Music of the Turkish Cypriots: Yesterday, Today and Tomorrow

Home , Antikristos, Karsilamas, Machairas Monastery, Pandura, Sousta, Syrtos

MUSIC OF THE TURKISH CYPRIOTS: YESTERDAY, TODAY AND TOMORROW

Section 4. Theory and history of culture

Abdoulline Ilias, Lecturer at Department of Fine Arts Education. Near East University. Nicosia. Northen Cyprus E‑mail: [email protected] MUSIC OF THE TURKISH CYPRIOTS: YESTERDAY, TODAY AND TOMORROW Abstract: This article deals with the formation and development of musical culture of the Turkish Cypriots as an essential component of ethnos of Cyprus. Keywords: Island of Cyprus, ethnic cultural traditions of Cyprus, music of the Turkish Cypriots. The origins of musical culture of the peoples It should be noted that the studies devoted to from the Near and Middle East allow to speak of ex- the folk music and dance traditions of various ethnic istence of the Middle Eastern Mediterranean musi- groups in Cyprus began at the end of XIX century. cal tradition as a uniform system of artistic means, However, folklorists paid more attention in their figurative themes, genres and etc., which originate studies to lyrics rather than to musical content. from the ancient depths of history. Thus, researcher Panicos Giorgoudes states that The timeframe of this process can be determined “systematic studies of the Turkish Cypriots tradi- just approximately, but it becomes clear that the tional music developed poorly, notwithstanding modern musical art of Cyprus, which is now per- several articles about Cypriot music published by ceived as traditional, was formed already in “histori- musicologists and Theodulos Kallinikos’ collection cal” time, in connection with spread of the national of Cypriot songs in 1951. Besides, many research- Turkish culture on the Cypriot land. ers focused their attention on lyrics and seldom on Despite negative attitude of Muslim orthodoxy music” [7, P. 35]. to musical art as a phenomenon that distracts believ- The importance of studies of the Turkish Cypri- ers from their religious convictions, Islam required ots original authentic music came into the spotlight the approval of its ideas through certain artistic im- only after Cyprus gained independence in 2004. ages due to its nature perhaps even more than any Thus, the Cypriot researcher Kani Kanol denotes in other religion. This fact also affected the peculiari- his report that the Turkish Cypriot motifs, melodies, ties of formation of the Turkish Cypriots musical rhythmic organizations are not only complex, but culture. also poorly separable from Greek Cypriots authentic A special study devoted to the Turkish Cypriots music. And this requires careful study” [5, P. 59]. music has not been carried out yet. But the presence Today, the collection “Music in Cyprus” by Sam- of foreign historiography forms prerequisites for son Jim and Demetriou Nicoletta is one of the fun- such art-historical and musicological analysis. damental works devoted to the study of the Cyprus

25 Section 4. Theory and history of culture musical culture, in particular to the musical tradi- Pre-Ottoman period. The name of this period in tions of Turkish Cypriots as ethnic component of the history of Cyprus culture is fairly conventional, the island’s population [7]. as this period includes other several significant de- “Cypriot folk popular music” — the work of velopment stages of the Cypriot culture: the outstanding Greek composer and musicologist, • Classic period (480 BC – 310 AD); founder of the first Greek conservatory Solon Mi- • Byzantine period (XI – XII centuries); chaelides is worth mentioning too [6]. • Frankish period (XII – XV centuries); The research of the said Kani Kanol devoted to • Venetian period (XV – XVI centuries). the study and analysis of the Turkish Cypriots danc- The end of XVI — the beginning of XVII centu- ing culture, which is inextricably linked with the mu- ries is called the Greek Renaissance epoch, during sic of this ethnos, is interesting and quite informative which the Byzantine cultural traditions (including [5]. musical ones) gained new momentum. Also we may mention the study of Cypriot sci- Many folk songs that were composed in the so- entist Beratli Nazim that deeply examines the Turk- called pre-Ottoman period have survived till now. Cy- ish Cypriots national identity in general and gives priot folk songs are thematically divided as follows: a sufficiently detailed account of the identity in the songs about Akritai (independent peasant-warriors aspect of musical culture [3]. of the Byzantine Empire); historical; lyrical, satirical, The mentioned subject is practically not repre- military, religious, daily life, ritual songs, etc. Songs sented in our country’s musicology, which deter- about Akritai were composed during the Byzantine mines its relevance. As the conservation of ethno- period, when frontier warriors (Akritai) defended the cultural traditions, in particular the conservation of Byzantine Empire frontiers from Saracens raids (Ar- musical culture, is of tremendous significance, be- abs). They glorified feats of the most famous knights – cause this affect not only the fate of ethnic culture, Digenes Akritas, Andronicus, Pusirkas and others. but much more – inherent value of ethnos, stability Many lyrical songs were created during the rul- of society and state. ing of the Franks in Cyprus (1192–1489). One of Before examining the peculiarities of formation them is “Arodafnusa” – song about love between and development of the Turkish Cypriots musical one of the representatives of the feudal family Lu- culture, we will give a brief background of the is- signan and a rich lady Joan l’Alemán, named due to land itself, as exactly the formation of Cyprus as the exceptional beauty as Arodafnusa (beautiful and an independent island state had a significant impact fragrant flower in Cyprus). on the formation of culture in general, as well as on Among dance genres that were formed in the Cy- the formation of musical culture of individual ethnic priot culture of the presented period we may men- groups on the island. tion sousta, syrtos, ballos, zeibekiko, karotseris, etc. So, the main population of Cyprus consists of Church music also needs to be separately men- two ethnic communities: Greek Cypriots (southern, tioned. Investigation of numerous Byzantine musi- eastern and central part of the island) and Turkish cal manuscripts that survived on the island suggests Cypriots (northern part of the island). that in Kykkos, Machairas, Saint Neophytos monas- Diagrammatically, the cultural-historical for- teries and other cloisters founded in XI–XII centu- mation of Cyprus and Cypriot culture can be di- ries there were special workshops, where handwrit- vided into pre-Ottoman period, Ottoman period ten musical anthologies were composed. and the period of formation of the island’s indepen- Ottoman period. Cyprus’s ethno-cultural com- dence. position changed significantly after the island was

26 MUSIC OF THE TURKISH CYPRIOTS: YESTERDAY, TODAY AND TOMORROW conquered by the Ottoman Empire in 1571. Thus, According to the decree of the Ottoman Empire’s Turks, who brought their religion and culture to Sultan Selim II, more than 5 000 thousand of Turks the island’s coasts, assimilated into the purely Greek were resettled to Cyprus. The majority of the reset- population of the island. tled population was presented by craftsmen, jewel- ers, tailors, shoemakers, etc.

Figure 1. Ancient musical collection of Machairas Monastery

Figure 2. The specimen of recording the chants of Easter service The conquest of Northern Cyprus by Turks- (It is important to specify that the history of Is- Muslims resulted in the existence of two national lam in Cyprus dates back to the Arab invasion in and religious communities on the island – Turks the middle of VII century, when the first mosques (Islam) and Cypriots (Orthodox Christianity) were established in Paphos. After the defeat of

27 Section 4. Theory and history of culture the Arabs (963–964), Islam reemerged in Cyprus All above-mentioned factors became fundamen- with the appearance of Ottoman Turks in 1571) tal for the formation of the Turkish Cypriots musical (Historical evidence suggests that Turkish Cypriot culture. community was formed by two branches: on the So, the Turkish Cypriots traditional music ab- one hand, by descendants of Ottoman conquer- sorbed both Byzantine musical traditions of ancient ors and settlers from Anatolia, on the other – by Cyprus and traditions of Turkish (Ottoman) music. Greeks and other Christians converted to Islam. The main characteristic feature of the Turkish Also there were Linovamvaki (literally “linen cot- Cypriots music is modality. A great part of the Turk- ton”) – believers who adhered to Islam in public, ish Cypriots folk music is based on such modes as but practiced Christianity in private life). Dorian and Hypodorin, Lydian and Hypolydian, During the following centuries these two national Phrygian and Hypophrygian, Mixolydian and Hy- communities of Cyprus lived side-by-side on the ter- pomixolydian, Aeolian. ritory of the whole island, and despite such proximity As an example for the abovementioned, let’s cite each of the communities had its own culture that did the song “Arapiko” that is written in binary form A + not mix with another (for example, interethnic mar- B. Aeolian mode is used in the first part, and Dorian riages were regarded as taboo for a long time). mode in a simple duple meter – in the second part.

Figure 3. Song of the Turkish Cypriots “Arapiko” It should be noted that romantic element is pre- who follow two opposite religions. For example, a vailing in the Turkish Cypriots poetry and music. love song-poem “Piitariki Foni”: Songs often illustrate love between young people Oh, Gods, hear what I have to say…

28 MUSIC OF THE TURKISH CYPRIOTS: YESTERDAY, TODAY AND TOMORROW

Invite the whole world of Christians and Turks… This happened to Christofis and Stillou. Greek goddess Aphrodite, born in Cyprus, This song was presented as Theme with variations. brought love to the island. The first three variations were written in‑ a moll, in a Love is nothing like food that may appease your fairly traditional meter 9/8. hunger. Variation IV is composed in e‑moll, with a com- It is like fire in the heart that can not be extinguished. plex meter-rhythmic pattern 9/8 (3 + 2 + 2 + 2).

Figure 4. The song “Piitariki Foni”

29 Section 4. Theory and history of culture

The given examples show us that we can find Cypriots music is very close to Turkish music, apparent influence of the Turkish melodies in the which is based on maqams (small modal formations melodic texture of the Turkish Cypriot songs. Just that differ in relief). Interestingly, maqams are named the same as in Turkish melodies, we may distinguish after geographical places from where they originated long melodies with a wide range and uneven rhythm, (lefkosia, amorpha, etc.). with improvised structure. And this is not accidental, The ancient origin of maqam and its originally as “Uzun hava” is more typical for lyrical and love ritual function are evidenced by the fact that maqams songs with a range of more than octave. Various were performed at the fixed time of the day. The techniques of melodic lead in tones of I, IV and V musical ritual was associated with the strictly fixed stages are often used in such songs. position of the sun. For example, maqam “rehavi” Another stylistic basis of the melody is “Kyzyn had to be performed before sunrise; “ushshak” – hava” (short melody with a small range and even after sunset; “rast” – before noon; “irak”– at noon; rhythm), which is more typical for dance melodies, “zangule” – before sunset, and etc. This tradition plain songs or instrumental folk tunes. dates back, perhaps, even to the pre-Islamic pagan In general, not only the principle of melodic line worshiping of heavenly bodies. formation, but the entire modal basis of the Turkish

Figure 5. The example of traditional maqam in the Turkish music

Figure 5. The example of traditional maqam, written in the form of dujek The notion “maqam” has several semantic levels: 2. Meter-rhythmic organization: in song (solo) 1. The development principle, which includes such music it is characterized by fairly free rhythm, ab- aspects as modal (tone row) organization. In modal- sence of strict rhythmic pulsation; in ensemble mu- ity, in contrast to tonality, a certain arrangement is not sic – by the use of certain rhythmic patterns, which necessary under a strictly sustained tone row; are most often based on the meter 3/8, 8/8, 9/8;

30 MUSIC OF THE TURKISH CYPRIOTS: YESTERDAY, TODAY AND TOMORROW

3. Figurative-emotional modus of melody. • tambourine (in Cyprus it was called pandura – So, maqam is some kind of improvisation on bowed three-stringed instrument); modal modus and it may be clearly seen in the Turk- • pidkavli (wind instrument that resembles a flute); ish Cypriots music, as a single modus is not typical • zurna. for the forms of the Turkish Cypriot monody. This is Traditional dance genres include sousta, syr- connected with the fact that their modality (both tos, ballos, zeibekiko, karotseris, etc. There is also pitch and rhythmic) is based on ancient teachings a genre that is especially popular among the Turk- about ethos of each mode and connected with a ish Cypriots, which is called Karsilamas – a suite cyclic interpretation of time, human biorhythms consisting of four dances (for men and women). and emotions. There are also varieties of Karsilamas in North Dance develops in parallel with the musical cul- Cyprus. For example, a variety of the dance dur- ture. The Turkish Cypriots performed folk repertoire ing which dancers hold each others’ wrists and at various festivities, festivals and weddings, etc. form a circle. There are twelve basic steps, and one As a musical accompaniment they used percus- major dancer leads other dancers, with separate sion instruments that were popular in the North Af- dances performed by both men and women. The rican and Eastern traditions. Both bowed string in- main attributes of such dances are swords that are struments and wind instruments were used: flung into the air and caught by men, while women • violin or lute; dance with clay pots.

Figure 4. Karsilamas dance accompanied by violin and laouto. Nicosia In contrast to other dance genres, this one has The tempo of Karsilamas varies depending on non-standard rhythmic basis – 9/8 (2 + 2 + 2 + 3 = 9). the mood of dancers. It is interesting to note that this The following distribution of tempo-rhythm is dance was originally called “Antikristos”, which in- often found in Karsilamas as a four-part suite: volved two dancers, looking at each other. This • First Karsilamas – 9/8; dance is literally translated as “face to face”. Later • Second Karsilamas – 7/8; the number of dancers increased, and mixed pairs • Third Karsilamas – 2/4; were involved in this dance. • Fourth Karsilamas – 9/8.

31 Section 4. Theory and history of culture

Among the most popular folk dance music of It is interesting that folklorists, who studied and the Turkish Cypriots, which can be heard today, we cataloged the Turkish Cypriots folk music, often can mention Chifteteli, Dolama dolamayi, Ayşem describe such music as primitive, old-fashioned, Türküsü, Al beni beni, Münüsem, Susta, Mevsimi barbaric and “too folk”. Perhaps such perception is qeldi artik and others. conditioned by practically lacking harmonization of songs and melodies.

Figure 5. Variety of Karsilamas dance The Turkish Cypriots were unfamiliar with also connected with the period of British ruling on polyphonic and orchestral music until the sec- the island (1878–1960). ond half of XX century. However, by the end of The first Turkish-Cypriot cultural community ХХ century, when urban elite emerged, not only was Dar’ul Elhan (Abode of Sounds). Founded in orchestrated music, but also music of the western 1925, it cultivated Ottoman classical music and classical tradition gradually began to sound in cul- monophonic tradition. By the end of 1942 after a tural societies of that time. The presented trend is long break, the community began to add more polyphonic compositions to its repertoire.

Figure 6. Performance of Sama in Mawlawlyah Tekkes. Nicosia. Cyprus

32 MUSIC OF THE TURKISH CYPRIOTS: YESTERDAY, TODAY AND TOMORROW

Along with folk music, the Turkish Cypriots ology of Turkish nationalism that was suggested by made a huge contribution to the development of Mustafa Kemal Ataturk. It is considered to be the sacred music on the island. official ideology in the Turkish Republic up to this In XIX century there were two main musical day). And though certain communities of the Turk- directions of sacred music on the island: music of ish Cypriot elite made efforts to preserve this “exotic” Christian Cypriots in churches and Sufi ritual music tradition, the Sufi Tekkes ceased functioning by the performed by Muslims in Tekke (Sufi order of the end of the 1950 s. Consequently, their musical prac- Mawlawlyah). The first direction (music of Christian tices also became rare on the island. Cypriots) was based on Byzantine traditions that Period of formation of the Island’s independence. suggested the absence of instrumental accompani- The Turkish Cypriots resigned from the Cyprus ment and monophonic singing. government in 1963 and established the illegal Sufi music was connected first of all with dhikr “Provisional Turkish Cypriot government”. It led to (Meditation on the name of God). Sufi teachers the conflict in 1964 between the Turkish and Greek stated that dhikr is the first step on the way of love: communities of the island, as a result of which the when someone loves somebody else, he/she likes to UN Security Council adopted the decision to bring repeat the name of his/her beloved and constantly peacekeeping forces to the island. keep it in mind. Thus, meditation on Allah’s name After 1974, significant social forces in Cyprus, revealed His spiritual image to mystics. especially the Turkish and Greek Cypriot lefts, This direction was also marked by the practice greatly influenced the formation of the nationalism of collective singing-glorification of the Almighty, model, which proposed to clearly distinguish ethnic which was called Sama. This practice was accom- groups on the basis of territorial affiliation, rather panied by ecstatic dances. Sufis believed that mu- than ethno-cultural one. sical prayers help to bring the love for God to life. However, M. Hatay and Y. Papadakis think that It is not accidental that the outstanding Persian Sufi the Greek Cypriots developed a model of historiog- poet Jalaluddin Rumi stated: “The house of divine raphy after 1974, in which they emphasized condi- love is built of music, poems and songs. Heavenly tional “peaceful coexistence” of two ethnic commu- Beloved is circling around this house, playing the nities [4, P. 34]. According to this model, Greeks and rebab (Bowed stringed instrument of Arab origin) Turkish Cypriots lived together for a long time, and and singing dizzying melodies.” [1, P. 179]. therefore would be able to do it again in the future; in Turkish researchers N. Ayaz and A. Sultanova other words, the island should be reunited. As proof think that “Sufi traditions of Turkish Cypriots had a of this, researchers give an example of common tradi- huge impact on formation of the Turkish Cypriots tions of everyday life, festivals, folk songs, etc. musical culture in general, connected with the pe- From the 1980s onwards, despite the unstable riod of heyday of Ottoman traditions on the island political and territorial situation of Northern Cy- and further development of music” [2, P. 122]. prus, the island faced an acute problem of keeping Let us note that since secular nationalism emerged the traditions of ethnic groups alive. Gradually “neo- among the Turkish Cypriots in the late 1920 s, the de- folklorization” of musical culture began. Significant- velopment of sacral music sharply stopped. Although ly exactly this process gradually led to the fact that Tekkes continued to function in Cyprus even after traditional music of ethnic groups began to be per- Sufi lodges were banned by Turkey in 1925, their ceived as “sacred”. popularity was gradually undermined by the influ- In the early 1990 s, new groups of traditional ence of Kemalist nationalists (Kemalism is the ide- musicians and singers, performing Turkish Cypriots

33 Section 4. Theory and history of culture ethnic folk music, reappeared in the course of stabili- guests and participants of festivals to enjoy the zation of socio-political situation on the island. This tastes, sounds, dances and atmosphere of Turkish was caused by a number of social and cultural events. Cyprus. The main event was the creation of the first private So, the abovementioned indicates that music has radio stations in Northern Cyprus. Later this new in- always been the most universal cultural tool, which terest in traditional music was backed by financing allows not only to keep different ethnic groups in a provided by sponsors and state. Numerous festivals single cultural space, but also to preserve their au- and concerts of traditional music of the island’s eth- thentic national culture. Exactly thanks to culture, nic groups were held on the island. especially musical one, Cypriots could preserve the A big role in this was played by the Council unique authenticity of the Turkish Cypriots music of Turkish Cypriot Associations (CTCA UK) and carry it through the storm of cultural-historical or Konsey. By holding various events, it allows transformations. References: 1. Айтджанова А. К. Ислам и Веды. Опыт сравнительного изучения суфийской и вайшнавской религиозных традиций / А. К. Айтджанова. – Москва: Литагент «ИП Крупчанский», – 2015. – 192 с. 2. Ayaz N., Sultanova A. Mevleviliğin ve Bektaşiliğin Simgesi Olan Ayin ve Ayin Müziğinin Karşılıklı Tahlili (The Analysis of Ritual and Musical Themes of Mevlevi and Bektashi Sects). – 2013. – IDIL 2/7. – P. 118–134. 3. Beratli Nazim. Kıbrıslı Türklerin Tarihi. Galeri Kültür Yayinlari. – Cyprus. – Kitap. 4. – 1993. – 254 s. 4. Hatay Mete and Y. Papadakis. A Critical Comparison of Greek Cypriot and Turkish Cypriot Historiogra- phies (1940 s to the Present)’, in R. Bryant and Y. Papadakis (eds), Cyprus and the Politics of Memory: History, Community and Conflict. London and New York: I. B. Tauris. – 2012. – P. 27–51. 5. Karol Kani. Kıbrıs Halk Danslarının Yakın Geçmişi (The Recent Past of Cypriot Folk Dances). Nicosia: Hasder Yayınları. – 2006. – Р. 56–62. 6. Michaelides Solon. Kypriaki Laïki Mousiki (Cypriot Popular Music). Kypriaka Grammata Θ’ [9], – 1944. – Р. 115–126. 7. Samson Jim, Demetriou Nicoletta. Music in Cyprus. Farnham, Surrey, Eng.: Ashgate, – 2015. – 196 p.

34 NATIONALFEIERTAG IN DER RUSSISCHEN KULTUR: VERGANGENHEIT UND GEGENWART

Korzhenko Olga Mikhailovna, Ph. D., Assistant Professor für LIC GBOU IN BGIIK Shulika Maria Vladimirovna, Dozent in der TEC GBOU IN BGIIK E‑mail: [email protected] NATIONALFEIERTAG IN DER RUSSISCHEN KULTUR: VERGANGENHEIT UND GEGENWART Zusammenfassung: Der Artikel ist in der Kultur Russlands zu nationalen Feiertagen gewidmet. In der Analyse dieser Frage auf „Fest“ führt das Konzept, als seine Transformation, sowie das Wesen des Ferien Ivana Kupala in der Folk-Tradition der slawischen Völker. Der Autor gibt die Interpretati- on der Ergebnisse der Umfrage unter den Studenten im Institut für Kunst und Kultur eingeschrieben. Stichworte: Folk Festival, Folklore, der christliche Feiertag, Massenereignis. Russische nationale Feiertage und Zeremonien – blick der Sehenswürdigkeiten Dämon konzipiert“ eine der markantesten und ursprünglichen Kompo- und wird als dämonische Wirkung angesehen. nenten der traditionellen Kunst und Kultur zugleich Eine interessante Interpretation des Festi- eine der komplexen und vielschichtigen Phänomene vals ist im Wörterbuch Dahl, die einen Urlaub der frühesten ihrer Art – Folklore. „Tag versteht gewidmet zur Ruhe, kein Geschäft, Urlaub akkumuliert die wichtigsten Ereignisse, nicht Arbeitshaus; Tag gefeiert, nach der Vorschrift Sitten, Rituale, Zeremonien und Rituale spiegeln die der Kirche, oder anlässlich der Ereignisse in Erinne- wirtschaftliche, soziale, religiöse und geistige Ent- rung an den zivilen, staatlichen oder lokalen Brauch, wicklung bestimmter Nationen, sind ein Hinweis gelegentlich in den Bereich, nicht aber auf Personen“ auf ihre Weltsicht. Urlaub Wert ist vielfältig: es ist [1, P. 55]. eine feierliche Erneuerung des Lebens, spielt eine Seit den Tagen des Begriffs „Urlaubs“ wird regulierende Rolle und kommunikativ, emotional oft verwendet, emotionale Zustände (Fest für die und führt psychologische, ideologische und mora- Sinne, Gefühle, Seele, Herz) zu beschreiben. Wir lische und pädagogische Funktion. gratulieren assoziiert Gefühl angenehmer, freudig, Die Feier zum Leben erwecken Ereignisse der „die Sache beenden – nehmen kühn geht“ [2, Р. 56]. nationalen Geschichte, die das Schicksal der Nati- Im Verständnis der modernen jungen Mann verstan- on bestimmt, daher sind die Menschen durch ge- den als Feiertag Freizeit, in denen sie nichts tun und meinsame Erinnerungen unsichtbar verbunden. entspannen können. In diesem Sinne sind die Feiertage benachbarten Die Analyse der Meinungen von Folkloristen, Gedenktage über alle Ereignisse, die kollektiven Historiker, wir, dass in der Stellungnahme eines gro- Stolz und Trauer, Freude und Leid verursachen. ßen Teils des Herrschers von Russland und Russ- Es geistige Struktur eine äußerst wichtige Rolle in land angeben kann, wird der Urlaub zu einer wichti- der zentralen Matrix Menschen Weltanschauung gen staatlichen Angelegenheit betrachtet. Der erste, einnimmt. der ein „Dekret“ speziell ausgestellt große Feste zu Das Konzept der „Urlaub“ ist der Mönch Chro- halten war der russische Kaiser Peter I. nist, der, dass viele Menschen während der Ferien Es sei darauf hingewiesen, dass M. Zabylin stellte glaubt sich einig, dass „nahe beieinander beim An- fest, dass: „In Russland, die jeweils von einem Volks-

35 Section 4. Theory and history of culture fest Ritualen begleitet und die Lehren aus Gesang Meinung, sie in den Kreis der vulgären abergläu- und Gesang“ [2, P. 36]. bischen von Bräuchen und Ritualen bewegten, die In der populären Kultur Geschichten gibt es eini- meisten Mitarbeiter für die ländliche Jugend Spaß, ge Perioden, die in grundlegenden Veränderungen in ganz unbewusst Auferstehung in ihren Lustbarkei- der Festkultur der Slawen führen. ten verblassten Bilder unwiederbringlich in den Die erste Phase wird mit der Annahme des Fluss des Vergessens versunken. Christentums in Russland verbunden sind, in Fol- Mittsommer gefeiert russische Bauern im XIX — ge dessen gibt es neue Feste — religiöse (Christen, das ersten Viertel des zwanzigsten Jahrhunderts war orthodoxe, religiöse). Sie wurden zu den bedeu- ein Echo des alten slawischen Festes zu Ehren der tendsten Ereignisse der Heilsgeschichte gewidmet, Sonne. Teil des Bildes dieser Feier ist in den Denk- besonders verehrten christlichen Heiligen, die wun- mälern der Literatur XVI erhalten — XVII Jahrhun- dersame Ikone. Die meisten von ihnen fiel am selben dert [3, Р. 84]. Tag (oder nahe daran), und dass die alten russischen Gesammelte vom Vorabend Kupala Kräuterträn- Kalender feiern. ke genießt besonderen Respekt kupalenka (zhelto- So fusionierte Ostern mit mehrtägigen Früh- golov) und Blumen Ivan da Marja. Neben Kräutern, lingsfest des alten Slawen, die mit Hilfe von Opfern in einer Nacht Ivana Kupalu Volk Aberglauben rät und verschiedenen magischer Riten waren reiche solche „wilde Wurzeln“ und „bösen byliya“, wie Ernten und Nachkomme Vieh, Wohlstand in Fa- Liebstöckel, Gras, Gras-Hop, Break-Gras zu suchen. milien zu gewährleisten. Weihnachtsferien in der Bevor die Leistung der letzteren kann nicht überle- Zeit mit dem alten slawischen Fest gewidmet den ben, kein Schloss, wie es war nicht stark. Wintersonnenwende verbünden. Nativity Ioan- Midsummer in alten Zeiten zu Ehren des Feu- na Predtechi — die alte Urlaub von Kupala, der ergottes, der Sonnengott, zündete der Gott des Trinity — ein Semikov, markierte das Ende des Donners während der Sommersonnenwende Ur- Frühlings Feldarbeit (Pflügen und Säen). Der Kult laub leuchtet. Mitten im Sommer Fest und jetzt die des Propheten Elias (und Feiertag) wurde mit dem hellste Farbe ist der Brauch einmal mit Abgötterei Kult der alten slawischen Perun kombiniert — auf dem Niveau zu verurteilen „Sonnwendfeuer ent- der Gott des Donners (Donner), dem höchsten zündet“. Gott im Pantheon der Kiewer Rus. Annahme, dass In Smolensk, Brjansk am Vorabend der Agra- am Ende der Zeit der Ernte kommt, absorbierte fena-Trollblumen (6. Juli) Dorfmädchen gingen eine Reihe von vorchristlichen Ritualen und sla- zu reden und Gerste schlug in einem Mörser, die- wischen mit dem Abschluss der Ernte zu Zoll und se einfachen Arbeitslieder begleiten. Am Morgen dergleichen. auf Agrafena dieses Ritual Gerste gekocht Brei Eines der wichtigsten Sommerferien ist Johan- und isst es am Abend, wenn in dem Fest alle Be- nistag, genannt umgangssprachlich Ivan Kupala. In teiligten an den Fluss liefen — zum ersten Mal zu den Worten der alten Lieder wie durch den Wert schwimmen. des Urlaubs bestimmt.Wie wir im Jahr drei Festivals In Vladimir, Lipezk und Rjasan Regionen vor haben: Zuerst wird ein Feiertag -Semik ehrlich, Ein der Zündung von Bränden Mädchen stiegen im weiterer Feiertag – Pfingsten, Ein dritter – Globe. Bad mit frischen Zweigen, gebunden zusammen In der slawischen Welt, in allen Nationen, ohne mit duftenden Wildkräutern. Insgesamt Schwim- Ausnahme, ist Kupala Urlaub seine ursprüngliche men mit Liedern gehalten weit aus ganz Russland, Bedeutung nicht verloren, trotz des Jahrhunderte aber das Wasser (Bad) und Feuer (Reinigung) sind alten Christian. Aus dem Reich der landläufigen nach wie vor untrennbar mitten im Sommer Festivi-

36 NATIONALFEIERTAG IN DER RUSSISCHEN KULTUR: VERGANGENHEIT UND GEGENWART täten verbunden, wie am Anfang des XIII Jahrhun- Hypothese – im Verlauf der Studie kann davon derts, [3, Р. 325]. ausgegangen wird, dass das Verhältnis von Studen- In der Belgorod Region hat ihre eigenen regi- ten zu nationalen Feiertagen sein kann: onalen Besonderheiten Ivana Kupala, und sie sind • positiv, da die Schüler in den Wiederaufbau der aufgrund der Tatsache, dass die Region der Heimat Festkultur teilnehmen möchten, können Sie eine des russisch-ukrainischer Bevölkerung ist – Gie- Menge lernen, haben eine gute Erholung; ßen von Wasser, Kommissionierung Kräuter, Ver- • negativ, weil die Studenten nicht verstehen, größerung zeremonielle Puppen – Marynki, kum- warum Überreste aus der Vergangenheit wieder zu lenie Ritual und Festessen. beleben; Die zweite Stufe, die bestimmten Veränderun- • neutral und Rühr mich nicht an mir egal, wo gen in der Volksfestkultur gemacht – Peter I. Re- und was geht. formen, die eine feierliche Kultur in der Folk und Als Konsequenz aus der Umfrage sind folgende säkularen teilt. Schlussfolgerungen von Studenten gemacht werden Die letzte Etappe, die ihre Wirkung gehabt hat, sollte. mit der Revolution und dem Sturz des zaristischen So Beantwortung der Fragen zur Verfügung ge- Regimes verbunden – 20 Jahre des zwanzigsten Jahr- stellt Meinungen 30 Studenten der Fragebogen wie hunderts. folgt verteilt: Vor kurzem ist die Frage der Wiederbelebung • 10 Studenten an nationalen Feiertagen im Ge- der Volksfestkultur auf der Ebene des Gouverneurs gensatz zu glauben, dass sie in Lieder, Spielzeit nicht der Region Belgorod gesehen. langfristiges Pro- reich genug sind; gramm im Bereich der Volkskultur hat in den letzten • 15 Befragten glauben, dass nationale Feiertage zehn Jahren entwickelt über. erlauben, mit den Elementen der Kultur ihrer Hei- Für uns war es interessant, die Haltung der Volks- mat zu Ihrem Lieblingsvolkslieder, bekommen ken- festkultur unter den Studenten am Institut für Kunst nen zu entspannen, hören; und Kultur in Richtung der Vorbereitung zu offen- • die verbleibenden fünf Studenten glauben, dass bare „Volkskunst und Kultur“. die nationalen Feiertage nicht so schlecht sind, aber Das Problem unserer Meinungsumfrage ist zwi- besser noch lieber zu Hause zu sein, als sie zu besu- schen dem, was die nationalen Feiertagen in der heu- chen. tigen globalisierten Welt ist nötig, die das kulturelle Bei der Analyse der Fragebögen auf dem Kurs, Erbe, Werte und Traditionen zu erkunden, aber es auf deren Basis wir ausgebildet sind, identifiziert Be- dauert nicht immer berücksichtigt Vorfahren Volks- fragten die folgenden Muster. Der ältere Kurs, desto traditionen und nicht genug Profis Veranstaltungen weniger Studenten fühlen festlich Volkskultur Relikt zu organisieren. der Vergangenheit; In Anbetracht der Notwendig- Für den Zweck unserer Umfrage geliefert wur- keit, die nationalen Feiertagen oder deren Elemen- den, werden Ziele und Hypothesen entwickelt. te in öffentlichen Veranstaltungen, Bildungsprozess So war das Ziel die Identifikation der Haltung der der Vorschule und sekundären Bildungseinrichtun- Schüler 1 bis 4 Kurse an nationalen Feiertagen, die gen zu ermöglichen. Regie und Inszenierung. Die Ziele: die Ansichten So haben wir die folgenden entwickelt: der Schüler zu diesem Thema zu studieren; die Ent- • Volksfest Kultur ist notwendig, in den Bil- wicklung von Vorschlägen zur Verbesserung der dungsprozess vorschulischer Einrichtungen ab ein- Lage ausgerichtet. zuführen, die in entspannter Atmosphäre mit den

37 Section 4. Theory and history of culture

Merkmalen einer authentischen Kultur durch Ge- nicht nur auf theoretisches Wissen, sondern auch sang und Spiel Folklore kennen erlauben sollten; über die praktische Anwendung von Wissen der • bei den Studenten zur Vorbereitung der „Na- traditionellen Festkultur. tionalen Kunst-Kultur“, um mehr Zeit zu widmen, Referenez: 1. Dahl V. Sprüche der russischen Backgammon / Dal. – M. – 1957. – 102 s. 2. Zabylin M. russisches Volk: ihre Bräuche, Rituale, Legenden, Aberglaube und Poesie, coll. M. Zabylin / M. Zabylin. – M. – 1990. – 284 s. 3. Kotovich O. Goldene Regeln der populären Kultur / O. Kotovich. – 8. Aufl. – Minsk, – 2013. – 592 s.