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 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)
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
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.