The Fifth International Symposium on Traditional Polyphony ...
The Fifth International Symposium on Traditional Polyphony ... The Fifth International Symposium on Traditional Polyphony ...
314 Daiva Račiūnaitė -Vyčinienė Lithuanian sutartinės tradition Sutartinės were sung at work, weddings and calendar festivals. Many of them were associated with very solemn rituals. For example, after a day of harvesting rye, women would lodge their sickles in a sheaf of rye and turn to the sun.
Lithuanian and Ainu Vocal Polyphony: Certain Parallels 315 Some of the analogies I’ve differentiated undoubtedly could be universal, equally characteristic of the Lithuanian and Ainu vocal polyphony as well as of the polyphonic traditions of other nations (e.g., predominance of singing by women, ritualistic origin of songs, synchronisation of music-dance-poetry, singing like the piping of birds and the like). Actually there are even more mysterious similarities, e.g., 5-string cittern-type of instruments are known in the traditions of both countries: the Lithuanian kanklės (used only to play polyphonic sutartinės (fig. 11, 12) and the Ainu tonkori (fig. 13, 14).
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314<br />
Daiva Račiūnaitė -Vyčinienė<br />
Lithuanian sutartinės traditi<strong>on</strong><br />
Sutartinės were sung at work, weddings and calendar<br />
festivals. Many of them were associated with very<br />
solemn rituals. For example, after a day of harvesting<br />
rye, women would lodge their sickles in a sheaf of<br />
rye and turn to the sun. <str<strong>on</strong>g>The</str<strong>on</strong>g>y would sit and bow<br />
while singing sutartinės to thank the sun for a good<br />
day. [“Once seeing the sun takin’ a sit down, the<br />
women folk put the rye bundles down in fr<strong>on</strong>t of<br />
them and poke their sickles in ‘em. <str<strong>on</strong>g>The</str<strong>on</strong>g>n they turn<br />
‘round to face the sun and chant this here sutartinė,<br />
givin’ thanks to the sun for this day. <str<strong>on</strong>g>The</str<strong>on</strong>g>y sit with<br />
their hands together, look <strong>on</strong> the sun and swing to<br />
an’ fro, chantin’ as the sun slinks away” (Karolina<br />
Statulevičienė thusly described the chanting of the<br />
sutartinė s<strong>on</strong>g, Saulala sadina)] 123 .<br />
Lithuanian sutartinės traditi<strong>on</strong><br />
7) Ritual nature of s<strong>on</strong>gs<br />
Resp<strong>on</strong>dents reported that women most often per–<br />
formed the sutartinės. <str<strong>on</strong>g>The</str<strong>on</strong>g> men <strong>on</strong>ly played <strong>on</strong> wo–<br />
odwind and string instruments (excepting certain<br />
cases). <str<strong>on</strong>g>The</str<strong>on</strong>g> highly archaic c<strong>on</strong>necti<strong>on</strong> between wo–<br />
men and singing does not have a clear-cut expla–<br />
nati<strong>on</strong> and it requires more in-depth discussi<strong>on</strong>. <str<strong>on</strong>g>The</str<strong>on</strong>g><br />
roots of this phenomen<strong>on</strong> can go as far back as the<br />
matriarchal period. In the worldview of agricultural<br />
people, singing by women is particularly meaningful.<br />
Women exclusively performed the oldest sutartinės<br />
(fig. 9). In truth, there are some commentaries that<br />
men would also participate in the dancing. However,<br />
such evidence is scant and generally refers to the<br />
sutartinės of later periods 24 . Both women and men<br />
(of 4-10 and, sometimes, up to 20 singers) can sing<br />
collective sutartinės.<br />
Ainu traditi<strong>on</strong><br />
8) Mainly a female singing traditi<strong>on</strong><br />
According to I. Kudobera, upopos are sacral festival<br />
s<strong>on</strong>gs (matsuri-no uta in Japanese) (Majewicz, 1983:<br />
115).<br />
However, even such everyday s<strong>on</strong>gs have sacred ra–<br />
ther than mundane meanings. “Chants like the kar<br />
Upopo (sake-making s<strong>on</strong>g) and the iyuta Upopo (the<br />
pounding s<strong>on</strong>g)… are not labor s<strong>on</strong>gs; rather they are<br />
magic-oriented, for they are sung to ward off evil<br />
spirits” (Tanimoto, 1999: 283) (fig. 8).<br />
Ainu traditi<strong>on</strong><br />
<str<strong>on</strong>g>The</str<strong>on</strong>g> prevailing opini<strong>on</strong> is that the upopo is sung<br />
mainly by women (fig. 10). “Upopo starts when men<br />
bring the lid of a chest from a treasure altar and hand<br />
it to a Fuchi ‘old woman’ after a ritual or cerem<strong>on</strong>y.<br />
<str<strong>on</strong>g>The</str<strong>on</strong>g>n the women sit around the lid of the ches t” 25 .<br />
However, according to C. Forlivesi, the 1929 NHK<br />
recording features five short but quite elaborate po–<br />
lyph<strong>on</strong>ic pieces by men. Around <strong>on</strong>e minute each,<br />
they actually bel<strong>on</strong>g, in his estimati<strong>on</strong>, to the same<br />
semantic family with few (but interesting) differen–<br />
ces. At the time, these might have sounded like “just”<br />
intricately devised <strong>on</strong>omatopoeias, and the transc–<br />
ribers of the epics “ignored” them as a c<strong>on</strong>sequence”<br />
(Forlivesi, 2004: 79).