Socialinio liaudies šokio tradicija: muzikantų ir šokėjų tarpusavio ryšio kaita

LTStraipsnyje tiriamas muzikantų ir šokėjų ryšys XX a. vidurio kaimo šokių tradicijoje bei XXI a. pradžios tradicinių šokių klubų judėjime, kurie įvardijami kaip „pirminė“ ir „antrinė“ šokio tradicijos, atsižvelgiant į Lietuvoje ir pasaulyje vartojamą socialinio liaudies šokio klasifikaciją bei terminiją. Aptariami du socialinio šokio reiškiniai gyvavo skirtinguose socialiniuose-kultūriniuose kontekstuose, kurie turėjo didelę įtaką nustatant dviejų tradicijų skirtumus. Tyrimo metu atlikti pusiau struktūrizuoti interviu su 36 asmenimis bei gauti 45 respondentų atsakymai į internetinę anketą. Lyginamosios analizės metodu aiškinami šių dviejų socialinio šokio formų bendriniai požymiai, muzikantų ir šokėjų tarpusavio ryšio skirtumai bei jų priežastiniai ryšiai. Atlikta analizė parodė, jog egzistuoja tik keletas panašumų tarp „pirminės“ ir „antrinės“ tradicijų, tačiau daugelis šokio elementų yra tik iš dalies panašūs arba skirtingi: gero šokėjo ir gero muzikanto bruožai yra gan panašūs, tačiau jiems suteikiamos privilegijos skiriasi; o šokių eiga bei pastabų sakymas turi reikšmingų panašumų. Taip pat išsiaiškinta, kad muzikantų ir šokėjų tarpusavio santykių skirtumus tarp dviejų tiriamų tradicijų labiausiai lemia šokių repertuaras, atlygis už grojimą, muzikantų profesionalumas, šokių pageidavimų vykdymas ir šokių renginius organizuojanti grupė. [Iš leidinio]Reikšminiai žodžiai: Atlygis; Atlygis už grojimą; Etnochoreologija; Geras muzikantas; Geras šokėjas; Geras šokėjas ir geras muzikantas; Klubų judėjimas; Socialinis liaudies šokis; Socialinis šokis; Tradicinių šokių; Tradicinių šokių klubų judėjimas; Už grojimą; XX a. vidurio kaimo šokių tradicija; Šokio antropologija; Šokių repertuaras; „pirminė“ ir „antrinė“ šokio tradicijos; Dance; Dance anthropology; Dance repertoire; Ethnochoreology; Good dancer and good musician; Good musician; Mid-20th century village dance tradition; Performance; Remuneration for; Remuneration for performance, good dancer; Social dance; Social folk; Traditional dance club movement; „first“ and „second“ dance traditions.

ENIn Lithuania, the relationship between dancers and musicians is a scarcely researched topic. Due to historical upheavals, Lithuanian traditional social dance gatherings have diminished during Soviet occupation period, and had completely disappeared from villagers’ life in 1980s. However, interest in folk dance remained, and today we have three folk dance trends, each of which seeks to revive folk dancing. The goal of this study is to investigate one of these trends, in particular traditional dance clubs, chosen for their prominent social dance dimension, and compare it with the discontinued social dance tradition of the 20th century. Due to lack of respondents from the beginning of the 20th century, the study’s focus was on the middle of the 20th century. For the needs of the study, both dance forms were characterised as the “first” (mid-20th century) and the “second” (21st century traditional dance clubs) dance traditions in accordance with the theories of F. Hoerburger (1968) and A. Nahachewsky (2001). Subsequently, the author of this article interviewed 36 people using semi-structured interview method, and online structured survey data was collected from further 45 respondents. The results revealed changes in the relationship between musicians and dancers, which was further explored using comparative analysis that exposed some similarities and significant differences between the traditions. First of all, there were only a few full similarities between the traditions: dance events take place once a week; most participants of the dance events are youth; and polka type dance is the first dance of most events, while the last is the so-called “Suktinis paskutinis” or “Bitute pilkoji” in both traditions.Secondly, partial similarities were found as well: in both dance traditions, musicians take more responsibility and discretion at setting the course of dances, however, during the “first” tradition dancers were used to ask musicians to play specific dances, meanwhile dancers in the “second” tradition do not ask so often; also, the definitions of good dancer and good musician are quite similar, however, the “second” tradition has lost some of their features (feet-stepping as a drum, singing while playing music simultaneously) and the privileges of a good dancer or good musician (leading dance group improvisations, enact new social norms or fashions, and to act as the authority defending the oppressed). Differences between the two dance traditions are many and significant; the following are the most important in relation to the subject-matter of this article – musician-dancer relationship. First, the organizers of the dance events in the “first” tradition were the dancers, while in the “second” tradition this role is taken over by musicians. This changes musicians’ status, as they become the owners and central figures in dance events, which often encourages them to pay less attention to dancers and their will, and is potentially harmful to the cohesion and relationships in dance community.Second, most musicians in dance clubs do not get a salary or other monetary remuneration for their job, and they often focus on self-satisfaction and self-realization in their performance, paying less attention to dancers’ wishes. Meanwhile, musicians in the “first” tradition were normally paid and often could sustain themselves from this income. Such remuneration imposed a stronger musician’s duty to the dancers – to play their favourite dances and be an attentive entertainer. Finally, there is repertoire difference, which has potentially the greatest impact to the dancer-musician relationship. In the “first” tradition, dance repertoire was narrow and comprised no more than 10 dances; it created a dance culture where dancers’ relationships with each other and with musicians, their social interactions were the central focus of dance events. In the “second” tradition, dance repertoire is extensive and musicians frequently play different dances throughout the whole dance event. Consequently, dancers, especially less experienced ones, are forced to concentrate on the constantly changing choreography, and opportunities for meaningful social interactions or relaxation are limited. Smaller repertoire could free up the dancers’ attention and empower them to focus more on their environment, the surrounding people and musicians. [From the publication]

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