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 TEXT AND CONTEXT
FOLKSONG IN A BOSNIAN
MUSLIM VILLAGE

Yvonne R. Lockwood

Slavica Publishers, Inc.

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Copyright © 1983 by Yvonne R. Lockwood. All rights reserved.

Printed in the United States of America.

 TABLE OF CONTENTS

Preface • • • • • 7

I. Introduction • 9

II. The Village . . . . . . . . . . . . . . . . . . 15

III. The Ethnography of Singing . . . . . . . . . . . 25

IV. The Content of Song . . . . . . . . . . . . . . 40

V. Conclusion . . . . . . . . . . . . . . . . . . . 89

Bibliography 93

Appendix I. Song Texts from Planinica • 99

Songs of Opposition • • • • • • • • • • 103

Courtship • • • • • • • • • • • • • • • • • 115
Social Relations Wi~hin Households • • • • • • • 125
Unrequited Love • • • • • • • • • • • • • • • • • 129
Marriage • • • • • • • • • • • • • • • • • • •• 133
Bezobrazne pjesme • • • • • • • • • • • • • • • • 137
Villages and Their Inhabitants 141
Work • • • • • • • • • • • • • • • • • • • • • • 144
Children' s Songs • • • • • • • • • • • • • • • • 146
LulIabies • • • . • • . • . . • . . . . . . . . . 148
Wedding Songs . . . . . . . . . . . . . . . . . . 151
Beekeeping . . . . . . . . . . . . . . . . . . . 156
Miscellaneous . . . . . . . . . . . . 157

Append'ix II. Supplementary Song Texts from

Nearby Villages 167

Appendix III. Music Transcription . . . . . . . . . 199

A view of the village nestled on the upper slopes of
the mountains with its barns clustered on the left
and homes on the right. The mosque is situated in
the center of the settlement. (Photo by William G.
Loakwood)

6
 PREFACE

This study of lyric folksong performance. was con-

ducted in 1966-1968. It is an attempt to understand the
function and role of songs and their relationship to the
social structure of a Bosnian Muslim village.
The song texts document, in part, a world view and
way of life of the past. At the time of research, Plani-
nica was an isolated village of thirty-nine household s
situated high in the Bosnian mountains. The only access
to it was by foot or horse along a trail which.meandered
along heavilywooded mountainslopes. There a tradition-
al way of life was still maintained that recalledan
earlier peasant, preindustrial society.
Since that time, l)lany changes have occurred to make
the village a part of the modern world. Footpathshave
become roads; public bus has replaced travel by horse or
on foot; tractors have replaced oxen. Now telephonesand
television keep the once isolated inhabitants in daily
contact with world events. Because of the accelerated
social change, the village and way of life as depicted in
this study have been greatly modified. iVithout a doubt,
today's songs express different concerns. Consequently,
this study is particularly important, because it docu-
ments a period in an historical process and communicates
cultural and social information about that time.
Similarly, this study represents an earlier stage in
my professional career and in folkloris.tics· generally.
Needless to say, if I were to attempt the study today, I
would approach the research differently. Nonetheless,
the data and interpretations, as presented, are accurate
and relevant for synchronic and diachronic comparison.
I wish to express my gratitude to all Planinicani
for their patience, kindness and acceptance of my pres-
ence in their lives for almost two years. A special note
of appreciation goes to the maidens and women who taught
me so much. Special mention and many thanks also go to
Ema Leskovar, who verified my translations, to Sandra
Fries Short, who transcribedthe music from field record-
ings, and to Matt Steel, who prepared the transcriptions
for publication. Last, but not least, recognition of un-
failing assistance and support during research. and write-
up goes to my colleague and husband, vJilliam G. Lock.wood.

7
The center of the village is marked by the mosque and
an intersection of paths. (Photo by riiUiam G. Locl<:hJoodJ

8
 I

INTRODUCTION

Physical Setting

Bosnia-Hercegovina is one of the six republics of

Yugoslavia and geographically in the eastern Dinaric
region. For the most part, the country is rugged; its
surface is dissected by a network of streams and rivers
which wind their way to one of three major river systems:
the Vrbas, Bosna and Una. However, even these river
valleys are little more than narrow gorges cut across the
mountain ranges. In only a few localities the valleys
have an appreciable width ..
The Vrbas Valley, for example, broadens to a width
of more than a mile near Bugojno. l This region is known
as Skoplje Polje. Bugojno is the major urban center and
market town for the surrounding villages of Skoplje Polje
and nearby mountain villages. The villages of the valley
tend to be large while villages scattered throughout the
mountains are very small. The area is ethnically very
diversified; there are Muslims, Catholics and Orthodox,
in almost equal numbers, plus a small colony of Cincars,
occasional Albanian migrant workers, and both nomadic and
settled Gypsies.
The mountains of this region are still covered with
virgin timber and scattered throughout are numerous moun-
tain springs and rushing streams which make their way to
the Vrbas. One of these streams is Bunta. On its way to
the Vrbas, Bunta rushes through an area called Potoci,
composed of four small villages situated on four mountain
slopes above the stream. These villages are Planinica,
Ivica, Jazvenik, and Skrte. All villages are within
sight of each other and within almost an hour's hike
apart. Planinica and Ivica are Muslim inhabited; Skrte
is mixed, Catholic and Muslim; Jazvenik is Catholic. An-
other village, Bilo Bu~je, was also part of this complex,
but during the time of fieldwork the last residents re-
settled in Skoplje Polje. Potoci is accessible only by
foot or horseback. The trip from the valley floor to
Planinica, the largest of the four villages, takes three
hours in the summer and as much as five hours in the win-
ter.

9
Historical Setting
Historically, Bosnia has been a very heterogeneous
area. 2 Even during the fourteenth century Catholic,
Orthodox, Bogomil, Slav, Vlah, and other peoples inhabi-
ted the area, which suffered from internal conflicts and
was fought over by neighboring powers. In 1463, after
the fall of Serbia, Bosnia also fell to the Turks. After
some four hundred years, Ottoman rule carne to an end in
1878 when Bosnia-Hercegovina, now a united province, was
occupied and administered by Austria. Following World
War I, Bosnia-Hercegovina was united with its neighbors
to form the Kingdom of Yugoslavia.
The many centuries of Turkish rule left a permanent
mark on Yugoslav culture. This is particularly true in
Bosnia where Ottoman power was very strong. Islamic
religion is perhaps the most obvious legacy of Ottoman
rule. However, language was also greatly affected, and
today's Yugoslav languages contain many Turkisms, i.e.,
Persian, Arabic and Turkish words introduced during the
Ottoman period. 3 The Ottoman legacy is present in almost
every aspect of Balkan culture, both material and non-
material, Christian as well as Muslim.4 In material cul-
ture there are many examples: food, diet, clothing,
crafts, architecture. However, more important and long
reaching are attitudes, values, customs and world view.
According to local legend, Planinica was founded
during the Ottoman period. There are two family names
in the village: Muratspahić and Sadiković. Members of
each group claim that the village was settled by their
forebearers. The Muratspahici, for example, say that a
man named Murat, from Vrlika, Dalmatia, performed heroic
deeds against Christian invaders. As a reward he was
given the title "spahija" (an honorific title bestowed by
the Sultan)5 and, hence, the origin of the name Muratspa-
hic, literally son of Murat the Spahija. He was also
given his choice of any land he wanted in the Ottoman
empire. He chose Planinica and built the first house
there. At a later date a second family, Sadiković, moved
to the same area from Hercegovina. However, the Sadi-
kovici say their ancestors carne first, although they
agree on the time and the place of origin. In any case,
the legends and the architecture of the oldest horne s
attest that Planinica was not established before the
eighteenth century.

10
Research Problem and Methodology
Since the 1960's the emphasis in folkloristics has
moved from atomistic studies of texts to holistic studies
of the folkloric events. Anthropologists were first in-
terested in how folklore contributes to the maintainence
of social institutions, i.e., how folklore functions. 6
In search of the answer, they examined the context as
well as the text of different folklore genres. However,
this shift from text to context has pushed folkloristics
beyond pure functionalism to consideration of folklore
enactment as communication in human interaction. 7 This
study examines the role of folksong in village society
generally and of particular songs in specific social
contexts. It is an attempt to understand the role and
meaning of the songs, noting who sings to whom and how,
when, where and why.
Participant observation was a very important re-
search method for this study. My husband and I took up
residence in a traditional zadruga,8 a virilocal extended
household of six nuclear families who became friends and
primary informants. I participated in formal and infor-
mal village activities: wedding celebrations, religious
festivities, evening visiting, wool processing, hoeing,
haying, weaving, milking, berry picking, and so on.
These are contexts for social interaction: gossip, argu-
ment, decision making, daily planning. These are also
contexts for folksong performance. By participating as
much as a villager as possible, I was able to share in
events and was less of an outsider, both from the per-
spective of villagers and in terms of my understanding.
Other research methods included interviewing indi-
viduals and recording performances. The tape recorder
was used only in song performance situations and initi-
ally it was disruptive, but just as villagers grew
accustomed to my presence, they also came to regard the
machine almost casually. That is not to say, however,
that they ignored it. Quite the contrary, in some in-
stances, the tape recorder served as the impetus to sing.
Songs were also recorded out of context, both on
paper and on tape. In such cases, I asked individuals
for particular songs, which I may have heard in perfor-
mance, for specific subject matter or song types, for
songs appropriate in certain contexts, and so on. Some
found it difficult to recite the song texts out of con-
text, but no one found it impossible. Information that

II
was not learned through normal discourse was obtained
through interviews, which were recorded on paper. Inter-
views were conducted with many villagers about their at-
titudes, values and sense of aesthetics concerning the
singers, songs and performances.
Women and men of all ages, marriageable girls and
boys, and children contributed to this study, but my pri-
mary informants were marriageable girls, the age group
that sang the most.
Major fieldwork was conducted in Planinica; however,
supplementary data were compiled in the nearby villages
of Bilo Bu~je and Ivica, which history and social rela-
tions link with Planinica. Marriage also links Planinica
to Varvara, a mixed village of Catholics and Muslims in
the Rama Valley in Hercegovina, a five hour hike where
limited research was conducted. Songs also were col-
lected in villages of the region with which Planinica had
little to no social interaction: Jazvenik, a Catholic
village a half hour hike from Planinica, and Jablani, a
mixed village of Muslims and Catholics on the adjacent
valley floor. This data have been included in the appen-
dix, although the study itself deals only with the
Planinica.

:", }

The village springs are centers of much activity and in-

formation exchange. Here women and maidens rinse clothes
and scrub pots. (photo by William G. Lockwood)

12
 NOTES

IFor more detailed geographical data of the region,

see Nava1 Intelligence Division, Jugoslavia. Geographi-
cal Handbook Series, 3 vo1s. (London: His Majesty's
Stationary Office, 1944).

2There are very few general historical studies of

Bosnia per se in English or in Serbo-Croatian, for that
matter. However, within the broader Yugoslav context,
see Vladimir Dedijer, et al, History of Yugoslavia (New
York: McGraw-Hi11, 1974); L. S. Stavr iano s , The Balkans
Since 1453 (New York: Holt, Rinehart and Wilson, 1961).
Specific studies on the Austro-Hungarian period are also
recommended: Peter Sugar, Industrialization of Bosnia-
Hercegovina 3 1878-1918 (Seattle: University of Washing-
ton Press, 1963) and Robert J Donia, Islam under the
Double Eagle (New York: Columbia University Press, 1981).
3 Abdu11ah Ška1jic, Turcizmi u srpskohrvatskom jezi-
ku [Turkisms in the Serbocroatian LanguageJ (Sarajevo:
Svjetlost, 1966).

4Wayne Vucinich, "Some Aspects of the Ottoman Lega-

cy," in The Balkans in Transition~ eds., Charles and
Barbara Je1avich (Berkeley: University of California
Press, 1963), pp. 81-114.

5gka1jic, p. 570.

6 The following are only a few of the many examp1es:

Bronislaw Malinowski, Myth in Primitive Psychology (New
York, 1926); Ruth Benedict, Zuni Mythology (New'York,
1935); Melville J. and Frances S. Herskovits, Dahomean
Nanative (Evanston, 1958); William Bascom, "Four Func-
tions of Folklore," Journal of American Folklore~ Vol.
67 (1954):333-349; Alan Merriam, The Anthropology of
MUsic (Evanston, 1964); Linda Degh~ Folktales and So-
ciety: Story-Telling in a Hungarian Peasant Community.
(Bloomington, 1969); John Messenger, "The Role of Pro-
verbs in a Nigerian Judicial System," Southwestern Jour-
nal of Anthropology, Vol. 15 (1959):64-73.
7Fo1k1oristics derives its theory and method in
this area from socio1inguistics and particularly the

13
work of Dell Hymes. See his "Introduction toward Ethno-
graphies of Communication," in The Ethnography of Com-
munioation, eds. John Gumperz and Dell Hymes (American
Anthropo1ogist, Vol. 66, No. 6 [1964]), pp. 1-34. Also
recommended, Alan Dundes, "Texture, Text and Context,"
Southern Folklore Quarterly, vol. 28 (1964):251-265 and
Roger Abrahams, "Introductory Remarks to aRhetorical
Theory of Folklore," Journal of Amerioan Folklore, Vol.
81 (1968):143-158.

8 See Chapter II, Note 1.

i
r·

.'
14
 II

THE VILLAGE

Residence Groups
In the small mountain community of Planinica the
basic unit of organization is the household, or kuća.
1

The ideal unit, however, is still the classical household

ty-pe of the Balkans, the zadruga~ avirilocal , extended
family which communally owns its means of production and
jointly produces and consumes the means of livelihood. 2
All members of a zadruga are under the direction of the
stare~ina (usually the oldest male) while the domaćica
(the female head) manages the activities of women. This
unit grows by the marriage of sons and the birth of their
children. Often, however, sons divide after the father's
death and the process begins over again. On the other
hand, a zadruga which remains together eventually con-
sists of cousins, their spouses and children.
Small groups of neighboring households and neighbor-
hoods comprise important residentiaI groups. Both are
based on patterns of interaction, but the former is not
defined by the people of Planinica, whereas the neighbor-
hoods are designated with given, proper names. Planini-
čani with the same last name are found together in one
area and comprise a neighborhood vis-a-vis Planiničani
with a different name who comprise another neighborhood.
There are three major neighborhoods in the village: two
Muratspahići, known as Upper and Lower Village, and one
Sadikovići.
The village is an important residentiaI group,
second only to the household. This unit is defined in
many ways but most notably in common sentiment and pride
that they are all Planini~ani.

Kinship

The basic unit of kinship is the nuclear family,

which has some degree of integrity even when it is one
of several units of a strongly centralized, extended
household. Each nuclear family, for example, has its
own sleeping quarters. On the other hand, the communa-
lity of the zadruga and the authority of its starešina
tend to minimize the importance of the nuclear family.

15
Just as all households are kinship based, close neighbors
are often close kin. The neighborhoods tend to be di-
vided according to descent groups, the names having been
adapted from the most prominent family name in that
neighborhood.
Relations among members of a household differ con-
siderably. In an extended family, where the husband's
father and mother (svekar and s.vekrva) also reside, a
young wife is not free to do just as she wishes. Her
husband's mother, who is in charge of household activi-
ties, has complete power over her and other household
women, and resentment and dislike often exist between the
women. A study by Vera Erlich of family life in Yugo-
slavia prior to World War II is still relevant to daily
life in Planinica. 3 It shows that 70% of the relation-
ships between the Bosnian Muslim mother-in-Iaw and
daughter-in-Iaw were poor.4 As children were born, for
example, new mothers wanted more for their own family and
resented having to contribute to the common fund. Simi-
larly in Planinica today, the young wife tends to resent
the senior authority and conflicts arise, especially in
larger extended families. Her resentment sometimes ex-
tends to the father-in-Iaw; however, the contact they
have is limited, and differs in kind from her contact
with the mother-in-Iaw. Traditionally, the daughter-in-
law shows respect for her husband's father by removing
his shoes after a day's work, bringing him coffee, heat-
ing water to wash for prayer, after meals and so on. In
cases where there is only one daughter-in law, difficul-
ties are fewer. In households with two or more wives of
brothers (jetrve) conflicts are more commonplace, often
because of excessive self-interest or interest in one's
own nuclear family, or show of favoritism by the mother-
in-law for one particular daughter-in-Iaw. Relations
between the husband's sister (zava)5 and the new bride
are generally good and often they become close friends.
Erlich's study indicates that problems arose between zava
and the bride because blood relations took priority over
those made through marriage; however, she states, in
villages with "a settled way of life" the relations were
usually good. 6
Husband and wife relations vary within the village,
but in general, public display of affect ion is rare.
Although most husbands and wives are faithful, one occa-
sionally hears about extramarital relations. Consequent-
ly, if a husband goes away to work, for example, to

16
Austria,the wife often worries that he may not come
back. On the other hand while he is gone, she usually
enjoys his absence and her newly gained freedom. She
does not have to get his permission to go visiting; there
are no sexual demands; cooking is less important. Rela-
tions between husbands and wives are changing. Some hus-
bands discuss matters of one kind or another with their
wives, others do not. Some younger couples now go visit-
ing together; some even joke and playfully tease in front
of others. According to older informants, however,
coupies did not publicly showaffection or attention in
the past.
The bond between close blood relations is usually
very strong. The brother, for example, plays the role of
his sister's protector. With the exception of the moth-
er, he has the most influence over a sister's choice of a
husband, and when she elopes, the most common manner of
marriage today, it is the mother and brother who display
intense anger.
The father-son relationship is usually good, but
also respect demands some distance. In matters of impor-
tance, for example, a son would never make a direct re-
quest of his father but would work through a third person,
often someone whom the father respects. This third party
mayor may not be kin. Action of this kind often occurs
when asking permission to marry a particular maiden. 7
The father-daughter relationship is warm but dis-
tant. A daughter shows great respect for her father, but
an outward show of affection is not common.

Fiative Kinship

Fictive kinship, which is not strongly developed

among the Muslims of the area, is established in two
ways: by cutting the umhilical cord several days after
the birth of a child and by giving the child its first
haircut. These means are used by some to establish bonds
and ignored by others.

Prijateljstvo

Marriage establishes a very strong relationship be-

tween households in Planinica and in other villages. In
the first year of marriage, ritual visits, gift ex-
changes and traditional ceremonies establish the impor-
tant bond of in-lawship, or prijateljstvo. 8 Often these
relationships are further ratified by additional ex-
changes in marriage.

Childhood
Children are loved and cared for by everyone in the
household, no matter whose they are. A few ceremonies
are associated with childhood. Five to seven days after
birth, the umbilical cord is cut establishing fictive
kinship between the participating households or individ-
uals. Before a male child is two years old, he receives
his first haircut, establishing a second fictive kinship.
And while still very young, he is circumcised. In 1967
males ranging from babies only a few months old to boys
eight years of age were circumcised by a specialist, who
is called to the village every few years when there are
enough children to make his trip worthwhile. Only this
ritual is regarded as important because Islamic law
states that every Muslim male must be circumcised.
According to villagers, circumcision is the major dif-
ference between Christians and Muslims in Yugoslavia.
Except for the bond established by cutting the imbilical
cord, ceremonies for female babies are not enacted.
During the first year the baby is firmly swaddled
to insure straight back and limbs and is kept in the
cradle. Whenever it fusses, someone rocks it and after
several weeks, when the baby begins to show signs of
recognition, singing accompanies the rocking. Until this
time, however, it is believed that the baby is not aware
of his surrounding.
A child is pampered until school age, when he or she
is then given more responsibilities. School, however, is
still not fully accepted by all household heads. Some
villagers stated that schooling will not do the children
any good because they will just be shepherds and peasants
in any case. However, very few households, in fact, keep
their children away from school. On occasions when a
shortage of available workers occurs in a household,
children have been known to leave the cattle in his or
her charge to graze on the hillside facing the school-
house, watching them while in class.
Male children are valued because they remain in the
household and carry on family tradition, whereas girls
leave. However, one mother of five boys often bemoaned
the fact that she did not have a daughter. According to

18
her, boys demand to be helped and cannot do anything for
themselves, whereas a girl helps with the work. Erlich
reports that in general the bond between mother and
daughter is strong among Bosnian Moslems. 9 Despite the
fact that the daughter marries and leaves, a mother feels
closer to her than to a son, and their bond is maintained
even after her marriage.
Until a boy is in his early teens and almost ready
for the army, he is called a d#e (child), lA. girl is
knoii;n a,s dite or cu:t'ica (little girl) until puberty or
approximately fourteen years of age. It is during this
period of adolescence that boys and girls seriously begin
to learn their duties.

Youth

One of the high points in life is when the boy be-

comes a momak (a marriageable lad) and the girl a cura ea
maiden). With their new status, courtship begins. This
is not a period of eagerness for marriage; rather, it is
a carefree time with greater freedom of movement. when the
lad and rnaiden dress in the best clothes their families
can provide, attend fairs, markets, and religious festi-
vities in other areas, and visit friends and relatives
in other villages. They are looking and being looked at.

Courtship

Muslims of Skoplje Polje as a religious and ethnic

group are endogarnous; Muslims marry Muslims. In terms
of village patterns, Planini~ani prefer to marry someone
from a different ecological zone, thereby expanding their
network and establishing bonds and exchange of different
kinds of goods with in-laws. Consequently, when court-
ship begins, the youth attends functions outside the
village where other Muslims are also apt to be.
Before a lad is considered ready for marriage, he
serves in the army. For Planinica lads this is an ex-
citing time which they look forward to. Often tenure in
the army is the first and only time he leaves his area
of Bosnia'. While in the army, often in areas less re-
strictivethan his own, he usually experiences sex for
the first time. When he .returns, he is ready for mar-
riage and his father and mother urge hirn to choose a
wife.

19

-';'".'-
Marriage
Three possible ways to marry are open to Planinica
youth: l) otmica (physical abduction of the bride; 2)
marriage in "the proper fashion" where an agreement is
preafranged between everyone concerned; 3) ukrasti
(elopement or agreed upon abduction), by far the most
common. Ukrasti is an old tradition which was followed
in Planinica even before World War II. The last case of
marriage by abduction in the village was in the 1950s. 10
The prearranged form was last carried out in 1966. Today
a lad chooses his own wife. He may ask the approval of
his father, but seldom is he denied his choice.
An example of elopement occurred in 1967 between a
Planinican and a rnaiden from the adjacent valley. Having
received word from a relative of an available, hard-
werking, good-looking maiden, the Planiničan and a friend
went to her village after a Friday market. After meeting
the rnaiden and talking with her for a short time, he
asked her to marry hirn. She accepted, and he promised to
return the following week. They met at 5:00 p.m. at the
fountain, whence they began the long, cold hike to
Planinica. Despite the very late hour, a gun signaled
their arrival and villagers gather ed to congratulate the
ladIs father and mother.
For the next six days and nights the village cele-
brated. During the day people carne to welcome and see
the bride, who sat shyly in the corner. Every night the
older men of the village carne to the house of the groomls
parents where they sat in one room talking and drinking
coffee. The maidens, lads, childr.en and young married
men, including the groom, sang and danced in a second
room. Behind the closed door of a third room, the women,
bride, and young children congregated. Here, secluded
frem rnale observation, were some of the best singers and
dancers in the village who now only perform at times like
this.
On the sixth day the couple was married in a civil
ceremony in Bugojno, the market town, and afterward they
registered the marriage with the Bugojno Muslim religious
leader. Other activities began after evening prayers.
A wedding feast was held and a representative of every
household in the village attended. Later young married
men (called vukovi, wolves) roamed the village paths in
one large group chas ing people and demanding sweets or
money as ransom for the captured fernales.

20
 The seventh day is called the pir. Friends and re~
latives of both the groom's family and of the entire vil-
lage came from miles around to celebrate the marriage.
There was much dancing and singing, promenading and flirt-
ing. Each household in the village had prepared special
foods for its Ov,"Il guests. By sundov,"Il, everyone had left
and village life returned to normal once again. II

Economy
. Peasants of Potoci practice a similar economy. Al-
though herding and agriculture are carefully balanced, in
the sentiments of Planiničani, herding is emphasized.
Sheep are most important both for wool and milk, and peas-
ants Ov,"Il as few as one and as many as two hundred or more.
In the local diet, milk products are second in importance
only to bread. In every household, one member, usually
an adult male, is in charge of sheep. In addition to
sheep, Planinicani feel it is vital to have a cow for
milk, a team of oxen for plowing, at least one horse for
transportation, and a number of chickens for eggs.
Every household also carries on some agriculture.
The most important crops are grain, cabbage, potatoes,
onions, beans, squash, and pazija (a green, spinach-like
vegetable). Agricultural technology is basic, utilizing
men and animals and some simple machinery.
The household is the basic productive unit, but at
certain times of the year, a larger force is summoned
through labor exchange and cooperative enterprises, for
example, for hay cutting bees which are the high point of
the year. Large numbers of men answer the call for help
and despite the strenuous v,'ork, the occasions are festive.
These cooperative work groups, called mobe, are also or-
ganized for hauling hay and wood into the village. Simi-
lar cooperative work groups of maidens whitewash private
home s for those without female help, rake and stack hay,
dig potatoes, and process flax. The household that re-
quests aid provides meals, usually consisting of special~
ly prepared festive dishes. Often these work events are
social events as well. Hhen maidens process flax togeth-
er, for example, the village women, young men and lads
also gather, and joking, flirting and singing ensue.
Since World War II, dependence on wage labor has in-
creased. Before the war, Planinicani would seek occasion-
al employment as agricultural laborers for large landov,"Il-
ers. Only since the war, however, have Planinicani been

21
hired for full time employment by the developing forest
industry. Nine househo1ds are presently supported in
this way. These workers also carry on agriculture, but
often other vi11agers perform some of their tasks, either
in moba or for cash payment. This latter phenomenon be-
gan only recently, drawing Planinicani even further into
a money economy.
Only since 1966 men from the Potoci area have gone
to other countries as migrant workers for part of the
year. In 1967, six young married men and one bache10r
from Planinica worked in Austria. When they returned to
the village they brought not only money, but also western
sty1ed clothing, velo ur wall hangings made in Japan and
Italy, portable radio-phonographs, and phonograph re-
cords, all of which aided an increasing money economy.
Some cash has always been a necessity, for example, to
pay taxes and to purchase coffee and sugar. But with the
exception of those few individuals who regularly or only
occasionally have a source of cash, the majority still
obtain money by marketing products of pastoral and agri-
cu1tura11abors.

A woman spins wool into yarn to be used for rugs. (Photo

by William G. Lockwood)
22
 NOTES

lSee the detailed ethnographic and economic study of

Planinica by William G. Lockwood, European MosZems: Econ-
omy and Ethnicity in Western Bosnia (New York: Academic
Press, 1975). For general ethnographic information on
western Bosnia, see Milenko Filipovic, "Etnološki zapisi
s puta po zapadnoj Bosni 1961" [Ethnological Notes from
Travels about Western Bosnia 1961], RazZičita etnoZoška
gradja (1967):290-330.
2The following are important studies on the zadruga
in the Balkans: Eugene A. Hammel, AZternative SociaZ
Structures and RituaZ ReZations in the BaZkans (Englewood
Cliffs: Prentice Hall, 1968). P. E. Mosely, "The Peas-
ant Family: The Zadruga or Communal Joint Family in the
Balkans and Its Recent Evolution," in The CuZturaZ Ap-
proach to HistOry3 ed. Caroline F. Ware (New York: Co~.
lumbia University Press, 1940); "Adaption for Survival:
the Varzic Zadruga 3" SZavonic and East European Review3
Vol. 21 (1943) :147-173; "The Distribution of the Zadruga
within Southeastern Europe," The Joshua Starr MemoriaZ
VoZume 3 Jewish SoaiaZ Studies 3 Vol. 5 (1953):219-230.
Vera Erlich, PamiZy in Transition (Princeton: Princeton
University Press, 1966). Joel Halpern, A Serbian ViZZage
(New York: Columbia University Press, 1958).

3 PamiZy in Transition.
4 I bid., p. 107.

SIn standard Serbo-Croatian, the term for husband's

sister is zaova. In the dialect of the Potoci region,
however, the word is contracted to zava. In all cases,
the dialect 'spoken by informants is presented in this
study. The reader will note that the language reflects
considerable influence from the Jekavian form of Štokav-
ian dialect.

6Erlich, pp. 138-141.

7 In this work the terms I!lad" and "maiden" are used

to indicate youth. Although these terms are archaic,
they are the best translations for marriageable age and
liminal social status.

23

.
 8 prijateljstvo 1itera11y means friendship. Here,
however, the term connotes an even stronger bond. In the
dia1ect it means in-1awship; in~laws are know as prije.

9Er1ich, p. 96.

lOSee William G. Lockwood, "Bride Theft and Social

Maneuverabi1ity in Western Bosnia," Anthropologioal Quar-
terly~ Vol. 47 (1974):253-269.

llSee Chapter IV for more details regarding context

and performance of songs.

24
 III

THE ETHNOGRAPHY OF SINGING

Epic Song
The primary types of song in the village are epic
and lyric. Narrative songs on heroic subjects, commonly
referred to by scholars as epics, were called junačke
pjesme (heroic songs) by the nineteenth century Serbian
ethnographer Vuk Stefanovi~ Karad~ic. He described these
as songs whose words are more important than the music
and which are performed to the accompaniment of the gusle
(a bowed, single string instrument).l Although epic songs
once were part of Potoci tradition, today there is only
one active bearer: a middle-aged Muslim from the village
of Skrte who learned his skill and obtained his gusle
from his father. Many of his songs are from a well-worn
book of Muslim heroic songs. 2 Some, however, he learned
from his father, and others about the postwar period are
his o~~. On special occasions, such as a mevlud (a reli-
gious event to commernorate Muhammed's birth), this guslar
(one who accompanies himself on the gusle) is called upon
to sing to older men from the entire Potoci area whogath-
er to hear him. However, younger men and youth are not
interested in this form of expression, and no one is now
learning the art of the guslar. Although the tradition
of epic song is still familiar to everyone today, it is
possible that in Potoci it will disappear in its tradi-
tional form with this single bearer.
A new form of epic performance attracts a male audi-
ence of all ages. Once a year a distant relative of a
Planiničan visits the village from Skoplje Polje. His
presence is anxiously anticipated, and an audience of men,
lads and boys flock to listen as he reads texts of epic
songs from the very volume from which the guslar of Skrte
had learned songs.

Lyric Song
Unlike the epic, lyric song tradition is very dynam-
ic. Pjesma (literally, song, but in the village, lyric
song) is usually a two-line, seemingly rhyming composi-
tion which expresses a complete idea. Some songs consist
of several such two-line verses, but the shorter form is
most common. Traditional songs are not accompanied by

25
musical instrument, nor are traditional dances, which,
rather, are accompanied only by singing.
The relationship between song text and music is not
a fixed on e-t o-one ratio. Whereas the number of differ-
ent melodies is limited, the number of song texts is not.
Moreover, the same songs may be performed to different
melodies. 3
Most songs heard in Potoci are lyric, or according
to the terminology of Vuk KaradžiE, ženske pjesme (women's
songs). In 1824 Vuk described this type of song as that
which not only women and girls sing in unison but also
men, especially young men. 4 According to Vuk, singers
perform for the enjoyment of others, and the music is more
important than the text. These statements are only par-
tially applicable to present-day Planinica. Whereas lyric
song is sung by girls, women and young men, it is the ver-
bal text, in most cases, that is more important than the
music; the context in which singing occurs bears this out.
With few exceptions, however, songs are seldom sung .in
complete unison; rather, polyphony is the most common
mode of singing. Also, singers perform for their ow~ en-
joyment as well as for the enjoyment of others. They
sing as often without an audience as with. Enjoyments it
should be added, is but one of the functions of song.
All songs are called pjesme; however, when a' distinc-
tion is necessary, folk categories are recognized. Songs
of "olden days" (starinske pjesme), for example, differ
from the more popular two-line songs in structure, con-
tent and context; they are narratives, often romantic,
and sung in the company of older women, usually at a rite
of passage. (See Appendix I, Nos. 237 and 310 and "1'Ted-
ding Songs.") This type of song is not a popular form
among the young er generation. It is sometimes sung by
older women, i.e., those born before 1930, as they work,
but even they sing these songs less than they once did. 6
Bećarac became popular in the area about the time of
World War II. To Planinicani bećarac means a roudy
type of polyphonic song style. Bećarac is also called
vesela pjesma (happy song). Bosnian Muslims say that
they sing bećarac when they are happy; Catholics, when
they are drunk (that is to say, when happy). The term,
then, refers to a male style of performance as much as to
specific texts by men. Many of the songs Planinicani
sing today are of this type. (See Appendix I, No. 347.)
A type of song most recently introduced into the
village is sevdalinka (from Arabic sevdah, love), an ur-

26
ban, Bosnian love song which embodies both a poetic and
musical concept. 7 Planinicani are learning these songs
from the radio and phonograph records and slow1y incorpo-
rating them into their shared repertoire. Already sevda-
Unke seem to be influencing tradition. 1iJhen performed
solo, for example, it is with the same 10ud, nasal quali-
ty and style of traditional singing. On the other hand,
when a group sings sevdaZinke, it does so in a soft, re-
strained voice in imitation of performances heard over
mass media. Although vi11agers do not yet sing these
songs with instrumental accompaniment, this and other
changes in singing tradition seem just a matter of time.
The fourth type of song is sung only while dancing.
There are two kinds of dances; both are called koZo (a
circle dance), but one is danced only to instrumental ac-
companiment while the other is danced only to the meter
and melody of song. The former may be accompanied by a
fruZa (an end-b10w~ flute) or tambura, but today the ac-
cord ion is by far the most common for dance, which is a
simple, fast and 1ive1y ušest. Instrumental music for
dance is a relatively new development introduced in the
village since World 1iJar II and slow1y replacing the more
traditional form of dance accompanied by song.
KoZo danced to singing consists of a walking step
set to the rhythm of the song. The oldest of these danc-
es take their names from the first line of the chorus,
each of which has its particular melody, e.g., "Ja sam
crnija" (I Am Darker) and l'Hop la le me le la le," which
has no meaning. The newest dances of this type were in-
troduced immediately after the war and do not have a cho-
rus, e.g., "Kozara~ko kolo," which was named for a famous
Partizan battleground and was learned in school.
With only a few exceptions, dance song texts are in-
terchangeable with other traditional songs. For example,
maidens may perform the same song words as they weave a
rug and as they dance; only the melodies may vary. Con-
sider the following song:

Moj dragane~ vidiZa ti majku.

Nosi džaku Ziči na Ciganku.
My be loved , I saw' your mother.
She carries a sack; she's like a Gypsy.8

When this song text is sung for the dance "Ja sam crni-
ja," the chorus is inserted after each line as follows:

27
 Moj dragane~ vidila ti majku.
Ja sam crnija~ crnim očima.
Nosi džaku liči na Ciganku.
Ja sam crnija~ crnim očima.
( ..•. I am darker, with dark eyes.)

Although this study is concerned primarily with an

analysis of song texts and the context of singing, a few
words should be said about the singing style itself. (See
the musical transcription in Appendix III.) Po1yphony is
the most common mode of group singing. 9 The lead singer
(called prvi glas) begins alone, singing one line of the
song. When others join in at the end of the line, the
lead voice jumps considerab1y higher, maintaining a large,
but irregular, interval between his or her voice and the
others. Generally, voices harmonize in intervals ranging
from seconds to fifths, especially thirds, fourths, and
fifths. The resulting arrangement of sound is called kaj-
da. 10 Distinct features of singing in Planinica are vol-
ume and nasa1ity, qualities urbanites emphasize when mim-
icking village singing.
Solo singing is not as common as group performance.
Fema1es (and ma1es less frequent1y) might sing while work-
ing alone, but when others are present solos are not
heard. Solo singing may be soft, for example for a 1u1-
1aby, or it may be with full voice, similar to that of
the lead singer in po1yphonic performance.

Performers

Folksong is perhaps the most viab1e verbal form of

folklore in Planinica today. It can be heard in the vil-
lage at any time of the day or night. Unmarrie~ fema1es
between the ages of sixteen to twenty-six are the most
active singers; of these, five became primary informants.
Three of the five maidens were lead singers, i.e., they
customari1y began and led songs; however, the two who
provided most of the data were not leads. One of these
was from one of the most traditional and wea1thiesthouse-
ho1ds in the village. Older women considered her behavior
proper. The other was from a poorer but conservative
household in which there was no male household head, and
she, too, was said to be we11-behaved. on the other hand, '
the principal lead singer also was from a traditional,
poor household, but vi11agers regarded her immodest both

28
in her songs and manner of dress. The other two lead
singers were also less traditional in behavior and from
poorer than average households. One smoked and wore men I s
trousers much of the time. However, she did not receive
the same severe criticism as the first mentioned lead
singer; because she was older (twenty-six years), she was
regarded an old-maid and judged differently than the youn-
ger marriageable maidens. Also, unlike the others who
attended four years of school, she was not literate. The
last of these primary informants also was reputed to be
immodest in her songs, but she did use discretion in her
performances. Despite village criticism, she was also
thought to be witty and to improvise songs better than
others.
Village women did not agree as to which of the girls
was the best singer. Only lead singers were evaluated;
everyone sings, but only good singers are leads. They
must have strong, full, clear voices with a high range;
the community would not tolerate a weak voice as the lead.
The second group of informants consisted of young
married and divorced men and marriageable lads. They
ranged from age seventeen to forty-nine. Young newly
married men and lads form a close group and little dif-
ference is obvious in their behavior. Often the young
married men continue to flirt as though unmarried. Be-
cause of their age and married status, they play a domi-
nant role in group activities and provide role models for
the unmarried ones. But also, the best male singers are
married.
Without a doubt, the data I recorded from males was
influenced by gender difference; nonetheless, I heard
songs that I had not expected: a corpus of obscene texts.
Males regarded me as an outsider--not like village wo-
men--and in this case that status worked to my advantage.
On the other hand, they regarded these song texts as only
mildly obscene. When anyone tried to recite a song in my
presence that others considered too obscene, he was si-
lenced. Later I obtained some of these from my husband,
who was told to pass them to me, or from my best male
informant.
A third group of informants were married women rang-
ing in age from twenty-seven to sixty years old, none of
whom were literate. Restricted by their married status,
they sang in the confines of their homes or among other
women, separated from men and ideally not in public. On
pome occasions, however, they, in fact, did join maid-

29
ens in song before an audience of villagers, but they
would not call attention to themselves by taking the lead.
Relative to unmarr~ed females, women usually have
limited association with the outside world. Whereas
males and maidens go to markets, fairs and festivals, wo-
men leave the village once or twice a year to visit their
natal village and relatives. One exception is a sixty
year old widow who went to market almost every week and
often travel ed elsewhere to visit friends and relatives.
She usually did errands in tow~ for less mobile women of
the village--sold their eggs in the market place, bought
necessary items--and acted as liaison between sweethearts
by delivering secret letters. She also was immodest in
her language and behavior, and although not a typical wo-
man in these ways, she was, nonetheless, very tradition-
al. She was one of the very few women in the region, for
example, who could spin the tevsija (a large, round, cop-
per pan) or who knew how to make certain pieces of tradi-
tional clothing or to tell fortunes.
Children's songs are not central to this study.
Young girls and boys, school age and younger, sing while
doing chores or while with their peers on the school
ground. However, when older groups perform, they listen
and learn. The social transition of child to maiden, for
example, is signaled by her active participation with
other marriageable females in song and dance performance.
At this time she is urged to join in by both women and
performing maidens. This seemingly casual process is
part of an important rite of passage when a little girl
(dite) is recognized as a maiden (aura).
The oldest generation, men and women over fifty
years old, seldom sings. Hhereas elderly women enjoy
listening to song, the men usually denied this as plea-
sure, and some even regarded singing as a waste of time.
It should be noted that research was not restricted
to singers; they were the active bearers of song tradi-
tion, but the entire community was very important, pro-
viding the context and sanctions for singing. I conduct-
ed open-ended interviews in informal contexts with many
villagers. At such times, I focussed on attitudes,
changes in tradition, aesthetic criteria, and other rele-
vant data.

Oaaasions for Song

Song accompanies most forms of work and play. When

30
one is alone or in a group, singing is a natural outcome.
Singing and dancing, for example, are very common occur-
rences at prelo attended by males and females. The word
prelo in standard Serbo-Croatian is usually defined as a
spinning bee; however, in Planinica the term means any
occasion of visiting. On the other hand, all women and
maidens occupy themselves with some type of work as they
visit--spinning, knitting, embro ider ing , sewing, prepar-
ing wool--because it is considered disgraceful to sit
idle. Work, however, is not the purpose of a prelo; many
occasions call for a prelo. Someone may have a guest, for
example, from another village. If the guest is a woman,
village women and maidens gather at that home to visit;
if a man, then men gather. Should the guest be amaiden,
a large group of lads, young married men, village maidens
and women might come together. In other situations, wo-
men may go on a prelo during the afternoon because they
would like coffee; it is almost unheard of for a woman to
make coffee for herself. People might also gather to
keep maidens who are weaving company. Depending on the
mood of the participants, a prelo may be a quiet gather-
ing with just a few individuals or many may gather for
singing and dancing.
Prelos are seasonal. They occur throughout the year
to some degree; however, during long winter nights there
is at least one every evening. During the summer, when
villagers work long, hard hours and retire early, prelos
are few.
A prelo provides the context for play and relaxation.
Sometimes it may be planned, as in the case of a guest,
or one might go na prelo when participating, for example,
in village wedding celebrations. But more often, it is
impromptu. Whenever a group of maidens gathers, one can
expect to hear songs. Women, in fact, encourage maidens
to sing, often suggesting specific songs. If a group of
males is present, a singing duel could take place in
which maidens and lads or young men tease each other. A
successful prelo is one that is well attended with much
singing-and dancing. Therefore, in order to insure a
good time, maidens often announce to the rest of the com-
munity that a prelo has begun by singing at an open win-
dow or in a court yard . As their song cuts the quiet dark-
ness, other villagers join them.
Singing may be heard in many other contexts. Coop-
erative work groups (moba), for example, might stop their
work, cluster together, and sing. Afterwards, they resume

31
their work. At the end of a long, hard day of cutting
hay on high mountain slopes , village males stop a t a speci-
fic place on the trail above the village and wait for oth-
ers to join them from "their respective meadows. After
they have assembled, they form lines according to their
singing ability: the best singers stand in front and the
more inferior singers behind. Then they continue into
the village together, singing as they go, until they reach
the center of the village, where they disperse.
During the summer months, all maidensfrom Planinica,
Ivica, Jazvenik, and Bilo Bucje are hired by the state
forestry division to plant trees in the area. This situ-
ation provides occasion for song. on normal working days
during lunch and rest breaks, the maidens cluster togeth-
er, face in a chosen direction--usually toward one of the
villages--and sing loudly. The entire population of po-
toci can hear them. In cases where several maidens are
working closely together, they may sing in unison as they
work, but more commonly they stop working and stand in a
group. In addition, these workers also sing a song be-
fore departing for their respective villages.
To sing before a group disperses is ritualized be-
havior. Whenever an activity of work or leisure has col-
lected a group of maidens or lads, it seldom, if ever,
breaks up without first singing a song together. Exam-
ples have already been given for tree planting and hay
cutting, but many more can be cited. When Muslim villag-
ers of the region return home from a fair together, they
stop at the point where the mountain tra il divides and
sing before going their separate ways.ll After an eve-
ning prelo, maidens often sing one last song before going
home. In this tradition, a newly married woman from
Planinica made her ritual first visit to her family after
marriage. Before she left that evening, for "old times
sake," she led the village maidens in song just as she
had done as a maiden for many years. This is the only
instance in which I observed a married woman lead a song
in public before males. However, the situation was very
special: she was in her natal village,amongfriends and
family who had always knowTI her. She used her native
daughter status in order to behave like a maiden just
this time without reproach. It was a nostalgic and emo-
tional performance for singers and audience alike.
Unlike labor done in cooperative work groups, daily
chores carried out by Ione individuals is reported as
boring. When one cleans house, makes bread, washes

32
clothes, spins wool, drives cattle to water, he or she
sings "so time 1;.;ill pass quickly." It is said that shep-
herd s , who spend day after day on lonely mountain mead-
ows, pass time singing and, consequently, have large song
repertoires. Likewise, it is explained that amaiden
weaving rugs sings a great deal because the work is slow,
boring and tedious. On the other hand, when several maid-
ens weave together, they also sing. According to villag-
ers, however, they sing in that situation because it
pleases them.
Spinning the tevsija is an old art tradition brought
to the Balkans by the Turks. 12 This flat copper pan,
which is approximately sixteen inches in diameter and re-
sembles a tray, is spun on its edge upon a sofra (a low
table) or wooden floor. The woman who spins it or, more
commonly, a second woman, who reclines on her side hold-
ing her head in one hand so as to be level with the pan,
sings loudly into the pan. Any songs may be sung, but,
in practice, they tend to be starinske pjesme, sung usu-
ally as a solo and on occasion as a duet. The pan re-
flects the voice, accompanying it with a constant whirl-
ing hum. The woman spinning the pan may also wear a ring
which adds an additional dimension when it hits the pan. 13
Today only a few women know the art of spinning the tev-
sija, and therefore it is not performed frequently. Dur-
ing a fifteen month period, the tevsija was spun at a
wedding prelo and once at my prompting. (See Appendix I,
Nos. 327 and 328.)
Like proverbs, song texts are commonly recited as
social commentary about current events. In response to a
remark about the beautiful weather, for example, a woman
recited a song which praises the beauty of her ow~ natal
village. (See Appendix I, No. 286.) When a girl com-
plained of a toothache, however, the mother recalled the
words of a song which did little to ease the child's pain
(see Appendix I, No. 124):

Zub me boli i drugi se krece~

žao mi je što me lola neće.
My tooth hurts and the second one is beginning,
I'm sorry my sweetheart doesn't want me.

Likeness of a painful tooth to boyfriends is reminiscent

of the mood of many maidens' songs; this mother's recita-
tion to her little girl helps perpetuate this attitude.

33
In another situation, village women were exchanging their
impressions about the new bride in the village when some-
one commented that she had only seen the bride from the
back. With the words of a traditional wedding song, one
woman reminded the others of the nuptial night. (See Ap-
pendix I, No. 343.)
On occasion, memorable events have inspired totally
new songs; two of these are still viable and credited to
their authors. One village lad was caught stealing
grapes while working in Vojvodina, and he sings a song
about it to this day. (See Appendix I, No. 350.) In an-
other case, a wedding party came for a village maiden,
who had led a lad to believe she would marry him. How-
ever, when the group arrived, she refused to go. This
occasion inspired another village maiden to improvise a
song about the event. (See Appendix I, No. 351.) Al-
though it is not usually sung, many still recite the
words, and do so with great amusement.
It would appear as though singing is appropriate on
almost any occasion. On the contrary, it would be highly
inappropriate and unacceptable at the time of a death.
According to the village eIders, singing and all forms of
merriment should cease for at least fifteen days to three
weeks, but today, they say, the silence seldom lasts for
more than two days. 14 Singing is also forbidden in the
mosque. Although some special prayers resemble village
song style, they are symbolically very different and not
regarded as songs.

Change in Folksong ')

Battery-operated portable radios have greatly af-

fected folksong. The first was purchased in the late
1950's by a peasant-worker. Between 1963 and 1964 five
more radios were brought into the village, again by peas-
ant-workers with a source of cash income. Within the
period from 1966-1967, migrant workers who had been in
Austria brought eight radios. Many of these newest ac-
quisitions were radio-phonograph combi:tiations.
In the United States, according to Marshall McLuhan,
it is television, not what television projects to its
audience, that is the message; it is television that pro-
duces social consequence and not what is seen on it.
Television becomes an extension of ourselves. 15 Likewise,
we might say that in Planinica the radio-phonograph is
the message and has accelerated change. When a guest ar-

34
rives, for example, the first act of a host or hostess is
to turn on the radio and then to see that coffee is pre-
pared. When a visiting son-in-1aw sits dow~ at the table
to eat, someone sits at his side to change records on the
phonograph. When a household head visits a friend in a
neighboring village, the phonograph and records are taken
to share. In each case, the effect is similar: conver-
sation is stif1ed and everyone stares at the wonderous
machine. Television is still one of the symbols of the
unobtainab1e. No one has yet introduced Planinicani to
the portable television set; whoever does, will cause a
another revolution.
The radio and phonograph have been principal instru-
ments of culture change, both directed and spontaneous.
By far the most popular programs are the news and folk-
music. P1anini~ani se1dom listen to anything else, and
it is important to note that they make a point of listen-
ing. Regardless, whether a household has a radio or not,
the broadcasting schedule of fo1kmusic is common knowl-
edge. When a program is particularly good, those with
radios put them in open windows so everyone can listen.
In 1968 fo1kmusic was still most popular. The fa-
vorites were Bosnian, Serbian and Macedonian, whereas
Dalmatian, Greek, A1banian and Turkish--a11 of which
were broadcast--were not enjoyed. At that time, a series
of Bosnian folkmusic programs consisting of field record-
ings made in villages of the adjacent valley, Skoplje
Polje, were broadcast. Every available radio in the vil-
lage was propped in open windows and the entire popula-
tion listened. For days the programs stimulated discus-
sions on the quality of the polyphony, the strength and
clarity of the voices, and the song texts. This series
of programs received much attention, and it would not be
surprising if new texts and sty1es were learned from
them.
Change, of course, can be stimulated by the content
of radio programs. Sevdalinke~ the urban love songs
heard on radio and record, are especially appreciated.
Some village maidens, who are eager to keep up with their
urban peers, attempt to sing this type of song. Over a
fifteen month period, the frequency of sevdalinke had in-
creased, and it is possible that the unison singing of
this type of song will replace the po1yphonic style of
the present.
Another example of the influence of radio was ob-
served as two women spun wool and sang a Macedonian song

35
along with the radio. But unlike the radio version and
contrary to their OwTI polyphonic tradition, they harmoni-
zed the parts softly. The style was similar to the songs
of old-times, the starinske pjesme that are so rarely
sung today. Because the women had heard the song so of-
ten on the radio, they knew the words, but were unsure of
the meaning because of the language difference.
Members of the older generation have noted a change
in singing since I-Torld I-Tar II. Although song content has
remained basically the same, the context has changed sig-
nificantly. Young people do not sing as much as they
used to. In the past, singing marked all activities.
Whenever maidens gathered--at the spring, on the path, in
the meadows--the entire village heard them. They sang
all the time. But today, according to a ninety year old
woman, the youth just "fools around." This criticism may
be just an expression of that proverbial generation gap,
but it is interesting that elderly informants seem to see
the change in terms of social degeneration rather than in
decline of song quality.

36
 NOTES

lVuk Stefanovic Karadžic, Srpske narodne pjesme [Ser-

hian Folksongs] , I (Beograd: Prosveta, 1962), p. xvi.
This classic collection in four volumes is based on Vuk's
1841 edition. Another valuable collection is published
by Matica Hrvatska, Hrvatske narodne pjesme [Croatian
Folksongs] , 10 vo1s. (Zagreb, 1896-1941). Literature on
the epic tradition is extensive. Some of the most note-
worthy collections and studies in English are Milman Par-
ry and Albert B. Lord, Serhocroatian Heroic Songs .. 4 vo1s •
(Cambridge, Mass.: Harvard University Press, 1960). For
a more complete list of studies and collections in all
languages, see Parry and Lord and two comprehensive sur-
vey articles published since this study was done: Mary
Coote, "Serbocroatian Heroic Songs" in Heroic Epic and
Saga .. ed. Felix J. Oinas (Bloomington: Indiana Univer-
sity Press, 1978) and Djenana ButuroviC., "Oral Epic Poet-
ry of the Peoples of Yugoslavia," in The Folk Arts of
Yugoslavia (Pittsburgh: Duquesne University Tamburitzans
Institute of Folk Art, n.d.).

2Matica Hrvatska, Hrvatske narodne pjesme.. II (Za-

greb: Matica Hrvatska, 1897).

3Cvjetko Rihtman, ethnomusico1ogist and expert on

the music of Bosnia-Hercegovina, states that the very
word pjesma refers only to the song text and does not in-
clude music. See "Polifoni oblici u narodnoj muzici Bos-
ne i Hercegovine" [Po1yphonic Forms in the Folk Music of
Bosnia and Hercegovina], Bilten Instituta za proučavanje
folklora u Sarajevu.. Vol. 1 (1951):7-20.
qKaradzi~, I, p. xvi.

5 A1though many publications deal with Bosnian and

Hercegovinan 1yric song, they are for the most part an-
notated collections. (See references in the Bib1iography
to Simić, Milošević, Kuba and Matica Hrvatska). Whereas
some scholars, such as Cvjetko Rihtman (see Bib1iography)
made important contributions to our knowledge of the
music, much can still be done in the area of text and
context.

37
 6 0n1y songs of a similar type are included in a 1908
publication by Milan Beš1i.ć, "Bugojno i okolina" [Bugoj-
no and the Surrounding Area], školski vjesnik3 Vol. XV:
436-440. In contrast to Planinica, the youth in nearby
Catho1ic villages is more familiar with this type of song
and performs it.

7 For descriptions and examp1es of sevdalinka else-

where in Bosnia, see the following publications: Gerhard
Gezeman, "O bosanskim sevdalinkama" [About Bosnian Love
Songs], Prosveta3 Vol. XXI (1937):682-687; Vlado Miloše-
vic, Sevdalinka (Banja Luka: Muzej Bosanske Krajine,
1964); Sait Orahovac, Sevdalinke 3 balade i romanse Bosne
i Hercegovine [Love Songs 3 Ballads and Romances of Bos-
nia and Hercegovina] (Sarajevo: Svjetlost, 1968).
8 With large gunny sacks over their shou1ders, some
Gypsies travel from village to village selling wares,
buying scraps of wool and clothing, and mending cooking
utensils.

9Cvejtko Rihtman suggests that po1yphonic singing

originated with the Illyrians. See "O ilirskom porijek-
lu po1ifonih oblika narodne muzika Bosne i Hercegovine"
[About the Illyrian Origin of Po1yphonic Forms of Folk
Music of Bosnia and Hercegovina], Rad kongresa folklor-
ista Jugoslavije na Bjelašnici 1955 i u Puli 1952 (1958):
99-104.

10 Rihtman, "Polifoni o blic i ••• ," p. 12. The term

kajda is Arabic in origin and part of the Turkish legacy
in Bosnia (Ška1jic, p. 383).

11The custom of singing before separating has also

been obse!ved among Catho1ics of the area. After Christ-
mas sunrise church service, for example, vi11agers from
Skrte and Jazvenik made the long trip home together. At
each fork in the trail, the group sang together before
each went her or his separate way.
12Bela Bart6k and Albert B. Lord, $erbo-CroatianFolk-
songs (New York: Columbia University Press, 1951),
p. 252.

38

",.
 13 For an example of a tevsija performance by women
from Gacko, Hercegovina recorded in 1951, see "Yugoslav
Folk Music," in the Columbia LP (KL-217) series World
Library of Folk and Primitive Music~ Vol. XV, edited by
Alan Lomax. Also see Appendix III, Nos. 24-28 for re-
corded performances in Planinica.

14During my stay there were no deaths in the village.

15Marsha11 McLuhan, Understanding Media: The Exten-

sion of Man (New York: McGraw-Hi11, 1966), p. 7.

39
 IV

THE CONTENT OF SONG

For the purposes of analysis, the songs in this work

have been classified by content and emic explanation of
meaning. The classification adheres as closely as possi-
ble to that used or recognized by the people; the cate-
gory bezobrazne pjesme, for example, consists of sugges-
tive, vulgar, and obscene songs, and protiv momaka con-
sists of songs which insult, ridicule and tease lads.
However, beekeeping songs, lulIabies and wedding songs
are categorized by the context to which they are cultur-
ally and ritually bound. With the exception of lulIabies
and wedding songs, texts are not specific to rites of
passage. Moreover, few other texts are associated with
special occasions. (See Table I for a breakdow~ of song
types.)

Protiv momaka

The largest single category of songs in this collec-

tion expresses opposition toward another group. The folk
expressions for them are protiv momaka (directed against
lads) , protiv cura (directed against maidens), and so on.
They are sung only when the target group is present to
hear, for example, while dancing or in verbal duel at a
prelo. The women especially enjoy these songs and often
make comments and even suggest ver ses to the maidens to
sing against lads. This type of song is important as an
expression of social ideals, as criticism of social de-
viants, and for its role in courtship. The general tone
is exemplified by the following example:

Grdna rano~ našiju momaka~

dala bih ih za šaku lješnjaka.
How awful are our lads,
lId trade them all for a handful of hazeInuts.

However, songs are usually more explicit. Many, for

example, compare males to animals. The following song
refers to Italian meat wholesalers who periodically come
to Bosnian fairs and markets to buy horses which are too
old, skinny and often sick1y to work:

40
 TABLE I
Song types in the order of their numerical prevalence.

Contents Informants
No. Female Male
Songs Directed Against a Social Group 92
Against lads (protiv momaka) 49 49
Against maidens (protiv cura) 17 17
Against men (protiv ~judi) 2 2
Against spouses (protiv žena i muževa) 9 3 6
Against rivals (protiv suparnica) 15 15
Courtship 66
Social Relationships within Households 31
Husband's mother (svekrva) 23 22 l
Husband's father (svekar) l l
Husband's parents l l
Husband's brothers' wives (jetrve) 3 3
Wife's mother & father (punica i punac) 3 l 2
Unrequited Love 28 23 5
Marriage 28 28
Obscene (Bezobrazne pjesme) 25
About maidens 21 21
About men 2 2
About wives 2 2
Villages & Their Inhabitants 18
Other villages 14 14
Ov,n village 4 4
Work 13
Beekeeping 5 5
Herd ing 4 3 l
Hay cutting 2 2
Weaving 2 2
LulIabies 8 8
1..Jedding 7 5 2
Miscellaneous 38

41
 Naši momci kao mršavi konji~
Sad će doći Italijani po njih.
Our lads are like skinny horses,
Now the Italians will come for them.

Or, males are said to be like cattle in general:

Planiničani~ alaj ste u strani~

U tebe su momci k Jo hajvani.
Planini~ani, you are isolated and backward,
You have lads who are like cattle.

When maidens want to be unkind, they ridicule the lads'

inability to sing:

Moj dragane~ teretni vagone~

Kad zapjeva~ kanda rekne june.
My beloved, my freight wagon,
When he begins to sing, it's like a steer bellow-
ing.

Physical attractiveness is a recurring motif. Be-

cause of courting patterns, one's appearance often is an
important factor in attracting a perspective spouse.
Therefore, it is advantageous to be good-looking. By
ridiculing a lad's looks, however, maidens maintain dig-
nity, and even control, in a situation where males usual-
ly initiate relationships.

Moj dragane~ oko ti vrljavo~

Evo stoja~ pogledaj me pravo.
My beloved, your eyes are crossed,
Here's a hundred dinars, look at me straight.

Moj dragane~ grbave ti kože~

Ne daj mi te poljubiti~ Bože.
My beloved, your skin is bad,
God forbid that I should kiss you.

The next song ridicules those who spend excessive

time oiling and combing their hair and, in general, think-
ing about their appearance. Grooming equipment consists
of a pocket mirror and comb, which some individuals will

42
use even when working in the fields if maidens are pre-
sent.

Neću momka koji kosu gladi~

Već ću onog koji dobro radi.

1'11 not marry a lad who slicks dow~ his hair,

But rather, the one who works hard.

Another characteristic that maidens regard as unac-

ceptable is emphasized in the following variant:

Neću momka koji Boga psuje~

Već ću onog koji ga postuje.

1'11 not marry a lad who curses God,

But rather, one who honors him.

Total rejection of a young 1ad's advances is fr e-

quent1y expressed in song:

Moj dragane~ jesi ga budala~

Da te volim~ ja bih te gledala.
My beloved, you are a fool,
If I loved you, I would look at you.

Žen' se~ dragi~ i odgoji mi sina~

Moja majka hoće zeta fina.
Get married, love, and raise a son for me,
My mother wants a fine son-in-1aw.

This last song heaps insu1t upon injury. Not on~y is the
lad rejected; he also is to1d that he is not good enough.
Peasants, especially from remote villages, are re-
garded as stupid and backward by tow~speop1e, often them-
selves newly resett1ed from villages. Young vi11agers
are sensitive to these negative views; therefore, when
they go to tow~, they attempt to look as urban as possi-
ble. Maidens pull up their dimije to the length of ur-
ban dresses, and 1ads wear slacks or suits. Hhen they
reach the out skirts of tow~, they replace their rubber
boots or opanci (a traditional low slipper) with shoes.
Maidens use these exoteric views to express criticism of
1ads with urban pretensions or, conversely, of 1ads who
fu1fi11 the stereotype. 1

43
 Moj dragane~ glupavi seljače~
Hajde kući pa izpeglaj lače.
Hy beloved, stupid villager ,
Go home and press creases in your pants.

Misliš~ dragi~ da si Sarajlija~

Na selu se rodio k'o i ja.
You think, dear, you are a Sarajevo man,
But you were born in the village just as I was.

Alaj imam ja dragana fina~

I kad kosi~ rukavicu nosi.
l have a fine beloved,
Whenever he reaps hay, he wears gloves.

Momak is a term denoting a status in society. A boy

becomes a momak in his mid-teens; the term signifies a
carefree time before adulthood. When he marries, he be-
comes an adult, a man (čovjek), and with his new status
also comes more respect in the community. Bachelors, on
the other hand, do not claim the same respect and have
little voice in village decision-making. A fellow is al-
ready regarded a star momak (old bachelor) at thirty
years of age, and the older he is, the less apt he is to
find a wife. This song has important implications about
the status of old bachelors:

Stare momke strpat u garažu~

Gdje se stari kamioni slažu.
Old bachelors are crammed into a garage,
Where old trucks are stored.

Protiv cura

The songs directed against maidens are often just

variants of songs against lads. They tease, criticize,
ridicule and insult each other with songs that emphasize
social values and attitudes. In the previous samples,
lads are symbolically rejected as unworthy on the basis
of appearance, pretensions, and general negative charac-
ter. They also are warned, perhaps threatened, about be-
coming old bachelors; if the lads hope to gain the re-
spect which accompanies marriage and adult role, they
must meet society's and maidens' standards.

44
 In songs performed by lads, of course, they have the
upper hand, unless, as in the following example, the maid-
ens respond to the challenge and engage in verbal duel-
ing. This song questions the morals of maidens:

Curu ljUbim; cura kaže "hvala."

Da je prava~ ne bi se ni dala.
I kiss a maiden; the maidens says, "thanks."
If she were proper, she wouldn't have even
allowed it.

To which, in one instance, the maidens replied:

Moj dragane~ ako si me liznuo~

Nisi~ Bogami~ obraza odgriznuo.
My beloved, just because you licked me,
You didn't, by God, bite my cheek.

In complete control, the maioens dismiss a kiss as unim-

portant, and ridicule the males for thinking that a kiss
implies immorality. Euphemisms are very common in song.
This performance brought resounding approval from women
present at the prelo who responded to the cleverness of
this pu t-dov-ll..
Males also stress the work ethic and measure the
worth of maidens by how well they perform their duties.
During the long winter months, maidens weave rugs. The
average time to complete a rug,approximately nine feet by
twelve feet, is one month of twelve hour days at the loom.
The following song comments on lazy and inept maidens:

Imam dragu previ~e valjana~

Tkala ćilim cijelu godinu dana.
I have a sweetheart who is over diligent, '
She wave a rug for a whole year.

According to folk aesthetics, plumpness, especially

in the arms, neck and face, and straight, white teeth are
attractive. As in the maidens' songs, we see that the
males also ridicule appearance and predict a spinster's
life for girls who do not meet standards.

Moja mala mršava k'o tele~

Nikad ti se udati ne vele.

45
 My little one, skinny as a calf,
It is prophesized that you will never marry.

Oj djevojko~ zubi ti se bijele~

K'o u moje krepane kobile.
Oh, maiden, your teeth are white,
Like those of my dead mare.

The modern trend in female Muslim dress is short

sleeved blouses, which replace the long sleeves required
by Islamic law. Married women have not adopted this fad,
but marriageable females seldom wear anything else. Just
as the maidens criticize the males' profanity, they, in
turn, are criticized for violating religious dress code.

Neće cure kratkijeh rukava~

Jer rukave našu vjeru kvare.
Maidens won't wear short sleeves,
Because short sleeves corrupt our faith.

Protiv Muževa i Žena

Although songs about husbands and wives areperfbrm-

ed both by spouses and maidens, they are poorly repre-
sented in this collection. In general, the men sing
about the desire of being rid of their wives, and maid-
ens about suspicious wives. Such songs in this study
were recited to me on request; none were heard in spon-
taneous performance. The following example was recited
by a man, who said his wife sang it about him, a lumber-
man with the state forestry:

Moj dragane~ državno magare~

Država tare~ a ja trošim pare.
My beloved, state jackass,
The State pays you for your toil, and I spend
the money.

Protiv Suparnica

Songs that deal with female rivals convey informa-

tion about the customs of courtship. Quite commonly, a
lad may have a number of girlfriends who usually are re-
garded as rivals and are kno~TI to each other. Maidens

46
also may have two or more boyfriends. Unlike maidens,
however, lads usually do not sing about their rivals.
The following are samples of the kinds of songs maidens
sing:

Kupi~ dragi~ inoči bonbona~

žuti~ plavi~ nek ti se udavi.
Dear, buy my rival some candy,
Yellow, blue, let her choke.

Videla sam suparnicu svoju~

Oči moje vrede cure tvoje.

I saw my rival,
My eyes are worth more than all of her.

Suparnica~ ja te se ne bojim~
Ti si krem od cipela mojih.
Rival, I am not afraid of you,
You are the shoe polish of my shoes.

Thus, with these songs, the maidens are calling atten-

tion to their o~n qualities by making comparisons with
their rivals.
In attempting to understand the texts performed by
and about males and marriageable females which insult,
criticize and ridicule each other, we should not lose
sight of the fact that the songs are performed both for
an audience which usually includes the target group and
for the performers themselves. 2 The context is socially
sanctioned for interaction with ritualized insults. Be-
hind a protective social shield, maidens and lads flirt
and call attention to themselves. Each well-performed
song is reinforcement of certain values and attitudes;
it evokes praise and encouragement from the audience,
sometimes even from the target group. On the other hand,
when the text is not appropriate, the audience also cen-
sors it.
The performers represent both social categories and
individuals. Songs may be improvised and directed to a
specific individual, or they may function to insult
males or females in general. Regardless, the insults
about appearance and criticism for violating ethics of
work and religious codes reaffirm ideals of a perfect
spouse. Whereas texts imply that maidens have loose

47
morals, they, in fact, do not engage in premarital sex.
These songs may function to tease or express wishful
thinking, but the message warns about being socially de-
viant.

Bezobrazne Pjesme

Songs dealing with sex and other obscene and vulgar

subjects constitute a significant category of expression.
Everyone knows a few of such songs, and some sing them
more freely than others. However, to sing these songs in
the presence of married women is considered shameful be-
havior. Therefore, only a few of these were heard in per-
formance, whereas the majority were collected in inter-
views with groups of women and maidens and of young men.
Nonetheless, young men and lads do sing the songs in the
company of maidens when they 1i;ish "to embarrass" them.
on those occasions, the response was mixed: maidens gig-
gled or looked away, and women uttered disapproval or
laughed quietly. However, a few maidens, whom more tra-
dit ional Planinicani regard as improper, might answer the
males with a verse that also would be considered inappro-
priate. The following is an example of such an exchange.
The men sang:

Mala moja~ runjava pod drobu~

Ili se šišaj ili ćeš platiti globu.
My little one, you have soft fuzz between your
legs,
Either shave or you will pay a fine.

The maidens answered:

Moj dragane~ ošišani ježe~

Teško onom ko uza te leže.
My beloved, shaved hedgehog,
It would be difficult for one to lie with you.

A tradition among Muslim women is to shave the pubic hair.

This, like circumcision for men, is one of the stated
differences between Muslims and Christians. In the ments
song (and the one to follow), maidens are teased for
their pubic hair, thus emphasizing that they are not yet
sexually active. The maidens' response to the song was
not obscene; rather, it was an insult to the males' ego.

48
However, it would have been more proper to have ignored
the males altogether.
Most of the songs in this category are sung by lads
and young men about maidens. Although women and maidens
also know many such songs, they are restricted by social
mores from public performance. On one particular occa-
sion at my prompting, the females of a household enter-
tained each other by reciting obscene songs. After each
one, they broke into gales of laughter and tried to bet-
ter the previous. Many of the songs are usually sung by
men about maidens.

Moja mala~ nevalja ti pizda~3

U njoj miši napravili gnizda.
My little one, your cunt isn't worth much.
The mice have built nests in it.

Songs about sexual intercourse contain many meta-

phors. In the follow'ing example, "shelf" is ametaphor
for shoulders, "jeep" for penis, and "garage" for vagina.
Song can describe a common position for intercourse:

Digni~ mala~ noge na stalažu~

Da utjeram djipa u garažu.
Lift your feet, little one, onto the shelf,
So I can drive my jeep into the garage.

The gesture of the bent arm and clenched fist, the

forearm jerk, is used by both sexes of all ages. It may
be made with or without its verbal translation, "up
yours," and often is accompanied by a grunt. This ges-
ture represents a supernormal phallus that has been
thrust as far as it will go, which in song is usually to
the shoulders or lungs:

Mala moja~ evo ti na rame!

Da si jača skočila bi na me.
Little one, up yours to the shoulder!
If you were stronger, you'd jump on me.

This song, like the gesture expressed within it, is a

hostile sexual insult· which symbolically asserts male
dominance over females.
Obscene songs are seldom included in collections,

49
including those of Yugoslavia. Bartok and Lord, for ex-
ample, present only one song of this nature, and other
collectors usually ignore them comp1ete1y.4 This sample
contains a larger number of maidens' songs in opposition
to males, i.e., songs of the protiv type, than maidens'
obscene songs. On the other hand, there are more obscene
songs in the sample from men and lads,or attributed to
them, than from women or maidens. The reason may be that
while men reinforce their dominance through sex or threat
of sex, females reject male superiority and dominance by
ridiculing and insu1ting them. It is socially acceptable
for fema1es to "put-dov."TI" ma1es with songs; however, only
improper maidens would dare to sing a vu1gar song in a
similar situation.
There are very few cases of premarital sex involving
maidens from Planinica. On the basis of a study conduct-
ed in 1930, it has been suggested that sexual songs are
a substitute for intimate contacts and over step culture
barriers by expressing desires which could not be ex-
pressed in speech. 5 Generally in song and other verbal
folklore, there is greater license to communicate what
could not or should not be expressed in conversation.
However, the message in these examples is not sexual de-
sire. Quite the contrary, these songs utilize sex hos-
tile1y, aggressively and derogatori1y.6
Whatever other messages maybe in these songs, sub-
ordination on the basis of sex is one of the most domi-
nant. Lines that refer to "my sledge hammer shot" (No.
257), "my gun aims" (No. 252), and "I. .. drive my jeep"
(No. 246) may be metaphors for sexual organs, but they
are also weapons. Even when females 1augh, they do not
experience the songs in the same way as males; females
objectivize these songs.
This small but uncensored corpus of bezobrazn~ pjes-
me denigrates females and expresses male superordination.
Because society condemns maidens who use obscene songs to
"put-dov."TI" males, males benefit from the status quo which
keeps females in their place. The entire context of this
song performance functions to perpetuate the power struc-
ture.

Courtship

Courtship is an important process that begins during

the mid-teen years. Concurrent with the status of youth
is greater freedom to attend functions away from the vi1-

50
lage. Dancing and singing become a means of interaction
and expression when maidens and 1ads can look, flirt and
tease each other. Members of the opposite sex become an
important focus as this maiden's song verifies:

Ne more se pjesma zapjevati~

što se neće dragi spominjati.
It isn't possible for a song to be sung,
Without mentioning a sweetheart.

When sweetheart s live in the same village, or in

neighboring villages, they may see each other as often as
the lad cares to go to her. Moonlight nights are espe-
cially good times for such ventures because then trai1s
are visible.

Mjesečina hora zagovora~

U koga je dragi b~izu dvora.
Moonlight is the time for talking,
When one has a dear one near a court yard.

The flashlight is a prestigious item that plays an

important role in courting. It is used to shine light
into a maiden's room, signaling her to come to the win-
dow or out into the court yard where she and her boyfriend
can talk long after the rest of the village has gone to
sleep. 7

Moj dragane~ ču~a moja mater~

Da me tvoja baterija prati.
}1y beloved, my mother heard,
That your flashlight accompanies me.

Moj dragane~ bateriju kupi~

Nemoj biti se~jačina g~upi.
My beloved, buy a flashlight,
Don't be a stupid peasant.

A lad and maiden may have several "sweethearts,"

each of whom is a possible choice as a spouse. One maid-
en sings:

Dok sam cura svi su momci moji~

Kad se udam samo j edan broj.

51
 While l am a maiden all the lads are mine,
When l am married, there will only be one.

Regardless of the number, there usually is a favorite:

U mog dragog sedam cura ima~

Ja sam osma; džaba im je svima.
My dear one has seven girlfriends,
l am the eighth; the others are nothing to him.

Od sveg voća~ najvolim lešnjaka~

Od momaka~ Kuprešaka Muju.
Of all the fruits, l like hazelnuts best,
Of the lads, Mujo from Kupres.

During this courting process, lads and maidens may

make verbal promises to several, which according to song,
they often come to regret:

Šečer sladak hoće momak slagat'~

Kafa gorka prije će djevojka.
Sweet sugar a lad will tell lies,
Bitter coffee but a maiden will be first to lie.

Ja sam rekla i amanet dala~

Sad se misli kako bih slagala.
l said so and gave my promise,
Now l wonder how l can lie out of it.

However, this behavior is just part of the game of

courtship. Fatalism is deeply entrenched in Bosnian cul-
ture; accordingly, everything is ordained by God and one
is powerless to change his or her destiny. This concept
exists both among Muslims and Christians and is express-
ed even in song:

Ašikujem samo radi fola~

Znade mi se moj sudjeni lola.
l flirt only as a jake,
My destined sweetheart is know~.

Finally, as a token of his sincerity, a lad may give

a ring or money to a maiden. She may, in return, give

52
him a shirt. Such gestures usually secure the bond be-
tween them.

Imam prsten zelena kamena~

Dao mi ga dragi uspomena.
I have a ring with a green stone,
My dear one gave it to me as a remembrance.

Before a lad is considered ready to marry, he serves

in the army when he is eighteen. According to song texts,
girlfriends are distressed by this separation:

Molim Boga u sobi za vratim~

Da mi dragog s predvojničke vrati.
I pray to God behind the door,
To return my beloved from army training.

However, another of her concerns is that all of her boy-

friends might go into the army at the same time leaving
her alone:

Bože mili3 u što se zavrzo!

Dva u vojsci i treći će hrzo.
Dear God, what a mess I'm in!
Two are in the army and the third is going soon.

The recent institution of migrant labor is also re-

ported in song:

Austrija~ povraćaj mi momka!

Ako nećeš~ ići i djevojka.
~ustria, return our lads!
If you don 't, maidens also will come.

Men go to Austria for about six months a year to work in

factories and the lumber industry. This separation caus-
es anxiety for females, who fear their husbands or sweet-
hearts will not return. Although no examples of this
exist in Planinica, everyone has heard of cases in nearby
villages.
Despite the fact that only the younger generation is
literate, correspondence by mail is very important to
villagers. Letters pass between separated family members
--usually a son ~~ites his father and mother and some-

53
times a brother and sister. Seldom does a wife get mail,
especially when she is part of an extended household.
Letters also are exchanged between boyfriends and girl-
friends. Thus, it is not surprising that letters are a
common motif in song:

Piši~ dragi~ ne žali olovke~

Ni papira za svoje djevojke.
Write, darling, don't spare the pencils,
Nor paper for your girlfriends.

Unrequited Love

Although courtship appears casual and maidens and

lads do not commit themselves immediately to one person,
many examples of song express anxiety about a boyfriend
who has not been seen nor heard from for a long time:

Moj je dragi bio pa nema ga~

Srce moje ne zaboravlja ga.
My dear one was here but now he's gone,
My heart does not forget him.

Although fate is usually responsible for whomever

one marries, a maiden may be disappointed nonetheless:

Oženio se ko je mene zvao~

Nije sudjen i nije mi ga žao.
He who asked me to marry, married someone else,
It wasn't fated and I don't regret it.

However, in another song, the male is cursed: 9

Žen' se~ dragi~ i ovo ti bilo~

Do godine deveti i promin'o!
Get married, dear, and may it come to be,
That you change wives nine times in a year!

In light of present-day courtship patterns, the

theme of undying, romantic love seems incongruous. How-
ever, several contemporary songs of this nature were re-
corded, and many of the starinske pjesme still sung also
deal with romantic love. Of the type most widely known,
a group of men recited the following:

54
 Umri~ mala~ i ja ću umreti~
Kad se nama ne daju uzeti.
Die, little one, and I will die also,
When our families will not let us marry.

And a maiden sang:

Neću momaka; volim op,enjena.

Čekat ću ga dok mu umre žena.
I will not marry a lad; I love a married man.
I will wait for him until his wife dies.

Songs About Villages and Their Inhabitants

A category which often overlaps with courtship and

marriage consists of songs about other villages and their
inhabitants. Again, maidens are the performers of these
songs; in them, they communicate their major and immedi-
ate concerns: marriage and residence in another village.
Ivica is a small Muslim village about an hour's walk
from Planinica. Much interaction goes on between the two
villages, but Planini~ani tend to consider themselves bet-
ter than Ivicani, who are thought of as poor, dirty, and
noisy. Also, the houses are small and old, and the spring
is far from the village, a factor that makes Ivica espe-
cially unappealing, because it is the chore of the newest
bride to carry the large wooden vessels of water on her
back to the house twice a day. Planinica, on the other
hand, prides itself on its three springs within the vil-
lage. Despite the fact that Planinica maidens swear they
will never marry anyone in Ivica, throughout history many
have, in fact, married there. Songs about Ivica are as
follows:

Huka~ vika~ eto Ivičana~

Ako su oni~ Bože me zakloni!
Roars, shouts, there's the Ivičani,
If it is them, God protect us!

Ivičani i vaša gurema~

Od fučija bole vas ramena.
Ivi~ani and your pushy mob,
Your shoulders ache from the water containers.

55
 Similar songs are perfoTmed about every village
~lieremarriageable males live and, therefore, in which it
is possible to marry. Many of the songs are unfavorable
like those about Ivica or the following one about Porić,
a village in the valley, Skoplj e Polj e: 10

Da mi se je udati u Poriće~
Nosila bih kočku i piliće.
Oh, if I were to marry into Poric,
I would bring a hen and chicks with me.

Voljica is another large lowland village, but despite its

close proximity to the market tow~, maidens reject it in
this song:

Kroz Voljice provedena štreka~

Nid bih posla~ nid bih kome rekla.
There is a railroad through Voljica,
But I wouldn' t go there nor would I advise others.

What Planinicani think of their ow~ village, and

what they assume nonresidents think of it are communicat-
ed in songs that maidens perform about other villages.
These esoteric and exoteric factors of identity, which
the songs help to maintain and reinforce, stem from a
sense of belonging to a community.ll The song's statement
that the people of Poric, for example, live poorly and
have very little, also by implication is expressing the
opposite about Planinica. Planinicani have the means to
make their life better, even if they must live in Poric,
by taking necessary goods with them.
Maidens of Planinica even sing about the other neigh-
borhoods in the village. As they spun wool one day, wo-
men and maidens of one part of the village sang about
those on the other side of the village. The song implies
that the neighborhood is remote and inaccessible, and the
residents would be envious of pretty clothing:

Ove moje dimije na grane~

Obuću ih kad pojdem u strani.
These dimije of mine in a pattern of branches,
1'11 put them on when I go to the far end of
the village.
However, songs about one's Ow~ village or ow~ people are

56
not as common as those about outsiders. 12 One of the few
songs about Planinica compares it with Sarajevo, where
the singer, in fact, had never been:

SeZo moje na četiri reda~

MaZo boZje Sarajevo izgZeda.
My village spread out in four rows,
Sarajevo appears a little better"

Courtship consists of looking and being 100ked at.

A good part of the interaction between sexes during this
period is through the medium of song. The songs of in-
su1t, ridicu1e and denigration are meant for the marriage-
able; although the texts do not deal with courting, per
se, they are performed during the courting process and
must be considered important to it.
The songs themselves make reference to ideal stereo-
types as well as to actual behavior, to romantic undying
love and to fate. Given the rapid changes in Yugoslav
society since the 1950's, it is not surprising that the
songs communicate elements that are both conservative
(traditional) and dynamic (contemporary and changing).
The dynamic characteristic of the songs explains their
popu1arity. In this respect the village songs speak more
directly to immediate concerns of vi11agers than do the
popular fo1k-sty1ed songs they hear over radio. It is
this characteristic, coupled with the ability of the
songs to reconcile the past with the present, which ac-
counts for their popu1arity.13
Individuals do not have the same opportunities to
know each other as, for example, exist in less restrict-
ed, urban societies. By and large, they are judged ac-
cording to their appearance, behavior and status of fami-
ly. Whether one's family is "good" is a significant fac-
tor in marriage.

Marriage

Songs frequent1y begin:

Udat ĆU se~ udati ja šta ću?

1'11 marry, of course I will, for what else
is there?
Cultural patterns indicate that marriage is inevitable.

57
Marriage is the only traditional avenue to respect and
adulthood; a village girl has no other options. Linguis-
tically , "woman" (žena) signifies a much broader social
category than just a married female. Concurrent with it
is a new status and conformation to social expectations.
The term for maiden (cura) signifies an intermediary so-
cial position between child (dite) and adult (žena). Al-
though a maiden has low status, an old maid (stara cura)
has even lower status. Marriage, then, is an important
rite of passage to adulthood and respect.
Maidens accept the inevitable as their fate; nonethe-
less, they are anxious about what awaits them:

Oj mladosti~ gdje ću te provesti?

Sve u jadu na državnu radu?
Oh youth, where will I spend you?
Will it be in sorrow at forced labor?

The message in folklore is that maidens can expect the

worst with marriage.
Autumn and early winter are the time for marriage.
A lad generally completes military service before marry-
ing, and in the following song his military discharge co-
incides perfectly with the grape harvest:

Mala moja~ rodilo nama grožde~

Čekaj~ bona~ dok iz vojske dodjem.
My little one, the grapes are ripe,
Wait, dear, tilI I come from the army.

The bond between mother and daughter is especially

strong and affectionate. Songs often equate marrtage
with leaving mother:

Kad zapjevam ispod borovine~

Čuj me~ majko~ nećeš do godine.
When I sing under the pine tree,
Hear me, mother, I will not be here next year.

The ring of joy in this song is tempered by anxiety in

the next as a ma iden expresses her trepidations about
marriage:
Ja zaplakam~ pita majka~ "Šta je?"~
Primaklo se moje udavanje.

58
 I begin to cry and mother asks, "What's w'rong?",
My marriage has come closer.

Often a maiden knows where she does not wish to mar-

ry. There is a scale of preference for villages, some-
time based on the physical setting of the vi11age-~how
close it is to market tOwns and how accessib1e~~and some~
time on the available 1ads. Many songs express a p1ea to
the mother not to give them in marriage in specific ar-
eas, which is an anachronism today sir..ce most maidens now
make the choice themselves.

Mila majko~ u Bosnu me ne daj~

Ukopaj me pa mi rahmet predaj.
Dear mother, don't give me in marriage in Bosnia,
Bury me and give me peace.

Maidens want to live in areas with easy access to the

market tOwn. Planinica maidens, especially, dream of get-
ting away from Potoci and living in a lowland village, re-
gardless of what it might mean in terms of personal sac~
rifice:

Planinka sam u planinu neću~

U Skoplje ću da ni ručat neću.
I'm a mountain girl, 1'11 not marry in the
mountains,
1'11 marry in Skoplje Polje, even if it means
1'11 not eat 1unch.

U Potoki ne hih se udala~

Radje hih se sama otrovala.
I wou1dn't get married in Potoci,
I would rather poison myse1f.

According to song, mothers, also, prefer that their daugh-

ters marry outside the region:

Kaže mama~ "Ohišena hila~

Kad mi kćeri u Potocima hila. "
Mama says, "They can hang me,
If my daughter marries in Potoci."

59
 When a maiden finally elopes, she invariably incurs
the anger of her mother. According to song, the maiden
confers with her mother qefore marriage:

Mila majko~ ja ugovorila~

Pitam tebi~ bi li mi dozvolila?
Dear mother, I made an agreement,
I am asking you, will you let me leave?

Ultimately, however, the ma id en makes her o~n decision,

which usually causes her mother to react as thoughbetray-
ed. The mother's anger eventually subsides, and within a
year they usually are on good terms again. Songs exempli-
fying a mother's rage are performed by maidens:

Mila majko~ komšija me uze~

Ima rubac pa ubriši suze.
Mila ćera~ ja te ukopala~
Mila ćera 3 ja te ne dala.
Dear mother, our neighbor has taken me,
There's a handkerchief, wipe your tears.
Dear daughter, I would rather bury you,
Dear daughter, I didn't give you to him.

Mila majko~ ja amanet dala.

šuti~ kćeri~ ja te ukopa la.
Dear mother, I gave my promise.
Quiet, daughter, I'd sooner see you dead.

In Bosnian Muslim society, marriage is an especially

important channel through which bonds are established be-
tween households. The major determinant of a good match
is the compatibility of the households, which is defined
in terms of how each can be of use to the other. Marriage
is usually contracted between members of different vil-
lages which will have something to offer in the ongoing
reciprocal exchanges, for example, different economy,
crops, access to other institutions and groups. This re-
lationship (prijateljstvo) is very important.

Milo moje~ moli roditelje~

Ja ću svoje~ nek se sprijatelji.
My dear one, ask your family,
I will ask mine, let them become friends.

60
 The social implications of marriage, as well as the
attitudes and anxieties associated with it, are well re~
presented in song. Maidens' lives change drastica11y be~
cause marriage not only removes them from their families,
but also from the familiar environment of their nata1 vi1~
lages. The unknow~ confronting them causes much anxiety
about impending social relationships and is communicated
in songs about in~laws and about their new status and re~
sponsibilities .

Svekrva
A maiden's anxiety about marriage is due, for the
most part, to anticipated social relationships within her
new household. This anxiety is expressed, reinforced and
perpetuated in traditional songs by unmarried fema1es,
whose expressed sentiments are not toward a particular
individual, but rather toward the general social category
of mother~in-1aw (svekrva). The songs range in sentiment
from rejection of the mother-in-1aw to a desire for her
death.
In a study conducted before World War II, Bosnian
Muslim women expressed what marriage meant to them: 14

It's no joke to renounce everything, your

life, your freedom and go away to a strange
home, where you know nobody and nobody knows
you, to call a strange mother your ow~ ....
Who can fit in with a strange mother?

Today, accepting the mother-in-1aw as one's surrogate

mother is still a problem, and in their songs, the maid-
ens totally reject the possibility:

Fin mi dragi~ ne valja mu mater~

Kako au je ja svekrvom zvati?
My sweetheart is fine, but his mother's not
worth much,
How will I ever be able to call her mother-in~law?

Svekrvice~ nerodjena majko~

Ne slušam te~ nije ti ni lako.
Mother-in-1aw dear, you 're not my real mother,
I don't obey you and that isn't easy for you.

61
 Songs insu1t the mother~in~law, defy her authority
and threaten action against her. Insu1ts begin with the
d im inu t ive form of mother~in-1aw as a term of address
(svekrvice). Although this term is a poetic form and is
not used in everyday discourse, it is, nonetheless, sar-
castic and disrespectfu1 in the context of song perform-
ance. It is best translated as "mom-in-1aw" or "mommy-
in-law." Her position in the household, however, demands
more respect than this term expresses.
Rather than depict a properly submissive daughter-
in-law, songs exacerbate insu1ts by also defying the au-o
thority of the mother-in-1aw:

Kažu meni~ "Svekrva ti ljuta."

A ja gora devedest puta.
Gossip te11s me, "Your mother-in-1aw is angry."
Well, I can be ninety times worse.

Other songs curse the mother-in-1aw:

Svekrvice~ ja ti zlo ne mislim~

Živa legla~ mrtva se protegla!
Nother-in-1aw dear, I wish you no evil,
May you just lie down and die!

But the most creative songs threaten action:

Imam svekrvicu krasnu~

Slikat ću je u šumi na hrastu.
I have a lovely little mother-in-1aw,
1'11 photograph her in the woods hanging from
an oak tree.

Svekrvice~ našla sam ti zgodu~

Za vratima medju taracima.
Nother-in-1aw dear, I found just the place for you,
Behind the door along with the old rags.

Ja ću svoju svekrvu zaklati~

Pa ću meso u konzervi dati.
1'11 slaughter my mother-in-1aw,
And have the meat canned.

62
 Unlike the songs of hatred, insult, and defiance,
the mother-in-law is the topic of another group of songs
that express a different dimension of concern, namely re-
ciprocity in this antagonistic relationship with the
daughter-in-law:

Svekrva mi struku nakitila~

Još me nije očima vidila.
My mother-in-law said bad things about me,
And yet she hasn't seen me.

Svekrva me vidila na vodi~

Kaže sinu~ "Meni je ne vodi."
My mother-in-law saw me at the water,
She said to her son, "Do not bring her to me."

Svekrva me ne begenisala~
šta sam nakarmenisala.
My mother-in-law did not approve of me,
Because my cheeks were rouged.

A mother' s rejection of her son's choice of a wife

is a reality. Despite the fact that a lad chooses his
own wife, he often seeks final approval from his father
and mother and seldom marries whom they do not approve.
Rejection by the ladIs mother, therefore, is threatening
and may be a partial explanation for the defensive songs
about her.
Songs about the mother-in-law are regarded by the
community as daring and even outrageous. However, they
do not propose action or even a strategy; they are merely
metaphors for action. These songs communicate sfiared anx-
ieties about the future and ritually express temporary
liberation from behavioral norms and cognitive rules. As
long as the songs appear within the framework of specific
performance, in a context of joking, teasing and flirt-
ing, a high level of energy infects everyone, and the
maidens can and do sing songs which both shock and amuse.

Svekar
The husband's father (svekar) is not the subject of
many songs. As the patriarch, respect is shown him by all
members of the household; however, the daughters-in-law

63

--'-~'-Jr--
have little contact with him. Because the women of the
household are directly responsible to the svekrva and
have more contact with her, she figures more prominently
in songs. Only one song about the husband's father is in
the collection. (See Appendix I, No. 180.) Another about
both in-laws together was also recorded, but the express-
ed sentiment to get rid of him may be due to association
with the mother-in-law. (See Appendix I, No. 181.)

Zava and Djever

A close bond and affection exist between brothers
and sisters, and the arrival of brother's wife into the
household does not necessarily change that relationship.
Quite the contrary, the bride and husband's sister (zava)
often become very close, especially when the bride first
arrives. The two are often closer in age than the other
women of the household and the bride is still more like a
ma id en than a woman. The relationship between husband's
wife and husband's brother (djever) also is generally
good, but the amount of contact between them is limited.
In this collection there are no songs from Planinica
about zava or djever. However, songs of this type were
collected in Jazvenik, the neighboring Catholic village.
(See Appendix II, Nos. 67-73.)

Jetrve
The relationship between wives of brothers (jetrve)
is very important. The division of labor and the struc-
ture of the household mean more contact with each other
than with one's ow~ husband. However, principal bonding
within households is not provided by marriage but along
blood lines, and since these women are linked only
through marriage, they often lack loyalties to each other.
Instead, they vie with one another for the attention and
favors of the mother-in-law. Each wants more for her ow~
children and rivalry often develops. Despite the reali-
zation that an extended family household is more effici.,..
ent and economical, large households do break up into
nuclear family units. It is popularly believed that the
discord between sisters-in-law is the cause, which is corn-
. t e d, ·lf not verl·f·led
munlca , ·ln song: 15
Udat ĆU se .. udati ja što ću?
Gdje ja do dj em.. rastavit ĆU braću.

64
 I'll marry, of course I will, for what else
is there?
Where I go, I will separate brothers.

Neka svekra~ neka i svekrve~

Sačuvaj me~ Bože~ od jetrve!
Never mind my svekar and even my svekrva~
But God protect me from my jetrva!

Punac and Punica

Songs in this collection dealing with the relation-
ship between husband and wife's father (punac) and wife's
mother (punica) are few. In this virilocal society the
same anxieties evident in the relationship between the
female and her future in-laws do not develop between the
male and his wife's parents. As was mentioned previous-
ly, marriage is one of the most important means of form-
ing bond.s of friendship between Muslim households. Con-
sequently, only the greatest respect and honor is sho1h1l..
Ritual visits between households are dutifully made;
strict codes of behavior are carefully observed; and,
goods and services are generously exchanged. The follow-
ing song comments on this relationship:

Punica je dočekala zeta~

Ispekla mu jezik od pileta.
Mother-in-law waited for her daughter's husband,
She roasted the tongue of a chicken for him.

This song was performed by maidens in the presence of

males. Its message was that they would not be worthy of
the respect usually due a son-in-law and, therefore,
would not be served the expected festive foods. The most
significant aspect of the song is that it expresses a po-
tential point of conflict and critical concern about an
important relationship.
In this category of songs about social relationships
within the household, maidens reveal their anxieties
about their future. It is important to keep in mind that
maidens sing these songs about different social statuses,
not about specific individuals. Women also remembervers-
es of this type from their days as maidens. However,
only unmarried females have the license to sing such

65
songs. When the ma id en becomes a bride, she no longer
performs them because she is now restricted by specific
behavioral norms of her new role as a woman.

Wedding Songs
~1uslim wedding customs have changed drastically
since World War II. In the older tradition of arranged
marriage between families, a large wedding party (svat-
ovi) composed mostly of men from the groom's village
went to fetch the bride from her village, singing the en-
tire way. Singing, dancing, feasting and merriment con-
tinued at the bride's home for many hours. When the wed-
ding party left for the groom's village, maidens of the
bride's village sang:

Od mora do mora~ eto svatova~

I vode curu sarajku.
Sarajka djevojka majci pZakaZa~
"Ne daj me~ majko~ daZeko.
Osta mi cvijeće nejako~
Često ga~ majko~ zaZjevaj.
Izjutra rosom s prozora~
Na podne~ majko~ rosnim suzama~
Na večer~ majko~ hladnim bunarom."
From sea to sea, there's the wedding party,
Leading the maiden from Sarajevo.
The Sarajevo maiden tearfully said to her mother,
"Don't give me faraway, mother.
My small flower remains,
Water it often, mother.
In the morning with dew from the window,
In the afternoon, mother, with dew7 tears,
In the evening, mother, with cold well water.

Returning with the bride to her new home, the wed-

ding party sang songs of which the following was most
common:

Je li ti žao što se rastajemo?

Rastajemo ne sastajemo~
Bog ubio tko nas rastavio!
Kroz kosti trava pronicava~
A kroz usta čemerika gusta~
Kroz viZice žari koprivica.

66
 Are you sorry that we are part ing?
We are apart, we do not meet,
May God kill who separated us!
Through his bones penetrating grass,
And through his mouth dense bitter grass,
Through his jaws nettle stings.

In order to enter her new home, the bride had to

pass through a kolo being danced in front of the door by
village maidens, who also sang the following song:

Povedi 3 razvedi kolo djevojko.

Ne mogu3 ne smijem3 dragi 3 od tebe.
Moje su i tvoje oči mučene.,
Ti Si3 dragi3 mutio.
Moje su i tvoje ruke lomljenje.
Ti Si3 dragi3 lomio.
Lead the kolo, make it bigger, maiden.
I cannot, I dare not, love, because of you.
My eyes and yours are tormented.
You did it, dear.
My hands and yours are breaking.
You did it, dear.

The maidens and other vi11agers followed the bride into

the house, and the prelo began.
These songs, like the customs associated with them,
are not usually performed unless the wedding has been
arranged. In Planinica, this type of wedding is rare1y
seen today, despite the fact that people still remember
and talk about it .16 On the other hand, Christian weddings
of the area more closely follow this tradition. l ? (See Ap-
pendix II, Nos. 118-123.)
E1opement--usua11y conceptua1ized as "theft"--is now
the most common way to marry in Planinica. Because of
the need for secrecy, the wedding party, which might con-
sist of only the groom and a friend, quietly arrives with
the bride at the groom's home. In the case of one cele-
bration, they arrived late at night. (See page 21 for a
brief sketch.) A shotgun blast informed the village that
a new bride had arrived, and the ceremony became public.
Immediately, villagers arrived to greet the bride and to
congratulate the groom's father and mother. In turn,
each guest was served coffee and šerbe (a sweet, cold,
nonalcoholic drink). For the next six days people came

67
to visit and to see the bride, who usually sat quietly
with the female guests.
In the evenings at. such celebrations, songs and danc-
es are performed by young men, lads and maidens in one
room and by women in another room with the bride. Wed-
dings provide women with a rare opportunity to sing and
dance. On such occasions, they literally perform every-
thing they know, collectively and as individuals. Away
from the men, in a room closed off from others, they per-
form a repertoire not well-knov."TI by maidens. "Kuna,"
for example, is performed specifically at weddings; al-
though it could be performed at other times, it seldom
is. (See Appendix I, No. 297 and Appendix III, No. 29.)
This dance and song are widespread throughout western
Bosnia among Muslims and Christians. 18 The name is deriv-
ed from the verb skunjiti se (to be depressed, to brood),
and the song details the concerns of a maiden who pre-
tends to worry that her suitor seeks a large dov.~y.
For young people, activities vary only slightly from
ordinary preZos; they do not perform special songs or
dances at this time. On the other hand, the young mar-
ried men play special roles during the wedding celebra-
tion. One evening at a preZo during the celebration in
point, two men, one dressed as a woman, performed an im-
promptu skit with explicit sexual meaning. The "woman"
acted naive and inexperienced, while the male gestured,
grabbed for her body and used suggestive language. With
the exception of the elderly, everyone watched, respond-
ing with prompting, comments and laughter. Even married
women came out from their closed room to participate in
the fun.
Another activity dominated specifically by young men
took place on the sixth and most important evening. While
the heads of households feasted with the groom's father,
a pack of young men and older lads roamed the village
paths and court yard s looking for people from whom they
demanded money and for maidens whom they threatened to
kidnap unless money was paid for them. The behavior of
these vukovi (wolves) was raućbus. Ih response, maidens
giggled, screarned with delight, and scattered hysterical-
ly.
The wolves also entered the groom's house, where the
guests still sat after the wedding feast, and engaged in
various scenarios. One wolf pretended to be dead, while
the others collected money from the guests to buy linens
to bury him. They also staged an argument over which

68
part of the stove each ow~ed. The father of the groom
settled the situation by "buying" the stove. Then the
wolves left the house to dance a silent dance in the court-
yard. They re-entered and sang in front of the door of
the bride and groom until the groom appeared to give them
money and cake. (See the following song.) The groom's
family also gave them a pan of cake, which they then had
to buy back.
It is on the sixth day that this marriage was con sum-
mated, and the evening festivities ended early. Having
dispensed with the wolves, the groom once again disappear-
ed into the room only to be sung to by a group of women
and maidens. Their song was the same as that of the
wolves:

Sjeverptica hoda po obZaku~

Lepi Ramiz goni HaZimu po budžaku.
Izmetni jastuk ispod gZave~
Podmetni svoje bijeLe ruke.
A bird moves about the cloud,
Handsome Ramiz pursues Halima about the corner.
Take the pillow away from her head,
Put your ow~ white arms under it.

As with the wolves, the groom came to the door and bribed
the females with sweets to go away. Again in the morning
a group of maidens and women woke the couple with a song
that presents an imaginary dialogue with the bride:

ZapjevaZa bumbuZptica~ misZi zora je.

Ustaj Fato~ ustaj ZZato~ diZi darove.
Ja sam mZada~ ja sam Zuda~ ja nemam dara.
Kad si mZada~ kad si Zuda~ što si se udaLa?
UdaZa me tudJa majka~ nisam ni zna Za.
The nightingale begins to sing, she thinks it
is daw~.
Get up Fata, get up Zlata, divide the gif ts.
I am young, I am inexperienced, I don't have gif ts·.
Since you 're young, since you 're inexperienced,
why did you get married?
A mother not my ow~ married me off, I didn't
even know.

This time the bride passed out sweets. Money and small
gif ts were also left under the mattress for the girls who
69
straightened up the room. The song predicted the day's
activities. Relatives of the groom arrived from long
distances with gif ts, and in return they received gif ts
from the bride's trousseau, e.g., shirts, scarves, stock-
ings, handkerchiefs. l9 In addition to the groom's kin,
friends and relatives of other househoids also visited
the village for the last day of feasting, singing, danc~
ing and foot rac ing. On this last day, the pir>, everyone~
celebrated the occasion.
Although it is not the aim of this study to examine
these songs as poetry, it is interesting that the wedding
songs are similar to those of other groups in Yugoslavia .20
One sees para11e1s in nature-human associations, for ex-
ample, when the groom's pursuit of the bride is compared
to a bird's flight and fading flowers is allegorical for
the bride's loss of virginity. These ritual songs are
obviously older examples of tradition than are the lyric
songs performed in an everyday context. The performance
of each song marks an important stage of the ritual, and
the words are prescribed by the act. Thus, we find these
songs performed during the bride's departure from her na-
tal village, her journey to the groom's village, her en-
trance into her new home, and before and after consumma-
tion of the union. The words themselves are sexual, ex-
p1icitly or implicitly in metaphor. In general, the sex-
ual nature of the performances predominates the celebra-
tion.

LuUabies
Both Christians and Muslims of the area recognize
only one traditional 1ullaby melody, the rhythm of which
is set by the rocking crad1e. Different words, however,
are sung to this melody.

Lila~ Ula~
Lila~ lila svoga mala sina.
Ja ga Ulam~
Ja ga lilam svom pjevom.
Pivala mu~
Pivala mu pismu bešiku.
Rock, rock,
Rock, rock my OwTI little song.
I rock him,
I rock him with my song.

70
 I sang to him,
I sang to him alullaby.

This is specifically a lullaby and is only sung while

rocking a cradle or in some other manner attempting to
quiet a baby. It is not unusual, however, to hear other
songs at this time also--songs which are similar to lyric
songs about village, boyfriend, and love. While rocking
the cradle, the girl, maiden or woman attempts to keep
herself amused, as well as to soothe the infant. The im-
portant factor in any song functioning as lullaby is to
21
perform it softly and with a steady rhythm.

Work Themes in Songs

The major economic activities in this small mountain
community are herding and agriculture, of which sheepherd-
ing and hay cutting are most important. Traditionally,
sheepherding is romanticized as the time for courting,
a concept that _is still present in songs, although today
only young boys and old men tend sheep while youths work
at more difficult tasks. (See Appendix I, No. 287.)
Singing is an active past ime of herders,who are usu-
ally alone with their sheep in the scattered mountain
meadows. They claim that time passes more quickly when
they sing; however, the following song suggests yet an-
other way to accomplish the same end:

Čuvam ovce na Zivadi~ prijo~

Tranzistor sam radio navija.
I tend sheep in the meadaw, friend,
And I've .turned on the transistor radio.

This song points to a new trend: even shepherds aspire

to OwTI a radio. Without a doubt, radio would entertain
the Ione shepherd; it would also teach him new songs.
Shepherds are the only makers and players of trube,
Alpine-like horns fashioned from spiral-cut strips of wil.,.,
low bark or from bark of saplings, which are twisted so
that the finished horn is flared at the end and fixed
with a mouthpiece. The instrument may vary in length and
be of one strip or pieced from several; however, the best
quality ones are made in the spring. Young boys, the ac-
tive participants in the tradition, are taught by men who
themselves had learned when they were young shepherds.

71
A shepherd plays the trube that he made. (photo by
WiZZiam G. Lockwood)

72
 Hay cutting season is a very popular time of the
year. Despite the hard work, it is also a social event.
Men and youth from the village, and beyond, are invited
by specific households to assist in the hay cutting,
while maidens and women rake and stack the hay. This is
one of the few times that males and females closely share
work and, as a result, one hears gossip about extramari-
tal affairs. on song describes flirtation in this con-
text:

Dragi kosi a ja kupim s~Jeno~

Triput mahna pa namigna na me.
My loved one reaps and I gather up the hay,
Three times he beckons and winks at me.

Rug weaving is one of the maidens' primary tasks and

one of the most common occasions for singing. Rugs are
woven during the winter when time is freed from other eco-
nomic activities. Maidens are fortunate when they weave
together on the same rug because it is otherwise tedious,
lonely work. More:commonly, however, for weeks of days
and evenings, she sits at the loom with only occasional
visits from those few maidens who are not also weaving
rugs. On many occasions during fieldwork, when a Ione
maiden was heard singing at her loom, villagers comment ed
on the loneliness of this task. In reality, however,
maidens, whether together or alone, spend much of the
time singing, but, like the shepherds, singing especially
helps pass the time for the Ione weaver. The drudgery of
weaving is expressed in song:

Pitaju me "što si izmršala?"

đilim tkala~ verem bolovala.
They ask me, "Why are you so thin?"
I wove a rug, I w~s sick with sadness.

Verem is a common disorder in Bosnia-Hercegovina. 22 It is

reported to be a nervous disturbance with symptoms of pal-
pitations, pressure in the stornach and all-~ver pain.
Planini~ani describe the illness as sadness caused by
grief and suffering--in this case, suffering caused by
weaving.
Songs that deal with the theme of work do not usual_
ly function to facilitate labor, nor are they necessarily
performed in a work context. Quite the contrary, songs

73

--'--~~--,- -
about love and friendship are more often performed at the
loom, behind the hoe, and over the wash. On the other
hand, songs about work are more apt to appear while danc~
ing or singing during leisure. An exception are beehiv-
ing songs.
Songs performed during beehiving activities are ex-
ceptional from other songs that deal with a work theme.
More than any other kind of animal husbandry, the process
of beekeeping, and especially beehiving, requires parti-
cipation in the traditions of special magical practices
and in ritual behavior.
An important component to successful beekeeping is
song. Traditionally, the beekeeper is a woman; she cares
for the bees, extracts their products, and performs sea-
sona 1 rituals during hiving. The night before bees break
away to form a new hive, the beekeeper hears the queens
"sing" to one another: the first queen sings "put, puut,
puut" (to the road, to the rooad, to the rooad); the sec-
ond sings "kada, kaada, kaada" (when, when, when); the
third remains silent. On one particular occasion, the
beekeeper was away when the queens sang; consequently,
she was not prepared for their departure from the hive.
When she saw them flying toward the forest, she ran ahead
to a cornfield. There she squatted and banged two rocks
together in a steady rhythm as she sang, encouraging them
to swarm:

Saberi se~ majko~

Saberi se~ seko~
Saberi se~ drage~
Saberi se~ ljube.
Gather together, mother,
Gather together, sister,
Gather together, dears,
Gather together, Sw"eet ones.

Hvataj mi se~ majko~

Hvataj m1.- se~ seko~
Hvataj mi se~ drage~
Hvataj mi se~ ljube.
Cling to me, mother,
Cling to me, sister,
Cling to me, dears,
Cl ing to me, sweet ones.

74
While holding a hive under swarming bees in a tree, the
beekeeper urges the bees into her hive by singing "Drop
toward the ground, mother •... " (Photo by WiUiam G.
Loc7o»ood)
75
Interspersed with these songs, she repeated short rlslng
whistles. Finally, the bees swarmed on a fru'it tree.
Next, the beekeepe+ prepared an empty hive by rub~
bing the opening with a special leaf, called bee's grass,
which she said attract s bees, and spink1ed the interior
with a mixture of milk and honey. While someone else
shook the tree, the beekeeper held the empty hive under
it and sang:

Pada' zemlji" majko"

Pada ' zemlji" seko"
Pada • zemlji" drage"
Pada ' zemlji" ljube.
Drop toward the ground, mother,
Drop toward the ground, sister,
Drop toward the ground, dears,
Drop toward the ground, sweet anes.

Bees dropped into the hive and onto the ground. The hive
was turned right side up on a board, and the bottom was
propped up with rocks to allow bees to enter. The bee~
keeper gently brushed bees into the hive with a twig as
she sang:

u kući" majko"
U kući" seko"
U kući" drage"
U kući" ljube.
Into the house, mother,
Into the house, sister,
Into the house, dears,
Into the house, sweet anes.

At this time an embroidered towel was draped over

the top of the hive "so that the bees would recognize
their new home," and another song was sung:

Eto kiše" majko"

Eto kiše" seko"
Eto kiše" drage"
Eto kiše" ljube.
Here's the rain, mother,
Here's the rain, sister, "l
Here's the rain, dears,
Here's the rain, sweet anes.
76
 This particular household also has a tradition, not
now shared by others, which requires any non-kin observ-
er of the hiving process to leave a personal object on
the new hive. There were hives with a key chain? a Cath~
olic religious medal, a piece ot a rosary, a scarf, and a
man's white shirt. These items insure the well-being of
the hive and also identify it to the bees. Artifacts are
also attached near hives to attract the evil eye away
from the bees. This beekeeper had hung a chain of egg
shells around the hives and nearby erected a pole with a
pair of sheep horns and tassels of black and red yarn.
She explained that passersby would remark, "Oh, look at
the horns," rather than, "Oh, look at the bees."

Children' s Songs

Children's songs are important as indicators of

socialization. Until they are regarded as youths, chil-
dren sing only with children. Whereas their songs are
like the aduIts' in structure, content is regarded by a-
dults as only something children would sing. However,
careful study shows the subject matter of children's
songs to be similar to the songs of the youth. In the
following example, girls already sing in anticipation of
unhappiness in marriage:

Udala sam~ obiknula se nisam~

Dodje~ majko~ pa se vidjet gdje sam.
I am married, but I'm not accustomed to it,
Come, mother, see what it's like where I am.

The nearest Muslim village is Ivica. As neighbors,

the children attend the same school and share the same
religious leader. They often are rivals in play, friends
in youth, and fictive kin by marriage. It is no surprise
that children's songs communicate this interrelationship.
Young boys sing about their age peers in Ivica:

Ivičani repati~
Sutra ćete krepati.
Teško Y'Uci~
Koja će vas vući.
Teško lopati~
Koja će Vas kopati.

77
 Ivicani tails,
Tomorrow you will die.
It's difficu1t for the hand,
That will drag you away.
It's difficu1t for the shQve1,
That will bury you.

The following song was recited by a ~laninica girl.

Although she is still a child, she sings about 1ads, not ,J

boys, as though they were potential spouses, and express-

es dis gust for their unkempt appearance, real or fabri-
cated:

Crna bluz a crveni konci 3

Ne valjaju Ivičani momci.
Black b10use and red threads,
Ivica 1ads are not worth anything.

Dance Songs
Dancing like singing is an important form of social
interaction. Several dances are associated with a speci-
fic melody ("Biranje kolo") or specific song verses ("Zec-
ko kolo" and "Kozaračko kolo"). These are simple circle
dances in which participants join hands and walk in a
counterc1ockwise direction as they sing. Although ma1es
and fema1es group together by gender, 1ads at one end and
maidens at the other, the individuals who link the two
segments together are fictive or consanquinea1 kin and not
potential spouses.
"Biranje kolo," which means a dance in which partners
are chosen, is performed by all 1ads and maidens of Potoci
and much of Skoplje Polje. In general, kolo danced to
songs is slow moving without much interaction between par-
ticipants. "Biranje," on the other hand, is like a game
in which an individual in the center of the circle is en-
couraged by the dancers' song to choose someone to join
her or him. Partners in this dance are also often linked
by residence or marriage, although occasionally boyfriends
and girlfriends are chosen, despite teasing from others.
(See Appendix I, No. 337 for an example of "Biranje" re-
corded at a prelo and Appendix III, Nos. 10-11 for the
musical transcription.) (

"Zecko kolo" and Kozaračko kolo" have been performed .~

in the region only since World War II. "Kozaračko kolo"

78
came out o~ the Partisan movement and a version is o~ten
taught in school. In Planinica only some of the original
verse$, which appear at the beginning of the song, are
still sung; the remainder of the dance song consists of
verses that may be sung to other melodies as well. (See
Appendix III, No. 18 for a musical transcription.)

Kozaro~ duga i široka~

Ja u tebi ne otsZu~ih roka.
Kozara je sve od sebe d4Za~
Prve borce za Tita Marša Za.
Kozara, long and wide,
I didn't serve my full time.
Kozara gave everything of herself,
The first fighters for Marshal Tito.

"Zecko kolo" also begins with an expression of pat-

riotism, and like "Kozara~ko," tends to be historical in
content. (See Appendix III, Nos. 14-17 for musical tran-
scriptions .)

ZaigraZo Zecko koZo~

ZaigraZo Zecko koZo~
Na zemZjištu drug Titovom~
Na zemZjištu drug Titovom~
Komandira dr~e Peko~
Čuo si se nad4Zeko.
Zecko kolo is beginning to turn,
Zecko kolo is beginning to turn,
In Comrade Tito's country,
In Comrade Tito's country,
Commander Comrade Peko,
You are heard faraway.

A performance seldom comes to an end without a sig-

nal. Rather, formulaic songs bring closure to singing
and dancing:

Što sam znaZa~ to sam ispjevaZa.

Što ostaZo ne bi u vagon staZo.
What I knew, I have sung.
What remains would not fit in a wagon.

79
 NOTES

lSee William Hugh Jp.nsen, "The Esoteric-Exoteric Fac-

tor in Folklore," in The Study of Folklore .. ed. Alan Dun-
des (Englewood C1iffs: Prentice Hall, 1965), pp. 43-51.

2 Roman Jacobson, "Closing Statement: Linguistics

and Poetics," in Style in Language .. ed. Thomas A. Sebeok
(Cambridge, Mass.: MIT Press, 1960), pp. 350-377.

3 The words pizda .. pička and pica mean cunt. Accord-

ing to local distinction, pizda and pička are large,
"well used"; pica is the cunt of a virgin or someone who
has had little sexual experience.

~Bart6k and Lord, p. 268. In 1974 bawdy verbal fo1k-

lore collections of Vuk Stefanovic Karadžic finally were
published, but sale of the book was prohibited. It does
not seem that the obscenities, per se, were the cause,
but rather the association with Vuk, who standardized and
ennob1ed the Serbian literary language, and who himself
is something of a culture hero. A few years later, how-
ever, popular paperback editions of "erotic" folksongs
appeared in Serbian, Croatian and Slovenian. Some of
these publications are A. Kostic, Seksualno u našoj nar~
noj poeziji [Sexuality in Our Folk Poetry] (Beograd:Medi-
cinska knjiga, 1978); Igor Mrduljaš, ed., Kudilja i vre-
teno [Hemp and Spindle] (Zagreb: Znanje, 1980); Marko
Terseg1av, ed., KZinček lesnikov [Wedge from a wild Apple
Tree] (Ljubljana: Cankarjeva za1ozba, 1981); and, from
Vuk's collection, Vuk Stefanovic Karadzi~, Crven ban [The
Red Governor], ed. Blagoje Jastrebiđ (Beograd: Prosveta,
1980) •

5Er1ich, p. 145.

6Songs 125-129 are more apt to express sexual desires

than any of the scata1ogica1 or obscene songs.

7 Ašikovanje is the term used to designate this type

of flirting and has a special association with Bosnian
Muslims (see škaljić, p. 103). It recurrs in sevdalinka
and Bosnian poetry as well as in folksongs.

8Vucinich, p. 90.

80
 9 The same curse was recorded in Romanian folksong.
See Bela Bartok, Rumanian Folk Music, 3 Vo1s. (The Hague:
Martinus Nijhoff, 1967), p. xci.

10Catho1ics in nearby villages also sing similar

songs about villages in which they could marry. See Ap-
pendix II, Nos. 95-105.

II Jansen, "The Esoteric-Exoteric Factor .... "

12This is not the case with nearby Catholic villag-

ers who sing songs praising themselves. See Appendix II,
Nos. 106-108.

13 For a similar discussion about fo1k-sty1ed popular

music, see Andrei Simic, "Commercial Folk Music in Yugo-
slavia: Idealization and Reality," Jou:rnal of the Asso-
ciation of Graduate Dance Ethnologists~ Vol. 2 (1978-79):
25-37.

14 Erlich, p. 229.

15 See William G. Lockwood, European Moslems~ pp. 61

and 125. He suggest s that women take more b1ame than is
justified. It seems that conflict between brothers is
sometimes rephrased in terms of their wives in order not
to transgress the standards regarding agna tic solidarity.
He maintains that economics and the concurrent increased
involvement in a cash economy are a more significant
cause for extended family dissolution. Also see D. B.
Rheubottom, "Dowry and Wedding Celebrations in Yugoslav
Macedonia," in The Meaning of Marriage Payments~ ed. J. L.
Comaroff (New York: Academic Press, 1980), pp. 221-249.

16During the period of fieldwork, only one Muslim

marriage of this type occurred in the area. Severalwom-
en from Planinica traveled to the bride's village in or-
der to observe the wedding party fetch the bride. It was
a memorab1e experience and they remarked that they would
not have missed it.

17 Cf. Radmila Kajmakovic ,"Etnološk~ i fo1k1cn:išticka

ispitivanja u 1ivanj skom polju: ženidba običaj i" [Ethno-
logical and folkloristic investigation on the Livno Plain:
Wedding Customs], Glasnik Zemaljskog muzeja u Sarajevu~

81
XV-XVI (1961):203-219.

18 V1ado Mi1oševic,.Bosanske narodne pjesme [Bosnian

Folksongs], Vol. III (Banja Luka: Muzej Bosanske Kraj-
ine, 1961), p. 157 and Vol. IV (1964), p. 323; Ljuba
Sim ic , "Narodne pjesme" [Folksongs], Glasnik Zemaljskog
muzeja u Sarajevu~ XV-XVI (1961):299; Jelena Dopudja,
"Narodne igre s područja Jajca" [Folk Dances from the
Region of Jajce], Bilten Instituta za proučavanje folk-
lora~ Vol. 3 (1955):9.

19 The term in Planinica for the trousseau is ruho.

It includes items the bride has prepared since childhood
and should consist of furnishing for one room, e.g., a
rug, curtains, wall hangings, bedding, a chest, and gif ts
for the future groom's entire household and kin.

20 See Barbara Krader, "Serbian Peasant Wedding. Songs,"

2 vo1s. (Ph.D. dissertation, Radc1iffe, 1955).

21 Other studies on 1u11abies are Robert B. K1ymasz,

"Social and Cultural Motifs in Canadian Ukrainian Lu11a-
bies," Slavic and East European Journal~ Vol. XII, No. 2
(1968):176-183 and Bess Lomax Hawes, "Folksongs and Func-
tions: Some Thoughts on the American Lu11aby," Journal
of American Folklore~ Vol. 87 (1974):140-148.
22Er1ich, p. 387-388.

82
Maidens singing at an evening pre to. Note the hand posi-
tion of the lead singer. (photo by wittiam G. Lockwood)

83
Weaving is more enjoyable when the work is shared. Women
and maidens visit the weavers daily, but singing also
helps to pass time. Here, the maidens are between songs.
(Photo by William G. Lockwood)

84
While sewing her son's shirt, a mother sings softly and
rocks a cradle with her foot. (Photo by WiZZiam G.
Lockwood)
85
Village women, maidens and children gather ed to witness
the spinning of the tevsija which occurred for the bene-
fit of the author. Today, this art is becoming rare in
this area of Bosnia. Here, the performers are women;
the singer directs her song toward the whirling tevsija.
(Photo by William G. Lockwood)

86
Maidens dance in a meadow at the edge of the village dur-
ing an annual village celebration which friends and re-
latives from elsewhere attend. (Photo by WiZZiam G.
Lockwood)
87
During an annual village celebration, rnaidens stro 11 the
village paths to see and to be seen. (Photo by William
G. Lockwood)
88
 v
CONCLUSION

The intent of this study has been to discuss a cor-

pus of songs and the context of their performance, while
examining their social implications and the relationships
and worldview expressed in them.
The interactions of the songs' social functions and
themes reveal the use of poetic conventions. License to
make literal and metaphoric obscene commentaries in song
is fully exercised. Similarly, youth comment on matters
of values, morality, and behavior of the opposite sex
without violating codes of behavior themselves.
The structure of songs is also socially functional.
A line may not have any bearing on the message of the song
as a whole and may just provide rhyme (see Nos. 39 and
254), but it is more common that a line describes a re-
versal of social norms and, thus, is a signal for accept-
ed norms and behavior (see No. 50).
The content of songs in this collection ranges from
literal descriptions of specific events to metaphoric com-
ments about values. The vitality of the songs is due to
their emphasis on contemporary concerns; their relation-
ship to reality is undeniable. Singers not only express
their ow~ attitudes in songs but those of the community
as well. For example, maidens' songs about social rela-
tionships within a household touch on potential problems
of great importance. However, these songs do more than
merely describe the maidens' feelings; they also exacer-
bate their anxieties, reinforce their trepidations, and
even affect their behavior.
Courtship is synonymous with joyous youth; it is the
focus of a young person's life. On the other hand, the
patterns of courtship are also responsible for the anxi~
eties about marriage. In song, both cultural ideals and
actual social behavior associated with courtship are ex-
pressed. With criticisms and "put-dow~s" of the opposite
sex, songs set a tone of disapproval, while the singing
itself may be flirtateous. Behind a mask of song, indi-
viduals behave as a group. But as they tease and flirt,
they also express the norms of society. Flirtation, then,
is culturally acceptable in song performance and is part
of courtship tradition. On the other hand, a maiden and
lad may visit together late at night. Although such in-
teraction is not condoned, it is a frequent occurrence.

89

.-------.-~--- ..
How.ever. premarital relations are rare since such action
would limit a maiden's choice of a husband; only lads re~
garded as less desirable, older divorcees, or widowers
would consider her for a wife. Visits of this kind are
often precursors to elopement. Consequently, many a maid-
en's brother has been said to attempt to prevent such vis-
its by physical force; thus, they are kept secret.
Gender unity is reinforced when songs of a ridicul-
ing, insulting and obscene nature are performed. Maidens,
for example, are socially restricted from publically sing-
ing obscene songs; women are even more restricted. Con-
sequently, females sing such songs for each other only in
absolute privacy from males. In such instances, the songs
are entertainment; this is their intent. Males, on the
other hand, intend obscene songs for other purposes also.
They usually sing such songs, most of which are about
maidens, when maidens are present. Their songs are not
erotic; rather, they are degrading and exploitative. The
songs emphasize male power and superordination which is
stressed even more by the fact that the females cannot re-
spond in kind. Instead, they must resort to songs which
insult male pride and masculinity since only such retali-
ation is socially acceptable. Despite a lack of shock
effect, however, maidens' songs put males in their place
and reject their dominance. Here, of course, song is
wishful; males are, nonetheless~ dominant.
The performance of other songs functions to reinforce
solidarity of Planinicani, in general, vis~~-vis others.
Villages of Potoci are regarded as backward and isolated
by the lowland population of Skoplje Polje. In reaction
to such stereotyping, Planinicani proudly defend their
village. They do not have electricity nor a road, but
they have features lowlanders lack, e.g., their village
is believed to have the best water and fresh mountain air.
However, these qualities are only implicit in their songs.
The singers praise Planinica by critic iz ing other villages
and villagers; their standard for comparison is Planinica.
Water is more accessible, unlike in other mountain com-
munities; mountainsideP1i:ii:iliiTca is never clogged with
knee-high mud as are the villages in the valley; Planinica
is self-sufficient, unlike the lowland villages which de-
pend on the nearby market town. Planinicani form a front
against their critics in songs.
Just as the act of singing strengthens the unity of
a group, refusal to sing suggests the lack of unity. In
Potoci, for example, Muslim and Catholic maidens plant

90
trees together for the state forestry. Singing can be
heard throughout the day, but the Catholic maidens, who
are in the minority, do not participate. It is not that
the words are strange to them; quite the contrary, they
sing many of the same songs with slight variation (see
Appendix II). Rather, these youth live in ethnically
homogeneous villages and do not have opportunities to
associate with each other, unlike in mixed villages. Con-
sequently, the cultural barriers, perpetuated by lack of
contact, prohibit shared song performance. Clearly, sing-
ing together and, more important, expressing the same
sentiments, is a sign of groupness; refusal to partici-
pate is also evidence of this fact.
Song performance is both a sign and mechanism that
links generations of Planinicani in a process of cultural
continuity. Children observe and imitate, while youth,
encouraged by adu1ts, perform. Thus, tradition is trans-
mitted and perpetuated. Much of the excitement of per-
formance depends on the composition of the audience;
songs directed against males can be performed without the
presence of 1ads, but it is more fun when they are there.
The audience shares the energy and vitality of such per-
formances, which may be shocking or merely satisfyingly
appropriate, but always enjoyable. However, it shouldbe
stressed that song performance is as much auto-communic-
tive as allo-communicative. In fact, the performers of
songs' messages are often their most significant receiv-
ers, for example, songs about the mother-in-law. An out-
side audience also influences the degree to which songs
are improvised. Singers manipulate the context to their
benefit and rework song texts to address specific issues,
depending on the audience and the dynamics of the situ-
ation. It should be understood, however, that most songs
are about a social category or status rather than about a
specific individual.
The social implications of a song performed by fe-
males are different from those of the same song performed
by males. The meaning and function depend on the total
context of the performance. The act of singing reinforc-
es the bond between females both horizontally and genera-
tionally; the song itself becomes a medium of communica-
tion, as well as a sign of social position. Singing is
especially important because of social and cultural re-
strictions on fema1es. Song is one of the few sanctioned
expressive outlets available to females.

91
Moje srce vene kad ne pJeva3
K'o karanfiZ kad se ne zaZJeva.
My heart withers when it doesn't sing,
Like a carnation when it isn't watered.

92
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07
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 APPENDIX I

SONG TEXTS FROM PLANINICA

 Songs]. Glasnik Zemaljskog muzeja u Sarajevu~ XVII
(1962):199-225.

lvrianos, L. S. The Balkans Since 1453. New York:

Holt, Rinehart and Wilson, 1961.

~ar, Peter. Industrialization of Bosnia-Hercegovina~

1878-1918. Seattle: University of Washington Press,
1963.

a1jic, Abdullah. Turcizmi u srpskomhrvatskom jeziku

[Turkisms in the Serbocroatian Language]. Sarajevo:
Svjetlost, 1966.

rseg1av, Marko, ed. K1inček lesnikov [Wedge from a

Wild Apple Tree]. Ljubljana: Cankarjeva za1ozba,
1981.

Lcinich, Wayne. "Some Aspects of the Ottoman Legacy ."

In The Balkans in Transition~ pp. 81-114. Edited by
Charles and Barbara Je1avich. Berkeley: University
of California Press, 1963.
 APPENDIX I

SONG TEXTS FROM PLANINICA

 KEY TO PRIMARY INFORMANTS

UnZ,ess otherwise noted~ aU individuaZ,s are MusUms and

were born in and are residEnts of Pl-aninica. Information
represents the situation in 1968.
Informant A: Female. Age 20, unmarried, literate.
Informant B: Female. Age 20, unmarried, literate.
Informant e: Female. Age 20, unmarried, literate. In
the same household as Informants K, N, O,
S, and V.
Informant D: Female. Age 16, unmarried, literate. In
the same household as Informants Q and T.
Informant E: Female. Age 26, unmarried, nonliterate.
In the same household as Informants X and L
Informant F: Male. Age 35, married, head of household,
nonliterate.
Informant G: Male. Age 29, married, head of household,
religious leader, literate. From village
Botun, resident of Planinica three years.
Informant H: Male. Age 30, married, head of household,
nonliterate.
Informant I: Male. Age 39, divorced, head of household,
literate. In the same household as Infor-
mants E and X.
Informant J: Male. Age 36, married" head of household,
nonliterate. Brother of Informant S.
Informant K: Male. Age 28, married, literate. In the
same household as Informants e, N, 0, S, V.
Informant L: Male. Age 32, married, head of household,
nonliterate. Brother of Informant M.

Informant M: Male. Age 39, married, head of household,

literate. Brother of Informant L.
Informant N: Female. Age 50, married, female head of
extended household, nonliterate. Born in
Vileši (Glavice) and married into Planini-
ca ca.1950. In the same household as In-
formants e, K,O, S, V.

1 f'l1
Informant o: Female. Age 33, married, nonliterate. Born
in Karadza (Glavice) and married into Plani-
nica in- 1965. In the same household as Iu-
formants e, K, N, S, V.
Informant P: Male. Settled Gypsy, age 45, married, re-
sident of Gornji Vakuf, literate.
Informant Q: Male. Age 49, married, head of household,
nonliterate. In the same housho.1d as In-
formants D and T.
Informant R: Male. Age 27, divorced, nonliterate.
Informant S: Female. Age 28, married, nonliterate. In
the same household as Informants e, K, N,
O, V.
Informant T: Female. Age 13, nonliterate. In the same
household as Informants D and Q.•
Informant U: Female. Age ll, a second grader. In the
same household as Informant W.
Informant V: Male. Age 10, a second grader. In the
same household as Informants e ,.K, N, O, S.
Informant W: Female. Age 34, married, nonliterate.
Born in Grnica and now in same household as
Informant U.
Informant X: Female. Age 60, widow, head of household,
nonliterate. Born in Pavice and now in
same household as Infor:mants E and I.
Informant Y: Female. Age 43, married, nonliterate.
Born in Jagnid.
 SONGS OF OPPOSITION

Protiv momakal

l. Grdna rano~ našiju momaka~

Dala bih ih za šaku lješnjaka. {Informant A~ BJ
How awful are our lads,
I'd trade them all for a handful of hazeInuts.
2. Naši momci kao mršavi konji~
Sad će doći Italijani po njih. {Informant ej
Our lads are like skinny horses,
Now the Italians will come for them. 2
3. Ide dragi i on vodi cuku~
Obojica jednaka u struku. {Informant BJ
My love goes along and leads a dog,
Both are the same build.
4. Moj dragane~ teretni vagone~
Kad zapjeva kon da rekne june. {Informant ej
My beloved, my freight wagon,
When he begins to sing, it's like a steer bellowing.
5. Kolegice~ ako imaš novca~
Jeftinija lola nego ovca. {Informant BJ
My friend, if you have some money,
A sweetheart is cheaper than sheep.
6. Vidim ovaca~ vidim kukavaca~
Ima teži šumski jazavaca. {Informant A~ B~ ej

I see sheep, I see cuckoo birds,

There are heavier forest badgers.3
7. što si~ mali~ obisio glavu~
Kao zeka kad je trava meka? {Informant B~ ej

lSee Nos. 67-68 for maidens' songs directed against

married men.
2Italians buy horses which are no longer able to work,
and, it is said, the meat is eaten and hooves, etc. are
used for glue.
3Badgers refers to lads, of which there are better
ones than those present.
 Why did you hang your head, little one,
Like a hare when the grass is tender?
8. U mog dike oči povelike~
K'o u ridje kad na zob naidje. (Informant A~ B~ DJ
My dear one has large eyes,
Like a bay's when it finds oats.
9. Neću momka tanka povisoka~
Već malehna širokih ramena. (Informant BJ
I will not marry a lad who is tall and slender,
But one who is short with broad shou1ders. 4
10. Moj dragane~ ružica iz plota~
I tvoja je propala ljepota. (Informant A~ BJ
My beloved, little rose from the fence,
Your beauty has also withered.
11. Moj dragane ~ od sedamnaest ki la~
Hajde kući~ nek te nana lila. (Informant A~ BJ
My be10ved of seventeen ki1os,
Go home, let your mother rock you.
12. Moj dragane~ na me se ne ljuti~
Ja karanfU~ a ti papir .žuti. (Informant A~ EJ
My beloved, don't be mad at me,
I am a carnation, but you are ye110wed paper.
13. Moj dragane~ frčgave ti kose~
Kud te djavU svaku večer nose? (Informant BJ
My beloved, you have frizzy hair,
Where do the devils take you every night?5
14. što se dragi obisio rame?
Neću na te tovariti slame. (Informant B~ DJ
\fuy is your shou1der bent over, dear?
I will not load straw on you.
15. Moj dragane~ oko ti vrljavo~
Evo stoja~ pogledaj me pravo. (Informant B~ ej
My beloved, your eyes are crossed,
Here's a hundred dinars, look at me straight.

4The reference here is to a specific boyfriend.

5 Hair usually is straight or soft1y waved; very curly
hair is not desirable.
16. Moj dragane~ grbave ti kože~
Ne daj mi te poljubiti~ Bože. (Informant BJ
My beloved, you have awfu1 skin,
God forbid that I should kiss you.
17. Neću momka koji kosu gladi~
Već ću onog koji dobro radi. (Informant BJ
I will not marry a lad who slicks do~~ his hair,
But I will the one who works hard.
18. Stare momke strpat u garažu~
Gdje se stari kamioni slažu. (Informant BJ
Old bachelors are crammed into the garage,
Where old trucks are stored.
19. Moj dragane~ glupavi seljače~
Hajde kući pa ispeglaj gače. (In.formant BJ
My beloved, stupid villager,
Go home and press creases in your pants.
20. Misliš~ dragi~ da si Sarajlija~
Na selu se rodio k'o i ja. (Informant BJ
You think, dear, that you are a man from Sarajevo,
But you were born in the village just as I was.
21. Alaj imam ja dragana fina~
I kad kosi rukavicu nosi. (Informant ej
Oh, I have a fine beloved,
And when he cuts hay, he wears gloves.
22. što se ono preko polja praši?
Idje dragi magaricu jaši. (Informant BJ
Hhat is making dust across the field?
My dear one is coming on a donkey. G
23. Ja sam sinoć čitala novine~
Da je dragi up'o u spirine. (Informant BJ
Last night I read in the newspaper,
That my be10ved fell into a bucket for fodder.
24. Dodje~ dragi~ kad je pomrčina~
Lako ti je kad je mjesečina. (Informant B~ ej

GIt is less prestigious to have a donkey than a horse;

therefore, there are no donkeys in the village.
 Come, love, when it's pitch black,
It's easy for you when there's moon1ight. 7
25. Moj se dragi najeo krompira~
Ide cestom k'o kamion svira. (Informant ej
My dear one ate his fill of potatoes,
He goes along the road backfiring like atruck.
26. Moj se dragi vozio na pivcu~
Prije voza stigao na stanicu. (Informant BJ
My dear drove a rooster,
He arrived at the station before the train.
27. Misli dragi od jelova panja~
"Evo cure~ evo milovanja. 1/ (Informant BJ
My dear one thinks of a fur log,
"Here's amaiden, here's some caressing."
28. Moj dragane~ ti si slaba lola~
Tebi treba u čelo maco la. (Informant BJ
My beloved, you are a poor sweetheart,
You need a sledgehammer in the forehead.
29. Moj dragane~ un crvenoj vesti~
Dodje meni~ neću te pojesti. (Informant BJ
My beloved, in the red sweater,
Come to me, I won't eat you.
30. Moj dragane~ jel' ti kuća nova?
Da ponesem store za prozore? (Informant BJ
My beloved, is your house new?
Shall I bring lace curtains for the windows?8
31. Vidjela sam svoga dragog stanje~
Kroz kuću mu proličaju vrane. (Informant BJ
I saw my dear one's situation,
Crows fly right through his house. 9
32. Moj dragane~ moderan si ipak~
Sa jabuke pao si na šipak. (Informant A~ BJ

7Lads often make their way to girls' houses at night by

moonlight, where they talk late into the night (see Nos.
119-121) •
8-9These songs imply that the house is undesirab1e and
improperly cared for.
 My beloved, you are modern,
IO
But you fell from an apple anto a seed.
33. Moja lola uči za šofera~
Izučio samaricu tjera. (Informant BJ
My sweetheart studies to be a chauffeur,
He learned how, but all he drives is a pack saddIe.
34. Žen' se~ dragi~ i odgoji mi sina~
Moja majka hoće zeta fina. (Informant BJ
Get married, love, and raise a son for me,
My mother wants a fine son-in-law.
35. Došlo pismo i na njemu dagma~
žen' se dragi dok je za te jagma. (Informant BJ
A letter came and on it a seal,
Get married, dear, while there's something left to
choose from.
36. Ako~ dragi, nemaš ručnog sata,
Prodat ću ti ploču od dorata. (Informant A~ DJ
Dear, if you don't have a w~ist watch,
I will sell you a disk from a horse's harness.
37. Moj draga:ne~ jesi ga budala,
Da te volim~ ja bih te gledala. (Informant BJ
My beloved, you are a fool,
If I loved you, I would look at you.
38. Misliš, dragi, da te drago volim,
Gdje ja s tobom veselo govorim. (Informa:nt BJ
You think, dear, that I dearly love iOu,
Whenever I talk cheerfully with you. l
39. Eto voza, eto teretaša,
Eto moga lola budalaša. (Informant BJ
There's a train, there's a load,
There's my sweetheart idiot.
40. Neću momka koji Boga psuje,
Već ću onog koji ga postuje. (Informant BJ

ID This ridicules a lad's inflated ego.

II See No. 62.

,.
 I will not marry a lad who curses God,
But I will marry one who honors Him.
41. U mog dragog sahatić na ruci~
Prodaj sahat pa majku obuci. (Informant ej
My dear one has a w~istwatch,
Sell your watch, buy your mother something to wear.~
42. Kosa moja pala nad očima~
Prkosila potočkim momcima. (Informant BJ
My hair fell over my eyes,
It is obstinate like the Potoci lads.
43. Planiničani~ alaj ste u strani~
U tebe su momci k'o hajvani. (Informants ej
Planinicani, you are isolated and backward,
Your lads are like animals.
44. Vidi momaka iz dva iz tri sela~
A iz moga~ nema ne jednoga. (Informant ej
See the lads from two, from three villages,
But from mine, there isn't one. 13
45. Planinica~ ispod tebe Doci~
Najgore su u tebe sad momci. (Informant ej
Planinica, below you [in the valley] is Dolac,
The very worst right now are your lads.
46. Po čemu možeš poznati budalu?
Zimi šešir a ljeti šubaru. (Informant BJ
How can you recognize an idiot?
In the winter he wears a brimmed hat, in the summer,
a fur cap.14
47. Moj dragane~ jesi ili nisi~
Okreni se da vidim čiji si. (Informant ej

12 This song ridicules the lad whose family does with-

out essentials while he enjoys luxury items.
13 This song means that the males present from her vil-
lage are still children (dite).
14 The song ridi~ules lads who wear hats that are signs
of other ethnic groups and espec~ally during the w~ong
season.
 My beloved, are you or are you not,
Turn around so I can see whose you are.
48. Moj draga:ne 3 ako si me liznuo 3
Nisi3 bogami3 obraza odgriznuo. (Informa:nt B)
My beloved, just because you 1icked me,
You didn't, by God, bite my cheek. 15

Protiv cura 16

49. Cwu ljubim 3 cwa kaže "Hvala 3 "

Da je prava ne bi se ni dala. (Informant F)
I kiss a maiden, the maiden says, "Thanks,"
If she were proper, she wou1dn't have allowed it. 17
50. Imam d:L>agu previše valjana3
Tkala ćilim cijelu godinu dana. (Infomant G)
I have a sweetheart who is over diligent,
She wove a rug for a whole year. lS
51. Neće cwe kratkijeh rukava 3
Jer rukava našu vjeru kvare. (Infomant F)
The maidens will not wear short sleeves,
Because short sleeves corrupt our faith. 19
52. Cwa me se hvali da je mlada3
Od starosti trese joj se brada. (Infomant H)
Amaiden boasts that she is young,
Her chin shakes from old age.
53. Zini3 mala3 da ti vidim krajke 3
Koliko si starija od majke. (Infomant H)

15 This song was the response to No. 49.

16 See No. 302.
17Maidens responded to this song with No. 48.
lSA year is a long time to weave a rug. This song rid-
icu1es, implying laziness.
19According to religious doctrine, fema1es should not
expose their arms; nonetheless, maidens do wear short
sleeves and this song is critical of their behavior and
disregard for Muslim custom.

1 "n
 Open your mouth, little one, so I can see you molars,
How much older you are than mother.
54. Prodaj~ majko~ i kravu i tele~
Pa mi kupi cipelice hele. (Informant G)
Mother, sell the cow and ca1f,
And buy me white shoes. 2o
55. Garavuša~ šteta što si mala~
Uzeo hih te na jesen hez para. (Informant I)
Dark eyes, what a shame you are small,
I would marry you in the fall without money. 21
56. Svaka hi se curica udala~
Da joj nije ispod nosa hala. (Informant J)
Every little girl would get married,
If snot were not under her nose.
57. Moja mala mršava k'o tele~
Nikad ti se udati ne vele. (Informant K)
My little one, skinny like a ca1f,
It is prophesied that you will never marry.
58. Oj djevojko~ zubi ti se hijele~
K'o u moje krepane kohile. (Informant L)
Oh, maiden, your teeth are white,
Like those of my dead mare. 22
59. Oženi se i dovede iz Srema~
Pa mi ne zna ni ručka da sprema. (Informant G)
He marries and brings her from Srem,
And she doesn't even know how to prepare 1unch. 23
60. Oženi se i dovede iz Broda~
Prvo jutro ne može da hoda. (Informant G)

20 This song ridicules a maiden's desire to be nice1y

dressed no matter how much her :family must sacrifice.
21 This song was addressed to a specific maiden.
22 That is, the teeth are yellow.
23 Srem is a region in northern Yugoslavia where the
culture has a strong Hungarian influence. This song im-
plies different values beyond cooking.
 He marries and brings her from Brod,
The first morning she isn't able to wa1k.2l;
61. Zalud~ mala~ svileni pukavi~
Kada nemaš pameti u glavi. (Infomant F)
In vain, little one, you wear silk,
When you don't have brains in your head.
62. Mišliš~ mala~ da ja tebe volim
Gdje ja s tobom veselo govopim. (Infomant F)
You think, little one, that I love you,
Whenever I talk cheerfu11y with you. 25
63. Misle aupe od jelovog panja~
Evo momka~ evo milovanja.
Kad je došla do jelovog panja~
Nema momka~ nema milovanja. (Infomant F)
Maidens think of a pine log,
There's a lad, there's caressing.
When she came up to the pine log,
There was no lad, there was no caressing. 26
64. Vidi aupa~ vidi kukaviaa~
Hajmo~ momai~ tražit hudoviaa. (Informant F)
See the maidens, see the cowards,
Let's go, fe11ows, and find some widows. 27
65. Ne plači~ mala~ kad u vojau hodam~
Kad se vratim ćoraVu te vodam. (Informant F)

Don't cry, little one, when I go into the army,

When I return, you will be blind from crying.
66. U Bugojnu nestalo karmina~
Teško auri koja nije fina. (Info man t N)

2l;Brod is located on a flat plain. The new bride is

unable to walk because she is not accustomed to the
strenuous mountain travel she experienced walking to Pla-
ninica.
25 See No. 38.
26 See No. 27.
27In folklore, widows are associated with easy sex.

111
 There is no lipstick left in Bugojno,
That 1s difficu1t for a maiden not good 100king. 28

Protiv covjeka

67. Oženjeno~ ne gledaj me~ bena~

Hajde kući zove te žena. {Informant AJ
Married one, don 1t look at me, idiot,
Go home, your wife is calling you.
68. Moj komšija zenu ispribijo~
Sve zbog mene ostat će bez žene. {Informant BJ
My neighbor beat his wife,
All because of me, he 11l be left without a wife.

Protiv zena i muževa

69. Moj dragane~ državno magare~

Država tare~ a ja trošim pare. {Informant LJ
My beloved, a state jackass,
The State pays you for your toi1 and I spend the
money.
70. Bećariću oženit' se neću~
Jer je žena velika gurema. {Informant MJ
1111 be a becar, I will not marr~,
Because a wife is a big bother. 2
71. udri ženu sikirom po čelu~
Ženu ubij~ a djevojku ljubi. {Informant HJ
Hit your wife on the forehead with an axe,
Kill the wife, and kiss amaiden.
72. Umri~ ženo~ da te više nema~
Da dovedem Šokica iz Srema. {Informant MJ
Die, wife, so there is no more of you,
30
So I can bring a little Croat fr6mSrem.

28 No • 339 was the response to this song.

29 A becar is a bachelor who enjoys women, drink and
music. See No. 347.
30 Srem is in northern Yugoslavia where men go eachyear
to harvest corn.

'- .-.~- .. ,._;

73. šta ću jadan~ umrla m~ zena~
Ostale joj gaće i ječerma. (Informant I)
What will I do, alas, my wife died,
Her underpants and waistcoat are left.
74. Sinoć mi se dogodila šteta~
Ukralo mi ženu sa kreveta.
I na njojzi gaće od šifona~
Koje vrede pola miliona. (Informant F)
Last night an injury was done to me~
My wife was stolen from bed.
And she was wearing underpants of fine cotton,
Which are worth half a million.
75. Dok sam cura rugaću se ženi~
Kad se udam~ neka ona meni. {Informant BJ
While I'm a maiden I will mock a woman,
When I marry, let her mock me. 31
76. Došle žene da vidJaju mene~
Nek imaju za sutra iglene.
The women came to look at me,
Let them have something to talk about tomorrow.
77. Gledaju me žene iz budžaka~
Misle hude da im mamim ljude.
Hej~ vi žene~ ja vam neću ljudi~
Da ih mamim bilo bi vas ludi. (Informants B~ O)
The women look at me from the corner,
These angry women think that I lure their men.
Hey, you women, I will not take your men,
If I lure them, you would be angry.

Protiv suparnica

78. Kupi~ dragi~ inoči bonbona~32

Žuti'~ pZavi'~ nek ti se udavi. (Informant B)

31Putting themselves in the position of a new bride,

the maidens express the anticipated loneliness and feel-
ings of distrust of other women toward her in this song
and Nos. 76 and 77.
32Literally, inoča means the second wife.
 Dear, buy my rival some candy,
Yellow, blue, let her choke.
79. Videla sam suparrt."icu svoju"
Oči moje vrede cure tvoje. (Inforrnant BJ
I saw my rival,
My eyes are worth more than all of her.
80. Suparnica" ja te se ne hojim"
Ti si krema od cipela mojih. (Inforrnants B" C" NJ
Rival, I'm not afraid of you,
You are the shoe po1ish for my shoes.
81. Suparnica suparnicu klela"
A ja svoju za brata uzela. (Informants B" C" NJ
One rival cursed the other,
But I consider mine as a brother.
82. Inoča se na inoču jadi"
A ja svoju pitam šta mi radi. (Informant OJ
One rival is mad at another,
But I ask mine how she is doing.
83. Kažu meni što si tako žuta"
Umila se" hila voda muta. (Inforrnant BJ
They tell me why you are so yellow,
You washed yourself and the water was muddy.
84. Suparnica" kažem ti u oči"
Pred mojim se draganom ne koči. (Informant BJ
Rival, I'm telling you to your face,
Do not boast in front of my beloved.
85. Suparnica suparnicu klela ..
što si moga dragog uzela? (Informant BJ
One rival cursed another,
Why did you take my dear one?
86. Suparnica .. ja ti lola ne hih..
Samo hoću da prkosim tehi. (Informants B.. C" NJ
Rival, I wou1dn't take your sweetheart,
I only want to tease you.
87. Suparnica .. ako imaš para..
Na prodaju moja lola stara. (Inforrnant BJ

1 1 I.
 Rival, if you have some money,
My old sweetheart is for sale.
88. Suparnica~ suparnice nismo~
Ti si moje pročitaLa pismo~
PročitaLa što ti hona piše~
Da Bog da ga ne dohiLa više. {Informa:nt BJ
Rival, we are not rivals,
You read my letter,
I read what my dear one writes to you,
God grant that you don't receive anymore.
89. U što si se dragi zagLedao?
U inoču mršava k'o dJavot? {Informant BJ
What did you look at, dear?
At my rival who is thin as the devil?
90. U što si se~ dragi~ zagLedao?
U inoču čupava k'o djavoL? {Informant ej
What did you look at, dear?
At my rival who is unkempt like the devil?
91. Imam hLuzu~ nevaLja mi krojaLa~
KrojaLa je suparnica moja. {Informants e~ NJ
I have a b1ouse, the pattern is no good,
My rival sty1ed it. 33
92. Inočice~ ja ti fine hLuze~
Fina kroja~ samo da je tvoja. {Informa:nt DJ
Dear rival, you have a fine b1ouse,
A fine pattern, too bad it isn't yours.

COURTS HIP

93. Ne more se pjesma zapjevati~

što se neće dragi spominjati. {Informant DJ
It isn't possible to sing a song,
Without mentioning a dear one.
94. Dok sam cura svi su momci mOJ~~
Kad se udam samo jedan hroj. {Informa:nt BJ

33 The term "bIouse" in this allegorical song and in No.

92 is a metaphor for sweetheart.
1 1 <:;
 While I am a ma id en all the 1ads are mine,
When I am married there will only be one.
95. U mog dragog sedam cura fina"
Ja sam osma" dždba im je svima. (Informant BJ
My love has seven fine girlfriends,
I am the eighth, the others are nothing to him.
96. Od sveg voća" najvoZim Zješnjaka"
od momaka" Ku:prešaka Muju. (Informant BJ
Of all the fruits, I like haze1nuts best,
Of the 1ads, Mujo from Kupres.
97. Od sve hrane" najvoZim kupusa"
od momaka" najvoUm Jusufa. {Informant BJ
Of all foods, I iike cabbage best,
Of the 1ads, I like Jusuf best.
98. Moj komšija sa sred seZa moga"
Dok je tebe" neću za drugoga. {Informants C" DJ
My neighbor from the center of the village,
While you are here, I will not marry another.
99. ImaZa sam devet jaukZaša"
NajboZje se komšija ponaša. {Informant BJ
I had nine boyfriends,
My neighbor behaves the best.
100. VoZim diku" dika voZi mene"
Srce moje za njegovim vene. {Informant DJ
I love my sweetheart, my sweetheart loves me,
My heart for his heart.
101. Uzmi" dragi" novinu pa načeš"
KoZiko te voZim odmah znat češ. {Informant BJ
Dear, read the newspaper and you will discover,
How much I love you, immediately you will know. 34
102. Oj sviraču" daj mi tu narandju"
Ja sam tVoja" narandja je moja. {Informant BJ
Oh, music ian , give me this orange,
I am yours, the orange is mine.

34 See Appendix II, No. 16.

103. Svaka cura sebi momka bira~
Ja ću sebi što u koZu svira. {Informant BJ
Every ma id en chooses a lad for herself,
I will choose the one who plays music in the koZo.
104. Da Sam znaZa~ učiZa bih škoZu~
Da premami m nastavnika ZoZu. {Informant BJ
If I had known, I would have gone to school,
To lure the sweetheart school teacher.
105. Uči~ draqi~ škoZu i zanate~
Ja ću tecaj pa ću poći za te. {Informant BJ
Study, love, school and skills,
I will take a course and follow you.
106. Uči~ dragi~ gimnaziju škoZu~
Ja ću tečaj~ seZit ćemo moru. {Informant BJ
Go, love, to grammar school,
I will take a course, we will move to the coast.
107. AZaj sam se naigraZa koZa~
Dok je moja tambura Za ZoZa. {Informant ej
I danced koZo to my heart' s content,
While my sweetheart p1ayed the tambura.
108. Moj dragane~ moja ruža Zjetna~
Kad te vidim~ osjećam se sretna. (Informants B~ DJ
My beloved, my summer rose,
When I see you, I am happy.
109. Moj dragane~ tri te sunca sjaju~
Kad te moje oči pogZedaju. (Informant BJ
My beloved, three suns warm you,
When my eyes look at you. 3S
110. NemiZo se Zjubiti ne more~
Ne mogu se usta da otvore.
A za miZa otvore se sama~
Jest u mene i moga dragana.
It isn't possible to kiss someone who is not dear,
My mouth cannot open.

3S See Appendix II, No. 11 for a variant performed by

Catholics.

- --____ --y,0 ___ . __

 There is no lipstick left in Bugojno,
That's difficu1t for a maiden not good 1ooking. 28

Protiv čovjeka

67. Oženjeno~ ne gLedaj me~ bena~

Hajde kući zove te žena. {Informant AJ
Married one, don't look at me, idiot,
Go home, your wife is calling you.
68. Moj komšija zenu ispribijo~
Sve zbog mene ostat će bez žene. {Informant BJ
My neighbor beat his wife,
All because of me, he'll be left without a wife.

Protiv zena i muzeva

69. Moj dragane ~ državno magare ~

Država tare~ a ja trošim pare. {Informant LJ
My beloved, a state jackass,
The State pays you for your toi1 and I spend the
money.
70. Bećariću oženit' se neću~
Jer je žena veLika gurema. {Informant MJ
1'11 be a becar, I will not marr~,
Because a wife is a big bother. 2
71. udri ženu sikirom po čeLu~
Ženu ubij~ a djevojku Mubi. {Informant HJ
Hit your wife on the forehead with an axe,
Kill the wife, and kiss amaiden.
72. Umri~ ženo~ da te više nema~
Da dovedem Šokica iz Srema. {Informant MJ
Die, wife, so there is no more of you,
So I can bring a little Croatfrom ~Srem. 30

28 No • 339 was the response to this song.

29 A bečar is a bache10r who enjoys women, drink and
music. See No. 347.
30 Srem is in northern Yugoslavia where men go each year
to harvest corn.
73. šta ću jadan3 umrla m~ zena3
Ostale joj gaće i ječerma. (Informant I)
What will I do, alas, my wife died,
Her underpants and waistcoat are left.
74. Sinoć mi se dogodila šteta 3
Ukralo mi ženu sa kreveta.
I na nj oj zi gaće od ši fona 3
Koje vrede pola miliona. (Informant F)
Last night an injury was done to me,
My wife was stolen from bed.
And she was wearing underpants of fine cotton,
Which are worth half a million.
75. Dok sam cura rugaću se ženi 3
Kad se udam3 neka ona meni. (Informant B)
While I'm a ma id en I will mock a woman,
When I marry, let her mock me. 31
76. Došle žene da vidjaju mene 3
Nek imaju za sutra iglene.
The women came to look at me,
Let them have something to talk about tomorrow.
77. Gledaju me žene iz budžaka3
Mis le hude da im mamim lj ude.
Hej3 vi žene 3 ja vam neću ljudi 3
Da ih mamim bilo bi vas ludi. (Informants B3 O)
The women look at me from the corner,
These angry women think that I lure their men.
Hey, you women, I will not take your men,
If I lure them, you would be angry.

Protiv suparnica

78. Kupi3 dragi3 inoči bonbona 3 32

Žuti'3 pZavi'3 nek ti se udavi. {Informant BJ

31Putting themselves in the position of a new bride,

the maidens express the anticipated loneliness and feel-
ings of distrust of other women toward her in this song
and Nos. 76 and 77.
32 Literally , inoča means the second wife.
 Dear, buy my rival some candy,
Yellow, blue, let her choke.
79. Videla sam suparnicu svoju~
Oči moje vrede cure tvoje. (Informant BJ
I saw my rival,
My eyes are worth more than all of her.
80. Suparnica~ ja te se ne bojim~
Ti si krema od cipela mojih. (Informants B~ C~ NJ
Rival, I'm not afraid of you,
You are the shoe po1ish for my shoes.
81. Suparnica suparnicu klela~
A ja svoju za brata uzela. (Informants B~ C~ NJ
One rival cursed the other,
But I consider mine as a brother.
82. Inoča se na inoču jadi~
A ja svoju pitam šta mi radi. (Informant OJ
One rival is mad at another,
But I ask mine how she is doing.
83. Kažu meni što si tako žuta~
Umila se~ bila voda muta. (Informant BJ
They tell me why you are so yellow,
You washed yourself and the water was muddy.
84. Suparnica~ kažem ti u oči~
Pred mojim se draganom ne koči. (Informant BJ
Rival, I'm telling you to your face,
Do not boast in front of my beloved.
85. Suparnica suparnicu klela~
što si moga dragog uzela? (Informant BJ
One rival cursed another,
Why did you take my dear one?
86. Suparnica~ ja ti lola ne bih~
Samo hoću da prkosim tebi. (Informants B~ C~ NJ
Rival, I wou1dn't take your sweetheart,
I only want to tease you.
87. Suparnica~ ako imaš para~
Na prodaju moja lola stara. (Informant BJ

, 1 /.
 Rival, if you have some money,
My old sweetheart is for sale.
88. Suparnica~ suparnice nismo~
Ti si moje pročitaZa pismo~
Pročita Za što ti bona piše~
Da Bog da ga ne dobUa više. (Informant BJ
Rival, we are not rivals,
You read my letter,
I read what my dear one writes to you,
God grant that you don't receive anymore.
89. U što si se dragi zagZedao?
U inoču mršava k/o djavoZ? {Informant BJ
What did you look at, dear?
At my rival who is thin as the devil?
90. U što si se~ dragi~ zagZedao?
U inoču čupava k/o djavoZ? {Informant ej
What did you look at, dear?
At my rival who is unkempt like the devil?
91. Imam bZuzu~ nevaZja mi krojaZa~
K:i>ojaZa je suparnica moja. (Informants e~ NJ
I have a b1ouse, the pattern is no good,
My rival sty1ed it. 33
92. Inočice~ ja ti fine bZuze~
Fina kroja~ samo da je tvoja. (Informant DJ
Dear rival, you have a fine b1ouse,
A fine pattern, too bad it isn't yours.

COURTSHIP

93. Ne more se pjesma zapjevati~

što se neće dragi spominjati. (Informant DJ
It isn't possible to sing a song,
Without mentioning a dear one.
94. Dok sam cura svi su momci mOJ~~
Kad se udam samo jedan broj. {Informant BJ

33 The term "blouse" in this allegorical song and in No.

92 is a metaphor for sweetheart.
1 1 C;
 While I am a maiden all the 1ads are mine,
When I am married there will only be one.
95. U mog dragog sedcoiz cura fina ..
Ja sam osma.. džaba im je svima. (Informant EJ
My love has seven fine girlfriends,
I am the eighth, the others are nothing to him.
96. Od sveg voća.. najvolim lješnjaka ..
Od momaka.. Kuprešaka Muju. (Informant EJ
Of all the fruits, I like haze1nuts best,
Of the 1ads, Mujo from Kupres.
97. Od sve hrane .. najvolim kupusa ..
Od momaka.. najvolim Jusufa. (Informant EJ
Of all foods, I like cabbage best,
Of the 1ads, I like Jusuf best.
98. Moj komšija sa sred sela moga..
Dok je tebe .. neću za drugoga. (Informants C.. DJ
My neighbor from the center of the village,
While you are here, I will not marry another.
99. Imala sam devet jauklaša ..
Najbolje se komšija ponaša. (Informant EJ
I had nine boyfriends,
My neighbor behaves the best.
100. Volim diku .. dika voli mene ..
Srce moje za njegovim vene. (Informant DJ
I love my sweetheart, my sweetheart loves me,
My heart for his heart.
101. Uzmi .. dragi .. novinu pa načeš..
Koliko te volim odmah znat češ. (Informant EJ
Dear, read the newspaper and you will discover,
How much I love you, immediately you will know. 34
102. Oj sviraču.. daj mi tu narandJu..
Ja sam tvoja .. narandJa je moja. (Informant EJ
Oh, music ian, give me this orange,
I am yours, the orange is mine.

34 See Appendix II, No. 16.

103. Svaka cura sebi momka bira3
Ja ću sebi što u koZu svira. (Informant EJ
Every maiden chooses a lad for herself,
I will choose the one who plays music in the koZo.
104. Da sam znaZa 3 učiZa bih škoZu3
Da premamim nastavnika ZoZu. (Infomant EJ
If I had known, I would have gone to school,
To lure the sweetheart school teacher.
105. UČi3 draqi3 škoZu i zanate 3
Ja ću tecaj pa ću poći za te. (Infomant EJ
Study, love, school and skills,
I will take a course and follow you.
106. UČi3 dragi 3 gimnaziju škoZu3
Ja ću tečaj3 seZit ćemo moru. (Infomant EJ
Go, love, to grammar school,
I will take a course, we will move to the coast.
107. AZaj sam se naigraZa koZa 3
Dok je moja tambura Za ZoZa. (Infomant ej
I danced kolo to my heart' s content,
While my sweetheart played the tambura.
108. Moj dragane 3 moja ruža Zjetna 3
Kad te vidim3 osjećam se sretna. (Infomants E3 DJ
My beloved, my summer rose,
When I see you, I am happy.
109. Moj dragane 3 tri te sunca sjaju3
Kad te moje oči pogZedaju. (Infomant EJ
My beloved, three suns warm you,
When my eyes look at you. 35
110. NemiZo se Zjubiti ne more 3
Ne mogu se usta da otvore.
A za miZa otvore se sama3
Jest u mene i moga dragana.
It isn't possible to kiss someone who is not dear,
My mouth cannot open.

35 See Appendix II, No. II for a variant performed by

Catholics.
 But for a dear one, it opens by itself,
This is so for me and my beloved.
111. Stiglo pismo od nemilog Lole~
čitale ga makazice moje. (InfoPmant EJ
A letter arrived from an undesirable sweetheart,
My scissors read it.
112. Mjesečina prodire kroz grane~
Ljep' je noć za ašikovanje. (InfoPmant ej
Moonlight penetrates through the branches,
The night is lovely for flirting.
113. Ja u kolu najmanja od sviju~
Varam dragog zeleni očiju. (InfoPmant AJ
I am the smallest of all in the kolo~
I dupe my love with my green eyes. 36
114. Idjem selom i uvijam tijelo~
Eto zato što me gleda zlato. (InfoPmant BJ
I strut about the village and swing my body,
For that reason my precious one watches me.
115. Francuska kapa uredila momka~
Ukrast Ću je oba dva mi oka. (Informants B~ ej
The beret made the lad look nice,
I swear by my two eyes I will stea1 it. 37
116. Skini~ dragi~ titovku sa čela~
Titovka nas u ljubav zavela. (Informants A~ BJ
Dear, remove your army cap from your forehead,
That army cap carried us away to 10ve. 38
117. Svidja mi se lolina titovka~
I pod njome dva garava oka. (InfoPmant DJ
I like my sweetheart's army cap,
And beneath it the two dark eyes. 39

36 This is a personal statement a.bout the performer.

37-38 A beret and fez are signs of Muslim ethnicity.
The army cap, or "Đverseas cap," is called "titova" after
Tito. This cap is also a sign of Serbian identity, but
here the reference is to a soldier. Compare with No. 45.
118. Ja sam s majkom sjedila na ploči~
Moj dragane~ ispale ti oči. (Informant B)
I sat with my mother on a slab.
My beloved. your eyes dropped.
119. MJesečina hora zagovora~
U koga je dragi blizu dvora. (Informants B~ C~ N)
Moonlight is the time for talking.
Who has a dear one near the courtyard. 40
120. Moj dragane~ čula moja mater~
Da me tvoja baterija prati. (Informant B)
My beloved. my mother heard.
That your flashlight accompanies me. 41
121. Moj dragane~ bateriju kupi~
Nemoj biti seljačina glupi. (Informant B)
My beloved. buy a flashlight.
Don't be a stupid peasant. 42
122. Ja se nedu voziti u mašini~
Dragi šofer~ ja du u kabini. (Informant D)
I will not ride behind the cabo
My love is the chauffeur. 1'11 ride in the cabo
123. U mog dragog oko vrata maca~
Idje putom jabukom se baca. (Informant DJ
My love has a flower in his lapel.
He goes along the road playing with an apple.
124. zub me boli i drugi se krede~
Žao mi je što me lola nede. (Informant D)
My tooth hurts and the second begins to.
I'm sorry that my sweetheart doesn't want me.

40See No. 24. Songs 119-121 describe a common court-

ship pattern.
41 He might shine the light on her in a crowd or on her
window at night to get her attention. signaling that he
is there and wants to talk with her.
42At the time of this study. flashlights were in de-
mand as status symbols as well as essential equipment for
night travel. in general. and for courting • in particular.
11 Q
125. Na livadi kabanica~ ne znam čija je~
Čobanica progovora vezirova je.
Oj~ vezire~ mlad vezire~ života ti tvog!
Ko ti dade zlatne ključe od ormara mog?
Dala me seja tvoja~ pomog'o je Bog!
Dala mi je zlatne ključe od ormara tvog.
Oj~ vezire~ seja mila~ šta uradi' ti?
Jer je vezir stari čoban pa te prevari. {Informant DJ
In the mea dow is a shepherd's raincoat,
I don't know whose it is,
A young shepherd says it is the vezir's.
Oh, vezir, young vezir, I beg of you,
Who gave you the golden keys to my closet?
Your sister gave them to me, so help me God!
She gave me the golden keys to your closet.
Oh, vezir, dear little sister, what have you done?
The vezir is an old shepherd and he deceives you. Q3
126. Da znaš~ dragi~ kako srce boli~
Došao bi mi da ti kuća gori. {Informant BJ
If you knew, dear, how my heart aches,
You would come to me even if your house were burning.

Q3 In Planinica this is a starinska pjesma and not well

known. Informant P, a settled Gypsy of the market town
Gornji Vakuf, recited the following variant, which he
learned many years ago in Gornji Vakuf.
Kraj potoka~ bistre vode~ šume zelene~
A djevojka nevesela kroz plače govori~
Oj~ vezire~ mlad vezire~ kurana ti tvog!
Ko ti dade zlatne ključe od harema mog?
Dala mi je tvoja seja i poljubca dva~
A do zore što bijaše~ nisam ne znam ja.
Near the stream, clear water, green forest,
An unhappy girl cries through tears,
Oh, vezir, young vezir, by the Koran!
Who gave you the golden keys to my harem?
Your sister gave them to me and two kisses,
But what happened ti11 dawn, I myse1f don't know.
See Appendix II, No. 15 for another variant and Bartok
and Lord, p. 401, No. 42 for a song with the motif of
keys to a harem door.
127. Dodji~ dragi~ kad ti ja poručim~
Na prozoru čekaju te ktjuči. (Informant EJ
Come to me, dear, when I send word,
The keys wait for you at the window.~~
128. Dodji~ dragi~ stigta ti je ptata~
što si bio čuvar moja vrata. (Infomant AJ
Come, dear, your pay has arrived,
Because you were the guard at my door.
129. Dodji~ dragi~ da te mato vidim~
Ja se svoji besida ne stidim. (Infomant AJ
Come, dear, so I can see you a little,
I am not ashamed of my words.
130. Šećer stadak~ hoće momak stagat'~
Kafa gorka~ prije će djevojka. (Informant EJ
Sweet sugar, a lad will tell lies,
Bitter coffee, a maiden will do so first.
131. Iskrena sam nikome ne tažem~
Koga voUm~ ja mu odmah kažem. (Infomant AJ
I'm honest, I do not lie to anyone,
Whom I love, I immediately tell him.~5
132. Oči moje i vi ste mi krive~
Kog' vidite odmah zavoUte. (Infomant EJ
My eyes, you are to b1ame,
Whom you see, immediately you fall in love with.
133. Ja sam rekta i amanet data ..
Sad se misti kako bih stagaZa. (Infomant ej
I said so and gave my promise,
Now I wonder how I could lie my way out of it.~6

~~Despite the suggestiveness of these lines, cases of

premarital sex for maidens are very rare.
~5After the maiden sang this song, someone in the room
commented on both the song and her character with "that's
the truth."
~6This song comments on the fact that maidens promise
to marry severallads. Also see Appendix II, No. 28.
134. Moj dx>agane 3 sj eme paprikavo 3
Kaži meni s kim si ašikovao. {Informant BJ
My beloved, paprika seed,
Tell me with whom you have flirted.
135. Ašikujem samo radi fota ..
Znade mi se moj sudjeni tota. {Informant BJ
I flirt only as a joke,
My destined sweetheart is known to me.
136. Imam prsten zetena kamena 3
Dao mi ga dx>agi uspomena. (Infoman.t NJ
I have a ring with a green stone,
My love gave it to me as a remembrance.
137. Meni dx>agi rek' o prsten dati 3
Pred kojim se vidi večerati. (Infomant e)
My love said he was going to give me a ring,
By whose light one can see to eat dinner.
138. Imam banku dat će dragi dvije 3
Pa ću kupit ja šarene dimije. (Infomant e)
I have a ten dinar note, my dear will five me two,
And I will buy bright co10red dimije.~
139. Imam banku dat će dragi devet 3
Pa ću uzet' ja i naći krevet. {Infomant BJ
I have a ten dinar note, my dear will give me nine,
I will take it and find a bed.~8
140. Svaki čovjek3 svaki je pijanac.
Bio šokac 3 bio Srbijanac 3
Oj3 šokice .. kad si takva fina3
Haj za šokca 3 nemoj za Srbina. {Informant HJ
Every man, everyone is a drunkard.
There was a Croat, there was a Serb,
Oh, Croatian maiden,.when you are so fine looking,
Marry the Croat, don't-marry the Serb.~9

~7Dimije are baggy, trouser~like gar~ents.

~8That is, she will buy a bed for their marriage.
~9Clearly, this is Christian; Muslims do not usually
sing such songs. See Appendix II, No. 22.
141. Mo Um Boga u sobi za vratim r ~
Da mi ć/:r>agog s predVojni?Jke vmti. {Infomant BJ
I pray to God behind the door,
To return my beloved from army training.
142. Druže Tito~ pusti moje janje~
Jedan vojnik ne više ne manje. (Infomant BJ
Comrade Tito, let my lamb go,
One soldier, no more. no less.
143. Bože miZi~ u što se zavrzo~
Dva u vojsci i treći će brzo. (Informant BJ
Dear God, what a mess l'm in,
Two are in the army and the third will go soon.
144. OboUjo ko vojnike reda!
Mome dragom na odsus-f;vo ne da. {Informant BJ
May he who gives leaves to soldiers get sick!
My love did not get a leave.
145. Austrija~ povraćaj mi momka~
Ako nećeš~ ići i djevojka. (Informant DJ
Austria, return my lad,
If you won't, a maiden will come also. so
146. AU8trija~ vrati naše momke~
Tužne ti su njihove djevojke. (Informant BJ
Austria, return our lads,
Their girlfriends are sad. Sl
147. Austriju~ poZa roda moga~
Otjera mi brata i dragoga.
Austria, you have half my family,
Send back my brother and sweetheart. s2
148. Moj je dragi izučijo zanat~
Džak na rame pa ode u Banat. (Inforrnant BJ
My dear one has learned a skill,
With a sack over his shoulder, he goes to Banat. S3

SO~S3Nos. 14 5~1 48 refer to the m~grant

. and guest work~
ers who leave the region to work part of the year in Voj~
vodina and Austria.

l?i

,',
149. CU('e naše, gdje su vaše momci?
Moj bi došao samo je u vojsci. {Informant BJ
Maidens, where are your boyfriends?
Mine would haye come, but he is in the army.
150. Kažu meni~ "Udaj se i ti~"
Dragi vojnik~ pa mi se ne hiti. {Informant BJ
They tell me, "You get married too,"
Dear soldier, I'm in no hurry.
151. Kad se sjetim što je vojnik rek'o~
Mila majko~ ko ga ne bi ček'o? {Informant BJ
When I remember what the soldier said,
Dear mother, who wou1dn't wait for him?
152. Oj vojniku~ pošalji mi sliku~
Pa da vidim kakog čekam diku. {Informant BJ
Oh, soldier, send me a picture,
So I can see what kind of sweetheart I lm waiting for.
153. Piši~ dragi~ ne žali olovke~
Ni papira za svoje djevojke. {Informant CJ
Write, dear, don't spare the pencil,
Nor the paper for your gir1friends. 54
154. Piši~ dragi~ ne žali olovke~
Ako nećeš~ ja ću varat' momke. {Informant BJ
Write, dear, donlt spare the pencil,
If you donlt, 1'11 lead others on.
155. Ja kod kuće a dragi u svijetu~
Piši meni iz armije~ diko~
Meni amo ne zanima niko. {Informant AJ
I'm at home and my loved one .is out in the world,
Write to me from the army, love,
No one interests me here.
156. Ataj imam u armiji vraga~
Uvijek piše~ "Ne ašikuj ~ draga."
A ja njemu napisala pismo~
"Moj dragane~ vjenčati se nismo." (Informant AJ

54 See Appendix II, No. 37.

1 ., /.
 I have a little deyi1 in the army.
He always writes, "DonIt :l;'lirt, dear."
But I wrote him a letter,
"My be1oyed, we are not married.' l

SOCIAL RELATIONSHIPS WITHIN HOUSEHOLDS

Svekrva

157. Fin mi dragi~ ne valja mu mater~

Kako ću je ja svekrvom zvati?
My be10yed is fine, but his mother is no good,
How will I be able to call her mother-in-1aw?
158. Svekrvice~ našla sam ti zgodu~
Za vratima medju taračima. (Informants B~ EJ
Mother-in-1aw, I found a place for tOU,
Behind the door among the old rags. 5
159. Svekrvice~ ne rodjena mater~
Hoćeš meni svoga sina dati? (Informants B~ EJ
Mother-in-1aw, you 're not my real mother,
Will you give me your son?
160. Ja sirota~ nemam oca svoga~
Dragi majke~ sreće pojednake. {Informant BJ
I am wretched, I have no father,
And my beloved, no mother; we have the same fortune. 56
161. Milo moje roditelja nema~
Ja ti jadna~ ko mu ručak sprema? (Informant DJ
My love hasn't a family,
A1as, who prepares his 1unch?57
162. Svekrvice~ pokidaj klanice~
Svježe june~ ne uzdaj se u me. (Informant NJ

55 See Appendix II, No. 49.

56 From a maiden's perspective, it is good fortune not
to live with a mother-in-1aw.
57 Many brides would prefer not to live with the hus-
band's family. This song celebrates, for maidens, a good
situation.
1?'1
 Mother-in-1aw, tear apart the slaughtered animal,
Young bull, don't put your trust in me.
163. Svekvv~ mi struku n~kitiZ~~
Još me nije očima vidiZa. {Info~~t BJ
My mother-in-1aw said bad things about me,
And she still hasn't seen me.
164. Svekrva me vidiZa na vodi~
Kažu sinu~ "Meni je ne vodi." {Info~ant BJ
My mother-in-law saw me at the water,
She said to her son, "Do not bring her to me. ,,58
165. Svekrva me ne begenisaZa~
šta sam nakarmenisaZa. {Informant BJ
My mother-in-1aw didn't approve of me,
Because my cheeks were rouged.
166. Svekrvice~ debeZa ti Zedja~
Sve se kanim da ti Zedja smanjim. {Informant BJ
Mother-in-law, your back is fat,
I intend to see that it gets sma11er. 59
167. Svekrvice~ goj mi svoga sina~
Moja m~ka hoće zeta fina. {Informants B~ EJ
Mo ther-in-law , raise your son for me,
My mother wants a fine son-in-1aw.
168. Svekrvice~ nerodjena majko~
Ne sZušam te nije ti ni Zako. {Informant BJ
Mother-in-1aw, you 're not my real mother,
I don't obey you and it isn't easy for you.
169. Kažu meni~ "Svekrva ti Zjuta."
A ja gora devedeset puta. {Informants A~ B~ EJ
They tell me, "Your mother-in-1aw is angry."
But I am ninety times worse.
170. Moj d:Pagane~ vidUa ti majku~
Nosi džaku Uči na Ciganku. {Informant CJ

58 The word water means a spring Or well. See Appen-

dix II, No. 50.
59 The song implies she is 1azy and, thus. fat.

l?h
 My beloved, I saw your mother,
She carries a sack and is like a Gyp~y.

171. Svekrva mi debela k'o ladjo...

Stid je bi lo i sad se poradja. (Informants B.. e~ D.. E.. J
My mother-in-1aw is fat like a boat,
Shame on her and now she gives birth.
172. Svekrvica mi bilu svilu sprema..
Misli ona da kod mene nema. (Informant ej
My mother-in-1aw prepares white silk for me,
She thinks that I have none.
173. Ja ću svoju svekrvu zaklati..
Pa ću meso u zadrugu dati. (Informant BJ
I will slaughter my mother-in-1aw,
And give the meat to the cooperative. 60

174. Ja ću svoju svekrvu zaklati ..

Pa ću meso u konzervi dati. (Informants D.. EJ
I will slaughter my mother-in-1aw,
And have the meat canned.
175. Svekrvice .. ja ti zlo ne mislim..
Živa legla.. mrtva se proteg{a! (Informant ej
Mother-in-1aw, I don't wish you evil,
May you just lie down and die!
176. Kad se udam i podjem drva ..
Ja ću zadnja.. svekrva će prva. (Informants B.. EJ
When I marry and go out for wood,
61
I will go last, my mother-in-1aw will go first.
177. Svekrvice .. debela ti ledja ..
Bacit ću te preko devet medja. (Informants B.. EJ
Mother-in-1aw, your back is fat,
I will t.hrow you nine borders away.
178. Imam svekrvicu krasnu..
Slikat ću je u šumi na hrastu. (Informant AJ

60 See Appendix II, No. 58.

6l See Appendix II, No. 62.

1 ?7
 I have a lovely mother-in-law,
I'll photograph her in the forest in an oak tree.
179. Svekrvice~ našla sam ti zgodu~
ČuEiću te čuprije u vodu. (Informant ej
Mother-in-law, I found a place for you,
I'll push you from the bridge into the water. 62

Svekar

180. Moj se svekar mojoj majki tuži~

"Tvoja kćerka meni slabo služi."
My father-in-law complains to my mother,
"Your daughter serves me poorly."

Svekar and Svekrva

181. Imam svekra i svekrvu krasnu~

Slikatću ih u šumi na hrastu. (Informants B~ EJ
I have a lovely father- and mother-in-law,
I'll photograph them in the forest in an oak tree. 63

Jetrve

182. Udat ću se~ udati ja što ću?

Gdje ja dodjem~ rastavit ću braću. (Informant BJ
I' II marry, of course I will, for what else is there?
W'nere I go, I will separate brothers.
183. Ja sam čula i novine kažu~
Da se sada jetrve ne slažu. Unformants B~ EJ
I heard and the newspaper says,
That now wives of brothers do not get along. 64
184. Neka svekra~ neka i svekrve~
Sačuvaj me~ Bože~ od jetrve! (Informants B~ EJ
Never mind my father-in--law and even "mother-in-law,
God, protect me from my husband's brother's wife. 65

62 See Appendix II, No. 61.

63 See Appendix II, No. 63.

64-65 See Appen d·

lX II , Nos. 75 and 74.
1 ')0
 Punica and punac

185. Punica je dočekala zeta 3

Ispekla mu jezik od pileta. (Informcmt B3 EJ
The wife's mother waited for her son-in-law,
She roasted the tongue of a chicken for him. 66
186. Oj3 punica3 ako sam baraba3
Eto tebi tvoja kćerka džaba. (Informcmt IJ
Oh, mother-in-law, if I am atramp,
Here's your daughter free of charge.67
187. ženi t ću se nisam ni mislio 3
Ne bi li mi punac pobisnio. (Informcmt FJ
I didn't even think about getting married,
1'11 do it just to make my father-in-law furious.

UNREQUITED LOVE

188. Kad zapjevam čuje Amerika3

Al' badava ne čuje me dika. (Informcmt BJ
When I begin to sing, America hears me,
But in vain, my sweetheart does not hear me.
189. Ja požutim kao limunada 3
čekajući rJ:r.agog iz Bcmata. (Informcmt BJ
I turn yellow like lemonade,
Waiting for my dear one from Banat. 68
190. Moj rJ:r.agane 3 moj zeleni drine 3
Gdje si da si ne zaboravi me? (Informcmts A3 BJ
My beloved, my green dogwood,
Where are you that you don't forget me?
191. Svi rJ:r.agane a nema dvojice 3
Mog i tvoga djula rumenoga. (Informant A3 BJ

66 This song states the opposite of expected behavior

and show of respect. Rather, a feast would be prepared.
67 See Appendix II, No. 76.
68 A commonly expressed fear is that the seasonal mi-
grant workers will not return to their village.

1')0
 All sweetheart s are here but two,
Your red rose and mine. 69
192. Pismo moje pZivaio po mo~u~
VratUo se nije našw ZoZu. (Informant DJ
My letter floated about the sea,
It returned, it did not find my sweetheart.
193. Moj je dragi hio pa nema ga~
Srce moje ne zaboravZja ga. {Informant DJ
My love was here but now he is gone,
My heart does not for get him.
194. AZaj moja od Travnika huZa~
Tri godina za me nije čuZa. {Informant HJ
Ah, my woman from Travnik,
She hasn't heard from me for three years.
195. Moj dragane~ jabuka najsZadja~
Dušo moje~ ko zi nas zavadja? {Informant EJ
My beloved, sweetest apple,
Sweetheart, who is separating us?
196. Kosa moja paZa je na čeZo~
Moj dragane~ zavadja nas seZo. {Informant EJ
My hair falls ont o my forehead,
My beloved, the village is separating us.
197. Sjedi~ dragi~ pa jednu zapaZi~
Nemoj žaZit što smo rastaZi. {Informant EJ
Sit down, love, and light a cigaret te,
Don't feel sorry that we separated.
198. Koga sam ja voZiZa najhoZje~
I on mi je izaš'o iz voZje. (Informant EJ
He whom I loved best,
I no longer love.
199. Oženio se ko je mene zvao~
Nije sudjen i nije mi ga žao. {Informant EJ
He who asked for me is married,
It wasn't fated and I don't feel sorry.

69 Informant A recited, mog i tvoga miZa koZegice (mine

and yours, dear friend).
200. Žali mala, ja sam prežalio,
A na ljubav nisam, ni mislio. (Informant HJ
My little one grieves. I have recovered,
But l'm not in love, nor was I ever.
201. Žen' se, dragi, ja ti oprost dajem,
Ja se OVe zime ne udajem. (Tnformant ej
Marry, love, I forgive you,
r will not marry this winter.
202. Ja sam čula, dragi, nešto novo,
Kažu meni da si drugu dov'o.
Eto ti je da ti sretno bilo,
Nemoj mislit' da je meni k:.rivo. (Tnformant BJ
My dear, I heard something new,
They say you have taken another.
Here it is, I wish you happiness,
Don't think that I am hurt.
203. U mog dragog košulja kao papir,
Oženio se, ja mu odem na pir. (Info:rrnant BJ
My dear has a shirt as fine as paper,
He married, and I am going to the celebration.
204. Budi moja lola k'o i prije,
Što si čovjek, bogami žao mi je. (Info:rrnant BJ
Be my sweetheart as you were before,
r am really sorry you are a married man.
205. Žen' se, dragi, od mene ti prosto,
Do godine ti hodovac ost'o. (Info:rrnant BJ
Get married, dear, you are forgiven,
But I hope in a year you are left a widowerl
206. Žen' se, dragi, i ovo ti bilo,
Do godine devet je promin'o. (Info:rrnant BJ
Get married, dear, and may it be,
That you change wives nine times in a year!
207. Moj dragane, pola džigerice,
Na bilo ti i žene ni djece. (Info:rrnant BJ
My beloved, half a liver,
I wish you, your wife and children were dead!

1 ':11
208. Srce mi se zavilo u rane~
K/o jabuka u zelene grane. {Informant DJ
My heart is wrapped in wounds,
Like an apple in green branches.
209. Ja zaplakam za plavim sudarum~
Kažu meni za starim sevdahom. (Informant BJ
I cry for a blue scarf,
They tell me I cry for an old love.
210. Moj dragane" moja mila nada~
Za te se osuši ~rce moje mlado. {Informant DJ
My beloved, my dear hope,
My young heart is withering for you.
211. Moj dragane ~ kad susretnemo "
Sakrij oči da ne zaplačemo. {Informant BJ
My beloved, when we meet each other,
Cover your eyes so we don't begin to cry.
212. Nedu momka" volim oženjena"
Čekat du ga dok mu umre žena. {Informant AJ
I will not marry alad, I love a married man,
I will wait for him until his wife dies.
213. Od ljubavi ne umire niko"
Od nas dvoje mora jedno diko. {Informant FJ
No one dies from love,
But one of us, dear, must.
214. umri" dragi" nek te zakopaju.
Mi demo se vjenčati u raju"
Kad nam vamo dušmani ne daju. {Informant FJ
Die, dearest, let them bury you.
We will marry in heaven,
When our enemies won't allow us to marry here.
215. Umri" mala" i ja du umreti"
Kad se nama ne daju uzeti. {Informant IJ
Die, little one, and I will die also,
When our families will not let us marry.

1,:\?
 MARRIAGE 70

216. Udat ću se~ udati ja šta ću?

Čekaj~ dragi~ dok oženim braću. (Informant BJ
I will marry, of course I will, what else is there?
Wait, love, until my brother marries. 71
217. Oj mladosti~ gdje ću te provesti~
Sve u jadu na državnu radu. (Informant AJ
Oh, youth, where will I spend you,
All in sorrow, in forced labor.
218. Kad se udam~ ruši~ majko~ dvore~
Crno platno metni na prozore. (Informant BJ
When I get married, destroy the court yard, mother,
Put black cloth in the window. 72
219. Jazaplakam~ pita majka~ "što je?"
Primaklo se moje udavanje. Unformant BJ
I began to cry, mother asks, "What's wrong?"
My marriage has come closer.
220. Kolegiae~ šta ćemo ja i ti?
Hoće nam se lole oženiti. Unformant BJ
Friend, what shall you and I do?
Our sweetheart s want to marry.
221. Kad zapjevam ispod borovine~
čuj me majko nećeš do godine. (Informant DJ
When I begin to sing under the pine tree,
Hear me, mother, I will not be here next year.
222. Mala moja~ rodilo nama grožae~
Čekaj~ bona~ dok iz vojske dodjem. Unformant GJ
My little one, the grapes are ripe,
Wait, dear, until I come from the army.

70 See Nos. 299-301.

7l Her brother' s . bride-would replace the maiden in the
household labor force
72 This song was not heard in "natural" context; however,
it is not in keeping with Muslim culture. Black is the
Christian sign of mourning.
, ') ')
223. Planinica sedam cura goji3
Kažu momci3 "Zavadit ćemo ih. /I (InfO mlan t BJ
Planinica raised ·seven maidens,
Lads say, "We will separate them."
224. Staru diku bacit ću u granje 3
A sa novom odem na vjenčanje. (Informant BJ
I will throw my old sweetheart into the branches,
And go to my wedding with a new one.
225. Moj dragane 3' moj političaru 3
Kad ćemo ja i ti matičaru? (Informant DJ
My beloved, my politican,
When will you and I marry?
226. Baci~ dragi 3 jabuku u more~
Kad potone 3 doću ti u dvore. (Informant B)
Throw an apple into the sea, dear,
When it sinks, I will come into your court yard.
227. Vidiš 3 majko3 onog u vesti?
Onaj će me od tebe odvesti. (Informant BJ
Do you see, mother, the one in the sweater?
That one will take me away from you.
228. Ko će moju razveselit' majku3
Kad joj pružim "PUku na rastanku? (Informant BJ
Who will cheer up my mother,
When I give her my hand upon parting?
229. Udat ću se džamije moje~
Samo neću blizu majke svoje. (Informant BJ
I will marry, I swear by the mosque,
Only I will not marry near my mother.
230. Nisam došla da Vam vidim prelo 3
Već sam došla da vam vidim selo. (InfomLant BJ
I didn't come to see your prelo~
Rather, I came to see your village. 73

73 If a maiden has ideas about a lad in a village where

she has family, she might visit the village to examine
his living situation, observe his mother and family, and
so on. A prelo is held when visitors are in the village.
231. MiZa majko ~ u Ramu me ne daj!
Ukopaj me pa mi rahmet predaj. (InfoPmant DJ
Dear mother, don't give me in marriage to Rama!
Bury me and give me peace. 74
232. MiZa majko~ u Bosnu me ne daj!
Ukopaj me pa mi rahmet predaj. (Informant BJ
Dear mother, don't give me in marriage in Bosnia!
Bury me and give me peace.
233. Osrička sam ako budem živa~
Ako umrem~ ja mu nisam kriva. (Informant BJ
If I live, 1'11 be a woman from Osridak,
If I die, 1'11 not be guilty.
234. PZaninka sam u pZaninu neću~
U SkopZje ću da ni ručat neću. (Informant BJ
I' m a mountain girl, I' 11 not marry in the mountains,
1'11 marry in Skoplje Polje,
Even if it means I will not eat lunch.
235. U Potoki ne bih se udaZa~
Radje bih se sama otrovaZa. (Informant BJ
I would not get married in Potoci,
I would rather poison myself.
236. Kaže mama~ "Obišena biZa~
Kad me kćeri u Potocima bila." (Informant BJ
Mama says, "They can hang me,
If my daughter marries in Potoci."
237. Pjesmu pjevaZa~ pjesmu pjevaZa da se ženim ja.
Sine miZeni~ sine miZeni~ što se ne ženiš?
Majko miZena~ majko miZena~ što će mi žena?
Sine miZeni~ sine miZeni~ treba i meni.
Nek nam donese~ nek nam donese vode studene.
Nek nam zaZiva~ nek nam zaZiva ruže rumene.
Ruža rumena~ ruža rumena skoro procvaZa.(Informant NJ
I sang a song, I sang a song, shall I marry him off.
Dear son, dear son, why don't you marry?
Dear mother, dear mother,.what would I do with a wife?
Dear son, dear son, I need her help.

74 This performer had a boyfriend in Rama.

 Let her bring us, let her bring us cold water.
Let her water, let her water our red roses.
The red rose, the-red rose is almost in bloom. 75
238. Neću3 neću3 neću majko3
Da ih ima tri sto.
Neću3 neću3 neću majk03
Tl' šofera ili motorista. (Informant ej
I will not, I will not, I will not, mother,
Not if there were three hundred lads.
I will not, I will not, I will not, mother,
I will marry either a chauffeur or motorcyclist. 76
239. MiZa majko3 ja ugovoriZa 3
Pitam tebi3 bi Zi mi dozvoZiZa? (Informant BJ
Dear mother, I made an agreement,
I am asking you, will you let me leave?
240. MiZa majka3 komšija me uze 3
Ima rubac pa ubriši suze.
MiZa ćera 3 ja te ukopaZa3
MiZa ćera 3 ja te ne daZa. (Informant NJ
Dear mother, our neighbor has taken me,
There's a handkerchief, wipe away your tears.
Dear daughter, I would rather bury you,
Dear daughter, I didn't give you to him.
241. MiZa majko3 ja amanet daZa 3
Šuti3 kćeri3 ja te ukopaZa. (Informant BJ
Dear mother, I gave my promise,
Quiet, daughter, I'd sooner see you dead. 77

75According to the performer, this starinska pjesma

can be sung any time; here it was recorded as she sang and
rocked a cradle. She learned the song in Glavice, her
natal village, but she had forgotten the beginning lines.
76 At the time this informant fancied a lad who had
moved to Zagreb where he drove truck and owned a motor-
cycle.
77 Commonly , mothers are easily angered when their
daughters promise or even threaten to marry.
242. Planinka sa planinskog sreza~
Ko me uzme ne plača poreza. {Informant BJ
A mountain girl from a mountain district,
Whoever marries me will not have to pay a tax.
243. Milo moje~ mili roditelje~
Ja ću svoje~ nek se sprijatelji. (Informants B~ ej

My dear one, ask your family,

I will ask mine, let them become in-laws. 7B

BEZOBRAZNE PJESME

244. MaZa moja~ runjava pod drobu~

Ili se šišaj ili ćeš platiti globu. (Informant IJ
My little one, you have soft fuzz between your legs,
Either shave or you will pay a fine. 79
245. Moja mala~ nevalja ti pizda~
U njoj miši napravili gnizda. (Informant O J
My little one, your cunt isn't worth much,
The mice built nests in it. BO
246. Digni~ mala~ noge na stalažu~
Da utjeram djipa u garažu. (Informant GJ
Lift your feet, little one, on to the shelf,
So I can drive my jeep into the garage. BI
247. Mala moja~ evo ti na rame~
Da si jača skočila bi na me. (Informant QJ
Little one, up yours to the shoulder,B2
If you were stronger, you'd jump on me.

7BThis expresses an aspect of the pattern of marry ing

in the proper way (na lip način).
79 See No. 267, a maiden's reply to this song. Muslim
women shave the pubic hair.
80 This song was sung by a woman to entertain other
females. It is usually sung by men.
BIThis describes a position for intercourse.
B2This is a verbalization of the gesture of clenched
fist, arm bent at the elbow and forearm pointing up.
248. Moja maZa siZa u kolica~
Kroz koZica ispa Za joj pica~
Mislila su dica da je krastavica. (Informcmt O)
My little one sat in the wagon,
Her cunt slipped through the wagon,
The children thought it was a cucumber. 83
249. U djevojke medju nogama gaja~
Gdje su moja zimovaZa jaja. (Informcmt I)
The maiden has a small grove between her 1egs,
Where my testic1es wintered.
250. Mala moja~ ne ponosi mi se~
Trebat će ti lajbice na sise. (Informcmt I)
My little one, don't walk so proud1y,
You need a brassiere on your tits.
251. Kiša pada a ništa ne rasti~
Samo dojke u moje djevojke. (Informcmt I)
Rain falls but nothing grows,
Only my gir1friend's breasts.
252. Mala moja~ gdje je tvoja Zadja~
Da te moja haubica gadja. (Informcmt I)
My little one, where is your boat,
That my gun can aim at you.
253. Ja sam svoju malu operiso~
Dig'o noge pa joj omariso. (Informants G~ R)
I operated on my little one,
I raised her 1egs and made her dizzy.8~
254. Mala moja uvek pita za me~
Digla noge pa puca na vrane. (Informants G~ R)

83 This song was sung by a woman to entertain other fe-

males. It is usually performed by men.
8~When one informant tried to recite songs 253 and 254,
he was si1enced because others felt the songs were too
obscene. Finally, another man wrote the songs down; he
was too embarrassed to recite them. Song 253 describes
a common position for and the act of intercourse.
 My little one always asks for me,
She raised her legs and fires at the crows. 85
255. Ljubi me~ dragi~ ne žaZi mi tiZa~
Da mi puca dZigerica biZa. (Informant I)
Love me, dear, don't spare my body,
So that my lungs burst.
256. LegZa draga~ pokriZa se šašom~
Ja je budim svojim burgijasom. (Informant S)
My love laid down and covered herself with a reed,
I wake her with my penis. 8G
257. U djevojke medju nogama boZa~
Gdje moja pucaZa macoZa. (Informant I)
The ma id en has a pain between her legs,
Where my sledgehammer fired.
258. Cura piša.. teče voda širom..
"DodJe .. dragi .. začepi šeširom." (Informant R)
A ma id en urinates, the water gushes wide,
"Come, love, plug it up with a hat. 87
259. Cura piša više svoga mZina ..
Pita ćaću treba Zi benzina. (Informant I)
A ma iden urinates above her mill,
She asks her father whether he needs gasoline.
260. Cura piša više svoje kuće ..
Viče ~ "Babo ~ hodi. Kave vruće." (Informant G)
A ma iden urinates above her house,
She calls, "Father, come here. The coffee is hot."
261. Cura piša .. zaZiva u bocu..
Pa nazdravZja materi i ocu. (Informant R)

85Informants interpreted this song to mean that the

maiden informs the messenger, the crows, that she is
ready for her love. (See Note 84.)
8G This song was sung by a woman to entertain other fe-
males. It is usually performed by males.
87 Šešir is a brimmed hat. In the song it is a meta-
phor for penis.

- '--i 'A
 Amaiden urinates, she fills up a bottle,
And toasts her mother and father.
262. Curica muške gade prela~
Gdje su muda stala.
U curice~ kako moje žene~
Medju nogama gade obojene. (Informant SJ
A young girl washed ments underpants,
Where the balls had rested.
The young girl, like my wife,
Has underpants stained between the legs. 88
263. Mladi momci travu kose medju gorama~
Djevojke nose vode medju nogama.
Ponesi mi vode hladne iz te doUne~
Ja du propiti tvoju kantu do polovine.
Ne mogu ti vode dati iz te doline~
Da propiješ moju kantu do polovine. (Informant HJ
Young lads cut grass between the wooded hills,
Maidens carry water between their legs.
Bring me cold water from this valley,
I will drink half of your container.
I cannot give you water from this valley,
So that you can drink half my container. 89
264. Pošla cura kroz musti pa sjela pod jarca~
Ja kakve je životinje ko ima mudarščica?
(Informant S J
A maid en went to milk a nanny goat but sat under a
billy goat.
What kind of animal is it that has balls?9o
265. Moja žena žito žela~
A ja za njom vez'o.

88 This song was performed by a woman to entertain

other females. It usually is sung by males.
89Informants testified that this song is sung only
when they wish to embarrass maidens. It allegorically
describes a sexual proposition.
90 This song was sung by a woman for the entertainment
of other women.
 Gdjegod stig'o~ noge dig'o~
PomaZo natez'o. (Informant O)
My wife cuts grain with a sickle,
And I go on after her and tie.
Wherever I arrived, I raised her 1egs,
And tightened a 1itt1e. 91
266. Vitar puše tamo sa KaZina~
Raspuca ga Ramizova Halima. (Informant O)
The winds blow from the mountain Kalin,
Ramiz's Ha1ima unbuttons his f1y.92
267. Moj dragane~ ošišani ježe~
Teško onom ko uza te leže. (Informant B)
My beloved, shaved hedgehog,
It would be difficu1t for one to lie with you. 93
268. Mojeg dragog pojela lisica~
Ostala mu gZava i guzica.
A fox ate up my dear one,
It left his head and asso

VILLAGES AND THEIR INHABITANTS 94

Other Villages

269. Gori Zampa devetoga broja~

U Va1~vari gdje je ZoZa moja. Unformant BJ
A number nine lamp is burning,
In Varvara where my sweetheart is. 95
270. Huka~ vika~ eto Ivičana~
Ako su oni~ Bože me zakloni! (Informant BJ
Roars, shouts, there's the Ivi~ani,
If it is they, God protect me!

91 This song was ~llng by a woman for women.

~Women sang this song to tease a new bride.
93 This song was sung in answer to song 244.
94 See songs 231-236 and 295-298.
95 A number nine lamp is the largest and best available.
271. Ivičani~ ispod Vas je rijeka~
Nid bih pošla~ nid bih rekla. (Informant BJ
Ivicani, below y'ou is a river,
I wou1dn't go there, nor advise others to.
272. Ivičani i vaša gurema~
Od fučija bole Vas ramena. (Informants B~ ej
Ivičani and your pushy mob,
Your shou1ders ache from water containers. 9G
273. Ivičani i vaša gurema~
O' sekira boli vas ramena. (Informant ej
Ivičani and your pushy mob,
Your shou1ders ache from the axe.
274. Kordičani kad podje te k nama~
Moja lola nek ide pred vama. (Informant BJ
Kordicani when you come to us,
Let my sweetheart come before you. 97
275. Da mi se je udati u Poride~
Nosila bih kočku i piliće. (Informant NJ
Oh, if I were to marry into Porie,
I would bring a hen and chicks with me. 98
276. Kroz Voljice provedena štreka~
Nid bih pošla~ nid bih kome rekla. (Informant BJ
There is a railroad through Voljica,
I wouldn't go there, or advise others to.
277. Voljičani~ glogovo vam voće~
Mislili ste Planiničke hoće. CInformant BJ
Voljičani and your hawthorn berry,
You thought that Planinica maidens want some. 99

9Glvicani must carry their water a considerable dis-

tance in large wood ed containers on their shoulders.
97 See Appendix II, No. 105.
98 See Appendix II, No. 101.
99 This song is a response to a common stereotype that
Planinica lacks much in the way of foods and material
goods because it is situated in the mountains.
278. Kaže majka3 "Obišena bila3
U Voljioi blato do kolina." (InfoY'l11ant EJ
Mother says, "Let them hang me,
In Voljica there is mud to the knees."
279. Vrpečani3 alaj ste u s trani 3
Krepalo vam magare na hrani. (InfoY'l11ant NJ
Vrpecani, you are out of the way,
Your donkey died on the food. 100
280. Meni kažu u Vrpeći fino 3
Skuplja voda nego kod nas vino. (InfoY'I11an t NJ
They tell me that Vrpec is a great place,
Water is more expensive there than wine is here. 101
281. Osričkani i vaša gurema 3
Od mišina boli vas ramena. (InfoY'l11ant EJ
Osrickani and your pushy mob,
Your shoulders ache from the carry-all bag.
282. Ove moje dimije na boce 3
Obuću ih kad pojdem u Doce. (InfoY'l11ant ej
These dimije of mine in a floral pattern,
I will put them on when I go to Dolac. l02

own Village l03

283. Ove moje dimije na grane~

Obuću ih kad pojdem u strani. (InfoY'l11ant ej
These dimije of mine in pattern of branches,
I will put them on when I go to the outskirts of
the village. 104

100-10 l These songs were learned in the performer' s na-

tal village and usually are not sung in Planinica.
102 She wears this particular pair of dimije to show
off in Dolac, a lowland village.
103 See songs Nos. 42-45.
104 She wears this particular pair of dimije to show
off what lovely clothing she has to co-villagers who are
not her neighbors and with whom there is some rivalry.
284. Selo moje na četiri reda~
Malo bolje Sarajevo izgleda. (Informant B)
My village in four rows,
Sarajevo appears a little better.
285. Grlo moje ne može da pjeva~
Napilo se Planiničkog vrela. (Informant e)
My throat cannot sing,
It had its fill of Planinica's water. 105
286. Sunce grije~ mjesec raste~
Nama Upša sela od Karadža. (Informant O)
The sun warms, the moon grows,
There isn' t a lovelier village than Karadze .. 106

WORK

Herding

287. Oj livado~rosna travo~

Javore~ javore.
Ko po tebi čuva stado~
Uato moje?
Ovce čuvam~ pjesmu pjevam~
Javore~ javore.
od sedamnaest godinica~
Uato moje.
Čuvaj~ mala~ stado svoje~
Javore~ javore.
Da ne jedu žito moje~
Zlato moje.
Ako jedu žito moje~
Javore~ javore.
Poljubit ću lice tvoje~
Zlato moje. (Informants F~ H~ J~ K~ L)

105 This song was recited by a Planinicanka, however,

it is usually sung by villagers from elsewhere. Planini-
cani take pride in their village's water.
106 Karad~a is the informant's natal village. She re-
cited this song after someone commented on the beautiful
weather.
 Oh, meadow, dewy grass,
Maple tree, maple tree.
Who among you is tending the herd,
My dear one?
I am tending sheep, I am singing a song,
Maple tree, maple tree.
Seventeen years old,
My dear one.
Tend your herd, little one,
Maple tree, maple tree.
So that the sheep don't eat my grain,
My dear one.
If they eat my grain,
Maple tree, maple tree.
I will kiss your face,
My dear one. 107
288. Čuvam ovce na livadi~ prijo~
Tranzistor sam radio navijo. (Informant BJ
I tend sheep in the meadow, friend,
The transistor radio is turned on.
289. Ovce čuvam na livadi sama~
Nikog nema od naših čobana. (Informant BJ
I am tending sheep in the meadow alone,
None of our shepherds are here.
290. Mene mama rodi u paprati~
Da joj čuvam koza i jaradi. (Informant BJ
Mama gave birth to me in the ferns,
So I can tend the goats and kids for her.

Hay Cutting

291. Dragi kosi a ja kupim sijeno~

Triput mahne pa namigne na me. Unformant BJ
My love reaps and I gather up the hay,
Three times he beckons and winks at me.

107 See Appendix I, Nos. 327-328 and Appendix II, No.

110. On one occasion, this song was sung into a tevsija;
see Appendix III, No. 8 for the transcription. Also see
No. 9 for a music transcription without the tevsija.

1 /. L:
292. Kad se kosi da sam kod kosaea~
Kad se kup da sam kod oVaca. CInformant BJ
When the hay is'reaped, I am with the rea~ers,
When it is gathered, I am with the sheep. 08

Weaving

293. Pitaju me "Što si tako žuta?"

Ćilim tkala~ verem bolovala. (Informant B~ DJ
They ask me, "Why are you so yellow?"
I wove a rug and I'm sick with sadness. 109
294. Ja propala nestalo me pola~
Ćilim tkajuć petrovačka kola. Unformant DJ
I have lost weight, l'm half the size,
Weaving a rug in the pattern "Petrova(!ka kola."

CHILDREN I S SONGS

295. Crna bluza a crveni konci~

Ne valjaju Ivičani momci. (Informant TJ
Black blouse and red threads,
Ivica lads are not worth anything.
296. Imam bluzu šareni koleta~
A ja neću Ivički djubreta. {Informant UJ
I have a blouse with a bright collar,
But I will not marry Ivica's garbage.
297. Talijani~ majku li vam vašu~
Dodjete vi u Ivicu našu.
Otićete razbijene glave~
Krv će teći do zelene trave. {Informant VJ
Italians, your mothers get fucked,
If you come to our Ivica.

108 This song is a comment on hay cutting season when

large groups of men and lads work in cooperative groups,
which attract s maidens who flirt with the lads. Gather-
ing cut hay is generally females ' work; few males are
present.
109 A variant is: Pitaju me~ "što si izmršala?" (Why
have you become so thin?)
 You will leave with battered heads,
Blood will flow to the green grass. 110
298. Ivičani .. repati ..
Sutra ćete krepati.
Teško ruai ..
Koja će vas vuči.
Teško lopati ..
Koja će vas kopati. {Informant VJ
Ivitani, tails,
Tomorrow you will die.
It's difficult for the hand,
Which will drag you away.
It's difficult for the shovel,
Which will bury you.
299. Više nisam malena..
Kad se udcan.. hit ću žena. {Informant TJ
I am no longer a little girl,
When I marry, 1'11 be a woman.
300. Dok sam cura.. rugat ću se ženi ..
Kad se udam.. neka ona meni. {Informant T J
While I'm a maiden, I will mock women,
When I'm married, let qer mock me. III
301. Udala sam.. ohiknula se nisam..
Dodje .. majka.. pa će vidjet gdje sam.
I am married, I am not accustomed to it,
Come, mother, and see where I am.
302. Popucale sarajevske mreže ..
Jehalo se Plavčevo silježe.
Hasan Plavac natrpao lulu..
Veseli su što prtlju u kulu.
Fazila je kupila japanke ..
Da ne nosi u kulu opanke. Unformant VJ

110 "Italians" in this song is a derogatory term for

boys of Planinica. During World War II, Italian soldiers
were repu ted to be cowards and to have eaten dogs and cats,
which people of Potoci find repulsive. This song was re-
cited by a Planinica boy who said it is sung about them
by boys of Ivica.
111 See No. 75.
1/.1
 The Sarajevo wires burst,
The Plavac's sheep is fucked.
Hasan Plavac filled his pipe,
Those making their way to the tower are happy.
Fazila bought a pair of rubber thonged sandals,
So she wouldn't have to wear opanci to the tower.1l2

LULLABIES 1l3

303. Lila~ lila~ lila~ lila svog NedZada sina.

Rock, rock, rock, rock my son Nedzad. 114
304. Lipi~ lipi~ majka te rodila. (Informant NJ
Lovely one, lovely one, your mother bore yoU. 115
305. Lila~ lila svoga mala sina~
Ja ga lilam~ ja ga lilam svom pjevom.
Pivala mu~ pivala mu pismu bešiku. (Informant NJ
Rock, rock my own little son,
I rock him, I rock him with my song.
I sang to him, I sang to him alullaby.
306. Lila~ lila~ lila~ lila svog Mirsata sina.
Sad zaspavaj~ sad zaspavaj kao janje u travi. (In-
formant SJ
Rock, rock, rock, rock my son Mirsat.
Now fall asleep, fall asleep like a lamb in the grass.
307. Lila~ Nedžada~ moje jagne malo~
Spavaj NedZu~ spavaj jagne malo.
Jagne malo zoru prespalo~
Li li moji~ li li NedZadu. (Informant NJ
Rock Nedžad, my little lamb,
Sleep Nedžad, sleep little lamb.
The little lamb slept tilI dawn,
Rock, rock mine, rock, rock Nedžad.

112 This song was sung by boys from Planinica about a

girl from Ivica whom they do not like. She is compared
to a type of sheep. Opanci are a traditional footwear.
113 See Appendix II, Nos. 112-117.
114...,1l5 This line may be sung repeatedly or as a first
line to a longer song as in Nos. 305 and 306.

, 'o
308. Majka Nedži" majka Nedži košulja kroje la.
Koliko imaš" koliko imaš u košulji žica?
Beša ti se" beša ti se na moru kovala.
Trojica je" trojica je kovača kovala.
Jedni kuju" jedni kuju" drugi pozlačaju. (InformantN)
Nedžad' s mother, Nedžad' s mother made him ~ome shirts.
How many, how many threads do you have in the shirt?
Your cradIe, your cradIe was forged at sea.
Three, three blacksmiths forged it.
One hamm.ers, one hammers, the others pIa-te it with gold.
309. Koliko ti" koliko ti u košulji žica?
Toliko ti" toliko ti" sine" godinica. (Informant NJ
How many, how many threads are there in your shirt?
As many, as many, son, as you have years. 116
310. Majka ima" majka ima devet sokolova"
SVe deveti" deveti majka oženi la"
Sve deveti majka oženi la.
Jaka kakva sjajna mjesečina"
Još je lipše Isaj begovi'" Isaj begovica.
Ona rodi'" rodila devetu djevojku"
I desetu" i desetu pod pasom nosi'" pasom nosila.
Kad je beže u džamiju poš'o" u džamiju poš'o"
On svojoj ljubi odgovara" ljubi odgovara"
"Ako rodiš desetu djevojku"
Il se višaj" il se višaj" il u Drinu skači."
Pa se zavi" pa se zavi u bilu svilu"
Pa se pusti" pa se pusti nizu Drinu vodi'" nizu
Drinu vodicu.
"Hajde ćeri" hajde ćeri" stignut će ti majka"
Hajde ćeri" hajde ćeri svojoj bijeloj kuli.
I otvori" otvori sedeflije sanduke"
Izvadi" izvadi devet košuljica" devet košuljica"
I obuci" obuci devet sirotica.
Djeco moja" kad vam babo dojde"
Redom stan'te" redom stan'te" redom zaplačite"
'Dragi babo" dragi babo" gdje je naša majka?
Naša majka Drinu zamut'" Drinu zamutila. ",
Isaj begu" Isaj begu vrlo žao bilo.
Kako je se" kako je se ljuto udario" kako je se
ljuto udario!

116 This is a fragment of a starinska pjesma that the

infermant learned in her natal Village, as is No. 308.
 Sam je sebi~ sam je sebi srce izvadi'~ sam je sebi
srce izvadio~
Na korica~ na kor-ica bjeZe džigarice~ bjeZe džigar-
ice . (Informant N)
A mother has, a mother has nine falcons,
All nine, nine the mother has married off,
All nine the mother has married off.
Powerful, splendid moonlight,
Still Beg Isaija's, Beg Isaija's wife is lovelier.
She gave birth, gave birth to nine girls,
And the tenth, and the tenth she carried under her
belt.
When the Beg went to the mosque, went to the mosque,
He said to his wife, he said to his wife,
"If you bear, if you bear a tenth girl,
Either hang yourself, either hang yourself, or jump
into the Drina."
So she wrapped herself, wrapped herself in white silk,
And lowered herself, lowered herself into the waters
of the Drina.
"Go daughter, go daughter, your mother will catch
up with you,
Go daughter, go daughter to your white tower,
And open the pearl-laden chests.
Take out, take out nine chemises, nine chemises,
And dress, dress nine orphans.
My children, when your father comes,
Stand in order, stand in order, in succession begin
crying,
'Dear father, dear father, where is our mother?
Our mother threw herself into the Drina, threw her-
self into the Drina. "'
Beg Isaj, Beg Isaj was very sad.
How he, how severly he struck himself, how severly
he struck himself!
By himself, by himself he pulled out his own heart,
by himself he pulled out his own heart,
On the knife handle~ oh the knife handIe lungs,
lungs. 1l7

117 The informant sang this song as she rocked a cradle.

It is a starinska pjesma she learned in her natal village.
The informant was saddened by the song.
 WEDDING SONGS

311. Je Zi ti žao što se rastajemo?

Rastajemo~ ne sastajemo.
Bog ubio tko nas rastavio!
Kroz kosti trava pronicava~
A kroz usta čemerika gusta~
Kroz viZice žari koprivica. (Informant H)
Are you sorry that we parted?
We are apart, we do not meet.
May God kill who separated us!
Through the bones penetrating grass,
And through the mouth dense bitter grass,
Through the jaws nettle stings.
312. od mora do mora~ eto svatova~
I vode curu saraj ku.
Sarajka djevojka majci pZakaZa~
"Ne daj me~ majko~ daZeko.
Osta mi cvijeće nejako.
Često ga~ majko~ zaZjevaj~
Izjutra rosom s prozora~
Na podne~ majko~ rosnim suzama~
Na večer~ majko~ hZadnim bunarom." (Infomant w)
From sea to sea, there's the wedding party,
And it leads the maiden from Sarajevo.
The Sarajevo ma id en cried to her mother,
"Don't give me faraway, mother.
My small flower remains.
Water it often, mother,
In the morning with dew from the window,
In the afternoon, mother, with dewy tears,
In the evening, mother, with cold well water."
313. Vrani se konji sedZaju~
Momci se mZadi spremaju~
Po Zijepu Hajru djevojku.
Hajra je majci pZakaZa~
"Ne daj me~ majko~ daZeko.
Osta mi cvijeće nejako.
Često ga~ majko~ zaUjevaj." (Informant H)
The black horses are sadd1ed,
The young 1ads are prepared,
Prepared to go after Hajra, the maiden.
Hajra cried to her mother,
 "Don' t give me faraway,~ mother.
My small flower remains,
Water it often, mother. II us
314. Povedi~ razvedi kolo~ djevojko.
Ne mogu~ ne smijem~ dragi~ od tebe.
Moje su i tvoje oči mučene.
Ti si~ dragi~ mutio.
Moje su i tvoje ruke lomljenje.
Ti si~ dragi~ lomio. (Informant w)
Lead the kolo~ make it bigger, maiden.
I cannot, I dare not, dear, because of you.
My eyes and yours are tormented.
You tormented them, dear.
My arms and yours are breaking.
You broke them, dear.
315. Sjeverptica hoda po oblaku"
Lepi Ramiz goni HaUmu po budžaku.
Izmetni jastuk ispod glave"
Podmetni svoje bijele ruke. (Informant w)
The bird moves about the cloud,
Handsome Ramiz pursues Ha1ima about the corner.
Take the pillow away from her head,
Put your own white arms under it. 119
316. Zapjevala bumbulptica" misli zora je.
Ustaj Fato" ustaj Zlato" dili darove.
Ja sam mlada" ja sam luda" ja nemam dara.
Kad si mlada" kad si luda" što si se udala?
Udala me tudja majka" nisam ni znala. (Informant w)
The nightingale begins to sing, i t thinks it is dawn.
Get up Fato, get up Zlato, divide the gifts.
I am young, I am inexperienced, I do not have gif ts.
When you are young, when you are inexperienced, why
did you marry?
A mother not my own married me, I didn't even know.

11s See Appendix III, No. 30 for a music transcription.

119 This informant said the first line may also be
Sjeverpticu gone po oblaku (they chase the bird about the
cloud). See Appendix II, Nos. 122-123.
317. što se kunaš~ kuna~ hana?
U jadna ne hita.
Isprošena~ sestre mire~
Isprošena~ sestre drage~
U jadna ne hita.
Za koga si~ kuna~ hana?
U jadna ne hira.
Za pašiča~ sestre ripe~
Za pašiča~ sestre drage~
U jadna ne hira.
Imaš Y'Uha~ kuna~ hana?
U jadna ne hira.
šest sanduka~ sestre ripe~
šest sanduka~ sestre drage~
U jadna ne hira.
Jer što manje~ kuna~ hana?
U jadna ne hira.
Pet sanduka~ sestre ripe~
Pet sanduka~ sestre drage~
U jadna ne hira.
Jer što manje~ kuna~ hana?
U jadna ne hira.
četir sanduk~ sestre mire~
četir sanduk~ sestre drage~
U j adna ne hita.
Jer što manje~ kuna~ hana?
U jadna ne hira.
Tri sanduka~ sestre ripe~
Tri sanduka~ sestre drage~
U jadna ne hira.
Jer što manje~ kuna~ hana?
U jadna ne hira.
Dva sanduka~ sestre ripe~
Dva sanduka~ sestre drage~
U jadna ne hita.
Jer što manje~ kuna~ hana?
U jadna ne hira.
Samo sanduk~ sestre ripe~
Samo sanduk~ sestre drage~
U jadna ne hita.
Jer što manje~ kuna~ hana?
U jadna ne hira.
Samo hoščaruk~ sestre mire~
Samo hoščaruk~ sestre drage~
U jadna ne hira.
A dje ti je~ kuna~ bona?
U jadna ne bila.
Pokrale ga~ seke. moje~
Pokrale ga~ druge moje~
U jadna ne bUa.
Eto tebi svekar babe~
U jadna ne bila.
Što će meni svekar babo?
Što će meni svekar babo?
U jadna ne bila.
Eto tebi svekrvice~
U jadna ne bila.
Što će meni svekrvica?
Što će meni svekrvica?
U jadna ne bila.
Eto tebi djeverova~
U jadna ne bila.
Što će meni djeverovi?
Što će meni djeverovi?
U :jadna ne bila.
Eto tebi tvoje zave~
U jadna ne bila.
Što će meni moja zava?
Što će meni moja zava?
U jadna ne bila.
Eto tebi tvog dragana~
U jadna ne bila.
Neka meni moga dragog~
Neka meni moga dragog~
Ja mu vesela. {Informants A~ NJ
Why do you brood, kuna, dear?
Don't be distressed.
I'm promised in marriage, dear sisters,
I'm promised in marriage, beloved sisters,
I'm not distressed.
To whom, kuna, dear?
Don't be distressed.
To the pasha, lovely sisters,
To the pasha, dear sisters,
I'm not distressed.
Do you have any dowry, kuna, dear?
Don't be distressed.
Six chests, lovely sisters,
Six chests, dear Sisters,
I'm not distressed.
 Is it less, kuna, dear?
Don't be distressed.
Five chests, lovely sisters,
Five chests, dear sisters,
l'm not distressed.
Is it less, kuna, dear?
Don't be distressed.
Four chests, dear sisters,
Four chests, beloved sisters,
l'm not distressed.
Is it less, kuna, dear?
Don't be distressed.
Three chests, lovely sisters,
Three chests, dear sisters,
l'm not distressed.
ls it less, kuna, dear?
Don't be distressed.
Two chests, lovely sisters,
Two chests, dear sisters,
lIm not distressed.
Is it less, kuna, dear?
Don't be distressed.
Only a chest, lovely sisters,
Only a chest, dear sisters,
l'm not distressed.
Is it less, kuna, dear?
Don't be distressed.
Only a bošča~uk, dear sisters,120
Only a bošča~uk, beloved sisters,
l'm not distressed.
But where is it, kuna, dear?
Don't be distressed.
They stole it, my sisters,
They stole it, my friends,
l'm not distressed.
Here's your father-in-law,
Don't be distressed.
What will my father-in-law do for me?
What will my father-in-law do for me?
l'm not distressed.

120 Bošča~uk is a gift consisting of clothing wrapped

in a single piece of material which is called bošča.

, ""
 Here's your mother-in-1aw,
Don't be distressed.
What will my mother-in-1aw do for me?
What will my mother-in-1aw do for me?
I'm not distressed.
Here's your brothers-in-1aw,
Don't be distressed.
What will my brothers-in-1aw do for me?
What will my brothers-in-1aw do for me?
I'm not distressed.
Here's your sister-in-1aw,
Don't be distressed.
What will my sister-in-1aw do for me?
What will my sister-in-1aw do for me?
I'm not distressed.
Here's your beloved,
Don't be distressed.
Let me have my dear one,
Let me have my dear one,
I will be his happiness. 121

BEEKEEPING

318. Saberi se 3 majko3

Saberi se 3 seko 3
Saberi se 3 drage 3
Saberi se 3 Zjube. (Informant y)

Gather together, mother,

Gather together, sister,
Gather together, dears,
l22
Gather together, sweet ones.
319. Hvataj mi se 3 majko 3
Hvataj mi se 3 seko 3
Hvataj mi se3 drage 3
Hvataj mi se 3 ljube. (Infomant y)

C1ing to me, mother,

C1ing to me, sister,
C1ing to me, dears,
C1ing to me, sweet ones. 123

121 See Appendix III, No. 29 for a music transcript.

122-123 These songs urge bees to swarm.

1 'ih
320. Pada' zemlji~ majko~
Pada' zemlji~ seko~
Pada' zemlji~ drage~
Pada' zemlji~ ljube. {Infomant yJ
Drop toward the ground, mother,
Drop toward the ground, sister,
Drop toward the ground, dears,
Drop t award the ground, sweet anes. 12'+
321. U kući~ majko~
U kući~ seko~
U kući .. drage ..
U kući .. ljube. {Inforrnants N.. YJ
In the house, mother,
In the house, sister,
In the house, dears,
125
In the house, sweet anes.
322. Eto kiše .. majko ..
Eto kiše .. seko ..
Eto kiše .. drage ..
Eto kiše .. ljube. {Informant yJ
There' s the rain, mother,
There's the rain, sister,
There's the rain, dears,
There's the rain, sweet anes. 126

MISCELLANEOUS

323. Srce moje razonodu čeka ..

I pjesma je razonoda neka. {Informant ej
My heart waits for amusement,
And let song be it. 127
324. Ja šta ću zapjevat'.. ja šta ću?
Svome srcu razonodu ja ću. {Informants A to EJ

12'+This song urges bees to swarm intq the hive.

125 This song urges bees to enter the hive.

126 This song urges bees to stay in the hive.

127 Most commonly, one of the songs Nos. 323-326 begin

a song.

1 <;7
 Why will I begin to sing, why will I?
For my own heart's amusement. 128
325. Moje srce vene kad ne pjeva~
K' o karanfil kad se ne zaljeva. Unformant DJ
My heart withers when it doesn't sing,
Like a carnation when it isn't watered.
326. Kad zapjevam tri me sela čuju~
Četiri se dragana raduju. (Informant ej
When I begin singing three villages hear me,
Four sweethearts are delighted.
327. Kiša pada i pomalo rosi~
Merhaba~ ti dragi~ i kako si?
Kosu češlja na lijevu stranu. (Informants N~ XJ
Rain falls and a little dew,
Greetings, dear, and how are you?
She combs her hair anto the left side. 129
328. erna zemlja i zelena travo~
što me nisi prekrila odavno?
Da ne gledam jada po sokaku.
Black earth and green grass,
Why didn't you cover me long ago?
So I don't see the sorraw about the street. 130
329. Ja ne gledam sahat ne lonca~
Već ja gledam tora i ovaca. Unformant BJ
I don't look at watches nor at necklaces,
I still look at sheep pens and sheep.
330. Svidja mi se danas ova moda~
Naročito kogod gologlav hoda. (Informant BJ
The style today p1eases me,
Especially whoever goes about bareheaded.

128. The structure of repetition in the first line is

recognized as the song style of Ivica and Rama.
129 This song (and No. 328) was sung into the tevsija
and are incomplete. See No. 287 also.
130 See Note 129.

158
331. Što sam znala to sam ispjevala 3

Što ostalo ne bi u vagon stalo. (Informants A3 EJ

What I knew, I have sung,
What remains would not fit in a wagon. 131
332. Ove pjesme 1)iše nema3
Neka se drugu sprema. (Informant EJ
There is no more to this song,
Let another be prepared.
333. Ja bih ovo kolo završila 3
I sviju u redom pozdravila. (Informants A3 DJ
I would finish this kolo 3
And greet everyone in order. 132
334. Oj Kozaro 3 duga i široka 3
Ja u tebi ne otslužih roka.
Kozara je sve od sebe dala 3
Prve borce za Tita Maršala. (Informants A3 e3 DJ
Oh Kozara, long and wide,
I didn't serve out my time.
Kozara gave all of herself,
The first fighters for Marshal Tito. 133
335. Zaigralo zecko kolo 3 zaigralo zecko kolo 3
Na zemljištu drug Titovom 3 na zemljištu r:J:r>ug Titovom.
Komandire druže Peko 3
Čuo si se nadaleko. (Informant ej
Zecko kolo began to turn, zecko kolo began to turn,
In Comrade Tito' s country, in Comrade Tito' s country.
Commander Comrade P.eko,
You are heard of faraway.
336. Zaigralo naše kolo malo 3
Zaigralo naše kolo malo. (Informants A3 e~ DJ
Our little kolo began to turn,
Our little kolo began to turn.

131Nos. 331-333 are traditionally sung to end a per-

formance.
132 See Appendix II, No. l33.
133 See Appendix II, No. 134.

159
337. A ko nam je u koZu?
Abida nam je u koZu.
Haj de.. Abida.. biraj..
Biraj ne studiraj.
Ko je puno studir'o ..
Najgore je isabro'o.
Hajde.. bona.. šta se staZa?
Kanda nisi večera Za.
Ako ovdje tvog nema..
Izaberi druga dva.
(She chose a family member, Ramiz.)
Kako pravo sad imaju..
Sve rodbinu da biraju.
Hajde .. Ramiz .. biraj ..
Biraj ne studiraj.
U šparetu ima Zuga..
Biraj sebi .. Ramiz.. druga.
(He chose amaiden, Ha1ima.)
Sad se vidja.. ividja..
Ko se kome svidja.
AZaj su nam Zepe ruže ..
Da Bog dadne da se združe.
Hajde .. HaZima.. biraj para..
Da vidjamo da zi vaZja.
Ako ovdje tvog nema..
Izaberi druga dva.
što si nešto zamišZjena ..
Konda da si zaručena?
Who is in our kolo?
Abida is in our kolo.
Come on, Abida, make a choice,
Choose, don't study.
One who studies a lot,
Chooses the very worst.
Come on, dear, why did you stop?
As though you didn't eat dinner.
If yours isn't here,
Choose two others.
(She chose a family member, Ramiz.)
How do they have the right,
They chose all relatives.
Come on Ramiz, make a choice,
Chose, don't study.
There are ashes in the stove,

160
 Choose another for yourself, Ramiz.
(He chose amaiden, Ha1ima.)
Now it is clear,
Who p1eases whom.
Ours are pretty roses,
God grant that they unite.
Come on, Ha1ima, choose a couple,
To see whether they are worthwhile.
If yours isnlt here,
Choose two others.
Why are you so thoughtfu1,
As though you are engaged? 134
338. Pod onom~ pod onom~ gorom zeZenom~
I onom~ i onom~ visom pZaninom~
MaZo se~ maZo se~ seZo vidjeZo.
U seZu~ u seZu~ koZo igraZo.
U koZu~ u koZu~ svojkadjevojka.
Po čem je~ po čem je dragi poznaješ?
U pasu~ u pasu tanka~ visoka~
U Zicu~ u Zicu beZa rumena.
Ono je~ ono je moja djevojka. Unformant M)
Beneath this, beneath this green mountain,
And this, and this high mountain,
A small, a small village is seen.
In the village, in the village a koZo is danced.
In the koZo, in the koZo is my girlfriend.
How do you, how do you recognize your love?
By the waist, by the waist, slender, tall,
By her face, by her face white, rosy.
That is, that is my gir1friend. 135
339. Nisam fina~ dragane~ izvini~
Rodila me majka na brzini. Unformant B)
lIm not good looking, beloved, lIm sorry,
Mother bore me in a hurry. 136

134 This is an example of "Biranje kolo" as it was per-

formed at one particular time. See Appendix II, Nos. 135-
136.
135 The informant said he learned this song in Planini-
ca before World War II; it is also sung in Hercegovina.
136 This was sung in response to No. 66.

1 hl

.. '
340. GPne oči rodiZa me mama~
A obrve nagaraZa sam. {Informant DJ
My mother gave birth to my dark eyes,
But I myse1f darkened my eyebrows. 137
341. Oči moje k'o dve crne kave~
PrevodiZe žedne preko Save. {Informant BJ
My eyes like two black coffees,
Led the thirsty across the Sava River. 138

342. GPne oči kotZom zakrpZjenje~

A zeZene srebrom zaZivene. {Informant BJ
Dark eyes with patching of black color,
But green eyes sprink1ed with silver.
343. KZadiZo se momče i djevojče~
Kad spavaju da se ne diraju.
Kad rekoše~ nako radiše~
Jedno drugom Zedja okrenuše.
Kad je biZo oko ponoc~~
Lijepo momče. sa kreveta skoči.
"Okreni se." Ne okrenuZa se.
"Majka mi te mrtvu okrećaZa." (Informant OJ
A lad and maiden made a bet,
That they sleep together but not touch each other.
They did just as they said,
They turne d their backs to each other.
When it was about midnight,
The handsome lad jumped out of bed.
"Turn over." She did not turn over.
"Then may my mother turn over your dead body!" 139

137 This song refers to the use of makeup.

138 Th·~s song re f ers to a wa~t~ng
. .ma~. d en wh o tempts her
Doyfriend to return to Bosnia from Vojvodina where he
went to work.
139 The informant learned this song in her nata1 vil-
lage. Although others in Planinica knew some of the song,
they did not sing it. A variant appears in Matica
Hrvatska~ Vol. VII, p. 42.
344. Učitelju~ molim te k'o Boga~
Iz škole mi vrati i dragoga. {Informant BJ
Teacher, I beg of you as though of God,
Return my beloved from school.
345. Omili mi vojnička parada~
Mornarica i Titova garda.
I like a soldiers' parade,
Sailors and Jito's special guard.
346. Sad mi spolja trapću kola~
Zoro~ zoro moja~ zoro~ zoro~ zorice.
U kolim' je maZa moja.
Zoro~ zoro moja~ zoro~ zoro~ zoriae.
Biž' u kola~ maZa moja.
Zoro~ zoro moja~ zoro~ zoro~ zoriae.
Na volove podvikuje.
Zoro~ zoro moja~ zoro~ zoro~ zoriae.
A na mene namiguje.
Zoro~ zoro moja~ zoro~ zoro~ zoriae. {Informant HJ
Now we're outside, there's the rhythmic sound of
wagon wheels,
Zoro~ zoro moja~ zoro~ zoro~ zorice.
Get to the wagon, my little one.
Zoro~ zoro moja~ zoro~ zoro~ zorice.
He yells at the oxen.
Zoro~ zoro moja~ zoro~ zoro~ zorice.
But he winks at me.
Zoro~ zoro moja~ zoro~ zoro~ zorice. 140

347. Bećar pije po nedelju dana~

Da ga nikad ne zaboli glava.
Bećar jesam~ bećarsko mi tijelom.
Još da mi je bećarsko odjelo.
Bećar jesam~ bećarski se vladam.
Još da mi je bećar cura mlada. {Informant HJ
A bećar drinks all week long,
And his head never hurts.

140 According to the informant, this is an old song

which everyone used to sing. However, it has become as-
sociated with a simple minded man and is even called his
song. The informant emphasized that although he still
sings it, others have ceased to because of association.
 I am a bećar~ my body is bećar.
Still if only I had clothing of a bećar.
I am a bećar~ I .behave like a bećar.
Still if only I had a young maiden.
348. Ciganska je tuge prego Zema.
Niko ne zna što se Cigi sprema.
Biži~ Cigo~ sa kreveta moga~
Biži~ Cigo~ u Zogor svoji. (Informant H)
Gypsy sorrow is too immense.
No one knows what is being planned for the Gypsy.
Beat it, Gypsy, from my bed,
Beat it, Gypsy, to your own camp.
349. ženit ću se ovo sedam dana~
Dovest ću je makar Cigana. (Informant F)
I will marry in these seven days,
Even if I have to bring her from the Gypsies.
350. Beri~ beri grožde~
Dok ćića ne dodje.
A kad ćića dodje~
Presit će ti grožde. (Informant R)
Pick, pick grapes,
Until the old man comes.
And when the old man comes,
You will have had your fill of grapes. 141
351. Kad je Fatima Pruščane vratiZa~
Tahira je ruke raširi Za.
Idu Fatima i Tahira ispod seZa.
Hatidja je biZa neveseZa.
Hoće Fatima svekrvu da Zjubi~
Ona veZi s očiju se gubi. {Informant DJ
When Fatima turned back the lads from Prusac,
Tahira spread out her arms.
Fatima and Tahira go below the village.
Hatidja was unhappy.
Fatima wants to kiss her mother-in-law,
The mother-in-law says get out of my sight. 142

141.This was composed by a lad caught stealing grapes.

142 Af ter Fatima rejected a wedding party that came for
her, a maiden composed this song about the happening.
352. Kiša pada samo oko puta~
Otišao mi dragi bez kaputa. {Info~ant EJ
Rain falls only around the road,
My dear one left without acoat.
353. Drina voda zastavi valove~
Da poberem kosti draganove.
Tri put mi se Drina voda klela~
Da je dragom kosti zanijela. {Informant ej
Water of the Drina, stop your waves,
So I can gather my beloved's bones.
The waters of the Drina swore to me three times,
That she carried away my dear one's bones. 143
354. Hajde~ da se pomirimo~ jagnje~
Dodija mi tvoje uzdisanje. {Informant EJ
Come on, let's make peace, lamb,
Your continual sighing torments me.
355. Neću više učiti politike~
Moj je dragi šofer od motike. {Informant EJ
I will no longer study politics,
My loved one is a driver of the hoe.
356. Kad se dragi pomoli na vrata~
Sjaji mu se ruka o' sahata. {Informant EJ
When my love appears at the door,
His arm shines from his watch.
357. Avione~ kad podješ na more~
Spusti krila putovat ću i ja. {Informant ej
Airplane, when you go to the coast,
Lower your wings and I will go too.
358. Kolegice~ jednim ćemo vozom~
Ti za Zagreb~ a ja odem a krozom. {Info~ant EJ
Friend, we will go by train,
You to Zagreb, but I am going further.
359. Gdje će krava oteliti zeca?
Gdje će s nama zapjevati djeca? {Informant AJ

143 This song is very much like songs of olden times,

starinske pjesme.
 Where will the cow give birth to rabbits?
Where will the children begin to sing with us?144
360. Kažu meni lolu oči bole,
Vazda gleda u moje prozore. {Informants B, DJ
They say my sweetheart's eyes hurt,
All day long he looks in my windows.
361. Planinica, selo na vidiku,
U tebi sam zagledala diku. (Informant DJ
Planinica, village in the distance,
It was there I fell in love with my sweetheart.
362. Zaigralo naše kolo malo,
A Njemačka bila i propala. {Informants A, B, C, DJ
OUr small circle dance begins~
And Germany was and failed. 14

144 The riddle-like quality of this song is somewhat u~

usual.
145 This is a common opening for a dance song, probably
learned in school.

1 hh
 APPENDIX II

SUPPLEMENTARY SONG TEXTS FROM NEARBY VILLAGES

~:;
 KEY TO INFORMANTS OF SUPPLEMENTARY TEXTS

Informant A: A group of Catholic maidens ranging in age

from sixteen to twenty-five from Jablani.
All songs were recorded at a preZo.
Informant B: Catholic female of Jazvenik. Age 23, un-
married, literate.
Informant C: Catholic female of Jazvenik. Age 15, un-
married, literate. In the same household
as In forman t H.
Informant D: A group of Muslim women and maidens and one
Catholic maiden from Varvara. The Catholic
maiden was the lead singer for many of the
songs; however the texts were often suggest-
ed by Muslims present. The songs were re-
corded at a preZo.
Informant E: Catholic female of Jazvenik. Age 17, un-
married, literate. In the same household
as Informant G.
Informant F: Catholic female of Jazvenik. Age 30, mar-
ried and from Gornja Voljica, female head
of household, literate.
Informant G: Catholic female of Jazvenik. Age 54, mar-
ried and frQm Kukavica kod Kupresa, female
head of household, nenliterate. In the
same household as Informant E.
Informant H: Catholic female of Jazvenik. Age 44, mar-
ried and from Dervetina, female head of
household, nonliterate. In the same house-
hold as Informant C.
Informant I: Catholic male of Jazvenik. Age 36,.marrie~
head of household, literate. In the same
household as Informants J, K, L.
Informant J: Catholic female of Jazvenik. Age 14, un-
married, literate. In the same household
as Informants I, K, L.
Informant K: Catholic female of Jazvenik. Age 38, mar-
ried and from Lucani, female head of house-
hold, nonliterate. In the same household
as Informants I, J, L.
Informant L: Catholic male of Jazvenik. Age 16, unmar-
ried, literate. In the same household as
Informants I, J, K.

~::
The following song texts were collected in Jazvenik3 Jab-
lani and Varvara. They are not included in the analysis
hut are offered as comparative material. Jazvenik3 a
Catholic village 3 is within a one hour walk from Planin-
ica; however3 there is relatively little social interac-
tion hetween the two villages. Jahlani is located in
Skoplje Polje. It is a Catholic hamlet within the pre-
dominantZy MusUm viUage of Zanesovići. PZaniničani
have very little interaction with either Muslims or Cath-
olics of this village. Varvara is a mixed village of
Catholics and Muslims located in the Rama ValleY3 a five
hour walk from Planinica. There is some intermarriage
hetween Planiničani and Muslims of Varvara.

SONGS OF OPPOSITION

1. Moj J::t.agane rodjen iz planine 3

Ponesi mi grane jelovine. {Informant AJ
My beloved born in the mountains,
Bring me branches of a fir tree.
2. Moj se J::t.agi falio koZegi 3
Da kroz staklo ljubio me ne hi.
Moj J::t.agane 3 ne hih ni ja tehe 3
Kx>oz vojničko dupljirano ćehe. {Informant AJ
My love boasted to his friend,
That he wouldn't kiss me through glass.
My beloved, nor would I kiss you,
Through a double army blanket.
3. Moj je J::t.agi u majke jedinjak3
Napreduje k'o u vodi pUjak. {Informant AJ
My love is his mother's only son,
Re progress es like a stick in water.
4. Moj se J::t.agi faU da je gazda 3
Kod J::t.ugoga na nadnici vazda. {Infomant AJ
My love boasts that he is alandlord,
But he works for others for pay.
5. Ništa mene 3 majko, neumori3
Samo seljak gosposno govori. {Informant EJ
Mother, nothing exhausts me,
Only a peasant who speaks in a gentlemanly way.

··r . "-- t
 COURTSHIP

6. Oj~ Božiću~ jedan u.godini~

Moj draga:ne jedan usuđbini. (Inforrna:nt BJ
Oh, Christmas, one a year,
My be10ved one in destiny.
7. Ja i d:t>agi jednoga zema:na~
Rodili se u godini dana. (Inforrna:nt BJ
My be10ved and I are the same age,
We were born in the same year.
8. Pitaju me~ "što si izmršala?"
Mili moji koga ljubav goji? (Inforrnant ej

They ask me, "Why have you become so thin?"

My dear, who gets fat from love?
9. Hajde da se pomirimo~ ja:nje~
Dodija nri tvoje uzdisa:nje. (Inforrnant BJ
Let's make peace, little lamb,
Your sighs torment me. 1
10. Oči moje sjaja zelenoga~
Birajte mi lolu modernoga. (Inforrnant DJ
My eyes of a green glow,
Choose a modern sweetheart for me.
11. Moj d:t>agane~ tri me sunce sjaju~
Kad me tvoje oči pogledaju. (Informant BJ
My beloved, three suns warm me,
When your eyes look at me. 2
12. Listić mali sam je od ljubavi~
Vesela sam k'o na lozi grožde~
Veselija kad mi d:t>agi dodje. (Inforrnant ej

A little letter only of love,

I am happy as grapes on a vine,
I am happier when my dear comes to me.
'I

lSee Appendix I, No. 354.

2See Appendix I, No. 109.
13. Oči moje garave~
Cijelu noć su spavale.
A večeras spavat neće~
Došlo im je cvijeće. (Informant EJ
My dark eyes,
They slept the entire night.
But this evening they will not sleep,
A flower came to them.
14. ČUVam ovce dolje u jasenje~
Gledaj~ dragi~ pa dodje do mene.
Samo pazi da ne vidi nana.
Ti podrani rano sa oVcama.
Ako ne znaš gdje ja čuvam ovce~
Ti ćeš čuti na OVCama zvonce.
Preko druma medinice zvijeće~
Tu moj dragi svoje stado kreće.
Čujem frulu tako divno svira~
Dodje~ dragi~ srce nema mira.
Ja bih došao aU nemam kuda~
Tvoje ćale zagradio svuda.
Dodji~ dragi~ otkud sunce grije~
Tuda ćale zagradio nije. (Informant AJ
I tend sheep down in the ash grove,
Look, dear, come to me.
Only take care that mother doesn't see you.
Get up early with the sheep.
If you don't know where I am tending sheep,
You will find out by the sheep's bell.
Across the road a brass bell rings,
Here my dear pastures his herd.
I hear a frula, it plays so wonderfully,
Come, dear, my heart has no peace.
I would come, but I don't know where,
Your father has put up fences everywhere.
Come, dear, from the direction the sun warms,
My father did not build a fence there. 3

3 This is a starinska pjesma that the maidens learned

from older women in the village. Halpern, p. 181, reports
a variant from Šumadija. See Appendix III, No. 20 for a
music transcription.

, .., ...
15. Na livadi kabanica ne znam čija je.
Čobanica progovara Ivanova je.
O Ivane 3 mlad čobanE3 života ti tvog3
Ko ti dade zlatne ključe od ormara mog?
Dala mi tvoja seja 3 lijepa Marica 3
Dala mi je zlatne ključe i dva poljubca.
Oj3 Marice 3 sejo mila3 šta uradiš ti?
Jer je Ivan stari čoban pa te prevari. (Informant AJ
In the meadow is a coat, I don't know whose it is.
A shepherd girl said it is Ivan's.
Oh, Ivan, young shepherd, I beg of you,
Who gave you the golden keys to my closet?
Your sister, pretty Marica, gave them to me,
She gave me the goldenkeys and two kisses.
Oh, Marica, dear sister, what are you doing? q
Because Ivan is an old shepherd and deceives you.
16. čitaj3 dragi3 u novinama naćeš3
Koliko te volim3 eto znaćeš. (Informant AJ
Read, dear, in the newspaper you will find,
How much I love you, you will find out. 5
17. Moj dragane 3 iz daleka ništa3
Ja sam tvoja da ih dodje trista. (Informant AJ
My beloved, there's nothing from faraway,
I am yours even if three hundred come.
18. Ovo svijeta i još ovoliko 3
Nema dragog kon do nema niko. (Informant ej

There are many people, and if there were twice as many,

There is no better dear than my own.
19. Ja Šokica pa se pokrstila3
Za bećara svoju vjera dala. (Informant BJ
I am a Croatian maiden and so I am christened,
I gave up everything for a bećar.
20. Imam dragog ime mu je Marko ..
Sačuvaj ga3 Isusova majko.

qSee Appendix I, No. 125. Also see Appendix III, No.22

for a music transcription.
5 See Appendix I, No. 101.

1 -, ,.
 I have a love, his name is Marko,
Protect him, Mother of Christ.
21. Ja i dragi jedne vjere nismo 3
Mi hoćemo bratstvo i jedinstvo. {Informants B3 FJ
My love and I are not of the same faith,
We want brotherhood and unity.
22. Oj3 Šokice 3 kad si tako fina 3
Hajde 3 jadne 3 poide za Srbina. {Inforrnants B3 ej
Oh, Croatian maiden, when you are so nice looking,
Come on, poor thing, marry a Serb. 6
23. erne oči g~eda~e u Dnnu3
Šokica se dopa~a Srbinu. {Informants B3 ej
Dark eyes looked into the Drina,
The Croatian maiden is p1easing to the Serb.
24. Moj drugane 3 ja sam po~utanka3
Tata Šokac 3 majka Srbijanka. {Inforrnant ej
My beloved, I am a sandwich cookie,
My father is Croat, my mother a Serb. 7
25. Ja šokica~ dragi meni Srbin vo~i3
Mojoj majci to nije po vo~i. {Inforrnant ej
I am a Croatian maiden, a dear Serb loves me,
This is not to my mother's liking.
26. Vo~im Srba nego devet Šokaca 3
Jer je Srba omi~jat k'o vrba. (Inforrnant BJ
I prefer a Serb to nine Croats,
Because a Serb is loveable like a cat.
27. VoZim Šokca nego devet Srba3
Jer se Šokac razvio k'o vrba. {Informant BJ
I pre fer a Cro at to nine Serbs,
Because a Cro at developed like a wi110w.

6 See Appendix I, No. 140.

7Po~utanka in this song is a metaphor for mixed ethnic
background. Litera11y, it is a cookie with a light creamy
filling and crisp exterior, similar in structure to sand-
whic.h cookies.

1"'7'"
28. Kad me dragi za udaju pita~
Ja sam rekla i amanet da"la.
Sad se mis"lim kako bi s"laga"la. (Informant B)
When my love asked me about marriage,
I said yes and gave my promise.
Now I wonder how I might lie out of it. 8
29. Zaručena imam i sjedoka~
Mjesec dana produži "la roka. (Informant B)
I am engaged and ~ have witnesses,
I extended the time for a month.
30. Zaručena opet ašikuje~
U jednog se momka ne vjeruje. (Informant B)
She's engaged and again she flirts,
It isn't wise to trust in one lad. 9
31. Tri put me se uzdane s tugom~
Moj dr>agane~ kad te vidim s drugom. (Informant B)
Three times I sadly sigh,
My beloved, when I see you with another.
32. Tri put me se uzdane B tugom~
Kad mi dragi prošeta sa drugom. (Informant B)
Three times I sadly sigh,
When my beloved strolIs with another.
33. Lastavica "lasta mi"la~
Pošto bi mi pošta bi"la?
Varoš gradu od"leti"la~
Bije"lo pismo odnosi "la.
Draga mi je pozdravi"la~
Kaza"la mu tako vako~
Da mi nije čekat "lako. (Informant G)
Swallow, dear swallow,
How much would my mail cost?
It flew about the town,
It carried my white letter.

8 See Appendix I, No. 133.

9Mus1im maidens commented on the wisdom of this song;
however, they did not know it.
 I greeted my dear one,
I told him this and that,
That it isn't easy for me to wait. lO
34. Još par dana pa će i to proći 3
Moj će dragi iz Njemačke doći. (Inforrnant e)

A couple days more and that too will pass,

My dear will come from Germany.
35. Ja sam svoga pitala dragoga 3
Kad ga nema da ljuhim drugoga. (Inforrnant H)
I asked my loved one,
When he is gone, shall I kiss another.
36. Moj dragane 3 djeli nas daljina 3
Mene Bosna3 tebe Slavonija. (Informant A)
My beloved, distance divides us,
Bosnia me, Slavonia you.
37. Piši 3 dragi3 ne žali olovke 3
Dok ti dodješ3 ja ću gledat momke. Unformant H)
Write, dear, don't spare the pencils
Until you come, I will look at lads. i l
38. piši 3 dragi 3 ili brzo javi3
šta će biti od naše ljuhavi. (Informant A)
Write, dear, or report quickly,
What will become of our love.
39. Moj dragane 3 plav jorgovan 3
Koliko si regrutovan? (Inforrnant H)
My beloved, blue lilac,
How long will you be in the army?
40. Kiša pada Morava se muti 3
Plačite cure 3 odlaze regruti. (Informant B)
Rain falls, the Morava River becomes muddy,
Maidens cry, the recruits are leaving.

lOThe informant learned this starinska pjesma in her

natal village. It is sung in unison.
II See Appendix I, No. 153.
41. Mili Bože~ današnji momaka~
Sve čuvari rJ:r.venih baraka. (Informant BJ
Dear God, of today'·s lads,
All are guards of wooden barracks.
42. Kiša pada~ rJ:r.agi nema rada~
Iz baraka gleda u oblake. (Informant BJ
Rain falls, my love has no work,
He looks at the clouds from the barracks.
43. Ja imala dvije ruže bordo~
I rJ:r.agoga u vojsku mi ode. (Informant F J
I had two burgundy colored roses,
And my beloved went into the army.
44. Nisam znala že lit' vojnika~
A sada znadem jer je moja dika. (Informant BJ
I didn't know enough to be sorry for a soldier,
But now I know because my sweetheart is one.
45. Uzmi~ Tito~ što više momaka~
Kad ja plačem~ neka plače svaka. (Informant BJ
Tito, take more lads,
When I cry, let everyone cry.
46. Služi vojsku~ lola najmilija~
Da se može pomogla bih i ja. (Informant BJ
Serve in the army, my favorite sweetheart,
If it were possible, I would also help.

SOCIAL RELATIONSHIPS WITHIN HOUSEHOLDS

Svekrva

47. SvekI'Vice~sime od salata~

Daj mi sina ne znalo se za te. (Informant EJ
Mother-in-law, lettuce seed,
Give me your son and then get lost.
48. Svekrvice~ rodili rogači~
Eto mene~ ti u vodu skači. (Informant EJ
Mother-in-law, the St. John's bread is ripe,
Here I am, jump in the water.

178
49. Svekrvice~ našla sam ti mjesto~
Za vratima medju taračima. (Informant EJ
Mother-in-1aw, I found a place for you,
Behind the door among the rags. 12
50. Svekrva me vidila na vodi~
Kaže sinu~ "Meni je ne vodi." (Informant EJ
My mother-in-1aw saw me at the water,
She says to her son, fiDo not bring her to me. fl13
51. Svekrva mi ljuta kao zmija~
Hvala Bogu nisam dobra ni ja. (Informant EJ
My mother-in-1aw is as angry as a snake,
Thank God l'm not kind either.
SZ. Svekrvice~ ništa ti ne mogu~
Moja kletva stigla te u grobu. (Informant EJ
Mother-in-1aw, I can't do anything to you,
I hope my curse reaches you in the grave.
53. Svekrvice~ moraću te slikat~
Ne mogu te zaboravit' nikad. (Informant FJ
Mother-in-1aw, I must photograph you,
I cannot ever forget you.
54. Svekrva mi poslala pozdravi~
U maramu zavezala mravi. (Informants E~ FJ
My mother-in-1aw sent me greetings,
She wrapped ants in a scarf.
55. Svekrva mi šalje kolo pite~
Od miline što joj ljubim sina. (Informant EJ
My mother-in-1aw sends me a round pastry,
Out of sweetness, because I love her son.
56. Svekrva mi narandju poslala~
Od miline što joj ljubim sina. (Informant EJ
My mother-in-1aw sent me an orange,
Out of sweetness, because I love her son.

l2See Appendix I, No. 158.

13 See Appendix I, No. 164.

179
57. Svekrva mi tri jabUke šalje~
Da joj sina ne zavodim dalje. (Informant EJ
My mother-in-1aw sends me three apples,
So I don't lead her son astray.
58. Ja ću svoju svekrvu zaklat' ~
Pa ću meso u zadrugu dat'.
I will slaughter my mother-in-1aw,
And give the meat to the cooperative.l~
59. Ja ću svoju svekrvicu udavit'~
Eno odbor~ nek idem najavit' .
I will strangle my mother-in-1aw,
There's the council, let me report it.
60. Svekrvice~ dugo bolovala~
Tri dušeka nova poderala. (Informant E~ FJ
Mother-in-1aw, may you be sick a long time,
And wear out three new mattresses.
61. Svekrvice~ našla sam ti zgodu~
Sa ćuprije gurnem te u vodu. (Informant A~ EJ
Mother-in-1aw, I found a place for you,
I will push you from the bridge into the water. 15
62. Kad se udam i podjem u drva~
Ja ću zadnja~ svekrva će prva. (Informant EJ
When I'm married and go to the woods,
I will go last, my mother-in-1aw will go first. l6

Svekar and Svekrva

63. Imam svekra i svekrvu krasnu~

Slikat ću ih u šumi na hrastu. (Informant EJ
I have a lovely father-in-1aw and mother-in-1aw,
I will photograph them in the woods in an oak tree. l7

l~ See Appendix I, No. 173.

15Informant B sang the second line: ćuprije te gurnit
ću u vodu. See Appendix I, No. 179.
16 See Appendix I, No. 176.
17See Appendix I, No. 181.

180
64. Imam svekra i svekrvu finu 3
PY'odat ću ih pa ću kupit mašinu. (InfoY'mant EJ
I have a fine father~in~law and mother~in~law,
I will sell them and buy a machine.
65. Imam svekra i svekY'vu Zjutu3
Obo dvoje ciY'kZi za minutu. (InfOY'man t EJ
I have an angry father~in~law and mother~in~law,
May both die in a minute.
66. Ja sam Y'ekZa sZušat' svoga svekY'a3
I svekrvu ja je ne zatekZa. (InfoY'mant EJ
I said I would obey my father~in~law,
And avoid my mother~in-1aw.

Djever

67. Moj djevere 3 poZa Y'oda moga3

Oću Zi biti Zjubav brata tvoga? (InfoY'mant EJ
My brother-in-1aw, my part kin,
Will I be the love of your brother?
68. Moj djevere 3 stani pOY'ed mene 3
Nisam gOY'a·ni od tvoje žene. (InfoY'mant EJ
My brother-in-1aw, stand in front of me,
I am not any worse than your wife.
69. AZaj sam se najeZa bonbona3
Iz džepova svojih djeveY'Ova. (InfoY'mant EJ
I have eaten my fill of candy,
From the pockets of my brothers-in-1aw.

Zava

70. NašZa sam pY'sten u zeZenoj tY'avi 3

Kad se udam ponit ću ga zavi. (InfoY'mant EJ
I found a ring in the green grass,
When I marry, I will bring it to my sister-in-1aw.
71. Kad zapjeva nevista i zava3
Odjekuje i gOY'a i tY'ava. (InfOY'man t EJ
When the bride and her sister-in-1aw begin to sing,
Both the mountain and grass echo.

181
72. Udajte se zave prije mene 3
Svaka zava od neviste vene. (Informant EJ
Sister-in-law, marry before I do,
Every sister-in-law withers because of the bride.
73. što ćU3 majko3 kad zatečem zavu?
Uzmi kamen pa joj razbije glavu.
Mother, what will I do when I meet my sister-in-law?
Take a rock and break open her head.

Jetrve

74. Neka svekra 3 neka i svekrve 3

Sačuvaj me Bože od jetrve. (Informant EJ
Never mind my father-in-law and mother-in-law,
18
Protect me, God, from my husband's brother's wife.
75. Ja sam čula i novine kažu 3
Da se sada jetrve ne slažu. (Informant FJ
I heard and the newspaper says,
That brothers' wives don' t get along now. 19

Punica

76. Oj3 punice 3 ako sam baraba 3

Eto tebi tvoja kćerka džaba. (InfoY'l7lant AJ
Oh, mother-in-law, if I am a bum,
Here's your daughter free of charge. 2o

UNREQUITED LOVE

77. Ode drage ne reče ni ZbOgom3

šta ga nisam udarila s nogom? (Informant DJ
My dear left without even saying goodbye,
Why didn't I kick him?

18 See Appendix I, No. 184.

19 See Appendix I, No. 183.
20 See Appendix I, No. 186.

182

_.
78 • Mene dragi po ZjUbi pa ode ..
Ostavi me k'o ribu bez vode. (Informant FJ
My love kisses me and then goes,
He leaves me like a fish without water.
79. Nema moga dragana odavno ...
Njegovo je srce zaboravno. (Informant DJ
My be10ved has not been here for a long time,
His heart is forgetfu1.
80. Moj dragane .. gdje zi si mi sada?
Imaš zi me spomenuti kada? (Informant BJ
My beloved, where are you now?
Do you have time to remember me?
81. Ob Začina.. čekaZa vedrine ..
Ja dragana četiri godine. (Informant BJ
There are large clouds; I waited for clear skies,
I waited for my love for four years.
8Z. Srce pZače i ova dva oka..
Gdje si.. dragi.. sunce sa istoka?
My heart and these two eyes weep,
Where are you love, sun from the east?
83. Ja i dragi rješiZi se svega..
Nemamo se voZit' radi čega. (Informant FJ
My love and I have made ourse1ves clear,
There is no reason to love each other.
84. Nemoj dragi da te iznenadi..
Protiv naše ZjUbavi se radi. (Informant FJ
Don't be surprised, dear,
Something is being done to oppose our love
85. Kad je RadabiZa mZada"
Momiru se obeča Za.
Kad je biZa jesen duga ..
VoZi Rada momka druga.
U sobici Rada šiZa ..
Svojoj braći govori Za ..
"Ne dajte me.. braćo miZa..
Poginut ću od Momira. "
U sobici prozor zveknu..
U sobici Rada jeknu.

183
 Mrtva Rada kad je biZa~
Svojoj braći govorila~
"Sahra:nte me~ braćo mila~
Pokraj groba mog Momira."
Na grobu im kamen~
"Plavi poginuše zbog ljubavi." (Informant F)
When Rada was young,
She promised herself to Momir.
When the autumn was long,
Rada loved another lad.
In the little room Rada sewed,
She said to her brothers,
"Don't give me away in marriage, dear brothers,
I will perish because of Momir."
In the little room the window clinked,
In the little room Rada kill ed herself.
When dead Rada was alive,
She said to her brothers,
"Bury me, dear brothers,
Near the grave of my Momir."
On the grave there is a stone,
"She perished because of love.,,21

MARRIAGE

86. Ovo moji još nekoliko dana.

Mila majko~ ostaješ mi sama. {Informa:nts B~ C~ EJ
Only a few days are left.
Dear mother, you remain alone.
87. Ova jesen i tako i 'vako~
Druga jesen dovidjenja~ majko. {Informant DJ
This autumn both this way and that,
Next autumn, goodbye, mother.
88. Ja vesela budi seko i ti~
Brzo ćemo majku ostaviti.
I am happy, you be happy too, sister,
Quickly we will leave mother.
89. Ja sam sinoć čitala čita:nku~
Da ću svoju ostaviti majku. (Informa:nt F)

21This is a starinska pjesma.

184
 Last night I read,
That I will leave my mother.
90. Moja mama mog tatu volila~
A mene bi dala za nemila.
Mila majka~ podaj me za draga~
A imanje nek ide u vraga. (Informant ej
My mother loved my father,
But she would give me to someone I don't love.
Dear mother, give me in marriage to my beloved,
And let the property go to the devil.
91. Da znaš~ majko~ što je dragan Marko~
Dala bi me Marku u naramku. {Informant EJ
If you knew, mother, what a dear Marko is,
You would give me into his arms.
92. erne oči~ rodila me mama~
Selo moje~ selo od rodjenja~
MiZa majko~ udaj me u selu. {Informant DJ
Mother gave birth to my dark eyes,
My village, village of my birth,
Dear mother, marry me to someone in the village.
93. U Kordiće ne bih se udala~
Već kad bi me bomba natjerala. (Informants E~ e~ EJ
I wou1dn't marry into Kordici,
I cou1dn't be forced to.
94. Očiju mi sa kojima gledam~
Mene majka u Kordiće ne da. {Informants E~ e~ EJ
I swear by my eyes,
Mother is not giving me in marriage to Kordici.

VILLAGES AND THEIR INHABITANTS

Other Villages

95. Grlo moje ne može da pjeva~

Napilo se kordičkoga vrela. {Informant EJ
My throat cannot sing,
It drank its fill of Kordici spring water. 22

22See Appendix I, No. 285.

185
 96. Oj~ Kordići i te tvoje dole~
Da Bog da se srušile u more. {Informants B~ C~ EJ
Oh, Kordici and your meadows,
God grant that they sink into the sea.
97. U nedelju petnaestoga maja~
U KOrdići uhvati se graja.
Uhvatili divljega medveda.
Te mu onda donesoše vode~
Te ga oće da u selo vode. {Informants B~ C~ EJ
On' Sunday, the fifteenth of May,
In Kordici there was a commotion.
They caught a bear.
After that they gave it water,
And then wanted to bring it to the village.
98. Volim bit' oko plota trnje~
Nego ljubit' Kordičane crne.
I prefer to be around a fence of thorns,
Rather than kiss dark lads from Kordici. 23
99. U Ivici se dogodila buna~
Esrefova mlada rodila majmuna. {Informants D~ C~ EJ
In Ivica there was a riot,
Esref's bride gave birth to amonkey.
100. U Voljici gdje ne grije sunce~
Liti malo a zimi ne malo. (Informant IJ
In Voljica where the sun does not shine,
Summers are short, but winters are not.
101. Da sam znala da ću u Crniće~
Ponijela bih kočku i piliće. (Informants B~ C~ EJ
If I had known I would marry into Crnice,
I would have brought a hen and chicks. 24
102. Kiša rosi a Skrčani bosi~
Samo Vlado što šarvole nosi.
A Vlado se smije ~
Jer da vidi da mu dobro nije.

23 In general, both Muslims and Catholics regard dark

complexions as unattractive.
24 See Appendix I, No. 275.
186
 Jer mu medjed volova pohije 3
Uhijo dvoje volove 3
Pa to je naslov Vladene pjesme. (Informant IJ
Rain drizzles but Skrcani are barefooted,
Only Vlado wears traditional trousers.
But Vlado laughs,
Because he sees that things are not good.
Because a bear killed his oxen,
Killed two oxen,
But that is the title of Vlado's song.
103. Skrčani momci rekli su nam doći3
Svi se hrinu šta ćemo im za večeru.
Tele malo je 3 janje žao je.
Ubrat' malko koprivica 3 usut malo mekinica3
Eto njima hrana devet godina dana. (Informant ej
Skrte lads said they were coming,
Everyone is worrying what we will serve for dinner.
The calf is small, it is a shame to kill the lamb.
Pick a little nettle, pour in a little seconds of
grain,
There's food for them for nine years. 25
104. JOj3 evo hraće 3
Jednog do drugog redom stoji 3
A Skrčana se ne hoje. (Informant IJ
Wow, there's the brothers,
They stand one next to the other,
And they are not afraid of the men frOm Skrte.
105. Vrpečani kad podje te k nama3
Stari pUko nek idje pred vama. (Informants B3 e3 EJ
Vrpečani, when you come to us,
Let the old man go ahead of you. 26

25Unlike many, this song does not accompany dance.

26 See Appendix I, No. 274.

187

.i: .
 own Village

106. Oj~ Jablani~ selo.više pruge~

Uvijek pjesma~ nikad nema tuge. (Informant AJ
Oh, Jablani, village above the railroad tracks,
You always have a song, never is there sorrow.
107. Niko ne zna što su muke teške~
Ko ne idje na Jazvenik pješke. (Informant FJ
No one knows real torture,
Who does not go to Jazvenik on foot.
108. Crne oči a obrve tanke~
To imale samo Jazvečanke. (Informant EJ
Dark eyes and thin eyebrows,
Only maidens of Jazvenik have this.

WORK

109. Čoban tjera ovčice~

Lakoj lane~ diri~ diri~ dane~
Čoban tjera ovčice~ lagano.
Preko jedne rječice~
Lakoj lane~ diri~ diri~ dane~
Preko jedne rječice~ lagano.
Sve mu OVce predoše~
Lakoj lane~ diri~ diri~ dane~
Sve mu ovce predoše~ lagano.
Samo jedna ne može~
Lakoj lane~ diri~ diri~ dane~
Samo jedna ne može~ nikako.
čoban uze granc~cu~
Lakoj lane~ diri~ diri~ dane~
Čoban uze grančicu~ lagano.
Pa potjera ovčicu3
Lakoj lane~ diri3 diri3 dane~
Pa potjera ovčicu~ lagano. (Informants A3 JJ
A shepherd dr ives sheep,
(Refrain)
A shepherd drives sheep, slow1y.
Across one small stream,
(Refrain)
Across one small stream, slow1y.
All his sheep crossed over,

188
 All his sheep crossed over, easily.
Only one cannot,
(Refrain)
Only one cannot, not in any way.
The shepherd took a small branch,
(Refrain)
The shepherd took a small branch, slow1y.
And he pushed the sheep,
(Refrain)
And he pushed the sheep, carefu11y.z7
110. Oj livado~ rosna travo~
J avore ~ j avore ~
Ko po tebi čuva stado~
Zlato moje?
Čuvala ih djevojčica~
Javore~ javore~
Od sedamnaest godinica~
Zlato moje.
Čuvaj~ mala~ stado svoje~
Javore~ javore~
Da ne jedu žito moje~
Zlato moje.
Ako jedu žito moje~
Javore~ javore~
Ja ću ljubit' lice tvoje~
Zlato moje. (Informant A)
Oh meadow, dewy grass,
Map1e tree, map1e tree,
Who among you is tending the herd,
My dear one?
A little girl tended them,
Map1e tree, map1e tree,
Of seven teen years of age,
My dear one.
Tend your herd, little one,
Map1e tree, map1e tree,
So they don't eat my grain,
My dear one.
If they eat my grain,
Map1e tree, map1e tree,

Z7 According to informants this song is performed solo

or in groups. See Appendix III, No. 23 for a music tran-
scription.
189
 I will kiss ~~ur face,
I
My dear one. f'.
"f'
f;
111. Oj biber moj~
Ovako se biber ore 3
Nije tako 3 već ovako.
Ovako se biber s~Je3
Nije tako 3 već ovako.
Ovako se biber brana3
Nije tako 3 već ovako.
Ovako se biber raste 3
Nije tako 3 već ovako.
Ovako se biber kosi3
Nije tako 3 već ovako.
Ovako s.e biber kupi 3
Nije tako 3 već ovako.
Ovako se biber vrše 3
Nije tako 3 već ovako.
Ovako se biber melje 3
Nije tako 3 već ovako.
Ovako se biber kuva~
Nije tako3 već ovako.
Ovako se biber peče 3
Nije tako3 već ovako.
Ovako se biber jede 3
Nije tako 3 već ovako. (Informants G3 B3 C3 EJ
Oh my pepper,
This is the way pepper is p1owed,
Not like that, but like this.
This is the way pepper is sown,
Not like that, but like this.
This is the way pepper is harrowed,
Not like that, but like this.
This is the way pepper grows,
Not like that, but like this.
This is the way pepper is reaped,
Not like that, but like this.
This is the way pepper is gathered,
Not like that, but like this.
This is the way pepper is threshed,
Not like that, but like this.
This is the way pepper is ground,

28 See Appendix I, No. 287 and Appendix III, No. 7. .,

l
t·:; .
190 ,
j
~
j
 Not like that, but like this.
This is the way pepper is cooked,
Not like that, but like this.
This is the way pepper is roasted,
Not like that, but like this.
This is the way pepper is eaten,
Not like that, but like this. 29

LULLABIES 30

112. Majka Anki košuljice kroji~

Koše kroji godinice broji.
KOliko ima košuljica?
Još je više Anki godinica.
Kovači bešu zakovaU.
Jedni kuje~ drugi pozlačuju~
Treći meću vedra ogledala~
Da se mala Anka ogledala. {Informants F~ G~ HJ
Mother sews little shirts for Anka,
She sews little shirts and counts years.
How many shirts are there?
There are still more years for Anka.
Blacksmiths forged a crad1e.
One hammers, the second plates with gold,
The third will put on bright mirrors,
So that little Anka can see herself.
113. Buba~ buba~ rodila te Ljuba.
Nini~ bubi~ nikli Anki zubi. {Informants C~ EJ
Buba, buba, Ljuba gave birth to you,
Nini, bubi, Anka's teeth have just come out.

29 This song accompanies the dance "Biber kolo," which

is se1dom danced in the informants' village today. The
song and dance are only vague1y remembered in Planinica.
For a variant, see "Yugoslav Folk Music" in the Columbia
LP (KL-217) series, World Library of Folk and Primitive
Music~ Vol. XV, edited by Alan Lomax. A Bulgarian vari-
ant is reported by B. Kremen1iev, "Types of Bulgarian
Folksong," Slavic Review~ Vol. 34, No. 83 (1956):367.
30 See Appendix l, Nos. 303-310.

191
114. Nina~ nina~ rodila te strina. (Informant G)
Nina, nina, your aunt gave birth to you.
115. Nina~ nina~ rodila te majka. (Informant G)
Nina, nina, your mother gave birth to you.
116. Nina~ nina~ zaspeh spavi~
Kao janje u travi.
I janje u travi će zaspati~
Kamo neće Anka u bešici. (Informants F~ G~ H)
Nina, nina, go to sleep,
Like a lamb in the grass.
And the lamb in the grass will fall asleep,
And so Anka will even sooner in the crad1e.
117. Rasplaka se dite uz djevojku.
Kučko~ kero~ što mi dite cviliš?
Kad je dite što si ga ženila?
Nužda bila je dita ženi la. (Informant G)
The child burst into tears beside the maiden.
Bitch, eur, why do you make my child cry?
Why did you marry him when he is a child?
It was a necessity that I marry a chi1d. 31
"
WEDDING SONGS

118. Ajde kuma~ kupi svoje svate~

Preko gora do Milkina dvora.
Ajde Čana~ kupi svoje svate~
Preko gora do Milkina dvora.
Bajraktaru~ razvijaj bajrake~
Preko gora do mladina dvora. (Informant B)
Let's go, sponsor, gather up your wedding party,
Across the mountains to Mi1ka's place.
Let's go, Gana, gather up your wedding party,
Across the mountains to Mi1ka's place.
Flag bearer, unfo1d the flags,
Across the mountains to the bride's place. 32

3l This song reca11s an old custom, se1dom practiced

today, of a maiden who is married to a child.
32 This song is performed in the early morning as the
wedding party starts out to fetch the bride.

192
119. Uz polje ruža procvala~
Samo jedna staža ostala~
šalaj ostala i tude mi dragi prolazi.
Hladne vode donosi~ šalaj donosi. (Informant IJ
Beside the field a rose bloomed,
Only one path remained,
One remained and my love comes this way.
He brings cold water. 33
120. Naša neše evo tvoji dvora~
Ovdje ti se obiknuti more.
Svekrvice~ otvaraj kapije~
Evo tvoje neše u avlije.
Naša neše~ ti otvori oči.
Hoćeš l i se obiknuti moći?
Naša neše~ nemoj biti tužna~
Lip je Frano~ ni si ~i ti ružna.
Pratioci~ pozdravIte joj majku~
Naći ćete je plačuć u sokaku. (Informant JJ
Our new bride, here is your court yard,
Here you must become accustomed.
Mother-in-1aw, open the gates,
Here is your bride entering the court yard.
Our new bride, open your eyes.
Will you be able to get accustomed?
Our new bride, don't be sad,
Frano is handsome and you are not ug1y either.
Escorts, greet her mother,
You will find her cryiug in the street.3~

121. Od mora do mora~ eto svatova~

I vode i vode lijepu djevojku.
Svekrvice~ otvoraj kapiju~
Eto ide neva u avliju. (Inforrnant AJ
From sea to sea, here's the wedding party,
And it leads, leads a pretty maiden.

33 This is one of the many songs tha t the wedding party

sings on the way back to the groom's village with the
bride.
3~Maidens and women greet the bride with this song.
See also Nos. 47-62 above and Appendix I, Nos. 157-179.

193

.--.---;----_... -- :."
 Mother-in-law, open the gate,
Here comes the bride into the court yard. 35

122. Svaka ptica Leti po obLaku~

Niko Ružu ganja po budžaku.
Okreni je~ prevrni je~
Iz našega seLa nije.
Izvadi joj jastuk ispod gLave~
Podmetni joj svoju desnu ruku. {Informant JJ
Every bird flies about the cloud,
Niko chases Ruza about the corner.
Turn her around, turn her over,
She isn't from our village.
Take away the pillow from under her head,
Put your right arm under it. 36
123. Oj~ ti momak~ iza gore vuče~
Ne daj mLade prespavati noći.
Izvadi joj jastuk ispod gLave~
Podbaci svoju bijeLu ruku.
Prekreni je~ prevrni je~
Iz tvojega seLa nije. (Informant AJ
Oh, you lad, wolf from the mountain,
Don't let your bride sleep tonight.
Take away the pillow from under her head,
Put your white arm under it.
Turn her around, turn her over,
She isn't from your village. 37

35 This is also a song of greet ing , but less ominous

than the previous one.
36 Maidens and women sing at the door of the bride and
groom before they retire on the first night they sleep
together. The bride comes to the door with sweets, and
the groom gives either brandy or money. See Appendix I,
No. 315.
37 A little later the same evening, maidens and women
again sing at the door of the bride and groom. The groom
comes to the door and gives everyone cake. The singers
then leave to celebrate the wedding even further.

194
 MISCELLANEOUS

124. Moj dragane iz vrela vodu pija.

šta si rek'o da si me ljubio?
A što lažeš~ crn ti obraz bio!
Kad mi nisi oči ni vidio. (Informant DJ
My be10ved drank water from a spring.
Why did you say that you kissed me?
How you lie, may your face turn black!
When you didn't even see my eyes.
125. Crven rubac~ kosa brenovana~
To bećarca u srce udara. {Informant HJ
Red kerchief, hair unnatura11y curled,
That's what a bećar likes.
126. Grlo moje~ što si mi zaspalo?
čijeg si se govora prepalo? {Informant EJ
My throat, why have you gone to sleep?
Whose words are you afraid of?
127. Ja sam cura seljačka.
Suknja mi je dugačka~
Voljela bih da je kraća 3
Ali ljute se braća.
Duga je do pete~
Za mnom momci leti. {Informant KJ
I am a village girl.
My skirt is 1ong,-
I would like it to be shorter,
But my brothers are angry.
It is long to my heel,
And the 1ads fly after me.
128. Koga moje crno oko zdrakne~
Srce mu se smjesta pomakne. (Informant BJ

129.
At whom my dark eyes glance f1eetingly,
Immediately his heart stirs.
Angelina vodu ljeva~
Nad vodom se nadnijela.
Samo sebi govorila~
l
rJj

Mili Bože~ lijepa li sam?

Blago onom čija li sam.
Još da mi su oči čarne~
Oj~ da te varam~ moj dragane. {Infomant AJ
195

I
 Angelina pours out water,
She leaned over the water.
She said to herself, .
Dear God, am I not lovely?
Whoever claims me is lucky.
Still I wish my eyes were dark,
38
Oh, so that I charm you, my be10ved.
130. A ti ne znaš~ ne znaš~ srce moje~
Nisam lijepa~ ali jesam sebe.
Ni za ko se promjenula ne bih. (Informant D)
But you don't know, you don't know, my love,
I am not pretty, but I am satisfied.
I wou1dn't change places with anyone.
131. Pod onom~ pod onom~ gorom zelenom~
I onom~ i onom visom planinom~
Tamo se~ tamo se selo vidjelo.
U selu~ u selu kolo igralo.
U kolu~ u kolu svojka djevojka.
Po čem je~ po čem je bolan poznaješ?
U pasu~ u pasu tanka visoka~
U licu~ u licu bela rumena~
Ono je~ ono je moja djevojka. (Informant A)
Under this, under this green mountain,
And this, and this high mountain,
There, there a village is seen.
In the village, in the village a kolo is danced.
In the kolo~ in the kolo is my girlfriend.
How do you, how do you recognize her?
In the waist, in the waist slender and tall,
In the face, in the face white and rosy,
This is, this is my gir1friend. 39
132. Svi Cigani u kafani~
A Ciganke stoje vani. (Informant I)
All the Gypsy men are in the coffee house,
And the Gypsy women stand outside.
133. Ja bih ovo kolo završila~
Sviju u redom pozdravila. (Informant B)

38 The performer identified this as starinska pjesma.

39 See Appendix I, No. 338 and Appendix III, No. 21. ,;.

196
 I would finish this koZa,
And greet everyone in order. 4o
134. Oj~ KOzaro~ duga i široka~
Ja u tebi ne otsZuži roka.
KOzara je sve od sebe daZa~
Prve borce za Tita MaršaZa. (InfoY'rnant LJ
Oh, Kozara, long and wide,
I didn't serve out my time.
Kozara gave all of herself,
The first fighters for Marshal Tito. 41
135. Pero nam je u koZu.
KOšuZjica na njemu~
Na Peri je košuZja bijeZa~
BijeZom sviZom sašivena i bisernom kićena.
lj šparetu ima Zugu~
Hajde~ Pero~ biraj drugu.
Ko je ono u koZu?
ZZato je u koZu.
Ove cure što u koZu~
Neće one misZit' da su rosno civjeće.

Od Bugojna do IZidZe~
Nema takvog para nigdge.
Hajde~ Bose~ izaberi~
što ti tvoje srce žeZi.
I rešeto ima žicu~
Biraj~ Bose~
drugaricu.
Ove naše oko koZa šuše~
Podajte im ZuZu neka puše.
Ove naše oko koZa dame~
Njima treba poZožiti sZame. (InfoY'rnant BJ
Pero is in the dance circle,
He is wearing a shirt,
Pero is wearing a white shirt,
Sewn with white silk and decorated with pearls.
There are ashes in the stave,
Come on, Pero, choose another.

40 See Appendix I, No. 333.

41 See Appendix I, No. 334.

197

. I
 Who is this in the dance circle?
Zlato is in the dance circle.
These maidens in the dance circle,
They will not think they are dewy flowers.

From Bugojno to Ilidža,

There is no such coup1e anywhere.
Come on, Bosa, make a choice,
What your heart desires.

Even a strainer has wire,

Choose ,. Bosa, a girlfriend •
The wallflowers are around the outside of the circle,
Give them a pipe and let them smoke.
The ladies are around the outside of the circle,
42
It's necessary to build a fire under them.
136. Tako pravo sad imate~
KOLegicu da birate.
Hajde~ MiLka~ biraj ti~
S kime misLiš živjeti.
Ako puno studiraLa~
Baš si nešto izabraLa.
Kako pravo sad imate~
Svoju zavu da birate? {Inforrnant BJ
You now have the right,
To choose a colleague.
Come on, Milka, choose,
With whom you think you will live.
If you study a lot,
You will really choose something strange.
What right do you have now,
To choose your sister-in-1aw?43

42-43These are examp1es of "Birače kolo" recorded at

a preLo. The dots indicate that lines could not be tran-
scribed. See Appendix I, No. 337.

198
 APPENDIX I II

MUSIC TRANSCRIPTION

I··
 KEY TO MUSIC TRANSCRIPTION

A~though music itse~f is not discussed in great ~ength in

the preceding ana~ysis3 various me~odies are presented
here as examp~es from P~aninica and the surrounding area.
It shou~d be stressed that these are examp~es of tunes
sung at one particu~ar time and p~ace. The same individ-
ua~ may we~~ vary the me~ody the next time she or he
sings it. Complete songs are not presented3 nor are many
examp~es of variants. In cases where notes were not pos-
sib~e to decipher3 a question mark has been used. In ad-
dition 3 when the verba~ text was not inte~~igib~e3 on~y
the music notation is presented.
1. Polyphonic singing by a group of Muslim maidens from
Planinica, Ivica, and Bilo ~učje. The lead singer is
a maiden from Ivica. Recorded at a wedding celebra-
tion in Ivica.
2. Polyphonic singing by maidens of Planinica. Record-
ed at a pre~o in Planinica.
3. Polyphonic singing by Muslim males from Varvara. Re-
corded at a pre~o in Varvara.
4a. Polyphonic singing by Catholic males from Jazvenik in
the church yard after Christmas morning mass in Rumac.
b. Polyphonic singing by Catholic women and maidens from
Jazvenik in the church yard after Christmas mass in
Rumac.
5. Polyphonic singing by a group of Muslim maidens and
one Catholic maiden from Varvara. Recorded at a
pre~o in Varvara.

6. Songs sung by a maiden of Planinica as she worked

alone.
7. Oj ~ivadb rosna travo as sung by Catholic maidens of
Jablani. Recorded at a pre~o in Jablani. (See Appen-
dix II, No. 110.)
8. Oj ~ivadb rosna travo as sung by a Planinica women in-
to the tevsija.
9. Oj ~ivadb rosna travo in polyphonic style by a group
of Planinica men and lads. Recorded at a pre~o in
Planinica. (See Appendix I, No. 287.)

201
10. Biranje kolo as performed by a group of Muslim maid-
ens and lads from all over Skoplje Polje. Recorded
at a mevlud in Drazev Dolac.
11. Biranje kolo as performed by Muslim maidens from
Bilo Bučje and Planinica at a prelo in Bilo Bučje.
12. Ja sam ornija as performed by Muslim maidens from
Bilo Bučje and Planinica at a prelo in Bilo Bučje.
The lead singer is from Planinica.
13. Ja sam ornija as performed by Muslim maidens from
Ivica, Bilo Bučje and Planinica at a wedding cele-
bration in Ivica. The lead singer is from Ivica.
14. Zeoko kolo as performed by Catho1ic maidens from
Jablani. Recorded at a prelo in Jablani.
15. Zeoko kolo as performed by Muslim maidens from Bilo
Bučje and Planinica at a prelo in Bilo Bučje.
16. Zeoko kolo as performed by a group of Muslim maid-
ens from all over Skoplje Polje at a mevlud in Draz-
ev Dolac.
17. Zeoko kolo as performed by Muslim maidens from Bilo
Bučj~, Ivica and Planinica at a wedding celebration
in Ivica. The lead singer is from Ivica.
18. Kozaračko kolo as performed by Muslim maidens and
1ads from Bilo Bucje and Planinica at a prelo in
Bilo Bučje. The lead singer is from Planinica.
19. Hop la le mi le la le as performed by the same group.
20. Čuvam ovoe dolje u jasenje as sung by a group of
Catho1ic maidens at a prelo in Jablani. (See Appen-
dix II, No. 14.)
2L Pod onom as sung by the same group. (See Appendix
~~ .
II, No. 131.)
22. Na livadi kabanioa as sung by the same group. (See
Appendix II, No. 15. )
23. Čoban tjera ovčioe as sung by the same group. (See
Appendix II, No. 109.)
24-28. Songs sung by women from Planinica into the tev-
sija. (See No. 8 of music transcriptions for anoth-
er example.)
29. Kuna as sung by women and a few maidens from P1anin-
202
 ica at a wedding prelo in Planinica. (See Appendix
I, No. 317.)
30. An example of a wedding song once performed by wed-
ding parties from Planinica when escorting the bride
to her new home. This song is se1dom performed to-
day, but a group of men and 1ads performed it for
my benefit at a prelo. (See Appendix I, No. 313.)
31-33. Examp1es of sevdalinke as sung by a maiden of
Planinica as she worked.

~" '

203
 1"
1=;
~w
W J euJ mJ zaJ noi)
me sr
i ??
Ja cu
BId'" pr
wo-me

~iJTm i]j i JJ Dj D j j
sr- eu m- zo- no- du ja ću SĐO- rrr:>

f}Jl] a' ~
sr- cu m-
mJ lJ j
zo-
j jO ~
no- du ja
i
ću-
il-
--

ff,JMJM
--.",

204
 vi 1'e- gru- te

f:J=jgfJJ)g=i*~
81'- oo mo- je m- 20
-JJ mn JI
no- du
J
če-

'1~!~~~~
~~"l~i~JI=-~~
cp:=
ka ce mo-
1J]" "_ -~ 81'-

f~~-~~~~~~
je

205
 ~f~~-~pr~~~~tJ~·gr~F~~
~'-ip -
Jfrb
=i$J =LJ J
~~\ i-::=i==t-=d J J
1:-~I~-t1-· ,j =4 =4._ ,_:
~-:I!~~~~~--=1t==tt===i-~~=~h_=t~!,'t~~

r~&tJl~~t
~ne- mo-g:x dm-ga- if1 s ~-
kb-
na o-d:l:v no ma ---

tf!F-~~t-~t~:::~_ccc~~=!~~=t=====~=!!===~_--===---
::~~d=~~-=b;- ~~_~==t_______."___ _
~
-:::J=:
. ~-- .•-.-.-=1?~.~:j~:~-.-~.=EI3_==I=
no ne- ma mo- (J1 dra-g:x-na o-dav- no

~JdJ!Jftt:== -~;=} -c;-~~

206
 -. . ~= ·U~-::~::G·-;~::~··-.~-~:~~:: -:.::-:-~- :::_:-_~_ :l::::::=~~~_:~:::.::::~:~=,-=:=-:-_:~:==-- ~=.
~ oo - - ---
__

nje- go-
---·-~::l:.-l--···---·---t-·---·
." _.-p . .. _. .-.- _____.._ .______ . . . ___ ". __._____....___. .___ .__
____ • • •

'lX!
__ • • • _

je sr- ce m-
_ •• ~_

r-aV- no
- - .- -. .-- .-.---.. ---.-. . -----.---
nje-
-- q-::- --:=::~.,-~-!~:3:::-:::-:;::::::-: :::~···:f-·. ·-::ffl-
" -.=: -- -·-1··. --j.--.. ------ . . .__ • . _____ "_0- .. _ _ _

#r
0_ •• _

o. • • __ • • _ _ _ _ ••••• •• _ _ _ . _ , __ " . " • • • • • __ • _ _ _• • • • _ , • • h . • ••• _ - _ ••• - . _ •••• ' - - - ' - -

•• "_.

- .. -.- .....
.0 _ _ •••••• ____ ••

......
_
.____

- -.-
oo _.

.. ,".- ..._-_."
,"

"".
• • •_ .

---
•••

.... "'"
__

". --
"• • • • " '

_-_
, _• • _ . _ _ _ _ _ _ " • • • • •

.'--.- --., .... ---- .. ..... .

g:;- W je sr- ce za- bor- av-

._. "-"-- .. _-_. ·~·-···--I··I· ".. ·i 1'
. i .-W- .-_........•...··--1- J!.- .....-~... - . . ,-.- . -_-_- .- -.- -. .-. . -.-.__ .-
-. ----- ........ -- ..-_."'" .., ... .. "--_._-----_.-.,--
.. ' -. .~':-. ~=='-.-. ~ -~.:~ . .~~~-~. ~. ~. ~:-.~~:.-- -~.- .:~~.-~ --~.- .~:: -.-:~.- .
:<.~~~=- ~-~: :.~.~~=.-:=.:.::~:.~. . ~~=~=-=:~:~
4. no nje- go-vo je sr-ce za-1Jor-av-no

I·.· ~. ~11Jtt::3~:~~··:-H}~~i=:~:~;i~~::. . --=c=~

e.
IijJff~~
ži iz ta
rroj dm- ga- ne y>U- ea pZo-

~~~J~··~~~iil~=ii~4iiJ==li-Ffl=T-
I1Vj dm- g::r.-

f=.f:H JP;3 ;~ ~n
i tvo- ja
ne

je
y>U-

pro- pa-
ži-en

za
;
iz

Zje- po-
_,JI ~
pZo-

ta
ta

,i

'-:f--7- fP JJ
t1-1;J--jJ41EJ J J ' J
IKt-:~~41 #J J JJ ,lp ,il
{iff-'FiJ J 1k Vim; i iMEJ
i
.~

207
~1
rroj
JP J lP J ,J.
d:m-ga- ne m:J;]
PJ bil 1
28- m
U. } lne
dPi-
Ze-

~ J
noj
J n J #0
dra- ga- ne moj
J #0
ze- le-
lj
ni
,i) J
d;t>i- ne ;

~ gdje
JJ siJ da,J siJ neU ,lP tiLJ I'

m-
tJ 1
bor- a- vi
,

4 J$J J J J
1,
~ J jj J lJ jj J jj ;in iH J
O;] u- m- do ros- na tr>a;-

$J vo
;Jo
ja-
ii
vor-
i
e ja-
ti lt ttir-
1"
e

4j l j ~ bj if] 1 j
ko po te- bi ču- va sta- do

I i~ i lA ii] jl!JJllJ ' .o J n

zla- to rroj-e ko po

Ii te-
i. ~j
b-z. cu-
Im l
Va sta- do
i iAu tjzla- to rroj-

$ jkann
e

208
6,
~ lJ J ID fl I; J lJ JJ Ir PJ?sp
oj u- 00- do :ros- na tra-vo ja- vor- e

#4 ljja- ror- e
lJ
7<0
r 10r
ro te- hi
IJJdJ ln tll
ču- va sta- do

11r- gJ/JJ
zla- to
Ii lJ J lj J iD J
rro- je ov- ce ču- vam p;jes- rru

~ i - lJ tJ I- lj) Ir EJ lj lj F
pje- 1w71 ja- mr- e ja- ror- e od se-

fr r ,MJ lj iS
d:xm- naest g:;- di- ni- ea
Ir
zla-
taliJ lj
to mo- je

~P JJ F 'r 6F J J W Q J J
~ J J r jA,R,R 6J J
Fl- fl fi3 hl J) #1 J

209
 to 11V- je 01)- ce ču-

ov- ce ču 7XlJI1 "Pjes- mu

/f1UI~ pr il rJ ffl =Ifj J l tl

pje- 'lX/: zla- to 11V- je

J~ , ,
~BB In r IcriJ Ini] IRB lfir
4nn1 fJ11

210
ll.
~j!Ui) lp. EJ lp ~ H 11)0
a- 7<0 nam je u 7<0- lu A- bi-ih je u 7<0- bA.

,i i i i li i • I' ~ t i it' t
a-7<o nam je u ko- lu A- bi- da je u 7<0- lu

l1, . )
$; U~ lij r
kad i?a
lp ph lB J lj i II ~ I
pje-ram tri rm sa-la Č~ ju kad za pje- 7XUI1

4iitt lj j Illii Ij I Ii/It 19 I

tx>i rm se-la ču- ju ja a::rm cmi- ;jJ cm-im o-m- ma

,it)) lJ, }lttI11~ I

jz sam cr>fLi- j a cm-im crm- rrr:l

~"
4J J Ir C:J I~"~ ob )1 IJ J Ij
rroj ć/;m- g:z- ne i J~si i ni si rroj
=
d:t>a-

4' libijj, IllJ J li Jlllbj

ga ne i je si i ni- si ja sem cm-i- ja
I

$!ln} FjdJl]JjiiHi i4 lUli!

fFffi5= ja sam erni- ja am-im crči-

211
Z~ .
~ fl J JJ J U @r JJ eglA
;lihJJ J' pJ pi li pi IR Ji
,~ pi Jj lj ~J lj dJ f3 j j J
4J r r jir r,JJ J !J i,Jo i !J
~ J i ~ r jiij j i !j " li i im
! !

JJ J J D! r ,J ,iJ J lj JJ JJ J lj J JJi
~J J J J lij lj lj J 1Ulj" J !J J j j!
~G, ~ ~~ ~ ~
(ill) t l,l,t ),t i r Ih II ;Pir :r PU"
za-i-gra-mo m-še ko-lo rm- lo za- i- gra- mo

~iH [J J
na-še ko-lo m:::r.- lo
inn jHn jj
;;a- i-gra-mo na-še ko-lo ma- lo
J

f-:~. l~
;;a- i-
=
gra- rro
1$$" i=
m-še ko-lo rm-
=
lo

212
.,>;Jrao JJ ir=-r lttp-tr
sa jcrbu-ke si na ši- pak sa ja- 7:;U-
J
ke

F--J) ,J J l1-ftN ~ i t ilJ

rao si na ši- rxxk tU ja-bu-ke rao si na. ši- r:ak
li
$!t = :J j) lj?)) lj J
sa ja- bu- ke rxxo si na. ši- pak

~ ,
f1·r r r J !JJ JF=TJJ J J

(Dr UF J J J iJ4E!41 J J'

fl JJ J J JJ W J J J J

213
11,
$-);)): ,. lj JJ iJU
k:t:e- yi ko- lo $0 si ta- ko 'lje- no
nO Ir:JJJ. lIn
k:t>e- n1.- ko-
fJ
lo
I
~ J: .~l )1 W J ji)J ji)
što si ta-ko 'lje- no
» lij J.
kro-yi ko-'lo što sita-ko 'lje-no

~jl'~ ItJ J I 11111', ~ I

kro- ni ko- 'lo što si ta-ko 'lje- no

JJ ))1 }Ij lJ)) liJ U IBiJ IkH fJ I

kad z::x-pje-7Xlm ruje A-rrer- i

4j }). II J J
ču- je A- Imr- i- ka
I, ka kad

JJ, , ,';';)"1 ..
kadm-pj;vam eu-je A:-Imr- i-
m- pje- mm

fJj
ka

4Jj j If, I~ II t Ij j I
kad za pje- Vam ču- je A-mer- i- ka
Jf,

~D F
ja u
iro :JJ in J
ja u te- be
!J
ne
o in o !
ot- s'lu- žih
J ".
,J J lJ i iJ
10- ka ja u ja u i;e- be ne ot-
Đ:i)
~,j i= ~ i-t ik r T- J=;
s'lu- žih 10- ka prv- e

~J tJ ir fJ if] J

~j tl
fur-
za Ti-

x
ta

jj j
za
Mar-

Ti-
i'
ša-

ta
'la

j
M::a>-
prv- e

13 =
Š2;- 'la
prv- e

214
z9.
~ o-u mi-r "li rm. wj- ni~ ka p:x- m- da
,
, jj
o- mi-
" j ,,'=' if IfJ j I

~j I' i
mp la le mi- le la le w jnič-ka p:x-

t t" IIII i lil

m- da

~i tt ,,~ ~
mp la le mi-le la le wj-nič-ka pa- m- da

~ J 11 Ir tf I~ ~ ~ P lj J
17Vr- na- ri- cu i ti- to Va git? da 1

,I I IF Jo I~ f ~ ~ I~ j I
rror- na- ri- cu i ti- to-m gar- da

~j i t III t i Ii i' t I 1= =
I, ;
mp la le mi-le la le i ti-ta-va gar- da

~ j i I ll' f -' II t tI
mp la ze mi- le la le i ti- to-va gxr'- da

215
1,0,

$F'
ču
jjA~ J ib/tm j iJ: iJO j
v2m ov- de dol-je u ja-sen-je gle- daj dm- gi
!

$Iillji i i~: l,j j illt/lii ~ ;

[xx do-ćfji do me-ne ču- vam ov- de dol-je u ja-sen-je

,- IM ii i/-UfI1!
a gle-daj dm-gi [xx do-dji rb me-ne

'3 fJ J'I
ze- le-
pod cr-

nom pod
nom rod cr

.~ I,j
nom

o-nom rod
gar-

,j l
cr nom
om

p.
gar-

$;j bilj nS liii

om ze- le-nom gar- om ze- le-nom

U'
• J J n J J ,J J JJ J
na u- m- di 7<a- ba- ni-
Jj Jj
ea ne znam či-
:s
ja

~J~ J ~ - ~ j j i ii ,lJ i •• ,j. lj ,

je 3::>- fu- ni- ea IX'O- go- mr- a I - m- no-

~jj jjjiiJijJjjg
u- ~ či-
I.
m Je na m- - -ni- ea ne znam ja

• • I lj ln j '1 illi i ~JJE

I!t

~j_ J •
je čo- ba-ni-ea pro-go-var- a I- m- no-va je

216
U,
,ir Jr jj 6J . iJ. } J l1)j pU ,j JJ!-
(b- han t je- :m: 01)- či- ce Za- koj la- ne

~,~t,i Aj;j i,j,j 6~ Jt il _ hi!-

di- yi di-Yi m-ne čo- run t je- ra 01)- či- ce

$••: W. PiJ
la- g:z- no

~~, ~ ~
$JfJJ J;lnnĐtJHa'
$a r -a fi) fl fi fi '~ J J
4J J ji; nznti1 JJ J i J""
a [XJ dl'u-gim m-no ru-ho d;je-vojač- k;

~ J rl ifj,)))} i) ;. ) J- J
a P:J d:ru-gim mno ru:hod;je-7Joj-ač- ko

2;.
lj OmanjoJ; J

217
 ze- le- m i;yu- vo

~."

~;J J J J j D ir J lJ ~J.
•JJ J m&lU r EpJ } J

,fl m,Je ,11 r

~&,
:1 ~
1r : j f3J+
~ ,Jri jj #J j 1 lJ· ,ffll.11 Dt· _ .
$iJfl p11 1J J JiJ ,J J n,
~ r ot r J i J' J nn S @
.~ fil iJa1 I ;
218
rJm
J
7<0- rP
n J n a iEl
si ku- na bo- na
J'
u
r pij
jad-

~ ot. ~Ii; lj j
na ne bi- za
mm ' J. m- pa- ši-
;; J
1

$i J ,J U jJ Ji ) J J;J J,J. J #J
.nJ aj nr J J AJ
ea ses- -tre U- re m- pa- ši ea ses- tre iJr>a- ge

u jad-na ne bi- la i- rmš ru- ha

~ EJ n,o J J) ,UJ1J],u #~ rn
ku- na bo- na u jad- na ne

~HJiE1]
bi- za

'Cr

, 'r r

rm- ju". rrom- lit ci se mZa- di

S ~ J.
E E
ju
"
spre-
'EJrm-
JU

219
~l, 1

$f) ) J J fl D r n,n JJ
~ :a fl ); J n r J J J,n
, J J' nnr J n,n iiJ J

'Z, .. '~
~J J J J nn J) ,JIT] ..
$lJ J tn n ) §foD ' Dn J J
$fJ J Jprm
",
$;. ) J J nnJ J J, ~ n J
$JJ J ; J, J! a J nnu J
1 i

j pnn
~

JJ ) i] J ;glJlJ J

220
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