Mgr. Jana Belišová, PhD. graduated in 1990 in the field of ethnology and musicology at the Faculty of Arts of Comenius University in Bratislava. At present she teaches at the Department of Musicology at the Faculty of Arts of Comenius University in Bratislava and she is director of Civic Association Zudro. She is author and researcher involved in several projects dealing with Roma music. Outputs of the projects Šilalo paňori / Cold Water (monography, oral history book, video-book, documentary film and documetation videos about the connection between the songs and the life stories of the Roma people), Roma Christian Songs, afterPhurikane (creative dialogue among Roma and non-Roma musicians and singers), Phuterdo Ore (a musical project by Norwegian musicians from Kitchen Orchestra and Roma musicians from Slovakia), Neve giľa (New Roma Songs), Odi kaľi mačkica (Roma Children Songs), Karačoňa (Roma Christmas Songs), Phurikane giľa 1and 2 (Ancient Roma Songs) are represented by anthologies of songs, CDs, DVDs, documentary films, concerts, articles and lectures.
The basis of the afterPhurikane music project was the 2001-2006 ethnomusicological research that ... more The basis of the afterPhurikane music project was the 2001-2006 ethnomusicological research that mapped ancient Romani songs (Phurikane giľa) in Slovakia. During a number of improvisational workshop in 2007-2008, six untrained Romani instrumentalists and singers combined their natural talnet with the professionalism and creativity of several non-Romani musicians who were inspired by the intimacy and deep emotionality of ancient Romani laments. The key principle of this ethnically and culturally mixed ensemble´s cooperation was to provide an equal opprotunity for all its members to express themselves. The Romani musicians were rather conservative and followed their traditional songs and vocal style. The professional artists initiated a shift from the Romani tradition towards a creative interpretation without, however, seeking fixed compositional arrangements. This music-making resulted in a concert rendition of the original material. The first lot of approximately twelve compositions then provided a foundtation for the album afterPhurikane.
Šilalo paňori. Cold Water. Stories in Romani Songs of Lament, Songs in Stories, 2018
The monography and collection of songs entitled “Šilalo paňori” is one of the outputs of the rese... more The monography and collection of songs entitled “Šilalo paňori” is one of the outputs of the research Laments of the Slovakian Romani in the Context of their Lives. The main idea of the project was based on long-term monitoring of old Romani laments being sung in an intimate family environment, along with the emotions and memories that these songs evoke in both the singers and the audience. Our experience showed that many male and female singers, especially the elder ones (50+), had their own “personal” song(s), which they associated with specific sad or dramatic events of their lives. We expected to see these relations between the songs and life events mainly considering the old songs, although we found that this function and connection were present also in terms of the more recent set of songs. We researched this phenomenon from the aspect of multiple sciences and arts, corresponding to the four different outputs of the project. Two of these are audio-visual and two are written – forming a kind of quadriptych. Each of these tangible research outputs may exist on their own, though they are interconnected and they complement one another. The outputs are as follows: 1. “Šilalo paňori” documentary videos; 2. “Ťažká duša” [Heavy Heart] – a documentary film; 3. “Šilalo paňori” – the song collection; 4. “Za rómskym ľudom” [The Quest to Find the Romani People] – a social tour guide.
Studia Ethnomusicologica III. Piesňová tradícia etnických menšín v období Vianocetnických menšín v období Vianoc., 2006
Piesne vianočného obdobia tvoria viacúrovňový repertoár v tradičnom speve Rómov na Slovensku, kto... more Piesne vianočného obdobia tvoria viacúrovňový repertoár v tradičnom speve Rómov na Slovensku, ktorý vyplynul nielen z preberania slovenských piesní, ale aj z tvorby vlastných rómskych vianočných piesní. Tieto pôvodné rómske vianočné piesne sú novšie a takmer všetky možno zaradiť do skupiny svetských vianočných piesní s prevládajúcimi svetskými textovými motívmi, avšak iné vrstvy tohto repertoáru (prevzaté slovenské vianočné piesne; melódie slovenských vianočných piesní s Rómami texty; texty slovenských vianočných piesní s rómskou melódiou) patria do skupiny duchovných piesní-kolied. Spomedzi duchovných piesní prevzatých zo slovenského vianočného repertoáru sú u Rómov najobľúbenejšie mariánske legendy, ktoré korešpondujú s ich ideálom úcty k materstvu a tiež s ich citovým svetom.
To this day, the singing of traditional songs can be found to occur in the homes of the Slovak Ro... more To this day, the singing of traditional songs can be found to occur in the homes of the Slovak Roma. The songs are usually interpretations of memories and experiences. The connection between a song and the life of the one who sings it is sometimes direct – a particular song is connected with a particular experience and evokes in the singer an act of interpretation. At times, it is not a particular event but rather a sad or even sorrowful feeling from the singer's own life that is transformed into words and coupled with a melody to form a particular song. The connection of songs and life stories is most apparent in the ancient Roma lament songs, however, these are gradually being replaced by more modern tunes.
The memories behind a song do not necessarily need to be ones of sorrow. Some songs are even joyous or completely neutral in emotion. Ethnomusicologists can record songs as a written record, a sound record or as an audiovisual record. Film (the audiovisual record) has many advantages, as it mediates data directly without reinterpretation and reflects cultural and social phenomena. In contrast to languages, film is able to be comprehended through cultures. The video research project “Stories in Songs, Songs in Stories” is carried out through interviews and the singing of respondents, who are recorded in an audiovisual way. On shoots, the crew consists of only a cameraman, a sound engineer, a photographer and an ethnomusicologist.
The research gathered from this project will be presented in two audiovisual presentations, one being a documentary film and the other being a collection of short video recordings. The documentary film records the process of the passing on of song from generation to generation within three different families and communities, in an artistic and partially illustrative form. The short video recordings document particular singers in their family and community settings.
Particular sequences unveil a coherent picture of the theme – life reflected in the songs of the Slovak Roma. Video allows for a different type of information to become evident to the viewer and is also able to interact with other cognitive material, which a study of a scholarly text could simply not provide.
The Roma in Slovakia In Slovakia, the Roma comprise the second largest ethnic minority. Available... more The Roma in Slovakia In Slovakia, the Roma comprise the second largest ethnic minority. Available data on their numbers are imprecise, as many do not report Roma nationality. The last census, carried out in 2011, counted 105,738 inhabitants who considered themselves to be Roma. However, according to demographic estimates and sociographic mapping, their number was close to 402,000. 122,518 people declared Roma to be their mother tongue 1. The Roma are dispersed throughout Slovakia, yet most of them are concentrated in the south and the east of the country.
Many Romani songs traditionally have an expressive, lively sound, to which universal motifs from ... more Many Romani songs traditionally have an expressive, lively sound, to which universal motifs from the lives of the performers, such as love, illness, death, family relationships, joy and fun are then added, as are dialogic fragments in the lyrics. In this study, we are concentrating on the use of such elements in the layers of Romani songs, both in songs that are just listened to over an extended amount of time and in dance songs. The lyrics of these songs are frequently addressed to either an imaginary or a real individual, or to more than one person. The ways of involving this other person include different forms of speech, address, excerpts of dialogue or straight dialogue using either direct or indirect speech. In songs meant just for listening, it is characteristic to address God, the singer's mother, or people (other Roma), and invite them to play the role of the "witnesses" with whom the performers share their emotions and stories. Many of these songs have a descriptive, informative part and then a communicative one in which the addressee is called upon using communicative elements. In some lamenting songs we find traces of the phases of sadness, anger, helplessness and reconciliation. The imagined contact with other people through these songs who have experienced stories similar to those of the performers aids them with bearing their own pain. Straight dialogue appears more frequently in dance songs, in forms of a humorous or mocking nature. Those being addressed in dance songs are usually female-girlfriends, mothers, girls and women. The speeches made by girls to guys in these songs are also usually of a mocking nature, but even among the dance songs, in contrast to their cheerful melodies, lyrics can appear that are sad and tragic. The communications in songs take the forms of supplications, wishes, challenges, warnings, remorse, sighs and reassurances. In dialogic songs we also find approaches that are characteristic of ballads.
The layer of lament songs plays an important role in the repertoire of Slovak Roma. Either they a... more The layer of lament songs plays an important role in the repertoire of Slovak Roma. Either they are songs of the old layer phurikane giľa or in the new layer neve giľa. Laments songs were called by interpreters also čorikane giľa (poverty songs) or žalosno giľa (lament songs). Their singing has often been connected with memories of sad or tragic events in the life of a singer and both singers and listeners experienced strong emotions during their performance. Singing, often connected with crying, used to release sadness, tension, sometimes helped to express things which were hard to say. In the field research we find only a few such songs. Usually they are sung by older people, because the younger generation cannot fully identify with them. Their function is taken over by a part of the new layer of songs called neve giľa, which Roma usually entitle slaďakos (sweet songs). Many are about love, but the lyrics of some sweet songs-slaďakos remind us of čorikane giľa. We find in them eternal themes, such as sickness, death, abandoned children, hunger, poverty, imprisonment and unhappy love. Singers use exclamations, they address God, mother and thus they look for an answer to their bad luck. From a musical point of view these songs are totally different. Melodies are inspired by pop music of various gen-res and so also a young generation of Roman can identify with this layer of songs. One of the aims of this contribution is to show in lyrics samples the most frequent themes of lament songs and how they are transformed from older into newer song layers and how they reflect the life of Roma in a poetical way. The cathartic function is in many cases preserved, but as models of behaviour are being gradually changed, also the expression of emotions during singing of these songs is more restrained. Lament songs in Roma ethnic do not need a special occasion. They reflect a momentary mood of a singer and thus they can be sung whenever; at a funeral, a wedding, at a dancing party and also during a week day. They help Roma cope with a hard life.
The basis of the afterPhurikane music project was the 2001-2006 ethnomusicological research that ... more The basis of the afterPhurikane music project was the 2001-2006 ethnomusicological research that mapped ancient Romani songs (Phurikane giľa) in Slovakia. During a number of improvisational workshop in 2007-2008, six untrained Romani instrumentalists and singers combined their natural talnet with the professionalism and creativity of several non-Romani musicians who were inspired by the intimacy and deep emotionality of ancient Romani laments. The key principle of this ethnically and culturally mixed ensemble´s cooperation was to provide an equal opprotunity for all its members to express themselves. The Romani musicians were rather conservative and followed their traditional songs and vocal style. The professional artists initiated a shift from the Romani tradition towards a creative interpretation without, however, seeking fixed compositional arrangements. This music-making resulted in a concert rendition of the original material. The first lot of approximately twelve compositions then provided a foundtation for the album afterPhurikane.
Šilalo paňori. Cold Water. Stories in Romani Songs of Lament, Songs in Stories, 2018
The monography and collection of songs entitled “Šilalo paňori” is one of the outputs of the rese... more The monography and collection of songs entitled “Šilalo paňori” is one of the outputs of the research Laments of the Slovakian Romani in the Context of their Lives. The main idea of the project was based on long-term monitoring of old Romani laments being sung in an intimate family environment, along with the emotions and memories that these songs evoke in both the singers and the audience. Our experience showed that many male and female singers, especially the elder ones (50+), had their own “personal” song(s), which they associated with specific sad or dramatic events of their lives. We expected to see these relations between the songs and life events mainly considering the old songs, although we found that this function and connection were present also in terms of the more recent set of songs. We researched this phenomenon from the aspect of multiple sciences and arts, corresponding to the four different outputs of the project. Two of these are audio-visual and two are written – forming a kind of quadriptych. Each of these tangible research outputs may exist on their own, though they are interconnected and they complement one another. The outputs are as follows: 1. “Šilalo paňori” documentary videos; 2. “Ťažká duša” [Heavy Heart] – a documentary film; 3. “Šilalo paňori” – the song collection; 4. “Za rómskym ľudom” [The Quest to Find the Romani People] – a social tour guide.
Studia Ethnomusicologica III. Piesňová tradícia etnických menšín v období Vianocetnických menšín v období Vianoc., 2006
Piesne vianočného obdobia tvoria viacúrovňový repertoár v tradičnom speve Rómov na Slovensku, kto... more Piesne vianočného obdobia tvoria viacúrovňový repertoár v tradičnom speve Rómov na Slovensku, ktorý vyplynul nielen z preberania slovenských piesní, ale aj z tvorby vlastných rómskych vianočných piesní. Tieto pôvodné rómske vianočné piesne sú novšie a takmer všetky možno zaradiť do skupiny svetských vianočných piesní s prevládajúcimi svetskými textovými motívmi, avšak iné vrstvy tohto repertoáru (prevzaté slovenské vianočné piesne; melódie slovenských vianočných piesní s Rómami texty; texty slovenských vianočných piesní s rómskou melódiou) patria do skupiny duchovných piesní-kolied. Spomedzi duchovných piesní prevzatých zo slovenského vianočného repertoáru sú u Rómov najobľúbenejšie mariánske legendy, ktoré korešpondujú s ich ideálom úcty k materstvu a tiež s ich citovým svetom.
To this day, the singing of traditional songs can be found to occur in the homes of the Slovak Ro... more To this day, the singing of traditional songs can be found to occur in the homes of the Slovak Roma. The songs are usually interpretations of memories and experiences. The connection between a song and the life of the one who sings it is sometimes direct – a particular song is connected with a particular experience and evokes in the singer an act of interpretation. At times, it is not a particular event but rather a sad or even sorrowful feeling from the singer's own life that is transformed into words and coupled with a melody to form a particular song. The connection of songs and life stories is most apparent in the ancient Roma lament songs, however, these are gradually being replaced by more modern tunes.
The memories behind a song do not necessarily need to be ones of sorrow. Some songs are even joyous or completely neutral in emotion. Ethnomusicologists can record songs as a written record, a sound record or as an audiovisual record. Film (the audiovisual record) has many advantages, as it mediates data directly without reinterpretation and reflects cultural and social phenomena. In contrast to languages, film is able to be comprehended through cultures. The video research project “Stories in Songs, Songs in Stories” is carried out through interviews and the singing of respondents, who are recorded in an audiovisual way. On shoots, the crew consists of only a cameraman, a sound engineer, a photographer and an ethnomusicologist.
The research gathered from this project will be presented in two audiovisual presentations, one being a documentary film and the other being a collection of short video recordings. The documentary film records the process of the passing on of song from generation to generation within three different families and communities, in an artistic and partially illustrative form. The short video recordings document particular singers in their family and community settings.
Particular sequences unveil a coherent picture of the theme – life reflected in the songs of the Slovak Roma. Video allows for a different type of information to become evident to the viewer and is also able to interact with other cognitive material, which a study of a scholarly text could simply not provide.
The Roma in Slovakia In Slovakia, the Roma comprise the second largest ethnic minority. Available... more The Roma in Slovakia In Slovakia, the Roma comprise the second largest ethnic minority. Available data on their numbers are imprecise, as many do not report Roma nationality. The last census, carried out in 2011, counted 105,738 inhabitants who considered themselves to be Roma. However, according to demographic estimates and sociographic mapping, their number was close to 402,000. 122,518 people declared Roma to be their mother tongue 1. The Roma are dispersed throughout Slovakia, yet most of them are concentrated in the south and the east of the country.
Many Romani songs traditionally have an expressive, lively sound, to which universal motifs from ... more Many Romani songs traditionally have an expressive, lively sound, to which universal motifs from the lives of the performers, such as love, illness, death, family relationships, joy and fun are then added, as are dialogic fragments in the lyrics. In this study, we are concentrating on the use of such elements in the layers of Romani songs, both in songs that are just listened to over an extended amount of time and in dance songs. The lyrics of these songs are frequently addressed to either an imaginary or a real individual, or to more than one person. The ways of involving this other person include different forms of speech, address, excerpts of dialogue or straight dialogue using either direct or indirect speech. In songs meant just for listening, it is characteristic to address God, the singer's mother, or people (other Roma), and invite them to play the role of the "witnesses" with whom the performers share their emotions and stories. Many of these songs have a descriptive, informative part and then a communicative one in which the addressee is called upon using communicative elements. In some lamenting songs we find traces of the phases of sadness, anger, helplessness and reconciliation. The imagined contact with other people through these songs who have experienced stories similar to those of the performers aids them with bearing their own pain. Straight dialogue appears more frequently in dance songs, in forms of a humorous or mocking nature. Those being addressed in dance songs are usually female-girlfriends, mothers, girls and women. The speeches made by girls to guys in these songs are also usually of a mocking nature, but even among the dance songs, in contrast to their cheerful melodies, lyrics can appear that are sad and tragic. The communications in songs take the forms of supplications, wishes, challenges, warnings, remorse, sighs and reassurances. In dialogic songs we also find approaches that are characteristic of ballads.
The layer of lament songs plays an important role in the repertoire of Slovak Roma. Either they a... more The layer of lament songs plays an important role in the repertoire of Slovak Roma. Either they are songs of the old layer phurikane giľa or in the new layer neve giľa. Laments songs were called by interpreters also čorikane giľa (poverty songs) or žalosno giľa (lament songs). Their singing has often been connected with memories of sad or tragic events in the life of a singer and both singers and listeners experienced strong emotions during their performance. Singing, often connected with crying, used to release sadness, tension, sometimes helped to express things which were hard to say. In the field research we find only a few such songs. Usually they are sung by older people, because the younger generation cannot fully identify with them. Their function is taken over by a part of the new layer of songs called neve giľa, which Roma usually entitle slaďakos (sweet songs). Many are about love, but the lyrics of some sweet songs-slaďakos remind us of čorikane giľa. We find in them eternal themes, such as sickness, death, abandoned children, hunger, poverty, imprisonment and unhappy love. Singers use exclamations, they address God, mother and thus they look for an answer to their bad luck. From a musical point of view these songs are totally different. Melodies are inspired by pop music of various gen-res and so also a young generation of Roman can identify with this layer of songs. One of the aims of this contribution is to show in lyrics samples the most frequent themes of lament songs and how they are transformed from older into newer song layers and how they reflect the life of Roma in a poetical way. The cathartic function is in many cases preserved, but as models of behaviour are being gradually changed, also the expression of emotions during singing of these songs is more restrained. Lament songs in Roma ethnic do not need a special occasion. They reflect a momentary mood of a singer and thus they can be sung whenever; at a funeral, a wedding, at a dancing party and also during a week day. They help Roma cope with a hard life.
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The key principle of this ethnically and culturally mixed ensemble´s cooperation was to provide an equal opprotunity for all its members to express themselves. The Romani musicians were rather conservative and followed their traditional songs and vocal style. The professional artists initiated a shift from the Romani tradition towards a creative interpretation without, however, seeking fixed compositional arrangements. This music-making resulted in a concert rendition of the original material. The first lot of approximately twelve compositions then provided a foundtation for the album afterPhurikane.
1. “Šilalo paňori” documentary videos;
2. “Ťažká duša” [Heavy Heart] – a documentary film;
3. “Šilalo paňori” – the song collection;
4. “Za rómskym ľudom” [The Quest to Find the Romani People] – a social tour guide.
At times, it is not a particular event but rather a sad or even sorrowful feeling from the singer's own life that is transformed into words and coupled with a melody to form a particular song. The connection of songs and life stories is most apparent in the ancient Roma lament songs, however, these are gradually being replaced by more modern tunes.
The memories behind a song do not necessarily need to be ones of sorrow. Some songs are even joyous or completely neutral in emotion. Ethnomusicologists can record songs as a written record, a sound record or as an audiovisual record. Film (the audiovisual record) has many advantages, as it mediates data directly without reinterpretation and reflects cultural and social phenomena. In contrast to languages, film is able to be comprehended through cultures. The video research project “Stories in Songs, Songs in Stories” is carried out through interviews and the singing of respondents, who are recorded in an audiovisual way. On shoots, the crew consists of only a cameraman, a sound engineer, a photographer and an ethnomusicologist.
The research gathered from this project will be presented in two audiovisual presentations, one being a documentary film and the other being a collection of short video recordings. The documentary film records the process of the passing on of song from generation to generation within three different families and communities, in an artistic and partially illustrative form. The short video recordings document particular singers in their family and community settings.
Particular sequences unveil a coherent picture of the theme – life reflected in the songs of the Slovak Roma. Video allows for a different type of information to become evident to the viewer and is also able to interact with other cognitive material, which a study of a scholarly text could simply not provide.
The key principle of this ethnically and culturally mixed ensemble´s cooperation was to provide an equal opprotunity for all its members to express themselves. The Romani musicians were rather conservative and followed their traditional songs and vocal style. The professional artists initiated a shift from the Romani tradition towards a creative interpretation without, however, seeking fixed compositional arrangements. This music-making resulted in a concert rendition of the original material. The first lot of approximately twelve compositions then provided a foundtation for the album afterPhurikane.
1. “Šilalo paňori” documentary videos;
2. “Ťažká duša” [Heavy Heart] – a documentary film;
3. “Šilalo paňori” – the song collection;
4. “Za rómskym ľudom” [The Quest to Find the Romani People] – a social tour guide.
At times, it is not a particular event but rather a sad or even sorrowful feeling from the singer's own life that is transformed into words and coupled with a melody to form a particular song. The connection of songs and life stories is most apparent in the ancient Roma lament songs, however, these are gradually being replaced by more modern tunes.
The memories behind a song do not necessarily need to be ones of sorrow. Some songs are even joyous or completely neutral in emotion. Ethnomusicologists can record songs as a written record, a sound record or as an audiovisual record. Film (the audiovisual record) has many advantages, as it mediates data directly without reinterpretation and reflects cultural and social phenomena. In contrast to languages, film is able to be comprehended through cultures. The video research project “Stories in Songs, Songs in Stories” is carried out through interviews and the singing of respondents, who are recorded in an audiovisual way. On shoots, the crew consists of only a cameraman, a sound engineer, a photographer and an ethnomusicologist.
The research gathered from this project will be presented in two audiovisual presentations, one being a documentary film and the other being a collection of short video recordings. The documentary film records the process of the passing on of song from generation to generation within three different families and communities, in an artistic and partially illustrative form. The short video recordings document particular singers in their family and community settings.
Particular sequences unveil a coherent picture of the theme – life reflected in the songs of the Slovak Roma. Video allows for a different type of information to become evident to the viewer and is also able to interact with other cognitive material, which a study of a scholarly text could simply not provide.