Predstavitvena brošura veteranov

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Predstavitvena brošura veteranov
Folklorna skupina
The Folklore Group
Veterani - The Veterans
TINE ROŽANC
SLOVENIJA
Folklorna skupina ŽKUD Tine Rožanc
ni
a
r
e
vet
Kulturno društvo železničarjev
je bilo ustanovljeno leta 1920 v
Ljubljani in se je najprej imenovalo Sloga. Svoje poslanstvo je
brez prekinitve ohranjalo tudi
med II. svetovno vojno. 29. avgusta 1946 se je preimenovalo
v Železničarsko kulturnoumetniško društvo (ŽKUD) Tine
Rožanc in se tako imenuje še
danes. Sestavlja ga več samostojno delujočih sekcij pod okriljem Slovenskih železnic, ki so glavni pokrovitelj društva.
Začetki Folklorne sekcije ŽKUD Tine Rožanc segajo v leto 1949 s prestopom članov Plesnega športnega kluba med folklornike. Sekcija deluje samostojno še danes.
Nastanek
Veteranov povezujemo s
45-letnico delovanja folklorne sekcije
(1949–1994). Plesni
pari iz 50-ih let so
se tedaj predstavili z
lastno odrsko postavitvijo Gorenjskih plesov
izpod Ratitovca in Dobrče v
Cankarjevem domu v Ljubljani.
Danes so Veterani pomembno jedro folklorne sekcije z dobro plesno
zasedbo parov in uspešnim lastnim orkestrom. V obdobju 1994-2010
so pripravili 350 nastopov. Svoje vrste občasno pomlajujejo z novimi
plesalci in godbeniki, vendar je meja starosti za veterana 45 let.
Zahvaljujemo se zastopnici dedičev avtorskih pravic za vsa dela Maksima Gasparija
gospe Heleni Fortič in dedičem za soglasje k brezplačni objavi slike na zadnji strani.
Zahvaljujemo se vsem sodelavcem, ki so pomagali pri snovanju in izvedbi projekta
ter se odrekli honorarju.
Cordial thanks to the heir’s representatives for author rights relating to all pieces of art by
Maksim Gaspari, to Ms. Helena Fortič and to the heirs for their approval to publish the paintings on the Back cover. We would also like to thank all the collaborators who have helped
with the planning and completion of this booklet, and who have declined any fee for their time.
ns
a
r
ete
v
e
The folklore group
th
ŽKUD Tine Rožanc
In the year 1920, a cultural society
of railway workers was established in Ljubljana and was initially
named Sloga. They kept their mission going without interruption,
even during the 2nd World War.
On 29th August 1946, they changed their name to the Railway
Cultural-Artistic Society (ŽKUD)
Tine Rožanc and they have kept
the same name to this day. The
society consists of many independent sections that are under the
general patronage of the Slovene Railway Association.
The roots of the Folklore group, ŽKUD Tine Rožanc, go back to the year
1949 when the members of the Dancing Sport Club changed over to become folklore dancers. The section functions independently to this day.
The background of the Veterans is connected with the 45th anniversary
of the folklore section’s activities, (1949 -1994). Dancing couples from
the fifties presented their own stage setting of Gorenjsko dances from
Ratitovec and Dobrča in Cankarjev Dom, Ljubljana.
Today, the Veterans present an important core of the folklore section
with a good dancing cast of couples and their own successful orchestra.
In the period from 1994 to 2010 they made 350 appearances on the stage.
From time to time they rejuvenate their membership with younger
dancers and musicians but the threshold to be classed as a veteran is
45 years of age.
Valentin Rožanc–Tine (1895–1942) se je rodil kmečkim staršem na Trati pri Šentvidu pri
Ljubljani. Izučil se je za čevljarja. Med I. svetovno vojno se je boril na ruski, kasneje na soški
fronti. Po vojni je nastopil službo pri železnici
kot livar. Leta 1920 se je poročil in istega leta
sprejel mesto občinskega odbornika v Šmartnem pod Šmarno goro. Leta 1941 se je priključil
odporniškemu gibanju za svobodno Slovenijo
kot kurir in prenašal zaupne dokumente iz enega v drug del okupirane Ljubljane. Leta 1942 je bil aretiran in poslan
v Gonars v Italijo, vendar je bil po odkritju identitete vrnjen v Ljubljano, kjer so ga 13. oktobra 1942 kot talca ustrelili. Tine Rožanc se je
vse življenje boril za pravice malega človeka, zato je bil 1953 razglašen za narodnega heroja.
Valentin Rožanc – Tine (1895-1942) was born to country parents in
Trata near Šentvid, which is North of Ljubljana. He qualified as a
shoemaker, and then in the 1st World War, he fought on the Russian
front and later on the Soča front. After the war he started work as an
iron founder for the Railway Company. In the year 1920, he got married and accepted a position in a communal board at Šmartno South
of Šmarna gora. In the year 1941, he joined the partisan movement,
that supported freedom for Slovenia, as an orderly, carrying confidential documents between occupied parts of Ljubljana. In 1942, he
was arrested and sent to Gonars in Italy but was returned to Ljubljana after his identity was discovered. Rožanc was taken hostage and
kept in a prison in Ljubljana, until 13th October 1942, when he was
killed by a German firing squad. Tine Rožanc spent his whole life
fighting for the rights of the common people, so in 1953 they proclaimed him a national hero.
Gorenjska
Gorenjska
PLESI IZPOD RATITOVCA IN DOBR^E
Odrska postavitev in glasbena priredba: dr. Bruno Ravnikar
DANCES FROM THE SOUTH OF RATITOVEC AND DOBR^A
Choreography and Musical Arrangement: Dr. Bruno Ravnikar
Gorenjski plesi so veselega značaja in razgibani. Začnejo se z različnimi
inačicami šuštarskega plesa, pri katerem plesalci z značilnimi gibi posnemajo čevljarsko delo, kot je smoljenje drete, šivanje z dreto, zabijanje
klinčkov, ipd.
Dances from Gorenjsko have a joyful and lively character. The dancers
begin with different variations of the shoemakers’ dance, using typical
movements to depict some of the shoemaker’s activities such as: preparing
the thread, sewing with the thread, driving the wedges into the shoes, etc.
Sledijo plesi: šotiš, pri katerem plesalci
tolčejo z nogo ob tla in drug drugemu
ploskajo ob dlani, dinga in najpajeriš.
Pri zvezdi se vsak drugi plesalec na dano
znamenje spusti vznak, da v ležečem položaju obvisi na rokah sosedov, opirajoč
se samo s petami v tla sredi kroga. Splet
zaključujejo s plesom štajeriš, v katerem
je več figur, kot je vrtenje dekleta pod
dvignjeno fantovo roko ali njuno previjanje pod dvignjenimi sprijetimi rokami.
These are followed by dances such as šotiš, where the dancers beat
with their foot against the floor and clap hands to one another, then
dinga and najpajeriš. The star is a dance where the men form a circle together, and every second dancer, upon a particular signal, falls
back onto his neighbour’s
hands, balacing only on
his heels in the middle
of the circle. They close
the suitee with štajeriš
in which there are many
figures, such as spinning
the girl under the boy’s
arm, or both of them rolling under the arches of
joined hands.
Koro{ka
Koro{ka
PLESI IZ ROŽA
Odrska postavitev in glasbena priredba: dr. Bruno Ravnikar
DANCES FROM ROŽ
Choreography and Musical Arrangement: Dr. Bruno Ravnikar
Prikazani plesi so iz Roža v Avstriji. Tamkaj
so jih najpogosteje plesali na porokah in ob
cerkvenih slavjih. Splet plesov začenja znani
štajeriš, ki je največkrat veljal za uvodni ples na
svatbi. Najprej ga je plesal starešina z nevesto,
njima pa so se kasneje pridružili preostali svatbeni pari. Drugi del tega plesa, osmica, je ostanek nekdaj obveznega prekrižanja plesišča, kar
naj bi mladi par obvarovalo pred zlemi silami.
Sledijo plesi veverca, valčkov korak, ki spominja na varianto camarskega plesa, rakova polka,
pastirica, tramplan in špacir. Omenjeni koroški
plesi so na začetku počasni in resnobni, kasneje se njihov ritem pospešuje tako kot vzdušje na
podeželskih slavjih.
These dances come from Rož in Austria, where they were most frequently danced at weddings and local church festivities. The suitee of dances
begins with a well-known štajeriš, most often performed
as the opening dance at weddings. The Mayor of the local
town opens the dance with the
bride, and then the rest of the
wedding couples join in later
on. The second part of this dance, osmica (the figure of eight),
is representative of crossing the
dancefloor, which is intended
to protect the young couple
from evil spirits. It is followed
by the dances: veverca, valčkov korak (the waltz step)
reminiscent of a variety of the
camar dance, rakova polka
(the crab polka), pastirica (the
shepherd-girl), tramplan and
špacir. All the afore-mentioned Carinthian dances are initially slow and solemn, but later on, their rhythm accelerates
just like the merry atmosphere
at country feasts.
Dolenjska
Dolenjska
PLESI IZ RIBNIŠKE DOLINE
Odrska postavitev in glasbena priredba: dr. Bruno Ravnikar
DANCES FROM RIBNICA VALLEY
Choreography and Musical Arrangement: Dr. Bruno Ravnikar
V ribniški dolini so tako kot drugod na Slovenskem praznovali god kot
osebni praznik. Na godovni dan so slavljencu voščili sreče in zdravja
prijatelji, znanci in vaščani, tako da so tiho prišli z godcem pred njegov
dom, s seboj pa so prinesli tudi razna preprosta glasbila, kot so piščali, pokrovke, verige in lonce. Na določen znak so z vsemi pripomočki
zagnali trušč, ki so ga morali trikrat ponoviti. Po tretjem »ofiranju« je
slavljenec odprl vrata, prisotni pa so mu zapeli in voščili za praznik,
nato so pred hišo ali v skednju na podu tudi zaplesali. Prvi je zaplesal
slavljenec, potem pa so smeli zaplesati tudi ostali.
In the Ribnica valley, as well as in others parts of Slovenia, the “name
day” was marked as a personal celebration. On someone’s “name day”,
(which corresponded with the Saint’s Day of that name), friends, acquaintances and villagers came to the house, together with musicians, to
give wishes for luck and happiness. They brought with them various simple instruments
like pipes, pot lids, chains and pans. Following
a particular signal, they
started to make a noise
with all the instruments
and they had to repeat
this three times. After
the third time, the person
in whose honour the celebration was being held, opened the door and all the people present
sang him a song, congratulated him and then danced in front of the house or in the barn. The first to dance was the man celebrating his jubilee
and then the others were also allowed to join in.
On stage, the dancers from Ribnica welcome their mayor by making
a loud noise with clay whistles, rattles, and a friction clay pot. Two
beggers with a barrel-organ and a violin join the group, and they start
playing so that a vivacious dance evolves.
Among the dances we can recognize, are mazurka, kmečki valček (peasant waltz), pokšotiš, zibnšrit, ajncpolka and križpolka.
To honour the guests from the upper class, a well-known figure called
the četvorka (quadrille) was also played and danced – this was becoming more and more popular in the market towns and cities in those
days. At the end of the dance, the mayor invites the group to take a
glass of wine in the local inn, Pri Cenetu.
V odrski postavitvi Plesov iz Ribnice plesalci »ofirajo« županu z
glinastimi petelini, ragljami, lončenim basom in povzročajo močan hrup. Mimo prideta berača z
lajno in violino ter zaigrata, da se
razvije živahen ples.
Med plesi spoznamo mazurko,
kmečki valček, pokšotiš, zibnšrit, ajncpolko in križpolko.
Gosposki v čast so zaigrali in zapleali tudi sliko iz znane četvorke, ki je ravno v tistem času postajala
priljubljena v trgih in mestih. Na koncu je župan vse povabil na kozarček rujnega v gostilno Pri Cenetu.
LISI^KA JE PRAV ZVITA ZVER
Odrska postavitev: Nevenka Unk-Hribov�ek, glasbena priredba: Drago Rozman
Razen na svatbah so na Slovenskem veliko plesali tudi v vsakdanjem življenju, saj je imel ples
pomembno vlogo tudi ob “likofih”. Čez poletje je bilo največ
priložnosti ob “žegnanju”, na shodih, semnjih in ob lepih nedeljah,
v poznojesenskih dnevih pa so
plesali ob kmečkih opravilih, kot
je metev prosa, teritev, ličkanje
koruze, pripravljanje stelje. Ob takih delih je bila potrebna sosedska
pomoč. Ob tem se je veliko pelo, fantje so s seboj radi pripeljali godca
in na podu tudi zaplesali.
V spletu dolenjskih plesov Lisička je prav zvita zver so plesi: marjanca,
zibenšrit, mazolka, pokšotiš, nojkatoliš in cvajšrit polka.
The Little Fox is a Rather Sly Beast
Choreography: Nevenka Unk-Hribov�ek, Musical Arrangement: Drago Rozman
As well as at weddings, people also danced a great deal in everyday
Slovenian life, since dancing had an important role at “topping-out”
ceremonies (this was when large work tasks were finished and a feast
called “likof” followed). During the summer they found the opportunity to dance at gatherings, at fairs and on sunny Sunday afternoons. In
late autumn, they usually had work like husking corn and cleaning the
millet. This kind of work demanded help from the neighbours. Whilst
working, they used to sing along, and the boys brought with them a
musician that would play, sing and dance while the men were working.
In the suite of Dolenjsko dances, The Little Fox is a Rather Sly Beast,
there are dances such as: marjanca, zibenšrit, mazolka, pokšotiš, nojkatoliš, and cvajštrit polka.
Prekmurje in Porabje
Prekmurje in Porabje
GORI^KI PLESI
Odrska postavitev in glasbena priredba: dr. Bruno Ravnikar
GORI^KO DANCES
Choreography and Musical Arrangement: Dr. Bruno Ravnikar
Z otožnim uvodnim goričkim
valčkom Nede mi več rasla se fantje poslavljajo od deklet, a to jih ne
moti, da ne bi že hip za tem zaplesali šegavih, veselih plesov: sotiša,
cepelpolke, pajeriša in rejzlpolke.
V spretnostnem fantovskem plesu
s klobuki tekmujejo plesalci v prestavljanju klobukov z ene glave na
drugo. Splet se zaključuje s plesom
ponjave šivat, ki je improvizacija
na znano prekmursko ljudsko pesem Po cesti ido droutari.
With the melancholic introduction of the Goričko waltz
“Nede mi več rasla”, the boys
are depicted as taking leave of
their sweethearts, but this doesn’t stop them from dancing
facetious, merry dances shortly
afterwards: sotiš, cepelpolka,
pajeriš and rejzlpolka. The dancers compete in a skillful boys’
dance by shifting a hat from
one head to another. This suite
ends with a dance called ponjave šivat which represents an
improvisation of a well known
Prekmurje folk song, “Po cesti ido droutari”.
“BUJA WAS GETTING MARRIED”
Choreography: Nevenka Unk-Hribov{ek
Musical Arrangement: Dr. Bruno Ravnikar
In the suite there are dances like čindara, a popular dance at weddings, in which the column of wedding
guests winds slowly around the dance-floor: Po zelenoj trati, pajeriš,
točak and sotiš. The suite finishes with čardaš, a dance that came from
Hungary but only a simplified form of it was taken on here. Nowadays,
they still dance the “čardaš” at weddings and public festivals.
BUJA SE JE ŽENILA
Odrska postavitev: Nevenka Unk-Hribov{ek, glasbena priredba: dr. Bruno Ravnikar
V spletu so plesi: čindara, ki je bila nepogrešljiva na svatbah in v kateri
so se svatje v koloni kačasto in polžasto zavijali in odvijali, Po zelenoj
trati, pajeriš, točak in sotiš. Splet se zaključuje s čardašem, ki je prišel z
Madžarske, vendar se je pri nas uveljavil le v preprosti obliki. Na svatbah in veselicah ga zaplešejo še dandanes.
VESELJE IZ PREKMURJA
Odrska postavitev: Nevenka Unk-Hribov{ek, glasbena priredba: Drago Rozman
Kmečki človek je delal vse dneve, zato so bili razni dogodki, kot so
svatba, žegnanje in veliki verski prazniki, prilika za sprostitev s pesmijo, glasbo in plesom. Plesali so mladi, zavrteli pa so se tudi starejši.
Splet se začenja s plesom drmač,
to je ples s potresavanjem telesa,
sledi mu štajeriš, eden najstarejših
prekmurskih plesov z Gornjega
Senika. Židovski ples Güri Benko
je ples s priklanjanjem in trkanjem
z zadnjico, ki so ga imeli nekateri
za spotakljiv ples, zato so ga plesali samo na svatbah in v pustnih dneh.
Sledijo plesi djereberoužam, gospa-gospa in šnelpolka, pri kateri plesalca izmenično odskakujeta trikoračno polko.
PLEASURE FROM PREKMURJE
Choreography: Nevenka Unk-Hribov{ek
Musical Arrangement: Drago Rozman
Country people used to work long
days, therefore different events like
weddings, blessings and big religious holidays presented a chance to
relax with music, songs and dancing. Older people, as well as the youths, also perform this dance.
The suite starts with drmač in which the whole body shakes, followed by
štajeriš, one of the oldest dances from Gornji Senik in Prekmurje. The Jewish
dance Güri Benko is a dance with bowing and rapping at each other’s backsides. This seemed a scandalous dance for some people, so it was danced
only at weddings and carnival merrymaking days. Then come dances such
as: djereberoužan, gospa-gospa (Madam – Madam) and šnelpolka, where the two dancers are alternately jumping to the three-step polka.
Štajerska
Štajerska
PUSTNI PLESI
Odrska postavitev in glasbena priredba: dr. Bruno Ravnikar
CARNIVAL DANCES
Choreography and Musical Arrangement: Dr. Bruno Ravnikar
Ko se po novem letu čas kolednikov prevesi proti pustnim norčijam, se pojavijo na Ptujskem polju
koranti - starinske grozljive, demonske maske, ki z oglušujočim
hrupom svojih zvoncev odganjajo
zimo in zle duhove, radi pa tudi
strašijo ljudi in jih preganjajo z
ostrimi bodicami svojih palic ježevk.
Koranti s svojim plesom priprav­
ljajo pot plodni letini. Istočasno
hodijo od hiše do hiše pustne
šeme, ki želijo gospodinjam dobro
letino. Ta pa bo uspešna le tedaj,
če žene in dekleta najprej zaplešejo med seboj živahen ples Za
debelo repo, kasneje pa se jim pridružijo maskirani plesalci v veselem skupnem plesu.
After the New Year, the time of carol-singing moves towards carnival
buffoonery and the “koranti” - old
fashioned, scary, demonic masks appear on “Ptujsko polje” (The Town
Field) and they are chasing away
the winter and evil spirits with deafening noises from their bells. They
also like to scare people and they
chase them with their sticks that are
full of sharp prickles.
The “Koranti” with their dancing,
make way for fruitful crops. At the
same time masqueraders wander
from house to house wishing housewives a rich harvest. The crops
can only be abundant if all the women and girls dance a lively dance
together, the Za debelo repo, while the masked male dancers join
them later in a merry dance.
In the suite there are dances: križpolka, poskakača, Za debelo
repo, Miha tunča, trojka, pobreška polka, sotiš, mašerjanka in Ti
si baba nora.
V spletu so plesi: križpolka, poskakača, Za debelo repo, Miha
tunča, trojka, pobreška polka, sotiš, mašerjanka in Ti si baba nora.
Bela Krajina
Bela Krajina
AJ, ZELENA JE VSA GORA
Odrska postavitev: Nevenka Unk-Hribov�ek
Glasbena priredba: Janez Mramor
AJ, THE WHOLE MOUNTAIN IS GREEN
Choreography: Nevenka Unk –Hribov�ek
Musical Arrangement: Janez Mramor
Bela krajina je dežela belih brez,
pisanih polj, vinogradov, travnikov in potokov. Zaradi odmak­
njene in obrobne lege je pokrajina
ohranila veliko folklornih in etnografskih posebnosti.
Bela Krajina is the land of white birch trees, picturesque fields, vineyards, light green meadows and creeks. Due to its remote position on the
border of the country, this province has preserved a lot of folklore and
ethnographical identity.
People from Bela Krajina have always lived a very rich, spiritual life.
Festive days have provided an opportunity for gathering in the middle
of the village where all the villagers sang and danced until day break.
In the suite are dances like vrečo šivat, Pobelelo pole, Hruške, jabuke,
slive, Izrasla je kopinja and svatsko kolo.
Belokranjci so vedno živeli bogato duhovno življenje. Praznični
dnevi so bili priložnost za zbiranje sredi vasi, kjer so se srečevali
vsi vaščani in se s petjem ter plesom veselili do jutra.
V spletu so plesi: vrečo šivat, Pobelelo pole, Hruške, jabuke, slive, Izrasla je kopinja in svatsko kolo.
KOLEDOVANJE V BELI KRAJINI
Odrska postavitev in glasbena priredba: dr. Bruno Ravnikar
Koledniki so prinašali k hiši blagoslov za novo letino, srečo in zdrav­
je ljudem ter živini. Zato so doživeli dobrodošlico zlasti v kmečkem
okolju in bili povsod bogato obdarovani z jajci, klobasami in slanino.
Nemalokrat so takšne prilike izrabili tudi za skupen ples, ki je trajal
pozno v noč.
Plesali so: žumberačko kolo, Ivaniču, U toj črnoj gori, zvezda, seljančica in na trumf.
CAROL-SINGING IN BELA KRAJINA
Choreography and Musical Arrangement: Bruno Ravnikar
Carol-singers used to visit the houses to bring blessings for the new
harvest happiness and good health to the people and their animals.
They were very welcome, especially in
the rural areas, and
they were presented
with gifts like eggs,
sausages and bacon
wherever they went.
Very often they used
these opportunities
for dancing that lasted all night long.
Examples of their
dances are: žumberačko kolo, Ivaniču, U toj črnoj gori, zvezda, seljančica and na trumf.
TINE ROŽANC
SLOVENIJA
Točen naziv: Železničarsko kulturnoumetniško društvo Tine Rožanc Folklorna
skupina - VETERANI * Skrajšan naziv: ŽKUD Tine Rožanc – VETERANI * Naslov:
Kolodvorska 11, 1000 Ljubljana, SI Slovenija * Splet: www.kud-tinerozanc.si * Izdala
in založila: ŽKUD Tine Rožanc – Veterani * Kreativna zasnova in oblikovanje: Samo
Cerovšek * Naklada: 1.000 izvodov * Tisk: Tiskarna Branko Petrič * Izdaja: maj 2011
* Besedilo: Nevenka Unk-Hribovšek * Lektoriranje: Vida Selan * Angleški prevod:
Petra Lampret Golob * Lektoriranje Angleškega besedila: Libby Burn * Vodenje
projekta: Mojca Slana in Slavko Gnidovec * Kostumska podoba: Alenka Pakiž
* Zadnja stran: Maksim Gaspari – Nedeljsko popoldne (1938)
Official Name: Železničarsko kulturnoumetniško društvo Tine Rožanc Folklorna
skupina - VETERANI * Abbreviated Name: ŽKUD Tine Rožanc – VETERANI * Address: Kolodvorska 11, 1000 Ljubljana, SI Slovenia * Internet Site: www.kud-tinerozanc.
si * Publishing Rights: ŽKUD Tine Rožanc – Veterani * Creative Design: Samo
Cerovšek * Printed: 1,000 copys * Print: Tiskarna Branko Petrič * Edition: May 2011 *
Text: Nevenka Unk-Hribovšek * Proof-reading: Vida Selan * English Translation: Petra
Lampret Golob * Proof-reading of the English Text: Libby Burn * Project Management:
Mojca Slana and Slavko Gnidovec * Costumes Authenticity: Alenka Pakiž * Back Page:
Maksim Gaspari – Summer afternoon (1938)