Ukraine
Olha Kolomyyets
Larysa Lukashenko
Oksana Mykytenko
Olena Serko
Larysa Vakhnina
Ihor Yudkin-Ripun
USA
Maria Herrera-Sobek
Carmen Salazar Sicroff
Mexico
Gilles AniorteTomassian
Mario Lopez Garcia
Martha Maria Lopez
Ramos
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Gilles ANIORTE-TOMASSIAN
Producer
Chicago, USA / Mexico City, Mexico
gilles_aniorte@yahoo.com
Dr. David ATKINSON
London, England
david.atkinson@zen.co.uk
Delia DATTILO
PhD student
University of Cagliari
Italy
dattilodelia@gmail.com
Dr. Arbnora DUSHI
Department of Folklore, Institute of Albanology
Pristina, Kosovo
arbnoradushi@hotmail.com
Assoc. Prof., Dr. Tamaz GABISONIA
Ilia State University
Tbilisi, Georgia
tamaz.gabisonia@iliauni.edu.ge
Assoc. Prof., Dr. Marjetka GOLEŽ KAUČIČ
Institute of Ethnomusicology of the Scientific Research Centre of the
Slovene Academy of Sciences and Arts
Ljubljana, Slovenia
Marjetka.Golez-Kaucic@zrc-sazu.si
Dr. Éva GUILLOREL
University of Caen Normandy
Caen, France
eva.guillorel@unicaen.fr
Prof. Maria HERRERA-SOBEK
University of California
Santa Barbara, California, USA
maria.sobek@ucsb.edu
58 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Assoc. Prof. Eri IKAWA
Ohkagakuen University
Aichi, Japan
ikawa@ohkagakuen-u.ac.jp
Prof. Emeritus E. Wyn JAMES
School of Welsh, Cardiff University
Wales
JamesEW@cardiff.ac.uk
Dr. Eckhard JOHN
Centre for Popular Culture and Music of University of Freiburg
Germany
eckhard.john@zpkm.uni-freiburg.de
Dr. Marija KLOBČAR
Institute of Ethnomusicology of the Scientific Research Centre of the
Slovene Academy of Sciences and Arts
Ljubljana, Slovenia
marija.klobcar@zrc-sazu.si
Assoc. Prof., Dr. Olha KOLOMYYETS
Ivan Franko National University of Lviv
Ukraine
okolom@gmail.com
Assoc. Prof., Dr. Inga KOROLKOVA
Saint-Petersburg State Conservatory
Russia
inga-korolkova@yandex.ru
Dr. Baiba KROGZEME-MOSGORDA
Institute of Literature, Folklore and Art of the University of Latvia
Riga, Latvia
baibakm@inbox.lv
Modesta LIUGAITĖ-ČERNIAUSKIENĖ
Researcher
Institute of Lithuanian Literature and Folklore
Vilnius, Lithuania
modesta.liugaite@gmail.com
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Mario LOPEZ GARCIA
Traditional singer
Zacatecas, Mexico
https://www.facebook.com/profile.php?id=100004549154949
Dr. Martha Maria LOPEZ RAMOS
National Autonomous University of Mexico
Fresnillo, Mexico
mmlopez.ramos@gmail.com
Larysa LUKASHENKO
Researcher
Mykola Lysenko National Music Academy
Lviv, Ukraine
larysa.lukashenko@gmail.com
Dr. Thomas A. MCKEAN
Elphinstone Institute, University of Aberdeen
Scotland
t.a.mckean@abdn.ac.uk
Dr. Oksana MYKYTENKO
M. Rylsky Institute of Art Studies, Folklore and Ethnology
Kyiv, Ukraine
oksana_mykytenko@hotmail.com
Dr. Austė NAKIENĖ
Institute of Lithuanian Literature and Folklore
Vilnius, Lithuania
auste@llti.lt
Anastasiya NIAKRASAVA
PhD student
Institute of Musicology, University of Warsaw
Poland
nasta.niakrasava@gmail.com
Dr. Janika ORAS
Estonian Folklore Archives of Estonian Literary Museum
Tartu, Estonia
janika@folklore.ee
60 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Prof. Ana Maria PAIVA MORÃO
University of Lisbon
CLEPUL/Grupo de Investigação de Tradições Populares
Portugal
anapmorao@gmail.com
Riikka PATRIKAINEN
PhD student
University of Eastern Finland
Joensuu, Finland
riikpat@uef.fi
Eero PELTONEN
Traditional singer, Cultural educator
Helsinki, Finland
eero@eeropeltonen.fi
Dr. Marjeta PISK
Institute of Ethnomusicology of the Scientific Research Centre of the
Slovene Academy of Sciences and Arts
Ljubljana, Slovenia
mpisk@zrc-sazu.si
Prof. Emeritus Gerald PORTER
University of Vaasa
Finland
gerald.porter@uwasa.fi
Prof., Dr. Ainė RAMONAITĖ
Institute of International Relations and Political Science, Vilnius University
Vilnius, Lithuania
aine.ramonaite@tspmi.vu.lt
Prof., Dr. habil. Sigrid RIEUWERTS
Johannes Gutenberg University
Mainz, Germany
rieuwerts@uni-mainz.de
Assoc. Prof., Dr. habil. Andrew C. ROUSE
University of Pécs
Hungary
rouseatmartonfa@gmail.com
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Liina SAARLO
Researcher
Estonian Folklore Archives of the Estonian Literary Museum
Tartu, Estonia
liina@folklore.ee
Dr. Jurga SADAUSKIENĖ
Institute of Lithuanian Literature and Folklore
Vilnius, Lithuania
jurga.sadauskiene@gmail.com
Prof. Emerita Carmen SALAZAR SICROFF
Los Angeles Valley College
USA
salazac@aol.com
Dr. Taive SÄRG
Estonian Folklore Archives of the Estonian Literary Museum
Tartu, Estonia
taive@folklore.ee
Dr. Mari SARV
Estonian Folklore Archives of the Estonian Literary Museum
Tartu, Estonia
mari@haldjas.folklore.ee
Olena SERKO
PhD student
Mykola Lysenko National Musical Academy
Lviv, Ukraine
len922@ukr.net
Dr. Olha SHARAYA
The Centre for Belarusian Culture, Language and Literature Research
Minsk, Belarus
scharolga@gmail.com
Dr. Elena SHISHKINA
State Astrakhan Scientific and Methodological Centre of Folk Culture
Astrakhan, Russia
shishkina.helena@yandex.ru
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Assoc. Prof., Dr. Bronė STUNDŽIENĖ
Institute of Lithuanian Literature and Folklore
Vilnius, Lithuania
brone@llti.lt
Theang TERON
MA student
University of Tartu
Estonia
coreykarbi@gmail.com
Michele TITA
MA student
University of Tartu
Estonia
michele.tita94@gmail.com
Dr. Jurgita ŪSAITYTĖ
Institute of Lithuanian Literature and Folklore
Vilnius, Lithuania
j.usaityte@gmail.com
Prof., Dr. habil. Larysa VAKHNINA
M. Rylsky Institute of Art Studies, Folklore and Ethnology
Kyiv, Ukraine
lvakhnina655@gmail.com
Dr. Olimbi VELAJ
Aleksandër Moisiu University
Durrës, Albania
olimbiolimbi@gmail.com
Dr. habil. Ihor YUDKIN-RIPUN
M. Rylsky Institute of Art Studies, Folklore and Ethnology
Kyiv, Ukraine
dr.iyudkin@gmail.com
Varsa ZAKARIENĖ
PhD student
Lithuanian Academy of Music and Theatre
Vilnius, Lithuania
varsaru@gmail.com
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Dr. Rūta ŽARSKIENĖ
Institute of Lithuanian Literature and Folklore
Vilnius, Lithuania
ruta@llti.lt
Dr. Aušra ŽIČKIENĖ
Institute of Lithuanian Literature and Folklore
Vilnius, Lithuania
ausrazic@llti.lt
D. Dattilo