Ukrainian Wedding in Parana

Escrevi o texto em inglês há algum tempo, é o motivo da minha pesquisa. Prometo traduzir assim que possível e postar aqui.

(Traditional Ukrainian Brazilian "Korovay" - from www.pessanka.wordpress.com)

UKRAINIAN WEDDING IN PARANA

“Halychyna” was a Province of the old Autro-Hungarian Empire, that included many ethnographic regions of Ukraine, like “Opilia”, “Hutsulschyna”, Boykivschyna” and others, and parts of Polish ethnic territory. The majority of Ukrainian immigrants who went to Brazil, and especially to Paraná, were from western Ukraine, the Province of “Halychyna”.

The first Ukrainian immigrants who came to Brazil, in 1891, came to the area around Mallet, located in southern Parana. They brought with them many traditions. It is important to realize that not everyone came out of the same villages and cities over the years of immigration. It is known that the first group came from "Zolochiv". These were followed by groups from the areas of "Ternopil", "Sokal '", "L'viv" and elsewhere in "Halychyna."

Each family of immigrants brought the traditions of its village, and all this folklore eventually mixed in the colonies of the municipality of Mallet. The traditions were also influenced by other people who lived nearby, Poles and Brazilians. Wedding traditions are no exception.

Ukrainian wedding traditions have been preserved over the years. Very strong Ukrainian features were more common in the 1950s and 60s, but some are still found in many colonies of Mallet. Over the years many of these traditions were adapted and modified to conform to the reality of the Ukrainian people and their descendants in Brazil.

In the “classic” Mallet tradition, the Wedding Feast starts on the Sunday before the wedding day, as people prepare to receive guests at the house of the bride's parents, and runs until the following Sunday, all accompanied by music, dance, food and wine.

The first part consists of cleaning and preparing the property, and the manufacture of decorations for the party. The work is done by "Drujby" which are single friends chosen by the couple.

During the week the "vinotchky” are prepared. These are wreaths that will serve as decoration for the traditional “Korovay”. Other wreaths, crowns of rosemary, also have a special role; they will be used by the couple during the religious ceremony. The rosemary branches are blessed with water by the mother of the bride. After the crowns are ready, the bride distributes the left over branches among the "Drujby", wishing them well in love.

On Thursday, to the sound of traditional and old Kolomeyky, the ladies prepare Korovay (Wedding Cake). The ingredients must be brought by married women of the colony. The bride's mother sprinkles the dough with holy water, so that everything will work out. Once placed in the baking pans and decorated, the "Korovay" is moved to the piets’ (clay oven). The guests then dance with the instruments used in the oven: the broom, "Kotchubei”, and "lopatka”. When removed from the oven, the women again dance with the "korovay”. They adorn it with a small tree, ribbons and flowers, and the "vinotchky”.

On Friday, people do not sing or dance, and a minimum of work should be left for the day, in honor of Good Friday. The festival returns on Saturday. Before leaving for the church, the parents of the bride and groom bless the couple with bread and salt and an icon. This is the traditional "Proshchania”. Also in the house of the bride, the parents ritually bid farewell to their daughter and deliver the bride to her future husband. All follow to the church where the religious ceremony takes place. A special feature of this celebration is a special blessing to the bride "Blahoslovenstvo”.

Returning to the house of the bride's parents, the newlyweds are received by their mothers with water and wine, remembering the wedding of Canaan. The water is taken in full, only a sip of the wine is drunk and the rest is thrown back over their shoulders. The mother of the groom offers bread and salt to the newlyweds. The bride's mother offers two types of bread, so that they never lack food for themselves or their family.

At the beginning of the dance, they perform the "quadrille". And just before midnight, the "drujby" dance with the "korovay", which are then cut up and served to the guests, accompanied by plenty of wine and homemade beer. The festival ends the next day with a meal made especially for friends and neighbors who worked at the party.

Most of these traditions are still preserved in this way by descendants of Ukrainians in the Mallet area. In the townsite itself, most weddings have been adapted to Brazilian reality, but they commonly retain the features of the last three days. On the first day the newlyweds and guests go to the homes of close friends to collect the "korovay”. Many korovays may be collected, depending on the number baked by the guests. On the second day the religious ceremony and celebration take place. During the evening, , everyone dance with the "korovays”. On the last day, lunch is prepared for those who helped and worked in the party. Everything happens to the sound of "Kolomeyke" with much wine, beer and various foods.

I would like to conduct thorough research on Ukrainian wedding traditions, especially those in the western regions of Ukraine, from where most Brazilian Ukrainian immigrants trace their roots. In particular, I want to research the traditions that form the basis for the wedding traditions in various colonies in Brazil. I will also try to document changes in the tradition, resulting from influences by other people and adaptations to the Brazilian reality over time.

This research could be conducted through interviews with people who live in the colonies of Mallet and still preserve or remember the traditions of the past

The first part of the research should deal with the source area in Europe between the late nineteenth and early twentieth century through manuscripts, archives, and books. Ideally, I hope to visit the villages and towns from where the Brazilian Ukrainian immigrants came. The wedding traditions have likely evolved in Western Ukraine as well, and these changes will need to be compared with the evolution of wedding celebrations here in Brazil. The research would be enriched by research and videos made by others on this subject (both in Brazil and in Ukraine itself).

A Lenda de Rodolfo - The Legend of Rudolf

Imigrantes em frente à Igreja de São Miguel Arcanjo - Mallet, PR

Immigrants - St. Michael's Church - Mallet, PR - Brazil

Família de Ivan Pacevicz

Conforme prometido, segue uma parte do artigo escrito na última semana. A análise das histórias que envolvem a Lenda do Príncipe Rodolfo rendeu alguma páginas. Vou publicar aqui apenas a introdução. Assim que o trabalho for corrigido, eu publico todo o conteúdo. Eu escrevi o original em inglês e fiz uma tradução meia boca para o português, portanto, desconsiderem pequenos erros.

Aproveitem!

As promised, here is a part of the article written last week, in Portuguese anda in English. Enjoy!

A LENDA DE RODOLFO E AS HISTÓRIAS DA IMIGRAÇÃO UCRANIANA PARA O BRASIL

1. INTRODUÇÃO

A imigração ucraniana no Brasil iniciou no final do século XIX. Historicamente, fixa-se o ano de 1891 como o da chegada dos primeiros ucranianos em solo brasileiro. Eram entre 25 e 30 famílias provindas da “Halychyna” (Ucrânia Ocidental), nessa época (1891) sob o domínio austríaco, que se fixaram no estado do Paraná (HEC, 1981, p. 5). Tais famílias eram oriundas, em sua maioria, das cidades e aldeias de Zolaichiv, Ternópil, Sokal’ e Lviv. Esta primeira etapa da imigração estendeu-se até os idos de 1910 (BORUSZENKO, 1995, p. 09). A região da qual partiram os primeiros emigrantes é conhecida como “Halychyna”, e foi uma província austríaca autônoma de 1772 a 1918.

No final do século XIX, a “Halychyna” Oriental compreendia uma área de 55.337 km², em que 3,1 milhões de hectares eram de agricultura e pastagens e aproximadamente 2 milhões de hectares eram de florestas. Em 1890, a população era constituída por cerca de 4 milhões de habitantes, sendo que 65% eram ucranianos (rusyn) os quais eram proprietários de apenas 48% das terras. Portanto, cada família de agricultores ucranianos vivia em cerca de 2,6 hectares de terra. (HEC, 1981, p. 7)

Como já salientado, a região da qual partiram os emigrantes fazia parte do Império Austro-Húngaro. No final do século XIX, tal Império era governado por Franz Joseph I e por sua esposa Elisabeth da Baviera. É de se ressaltar que os povos que faziam parte do Império gozavam de certa liberdade, religiosa e política. Portanto os habitantes do Império tinham de fato um sentimento de súditos. O herdeiro do trono era o Arquiduque Rudolfo Francisco Carlos José, casado com Estefânia da Bélgica. Em 30 de Janeiro de 1889, Rodolfo foi encontrado morto em seu quarto do pavilhão de caça de Mayerling. Com menos de 30 anos de idade, a explicação foi que o Arquiduque havia cometido suicídio. A morte mal explicada do herdeiro do trono gerou diversas teorias, lendas e contos a esse respeito, incluindo-se o fato de que muitos súditos não acreditavam que o Príncipe estava morto.

Na mesma época da morte de Rodolfo, o governo brasileiro iniciou uma grande ação imigratória, prometendo arcar inclusive com custos referentes às passagens e alimentação. A arregimentação de emigrantes foi confiada às companhias de navegação marítima, que desenvolveram uma intensa propaganda emigratória na imprensa, em folhetos e por intermédio de diversos agentes espalhados pela Europa (HEC, 1981, p. 9).

Entre tais agentes, cabe destacar a atuação de Gergoletto. De origem italiana, o agente visitou diversas aldeias da “Halychyna” durante o ano de 1893. Utilizando-se do fato da morte de Rodolfo não ter sido suficiente esclarecida e do pouco acesso dos camponeses à informação, Gergoletto se fez passar pelo Príncipe. Disfarçado de camponês, viajou por diversas aldeias da região, realizando propaganda da emigração para o Brasil, prometendo uma nova casa aos camponeses, em terras férteis e florestas ricas em madeira. Além disso, prometia fundar no Brasil um novo Reino “Rutheno” de Rodolfo, livre da nobreza polonesa e dos comerciantes judeus. Gergoletto, se fazendo passar por Rodolfo, dizia aos camponeses que estava disfarçado por motivos políticos e perseguições. Ainda, dizia que enviaria maiores informações e que usaria o nome de Gergoletto, para assinar disfarçadamente. O agente de imigração imitou uma propaganda desenvolvida em 1890, por autoridades brasileiras, em que convenciam poloneses a irem para o Brasil prometendo a construção de uma “Nova Polônia”, livre das perseguições russas e alemãs. (HEC, 1981, p. 9)

Gergoletto faleceu em 1894, porém a lenda contada por ele foi transmitida ao povo. De maneira oral, a história ganhou popularidade e espalhou-se rapidamente entre os camponeses da “Halychyna” e entre outros agentes da imigração, como Silvio Nodari, que utilizaram a história par angariar o maior número de emigrantes possíveis. Sendo assim, motivados pelas promessas de riqueza, liberdade e um futuro melhor, em um novo Reino “Rutheno”, mais de cinco mil famílias ucranianas deixaram sua terra natal e partiram para o Brasil. (Hec, 1981, p. 10).

Durante o período da emigração, diversos escritores, políticos e literários, dedicaram suas obras aos emigrantes. Entre eles, podemos destacar “До Бразилії” (Do Brazylii) de Ivan Franko; “Чотири казки зеленого шуму” de Lesia Ukrainka; “Камінний хрест” (Kamiannyi Khrest) de V. Stefanyk , “Осінь” (Ocin’) de M. Cheremshyny; “Туга” (Tuha) de O. Makoveia. Ainda, T. Borduliak dedicou a esse tema alguns de seus romances, bem como A. Chaykovsky o utilizou em seu conto “Бразилійський гаразд” (Brazyliis’yi Harazd). (KOLYNKO, 2002, p. 56) Ainda, o drama de Leo Lopatynsky “Do Brazylii”, de 1898 e o conto de J. Varnych “Sorte além-mar” de 1897.

Nesse trabalho, a atenção está voltada ao motif da Lenda do Príncipe Rodolfo. Pesquisando dentre os autores que utilizaram a imigração como tema principal, buscou-se aqueles que utilizaram o motif do Principe Rodolfo. Dos autores citados, dois utilizaram referida lenda, divulgada por Gergoletto, como motif: Andriy Chaikovs’kyi, no conto “Brazylins’kyi Harazd” (publicado em 1896) e Ivan Franko, no poema “Lyst do Stefanii”, dentro do conjunto de poemas “Do Brazylii” (escritos em 1897 e publicados em 1898). Ainda, V. Hnatiuk publicou a coletânea “Pisnia pro Brazyliiu” (1898) com cantos populares recolhidos dos imigrantes. Tais obras são o motivo da análise que segue.

Para o trabalho, foram coletadas versões das referidas obras em diferentes épocas (com exceção da obra de Chaykovs’kyi) e, no caso da obra de Franko, de uma versão publicada no Brasil, em 1981, em língua portuguesa e ucraniana. Os três autores apresentam o mesmo motif em obras diferentes. O primeiro o utilizou em um conto, o segundo em um poema e o terceiro o coletou de um canto camponês.

THE LEGEND OF RUDOLF IN THE STORIES ABOUT UKRAINIAN IMMIGRATION TO BRAZIL[1]

Andreiv George Choma

Abstract: This paper is an analysis of the Legend of Prince Rudolf Habsburg, its origin, its historical record and its variations. The story was disclosed in the region of Halychyna in the late nineteenth century and circulated among the peasants and the writers and it is now part of the numerous legends of the Ukrainian community in Brazil. There are many stories that deal with the Ukrainian immigration to Brazil, however, only three refer to the legend of Prince Rudolf. Variations, publications and translations of these three versions were the subject of analysis.

Key Words: Rudolf Habsburg, Ukrainian immigration, Ukrainian tales, folklore, Ukrainians in Brazil.

1. INTRODUCTION

The Ukrainian immigration to Brazil began in the late nineteenth century. Historically, scholars set the year 1891 as the arrival of the first Ukrainians to Brazilian land. In 1891, about 30 families from Halychyna (Western Ukraine), at that time a part of Austrian Empire, settled in the state of Paraná (HEC, 1981, p. 5). These families were mostly from the following towns and villages: Zolaichiv, Ternopil, Sokal' and Lviv. This first wave of immigration lasted until the year of 1910 (BORUSZENKO, 1995, p. 09). The region from which the first emigrants left is known as Halychyna and was an autonomous province of Austria from 1772 to 1918.

At the end of the nineteenth century, Eastern Halychyna comprised an area of ​​55,337 km², 3.1 million hectares of which were for agriculture and pasture, and about 2 million hectares of forests. In 1890, the population consisted of about 4 million inhabitants, of which 65% were Ukrainians (Rusyny). However, they owned only 48% of the land. Therefore, each Ukrainian family lived and farmed on about 2.6 hectares of land. (HEC, 1981, p. 7)

As already noted, the region from which emigrants departed was part of the Austro-Hungarian Empire. In the late nineteenth century, this empire was ruled by Franz Joseph I and his wife Elisabeth of Bavaria. It should be noted that people who were part of the Empire enjoyed a certain freedoms, religious and political. So the inhabitants of the Empire had indeed a sense of subjects. The heir to the throne was the Archduke Rudolf Francis Charles Joseph, married to Stephanie of Belgium. On January 30, 1889, Rudolf was found dead in his room in Mayerling. The suggestion was that the Archduke had committed suicide. This poor explaination of Rudolf’s death caused the emergence of numerous theories, legends and tales about it, including the fact that many peasants did not believe that the Prince was dead.

At the same time (1890), the Brazilian government launched a large campaign to attract immigrants, including promises to pay costs related to travel and food. The regimentation of imigrants was entrusted to shipping companies, who developed an intense propaganda of emigration in the press, in pamphlets and through various agents throughout Europe (HEC, 1981, p. 9).

Among these agents, Gergoletto was especially significant. Of Italian origin, the agent visited several villages in Halychyna during the year of 1893. Using the fact that the death of Rudolf was not clear enough, and that peasants had little access to information, Gergoletto pretended to be the Prince. Disguised as a peasant, he traveled through various villages, conducting propaganda for emigration to Brazil, promising a new home to the peasants in the fertile lands and forests rich in timber. Moreover, he promised to found a new Ruthenian kingdom in Brazil, free of the Polish nobility and Jewish merchants. Gergoletto, posing as Rudolf , told the peasants that he was disguised and chased for political reasons. Still, he said he would send further information and would use the name of Gergoletto to sign covertly. The immigration agent mimicked an advertisement, developed in 1890 by Brazilian authorities, convincing Poles to go to Brazil promising to build a "New Poland", free from persecution by Russians and Germans. (HEC, 1981, p. 9)

Gergoletto died in 1894, but the legend told by him spread among peasants of Halychyna by word of mouth and quickly gained popularity. It also reached other immigration agents like Silvio Nodari, who used the story to attract the largest possible number of emigrants. Thus, motivated by promises of wealth, freedom and a better future in a new Ruthenian Kingdom, more than five thousand Ukrainians families left their homeland and went to Brazil. (HEC, 1981, p. 10).

During the period of emigration, many writers, political and writers, have dedicated their works to the emigrants. Among them there are we highlight "До Бразилії" (Do Brazylii) by Ivan Franko, "Чотири казки зеленого шуму" (Chotyry kazky zelenoho shumu) by Lesia Ukrainka, "Камінний хрест" (Kaminnyi Khrest) by V. Stefanyk, "Осінь" (Osin’) by M. Cheremshyna; "Туга" (Tuha) by O. Makovei. Also, T. Borduliak devoted some of to this subject, as well as A. Chaykovsky, who used it in his story "Бразилійський гаразд" (Brazyliis'kyi harazd). (KOLYNKO, 2002, p 56). The drama "Do Brazylii" by Leo Lopatynsky, of 1898 and the tale "Luck overseas" by J. Varnych are worth mentioning too.

In this paper, the attention is focused on the motif of the Legend of Prince Rudolf. Searching among the authors who used immigration as the main theme, I looked for those who used the motif of Prince Rudolf. Of these authors, two used the legend created by Gergoletto like motif: Andriy Chaikovs'kyi in the story "Brazylins'kyi Harazd" (published in 1896) and Ivan Franko, in the poem "Lyst do Stefanii", within the set of poems "Do Brazylii" (written in 1897 and published in 1898). Also, Volodymyr Hnatiuk published the collection of folk immigrant songs "Pisnia pro Brazyliiu" in 1898. Such works are the subject of the analysis that follows.

For the study, versions of such works were collected at different times with the exception of the work of Chaykovs'kyi, and in the case of the work of Franko: a version published in Brazil in 1981, in Portuguese and Ukrainian. The three authors presented the same motif in different works. The first used it in a story, the second in a poem, and the third collected it from a musician.

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[1] Essay presented for the Class UKR 523: Ukrainian Folk Prose. Instructor: Andriy Nahachewsky. Feb. 17.

Атавізм - Atavismo - Atavism

Este blog surgiu da ideia de compartilhar o que eu tenho aprendido no MA com o maior número de pessoas possíveis. Informações sobre o folclore ucraniano, a comunidade ucraniana do Brasil e a cultura ucraniana serão postadas constantemente.

O nome do blog é uma homenagem à Helena Kolody, poetisa paranaense, nascida em 1912, filha de imigrantes ucranianos. O poema "Atavismo" é uma das suas obras que tratam diretamente de sua ligação com a terra ancestral.

Segundo Antonio Donizeti da Cruz: "Dialogando constantemente com o leitor, Kolody realiza uma poiesis que opera como exercício máximo de rigor e emoção com a linguagem, sobressaindo a maneira de dizer e nomear as coisas, com versos repletos de recursos imagéticos. (...) O elemento atávico, a saudade, a melancolia, são temas recorrentes na poesia kolodyana. Os impulsos criadores oriundos da ancestralidade e da memória coletiva ganham contornos próprios em sua obra." (disponível em: http://voos.sites.uol.com.br/p/ad/donizeti.htm)

Para mim, este poema é o que melhor descreve o sentimento dos descendentes de ucranianos e sua ligação com a Ucrânia.

Seguem duas versões do poema, publicado no Livro "Luz Infinita", uma em português e outra em ucraniano (traduzido por Wira Wouk). Aproveitem!

This blog came from the idea of sharing, with many people as possible, what I have learned in MA. Informations about Ukrainian folklore, the Ukrainian community in Brazil and the Ukrainian culture will be posted constantly.

The blog's name is a tribute to Helena Kolody, brazilian poet, from Paraná, borned in 1912, daughter of Ukrainian immigrants. The poem "Atavism" is one of her works that deal directly with her connection with Ukraine. According to Antonio Donizeti da Cruz (http://voos.sites.uol.com.br/p/ad/donizeti.htm), recurring themes in poems by Kolody are: atavism, longing and melancholy. The creative impulses comes from ancestry collective memory and receives special contours in her work.

For me, this poem is the best description about the feelings of the Ukrainians descendants and their connection with Ukraine.

Here are two versions of "Atavismo", in Portuguese and in Ukrainian (translated by Wira Wouk), published in the book "Bezkonechnyi Svitlu". Enjoy!

Atavismo

Quando estou triste, e só, e pensativa assim,

É a alma dos ancestrais que sofre e chora em mim.

É a angústia secular duma raça oprimida

Que vem da profundeza e turva a minha vida.

Certo, guardo latente e difusa em meu ser,

A lembrança remota e má dos dias amargos

Que eles viveram sem a ansiada liberdade,

E eu que amo tanto, tanto, os horizontes largos,

Lamento não ser águia ou condor, para voar

Até onda a força da asa alcance a me levar,

Na conquista do império azul da imensidade.

Oh! Quantas vezes eu, humilde e pequenina

Ante a extensão agreste e verde da campina,

Não sei dizer por que, deslumbrada, senti

Saudade singular da estepe que não vi!

Pois até o marulhar misterioso e sombrio

Da água escuro com a imponência dum rio,

Lembra, sem querer, numa impressão falaz,

O soturno Dnipró cantado por Tarás...

Por isso é que eu surpreendo, em alta intensidade,

Acordada em meu sangue, a tara da saudade.

(Helena Kolody)

«Атавізм»

Коли я самотня, задумана і сумна.

То страждає і плаче в мені моїх предків душа.

То печаль довговічна поневоленого народу

Виринає з безодні й каламутить життя мого воду.

Певно, що я ховаю, таємні, в моєму бутті

Далекі спогади про недобрі дні грозові.

Що їх вони проживали без сповіданої свободи.

А я, що так дуже люблю цей обрій крилатий,

Жалію, що я не орел, ні не сокіл, щоб полетіти

Так високо, як тільки сила крила спроможна підняти.

Перед диким, зеленим килимом неораних піль

Скільки разів я відчувала у грудях біль.

Що ніколи не бачила ширини степової природи.

Навіть темний-таємний журкіт лісового потоку

З пінистими водами річки, готовий до танцю-скоку.

Мені, дитині, мимоволі здавався не раз

Широким Дніпром, що його прославив Тарас.

(Олени Колодій)