GAMES
-
Upload
penka-nikova -
Category
Documents
-
view
216 -
download
0
description
Transcript of GAMES
FOLKLORE (dances, games) INTRODUCTION
Folk choreography is a part of folklore and it is as original as all nation‟s folklore is original. Folk
choreography is the creative work of the people where artistic images are created by rhythmical
movements followed by vocal or instrumental music. Folk choreography as well as other branches
of the folk art has always been closely related to the mode of life, work and customs of the nation.
Since ancient times the dance has been inevitably accompanying all important events in the life of
the people. The life of the Lithuanian nation, its character and morals are reflected in the content of
Lithuanian dance.
Every movement and step has it purpose. They always mean something or show something. It is
even the slightest change of mood that can expressed by movement of the dance. Dance movements
are subjective; visible expression is based on emotion. Dance originality is being formed by
methods of expressions under the influence of geographic surroundings, clothing, relationships with
other nations, racial characteristics and so on. By creating a dance, people without realizing it
creates beauty as well. Dances distinctiveness depends upon the originator as well - whether it has
been created by man or woman. Lithuania has basically been an agricultural country; therefore folk
art primacy belonged to women and was related to the scale of feminine themes (for example,
works done by women only). This of course had influenced the lexicon of choreography - for
example simplicity of steps was influenced by the women‟s long skirts. The characteristics of the
Lithuanian folk choreography are also shown through music, which is calm, symmetric, the rhythm
is monotonous, the tempo moderate and in the quarter form. Lithuanian folklore is based upon the
farmer‟s outlook on life. It is lyrical, there is no epic narration, in war songs the actual battle is
never sung about, and there are no war dances left. No hunter dances have survived either and in
folk choreography there are no movements left typical on this theme.
The first information about the art of Baltic movement appeared at the end of the IX century. The
traveler Vulfstan wrote that it was no doubt about the Balts played during funerals. Later
chroniclers and travelers mentioned that Prussians and Lithuanians played and danced; some of
them even stressed the dance‟s character. Up to XX c. dances were documented only occasionally
and only fragments of the dance description could be found, most often only the name of the dance
and its mood were mentioned. All the dances during this time period were recorded in narrative
style, not a single one was recorded with music, steps or movements. For the most part from these
recordings one could only reconstruct the character of the dance or the image of the form.
The situation hardly changed throughout the whole of the XX century if compared to the
description of song folklore and song‟s book printing. In addition, starting with the middle of XX
century two completely separate genres had been formed in Lithuania which in the West had been
understood as folk choreography. (A new genre emerged which was stylized one, designated only to
the stage author‟s “folk dance”, which is created by professional choreographers, using a special
music written by a professional composer specifically to that purpose an adopting the name of old
traditional dance and its ideas).
The genre of the traditional folk dance is still alive. People used to learn dances from parents or
grandparents whose lives have been still greatly influenced by customs and traditions and who
mastered dancing folk dances directly from their parents in outdoor country parties. Folk
ensembles, who still participate in folklore collection expeditions in rural areas willingly dance
these dances.
Lithuanians, as well as their Baltic neighbors, have always loved to dance. Young people gathered
to dance in field parties (in summer), or in farmer houses (in winter). Older people and small
children also took part in these festivities talking, socializing, and generally amusing themselves.
Looking still further back into the history, dance was also a part of ancient Lithuanian calendar
celebrations and rituals.
Lithuanian folk choreography can be classified into four groups: polyphonic singing dances, ring or
circle dances, games and other dances.
Polyphonic singing dances (Sutartinių šokiai). As mentioned earlier, sutartinės are unique archaic
polyphonic songs. About a third of these songs have accompanying dance elements. The
movements are quite simply and easy to perform. Three or four women perform a circular or
quadrille type dance as they sing. [Example “Šokinėjo ţvirblalis po pievų”]
Ring dances, circles (Rateliai). The number of participants in such a dance is unlimited. The dancer
themselves sing the lyrics without any instrumental accompaniment. Stepping around in a circle, the
participants perform various movements which sometimes illustrate the song‟s text. But usually,
these are just simple movements repeated again and again: linking elbows and turning, weaving
circles, and other figures. Ring dances have several forms: simple circles [ex.”Pasėjau ţilvitį”,
“Graţus mūsų jaunimėlis”, “Verdu bulvienę”], double circles, rows [ex.”Esu dailiai išmokyta”],
bridges [ex. “Upytėlė teka”], chains and gates.
Circles are typical for: unlimited number of participants, accompaniment by participants singing the
song themselves, and during one part of the music the dancers walk a simple step or execute actions
in place. The circle dance‟s metrorhythmic structure as well as text is commented on. There are
several forms of circle dances: the circle, the circle with a center, double center, lines, bridges,
chains, gates and variations of these forms. The forms themselves are older than the circle.
Comparisons of various types of dances show that circles with the same content often differ from
one another.
Games (Ţaidimai). Dances-games are rarely sung, and when they are, they do not follow strict
rhythmical patterns. These game hinge on creative improvisation, spoken text or dialogue [ex.
“Šarka”, “Ţvirblis”], and the performance of “tasks”. Some types of games are quite similar to ring
dances [ex. “Katinas an pečiaus”].
The following characteristics are typical of games circles/dances: the text does not necessarily need
to be sung, singing doesn‟t necessarily have to match the rhythm, free improvisation, the text or
dialogue is followed by action or task. Like circle dances games similarly are divided according to
their form or are of a free form.
Dances (Šokiai). These dances are accompanied by instrumental music and sometimes singing as
well. Separate pairs dance in loosely structured form space while only group follow a large plan.
Dances consist of consecutively repeated movements, steps and figures.
Lithuanian paired dances [ex. “Šokinėkit, berniukai”, “Kiškelis”, “Gudo dūda”, “Pjoviau šieną”,
“Drailinas, “Anės polka”, “Grečinikė”] of specific steps and movements differ very little from those
of neighboring countries. Lithuanian group dances, like “Našliukas”, “Polka keturinė”, “Noriu
miego”, “Malūnėlis” are based on paired dances too. However, the character and the spirit of our
dances is unique. Even foreign dances which made their way to Lithuania (i.e. Krakoviak, Latrišas,
Aleksandra, Vengierka, Lelenderis, Valsas, Kadrilis and others) acquired many new variants and
distinctive characteristics. Judging by names of dances it is apparent that Lithuanians borrowed
many dances from their neighbors, however, these dances gained new features and were danced in a
different manner; some movements were changed. Lithuanian dance is characterized by inward
great emotional energy which is never manifested externally. Since traditional Lithuanian lyrical
folklore originated among farmers and peasants, it still retains their outlook. There are no war or
hunting dances, no high jumping or kicking. Lithuanian traditional dances are dominated by
subdued ring dances and games whose lyrics center around growing crops and livestock or relations
between young people and match making. Dance music has a moderate tempo, is usually symmetric
and without large interval jumps.
Staged art is constantly looking for new forms, new means of expression. This include staged
dance. Staged dance is not only influenced by Lithuanian neighbors, but by general cultural
environment as well. Folk dance is being constantly created anew, it moves out from the sphere of
the mode of life as onto the stage where it is meant to be looked at. The choreographer and his
personal outlook on life plays a large role here because he takes on creator‟s “producer” function
and the public audience remain only as “users”, mostly passive. Concert programs are constantly in
demand for new dances, which are created by individual choreographers, however continually
moves away from the folklore tradition. The staged dance is becoming more important in the
community and such dances are often referred to as folk dances but actually they have been losing
their creative communal principles. Folk choreography objectively remains as an aesthetic value,
but many professionals look at it as of lesser creative value. They rely mostly on their own
generalized cultural background. Therefore a large number of these dances are thought-up and only
their titles that are taken from folk dances that remain. Folk dances about the mode of life are being
replaced by popular dance. As a reaction to such choreography pure folklore ensembles have been
started to be organized who cultivate folk choreography, but don‟t solve this problem. Classical
dance mannerisms have been infiltrate into the staged dance mainly because the leaders of dance
groups have been taught the classical dance. Classical dance as a method to train dancers is being
used as a means of expression thereby it is becoming the main criteria for evaluation. Staged
dance‟s tempo has become faster, technical elements have become more difficult to perform.
Because of this the dance expression suffers, as well as exposure of content and the relationship
between dancers.
Recreated and transplanted onto the stage folk dance gained a new quality and its purpose changed.
The question about the enrichment of the dance has been seriously raised - should it be supported
by it‟s own resources or should choreographers borrow from others all the best that has been
discovered and created. Music is an issue too. It is often written by professionals; there are no
typical folk song elements or repeated refrains, the meter is mixed, the duration is varies and there
is no symmetry. The new music is remote from folk dance music traditions.
Because there are few researchers of folk choreography the direction of evolution depends on
practitioners. Naturally in Lithuania staged dance forms of expression are chosen according to
individual taste. For this reason foreign elements infiltrate, national color disappears, the cultural
remembrance of folklore dies.
There are plenty of groups of both genres: about five hundred folklore groups, whose members
sing, dance and play games that are inherited from their grandparents and about five hundred of the
stage dance ensembles. Representatives of both genres organize various festivals and gatherings,
local and international, and participate in international festivals in Europe and all over the world if
the group can afford it financially. The groups also participated in World Lithuanian Song and
Dance Festival (about 35000 participants) Folklore Day. Compiled by Eugenija Venskauskaitė
Vaikų žaidimas „Katinas ir pelė“
Children‘ game „ The cat and the mouse“.
Šis ţaidimas yra azartiškas, reikalauja sukoncentruoto dėmesio ir reakcijos.
This game is very actine and busy. It requires a lot of attention and fast reaction.
It is a popular game in the evening parties and other entertainments. The movements illustrate the
text, which is sung. At the beginning all the players make a big circle. The music consists of two
parts: the first part is slow, it consists of 6 bars, time 4/4; the second part is , it consists of 4 bars,
time 2/4; the melody of four bars is repeated as many times as wanted.
1. A circle (6 bars) 1-6 bar “ Mouse,
mouse was running in the house while the cat was sleeping „
All dancers in a circle
are turning the circle
round in some
direction (one step
every crotchet).
1 figure
2. Catching the
mouse ( 4 bars )
1-4 bar „ The cat is so
bad because he can„t
catch the mouse“
The player who is the
„cat“ tries to catch the
player who is the „
mouse“.
I SOWED A WILLOW
Pasėjau ţilvitį
It is a widely spread circle in Lithuania, danced in couples. There are various variants of the texts
and ways of dancing the circle, but the most common elements are a circle and weaving a willow,
or a circle and turning round having joined by arms. Here we are providing the descriptions of both
elements.
The sequence of the circle
The even number of dancers stand in a circle, take each other by hands in a simple way, and find
partners.
1. A circle (8
bars)
1 - 8 bar
“I‟ve sowed a
willow in the
father‟s garden”.
The dancers in a running step
every quaver merrily turn the
circle to the right .
1 figure
2. Turning
around,
joining arms
(8 bars)
“Vai tu ta, vai tu
ta, in the
farther‟s
garden”.
1-2 bar: the dancers let their
hands free and standing in the
same place, six times clap
their hands every quaver.
3-4 bar: the couple of dancers
join right arms and turn round
in a running step in the same
place .
5-8 bar: the dancers once
again repeat the text and
movements of 1-4 bars, but
now the couples turn round,
joining by the left arms in the
opposite direction.
2 figure
1. A circle (8 1 - 8 bar The dancers in a running step 1 figure
bars)
“I‟ve sowed a
willow in the
father‟s garden”
every quaver merrily turn the
circle to the right .
2. Weaving a
willow
(n bars)
1 - n bar
”Vai tu ta, vai tu
ta, in the
farther‟s garden”
The dancers in a couple turn
to each other and start
weaving a willow, giving
each other in turn right and
left hands every bar (the
palms of the hands, bent at the
elbows, touch in the height of
the boosom). The dancers run
around in a circle weaving a
willow (3 figure), and passing
the dancer, coming from the
opposite direction, either
though the right, or through
the left shoulder, before again
meets with his original
partner.
3 figure
JOUNG PEOPLE ARE NICE
Graţus mūsų šeimynėlė
It is a popular circle in the evening parties and other entertainments. The movements illustrate the
text, which is sung. The circle is danced in couples. The music consists of three parts: the first part
is slow, it consists of 8 bars, time 3/4; the second part is calm, it consists of 4 bars, time 2/4; the
third is livelier, time 2/4; the melody of four bars is repeated as many times as wanted.
The sequence of the circle
All couples stand in a big circle and join hands in a simple way.
1. A
circle (8
bars)
1-8 bar “Young
nice people
gathered today.
The merry host
(hostess) is sitting
by the table.
All dancers in a circle are turning the
circle round in some direction (one
step every crotchet).
1 figure
2.
Clapping
and
stamping
(4 bars)
1 bar “with the
hands…”
The dancers stop, let their hands free,
and turn to the centre of the circle.
2 bar ” …pliaukš,
pliaukš,”
Everyone claps their hands twice in
front of them.
3 -4 bar “ with
the legs taukš,
taukš”.
Singing dancers are standing in the
same place, and in the 4 bar they
stamp one or another foot.
3. The
weaving
of the
willow,
saying
hello (n
bars)
1-n bar “Good
morning to you,
to you, good
evening to you, to
you” 2xn.
The couples turn to each other and
start weaving a willow, giving each
other in turn right and left hands. This
way they go round the circle, passing
each other in turn round their right
and left shoulders, untill meet their
partners.
3 figure
The game originates from the East of Lithuania, Panevėţys region.
A Cat Was Sitting On A Stove
Katinas ant pečiaus sėdėjo
The game is very lively, cheerful and suits for kids of different age groups. The dance is developing
kids‟ nimbleness, reaction.
The sequence of the game
The kids are standing in a tight circle, so that there are no gaps between them, facing the centre, and
holding their hands behind their backs. One player is standing close to the circle, and holding
something like a towel or scarf, wrapped tightly in his hand.
1. Standing in a
circle
(8 bars)
1 - 8 bars
“ A cat was
sitting on a stove,
had a mouse in
his mouth”
Standing in a tight circle, all kids are singing.
The one, who has a scarf, goes round the circle,
and secretly gives it to anyone in a circle,
pretending that nothing has happened, he goes
round the circle further, till the text of the song
is finished. Then he stands into a circle.
2. Running
afterwards and
beating
(8 bars)
1 - 8 bars
The players are
singing:
“They will beat a
cat, without
looking where”
The one, who got the scarf, starts beating his
neighbour on the right. The latter starts running
round the circle to his place, and the one who
beats him, is running afterwards.
When the beaten player is back in his place, kids start singing and playing from the beginning. Now
the scarf round the circle is carried by the one, who has been running afterwards his neighbour.
Kids play until they are bored.
I WAS TOUGHT NICELY
Esu dailiai išmokyta
It is one of the numerous variants of “Audėjėlė”(“ Weaver”). The variant, which is provided here
very clearly illustrates weaving with loom.
The sequence of the circle
The circle is danced in couples. Boys and girls stand in rows one in front of another, and the
distance between the rows is 1.5 m. In the rows the dancers join hands in a simple way low. In the
ends between the rows two more active persons are standing and acting “the shuttles” (1 figure).
1. Coming
closer and
moving
away
(8 bars)
“I was
taught..."
"..to
weave
nicely”.
1 - 2 bar: the rows come close to each other,
when the dancers step six simple steps
forward. The “shuttles” are standing (2
figure).
3 - 4 bar: in six simple steps back, backing,
the rows are moving away from each other.
5 - 8 bar: the text and movements of the 1 - 4
bar are repeated.
2.Weaving
(8 bars)
“Pykszt
pokszt”,
1 bar: standing in the same place, the dancers
clap twice, and the “shuttles” quickly run to
the other end between the rows, passing each
other through the left shoulder (3 figure).
“tapu,
tapu, “
2 bar: boys‟ and girls‟ rows come close to
each other in big steps and the couples join
both stretched hands (4 figure). “Shuttles”,
having run between the rows, remain in the
opposite ends.
“pupu,
pupu,”
3 bar: the couples in two quite big steps turn
half a circle against the Sun in the same
place: the girls change sides with the boys (4
figure).
“klepu
klepu”.
4 bar: the dancers of the couples, having
changed sides, let their hands free and
alingning in the rows, backing, move away
from each other in two big simple steps (5
figure). “Shuttles” remain standing in the
same places.
5 - 8 bar The text and movements of the 1 - 4 bar can
be repeated once again: boys and girls,
having changed sides, come back to their
original places, and the “shuttles”, having
run between the rows, pass each other again
and come back to the same places, where
they have been in the beginning of the
element.
Afterwards the circle is repeated from the beginning , singing the same or other stanza:
“The shuttle is shuttling merrily,
It is not touching the thread.
Pykszt pokszt, tapu tapu
Pupu pupu, klepu klepu.”
Note: “shuttles” can change, i.e. stand in the ends of their rows, and from the opposite end other
dancers can take their place. The couples would then be changing.
The dance originates from the East of Lithuania, Švenčionys region.
I WANT TO SLEEP
Noriu miego
This dance is spread in Lithuania, and in every village is danced in a different way. The melody has
two text variants. For kids we are proposing the following variant: “ I‟ve been sowing the rue, I‟ve
been sowing the mint”. Most often the movements of the I stanza are repeated many times. Hereby
we are providing a little bit more expanded variant, originating from the North East of Lithuania.
The dance is danced in couples, and some parts in fours. It is better, when the dance is danced by an
even number of couples.
The music consists of two parts, first containing four bars, the second containing eight bars. The
time is 2/4, tempo is moderate. The main step of the dance, which in the description is called “I
want to sleep” was danced by the village people in very different ways.
The sequence of the dance
The couples of dancers for the I stanza stand in a row in fours: one couple in front of another
couple, and two neighbouring fours are backing one another, as shown in the I figure. The hands of
all dancers are on the waists.
1. The step
“I want to
sleep”
(4 bars)
“I‟ve been
sowing the
rue, I‟ve been
sowing the
mint”
Jump in turn: before the bar the dancers stand
up with both feet and jump a little.
1 bar:”one-and” - softly jump down on both
full feet: the right foot has to be put forward
and the left foot has to be put in one foot‟s
distance back; the weight of the body is on both
legs; “two” - a pause, “and” stand up with both
feet and again jump up.
2 bar: repeat the movements of the 1 bar, but
now, having jumped down on both legs, the left
leg is put forward, and the right leg is in one
foot‟s distance back from it.
3-4 bar: repeat the movements of 1-2 bar twice
faster and finish with a jump.
Hard springing step:
1 bar: ”one” - jump on the right foot, and
stretch the left foot, tense at the knee, forward
with the toes (or with the heel) on the ground;
“two” - a pause;
2 bar: repeat the movements of the 1 bar with
the other leg.
3-4 bars: “one” - jump on the right foot, and
stretch the left leg, tense at the knee, forward
with the toes (or heel) on the ground; “two” -
repeat the movements of “one”, jumping in the
same place onto the left foot; “one” - to repeat
the movements of the “one”, jumping in the
same place onto the right foot; “two” - jump
(i.e. jump on to both feet in the same place).