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Nice FRACILE Traditional Minority Music in the Programmes of RTV Vojvodina, Republic of Serbia

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Nice FRACILE Traditional Minority Music in the Programmes of RTV Vojvodina, Republic of Serbia Nice FRACILE Traditional Minority Music in the Programmes of RTV Vojvodina, Republic of Serbia To begin with, I wish to congratulate the Program Committee of the "Music and Minorities" Study Group to put on the agenda of this gathering such a significant, complex and challenging subject as the “Representation of minority music and dance in the mass media and on the marketplace”. Personally, I shall speak on the subject from two standpoints, or, two kinds of professional experience: on the one hand, as an editor of Folk Music Department of Radio-Television Novi Sad (former name of RTV Vojvodina) which post I held for twenty years, and, on the other hand, as a professor of ethnomusicology at the Novi Sad Academy of Arts (University of Novi Sad) where I have been working for the last ten years maintaining close working relations with the said broadcaster. This paper is going to primarily focus on the role and significance of RTV Vojvodina with regard to the traditional music of national/ethnic minorities in Vojvodina: making it available to public through broadcasting, promotion, (tape-) recording, safeguarding and evaluation – ever since the broadcaster's foundation until the present day. Vojvodina, once the granary of the former Yugoslavia and – nowadays – an autonomous province within the Republic of Serbia, covers a territory of 21,506 square kilometers. There are 26 national/ethnic communities living therein in mutual respect and peace. The population exceeds two million, of which Serbs make 1.321,807, while the others include: Hungarians – 290,207; Slovaks – 56,637; Croats – 56,546; Yugoslavs – 49,881; Montenegrins – 35,513; Romanians – 30,419; Roma/Romanies – 29,057; Bunjevci 19,766; Macedonians – 11,785; Ruthenians/Rusyns – 9,400; Ukrainians – 4,635; Muslims – 3,634; Germans 3,154; Slovenes – 2,005; Albanians – 1,695 plus members of other ethnic communities. The total population being 2.031,992. (These are the data on the national/ethnic structure of Vojvodina according to the 2002 census). 2 A Brief History of RTV Vojvodina The first public radio-broadcaster in Vojvodina was founded in its capital, Novi Sad, in 1949, under the name of "Radio Novi Sad". In the beginning, the radio-station broadcast about eight hours of programs daily, on a single wavelength, and had just a limited-in-strength transmission equipment – 0.5 kWh (kilo-Watt-hours). 1 Radio Novi Sad Broadcasting took the form of live coverages from the studio, and included programs in five languages: Serbo-Croat, Hungarian, Slovak, Romanian and Ruthenian/Rusyn. It was a five-language 'layer cake' comprising three hours of talk 'layers', filled with music. Nothing could be pre-recorded, for there were no tape- recorders. A couple of gramophones and a limited choice of records were all the staff 1 The 0.5 kWh-equipment was hand-made! There were no transmitters/repeaters, while the reach depended on the weather conditions and (lack of) wind blows. (Rajić 1999:13). 3 could reckon with. It was not before 1952 that the first tape-recorder arrived: heavy, awkward to handle, with a tape that much too often broke.2 Yet despite such conditions, the duration of daily broadcasts kept growing: in 1951, it reached 12 hours, extending to 16 hours by 1954.3 The extension of broadcasts opened the door for music programs, and they grew to some nine hours a day. Several orchestras and choirs were established within the radio's Music Department 4, yet they could not survive financially, except for three professional ensembles: the Light Music Big Band (Veliki zabavni orkestar) counting 19 musicians, the 16-member Grand Tamburitza Orchestra (Veliki tamburaški orkestar) and the Grand Folk Music Orchestra (Veliki narodni orkestar) with 16 performers. Light Music Big Band (Veliki zabavni orkestar) 2 The five-language broadcast was extremely complex to produce. In terms of character, it reflected the Yugoslav idea; in terms of contents, it mirrored the life in Vojvodina. 3 For more, see: Rajić 1999:19. 4 Simfonijski orkestar, Kamerni orkestar, Veliki mešoviti hor, Mađarski hor, Dečiji hor and other ensembles (Eberst 1997:170). 4 Grand Tamburitza Orchestra (Veliki tamburaški orkestar) Grand Folk Music Orchestra (Veliki narodni orkestar) 5 Owing to these orchestras, systematic tape-recording of music started in 1953, and that year is taken as the beginning of the Music Production Department of Radio Novi Sad,5 as well as the concurrent establishment of the Library (Fonoteka). Like genuine ethnomusicologists, the folk-music editors set out to travel from one village to another in search of the most valuable items of music/folklore of the national/ethnic minorities; not infrequently, they would discover talented singers and instrumentalists and these were to become excellent soloists employed or commissioned by the broadcaster. Most of the amateur musicians lacked training, and the Romanies stood out among them. As a rule, and an unwritten one, the Hungarian/Serbian/Romanian Romanies acted as the 'music- bearers' of the respective peoples they lived with. Consequently, the Hungarian Romanies performed Hungarian music, the Romanian Romanies played Romanian music, etc. In 1960's, popular music made the major portion of the musical programs (about 50 per cent); folk music came next (with some 25 %), while the rest consisted of art music, war/revolution-related and children's music. 6 Television-Novi Sad was founded in 1974 and, like Radio Novi Sad earlier, it started to broadcast in five languages, too: Serbo-Croat, Hungarian, Slovak, Romanian and Ruthenian/Rusyn. Later, two more languages added to the multilingual identity of Radio-Novi Sad: the Romany-Language Department was founded in 1991, and the Ukrainian-Language Department followed in 1992. In 1999, the buildings of the RTNS in the Mišeluk neighborhood of Novi Sad were bombed and destroyed by the NATO airforce. 5 Eberst 1997:170. 6 Rajić 1999:21. 6 The building of the RTNS (Mišeluk), Novi Sad, after NATO air-raid, 1999 Now that nine years have passed since the tragic days, RTV Vojvodina is still deprived of a building of its own. In spite of all the difficulties – after the NATO aggression – related to the acquisition and modernization of broadcasting equipment and technology, the minority programs survived and underwent new programming which now reckoned with another channel. The table below shows the weekly schedule of RTV Vojvodina in 2004. 7 Radio-Novi Sad's weekly broadcast output in minority languages (by hours). Hungarian Romanian Slovak Ruthenian Ukrainian Romany 168 40,5 40,5 27,5 1,5 1,5 7 Ratković Njegovan 2005:69. 7 TV-Novi Sad's weekly broadcast output in minority languages (by minutes!). Hungarian Romanian Slovak Ruthenian Ukrainian Romany 2,871 1,421 1,635 1,464 112 1,880 [The data taken for the period October 1–31, 2004.] Today, Radio Television of Vojvodina (Public Service Broadcaster of Vojvodina) broadcasts in Serbian and 9 minority languages: Hungarian, Slovak, Ruthenian/Rusyn, Romanian, Bunyevtsian, Ukrainian, Romany, Croatian, and Macedonian. Currently, there are two TV channels : RTV 1 (РТВ 1, Cyrillic alphabet) – in Serbian and RTV 2 (РТВ 2) – in the Serbian and minority languages. The role of RTV Vojvodina has always been multifaceted, that is, its significance has been showing in many areas of public life: communications/communicology, education, politics, socio-economic affairs, but – first and foremost – culture. The latter implies a major cultural mission and promotion of the musical/folklore achievements of the national/ethnic communities in the province 8. Program Contents There are diverse printed media (newspapers, reviews, monographs) informing on the political, socio-economic, cultural, musical and folklore life of Vojvodina's minorities. Moreover, there is the RTV Vojvodina with its two electronic media. After the period of 59/34 years since the foundation of Radio Novi Sad and Vojvodina's television respectively, it is with pride and high esteem that one can survey the impressive musical output of the broadcasting company. It has resulted from the inspiring, rich and extremely diverse musical/folklore heritage of the minorities in the province. The library of Radio Novi Sad safeguards 1.946,578 minutes of (in-house) recorded music on 123,285 tapes or records. Of that quantity, Serbian music makes 60%, and minority items make the rest of 40%. 9 8 Fore more, see: Đuranović and Ratković Njegovan 1999: 5-77. 9 These are the most recent data on the extant recordings in the library (Fonoteka) of RTV Vojvodina unpublished so far. 8 Musical programs include material (recorded both in studio and on location) from various festivals, concerts, public events. Also, there are documentaries on both radio and TV which reconstruct and promote the rites and customs of the minorities, portray the most gifted vocal and instrumental artists in the field of the traditional music or the makers of traditional instruments. In a number of cases, traditional musical instruments symbolize, or are identified with, a particular minority culture of Vojvodina. Thus, the zither, taken to be the national instrument of the Hungarians in Vojvodina, can be heard in a great many programs (either musical or speech-based) in the Hungarian language. The traditional zitherists' festival Durindo is an event which most strikingly illustrates how much the fans of Hungarian folklore love and value it, and how deep roots it has in their souls. Other musical instruments that can often be seen and/or heard in the programs of RTV Vojvodina, such as the tambura, are related not only with the Serbian folklore, but also that of the Bunyevtsi, Croats, Romanies and Ruthenians; the cymbalom and the taragot are basically associated with the Hungarian and the Romanian traditional music, while the bandura has entered the musical stage of Vojvodina as a national instrument of the Ukrainians in the province.
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