Antropološka funkcija i značenje groktalica kod bačkih Bunjevaca

Abstract

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 ispevane 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 some 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...