Calendar-song tradition of Middle Shchara in the context of the ethnographical borderland

Ethnomusic ◽  
2018 ◽  
Vol 14 (1) ◽  
pp. 74-86
Author(s):  
Nastassia Danilovich ◽  
Keyword(s):  
Field Research ◽  
Round Dance ◽  
Game Type

The article considers a calendar-song tradition of Middle Shchara – an ethnocultural area, located at the crossborder region of the Western and Central Polesye, Belarusian Ponemon’e and Central Belarus. Ethnomusicological field research recordings of the Belarusian State Academy of Music to Lyahovichskij (1982 – headed by V. Soltan, 1993 – headed by L. Kostyukovets), Ivatsevichi (2004 – head by T. Berkowitz), Baranovichi (2015 – headed by L. Barankiewicz) districts, Brest region, were mainly used for typological research. The correspondence were found in the winter repertoire of Middle Shchara between the existence of the old Kaliada tunes as well as clearly defined Kaliada game type “Goat” tunes. Notably children's round dance-games are used as Kaliada (Christmas) and Spring games. Valachobny tunes were used not only as a part of Vyalikdzien (Easter) greetings but also as general Spring and St. George's tunes. The existence of special “Yurovy” (St. George?s Day) round dance tune were discovered in the Middle Shchara locus. The special unique performing manner of local midsummer (Kupala) tunes were elaborated. The notable tinge of style of this region are Stippling fixations and variety of reaping tunes with interweaving manifestations song styles of Polesye and Ponemon’e. The Middle Shchara autumn repertoire, is elaborated as of notable accordance to the time of harvesting of flax songs of love or family domestic subjects. Peculiarities of the calendar-song tradition of Middle Shchara described as pertaining of the ethnoregional borderland, which is manifested in combination of attributes not only of Polesye (Western, Central and even the East) and Ponemon’e, but also the Central Belarusian song areals.

Observations On the Sexual Behaviour of Some Longicorn Beetles, Subfamily Lepturinae (Coleoptera, Cerambycidae)

Behaviour ◽  
1963 ◽  
Vol 22 (1-2) ◽  
pp. 152-166 ◽  
Author(s):  
Axel Michelsen
Keyword(s):  
Comparative Analysis ◽  
Sexual Behaviour ◽  
The State ◽  
Round Dance ◽  
Selection Of ◽  
Stimulation Of

AbstractA description is given of the sexual behaviour of 16 longicorn beetles of the subfamily Lepturinae. The following points have been investigated:- 1. Stimulation of the female performed by the male either as a "licking" or combined "licking and tapping" of the female elytra or the grasping of an antenna of the female. 2. Movements of the antennae of the male, which seem to be an expression of the "state of excitement" of the male. These movements are in principle thought to be one of the behaviour patterns originally present in the order Coleoptera. 3. A "round dance", one of the methods for the female to throw off the male after copula, is described. 4. A selection of partner according to size is described in the genus Rhagium. 5. A comparative analysis is attempted for some species and systematic conclusions of such comparisons are proposed.

scholarly journals Round-dance neighbour designs from terraces

2003 ◽  
Vol 266 (1-3) ◽  
pp. 69-86 ◽  
Author(s):  
R.A. Bailey ◽  
M.A. Ollis ◽  
D.A. Preece
Keyword(s):  
Round Dance

scholarly journals 11. Continuity and Reinvention

2020 ◽  
pp. 317-342
Author(s):  
Sille Kapper
Keyword(s):  
Twentieth Century ◽  
Local Community ◽  
Folk Dance ◽  
Dance Movement ◽  
Traditional Dance ◽  
Round Dance ◽  
The Relationship

Kapper (Estonia) focuses mainly on the twentieth century, basing her discussion on information from folk dance collectors and researchers connected to the folk-dance movement. She surveys round dance forms described or referred to as part of this information, and discusses the relationship between round dances and other dances in a local community, particularly if that community was known as a stronghold of traditional dance. She also refers in brief to the folk-dance movement. In this way, she includes two of the groups mentioned above: the ‘dancing crowds’ and the folk dancers, and discusses the place round dancing has within each.

scholarly journals Motives and Images of Folk Laughter Cultures as the Commonplaces of the Soviet Carnival of 1920–1930

2021 ◽  
pp. 223-248
Author(s):  
Sergey Alpatov ◽  
Keyword(s):  
Urban Environment ◽  
20Th Century ◽  
The Political ◽  
Common Elements ◽  
Political Situation ◽  
Traditional Calendar ◽  
Social Stereotypes ◽  
May Day ◽  
Round Dance

The article is devoted to the study of the problem of continuity between images, motives, poetic clichés of Russian as well as Jewish folk cultures and components of the laughter discourse of the Soviet era. Genre patterns (procession, round dance, game, street song, everyday wit), chronotope (Pesach / Easter / May day), archetype (a dying and resurrecting hero), ethnical and social stereotypes (“aliens”), ritual objects (carnival carriage; matzo vs Easter baking), grotesque rhymes (“matzo – lamza-dritsa”) are analyzed on the basis of the popular city song “Tram No. 9”, ditties, memoirs, satirical wall newspapers. Those elements of the traditional laughter culture of the Slavs and Jews had been actively interacted in the urban environment at the turn of the 19th–20th centuries, was exploited by the Soviet carnivals of the 1920s–1930s, and remained in Russian folklore of the second half of the 20th century. The study demonstrates that the scriptwriters and actors of the Soviet carnivals borrowed some of the brightest and at the same time common elements of folk laughter culture, which formed extremely labile semantic ties outside the traditional calendar and everyday contexts changing their content in agreement with the political situation. At the same time, the basic techniques and bottom semantics of the folk comic remain unchanged.

scholarly journals “The Starry Round Dance”: Mastering the Universe by the Means of Folk Choreography in the USSR of the 1960s

2021 ◽  
pp. 38-47
Author(s):  
I. V. Narskiy ◽  
◽  
Keyword(s):  
Space Exploration ◽  
Historical Context ◽  
Point Of View ◽  
The Moon ◽  
The Future ◽  
Round Dance ◽  
The 1960S ◽  
Short Time ◽  
The Universe

In 1961, Tatiana Ustinova, the choreographer of the famous Pyatnitsky Choir, choreographed “To the Stars”, the first dance on the theme of space exploration in the Soviet repertoire. The suite, in the Russian pseudo-popular style, told of the Russian cosmonaut's encounter with the moon and stars. However, this work remained in the repertoire of the famous chorus for a relatively short time. How to assess the emergence and disappearance of this dance from the point of view of a historian? To answer this question, the choreographic event is placed within the Soviet historical context of the Thaw and the dance-artistic context of 1930s – 1960s. The paper shows that a combination of circumstances outside and within Soviet choreography was not favourable for the conjuncture of space dance in the USSR. The pathos of a break-through into the future expired soon after Khrushchev resigned, the boundless pride for the unparalleled leap forward was superseded by the bitterness of the untimely loss of the first man in space and the success of the American space programme, and the language of Soviet choreography was hopelessly anachronistic for description of a new reality. But the very attempts to portray space on the dance stage are evidence of the incredible popularity and ubiquity of the theme of space in the USSR in the early 1960s.

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