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“Liikumisega” vene laulude kultuurilisi tähendusi Udmurdimaa Debjossõ rajooni Varni külas

100%

Tolkachova S.

Mäetagused

2024

vol. 90

133-158

The aim of this article is to identify the specific features of the functioning of Russian round dance and dance songs in the traditional culture of the Northern Udmurts. Four songs in Russian, recorded from Udmurt performers by Tatiana Vladykina in the village of Varni, Debessky district of Udmurtia, in 1981 were chosen for the study: “My zaganem sem’ zagadok”, “Pri dolinke voda”, “…Tropitsa, kanapel’ kalotitsa”, “Chornyi voron vodu pil”. The correlation of these songs with Russian songs of the round dance tradition in the Kama-Vyatka interfluve allows classifying them as “songs with movement”. The analysis of the musical and poetic stylistics of the songs and the cultural context of their performance reveals that in Udmurt folklore, Russian round dance and dance songs exist parallel to the well-established core of sacral clan chants specific to the Udmurts. At the same time, a trend of assimilating Russian “songs with movement” has emerged in the traditional musical culture of the Northern Udmurts, to the extent that some of them have acquired a sacral meaning. These trends in the existence of round dance and dance songs in Russian in the Northern Udmurt dialect traditions are linked to a collective, unifying element, the festive atmosphere, and the perception of Russian round dance songs as a “borderline” genre. Yet another trend applies to the practice of performing round dance songs at a slow tempo. For the performance of these songs, singers demonstrate a more personal approach to the reproduced sonic fabric, expressing their individuality and uniqueness at the sound level. The singing of some slow Russian round dance songs by the Northern Udmurts turns out to be consonant with the performances of krezes in terms of musical-rhythmic parameters. The third tendency, the incorporation of slow round dance songs with Russian lyrics into Udmurt rituals, is also connected with the inherent possibility of endowing the sound canvases of such songs with “special” timbral, acoustic, and metric-rhythmic qualities characteristic of indigenous Udmurt ritual songs and “harmonious” with the musical expression of Udmurt rituals.

Tšeptsa jõgi põhjaudmurtide rahvakultuuri

75%

Shutova N.

Mäetagused

2024

vol. 90

15-36

The Cheptsa River has played a significant economic and social role in the history and culture of the Northern Udmurts since the ancient times. There were hunting grounds, pastures and hayfields on the river’s floodplain. The river is a source of drinking and technical (industrial) water, as well as protein products. It serves as a means of a cultural, political and commercial communication. The river is an important mythological symbol, and also an element of sacred topography. The purpose of the paper is to define the role and significance of the Cheptsa River in the traditional religious and mythological worldview of the Udmurts. The research materials include the author’s field data from the late 20th – early 21st centuries, archaeological, folklore and ethnographic literature of the late 19th – early 20th centuries, and the late 20th – early 21st centuries. For the first time, the role of the Cheptsa River in the formation of the ethno-territorial community of the Northern Udmurts is analysed. It is revealed that the river valley is understood and perceived as a common ethnic, family and tribal territory. It is shown that the Cheptsa River performs not only economic and cultural, but also metaphysical, irrational functions in the life of the Northern Udmurts. The semantics of the Cheptsa River is characterized as a symbol of the homeland, a road in real and mythological dimensions, a border between worlds, a means of getting rid of diseases, as a sacred value of local Udmurts. General cultural (stadial-typological) and original (specific) features in the veneration of the river are revealed. Peculiarities of the Northern Udmurts’ worldview are the ideas about the creatures of the aqutic world, the presence of a whole system of rituals and special places associated with the cult of the owners of the water element. It is argued that the anthropomorphic image of the water sphere masters occupied a more significant position in the Udmurt beliefs. Archaic female personifications of these river spirits and other images of water creatures have faded into the background. The author concludes that the Cheptsa River was an important economic, landscape, cultural and mythological object for the Northern Udmurts of the late 19th – early 20th centuries.

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2 Mäetagused

1 Shutova N.

1 Tolkachova S.

2 2024

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“Liikumisega” vene laulude kultuurilisi tähendusi Udmurdimaa Debjossõ rajooni Varni külas

Tšeptsa jõgi põhjaudmurtide rahvakultuuri