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By Dragomir Emanuela, Asan Ruhalia, Radu Gerogiana, Moldoveanu Raluca, Sarpe Lorena, Belbitoiu Adina and Darva Cristina |
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ROMANIAN Folk traditions |
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Pupils of nr. 8 School
Ancient earth set in the confluence of many worlds, this land wasn’t only a passing step between the north-east steppes and the Mediterranean regions, but it also created a steady environment/medium of contrasts where the products of many civilizations combined. Over the native Geto-Dacians there passed and settled down people of different angles of the world, forays, colonization and migrations were written on the pages of the history of this land. Under the same sky, in the regions between the Danube and the Black Sea, there lived aboriginals, Geto-Dacians, colonists, Greeks, Roman conquerors with the Thracian tribes and later migratory people and Ottoman armies passed. Both historical and geographical sources and archaeological and epigraphic monuments discovered in Dobrudja, allow general knowledge of the civilization which existed in this geographic area of Romania. Allogeneous people who lived in Dobrudja in ancient times disappeared. Their traces exist in monuments, fragments of constructions, inscriptions and notes in chronicles. Folklore and ethnographic creations have exquisite colouring, being considered as traits of exoticism infiltrated in the popular art of Dobrudja. Romanian popular songs were transmitted form generation to generation; they are nowadays sung at feasts. The popular song is a rich and diverse one, with great spreading, and the themes are diverse expressing love, melancholy, grief, joy. Sometimes the themes have a satiric and amusing content. Popular dobrudjan songs and dances offer at first sight a rich variety, whose explanation can be found in the demographic composition, which bring together, in Dobrudja, people come from all the regions of our country. Old Dobrudjan songs and dances live together with those from other Romanian regions: Oltenia, Wallachia, Transylvania, Moldavia. Rhythm is the main element; aksak rhythm and binary rhythm for Dobrudjan songs and dances can be often met. The size of the melody is based on square phrases (of 4, 8, 16 bars). Tempos are usually touched/rhythmic, lively. Simple and composed (homogeneous and heterogeneous) bars of 2, 3, 6, 7, 9 beats prevail The syncretism of our songs and dances is manifested by the union of the music with dance and with witty couplets, whistles, finger cracks, etc. The union of two or more dances with different tempos is typical of Romanian folklore in Dobrudja. The wind instrumentalist folklore group “blokflötte” from School no.8, Constantza came into being in the autumn of 2002, at the initiative of the of music Panait Gh., having in its repertory typical Dobrudjan songs and dances, such as: castanets (lively Romanian folk tune), sârba “Like in our Dobrudja” (Romanian folk dance), “Cadâneasca”, “Lass/girl Ioana”, Little lemon”/”Aloysia”, “Little wind of Dobrudja”, etc. This group has 7 pupils in the 6th and 7th form and they took part in the performances, contests and festivals in the localities of Constantza county. All the members of the group are laureate in the Folk festival for children, 2003 and 2004 in Lüleburgaz, Turkey. Dancing folklore is represented by the folklore dancing group “Dobrudjan shoots”(Mlădiţe dobrogene) from School no.8, Constantza This group, set up in 2001, consists of 18 pupils in the 7th form, under the direction of teacher Petcu Argintina. They have in their repertory Dobrudjan typical dances and they took part in local and abroad contests and festivals. They are laureate in the Folk festival for children, 2003 and 2004 in Lüleburgaz, Turkey. At the moment they present a suite of Dobrudjan dances, such as: “Pandelaşul”, “Castanets”, “Cadâneasca”, “Bagpipe” The rhythm of these Dobrudjan dances is one of exquisite splendour. The rhythmical formulas of steps are so diverse that, because of the musical bars of melodies: 2/4; 5/8; 7/16; 9/16, these rhythms cannot be seen in other regions of our country. “Pandelaşul” is danced in two parts, first part towards the right, and the second part towards the left. The steps are easy to interpret, with passage from the heel to the instep(anatomic) and the cushion (anatomic). The danced is mixed (boys and girls). The team is in circle. The dancers hold their hands. The tempo is that of castanets. “Castanets” is a mixed dance. It has two parts. They dance in couples freely distributed in space. The tempo is rhythmic. The bar is 7/16. “Cadâneasca” has the bar 9/16. it is a mixed dance. The melody is bipartite. The dance in circle. The tempo is lively. “Bagpipe” is a mixed dance in an open circle, arms in the neighbour’s belt. The tempo is rhythmic.
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Pupils of Middle Arts School
Ancient earth, Dobrudja is between two times: past and present. This land wasn’t only a passing between the north-east steppes and the Mediterranean regions, but it also created a steady environment/medium of contrasts where the products of many civilizations combined. Forays, colonization and migrations were written on the pages of the history of this land. Both historical and geographical sources and archaeological and epigraphic monuments discovered in Dobrudja, allow general knowledge of the civilization which existed in this geographic area of Romania. The style of Dobrudjan dance results from the fine record of Romanian dances; so Dobrudjan popular dance represents a stylistic uniformity having a homogeneous nature, perfectly outlined and balanced. In order to establish the configuration of the Dobrudjan dancing folk, we have to take into account the following sinificant coordinates: Danubian nature of dances Dobrudjan dances have the traits of plain dances. They are fast and jaunty. They keep the simple forms of circle and excel in Romanian ring dance. Homogeneousness of dances In Dobrudja we cannot find distinct geographic areas. On the contrary, dancing folk shows an impressive territorial homogeneousness, which makes us think deeper about this. North Dobrudja is not different at all of South Dobrudja. Rhythm of dances The rhythm of these Dobrudjan dances is one of exquisite splendour. The rhythmical formulas of steps are so diverse that, because of the musical bars of melodies: 2/4; ľ; 3/8; 5/4; 5/8; 7/8; 7/17; 9/16; 11/8, these rhythms cannot be seen in other regions of our country.
Marănghile Enisala The name of the dance comes from raw silk head dress, a veil of floss silk, weared by married women, who wrap up their face many times or who catch it in their hair and let it hang down. “Marănghile dance” can be found in the repertory of the villages in the Danube Delta and those in the south of the Danube. This dance is also played in villages C.A.Rosetti and Letea, in the middle of the Danube Delta. The composition of the dance is mixed. The dance consists of 4 figures. The melody contains two fragments. The group is made of 4 persons (two couples arranged “in cross”) The port: boys have their arms on their hips; girls have their arms free, bent from the elbow in front, up to their head The bar: 7/16 The tempo is that of castanets (crotchet with 2 points = 72) Description of the dance In the village called Enisala, Marănghile is danced “in cross”, in free port, boys having their arms on their hips or bent from elbow in front, up to their chest, and girls having their arms bent from the elbow up to their head.
Boy 1 is in place 1, boy 2 is in place 5; girl 1 is in place 3, girl 2 is in place 7. The dance takes place like this: The dancers “in cross” dance on the spot: boys make the steps from 1-2, and girls make the steps in 4, with a slight change of place in front, towards left, back and right. When girls dance on the spot, they do different arm movements towards their right and left, in the rhythm of the melody. Boys, when they dance on the spot, they make the simple step of castanets. The second part of the dance is the “crossing” of the dancers. This “crossing” is done on steps in 1-8, figure 3. Girl 1 crosses girl 2, each of them going up to the departure place of the other, then she came back to her initial place, without turning her body. Then, the boys begin, they cross each other and come back to the initial departure place, as well as the girls did. Boys make the crossing having their arms on their hips. p 363 – 364 – 365 – 366 – 367 score p – 371
Bătuta (stamping) – the variant of Enisala Dances with name Bătuta, Bătaia, Hora în bătaie, are Romanian ring dances on stamping. The name of Bătută comes from the Moldavians who are numerous enough in North Dobrudja, especially in villages between Măcin and Tulcea. In Enisala, this is also called Dobrudjan Bătuta. The steps of the dance are beaten out of time or they are combined with tree steps walked towards right, in front or towards left, followed by a beat with the left or the right. This is an easy variant of Romanian ring dances on stamping, interesting by the way it changes its dance direction. The dance was gathered the 4th of January 1964, in the village Enisala, Tulcea County. The composition of the dance is mixed. The dance consists of 1variant. The melody contains two fragments. The group is in circle. The port: they catch their hands like in the big Romanian ring dance. \/\/\/\/\/\/\ The bar: 2/4 The tempo is allegro vivace (d = 152) Description of the dance Boys and girls in circle, caught by their hands like in the big Romanian ring dance, make the steps from 1 -4 of the variant towards right, the steps from 5 are made in front, the steps from 7 towards left and steps from 8 towards right. After these, the dance is taken from the beginning, repeated ad libitum. The analysis of the steps P 44 – 45 – 46 score p 48
Dobrudjan belt from Enisala The dance was gathered the 4th of January 1964, in the village Enisala, Tulcea County. The composition of the dance is mixed. The dance consists of 2 parts. The melody contains two fragments. The group is in semicircle. The port: they are caught with their arms in their neighbour’s belt in the right and in the left. The bar: 2/4 The tempo is vivace (crotchet = 160) Description of the dance Boys and girls in semicircle caught with their arms in the belt, make the steps from 1 – 2 of the first part changing their place towards right, and ste steps from 3 are on the spot. In the second part, the steps from 1 – 2 and 4 – 5 are changing their place towards right and the steps from 3 and 6 are on the spot. The parts of the dance are repeated ad libitum. p 92, 93 score 95, 96
Shepherd’s belt from Enisala Three dances of “belt” are in the local repertory of the village Enisala: “Shepherd’s belt”, “Dobrudjan belt”, “Belt”. Shepherd’s belt consists of steps of belt with syncopated scissors, having its influence in the belt dance in Moldavia. The composition of the dance is masculine. The dance was gathered the 4th of January 1964, in the village Enisala, Tulcea County. The dance consists of 3 figures. The melody contains two fragments. The group is in semicircle or in line. The port: they have the arms on their shoulders. The bar: 2/4 The tempo is vivace (crotchet = 160) p – 112 – 113 – 114 – 115 score 118
Cadânesca 9/16 from Enisala In the variant of Enisala, the dancers play the change of place towards oblique-right in front, oblique-left back and right. The dance was gathered the 4th of January 1964, in the village Enisala, Tulcea County. The dance consists of 1 variant. The melody contains two fragments. The group is in circle. The port: they are caught with their arms or with the little finger, like in the big Romanian ring dance. The bar: 9/16 The tempo is vivace (d = 200) p – 160 – 161 score p – 163 |
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Folk Romanian dancers |
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Notes of Romanian folk dances |