483 qarTuli eTnomusikologia da genderis sakiTxi qarTul simReraSi

483
nino nino nino nino nino ciciSvili
ciciSvili
ciciSvili
ciciSvili
ciciSvili
qarTuli qarTuli eTnomusikologia eTnomusikologia da da genderis
genderis
sakiTxi sakiTxi qarTul qarTul simReraSi
simReraSi
Cemi moxsenebis mizania gavaanalizo qarTvel eTnomusikologTa naSromebSi
warmodgenili Teoriebi qarTuli simReris sqesobrivi struqturebis
Sesaxeb, da azrobrivad davakavSiro Cemi mimoxilva dasavle-
Tis socialur da kulturul gamokvlevebSi arsebuli genderis TeoriebTan.
sqesi rogorc analitikuri kategoria dasavleTis mecnierebaSi
da musikismcodneobaSi SedarebiT axali kvleviTi mimarTulebaa
(Koskoff, 2000; Sugarman, 1997; Diamond and Moisala, 2000; Herndon and Ziegler,
1990), da misi ganviTareba mniSvnelovanwilad gamoiwvia qalTa politikur
da ekonomikur mdgomareobaSi momxdarma cvlilebebma.
qarTul eTnomusikologiaSi sqesi ar gamxdara kvlevis calkeuli
analitikuri kategoria. qarTulma eTnomusikologiam Sesabamisad
gamoimuSava mamakacTa mier dominirebuli qarTuli mravalxmiani sasim-
Rero tradiciis Sida (Signidan) xedvis tradicia. genderisadmi miZRvnil
eTnomusikologiur literaturaSi mravalgzis aRniSnula, rom
sqesi kulturis erT-erT iseT aspeqts warmoadgens, romelic xSirad
faruladaa gamovlenili, da mis Sesaxeb sazogadoebaSi Ria msjeloba
da jerovani gaazreba ar arsebobs (Sugarman, 1997).
mamakacTa wamyvani roli qarTul mravalxmian simReraSi marTlac
imdenad miRebuli realobaa, rom xalxi da sazogadoeba tradiciaSi
arsebul sqesobriv asimetrias mainca da mainc kritikul-Semfasebluri
kuTxiT ar aRiqvams. rogorc Sugarmeni aRniSnavs, anTropologiaSi gamomuSavda
e.w. kulturuli relativizmis tradicia, da am tradiciaze
dayrdnobiT eTnografebs araerTgzis gamouTqvamT mosazreba, rom
yovel sazogadoebas aqvs ufleba gamoimuSaos samyaros xedvis Taviseburi,
dasavlurisagan gansxvavebuli modeli (Sugarman, 1997:26). marTlac,
SeiZleba vTqvaT, rom qarTulma Tu nebismierma sxva kulturam
gamoimuSava musikaluri Semoqmedebis sqesobrivi organizaciis saku-
Tari koncefcia, romelic gansxvavdeba sxva, maT Soris dasavlur kulturaSi
arsebuli azrovnebis modelisagan. saWiroa Tu ara am gansxvavebuli
azrovnebis modelebis TanamSrobloba, rodesac vikvlevT erT
kulturas, am SemTxvevaSi, qarTul mravalxmian simReras?
zogierTi qarTuli dialeqtis sasimRero tradiciaze dakvirveba
gviCvenebs, rom xSirad sazogadoebis wevrebs ar gaaCniaT mkafiod Camoyalibebuli,
Teoriis an ideologiis saxiT arsebuli modeli. maT xSirad
ara aqvT gaazrebuli (an ar gamoTqvamen) Tu ra rols asrulebs sqesis
faqtori maTi qmedebebisa da identurobis/pirovnulobis CamoyalibebaSi.
rogorc socialur TeoriaSia cnobili, sazogadoebebi ZiriTadad
imeoreben da agrZeleben memkvidreobiT miRebul stereotipul
rwmenebs da qmedebebs da ar ganixilaven maT kritikul-Semfaseblu-

484
nino ciciSvili
ri kuTxiT. miuxedavad amisa, Cemi savele muSaobis procesSi, eTnoforebTan
azrTa urTierTgacvlisas, aSkara gaxda rom kulturul-konceptualuri
barieri momRerlebsa da Cems Soris arc Tu ise gadaulaxavia,
rogorc adre meCveneboda da saerTo enis gamonaxva folkloristebsa
da momRerlebs Soris konceptualur-ideologiur sakiTxebze
SesaZlebelia. amis gamo da, agreTve dRevandel viTarebaSi kulturaTa
Soris kontaqtis zrdasTan dakavSirebiTac, mimaCnia rom dResdReobiT
mizanSewonili iqneba kulturul relativizme damyarebuli
mxolod Sida xedvis magier gamovimuSavoT saerTo TvalTaxedva da
kvlevis meTodebi iseT sakiTxebze, rogoric genderia.
moxsenebaSi Cems yuradRebas SevaCereb zogierT qarTul eTnomusikologiur
naSromze, romelSic laparakia qarTul simReraSi genderuli
urTierTobebis sakiTxebze. Cems mimoxilvas daviwyeb qarTuli
eTnomusikologiis damaarseblis, dimitri arayiSvilis naSromebidan.
arayiSvilis azrebi qarTuli simReris sqesobrivi aspeqtebis
Sesaxeb eTnografiul-aRweriTi da amave dros interpretatiulia
patriarqaluri ideologiis farglebSi. magaliTad, fSaur simReraze
saubrisas arayiSvilma daaxasiaTa fSavlebi, rogorc mamakacTa sqesi,
xolo fSavi qalebi daaxasiaTa, rogorc mamakacTa Tayvaniscemis sagani:
`fSavlebi – saSualo simaRlis da Zlieri aRnagobis, moparsuli
TaviT da wveriT... mSvenieri qalis luRluRs isini adareben indoeTidan
mofrenil mercxals, xolo mis sxeuls ki zRvis piras amosul
lerwams~ (arayiSvili, 1916:145-6).
arayiSvili genders ganixilavda qalTa mdgomareobis Suqzec
[ïîëîæåíèå æåíùèíû] (arayiSvili, 1916:160), rac safiqrebelia rom me-
20 saukunis dasawyisSi ruseTSi feminizmisa da zogadad revoluciuri
moZraobis zrdis gavlenis Sedegic iyo, ramac 1905 wels saqar-
TveloSi feministuri organizaciis Seqmna gamoiwvia. arayiSvilis msjeloba
sazogadoebaSi qalis statusis SeiZleba gavigoT rogorc orazrovani
mcdeloba progresuli dasavluri Sexedulebebis adgilobriv
patriarqalur moralTan dakavSirebisa. magaliTad arayiSvili qalTa
seqsualuri qcevis SezRudvas da kontrols mamakacTa mier aRiqvamda,
rogorc sazogadoebaSi qalis maRali statusis niSans.
arayiSvili agreTve Seexo sasimRero stilis sqesobrivi gansxvavebis
sakiTxs gurul folklorSi (1911:121-203). misi dakvirvebiT gurul
qalTa musika ufro `esTeturi~ da `mSvenieria~ mamakacTa `originalur~
da `novatorul~ stilebTan SedarebiT. man faqtobrivad mamakacTa
sasimRero stili daaxasiaTa rogorc normatiuli guruli folklorisaTvis,
rogorc mTavari stiluri kriteriumi, romlis safuZvelzec
unda momxdariyo guruli simReris diferencireba sxva sasimRero
dialeqtebisagan (239-253). xolo svanuri da mTis raWuli folkloris
daxasiaTebisas man aRniSna erToblivi cekva-simReris tradicia.
grigol CxikvaZem, romlis ZiriTadi naSromebi 1940-ian-1960-ian
wlebSi Seiqmna, aRmosavleT saqarTvelos qalTa repertuaridan gamo

qarTuli eTnomusikologia da genderis
sakiTxi qarTul simReraSi
485
hyo saritualo simReris ramdenime Janri da daaxasiaTa isini, rogorc
`musikaluri azrovnebis~ `met-naklebad arqauli formebi~ `SezRuduli
musikaluri SinaarsiT~ (1948:42), rogorc Cans, mamakacTa ufro ganvi-
Tarebul JanrebTan SedarebiT.
mogvianebiT, 1980 wlis publikaciaSi (The New Grove Dictionary of Music
and Musicians) grigol CxikvaZem mkveTrad Camoayaliba zogadad qar-
Tul xalxur musikaSi mkacri sqesobrivi reglamentaciis Teoria:
`qarTvelebi saerTod ar mRerian Sereul ansamblebSi: mravalxmiani
simRerebi sruldeba erTi sqesis gundis mier, ZiriTadad mamakac-
Ta. xolo im ojaxebSi, romlebmac Semoinaxes da gadmosces Tavisi
sakuTari musikaluri tradiciebi, yvela wevri ganurCevlad asakisa
da sqesisa, mReris sagundo simRerebs~ (CxikvaZe, 1980:361).
rogorc Cans, CxikvaZes ar gauTvaliswinebia arayiSvilis dakvirveba
svaneTsa da mTis raWaSi kacTa da qalTa erToblivi simReris Sesaxeb
da arc ojaxuri simReris tradicia iyo misTvis Sereuli simReris arsebobis
damamtkicebeli sabuTi.
aslaniSvili (1954; 1956) aseve mkveTrad ganasxvavebda qalTa da
mamakacTa repertuars. miuxedavad amisa, man SeniSna, rom qalebs SeeZloT
monawileobis miReba mamakacTa SesrulebebSi da iseT simRerebSi,
rogorebicaa sufruli, gansakuTrebiT ki saferxulo da sacekvao sim-
Rerebi. aslaniSvils magaliTad mohyavs maro da ekaterine TarxniSvilebi.
aslaniSvilis am ukanasknel mosazrebasTan dakavSirebiT sainteresoa
ediSer garayaniZis SeniSvna cnobil qarTvel momReral qalTa
Sesaxeb:
`qarTuli xalxuri simReris Sesrulebis istorias amSvenebs SesaniSnav
momReral qalTa saxelebi... Tumca isini ZiriTadad mamakacTa
repertuars asrulebdnen da qalTa namdvil repertuars maT SemoqmedebaSi
umniSvnelo adgili ekava~ (garayaniZe, 1997).
qalTa tradiciuli musikis Seswavla saqarTveloSi 1980-ian wleb-
Si daiwyo. kvlevas awarmoebdnen qarTveli qali-mkvlevarebi n. zumba-
Ze, n. kalandaZe-maxaraZe, T. mesxi.
nato zumbaZem (1993:43-45) qalTa simRerebis ori ZiriTadi kategoria
gamokveTa, romlebic, misi azriT, xSirad literaturaSi arasworadaa
Serwymuli: 1) qalTa simRerebi da 2) simRerebi, romlebic sruldeba
qalTa mier. pirvel kategorias ganekuTvneba simRerebi, romlebic
`qalTa socialur wres~ ganekuTvnebian (43), maSin, roca meore kategorias
iseTi simRerebi ganekuTvneba, romlebic SesaZlebelia qalebmac
Seasrulon, Tumca isini qalTa socialur aqtivobasTan ar arian
dakavSirebuli. mkvlevarma agreTve aRniSna mamakacTa sasimRero stilebis
upiratesoba qalTa stilebTan SedarebiT. sqesobrivi segregaciis
Teoriam moralur-ideologiuri formebic miiRo da sasimRero
ansamblebis Seqmnisas sqesobrivi dayofis kriteriums erT-erTi wamyvani
mniSvneloba mianiWa (zumbaZe, 2001:319-320).
amgvarad, qarTvelma mkvlevarebma daamkvidres sqesobrivi principiT
mkacrad reglamentirebuli simReris Teoria, romelic xSirad

486
nino ciciSvili
ugulebelyofda zogierT dialeqtSi qalTa da mamakacTa saerTo repertuaris
arsebobis faqtebs, rogorc amas arayiSvili aRniSnavda svaneTsa
da mTis raWaSi. marTalia, eTnomusikologebs, arayiSvilis Semdgom,
aRuniSnavT ziari repertuaris arsebobis faqti, isini aseT erTobas
ganixilavdnen rogorc gviandel movlenas da rogorc qalTa mier
mamakacTa simRerebis sesxebas. magaliTad, maro TarxniSvilma simRera
bavSvobaSi, Tavis sofelSi iswavla da Tavisi sakuTari variantebi Seqmna.
miuxedavad amisa, mas ganixilaven rogorc qal momRerals, romelic mamakacTa
simRerebs asrulebda. aseve ar gamokvleula qarTul folkloristikaSi
mravalxmian sasimRero stilebSi realurad arsebuli sqesobrivi
ganxvavebebis bevri socialur-kulturuli aspeqti, rac ufro TvalnaTliv
dagvanaxebda am gansxvavebebis mizezebsa da konteqstebs.
qarTul simReraSi sqesobrivi msgavseba-gansxvavebebis sakiTxebs
socialuri kuTxiT Tu SevxedavT, SevamCnevT, rom arsebuli mdgomareobis
SeqmnaSi didi wvlili miuZRvis simReraSi mamakacTa dominirebis
faqts da am faqtis ideologiur-moralur damkvidrebas.
sazogadod, qarTul kulturaSi sqessa da simReras Soris urTierToba
ar aris sworxazovani da martivi kategoria, radgan igi sxvadasxvagvaradaa
warmodgenili gansxvavebul istoriul epoqebsa da dialeqtebSi.
am sakiTxis kvleva farTo istoriul, kulturul, da socialur
konteqstSi unda moxdes. Cems mier simRerebze Catarebulma
dakvirvebebma miCvenes, rom xSirad repertuarebisa da stilebis sqesobrivi
gamijvna xalxSi arsebuli simReris sqesobrivi reglamentaciis
wesebidan ar gamomdinareobs. aseTi gamijvna qalTa sazogadoebriv
cxovrebaSi aqtiuri monawileobidan gamoricxvis safuZvelze xdeba.
ase magaliTad, sufraze qalebi Zalian pasiur sazogadoebriv rols
asruleben, rodesac mamakacebi simReraSi da sityvis TqmaSi aqtiuroben,
qalebi imave sivrceSi samzadisisa da sufris momsaxurebis, an ubralod
mowmis/damkvirveblis funqcias asruleben.
aseve unda gaviTvaliswinoT sasimRero tradiciaSi mimdinare epoqaluri
cvlilebebi. kerZod, meoce saukunis dasawyisSi gasabWoebas-
Tan, urbanizaciasTan da agreTve xalxuri simReris sakoncerto Sesrulebis
aRmocenebasTan erTad daiwyo qalTa da mamakacTa repertuarebis
urTierTgacvla. qalTa mier mamakacTa repertuaris da stilebis
daufleba gansakuTrebiT aSkara gaxda, rac logikuria Tu gaviTvaliswinebT
rom gasabWoebamde qalebs mamakacebisgan gansxvavebiT, sajarod
simReraze mainca da mainc xeli ar miuwvdebodaT. amis gamo qalebis
gasvla profesiuli da sajaro simReris asparezze, nawilobriv,
gulisxmobda qalTa mier mamakacTa ufro rTuli stilebis aTvisebas.
mamakacTa mravalxmiani stilebis upiratesoba qalTa stilebTan
SedarebiT aseve ganxiluli unda iqnas socialur da istoriul konteqstebSi.
magaliTad aucileblad unda gaviTvaliswinoT, rom saqar-
Tvelos sazogadoebis did nawils istoriulad miRebuli hqonda egreT
wodebuli `Rirsebisa da sircxvilis~ faseulobaTa sistema, romelic
anTropologebma gamoyves xmelTaSuazRvispireTis kultureb

qarTuli eTnomusikologia da genderis
sakiTxi qarTul simReraSi
487
Si (Gilmore,1987). am tipis (da ara marto) kulturebSi qalebs ar gaaCniaT
damoukidebeli socialuri statusi, xeli ar miuwvdebaT sazogadoebrivi
marTvis institutebze, qorwinebis, ganqorwinebis da reproduqciis
uflebebze. elen koskovis sityvebs Tu moviyvan, `msgavs socialur
formebs Tan axlavs sqesTa mimarT araTanasworuflebiani midgoma
romelic qalebs damokidebul mdgomareobaSi aqcevs~ (Koskoff,
1991:772).
aqve minda movixsenio eTnomusikolog karen peglis epigrafi,
romelic mkvlevarma warumZRvara Tavis statias. statia eZRvneba imas,
Tu ra gavlenas axdens teqnologia/aparatura studentebis mier
musikaluri saklaso oTaxis sivrcis aRqmaze. aRniSnul kvlevaSi aqcentirebulia
sqesobrivi gansxvavebebis faqtori. `...Cveni damoukideblad
azrovnebis, inteleqtualuri riskisa da TviTrwmenis unari ganuyofelia
samyaroSi Cveni fizikuri yofnisagan~ (Pegley, 2000:306). marTlac, Tu
gaviTvaliswinebT qarTvel qalTa damokidebul mdgomareobas sazogadod
da istoriul WrilSi, ar iqneba gasakviri, rom maTi sasimRero
stilebi ZiriTadad gacilebiT Camouvardebian mamakacTa stilebs. unda
aRvniSno, rom zogierT profesional momReral qals, romelsac
savele muSaobisas Sevxvdi, miaCnda, rom qalebi sazogadod niWisa da
unaris mxriv gacilebiT Camouvardebian mamakacebs. mravali maTgani
simReras da musikosobas TavianTi socialuri movaleobebisa da sazogadoebaSi
dedobrivi, patriotuli, megobruli da qaluri funqciebis
gagrZelebad miiCnevda. qalebi Tavs uflebas ar aZlevdnen gadaelaxaT
musikis funqciuri aRqma, TviTCaRrmavebuli, wminda musikaluri
aqtivobisaTvis mieyoT xeli da yuradReba miepyroT musikaluri
Semoqmedebis teqnikur aspeqtebze. rodesac istoriis manZilze ase-
Ti SemTxvevebi gamonaklisebis saxiT gvqonda, rogorc es maro TarxniSvilisa
Tu sxva momReral qalTa SemTxvevaSi moxda, eTnomusikologebma
isini ver aRiqves, rogorc normatiuli fenomeni mamakacTa mier
dominirebuli sasimRero kulturis konteqstSi, albaT, maTi mcirericxovnobis
gamoc.
daskvnis saxiT minda aRvniSno, rom qarTul simReraSi da ufro
farTod Semoqmedebis nebismier formaSi sqesis aspeqti unda ganvixiloT
adamianTa/SemoqmedTa socialuri poziciidan da im SesaZleblobebidan,
romlebsac maT es socialuri pozicia aniWebs. socialuri
mdgomareoba da cxovrebaSi arsebuli SesaZleblobebi xSirad faruli,
nagulisxmebi saxiT gvaqvs mocemuli. swored amitom, imisaTvis, rom
SesaZlebeli gaxdes musikaluri Semoqmedebis sferoSi arsebuli faruli
genderuli struqturebis gaSifvra da axsna, aucilebelia kvlevis
mravalmxrivi meTodebisa da TvalTaxedvis gamoyeneba, da maTi socialur
da ideologiur faqtorebTan dakavSireba.

The Study of Gender in Georgian Ethnomusicology
491
en’s and men’s singing was based on the fact that Georgian men’s singing appears
to be more elaborate and technically superior compared to that of women. However,
scholars took the superiority of men’s singing at face value and did not analyse
those historical, social, and cultural factors, which have largely determined as well
as supported the continuation of such gender imbalance. For example, they have
not examined women’s and men’s singing within the contexts of patriarchal ideologies.
In particular, the superiority of men’s singing styles over women’s is viewed
within the moral system of “Honour and shame” societies (see Gilmore, 1987), in
which gender relations are marked by rigid rules of social behaviour and women
have little access to public institutions. Such social behaviour is accompanied by
“an unequal evaluation of the sexes that places women in the subordinate position”
(Koskoff, 1991:772).
In the epigraph to her article on the effect of technology on the student’s sense
of place within classroom music education, Karen Pegley cited Adrienne Rich. ‘…capacity
to think independently, to take intellectual risks, to assert ourselves mentally,
is inseparable from our physical way of being in the world’ (Pegley, 2000: 306). If
I relate this epigraph to Georgian traditional culture and the women’s subordinate
position in this culture, gender difference and the male domination of Georgian polyphonic
singing will seem to be a socially and culturally determined reality.
The Georgian ethnomusicologists’ analyses of gender difference in traditional
singing lack critical approaches to the patriarchal ideologies that have governed
Georgian society and culture. This led ethnomusicologists to adopt essentialist and
insider-oriented concepts about gender. Within these concepts women’s performance
of so-called “real” female genres and styles was more approved than the adoption of
more technically elaborate but conventionally male genres and styles.
Notes
1 Pshavi is one of the dialect areas in the east Georgian Mountains. Pshavs are the dialectal
group who lives in Pshavi respectively.
2 Guria is a dialect area in western Georgia.
3 Mtis Racha and Svaneti are situated in the Mountains of west Georgia.
4 Edisher Garakanidze tragically died in a car accident in 1998, at the age of 41, together with
his wife and daughter.
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