hrvatski

Tragom nevidljive plesačice

Autorica se u prvom dijelu teksta kritički osvrće na pisanu građu iz 19. i 20. stoljeća o lastovskom pokladu, posebice na manjkave opise ženskih sudionica tzv. lijepih maškara. Unatoč tome što je lastovski poklad već bio tema etnoloških, etnoteatroloških, pa i etnokoreoloških istraživanja, autorica je uočila i u svojem istraživanju i interpretaciji istaknula da su u pokladnim zbivanjima žene neizostavne i nezamjenjive sudionice običaja tijekom kojih plešu lančani ples s rupčićima, što je u prethodnim istraživanjima ostalo nezamijećeno ili je zanemareno i marginalizirano. U drugom dijelu teksta autorica raspravlja o ženskome lančanom plesu. U kontekstu pokladnih zbivanja Lastovo je jedinstveni slučaj da žene izvode lančani ples, s rupčićima kao supstitutima za mačeve s kojima se inače izvode slični muški lančani plesovi (osim u Kotoru, gdje i pripadnici Bokeljske mornarice plešu lančani ples s rupčićima). U većini dosadašnjih etnoloških, etnoteatroloških i etnokoreoloških istraživanja uglavnom se nastojalo otkriti zajedničku mitološku pozadinu i svojstva pokladnih uloga i zbivanja, svodeći sve mačevne plesove u istu kategoriju, zanemarujući pritom spolne i rodne, a zatim i pobliže koreološke razlike pojedinih izvedbi. U skladu s recentnim istraživanjima roda i spola u etnoteatrološkoj elaboraciji običaja slavonskih kraljica (Čale-Feldman), autorica se zalaže da se i ples promatra u dohvatnom i konkretnom kontekstu promatranih zbivanja. Na kraju, sukladno interpretaciji plesa i uloga izvođača u pokladnim zbivanjima, uočava podudaranje s podjelom rodnih i spolnih uloga u svakidašnjem, još uvijek patrijarhalnom životu Lastovaca. / In the first part of the text the author makes a critical review of the written documentation from the 19th and 20th centuries about the Carnival on the island of Lastovo, especially of the deficient descriptions of the female participants, the so called "lijepe maškare" (pretty masks). In spite of the fact that the Carnival of Lastovo has already been the topic of ethnological, ethnotheatrological, and even ethnochoreological research, the author noted and in her research and interpretation pointed out that in the Carnival events women are an obligatory and irreplaceable participants of the costum during which they dance a chain dance with a handkerchief, which has in the previous research remained unnoticed or neglected and marginalized. In the second part of the text the author discusses the female chain dance. In the context of Carnival events, the island of Lastovo is a unique case where women perform a chain dance, using handkerchiefs as substitutes for swords which are used in similar male chain dances (except in Kotor, where even the members of the Boka Navy perform a chain dance with handkerchiefs). The intention of most ethnological, ethnotheatrological and ethnochoreological research so far was to discover a common mythological background and the characteristics of Carnival roles and events, putting all sword dances in the same category, disregarding the sex and gender and the more detailed choreological differences of certain performances. In accordance with recent research of sex and gender in an ethnochoreological elaboration of the costumes of "slavonske kraljice" (Slavonian queens) (Čale Feldman), the author claims that dance too should be observed in an attainable and concrete context of the events observed. At the end, in accordance with the interpretation of the dance and the roles of performers in the Carnival events, she notes the correspondence with the division of sex and gender roles in everyday life of the people from Lastovo, which is still patriarchal.

poklad; ples; žena

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