Amerikos lietuvių tradicinio smuikininko Dovydo Pivoriūno etninė muzikinė ir kultūrinė tapatybė: nuo gimtojo senelių krašto iki „Baltic US“

LTTrečios kartos tradicinis smuikininkas Dovydas Pivoriūnas savo etninę muzikinę ir kultūrinę tapatybę suvokia kaip (at)kuriamą, prigimtinį savo giminės paveldą, susiejant jį su paties atrandamomis ir pasirenkamomis etnokultūrinėmis žiniomis ir vertybėmis (kryptimi JAV–Lietuva ir atgal). Visomis išgalėmis jis siekia kuo išsamesnės savo etninės tapatybės ir jaučiasi vientisas, savas ir vietinis, kai imasi lietuviškos veiklos, švenčia tradicines šventes ir būna su lietuviais, ypač tėvynėje, gimtajame savo senelių Tverečiaus krašte. Muzikinės Dovydo tapatybės šerdis – smuikas, cimbolai ir tradicinis muzikavimas šokiams. Lietuvių bendruomenei išsklidus, kad lietuvių, latvių ir estų kultūra prigytų šiuolaikiniame gyvenime, 2005 m. jis su žmona subūrė jungtinę tradicinės muzikos grupę „Baltic US“. [Iš leidinio]Reikšminiai žodžiai: Lietuvybė JAV šiandien; Etninė muzikinė ir kultūrinė tapatybė; Tradicinis instrumentinis muzikavimas; Baltiečių šokių muzikos grupės; Lithuanian-ness in the USA today; Ethnic musical and cultural identity; Traditional instrumental music making; Baltic dance music groups.

ENDovydas Pivoriūnas (David Jon Pivorunas, born in 1958 in Chicago, Ill., living in Washington, DC) is a traditional fiddler of Lithuanian and Italian descent. In the early 20th century parents of his father came to Chicago with the first wave of Lithuanian emigrants to the USA. His grandfather Gasparas Pivoriūnas (born in 1883 in Kukučiai village, Tverečius parish of Eastern Lithuania – died in 1924 in Chicago) and his relatives were folk fiddlers and hammered dulcimer players and masters. According to the conclusions of this investigation, Dovydas perceives the ethnic musical and cultural identity of himself, like of other Lithuanian immigrants of later generations, possible to (re-)create, connecting own primordial heritage with the ethnocultural knowledge and values discovered and chosen by himself (in the direction from USA to Lithuania and backwards). His marriage with a Lithuanian woman and ties with the contemporary wave of Lithuanian immigrants are of relevance, too. Perspective of Dovydas to his own ethnocultural identity and its components and expressions is deep and intellectual: it is important for him not only to feel and experience, but also to learn and reflect. In all his capacities he pursues to (re-)create his ethnocultural identity as complete as possible and is feeling solid, very self and native, when is involved in the ethnic activities with members of one nationality, especially when being in the native land of his grandparents: „I usually do not think of myself as a third generation Lithuanian, or as being of half Lithuanian heritage or half Italian heritage, but rather that I that am Lithuanian and Italian. If I am doing Lithuanian things, at these times I am all Lithuanian. That is just the natural way it works. If I am with Italian relatives I feel Italian. When with other Americans, then I am American.Also when I am in Lithuania I feel like I am a real Lithuanian not different from others. If I visit my native area of Lithuania I feel like am a local and belong there. There is some link you can feel which makes you feel at home and not out of place, even if there are language barriers. So these „rules“ apply, when I participate in Lithuanian folk activities. I feel because I am Lithuanian, I belong and that I should be doing it. When it comes to music the feeling is the same: when I play Lithuanian music I feel like I am playing my own music, not a music of a different culture.“ The core of Dovydasʼ ethnic musical identity is fiddle, hammered dulcimer and traditional dance music making. In 1985, his involvement into traditional music making was inspired by the revival of traditional fiddling of the USA, and around the 1990s, by the folklore movement wave from Lithuania as well as his participation in American Estonian, Lithuanian and Latvian folklore groups. He is very observant of relations and similarities between American and Baltic (or vice versa) folk dance music. His perspective is very large and open, however essentially concentrated onto the American and Lithuanian or Baltic traditional music and culture. Capacity to learn about a topic both from insiderʼs and outsiderʼs perspectives increases his ability to better understand and appreciate ethnic Lithuanian music and culture through comparison. As Lithuanian communities became dispersed, in 2005 Dovydas with his wife started consolidating Baltic people and founded a joint traditional music group “Baltic US”. They also maintain their ethnicity, celebrating traditional calendar festivals, especially of winter, spring and Midsummer seasons, according to the customs and sense, preserved in their families and communities, and deepened knowledge of more ancient traditions.Thus, though it is often emphasized that Lithuanian-ness would not have been preserved without the formal associations, their musical groups and events, the initiative and contribution of smaller communities, even a person or family is also of great significance. [From the publication]

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