Kalevala Suite Overview Kalevala and Nature myths in Finnish Music – Part 1 Vesa Matteo Piludu...
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Transcript of Kalevala Suite Overview Kalevala and Nature myths in Finnish Music – Part 1 Vesa Matteo Piludu...
Kalevala Suite Overview Kalevala and Nature mythsin Finnish Music – Part 1
Vesa Matteo Piludu
Lecture 1 12.9.2011
University of Helsinki
Lotman, Universe of MindSymbols: otherness and archaic features
Symbols are a special kind of sign
Symbols are always connected to signs of other orders or languages
The content of symbols are generally highly valued in culture
A symbol is for example a religious sign used in a non-religious situation as art: novels or painting
There is always something archaic in symbols Sometimes symbols go back to pre-literate or oral cultures (fairy
tales)
The vertical cut
A symbol never belongs to one synchronic section of a culture It always cuts across that section vertically coming from the past And passing on into the future
A symbol’s memory is always more ancient than the memory of its non symbolic text content
Texts: heterogeneous
Every texts of a culture is heterogeneous, it form a complex plurality of voices, coming from different ages and times
Symbols, as powerful symbols, as condensed elements of cultural memory, can transfer texts, plots outlines, from one level of memory to another
The symbols activated cultural memory The symbols prevent the disintegration of culture in isolated layers
(no communication between classicism and romanticism)
Duality of Symbols
Symbols reveals their duality By one hand the symbol is conservative, it has elements of
repeatability and invariance The symbol is a seed, it exists before the text, it comes from the
depths of cultural memory
The symbol is like an emissary from other cultural epochs A reminder of the ancient foundation of a specific culture
To the other side A symbol actively correlates with the cultural context of the text,
transform it and is transformed by it
So there are many variant of the same symbol, that could have different meaning in different texts of different ages or places
Finland
In Finland the nature is a relevant artistic symbol
Nature isn’t ”biological” but cultural and mythological
Many natural symbols derivates from mythology and in particular the national epic poem Kalevala
Kalevala and Finnish Arts
The Finnish Epic Poem Kalevala: Old Kalevala 1835 New Kalevala1849 by Elias Lönnrot (ethnographer - poet)
In English on the web: http://www.sacred-texts.com/neu/kveng/index.htm
The Kalevala by Elias Lönnrot Translated by John Martin Crawford [1888]
Kalevala: based on Finnish Folk Poetry
No Kalevala in Finnish Folk Culture, but a many differents epics songs, spells, marriage songs … disconnected to each other
General context: the village culture
The message: musical-lyrical performance of a skilled singer
The code: musical – mnemonic (kalevalaic octosillabic metre): Nu-ku nuku nur-mi li----ntu
Two melodic lines (ab ab ab) Modal incipit … incipit sol in g (sol-la-do-re-mi)
Rhythm: 2/4 or 5/4
Contest of performance: often ritual (spells or long charms), local entertainment (narrative or lyric songs), work song, everyday life
Cd: The Kalevala Heritage
Track 9: Kilpalaulanta
Singer Iivo Lipitsä Registered in Helsinki 1966 SKSÄ 867:5
The song challenge: A shamanistic magic song challenge between the old tietäjä (seer,
shaman) Väinämöinen and the young Joukahainen
Kalevala and shamanistic heroes
Kalevala’s heroes are not warriors, but shamans that fight with magical charms, even if they could use occasionally also swords, spears or ordinary weapons
Shamans or tietäjä (sages, seers) are magicians able to heal, to transform themselves into animals, to travel in the otherworld
Their magical powers depends on the knowledge of magic charms, incantations
The most powerful tietäjä (the-one-who-knows) of Kalevala is Väinämöinen
But all the relevant heroes of Kalevala has shamanic powers: The smith Ilmarinen, able to forge the Sky Lemminkäinen, the Nordic “Don Juan” La mother of Lemminkäinen, able to summon his son from death The tragic Kullervo, who will commit suicide
Also the enemies of the heroes has powerful shamanic powers: Louhi, the mistress of the North The joung Joukahainen
Carelian Wedding (1921) 1/3 The Proposal
http://www.youtube.com/watch?v=nnoxYC5n4yo&feature=related
Reenactment of a Carelian Wedding shot on location in Suojäri (Finland) 1920. Producer: Kalevalaseura a.k.a. The Kalevala Society. Directed by A. O. Väisänen. Script: U. T. Sirelius. Camera: J. W. Mattila. Local volonteers play the parts of the different characters.
Kalevalic runo singning today
Värttinä - Tuulen tunto (best quality) http://www.youtube.com/watch?v=Erf26tDccio&feature=related
Värttinä - Äijö http://www.youtube.com/watch?v=vu-srUiWVsQ&feature=related
Värttinä - Seelinnikoi http://www.youtube.com/watch?v=l9ozxHOXf8I&feature=related
Kalevala ”manipulated” the signification processof Finnish Folk Poetry for a new social and cultural context
Elias Lönnrot wrote down the songs change on the code: from oral to written – from music to literature
He joined together different themes and chose the principal myth (Sampo) as a red line: from fragmentation to unity
Social context: from village culture to ”national culture”
Message’s context: from oral performance to reading
Addresser: from Oral poets (anonymous) to a ”Poet” Lönnrot
Addressee: from other villagers to intellectuals, scholars, teachers, artists, politics …
Meaning of the kalevalaic signs: from rituals and village entertainment to the building of Finnish national identity and literature
”Sprawl” of Kalevala in Finnish Arts
From the literary text to:
Symphonic, opera, Classical Music (Sibelius, Rautavaara)
Visual Arts: painting (Gallen-Kallela), sculpture, architecture, comics
Military propaganda in the Winter and Continuation Wars
Jazz, rock and ”Contemporary folk music” (Värttinä, Gjallarhorn)
Media and advertizing (Sampo)
Multimedia art, Modern Dance: Kimmo Pohjonen, Tero Saarinen
Again we have complete redefinitions of the signification of the Finnish Folk poetry using different codes and languages