http://www.etnolog.org.ua National Academy of Sciences of Ukraine Rylsky Institute for Art Studies, Folklore and Ethnology International Ballad Commission sief Національна Академія Наук України Інститут мистецтвознавства, фольклористики та етнології ім. М.Т.Рильського Міжнародна баладна комісія sief 35th InternatIonal Ballad ConferenCe SIЕef PaPerS and MaterIalS (2005, july 6–11, KyIV, uKraIne) 35 Міжнародна Баладна КонференціяФ SIef доповіді та Матеріали (6–11 липня, 2005 р. Київ, Україна) ІМ Kyiv - 2009 Київ - 2009 http://www.etnolog.org.ua УдК: 82–144+146.2:398.8(063) М 58 ббК: 84–5 Editorial: Skrypnyk Hanna (head editor) Vakhnina Larysa (vice editor) Atkinson David Golovakha Inna Mykytenko Oksana Yudkin-Ripun Igor Редакційна колегія: Скрипник Ганна (голова) Вахніна Леся (заступник голови) Аткінсон Давід Головаха Інна Микитенко Оксана Юдкін-Ріпун Ігор Edited by: Golovakha Inna Е Vakhnina Larysa Упорядники: Вахніна Лариса Головаха Інна Proof Reading: Karatsuba Myroslava Mazepova Julia Ф Коректори: Карацуба Мирослава Мазепова Юлія Cover Design: Taraday Tetyana Оформлення обкладинки: Тарадай Тетяна Technical Editor: М Zhygun Vyacheslav Верстка: Жигун Вячеслав All THE TEXTSІ ARE PRINTED UNDER AUTHORS EDITION ВСІ ТЕКСТИ ПОДАНІ ЗА АВТОРСЬКОЮ РЕДАКЦІЄЮ isBN 978-966-02-5300-1 © Інститут мистецтвознавства, фольклористики та етнології ім. М. Т. Рильського НАН України, 2009 http://www.etnolog.org.ua Introductory notes It is an honour as well as a pleasure for me to introduce these proceedings of a conference, hosted by the National Academy of Sciences Ukraine and by the Rylsky Institute of Art Studies, Folklore and Ethnology in particular. Most of us cope well with certain language problems, since we regard our- selves as being more or less trinlingual. Papers are delivered in German, English and French. However: in fact we usually are match for four or five languages, be- cause the hosting country also uses the local language(s). I would gratefully like to point out the fact that excellent interpreters were at our disposal in Kiev. Kiev was a wonderful choice for the annual meeting of our group. Both our colleague Prof. Larysa Vakhnina and Prof. Hanna Skrypnyk and their organiz- ing team (Inna Golovakha, Victoria Juzwenko and Oksana Mykytenko) and their institution have made every effort to bring folklore scholarship together and to encourage folklorists to expand n etworks, within our umbrella-organisations like the ISFNR or the SIEF. It is to be hoped that this book will stimulate further syn- ergetic cooperation. Е Let me express some proud reflections of the history of the Commission. Over the years we have become a venerable family. From our foundation in 1966 initi- ated by Prof. Rolf Wilhelm Brednich in Freiburg i. Br. (Germany), we have con- ceived the Commission as global. From the outset, there were participants from all quarters of the globe. We have explored, and continue to explore, research find- ings on popular songs from Norway to Turkey,Ф from the Ukraine to California, from Japan to South Africa and Mexico. From its beginning, the Commission’s international character was its most distinctive feature. Moreover, the proceedings of almost all our conferences have been published. The Commission met under Prof. Brednich’s presidency until 1993, when Da- vid Buchan (Newfoundland) and Stefan Top (Leuwen, today honorary chairman) were elected to succeed him. From 2000 the Commission was headed by Luisa de Guidice (Los Angeles), untilМ I was elected her successor in Riga in 2004, with Isabelle Peere (Bruxelles-Liège) and Marjetka Golez-Kaucic (Slovenia) as vice-presidents. In a cycle of five years the presideny is rotating and I will hand the baton on in 2009. In our history there were several thematic turns and paradigm shifts and many of the goals ofІ the ballad commission have changed since 1966. The starting-point was to elaborate an international ballad typology. To that end, a major aim was to create national, or indeed international, ballad catalogues, in order to stimulate research of compatible inventories. Our american colleague David Engle e.g. gave several papers which explored how the whole range of folk ballads might be so systematized. This is still work in progress. 3 http://www.etnolog.org.ua Over the years we have explored the ballad between orality and scriptuality, ballad mediations, and with more specialized themes such as ‘kinship in ballads’, and on one occasion, 1991 in Stockholm, the Commission was able to organize a series of lectures on a single theme: Clerk Colvil, Le Loi Renaud, Sir Olav and Sir Halewijn. We have engaged with moral and ethical issues, with ballads, and with group identities in a changing world, with issues of genre and gender, with broadsides, romanceros, corridos, dumkas, dainos, and songs about daily life and rituals. We have also discussed ballads and religion; the variety of semantic mean- ing; and folk-tunes. Wide-ranging debates took place over the relationship be- tween text and context, located within different epistemological frameworks and cognitive patterns. The types of context, as well as structure and motif, were in- vestigated. Our conferences also explored possible laws of transmission, as well as collective and individual repertoires. In addition, practical issues of exploration, collection, and field-work were discussed, together with best editorial practices, versions, variants, and performance, and, most recently, compatible digitalization and electronic handling of ballads. In all this, the cultural diversityЕ is remarkable: Estonians, for instance, contrived first to memorize the stanzas from hundreds of ballads on the spot, simply by looking at the screens on their mobile telephones. The ballad – ‘easier to recognize than to define’ [Tom McKean after Hod- gart] – has been, it would appear, sufficiently digested and ruminated upon. Is there nothing more to be said? As the Kiev conference has already showed, the answer is “no”. Prof Nicolaisen, one of the first members and sitnguished professor of a Scottish university insisted that the CommissionФ would never ‘mutate into a herd of ruminants’. Notwithstanding the broad spectrum of topics listed above, it appears as if the task of the international ballad commission is about to extend yet further. That may be seen in the debate over our name. Are we a Ballad Commission or a Kommission für Volksdichtung? If we regard ourselves as the former, and accept the definition of ‘ballad’ as a narrative ‘song’ or ‘song that tells a story’ [German: Erzähllied or epic song],М that would mean the exclusion of all other kinds of folk- songs. In Kiev the scholars also pondered whether a solution might be found in a wider interpretation of the term ‘ballad’ (reflecting more or less the current situa- tion)., perhapsІ based on various categories and functions of songs (lullaby, party song, work- or occupational song, funeral lament, etc). On the other hand there is the name Kommission für Volksdichtung, which began as a very German idea. The issue is, therefore, whether from a germano- phone perspective we should regard the Commission as being dedicated to Volks- dichtung alone (that is, folk poesy, folk poetry, folk fiction, fairy tales, maerchen, old and modern legends and fables, etc), or should it encompass the spoken word 4 http://www.etnolog.org.ua in our everyday life? And: does the name conjure up echoes of antiquated con- cepts such as the Volk, or of pure orality which never existed in reality? Would ‘ethnopoetry’ – a term coined more than thirty years ago by Heda Jason – be a suitable English translation of Volksdichtung? If so, it would have to include bal- lads in the narrowest and the broadest sense. However, to render Volksdichtung as ethnopoetry runs the danger of opening our field to much more than ballads, to arbitrary and postmodern hot air. In conclusion, I would like to stress how pleased I was in Kiev to see so many young and new faces. The significance of universities as producers of advanced knowledge is understood the world over. And Kiev offered an opportunity for all participants to learn new approaches from new generations of researchers who were meeting us for the first time. May the Ukrainian newcomers be welcome in our ‘family’ and bring to it what is needed in an age of globalization, namely cul- tural diversity, which deserves to be more than a shallow UNESCO slogan. Yes - ballads should be protected as part of our intangible cultural heritage. It has become a tradition that cultural diversity finds expressionЕ also in our evening singing sessions, and it is amazing how many larks and nightingales are to be found among dry scientists and theoreticians. We also thank our hosts for making available stages for these talents.May this book meet with success! President of the International Ballad Commission Prof. Dr. Sabine Wienker-Piepho Ф ІМ 5 http://www.etnolog.org.ua САБІН ВІНКЕР-П’ЄФО Вступне слово Маю честь та задоволення представити матеріали конференції, яку провів Інститут мистецтвознавства, фольклористики та етнології ім. Рильського НАН України. Більшість з нас знає кілька мов і більшою чи меншою мірою володіє трьома. Статті збірника представлено німецькою, англійською і французькою мовами. Водночас по суті ми користувалися чотирма-п’ятьма мовами, оскільки країна-організатор також представлена національною мовною традицією. Я хочу висловити подяку нашим перекладачам, які допомагали на конференції у Києві. Київ виявився чудово обраним місцем проведення чергової, 35-ої конференції. Обидві наші колеги – проф. Лариса Вахніна та проф. Ганна Скрипник, члени оргкомітету (Інна Головаха, Вікторія Юзвенко, Оксана Микитенко), а також інші працівники Інституту доклали багатоЕ зусиль для обміну результатами фольклористичних досліджень, зібравши усіх членів ISFNR та SIEF під “одним науковим дахом”. Я сподіваюсь, що це видання сприятиме розвитку подальшої нашої наукової співпраці. Я б також хотіла додати кілька слів з історії Комісії. Протягом років ми стали однією родиною. З моменту її утворення у 1966 році з ініціативи проф.