Made in Noviny: Songs of Golendra People from Siberia

The Golendras (Olendry, Holendry) of Siberia are a unique people. They originate from Germany or even Holland, to which their name alludes. In former times they lived in Poland, eventually ending up in the western part of the Russian Empire — approximately where the borders of Poland, Belarus and Ukraine now meet, near the Western Bug River.

The Golendras are Lutherans by religion, their prayer book is in Polish and they have German surnames. They adopted a mixture of Polish, Ukrainian and Belarusian as their language. Their songs are sung in this dialect. During the Stolypin agrarian reforms, a part of the Golendras moved to the Irkutsk Region in Siberia, where they founded settlements — Zamusteche (Zamóstecze, whose modern name is Pikhtinsky), Novyny (Nowyny, whose modern name is Srednepikhtinsky) and Dagnik (its name has not changed).

Kvitochka (Kwitoczka, “Little Flower”) Ensemble emerged in 2005 at the Srednepikhtinsky House of Culture. It has the status of a family band, since all the participants are relatives to various degrees.

The ensemble members (on the album cover photo from left to right):

1. Nina Kunz
2. Valentina Zelent
3. Irina Prokopyeva
4. Larisa Bendik
5. Svetlana Ludwig
6. Olga Kunz
7. Elena Vas. Ludwig
8. Vera Kunz
9. Elena Vlad. Ludwig (leader)
10. Natalya Ludwig

The original song titles are given in their Polish spelling.

The names of the older generation people, thanks to whom these songs have been preserved: Emma Pastrik, Anelia Gildebrant, Alvina Zelent, Natalya Kunz, Zuzanna Ludwig, Elizaveta Gildebrant, Adolf Kunz, Alvina Kunz, Bronislava Ludwig, Ivan Zelent.

Recorded at the Srednepikhtinsky House of Culture on July 7, 2022, except for tracks 1 and 26, which were recorded in Dagnik on July 8, 2022, and performed by Anatoly Ludwig.

Thanks to Elena Ludwig, the whole ensemble, Lyudmila Gerda, Natalya Dmitrieva, Lyubov Vasilchenko, and Iwan Strutynski.

Source: Antonovka Records (Facebook), 17 February 2023. I have lightly edited the original liner notes for clarity and readability. ||| TRR


THE BAIKAL DUTCH: WHO ARE THEY?

A people called the Golendry (translated presumably as “Hollanders,” “Dutch”) has been living in the remote Siberian taiga for more than a century. The people speaks a mix of Belarusian and Ukrainian, prays in Polish, and has German surnames. They live in the Zalari District of Irkutsk Region and are a true cultural phenomenon. Key to Baikal will tell you what kind of people they are and how they got here.

The History of the Golendry

Several dozen families of Golendry moved to Siberia from the Bug River basin at the beginning of the 20th century, during Stolypin’s agrarian reforms. Back then, the place of the people’s residence was a part of the Russian Empire, but now the territory encompasses the borderlands of Belarus, Ukraine and Poland. There are two explanations of the origins of the word golendry. This term emerged in the early seventeenth century: the Dutch identified themselves in similar fashion (hollandi in Latin). The other explanation is based on the word gautland, meaning a developed land (paseka in Polish), a settlement on deforested land, established by colonists who were called golendry (that is, “stumpers” or “woodcutters,” not “Dutch”). The researcher Eduard Byutov came up with a serious argument against the second explanation, saying that these people were the members of a Dutch community living under “Dutch law” and observing Dutch culture. Byutov emphasized the fact that, in medieval Poland, the social stratum of peasants were called golendry (olendry), and the settlers possessed a special social and legal status. Thus, the term olendry is derived from a lexeme with the same meaning as the ethnonym for “Dutch” in Polish. It was used to designate a special social group of mixed ethnic composition.

Perhaps the truth is somewhere in the middle, because the term golendry never served to designate any particular ethnic group. From the very beginning it meant a special social group of mixed ethnic composition. Nevertheless, the ethnic composition of this social group evidently included the Dutch, because many of their cultural elements point tto this.

By the beginning of the twentieth century the Golendry had retained their distinctive identity, which differed from neighboring peoples: despite the fact that they spoke local dialects, their religion was different from the surrounding population. They were Lutherans, unlike the Catholic Poles and the Orthodox Belarusians and Ukrainians.

A part of the Golendry migrated to Siberia, primarily due to the lack of land. The settlers gave old names to their new places of residence: Zamusteche, Novyna and Dakhny, in memory of those times when they lived on the Bug. The villages were renamed in Soviet times (now they are known as Pikhtinsk, Srednepikhtinsk and Dagnik).

It is curious that no one was particularly interested in the Pikhtinsk Golendry before the early 1990s. Only in the 1930s and during the Great Patriotic War did their obviously German names and surnames attract the attention of state authorities, which led to certain consequences. Luckily, however, the Golendry were not deported (because they already lived in the taiga) and were not shot. During peacetime, the Golendry were little different from other Soviet people, except that the two Pikhtinsk collective farms consistently produced high yields, year after year. In the 1970s they were doing so well that former residents of Pikhtinsk returned to their native villages from the cities: they built a branch of a clothing factory, a bakery, and a post office there. There were three large elementary schools for the three villages, a rural medical station, shops, and a kindergarten. After perestroika, their prosperity came to an end, however, and the residents of Pikhtinsk once again moved back to the cities. Nowadays, the number of people registered in the villages is larger than that of people actually living there, and the number of inhabitants of these settlements decreases every year.

Фото
“The Home of the Golender Gimborg, 1912”

Emptying villages are a widespread phenomenon in Russia, with only one difference: the Golendry are famous now; they will not disappear into obscurity. By the way, the Golendry were “discovered” by scholars by pure accident, thanks to their houses. In 1993-1994, the Irkutsk Central Commission for the Preservation of Historical and Cultural Heritage visited these remote taiga villages and paid due attention to the unconventional architecture of the buildings in Pikhtinsk, Srednepikhtinsk and Dagnik. The architecture entailed an exploration of the rest of their culture, and the Golendry were declared a “sensation.”

Customs and traditions

Two museums were established in Srednepikhtinsk: these let people have a look inside a real Golendry house without disturbing their personal space. According to the Lutheran faith of the Golendry, they worship in Polish using the Bible and prayer books. The old people are more religious, while the young people are less so: the situation is common today. So, the holy books in Polish, exhibited in the museums, are now read only by old people, and even not all of those old people can read them. It is curious that the Golendry use the Julian calendar, just like Orthodox people.

The Lutheran Golendry do not have a tradition of regularly visiting cemeteries and taking care of graves. However, the Russian traditions have gradually come to predominate: elaborate headstones have been erected on some graves of the Pikhtinsk Golendry, and the relatives of the deceased can sometimes be seen at the cemetery. Nevertheless, you should not go to the cemetery of the Golendry out of idle curiosity: the residents of Pikhtinsk hate it when someone disturbs the peace of the dead.

The Lutheran Golendry never had any churches of their own in Siberia. They prayed at home in the old days, and still do so now. There is a Lutheran prayer hall in Irkutsk, and the local pastor periodically visits the residents of Pikhtinsk. However, the main rite — baptism — is conducted not by a pastor, but by a local resident. The residents of Pikhtinsk themselves find it difficult to answer why they chose that person exactly. Most likely, because he is a pious man and is respected by everyone. In addition, waiting for the pastor to come or taking the babies to Irkutsk is simply inconvenient.

The museums illustrate the wedding ceremony in great detail: The Golendry still celebrate their weddings in keeping with the old traditions. A cap, the most memorable detail of the local women’s attire, is also associated with the wedding. Women wear a cap instead of a veil on the second day of marriage. There is also a tradition of burying women with their cap on. During the rest of the time the capes are no longer worn, except that they can be worn for tourists.

If you want to get acquainted with the life and traditions of the Golendry, you will have to drive almost 300 kilometers from Irkutsk, or take a train to Zalari Station and then travel the remaining 93 kilometers to Srednepikhtinsk. After this people was “discovered,” it became much easier to get to the places where it resides, but one should book a tour and overnight stay in advance.

Source: Key to Baikal. I have edited the original article for clarity and readability. ||| TRR

Agronom Yurri: Songs of Chuvash People from Siberia

90th release from Antonovka Records

Chuvash villages appeared in Russia’s Irkutsk Province during the Stolypin agrarian reforms at the beginning of the 20th century. Later, many Chuvash went there immediately after World War II. The songs on the album are mainly from the latter period.

Kukkuk Ensemble (“Cuckoo” in Chuvash, tracks 1-9) was formed in the village of Tagna in the Zalarinsky Dstrict. Its members range in age from 22 to 56.

Upper photo on the album cover, from left to right:
1. Marina Matveeva (leader)
2. Tatyana Vinogradova
3. Anastasia Vinogradova
4. Elena Avramenko
5. Olga Smirnova
6. Elena Dasheeva

The members of the duo The Belkovy Sisters (tracks 10-17) were born in the village of Uspensky-3 in the neighboring Ziminsky District. The duo is named after their mother’s maiden name. Nadezhda now lives nearby in the village of Maslyanogorsk, while Veronika lives in the city of Irkutsk. Nadezhda is a teacher of the Chuvash language, while Veronika is the chair of the Chuvash national cultural organization Yultash.

Part of the sisters’ repertoire (tracks 10, 14, 15) consists of popular Russian folk songs translated into Chuvash. The “Young Agronomist Song” was translated locally in Siberia and is a hallmark of the duo.

Lower photo on the album cover, from left to right:
1. Nadezhda Fidikova
2. Veronika Timofeeva

Recorded on July 9, 2022, in the House of Culture of the Village of Srednepikhtinsky, Zalarinsky District, Irkutsk Region, Russia.

Thanks to Veronika and all the performers, as well as Elena Ludwig, Lyudmila Gerda, and Natalia Dmitrieva.

Source: Antonovka Records (Facebook), 22 January 2023. The liner notes, above, have been edited slightly for clarity’s sake.

Khudain Gol: Voices of the Kuda Valley

 
88th release from Antonovka Records
 
Buryats are a native people of the Republic of Buryatia, the Irkutsk region and the Transbaikal region. The Irkutsk Region (Russian: oblast) consists of 32 districts (Russian: rayons), six of which form the Ust-Orda Buryat Autonomous Area (Russian: okrug) with the capital in the village of Ust-Ordynsky (Ust-Orda). Thus, in the administrative structure, the okrug has an intermediate position between the region and the district. From 1990 to 2008, however, it was a separate subject of the Russian Federation equal in status to a region. In 2008 the status was downgraded.
 
The Khudain Gol (“Kuda Valley” in Buryat) Ensemble was founded in Ust-Orda in 1986. The band performs folk songs of the local Buryats in their own arrangements. The leader is Nina Baldynova, the choirmaster is Bayar Zhambalov.
 
On the album cover photo, from left to right:
1. Irina Yatogurova: vocals
2. Bayar Zhambalov: vocals, chanza (10, 11)
3. Victoria Khakhalova: vocals
4. Nina Baldynova: vocals
5. Andrey Banzaraktsaev: vocals, solo vocals (10)
6. Nina Baldaeva: vocals
7. Elena Barkhunova: vocals
8. Alexander Mantatov: vocals, solo vocals (11)
9. Victoria Mandanova: vocals
10. Albina Makhasoeva: vocals
11. Alexander Tsybenov: vocals
 
The Buryat song titles are written as given by the performers and may differ slightly from the literary version.
 
Recorded on July 18, 2022 at the Ust-Ordynsky House of Culture, Ust-Orda Buryat Autonomous Area, Irkutsk Region, Russia.
 
Thanks to Irina Molotkova, the ensemble, Lyudmila Gerda, and Natalya Dmitrieva.
 
 
Source: Antonovka Records, Facebook, 8 January 2023
 
 
 

Erkhuu Khoto: Songs of Buryats from Irkutsk

83rd release from Antonovka Records

Erkhuu Khoto is the Buryat name for the city of Irkutsk, in which khoto means “city.” Buryats are the indigenous people of this area.

The Ayanga Ensemble (ayanga means “melody” in Buryat) was founded in 1998, the leader is Tsybigmit Damdinzhapova.

The band performs mainly songs of the Irkutsk Buryats, some of which were directly inherited from their ancestors. For example, Evgenia Baldynova learned song 4 from her grandfather. And song 5 was passed on to Petr Saganov from his grandmother Lilia Zhebadaeva, who, in turn, learned it from her grandfather Danchi Nikolaev, born in 1875. And Evgenia and Peter are the oldest (86 years old) and the youngest (27 years old) members of Ayanga respectively.

Some of the ensemble participants moved to Irkutsk from Buryatia and Transbaikal, so particular songs come from there. For example, Onon is a river in Transbaikal Territory.

Ayanga Ensemble (from left to right on the album cover photo):
1. Oyuna Chimitova — vocals
2. Khanda Bazarova — vocals
3. Valentina Bardakhanova — vocals
4. Petr Saganov — vocals, solo vocals (5, 13)
5. Rinchin-Khanda Lubsanova — vocals, solo vocals (12, 16), vocals in duo (9)
6. Olga Radnaeva — vocals, solo vocals (10)
7. Tatyana Turmakova — vocals, solo vocals (7)
8. Eduard Khalzanov — vocals, vocals in duo (6)
9. Tsybigmit Mitupovna Damdinzhapova — vocals, solo vocals (11, 14, 17), vocals in duo (9)
10. Evgenia Baldynova — vocals, solo vocals (15)
11. Zinaida Egnaeva — vocals, vocals in duo (6)
12. Alla Dmitrieva – vocals
13. Svetlana Inchizhinova – vocals

The calligraphic inscription on the cover is the name of the ensemble written in Old Mongolian script by Rinchin-Khanda Lubsanova.

The Buryat song titles are written as given by the performers and may differ slightly from the literary version.

Recorded in Irkutsk on July 3, 2022.

Thanks to Tsybigmit and the ensemble, Sergey Shotkinov, Lyudmila Gerda, Natalya Dmitrieva.

Source: Antonovka Records, Facebook, 11 December 2022

Erzyan Morot: Fiddle Tunes from Erzya Mordva Villages of Samara Province

78th release from Antonovka Records

Armas Otto Väisänen (1890-1969) was a famous Finnish ethnomusicologist and ethnographer.

In 1914, when his native Finland was still part of the Russian Empire, he traveled around Samara province and recorded music of traditional fiddlers from local Erzya Mordva villages on wax cylinders. These recordings have been preserved in the Finnish archives.

The album Erzyan Morot (“Erzyan Melodies”) presents those tunes played by modern Russian fiddlers as close to the original as possible .

The number in the brackets after each melody is its number in the collection Mordwinische Melodien (“Mordovian Melodies”, Helsinki, 1948) compiled by Väisänen.

Performers:
Sofia Balueva (tracks 1-4), recorded August 14, 2021 in St. Petersburg
Sofia Fayzrakhmanova (tracks 5-10), recorded at the same place
Tatyana Yamberdova (track 11), recorded on October 23, 2021 in the town of Velikiye Luki

The idea of ​​the project by Ksenia Goncharova and Andrey Davydov.

Source: Antonovka Records, Facebook, 25 November 2022

___________

Armas Otto Aapo Väisänen (9 April 1890 – 18 July 1969) was an eminent Finnish scholar of folk music, an ethnographer and ethnomusicologist.

Väisänen was born in Savonranta. In the early twentieth century he documented, in recordings and photographs, traditional Finnish music and musicians. With a scholarship from the Finno-Ugrian Society Väisänen traveled to Russia in 1914 to collect Finnish folk melodies. He made field trips to MordoviaIngriaVeps, Russian Karelia. His activities also marked the a new stage in the history of collecting Seto folk songs in Southern Estonia. After the first trip in 1912 he made 6 field trips to Estonia between 1912 and 1923.

A. O. Väisänen’s dissertation was presented in 1939 on Ob-Ugrian folk music in German: Untersuchungen über die Ob-ugrischen Melodien: eine vergleichende Studien nebst methodischer Einleitung.

Between 1926 and 1957 Väisänen hold the position of the head of the folk music department at the Sibelius Academy, Helsinki, Finland. He was the professor of musicology at University of Helsinki from 1956 to 1959. He died in Helsinki, aged 79.

Source: Wikipedia

Damir Guagov & Asker Sapiev: Adyge Oredyzhkher (Adyg/Circassian Music)

74th release from Antonovka Records

“Adyge oredyzhkher” means “old Adyg songs.” The album, however, consists mainly of tunes without words and also includes several relatively modern compositions.

Adyg (Adyge, Adyghe), Circassians (Cherkess) and Kabardians are branches of one people, they all call themselves “Adyge,” and from the outside they are collectively known as Circassians.

Damir Guagov and Asker Sapiev are musicians from Maykop, the capital of the Republic of Adygea. Damir is a shichepshinao and pshinao, that is, a player of shichepshina and pshina. Shichepshina is the traditional Adyg vertical fiddle, pshina is the Adyg name for button accordion. Asker is a phachichao (the phachich is the traditional pair rattle).

The recording of the album was made possible thanks to Zamudin Guchev, Honored Artist of the Republic of Adygea, and researcher and keeper of the Adyg traditions.

Lyrics language: Adyghe (5, 14), Russian (4, 13).

Recorded at Zamudin’s home, Gaverdovsky hamlet, Maykop, Republic of Adygea, July 17, 2020.

Thanks to Zamudin, Damir and Asker.

Source: Antonovka Records, Facebook, 10 May 2022. Embedded recording courtesy of the Antonovka Records Bandcamp page

____________

The Circassian genocide, or Tsitsekun, was the Russian Empire’s systematic mass murder, ethnic cleansing, and expulsion of 80–97%of the Circassian population, around 800,000–1,500,000 people, during and after the Russo-Circassian War (1763–1864). The peoples planned for removal were mainly the Circassians, but other Muslim peoples of the Caucasus were also affected. Several methods used by Russian forces such as impaling and tearing the bellies of pregnant women were reported. Russian generals such as Grigory Zass described the Circassians as “subhuman filth”, and glorified the mass murder of Circassian civilians, justified their use in scientific experiments, and allowed their soldiers to rape women.

During the Russo-Circassian War, Russian Empire employed a genocidal strategy of massacring Circassian civilians. Only a small percentage who accepted Russification and resettlement within the Russian Empire were completely spared. The remaining Circassian population who refused were variously dispersed or killed en masse. Circassian villages would be located and burnt, systematically starved, or their entire population massacred. Leo Tolstoy reports that Russian soldiers would attack village houses at night. Sir Pelgrave, a British diplomat who witnessed the events, adds that “their only crime was not being Russian.”

In 1864, “A Petition from Circassian leaders to Her Majesty Queen Victoria” was signed by the Circassians requesting humanitarian aid from the British Empire. In the same year, mass deportation was launched against the surviving population before the end of the war in 1864 and it was mostly completed by 1867. Some died from epidemics or starvation among the crowds of deportees and were reportedly eaten by dogs after their death. Others died when the ships underway sank during storms. Calculations, including taking into account the Russian government’s own archival figures, have estimated a loss of 80–97% of the Circassian population in the process. The displaced people were settled primarily to the Ottoman Empire.

Sources state that as many as 1 to 1.5 million Circassians were forced to flee in total, but only a half could make it to land. Ottoman archives show nearly 1 million migrants entering their land from the Caucasus by 1879, with nearly half of them dying on the shores as a result of diseases. If Ottoman archives are correct, it would make it the biggest genocide of the 19th century, and indeed, in support of the Ottoman archives, the Russian census of 1897 records only 150,000 Circassians, one tenth of the original number, still remaining in the now-conquered region.

As of 2021, Georgia was the only country to recognize the Circassian genocide. Russia actively denies the Circassian genocide, and classifies the events as a migration (Russian: Черкесское мухаджирство, lit. ’Circassian migrationism’). Some Russian nationalists in the Caucasus region continue to celebrate the day when the Circassian deportation was launched, 21 May (O.S), each year as a “holy conquest day”. Circassians commemorate 21 May every year as the Circassian Day of Mourning commemorating the Circassian genocide. On 21 May, Circassians all over the world protest against the Russian government, especially in cities with large Circassian populations such as Kayseri and Amman, as well other big cities such as Istanbul.

Source: Wikipedia

A Nu-Ka Babushki: Tserkovishche (Russian Songs from Pskov Region)

72nd release from Antonovka Records

The village of Tserkovische is known as the place where the famous folk singer Olga Sergeeva lived the most of her life. Here she sang the songs included by Andrei Tarkovsky in his film “Nostalgia” and called by him “the sign of the Russian”.

Our album is released in 2022, the year of the centenary of the birth of Olga Sergeeva and the ninetieth birthday of Andrei Tarkovsky.

A Nu-Ka Babushki (meaning “Come On, Grandmas”) Ensemble consists of fellow villagers of the celebrated singer. The age of the participants ranges from 60 to 90 years, which makes them, on average, the next generation after her.

Song genres: wedding (1-5), lyrical (6, 7, 9, 14), harvesting (😎, Maslenitsa (Winter Carnival — 10, 11), dancing (12), wedding/dancing (13), table (15), folk romance (16), Kupala (St. John’s Day — 17), modern (18), witty ditties (19-22).

A Nu-Ka Babushki Ensemble, from left to right on the album cover photo:
Anna Ivanova: vocals (1-15, 17-22)
Anna Karpenko: vocals (1-15, 17-18)
Valentina Poleshchenko: vocals (1-22)
Irina Malysheva (manager): vocals (1-15, 17-18)

Session musicians:

Ivan Strutinsky: button accordion (19, 21, 22)
Polina Gotsmanova: fiddle (20)

Thanks to all performers, Ksenia Goncharova, Dmitry Solomin.

Source: Antonovka Records, Facebook, 26 April 2022. Embedded recording courtesy of the Antonovka Records Bandcamp page

Talomerkit: Songs of Ingria We Sing


Antonovka Records
Facebook
December 10, 2021

57th release from Antonovka Records

Ingria is roughly the southwestern quarter of what is now Leningrad region of Russia, including the city of Saint Petersburg.

Talomerkit are signs of clans that local Finno-Ugric people carved on their wooden houses in ancient times. The ensemble members belong to different ethnic groups who traditionally live in this area: Ingrian Finns, Russians, Izhorians and Estonians.

This album is completely devoted to the music of the Ingrian Finns. There are about 20,000 of them in Russia now.

Talomerkit Ensemble (from left to right on album cover photo):
Nikolay Kochetkov — button accordion player
Irina Demidova — leader
Aina Yakkola
Svetlana Tregub (Lappalainen)
Tatiana Demidenko (Bjorn)
Julia Tuomo
Dmitry Harakka-Zaitsev

Recorded at the premises of Ingrian Finns Society “Inkerin Liitto”, St. Petersburg, April 20, 2021.

Thanks to the ceaselessly curious and generous Dimitrii Ivanov for the heads-up. This album was recorded two doors down from our house in Petersburg, at Inkerin Liitto, where I have spent more hours studying Finnish than I can count, all of them happy ones. ||| TRR