Istorie Şi Tradiţie În Spaţiul Românesc
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editor Sultana Avram Istorie şi tradiţie în spaţiul românesc Universitatea „Lucian Blaga” din Sibiu editor Sultana Avram ISTORIE ŞI TRADIŢIE ÎN SPAŢIUL ROMÂNESC XII Articolele cuprinse în acest volum fac parte din comunicările ţinute la Făgăraș în cadrul Zilelor Antropologiei Româneşti, 2017, ediţia a XXV-a, cu tema „Comunicarea prin dans: de la dansul ritual la cel modern” – EXEMPLAR GRATUIT – Titlul: Istorie şi tradiţie în spaţiul românesc Copyright © 2017 Toate drepturile aparţin autorilor. Reproducerea integrală sau parţială a textului sau a ilustraţiilor din această carte este posibilă numai cu acordul prealabil scris al autorilor. Autorii îşi asumă întreaga răspundere asupra conţinutului. Editor: Sultana Avram Tehnoredactare: Techno Media Coperta: Techno Media Lectori: Alexandru Bucur - limba română Rodica Brad, Jerome Thomas - limba franceză Clementina Mihăilescu, Emilia Tomescu - limba engleză Descrierea CIP a Bibliotecii Naţionale a României Istorie şi tradiţie în spaţiul românesc: culegere de studii / ed.: Sultana Avram. - Sibiu: Inspectoratul pentru Cultură al Judeţului Sibiu: Tipotrib, 1995- vol. ISBN 978-973-7865-58-8 Vol. 12: Comunicarea prin dans - de la dansul ritual la cel modern. - Sibiu: Techno Media, 2017. - Conţine bibliografie. - ISBN 978-606-616-281-4 I. Avram, Sultana (ed.) 39(498)(091)(063) 398.3(498)(091)(063) 572.026:392.8(498)(063) Editura Techno Media 550074, Sibiu, str. Dimitrie Cantemir nr. 22 tel./fax: 0269/21.19.83 www.technomedia.ro; e-mail: [email protected] Cuprins Slobodan Dan PAICH From Ritual to Modern Dances .................................................. 7 De la ritual la dansurile moderne .............................................. 7 Valentin CIOVEIE The Moving Word: Spiritual Dance Across Some Religious Traditions ....................................................... 27 Cuvântul în mişcare: dansul spiritual în câteva tradiţii religioase ...................................................... 27 Emilia TOMESCU The Shamanic Dance ................................................................ 42 Dansul Şamanic ........................................................................ 42 Jerome THOMAS Danse et anthropophagie rituelle chez les Tupinamba (Brésil – XVIe siècle) ............................................................... 53 Dans şi antropofagie rituală la tupinambas (Brazilia -sec. al XVI-lea) ........................................................ 53 Vasile MĂRCULEȚ Ştiri despre dans în literatura istorică bizantină din secolele VI-XIII .................................................................. 76 News on Dance in Byzantine Historical Literature between the 6th and the 13th Centuries ................................... 76 Sara BACCHINI et Rosina SCALISE La TARANTELLA… Une danse pour exorciser la folie .......... 89 Tarantella Un dans pentru exorcizarea nebuniei ..................... 89 Alexandru BUCUR Dansurile anatoliene: Specificitate și posibile influențe ........ 108 Anatolian Dances Peculiarity and Plausible Influences ........ 108 5 Ionuţ SEMUC Căluşul – rit, ceremonial, spectacol ........................................ 142 Călușul – Rite, Ceremonial, Show .......................................... 142 Emil ȚÎRCOMNICU Hora de pomană la românii din Timocul Bulgăresc ............... 149 Hora Offered as Alms at Romanians from Bulgarian Timoc ............................................................ 149 Maria Mihaela AVRAM Aspecte privind credinţa în Iele în satul Foleştii de Sus, România ........................................... 164 Aspects Concerning the Belief in Iele in Foleştii de Sus Village, Romania ....................................... 164 Laurențiu BĂLĂ Tangoul, de la dans popular şi marginal, la dans de societate ................................................................. 172 Tango, from Popular and Marginal Dance, to Social Dance ...................................................................... 172 Daniela Maria STANCIU Câteva considerente cu privire la balurile sibiene și timișorene la început de secol XX ...................................... 181 Some Aspects Regarding the Entertainment at the Beginning of the 20th Century in Sibiu and Timișoara ........................................................... 181 Rodica BRAD Hora românească, între apolinic şi dionisiac: Nunta Zamfirei de George Coşbuc şi Ciuleandra de Liviu Rebreanu ............. 199 La dance roumaine entre apolinien et dionisiaque. „Le mariage de Zamfira” par George Coşbuc et „Ciuleandra” par Liviu Rebreanu ..................................... 199 Doinița COSTĂCHESCU Dansul cu paşi de copil ........................................................... 218 La danse aux pas d'enfant ...................................................... 218 6 From Ritual to Modern Dances Slobodan Dan PAICH De la ritual la dansurile moderne The paper includes: Social, ritual and expressive aspects of dance Need for ritual movement – Historic Reflection Labyrinth, pavements and maypole dances Understanding Body Tarantella / Zar dance healing circles of women helping women Medieval Church Pavments And Ritual Dance Hagia Sophia's Omphalion, Istanbul and Westminster Abbey Cosmati Pavement, London Transcendence and contemporary dance Rudolf Steiner Eurhythmy, Gurdjijev's movement practices Need for Ritual Movement – Historic Reflection Root Labyrinth Spread over vast geography and time span of the Paleolithic, Neolithic and Pre-Classical eras are seven passageways Labyrinths. Either engraved on rocks or at a walkable scale they are clearly emblems and instructions for some transcendence practices, possibly repetition rituals and ongoing training. Rosary and prayer beads may have a similar function. In this paper we call them Mother or Root Labyrinth. 7 Construction steps of Mother Labyrinth (Artship Archive) This type of labyrinth can be found in a number of Mediter- ranean countries on all three continents that form its watershed. Mother Labyrinths also appear in British Isles, Scandinavian and Russian do- mains. This pattern is present in Shamanic practices of Turkic central Asia, Siberia, Mongolia and among Native Americans. It is interesting that an initial crossing of four short twigs in basket making, prehistoric or modern, has a similar initial ordering of the material that grounds, holds it so it can be looped and self-fastened to create a full container. Prehistoric markings – Ponteverda, Spain and Val Camonica Italy (Artship Archive) 8 The simplicity and portability of the Mother Labyrinth pattern is impressive. It appears that at any scale the Mother Labyrinth brought practitioners into a desired state, relationship or understanding. Am- bulatory usage and its comprehension seem to be an important part of this tradition. Not just chanting or talking but actually Traversing (dancing) on the ground in repeatable (choreographed) pattern, towards some form of transcendence. Utilizing turf and lying down of stones were often construction methods of Mother Labyrinths on the ground. Turf Labyrinth (Community Resource Library) The connection between ancient labyrinth and church pavements of the Middle Ages points to a possible wider, across-time cultural category. That in the atavistic memory and possibly within the body's molecular structures, there could be a seed of a devotional, respectful movement through an organized, handsome, repeatable pattern. Similar to when we look at the loops of Medieval Orthodox or Catholic church floors, something in us begins to sinuously ambulate even if we are standing still. 9 Prolonged and slowed down, the walk over compressed, nonlin- ear territory with proportionally ordered turns and returns do have an effect on the human body. Like the courtly and dignified Pavan, a dance that is almost nothing more than a slowed down walk. This slowing down may be the opening, a queue for the bodily sense of entering a ritual state. Omphalos Oracle Stones This very brief overview of the Omphalos tradition, meaning and geography is presented to give grounding and understanding of the symbolic function of votive stones as the focus of ambulatory practices from prehistoric times onward. The association of stones with a place and the liturgical, theophanic character of stones placed in or around places of worship are of interest to this paper for the Anthropology – Cultural Studies Symposium of the Romanian University of Sibiu titled From Ritual to Modern Dances. Omphalos means naval, the same as the scar of umbilical separa- tion on the human body. Omphalos, the naval of the world traditions are expressed as sculpted half-egg shaped stones fully embodied in three dimensions. Omphalos is associated with oracle sanctuaries of pre-classical and classical Greco-Roman world, with Delphi being one of them. The Delphic oracle priestess Pythia is under protection of Apollo and also in name and inner practices is connected to Python the earlier deity of the sanctuary. The presence of the Omphalos stone is confirmation of the sanctuaries’ oracular function. There are a number of ancient sanctuaries around the Mediter- ranean that have inherited the title of ‘Earth Navel.’ Most of these sites were the nexuses of earlier cults of mother goddesses, places of veneration, pilgrimage and in some cases prophecy. The most famous Omphalos is from Delphi in Greece. They are also found in Greek temple complexes at Delos and in the Ancient Egyptian Nubia, at the temple of Amon. 10 Philipp Vandenberg in his book Mysteries of the Oracles: The Last Secrets of Antiquity