Funeral repertoire and the identity of the periphery population: the case of the Raseiniai district

Autor: Žarskienė, Rūta
Jazyk: litevština
Rok vydání: 2019
Předmět:
Zdroj: Lietuvos muzikologija [Lithuanian Musicology]. 2019, 20, p. 177-187.
ISSN: 1392-9313
Popis: Straipsnio autorė nuo 2004 m. tyrinėja iki šiol Žemaitijoje gyvuojančią pučiamųjų instrumentų ansamblių / orkestrų tradiciją, kuri glaudžiai susijusi su šio krašto šermenų apeigomis ir jų muzikine išraiška. Ji, kaip ir dauguma Lietuvos etnologų, manė, kad Žemaičių Kalvarijos Kálnai – pagrindinis katalikiškų laidotuvių kūrinys, kurį atliekant tradiciškai dalyvauja pučiamieji instrumentai, būdingas visam Žemaitijos regionui ir gali būti laikomas netgi jo simboliu. Tačiau 2015 m. Raseinių rajone atlikti lauko tyrimai parodė, kad taip nėra. Čia, kaip ir kitose Žemaitijos vietose, gyvavo stipri pučiamųjų instrumentų ansamblių / orkestrų tradicija, tačiau pagrindinis laidotuvių kūrinys – Švč. Jėzaus Vardo rožinis, o ne Kalnai. Taigi šio straipsnio tyrimo objektas – laidotuvių repertuaras ir jo skirtumai didžiojoje etnografinės Žemaitijos dalyje ir jos paribyje – Raseinių rajone bei šį skirtumą nulėmusios priežastys. Pasitelkusi istorinį, analitinį, pusiau struktūruoto interviu ir geografinį kartografavimo metodus bei pastarųjų metų ekspedicijų duomenis autorė aptaria Žemaičių Kalvarijos Kalnus ir Švč. Jėzaus Vardo rožinį, jų atlikimo savitumus, trumpai apžvelgia Raseinių krašto istoriją ir tarminę situaciją, gilinasi į gyventojų tapatybės ir savimonės klausimus. Atliktas tyrimas atskleidė, kad Raseinių rajone, ypač jo pietrytinėje dalyje, susipina žemaitiška ir aukštaitiška tradicijos, todėl gyventojams sunku tapatintis vien tik su žemaitiškąja tradicija. Tai patvirtina ir šio regiono šermenų repertuaras bei muzikavimo papročiai. The article studies the musical culture of Žemaitija (Engl. Samogitia), the northwestern region of Lithuania. The main focus is placed on funeral repertoire and musical customs characterized by the involvement of brass bands. Variations of the funeral repertoire in the greater part of ethnographic Samogitia and on the periphery of the region, the Raseiniai District, as well as factors which had determined the differences are also analyzed. The author of this article has been researching the brass band tradition, kept alive in Samogitia to this day, and has been conducting fieldwork in the northwestern and central part of the region since 2004. Like most Lithuanian ethnologists, she used to think that the Kálnai of Žemaičių Kalvarija—the main hymns (or rather, rite) of a Catholic funeral—was spread throughout the Samogitia region and could even be considered its symbol. The Kalnai are a coherent sequence of prayers and hymns meant to accompany the walk around the Hills of Žemaičių Kalvarija (Samogitian Calvary) in northwestern Žemaitija—the first Way of the Cross established in the Grand Duchy of Lithuania in the early seventeenth century. The Kalnai are chanted for the living and the dead during Advent, Lent, or other periods, particularly for the deceased person and their relatives during the wake and the first or other anniversary of their passing. Nevertheless, fieldwork conducted in the Raseiniai District in the southeast of Samogitia region in 2015 revealed that the Kalnai were not performed in the area. Like in many other places around Samogitia, this region boasted a strong brass band tradition; however, the main funeral chant was not the Kalnai, but the Rosary of the Blessed Name of Jesus. This finding encouraged the author to take a closer look into this history of the area on the outskirts of the ethnographic region and analyze the identity issue of its population. It was revealed that several centuries ago, Raseiniai was an important administrative center of the Duchy of Samogitia with the Nevėžis River marking the border of Raseiniai County. Administrative reforms carried out under the rule of the Russian Empire in the nineteenth century moved the border of the county westwards closer to the Dubysa River. It is also noteworthy that having been part of the Samogitian Diocese (Lith. Žemaičių vyskupystė) from the fifteenth century, at the beginning of the twentieth century, the province of Raseiniai found itself within the Archdiocese of Kaunas. Maybe this can explain the reason residents in the vicinity of Betygala on the right bank of the Dubysa River in particular have difficulties identifying themselves as true Samogitians (Lith. Žemaičiai) or true Highlanders (Lith. Aukštaičiai). This may also be due to the subdialect of this peripheral area of Samogitia; it is attributed by linguists not to the southern Samogitian dialect spoken by Raseiniai residents, but to the western Highlander dialect prevalent around Šiauliai. Thus, this area may be said to have all the features of a vernacular cultural region whose population is characterized by an intermediate, or mixed, identity. The assumption is corroborated by the funeral repertoire and brass band tradition. Samogitian customs here co-exist with those that are more common to other ethnographic regions of Lithuania but rather rare in Samogitia. Members of a Raseiniai-based traditional brass band, Funeral Orchestra, admit that although they have never played the Kalnai, this rite has gained popularity here over the recent years. For instance, in Girkalnis, Raseiniai District, the Kalnai picked up from “true” Samogitians are sung by parish chanters on one of the nights during a wake and by members of the town’s folk group on Good Friday. Is the chanting of the Kalnai a new, trendy practice of today? Have these hymns been chanted in this area before? To be able to answer these questions, further research is required.
Databáze: OpenAIRE
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