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From Folklore to World Music

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From Folklore to World Music Sborník příspěvků z mezinárodního kolokvia Od folkloru k world music: Na scéně a mimo scénu, konaného pod záštitou Městského kulturního střediska v Náměšti nad Oslavou ve dnech 28.–29. července 2015. Setkání se uskutečnilo s finanční podporou Ministerstva kultury. From Folklore to World Music: On and Off Stage international colloquy took place under the auspices of Municipal Culture Centre in Náměšť nad Oslavou, Czech Republic, on 28–29 July 2015. We gratefully acknowledge the generous support of the Ministry of Culture of the Czech Republic, without whose help this publication would not be possible. Recenzovali / Reviewed by: Doc. PhDr. Eva Krekovičová, DrSc. Prof. PhDr. Miloš Štědroň, CSc. © Městské kulturní středisko v Náměšti nad Oslavou, 2015 ISBN 978-80-904905-7-4 ISSN 2336-565X 2 OBSAH Úvodem 5 Introduction 7 Martina Pavlicová – Lucie Uhlíková Mimo svůj čas, prostor i význam – lidové tradice na jevišti 9 Kateřina Černíčková Horňácká sedlácká: lidový tanec i národní symbol 25 Marta Toncrová Lidový zpěvák mimo scénu: Jožka Severin z Tvrdonic na jižní Moravě 45 Marta Ulrychová Hdo by nám rozkázal, temu bych hukázal cestu ze vrát… Současné folklorní soubory na Chodsku 60 Sabrina Kedroňová O rekonstrukci lašského lidového tance zvrtek 73 Marian Friedl Lidové flétny Beskyd a Javorníků na scéně a mimo ni 80 Alžbeta Lukáčová Digitalizácia ľudových tancov − poznámky k tanečnej a hudobnej stránke rozsiahleho dokumentačného projektu 104 Juraj Hamar Playback a folklór na scéne profesionálneho folklórneho telesa (na príklade SĽUK-u) 124 Milan Tesař Porota – tak trochu jiné publikum 141 3 Jan Sobotka Lomaxova kláda: několik příkladů prezentace americké lidové hudby 150 Petr Dorůžka Narušitelé vyšlapaných cest: Sam Charters a jeho cesty za blues, Mercedes Sosa a její zakazované písně, garážový rock v hledáčku FBI 157 Aleš Opekar Hudba Kapverdských ostrovů aneb Tcheka na Fogu a jiné nestrojenosti 166 Irena Přibylová Hraní pro radost: Od sleziny po sejšn 190 Jiří Plocek Než se zrodí hudba, aneb život muzikanta mimo pódium 204 Medailony autorů 209 4 Od folkloru k world music: Na scéně a mimo scénu Úvodem Hudební festival Folkové prázdniny v Náměšti nad Oslavou je v České republice jedním z mála, který má ve svém programu i volně přístupné odborné hudební kolokvium. Návštěvníci festivalu mohou po dva dny sledovat přednášky muzikologů, etnologů, etnochoreologů, etnomuzikologů, hudebních publicistů a rozhlasových redaktorů, ale i samotných muzikantů. Kolokvium je od počátku programově zaměřeno na oblast hudby folklorní, folkové hudby a etnické i na široký žánr tzv. world music. V roce 2014 se konala už po dvanácté, tentokrát s podtitulem Na scéně a mimo scénu. Organizátoři kolokvia vyzvali odborníky, aby se na hudbu s tradičními či lidovými kořeny podívali buď v souvislosti s její scénickou prezentací, nebo v uvolněném, spontánním prostředí mimo pódium. Kolokvium tak nabízelo možnost blíže prozkoumat a komentovat umělecké parametry folklóru, folku a world music na scéně, stejně jako jejich komerční či mediální vazby na hudební průmysl, reklamu či kritiku. Zároveň tu byla příležitost udělat sondu do spíše neprozkoumaného světa hudby mimo pódium, který má obvykle jen malý okruh publika a existuje ve specifickém sociálním a psychologickém rámci. Téma kolokvia vybízelo k zamyšlení nad tím, jak tyto dva světy fungují, zda jsou v protikladu, nebo se vzájemně doplňují, jak svou roli v nich vnímají tvůrci a interpreti, posluchači nebo posuzovatelé. Výsledný rozsah příspěvků kolokvia pokrýval náměty ze současné hudební kultury, ale rovněž z kultury tradiční, která je od svého „objevování“ stále více vystavována tlaku prezentace mimo své vlastní prostředí. První den kolokvia je pravidelně určen zejména tématům spjatým s bádáním v oblasti tradičních lidové kultury. Na programu byly příspěvky etnologů, etnomuzikologů a etnochoreologů, kteří představili výsledky dlouholetých terénních výzkumů tzv. nositelů tradice (zpěváků, tanečníků, muzikantů, výrobců hudebních nástrojů), ale i tvůrčích osobností, které významným způsobem ovlivnily způsob prezentace lidové hudby a lidového tance nejen na české, ale i slovenské scéně. Pozornost byla věnována zejména více než stoletému vývoji tzv. folklorního hnutí, zaměřeného programově na záchranu, uchování i rozvoj folklorních tradic (v českém a slovenském kontextu navíc ve spojení s národnostními i politickými dobovými ambicemi různých společenských subjektů, které scénickou prezentaci významně determinovaly). Hovořilo se o proměně funkce, místa i času folklorních projevů prezentovaných na scéně, 5 o jejich recepci či o motivaci jejich současných nositelů, o rekonstrukci lidových tanců, obnově výroby i prezentace lidových hudebních nástrojů, o digitalizaci kulturního dědictví i o moderních formách jeho veřejné prezentace. Zeměpisný záběr příspěvků se druhý den kolokvia, s prezentacemi zaměřenými kromě domácí i na světovou hudbu, podstatně rozšířil. Cestu amerického blues na scénu poznamenalo úsilí promotérů předvést divákům zároveň i kousek původního prostředí blues. Jejich snaha byla někdy až násilná a výsledky z dnešního pohledu i úsměvné. Na druhou stranu však osobní, sběratelské a organizační úsilí těchto lidí přivedlo blues do nahrávacích studií, na stránky odborných publikací a z Ameriky do Evropy, takže se zachovalo i navzdory svým chudým začátkům a konkurenci populární hudby. Na kolokviu se mluvilo i o umělcích z USA a zemí Latinské Ameriky, kteří byli pro své postoje pronásledováni tajnou policií a donuceni k exilu. Hudba brazilská, portugalská a západoafrická ovlivnila vznik a vývoj hudby na Kapverdských ostrovech. Historie a současná podoba tamního lidového muzicírování, zpěvnosti a zároveň festivalové prezentace hudby byla předmětem dalšího příspěvku kolokvia. Folková a trampská hudba a bluegrass, které jsou v českých zemích zvlášť oblíbené, se na kolokviu se dočkaly komentářů z několika úhlů pohledu: mluvil porotce hudebních soutěží i samotní soutěžící, aktivní účastníci trampských slezin a bluegrassových jam-sessionů, pohled do zákulisí svého hudebního vývoje nabídl bluegrassový muzikant a hudební redaktor v jedné osobě. Neopakovatelnou součástí hudebních kolokvií v Náměšti nad Oslavou jsou odpolední diskuse s hostujícími umělci festivalu Folkové prázdniny. V roce 2015 odpovídala na otázky účastníků a posluchačů kolokvia Sarah Savoy, zpěvačka a akordeonistka z americké Louisiany. Mluvila o hudbě žánru cajun, kterou hraje s kapelou Hell-Raising Hayride, o tradičních louisianských velikonočních obchůzkách, o typickém jídle a tancích svého domova i o svých rodičích Markovi a Ann Savoyových, kteří jsou významnými představiteli a propagátory tradiční cajun hudby. Sborník Od folkloru k world music: Na scéně i mimo scénu přináší již po dvanácté písemnou podobu většiny příspěvků přednesených na kolokviu v Náměšti nad Oslavou. Tato akce vznikla jako platforma pro vzájemné setkávání, naslouchání i diskutování mezi zástupci vědních oborů, publicistů i zájemců z řad široké veřejnosti. Věříme, že sborník bude pro čtenáře stejně inspirativní, jako bylo i pro všechny účastníky. 6 From Folklore to World Music: On and Off Stage Introduction The Folk Music Holiday festival in Náměšť nad Oslavou, Czech Republic, is the only one of the similar events in the country which includes an international music colloquy in its programme. It lasts for two days, and festival attendees can enter it for free and enjoy numerous presentations by music professionals, such as musicologists, ethnologists, ethno choreologists, music writers and editors, as well as musicians. Since its beginnings in the early 2000s, the colloquy has focused intentionally on traditional folk music, modern folk music, ethnic music, and world music. In 2015, the 12th colloquy within the From Folklore to World Music frame was held on the topic On and off stage. In the call for papers, the colloquy organized selected academics and professionals to explore music with traditional and folk roots in connection with its presentation on stage, or in its free, spontaneous environment off stage. In doing so, the colloquy provided possibilities to explore and comment on the artistic level of traditional folk music, modern folk music and world music in its on stage existence, as well as the music’s commercial and media links to music industry, promotion and feedback. At the same time, there was a possibility to observe the more or less unexplored off stage music world and its specialized audience, psychology and sociology. The colloquy organizers encouraged a discussion on the on and off stage music functions, their similarities, contradictions, and compatibility, as well as the perceptions of their bearers, performers, listeners, and critics. The final scope of the colloquy included topics both from contemporary music culture and from traditional music culture (which, through its various revivals, has been subject to increasing pressure to be presented out of its original environment). On a regular basis, the first day of the colloquy is devoted to research within traditional music culture. Ethnologists, ethnomusicologists, and ethno choreologists presented the results of their long-term field research of tradition bearers (singers, dancers, musicians, and folk instrument makers), as well as outstanding creative folk artists which have influenced the presentation of folk music and dance in the Czech Republic and in Slovakia. Special attention was given to the effort of the more than century-long duration of the folklore movement, which has attempted to safeguard,
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