Kur dainos vieta?

LTDaina ir dainavimas lietuviams buvo ir tebėra viena iš svarbių tapatybės dedamųjų, suvaidinusi anaiptol ne menkiausią vaidmenį nacionalinės savimonės brendimo laikais. Straipsnyje keliamas klausimas, ar šiandien tauta, regionas, bendruomenė ir vietovė tebėra terpė, gimdanti dainą? Kaip kinta dainos fenomenas, veikiamas bendrųjų kultūros globalizacijos ir deteritorizacijos tendencijų? Kur link slenkasi dainos vieta? Į dainą gilinamasi kaip į gyvą, nuolat kuriamą, iš dalies sakytiniu būdu plintantį reiškinį, žmogaus, palaikančio glaudžius kultūrinius ryšius su supančia aplinka, veiklos sritį. [Iš leidinio]Reikšminiai žodžiai: Buveinė; Daina; Deteritoricacija; Deteritorizacija; Globalizacija; Vieta; Deterritorialisation; Globalization; Place; Residence; Song.

ENThe song and singing have always been some of the major components of the Lithuanian identity. In the times when the national consciousness was rising, the song and singing were playing a significant role. The question of this article is how has the phenomenon of the vernacular song changed under the influence of the general tendencies of cultural globalization and deterritorialisation? Are nation, region and community still able to bear and to generate the song? Towards what is the song’s place shifting? The song is considered not as an object of high art but rather a phenomenon of ethnology and musical anthropology, which exists in a circle of sound variations, always created a new, and is a human cultural activity. Traditional environment where songs exist has slowly been changing along with the modernisation of society and the spread of literacy, the birth of national identity, and this change gained momentum in the 20th century. At the same time, this brought on the birth of the understanding of individual creativity, the feeling of self-esteem, the conscious desire to distinguish one’s own song, introduce a new, unique, unprecedented creative truth, important news, to announce an idea. From the 19th century, primarily due to the writing culture influence, the creator (rapporteur, performer) slowly began to disconnect himself from the listener, the word split from the music, the song from the poem, the poet from the composer, and at the same time, the place of the song drew away from the patch of land, the family and the community.The song lost its ritual power. On the one hand, songs become the truths of a nascent nation: the songs that bewitch the nation, ignite and support its spirit - this is one of the new shifts in the place of songs, having formed a new ‘axis’. But, at the same time, intimate human emotions (love, hate, revenge) and their conscious moral position became a medium for songs, expressed in their didactic content. Therefore, the second very important ‘axis’ of the existence of songs is people - their declaration of feelings, their choices dictated by reason, their moral and social position. The ‘axis’ of the place in the flow of songs in undermined. Collective cultural memory, out of inertia, still turns towards the old path, in the direction of the search for a meaningful existence. Of course, once it is lost, natural self-defence mechanisms are activated. No longer does place give birth to and support the song, but rather, the song raises, grows, attempts to preserve and even ‘construct’ the place. Longing for a place gives rise to the desire to form communities in towns and villages (long-gone villages coming together again, local festivals, town, school anniversaries, family gatherings, etc.) When the place is lost, it is created or a substitute is unconsciously searched for, which is then almost immediately enveloped in new rituals. Songs are one of the most important symbols of these rituals even today. [From the publication]