Antropološka funkcija i značenje groktalica kod bačkih Bunjevaca
Anthropological function and meaning of groktalice among Bunjevci of Bačka
Докторанд
Kujundžić Ostojić, SuzanaМентор
Ćupurdija, BrankoЧланови комисије
Nedeljković, SašaGaronja Radovanac, Slavica
Метаподаци
Приказ свих података о дисертацијиСажетак
U radu su predstavljene epsko – lirkse pesme groktalice. Njih su, smatra se,
Bunjevci doneli sa sobom u Bačku, kada su se u nju doselili iz Like, Dalmatinske
Zagore i Hercegovine tokom XVII veka. Grokatalice su izvodile starije žene, na prelima,
divanima, babinama i u svatovima, bez instrumentalne pratnje, uzimanjem dubokog
glasa iz grla. Pesme su izvođene ispred brojnije publike, kako bi se na širi narodni sloj
preneo kulturno istorijski vid usmene tradicije. Izvođenje ovog vida narodne usmene
književnosti bio je sastavni deo života Bunjevaca.
Narodno pesništvo kod Bunjevaca u Bačkoj počinje da se beleži tokom XIX
veka, a prva zbirka groktalica objavljena je početkom XX veka, čime je usmena građa
pretočena u pisanu. Zbog malobrojnih podataka koje imamo uz zabeležene pesme, ime
izvođača, godina i mesto beleženja, a po negde nema ni ovih podataka, nismo u
mogućnosti odgonetnuti da li su tokom zapisivanja pesme kazivane ili ispevane. Zatim,
gde i u kojoj prilici su ispevane; da li su isp...evane pesme u isto vreme i nanovo stvarane
ili su pevane od reči do reči, prema određenim zbirkama, kalendarima ili časopisima.
U sadržaju zapisanih pesama nalaze se brojni junaci i toponimi koji upućuju na
mesta iz kojih su se Bunjevci doseljavali u Bačku. Analizom pesama, te upoređivanjem
istih sa prostora nekadašnje Vojne krajine nalazimo da su gorktalice bile sastavni deo
ovog kulturnog i istorijskog prostora. Postojanje velikog broja varijanti među
groktalicama, kao i brojni zajednički motivi u pesmama sa ovih prostora, govore o
zajedničkom poreklu mesta najstajanja i izvođenja groktalica.
Groktalice su se počele gubiti iz bunjevačke narodne tradicije već s početka XX
veka, a sredinom, tačnije posle II svetskog rata, one su potpuno potisnute. Njihova
obnova počeće s početka XXI veka, uz pomoć sačuvanog zvučnog snimka groktalice iz
1951. godine. Time će početi briga za očuvanje ovog vida bunjevačke tradicije.
Obnovljene groktalice sada predstavljaju drugačiji vid folkolra od onog kakav je nekada
bio, kao i njegova uloga u društvu. Groktalice se sada izvode sa svesnim ciljem očuvanja
narodne književnosti, kao i buđenju nacionalne svesti. Groktalice se ne izvode više u
onim prilikama, kao što je to bilo nekada, već na prigodnim nacionalnim
manifestacijama ili kulturnim programima u bunjevačkoj zajednici. Istraživanjem
dokumentarnih zapisa o groktalicama i njihovim izvođačima dolazimo do zaključka da
se ove pesme nisu izvodile za bilo kakvu nadoknadu, bilo u novcu bilo u nekim prehrambenim artiklima, što je bila praksa za izvođenje kraljica ili koledara. Izvođenje
groktalica značilo je čast i ugled u društvu za izvođača.Groktalice su, smatra se u narodu, a i u naučnoj literaturi, Bunjevci doneli sa
sobom iz predela u kojima su živeli pre njihove najveće seobe: Bosne, Hercegovine i
Dalmacije. Ličnosti – junaci pesama, toponimi, motivi, koji se u groktalicama spominju,
u najvećem delu su Bunjevcima nepoznati, što isto dokazuje da ove pesme nisu nastale
na prostoru na kome sada žive. Pevalo se o junacima i njihovim bojevima u kojima se
Bunjevci samoidentifikuju, u odnosu na druge narode koji ih okružuju a koji su od njih
drugačiji, iz vremena prvih orijentacija ka budućim nacijama Srpskoj i Hrvatskoj. Ono
posebno, etno-kulturno bunjevačko se tokom istorije utapalo u razne političke, a time i
nacionalne ideje, poput jugoslovenstva posle Prvog svetskog rata, ili komunizma posle
Drugog svetskog rata, kada su groktalice, kao i mnogi drugi oblici narodnog kulturnog
folklora nestali...
This paper presents the epic – lyrical songs called groktalice. They are
considered to be brought to Bačka by Bunjevci when they moved there from Lika, the
Dalmatian hinterland and Herzegovina during the 17th century. Grokatalice were
performed by older women on events like balls, baby showers and weddings, without
instrumental accompaniment, taking a deep voice from the throat. Songs were performed
in front of a numerous audience, in order to spread the cultural and historical aspect of
oral tradition to a wider layer of the population. Performing this form of folk oral
literature was an integral part of the life of Bunjevci.
The national poetry among Bunjevci in Bačka had been started to be recorded
since the 19th century, and the first collection of groktalice was published at the
beginning of the 20th century, transforming this oral treasure into text. Since we have
very few details about the recorded songs, like the name of the teller, the year and the
place of recording, and at s...ome points we even miss these data, we are not able to figure
out whether the poems were narrated or sung during their recording; where and on what
occasion they were sung; whether the songs were re-created at the time of singing or
they were sung word for word, according to certain collections, calendars or magazines.
The content of these written poems involve numerous characters and place names
that indicate the areas from which Bunjevci settled in Bačka. Through analysing the
songs and comparing them with the territory of the former Military Frontier, we found
that groktalice made an integral part of that cultural and historical area. The existence of
a large number of variants among groktalice, as well as many common motifs in the
songs from these region, indicate the common origin and performing of groktalice.
Groktalice had begun to fade from Bunjevac ethnic traditions since the beginning
of the 20th century, and at its middle, namely after World War II, they were completely
suppressed. Their restoration would start from the beginning of the 21th century, with the
help of preserved audio recording of some groktalice from 1951. With that, there has
begun the care for the preservation of this form of Bunjevac tradition. Renewed
groktalice now represent a different form of folklore compared to as it once was, and it
has a different role in the community. Now, groktalice are performed with the conscious
aim of preserving folk literature, as well as in order to awake national consciousness.
Groktalice are not performed on those occasions as before, but during occasional
national events or cultural programs of Bunjevac community. Based on the research of the documentary record of groktalice and their performers, we came to the conclusion
that these songs were not performed for any compensation, either in cash or in certain
foodstuffs, which had been the practice for performing kraljice and koledari. Performing
groktalice meant honour and reputation in the community for their performers.
It is considered both among people and in the scientific literature that Bunjevci
brought groktalice with them from the area in which they lived before their biggest
migration: Bosnia, Herzegovina and Dalmatia. The characters – heroes of the songs,
place names, motives – mentioned in groktalice are unknown for Bunjevci for the most
part, which also proves that these songs are not created in the area where they live now.
They were sung about heroes and their battles in which Bunjevci self-identify, compared
to other nations that surround them and are different from them, from the time of the
first orientation to the future nations of Serbians and Croats. The specific, ethno-cultural
Bunjevac feature got lost throughout history, in various political and thus national ideas,
like Yugoslavism after World War II, or communism after World War II, when
groktalice, as well as many other forms of folk culture disappeared...