Nadezhda Gabets
(Belarus)
(Belarus)
Project
Interview
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FESTIVAL OF DOCUMENTARY FILMS AND TV-SPOTS "HERE I LIVE"
Documentary
"SPOROVO POLKA"
"SPOROVO POLKA"
The documentary tells us about a national dance which inhabitants of belarusian village of Sporovo have maintained for three hundred years.
Residents of Sporovo have been preserved national dance for three hundred years. They pass it from generation to generation as the cultural intangible heritage of their small homeland. True, the older generation of Spoorists is confident that the flowering of the polka fell on their youth, and, according to their opinion, the life of the village is also beginning to fade: young people are leaving for big cities, and the old people are living out their age. Even the Sporovsky lake, which had been feeding the locals for centuries, was shattering so that it could be crossed. The question remains open – what will happen with the dance further and with the village.
Film crew
Director: VLADIMIR BINDUKOV
Producer: NADEZHDA GABETS
Camera: VIKTOR MASALSKI, YAROSLAV TERESHKO, MAKSIM KRIVITSKI
Edition: VADIM ZMACHINSKI
Sound: ILYA KHMELNITSKI
Music: NIKITA NAIDENOV
Administrator: ANNA SHIBEKO
Director: VLADIMIR BINDUKOV
Producer: NADEZHDA GABETS
Camera: VIKTOR MASALSKI, YAROSLAV TERESHKO, MAKSIM KRIVITSKI
Edition: VADIM ZMACHINSKI
Sound: ILYA KHMELNITSKI
Music: NIKITA NAIDENOV
Administrator: ANNA SHIBEKO
Previous screenings and awards
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— Why did you decide to make a film about inhabitants of Sporovo?
— Because Sporovo polka is now on the list of the immaterial values and the government also protects it as a unique object of immaterial culture. Moreover, the village Sporovo and its residents appear as the unique carries and keepers of the knowledge about the polka. This knowledge is passed from mouth to mouth from the very beginning. What is more, in the village there are just a few of these old-timers left – about 2-3 people. We decided to make a film to save the memory of these people and to leave it as a legacy for the future generation of Belarusians and the whole world.
— What were the main difficulties during the preparation for the shooting of the film and during the shooting itself?
— The first thing shooting depends on is the negotiations with local residents. Not all grandmothers agree to participate in the shooting process. Sometimes we had to look for them already in place and negotiate. The second is the weather. When the polka shoots took place, there was a 35 degrees heat. The equipment overheated, turned off, the group waited several hours until the sun became less hot. Third: the human factor and the requirements for filming and editing. The dancers had to dance in the heat five times. Some of the kids got sunstroke. Men from the village brought buckets of water so that everyone could quench their thirst and refresh themselves. Between takes, we took long breaks to rest.
— The first thing shooting depends on is the negotiations with local residents. Not all grandmothers agree to participate in the shooting process. Sometimes we had to look for them already in place and negotiate. The second is the weather. When the polka shoots took place, there was a 35 degrees heat. The equipment overheated, turned off, the group waited several hours until the sun became less hot. Third: the human factor and the requirements for filming and editing. The dancers had to dance in the heat five times. Some of the kids got sunstroke. Men from the village brought buckets of water so that everyone could quench their thirst and refresh themselves. Between takes, we took long breaks to rest.
— Why did you decide to use such a technique as slowing down in your movie?
— It's just an artistic device that adorns the video series, emphasizes the smoothness and regularity of the village life.
— It's just an artistic device that adorns the video series, emphasizes the smoothness and regularity of the village life.
| — How do you think people express themselves through dance? And does it express? How is it shown? (using the example of a Sporovo polka). Is it possible to find out the character of a person by seeing him dance? - The dance came out of the ritual movements of various tribes and nationalities, therefore it has a sacramental shade even in its modern secular interpretation. Therefore, any dance – tango, flamenco, polka – is the code of the movements, which was laid by generations of people connected by some signs. It is the code that serves as a talisman for those who dance it. Of course, the rhythm of the dance directly expresses the character of the people, their impulsiveness and attitude towards the world and towards themselves. In Belarus, almost always all the dances are paired, fervent, funny, "field", there are no individual parties like in flamenco or in lezginka. Pairing is always a Slavic trait, as a masculine and feminine principle, as a family, as a good sign for the future. Polka is present in many nations, but it has acquired its own national features from every nation. In Spor polka legs are not taken off the ground. And this feature suggests that Caucasians, most likely, once lived in Sporovo, settled here, created families, and from the time they lezginka turned into polka. |
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