Savaiminė daina : nežymus būvis, tradicinės struktūros, vietinės reikšmės, globali raiška

LTSvarbiausia savaimingumo terpė yra gyvoji kultūra, dainuotinis kūrinių gyvavimo, kūrimo, įsisavinimo, perdavimo būdas įvairiose bendruomenėse - jam knygoje skiriama daugiausia dėmesio. Knygos struktūroje išskirtos dvi centrinės dalys (trečia ir ketvirta), kuriose atveriamas savaiminės dainos prieštaringumas ir sykiu jos vienovė su supančia kultūrine aplinka. Trečioje dalyje kalbama apie savaiminę dainų kūrybą, taigi, labiau pabrėžiama autoriaus, asmenybės, individualių kūrybinių sprendimų svarba dainų raidoje iš tradicijos į potradiciją (modernybę). Ketvirtoji dalis skirta tradicijos kaip dainų gyvavimo katalizatoriaus analizei. Pasirinkus socialinį dainos gyvavimo kontekstą - nežymųjį, menkai pastebimą jo matmenį - ir aprašant atskirus gyvavimo bendruomenėse atvejus, atskleidžiama kūrinių cirkuliacijos, „vartojimo“ virtuvė - jų nuasmeninimo, nuolatinio perprasminimo, įtraukiant į bendrijų kultūrines patirtis, „atomizacijos“ (išskaidymo motyvais, atskirais segmentais) ir naujo įsikūnijimo keičiantis kartoms procesai, folklorinio dainų įsigyvenimo kultūroje (taip pat ir šiuolaikinėje) apmatai. Dainų kūryba ir gyvastingos tradicijos poveikio jai efektas (kitaip tariant, dainų paplitimas liaudyje) yra neatskiriamai susiję, tad ir abi knygos dalys viena kitą papildo pinantis, sugrįžtant, variantiškai kartojantis, prasitęsiant mintims. [Iš Pratarmės]Reikšminiai žodžiai: Liaudies dainos; Dainos; Folk songs; Songs.

ENThe study is supplemented by an annex, consisting of 14 descriptions. Each one discusses a unique case related to a specific song, song author, existence of song in the community; details, facts, and commentary are presented. The annex’s descriptions are constantly referenced in the book. The first section - Introduction - presents the research object, introduces the key assumptions, discusses theoretical works that act as starting points for the study (D. Ben-Amos, S. J. Bronner, N. G. Canclini, A. Giddens, J. Tomlinson, S. Nekludov, J. Lotman, L. Yadryshnikova), the selected research method is defined. In the second section - Song culture: flow o f tim e and changes - the directions for the transformation of song culture, as distinguished by Lithuanian folklorists, are covered and lead to the assumption to form one more direction, which is the basis for this book. The impact of the phenomena of deterritorialization on song tradition is also examined. The beginning of the traditional song disappears somewhere in the annals of history, each song having grown from its own place’s daily routine, connected by the rituals of cyclical time. The primary axes of the flow of songs are land, family, and community. Traditionally, as dictated by the norms of authentic morality, actions are repeated (as repetition is a way of staying in the world that we know, in other words, a way to remain safe), rituals constantly reconstruct the past, organically blending into the present. Tradition creates a stable, coherent framework of collective memory, where the song is slowly polished as it is passed down from generation to generation. The directions for the modernisation process, especially in the 20th c., begin to significantly rattle the essential connections between person and place.Land reform (after WWI) led to changes in the usual landscape, people moved from the places where they were born and raised, where many generations lived, a lot of people moved to the cities, new communities gathered and settled there. This way, not only links with place fracture and change - where a person feels that their roots have settled, that it’s their own place, where they always want to return, which they dream of, but also incredibly important links, which affect ways of thinking, acting, and decision-making, which are connections with one’s own community. After the inter-war period, which shifted the main axis of a song’s flow, with the increasing need for patriotic songs and intersecting with the resources provided by popular culture, another blow was dealt by the period after WWII, which maybe even finally crushed the roots of the old traditional song. Sovietisation, exile, collectivisation, melioration simply swept away the remnants of the basis for traditional culture - the structures of the old way of life. Nevertheless, multi-faceted links to the village culture, peasant way of thinking to this day are the mark of a Lithuanian, even in a cosmopolitan world that has shrunk down to a global village. The feeling of security, once provided by the traditional community, is now searched for in the non-hermetic, fragmented, rapidly changing environment of urban culture. It seems like traditional song, with the lack of the medium that births it, ended its life cycle and moved to archives, publications, to the work of artists, the amateur stage, or nostalgic memories.The axis of the flow of songs has shifted, branched out and split up, but its key needs have conditioned and still condition the continuation of the living songwriting and singing process: the need to gather into communities, look for existential meaning in daily life, give meaning to the rhythm of life through points of an exalted state of being - celebrations, rites, and rituals. These needs in modern society are just as strong as in the pre-modern society. Nevertheless, place is no longer what gives rise to song. Place is supported by songs, given an identity through song, or simply created. In the third section - Outline of spontaneous Lithuanian songwriting - the aim is to differentiate patterns that govern the creative beginnings, to define the guidelines for the relationship between creativity and normality of tradition in modern song culture. The theoretical skeleton of spontaneous songwriting in Lithuania, as an integral phenomenon of modern culture, is presented, and the folkloric “way of talking” for this creative work is highlighted. Spontaneous, also known as naive, songwriting today is a common, widespread phenomenon. We almost don’t think about it and tend not to notice or simply do not watch it closely. This is the creative work of authors - amateurs or semi-professional songwriters - which is transmitted aurally-orally or in other ways. This chapter reveals what happens to this creative work when it begins to take root in the lives of the communities. It is very difficult to define the place of a creator of spontaneous song in the community, to establish the typical cultural corner where this creative work exists. [Extract, p. 330-333]