Transmitting Romanian traditional dances in the intercultural and multiethnic context of Eastern

Transylvania

From field research to concepts and theories

Constantin Secară ESEM Conference, Prague

September, 2014

The informal transmission of traditional local dances from adults to children and young people

Gălăuţaș and Tulgheş, located in Eastern Transylvania, Romania

Research context and methodology Places, people, texts and pretexts

First Case Study: Gălăuțaș

The Instrumental Ensemble

The Drum with strings: doba

The music and folk dances repertoire in Gălăuțaș

1. Ritual dances 1. Wedding dances: Jocul miresei (Bride‘s dance); Jocul

găinii (The chicken “dance”)

2. Winter solstice dances: Jocul caprei (The goat dance)

2. Traditional dances 1. Men‘s dances: Țărănește cu bărbați (The peasent-like

with men), Lăzeasca, Boiereasca (The “Boyar's”), Corobeasca, De-a bota (The bat), Prundu (The gravel), Rața (The duck), Floricica (The little flower), Banu Mărăcine, Varvigeanca, Brustureanca, Sârba studenților (The student‘s Sârba), În două părți (In two parts)

2. Pair dances: Țărănește cu femei (Peasesent-like with women), Roata stelelor (The star's circle), De-alungu (Along the line), Învârtita (The turning dance)

3. Particular dances: “Ștraiere”

From Steirischer to Ștraier: two examples for comparison

Steirischer; piece from the collection of Alfred Quellmalz, in South Tyrol (1940-1942)

Ștraier; piece recorded by Constantin Secară, in Gălăuțaș (2011)

Generations in Gălăuțaș: between the present and an uncertain future

Research context and methodology Places, people, texts and pretexts

Second Case Study: Tulgheș

The music of folk dances repertoire in Tulgheș

1. Dances with influences of Moldavia and Bukovina

2. Dances with influences of Transylvania

3. Pastoral dances

4. Winter solstice dances: Jocul caprei (The goat dance)

5. Polkas

Generations in Tulgheș: between recovering and restoring tradition

Goat dance in Tulgheș

The musicians in Tulgheș

Performing the folk dances, from learning to local show

Practice from folk dances in Tulgheș Practice from folk dances in Gălăuțaș

Conclusions

1. The local conservation and promotion of cultural identity – factor of stability and social cohesion;

2. The traditional repertoire – preserved especially in festivals;

3. The status of the musician – lost and modernised;

4. The meeting between the young generations and the tradition – an option for the future.

Thank you for your attention!