Višnjičica rod rodila
Višnji, višnjičica rod rodila
Od roda se salomila
Od roda, od roda se salomila
Nema višnju ko da bere
Nema višnju ko da bere
Samo momče i devojče
Samo, samo momče i devojče
The gusle (Serbian Cyrillic: гусле; Bulgarian: гусла) or lahuta (Albanian: lahutë) is a single-stringed musical instrument (and musical style) traditionally used in the Dinarides region of Southeastern Europe (in the Balkans). The instrument is always accompanied by singing; musical folklore, specifically epic poetry.
The gusle player holds the instrument vertically between his knees, with the left hand fingers on the strings. The strings are never pressed to the neck, giving a harmonic and unique sound. Singing to the accompaniment of the Gusle as a part of Serbia's intangible cultural heritage was inscribed in 2018 on the Representative List of the Intangible Cultural Heritage of Humanity of UNESCO.
Filip Višnjić (Serbian Cyrillic: Филип Вишњић, pronounced [fîliːp ʋîʃɲit͡ɕ]; 1767–1834) was a Bosnian Serb epic poet and guslar. His repertoire included 13 original epic poems chronicling the First Serbian Uprising against the Ottoman Empire and four reinterpreted epics from different periods of history of Serbia.
Born in a village near Ugljevik, Višnjić went blind at the age of eight or nine after contracting smallpox. He lost his family early in life, and began playing the gusle and reciting epic poetry around the age of 20. He spent years wandering the Balkans as a vagabond, and performed and begged for a living. His storytelling abilities attracted the attention of a number of influential figures, and around 1797, he married into an affluent family. In 1809, he relocated to Serbia with his wife and children, and experienced first-hand the First Serbian Uprising against the Ottomans. He performed in military camps, hoping to raise the morale of the rebels, and composed epic poems recounting the history of the uprising. The revolt was crushed by the Ottomans in 1813, and Višnjić and his family were forced to resettle in Austrian-controlled Syrmia, north of the Sava River.
In 1815, Višnjić performed for the linguist and folklorist Vuk Karadžić, who preserved his work in writing. Višnjić's epic poems were soon published as part of a collection of Serbian epic poetry that Karadžić had compiled. They were well received both in the Balkans and abroad. By this point, Višnjić was solely reinterpreting his old poems and no longer composing new ones. He lived in Syrmia until his death in 1834. Grk, the village in which he and his family lived, was later renamed Višnjićevo in his honour. Višnjić is widely considered one of Serbia's greatest gusle players and is revered for his contributions to the Serbian oral tradition. Notable Serbian scholar and Hellenist Miloš N. Đurić dubbed him the Serbian Homer.
An epic poem is a lengthy narrative poem, ordinarily involving a time beyond living memory in which occurred the extraordinary doings of the extraordinary men and women who, in dealings with the gods or other superhuman forces, gave shape to the mortal universe for their descendants, the poet and his audience, to understand themselves as a people or nation.
The first epics were products of preliterate societies and oral history poetic traditions. Oral tradition was used alongside written scriptures to communicate and facilitate the spread of culture. In these traditions, poetry is transmitted to the audience and from performer to performer by purely oral means.
final piece: *performance
styling: *filters as something "influencers" use
*filming on phone maybe like a insta story or life as that is something that really shows nowadays society
* cherry filter as the song I am re-interpreting is about a cherry tree that got abandoned because everybody left the village.
*fake hair as clothes, showing again the fakeness of our society and beauty standards
*shoes: sneakers because that's what we wear, also showing how women are more independent nowadays and use comfy shoes as they also work and need to move
materials to leave as "ruins" :
* PLASTIC (because it cannot be destroyed)
* QR CODE (everything stays on the internet forever)
-click to go back
the beat of the beginning of this song
she looks like moss crossing the water (Cyprus, Eurovision song contest)
idea for background
to tell a story of nowadays
-maybe rap would be the best way
Eden feedback 24.11.2020
- do not ridicule/mocking
- what is the backdrop for the video? kitchen?
- focus on the sound SOUND SOUND SOUND
- why is the instrument made out of kitchen tools?
Decasyllable (Italian: decasillabo, French: décasyllabe, Serbian: десетерац, deseterac) is a poetic meter of ten syllables used in poetic traditions of syllabic verse. In languages with a stress accent (accentual verse), it is the equivalent of pentameter with iambs or trochees (particularly iambic pentameter).
Medieval French heroic epics (the chansons de geste) were most often composed in 10 syllable verses (from which, the decasyllable was termed "heroic verse"), generally with a regular caesura after the fourth syllable. (The medieval French romance (roman) was, however, most often written in 8 syllable (or octosyllable) verse.)
Use of the 10 syllable line in French poetry was eclipsed by the 12 syllable alexandrine line, particularly after the 16th century. Paul Valéry's great poem "The Graveyard by the Sea" (Le Cimetière marin) is, however, written in decasyllables.
*Similarly, South Slavic and in particular Serbian epic poetry sung with the accompaniment of the gusle is traditionally sung in the decasyllabic verse.*
In 19th-century Italian opera, this form was often employed in the libretto. Noting its use in the operas of Giuseppe Verdi, musicologist Philip Gossett describes the composer's request to the librettist for his opera Macbeth, Francesco Maria Piave, as follows: "I'd like to do a chorus as important as the one in Nabucco, but I wouldn't want it to have the same rhythm, and that'*meter into iambs, or the alternating pattern of five stressed and unstressed syllables made famous by Shakespeare. Because Chaucer's Middle English included many unstressed vowels at the end of words which later became silent, his poetry includes a greater number of hendecassylables than that of Modern English poets.
lirski deseterac aka daktilotrohej
Postoje četiri varijante simetričnog deseterca ili lirskog deseterca: dve sa simetričnim rasporedom akcenatskih celina u polustihovima: (3+2//3+2 i 2+3//2+3) i dve sa asimetričnim: (3+2//2+3 i 2+3//3+2);
the beginning sounds like guile when you play the strings with fingers and not bow; good for beat making
In this performance Rosler takes on the role of an apron-clad housewife and parodies the television cooking demonstrations popularized by Julia Child in the 1960s. Standing in a kitchen, surrounded by refrigerator, table, and stove, she moves through the alphabet from A to Z, assigning a letter to the various tools found in this domestic space. Wielding knives, a nutcracker, and a rolling pin, she warms to her task, her gestures sharply punctuating the rage and frustration of oppressive women's roles. Rosler has said of this work, "I was concerned with something like the notion of 'language speaking the subject,' and with the transformation of the woman herself into a sign in a system of signs that represent a system of food production, a system of harnessed subjectivity."
© 2017 Martha Rosler. Courtesy Electronic Arts Intermix (EAI), New York.
Die in Rotterdam lebende Künstlerin Katarina Zdjelar (Belgrad, 1979)
the aaaaaaa is good
I WONT MIX YA LUNCH BUT ILL MIX UP YA BRAIN
Biće skoro propast sveta, nek propadne nije šteta – Muzika iz filma Aleksandra Petrovića (1968)
alternative Balkan audio artists
Visnjicica rod rodila,
Od roda se salomila.
Nema visnju ko da bere,
Nema visnju ko da bere.
Samo momce I devojce,
Samo momce I devojce.
Ma ni momce ni devojce,
Niti momce ni devojce.
Svi iz sela otisli su,
I selo napustili su.
Kuca se salomila,
Njiva se rasprodala.
U Nemacku se otislo,
U kurac sve je otislo.
Za male pare prodalo se,
Za bolji zivot otislo se.
Jezik vise ne prica se,
Mozak vec izkljucio se.
Niko vise ne voli se,
Stara juga raspala se.
Babu smo sahranili,
Dedu smo nahranili.
Deda kucu mi spremio,
Za udaju me pripremio.
Bebe treba radjati,
I zelje ugadjati.
Klaberka sam bila ja,
Nocima nisam spavala.
Novi majndset on uzeo je,
Ona sarmu spremila je.
Samo Znanje zelim ja,
A ne dzabe prati stan.
“Vidi duso, dveidvadeseta je, pa sta ti ocekujes da ti perem prljave gace?! Ajde odjebi ja odoh u beli svet da vozim motor i vezbam jogu, jer sam od babe nasledila eu papire, honey. A za to sto si ljubomoran na Saleta, mozete I ti i sale da trunete u ovoj rupi.
Visnjicica gave birth,
She broke down from the fruit.
There is nobody to pick the cherry,
There is nobody to pick the cherry.
Just a boy and a girl,
Just a boy and a girl.
Nor a boy nor a girl,
Neither boys nor girls.
Everyone from the village left,
And they left the village.
The house broke down,
The field is sold out.
They went to Germany,
It all went to fucks.
It was sold for little money,
For a better life, they left.
The language is no longer spoken,
The brain is already shut down.
Nobody loves each other anymore,
Yugoslavia fell apart.
We buried Grandma,
We fed Grandpa.
Grandpa got the house ready,
He prepared me for marriage.
Babies should be born,
And the every desire pleased.
I was a clubber,
I didn't sleep at night.
He took a new mindset,
She prepared the sarma.
I only want knowledge,
And not to clean the apartment for free.
"Look, honey, it's 2020, so what do you expect me to wash your dirty pants ?! Come on, fuck off, I'm going to the white world to ride a motorcycle and practice yoga, because I inherited eu papers from my grandmother. And about you being jealous of Sale - you and Sale can rot in this hole.
Бичарке на трави је био женски српски хип хоп састав из Београда који је постојао у периоду од 2002. до 2006. Чиниле су га Уна Сенић и Марија Јелић. Назив им је дао Ајс Нигрутин будући партнер Сенићеве. Реч бичарка је посрбљена енглеска реч bitch, док се трава односи на марихуану.
Sejla Kameric, "Bosnian girl" 2003 (print)
VISNJICICA / LITTLE CHERRY
example of a deseterac epic poem:
Početak bune protiv dahija
Bože mili! Čuda velikoga!
Kad se ćaše po zemlji Srbiji,
Po Srbiji zemlji da prevrne
I da druga postane sudija,
Tu knezovi nisu radi kavzi;
Nit' su radi Turci izjelice,
Al' je rada sirotinja raja,
Koja globa davati ne može,
Ni trpiti Turskoga zuluma;
I radi su Božij ugodnici;
Jer je krvca iz zemlje provrela,
Zeman doš'o valja vojevati,
Za krst časni krvcu proljevati,
Svaki svoje da pokaje stare.
Nebom sveci staše vojevati;
I prilike različne metati
Viš' Srbije po nebu vedrome;
'Vaku prvu priliku vrgoše:
Od Tripuna do svetoga Đurđa
Svaku noćcu mesec se vataše;
Da se Srblji na oružje dižu,
Al' se Srblji dignut' ne smjedoše.
Drugu sveci vrgoše priliku:
Od Đurđeva do Dmitrova dana
Sve barjaci krvavi idoše;
Viš' Srbije na nebu vedrome,
Da se Srblji na oružje dižu,
Al' se Srblji dignut' ne smjedoše.
I just wanted to tell u
before I go,
that I don't care with whom you will be
and I hope you will be loved,
and now I must be clear,
I don't want to live nobodies live,
nor make your dreams come true,
I dont want to clean dirty laundry,
I don't want to marry somebody,
nor have children for somebody,
just so you could brag
that you have grandchildren,
I am leaving to the wide world to learn,
I am laving to battle my battle
and that battle is called life,
I am leaving to build my own world,
I am leaving to build my vision,
and to make my own rules,
nobody should stay in my way,
nobody should drag me nowhere,
don't marry me to anybody,
I want to be free,
I want to meet the world,
that's why now goodbye see you soon,
when I want to I will call you.
choose family constellation
what potrays you
wear your trauma
Maya is just mayaing
Spamantha poster variations
Making "SPAMANTHA" FONT