tradition & culture
Koraleriet är stolta över att sjunga på festivalen Midvinterton, som går av stapeln lördagen den 11 februari på Folkets hus i Olofström!
KORALERIET – ENSTÄMMIGT OCH POLYFONT. Flera hundra år gamla katolska och protestantiska koraler i en halvsekulär och flerreligiös samtid.
Lördagen den 14/1 klockan halv fem är det dags för årets första konsert med koraleriet, på Slöjdhuset i Ronneby. Konserten sker i samarbete med Blekinge Spelmansförbund, och konsertbiljett á 50 kronor löses på plats.
Koraleriet har i två år samlats regelbundet, med utgångspunkt i folkliga koralmelodier upptecknade i och runt Blekinge. Tillsammans, och under ledning av Kristin Borgehed och Astrid Selling, utforskar vi – nio sångerskor i åldrarna 20-50 år, talnära intonation (att sjunga på dialekt), samsång, solosång, och samsång med våra lyssnare. Våra framträdanden har rönt stor uppskattning – både tolkning och repertoir är hyfsat unik!
Inom den folkliga sakrala sången har banden mellan protestantism och katolicism varit långt mer självklara än i kyrkorummet, en tradition som har fragment in i våra dagar. Först 1986 fanns noter i psalmboken. Innan dess fanns enbart text, melodierna fick man hålla i huvudet. Detta hade till följd att samma psalm eller koral kunde låta väldigt olika på olika platser i landet, ibland till och med inom socknen! Vidare var de gamla psalmerna uppbyggda på ett sådant sätt att många kunde sjunga sig igenom hela boken!
Varmt välkomna på konsert!!
På vår facebooksida läggs nyheter upp, och även samtliga länkar till vårt youtube- och soundcloudkonto.
It was time to go west, to Kurzeme. However, what we thought would be a simple breakfast and a quick breakup, turned into something more intriguing. At morning coffee in the camping van the whole Spics family came to visit – fair maidens with kokles, shy sons with bell instruments, wives and fiancées… Morning coffee with singing and playing, and deep discussions about art and design. We would probably still be sitting there if we hadn’t had an appointment at the Russian school.
We thought it also would be simple to deliver the book at the school, but the janitor, who happened to be quite a clown, directed our van into the guarded school parking and took us by the arm and lead us upstairs to the second floor, where all the school children had their yearly singing and dancing performance. Powerful experience! Strong young voices and colorful traditional costumes. And, as a bonus, several of Malin’s singing friends were gathered at the school for a meeting. There were laughters and hugs and talks about future collaborations.
It was late before we arrived at the village of Gudinieki. But before we could have our longed-for dinner we drove our van into the soft Courlandian mud. At least two hours of digging, wheel spinning and calling home to Sweden for good advice before we finally had the van on solid ground. A little bit sweaty, but actually a great method to get to know new people.
After having spent hours and hours at the incredible Kryziu Kalnas (Hill of Crosses) in Lithuania, we headed North. Through our great connections in Liepaja, we got the address and phone number to one of Latvia’s most famous choreographers and folk dancers – Ernest Spics. Not only could he accommodate us in his guesthouse, and park our motor home behind locked doors, he also invited us to evening tea with wide and tall discussions on traditional music and dance, including a dance project where they danced patterns in the traditional woven belts.
The following day we visited the Russian school where Sergei Olenkin, Russian-Latvian, who is responsible for teaching folk song at the Russian school in Riga. After tea, cinnamon buns and a long and for me completely new kind of vocal warmup we devoted three hours to capture overtones in spring songs, hymns (tropar) and rain songs. A moment of total presence where the common language was limited to about 100 English words.
Suddenly two eight year old girls came rushing in, sat down on the stool and was singing their hearts out. After a couple of songs they disappeared giggling out of the classroom again. We asked if it really was their lesson. Oh no, said Sergei, they were just wanted to sing a little bit.
This week Folk Practice Academy is going East, to Lativa and Lithuania, to discover and connect with different parts of the traditional culture. Excellent host and travel partner is Malin Skinnar – artist, musician and storyteller – and her mobile home.
The first musical meeting actually happened already on the ferry. On car deck we met the cheerful staff member Rasta Michael. A Caribbean that had ended up in Gothenburg and who handles cargo traffic on ferries, but also plays, sings and composes Soca music – Soul Calypso. We had a nice chat with him and at breakfast he gave us a poem, especially written for us.
Landing at the port in Liepaja we immediately drove South to the village Rude to meet up with the Otanku Folk Choir, who greeted us by singing songs in there beautiful traditional dresses. I had the lovely opportunity to learn a couple of tunes from an 8 year old fiddler.
Malin has established a tradition to always invite singers into her mobile home and sing. So this is how we ended the evening.
At this year’s Korrö Folkmusic Festival FPA contributed with two happenings. A workshop mediating tunes with mainly Blekinge material and also one of my “seminar-concerts”, which I held on Thursday night. This time the theme was cultural connections around the Baltic Sea. I was happy to notice that the dark Old Mill (Kvarnen) soon was filled and that there seemed to be quite a crowd outside that couldn’t get in, due to both lack of space and high interest in the subject.
I took the audience on a path through experiences that we in Folk Practice Academy have collected from our projects Baltic Sea Inter Cult, Baltic Trad(e) and Basic – Folk & Tradition. But I also lifted som really interesting details of dance descriptions that Kristin and I have found in the archives of Nordiska Museet and through our meetings with old singers and fiddlers.
The audience showed a dedicated interest in the subject and several of them gave some nice feedback after the session; “This was the best I have ever experienced at Korrö!”, “You have to write a book!”, “This should be made into a film!”
It seems as if the subjects we constantly are poking at fill a need. People have an urge to talk about immaterial heritage. Where do cultural expressions derive from? How can we make a complex picture more understandable? How does geography, time, development, society, political implications, etc colour the way we perceive traditional music? And how can the music we love to play and sing be connected to knowledge allowing questions and discussions to flourish?
With me on stage, I also had my daughter Agnes, who is one of the dedicated youth we have in FPA, and she mastered the Polish drum with excellence while I played a couple of tunes from Suwalki.
I also managed to break a string while retuning, but having fiddlers in the audience is a true bliss. Thank you from all my heart, you anonymous who gave me a new G-string!