Беларускія фэстывалі й выстаўкі ў Нью Джэрзі
Янка Запруднік
Выдавец: Беларускі Інстытут Навукі й Мастацтва
Памер: 219с.
Нью Йорк 2013
Lanok dancers on stage in Middlesex Park.
Vasilok dancers perform for TV.
were delivered at schools, colleges and different cultural institutions. Belarusian exhibits and performances were continuously shown at such places as Middlesex County College, Liberty State Park, Rutgers University, Bergen County Community College, Raritan Valley Community College, Slavic Festivals, Jersey City College, and in other states and Canada.
The dance groups of the United States and Canada performed regularly at functions and festivals of various sizes, from small school auditoriums to larger outdoor park and university venues. A favorite venue for many performers was Caravan, in Toronto Canada. It was a week-long celebration encompassing many ethnicities. A passport was issued to patrons to gain access to individual country pavilions which featured dancing, music and food.
Irene Dutko and Natalia Rusak lecturing on Belarus at a school.
"Welcome-to-our-house" doll.
FOLK ART IN BELARUS
Folk art, like any other art, provides a forum for the expression of the artistic sensibility of an artist. In the case of folk art, it is perhaps an inspiration that is more collective in nature than the "fine art" created by an individual. Belarusian folk art is particularly rich in its variety of type and expression, and remarkable in its tenacity. The first quality is explained by the land that provided for specific modes of life and in time that shaped its cultural identity and
distinct ethnic character. The second quality is explained by the fact that through the long years of frequent wars and extended years of foreign domination, the folk abode provided the sole shelter for the free exercise of the creative spirit. It is here that the character of Belarusian spirituality—its soul, was safeguarded and preserved.
It is impossible to do justice, in this short space, to the abundance of the people's artistic expression and to the imbued symbolism in the articles created for
Doll in costume and pillow.
everyday use. The production and use of Belarusian towels and sashes can serve as a good illustration. These two items have many symbolic meanings in addition to their utilitarian application.
Toweh (ruchnikj]
The most important category of articles consists of ruchniki, long pieces of linen elaborately decorated in woven or embroidered patterns, with most decoration concentrated at both ends of the ruchnik. Actually, a ruchnik consists of three parts. The middle
Embroidered pillow.
Decorative towel.
Karavaj (wedding bread).
part exhibits geometric designs, whiteon-white, or consists of plain fine linen without any design. Both ends are decorated with either geometric or abstracted floral or animal design in red, red and black, and black with touches of other colors. Finally, at the ends, lace borders of different lengths and fineness are attached.
A decorative towel is a sign of reverence and respect. It has a ceremonial significance in the traditions of the country. Towels are widely used to wrap around icons that are hung in houses or carried in religious processions.
A towel has very wide applications during the wedding ceremony, which customarily starts with matchmaking. The matchmaker is a person of utmost importance: a spokesman for the groom, a man of good manners, a master of ceremony, a toast maker. During the wedding, his position is singled out by a towel draped across one shoulder and loosely tied over his hip. "Karavaj" (wedding bread) is earned into the reception on a tray covered with a decorative towel. In the church, during the wedding ceremony, the bridal couple stands on a towel spread for them in front of the altar to indicate their special status. At one point in the ceremony, the priest leads the couple around the altar three times. During this procession, the couple's hands are ceremoniously tied togeth
er with such a towel. An icon on a cross, at the intersection of a road to a village, is decorated with a towel as a sign of reverence.
Reds and Sashes
Belts and sashes have an enormous application in day-to-day life in Belarus, but have slightly diverse roles and meanings. First, belts serve many utilitarian purposes. Belts can serve as gifts to express
gratitude and appreciation. They are made either from wool and linen, or wool alone. They can be striped, have a geometric design, or depict an abstract organic element. Decorative belts are an integral part of the national costume for
A collection of belts.
men.
The belt worn with a dress shirt is predominantly red and white. In the middle of the 18th century, the ancient city of Slutsak developed a very sophisticated production of belts under the tutelage of the Radziwill family. These belts were made of silk, with gold and silver threads. They were worn by nobility. These belts are prized to the present day and as such, are displayed in museums.
Tamara Kolba weaving belt at an exhibition (1985).
complicated process involving
Costume
The Belarusian folk costume evolved as the result of a long and • nation's material and spiritual cul
ture. It strongly reflects specific features of the national identity. It varies from one part of the country to another; however, the main elements of this tasteful and simple costume remain essentially unchanged.
A woman's holiday dress of homespun material consists of: a white linen blouse, always ornamented with embroidery or woven design, predominantly red and black in color; an apron, usually of white linen and embroidered and adorned with hand crocheted lace (sometimes the apron is
In national costumes (from left): Ania Bojczuk, Katherine Uriwski and Nona Machniuk.
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Silwanowicz sisters. Helen and Irene, in national dress.
linen or cotton, in a colored, striped or plaid design); and a long pleated skirt, called an andarak. The vest made of colorful woolen material, laced or buttoned in the front, and either solid, or patterned striped or plaid; it is called a harset. It is tightly fit
bands), and for a married woman the namitka, a head-towel of white embroidered linen, is tied intricately around the head. A khustka (kerchief) is also often used as a headdress. Again there is a difference in use between unmarried and married women. An unmarried woman ties the kerchief behind her neck, while a married woman will tie the kerchief under her chin. A string of beads is worn around the neck.
ted and flattering to the figure, and often has slits from the waist down. The head-dress for an unmarried woman is made of coronets (head
Examples of ceramic items done by Valentina Rahalcwicz.
Dolls perched on birch branches.
The men's costume is composed of linen trousers and a shirt. The shirt is long, embroidered and always worn with a hand-woven, colorful belt or sash. A waistcoat is often put on over the shirt. The ensemble
is completed with a straw hat. or a felt cap, called a mahierka.
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Cold weather clothing is made up of a woolen overcoat, called s'vitka, or a sheepskin coat. Traditional laptsi (woven shoes made from willow bast, or home-cured leather) and boots constitute the footwear.
Although the folk costumes of various parts of Belarus are marked for their similarities, they differ in color combinations and ornamentation, and vary in patterns and styles, depending on regional characteristics. Costumes from the southern region of Belarus which is called Palessie, are particularly colorful and interesting.
Woodcarving
From ancient times, Belarus was famous for its forests. Forests provide natural shelter from the elements of nature and from enemies. Birch, pine, fir, linden, maple, elm, ash and oak can be counted among the endless varieties of trees at the disposal of the Belarusian artist. Woodcarving, therefore, was established as a centuries old tradition in Belarus. Houses, churches, furniture, household utensils and functional and decorative sculpture were all made from wood. Houses and churches were embellished with open carved work that looked, from a distance, like fine filigree. Window frames, doors, porches, pediments, gates — all displayed carved detail in its finest execution. Church altar pieces were especially beautiful.
Utensils for the home are the most obvious of the utilitarian articles
made of wood; and this category includes ladles, pitchers, bowls, cra
dles, and spinning distaffs.
Folk sculpture in wood ranged from the representation of pagan gods and — later — Christian saints and native animals and birds. The native bison almost became a symbol of the country because it was carved so often. Vast numbers of figures took their inspiration in fairy-tales and occupational characters of today and yesterday. This last group of sculptured pieces very often revealed a great amount of humor, liveliness and movement. Even the bark from birches was used to create figurines. Flax fibers were used in combination with wood to make dolls
Slavic Apostles, Saints Cyril and Methodins. A woodcut (black oak) by Utadzumir Naumiuk.
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and even figurines of a woman spinning, a man playing the fiddle.
Another noteworthy item made of wood is the chess set. Chess sets are made for use at home and also for export.
•Straw
Straw-inlaid box.
Altar doors decorated with inlaycd straw.
Straw is often called Belarusian gold, and has been used in folk tradition as far back as the grain culture itself. Straw plaiting or braiding is an ancient folk art. Besides its purely utilitarian functions as storage casks, boxes and jars, sowing baskets, etc., it was used for decorating at home and in church. For example, altar door decorations were made of straw in the eighteenth century. The more recent use
Four dolls (straw and wood).
of straw incrustation is of a decorative nature and includes beautiful colored jewelry, sewing boxes, wall plaques and picture frames; all produced by folk artists using traditional Belarusian geometric designs and stylized scenes from folk life.
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