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Profesors: Alumnes suecs: Alumnes catalans:- Queralt Santandreu - Ell inor Kjel lén - Laura Figols- Victor Esgueva - Hjalmar Grahn - Laura Tomasa- Pere Camprubí - Emil ia E-Jansson - Eva Marceló

- Sofia Hasselquist - Èl ia Macià

ÍNDEX/CONTENTS

Editorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Our Song/Nuestra canción. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

Los instrumentos de la cobla/Instruments of la cobla. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Articulo donde se comparan las realidades suecas y las catalanas/ Article that compares the swidish andcatalan realities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

La sardana. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Articulo critico ( La Trinca )/Critic article (La Trinca). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Entrevista a Lluís Coma/Interview to Lluís Coma. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

Cartas al director/Letters to the director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1.Gobalización Musical/Music Globalization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 3

La Cobla. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 5

Entrevista de los alumnos suecos/Interview of Swedish students. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 7

Agenda cultural/Cultural activities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 9

Midsuumer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Enquesta/ Surney. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Puzzles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

EEDDII TTOORRIIAALL

In Catalonia there are a lot of different popular music. But in particular there are one that in my opinionis the most famous around the world, this is la “Sardana“.I think that is important to speak about sardana because is a very important tradition in Catalonia. Fewyears ago the sardana was the absolute protagonist in al l the great festivities in al l the towns and citiesin catalonia, but now we are losing this tradition and other music substitute la sardana. I think that it’s apity because we are losing our traditions. We must do something for the young people learnt toappreciate the music and the dance of the sardana, because it’s a important part of our culture.

The majority of cities in Catalonia have a sardana dedicate to them. In our cace, in Berga there are fewsardanes that l ink the our town traditions and our music. For example “Corpus a Berga “ it’s a verybeautiful sardana made with the Patum’s music.I think that the government wil l do something to promotion sardana and maintain one tradition soantique as la sardana.

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AMAZING!

Uoh uoh!There you go again, You wil l know new people.

Yeah you!the Comenius. . .

got everybody star struckWe must, enjoy it the experience

Because it’s a big opportunity to learn a lot of E-English!

We fly over Europe, cause we hope need more freedom,If you want, we wil l be friends, dancing and singing.We wil l travel to Västervik, we wil l travel to Berga.

cause we want see your face another more t-i-ime. Yeeah.

Yeah Yeah!We are working a lot, Everything wil l go out well .

Oh sure!Wanna see me, and soo-oon it was coming.

We must, enjoy it the experienceBecause it’s a big opportunity to learn a lot of Spa-anish!

We fly over Europe, cause we hope need more freedom.If you want, we wil l be friends, dancing and singing.We wil l travel to Vastervik, we wil l travel to Berga.cause we want see your face another more t-i-ime.

Wish I could tel l you “I t wil l be etern”All this time hasn’t been one dream.I t’s a real thing that it haves end.

I miss you.Maybe, distance it’s a problem but I promise that we see-again.

I think it has been amazing

We fly over Europe, cause we hope need more freedom.If you want, we wil l be friends, dancing and singing.We wil l travel to Västervik, we wil l travel to Berga.

cause we want see your face another more t-i-ime. ( BIS)

Lyrics: Èl ia Macià and Laura Fígols

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THE INSTRUMENTS

OF THE COBLA

CONTRABAIXThe” Contrabaix” is a stringed instrument.In “La Cobla” there is only one which is what plays acrucial role, is the rhythmic basis.I t is a pear-shaped instrument that can be called"Berra" and has three strings.I t is a great tool and a deep and resonant sound veryserious.

TIBLEI t is a wind instrument, the “Cobla” there are two ofthese.I t has characteristics similar to those of “tenora” butis shorter, measuring 55 cm.The “tible” has a shri l l and piercing sound can beconsidered the second protagonist in the “Cobla”This instrument was created in 1 850 specifical ly forthe ”Cobla”.

TROMBÓI t is a brass instrument mouthpiece of dosing, andbody incurvat conic section in the cylindrical portionof the pavil ion and the rest, much like the trumpet

that is even longer.In “La Cobla” there is only one.Powered by a switch that changes the length of thetube and allows for al l notes. You must be veryprecise position of the rod to tune the notecorrectly.Have a sound more serious than the trumpets,bright heroic character with a dark low register.Histone is in the gift.Early trombones were built year 1 825.In the early twentieth century it was common to seeverses without trombone but it went forward toincorporating al l , was the last instrument to join.The role of the trombone in “La Cobla” is almostalways done accompaniments, reinforcing thegrave acts of trumpets or the acute of flugelhorn.

La TenoraThe tenora is aerofono double reed instrumentfrom he family xeremies. I ts name come from thefact xeremia tenor. I t is one of the mostcharacteristic of the couplet. The tenora consists ofthirteen metal keys copied the oboe because themusicians playing different notes.Consists of five pieces, the cane, the tudell the topof the cylinder body, lower body and hood. I t isbasical ly made of wood Jujube red date tree is lessthan the bell metal.The current size is about 85 cm and vibratesthrough the action of a double reed cane.

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FLUGELHORNThe flugelhorn is an instrument that belongs tothe family of saxhorns. This family of brassinstruments is different from the trumpets andtrombones that his pipe is conical rather thancylindrical, which gives a very different sonictexture. The family has a large number ofinstruments ranging from acute and more likethe trumpet and the largest espectacular.Adolph Sax invented in the nineteenth century.In the couplet the flugelhorn with one handharmonic and rhythmic role, and there are alsoother passages solo passages usually entrustedtransition and its role is crucial when givingpersonality to the sound of the training .

FLABIOLThe flabiol is a musical wood and wind, thefamily of the flutes. Excels with its short andtai lored to handle with one hand, the left.Measures approximately 20 to 25 centímetroslong and has five or six and three holes reachesbeneath. In the salsa was accompanied by aflute Tamborí stand with the codon that is leftand right side with the Coup. All sardanas startwith an introduction played by a flute.

TAMBORÍThe “tamborí” is the only percussioninstrument of “La Cobla”. I t is a small drum(about 1 2 cm in diameter) is made of woodand leather is your diaphragm.In “La Cobla”there is only one.The “tamborí” is an instrument with l ittlevolume of sound.The tone of this instrument makes theacomapnyament in “Sardanes” along with thebass.I t is played by the same person as the“flabiol”.Usually the musician who played the leadsattached to the left and right uti l i tzan playedwith a wooden bench, with the left hand playsthe “flabiol”.

TRUMPETThe trumpet is a musical instrumentbelonging to the family of brass instrument ormetals, fabricated metal al loy. The history ofthe trumpet goes back to the origins of humanhistory.Almost as old as the flute, which isreputed as the most ancient and widespread,they should be the trumpet and cornet,derived from ox horn can sti l l serve as ahunting horn.

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COMPARING THE

SWEDISH

REALITIES WITH

THE CATALANS

Sweden, being a northern country , has lowertemperatures tan Catalonia, but it has many othersimilarities that we are going to see for example theSwedish economy is directed to the export, thesame that the Catalan economy.They also have big very developed nets ofcommunication.But they have something very different. I t is thecurrency. They don use the Euro. They use theSWEDISH KRONA /sek/. 1 e is about 9,6 SEK.They sleak Swedish. They even have English l ike asecond language, l ike we have Spanish. We alsospeak English.There are different rel igions in Sweden, but mostof the people belongs to the Swedish Church,/72,9%/ in 2008. Some 275,000 Swedes are todaymembers of various free churches and immigrationhas meant that there are now some 92,000 RomanCatholics and 1 00,000 Eastern Orthodox Christiansl iving in Sweden. Because of immigration, Swedenalso has a significant Muslim population. Almosthalf a mil l ion are Muslims by tradition, butapproximately 5% (25,000) of these activelypractice Islam (in the sense of attending Fridayprayer and praying five times a day.

In Sweden there are different types of music, l ikethe SAMI music, from the SAMI people, and knownas joik.The Swedish folk music has got traditionalinterpretations that it incorporates elements fromthejazz and rock. Chorus is a very popular activityspecial ly in their churches, where people singchoral music.But in Catalonia, the traditional music is the Cobla.They play the music en the traditional dances andchoirs. Of course, both Sweden and Catalonia takemusic from other countries.About food, we are very nearly the same. I ts foodis, mainly, based in meat and fish, mixed withsauces , but we eat much more vegetablesbecause of the temperature in our country that let

them grow up. In Sweden the vegetablesgrowing is much more difficult.

These are the main differences and similaritiesbetween Sweden and Catalonia.

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LA SARDANA

HISTÓRIALa sardana es una danza popular catalana yes el baile nacional de Catalunya. Se bailaen circulo siguiendo la música interpretadapor una cobla. Los participantes se cogen delas manos por parejas, entendiendo comopareja un hombre que coge con la manoderecha a una mujer, que resulta por lo tantoen un patrón alterno de hombre-mujer-hombre-mujer.La sardana tiene su origen en la isla deCerdeña donde se baila un baile típico hacesiglos que se llama "Su passu torrau" entreotras modalidades. De allí se la trajeron loscatalanes en sus viajes junto a Alfonso elMagnánimo en pleno renacimiento. [. Supopularidad y extensión crecieronconsiderablemente en las últimas décadasdel siglo XIX.Pep Ventura se estrenó como a musicocoblaire (1 837). A él es debido el acertadoajustamiento de instrumentos que, conligeras alteraciones, se ha consagrado:flabiol i tamborín, dos tibles, dos tenoras, dostrompetas, un trombón, dos fiscornos y uncontrabajo. Reformó y adoptó el conjunto decuatrocientas cardanes, escritas en mano, seconserva a la bibl ioteca de l’Orfeó Català.Miquel Pardàs que publicó el 1 850 aFigueres el primer Mètode per a aprendre aballar sardanes llargues. El nombre decoblas aumentó. La peculiaridad musical i lacuriosidad coreográfica daban a la sardanaun sello de catalanismo. Salvo esporádicosbailes en el verano del 1 859, las coblas noacudieron a Barcelona hasta doce años mástarde, con motivo de las fiestas de la Mercè.La sardana es tocada actualmente por unacobla que consta de 1 2 instrumentos tocadospor 11 músicos. Cuatro de estosinstrumentos (tenora, tible, flabiol y tambori l)son instrumentos típicamente catalanes oversiones diferenciadas sólo usadas enCataluña. Los otros (trompeta, trombón,fiscorno y contrabajo) son másconvencionales.

ESTRUCTURALa sardana se compone de una determinadasucesión de compases, cada compás es un puntoo paso que se tiene que hacer. La componen dospartes, una que se llama curts, variable dedieciocho a cuarenta compases, y la otra se llamallargs, de cincuenta y cinco a ochenta y cincocompases. Las dos partes juntas son llamadastirada y el orden en que se hacen figura enorganigrama. Por lo que se refiere a la longitud deuna sardana, hay sardanas de 7 y de 1 0 "tirades",que tienen unas estructuras definidas de pasos"curts" (cortos) y "l largs" (largos).Al principio de la sardana siempre hay un preludiode un flabiol; el mismo instrumento hace elcontrapunt al inicio de la quinta i de la sexta tiradade llargs; Estas sonadas son para que la gentepreste atención y no se bailan. La tirada de cortostiene un nombre impar de compases, de dieciséisa cuarenticinco, y se caracteriza porque en estastirades los bailarines mantienen los brazos abajo.En el primer compás de la tirada el pie izquierdoavanza, hace un punto en el suelo y retrocede. Enel siguiente compás se desplaza hacia la derechay seguidamente marca un nuevo punto con laderecha. Lo sigue un nuevo desplazamiento y unpunto hacia la izquierda y así sucesivamentealternándolos. Cada cuatro compases se vuelve almismo lugar.Habitualmente la tirada de llargs tiene un nombreimpar de compases, de cincuenticinco anoventicinco, en este caso los bailarines levantanlos brazos. Los desplazamientos a derecha i aizquierda son idénticos a la tirada de curts, con ladiferencia que en la tirada de llargs el nombre depuntos a marcar es tres, en vez de uno. Cadaocho compases vuelve al mismo lugar.

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COMO ERA LA TRINCA

Y COMO ES AHORA

DESDE

EL PUNTO DE VISTA

DE LOS JOVENES

La trinca es uno de los primeros gruposmusicales que se crearon en Cataluña en ladécada de los 70.Estaba compuesto por 3 cantantes, JosepMaria Mainat, Miquel Àngel Pasqual y ToniCruz.En esa época había la dictadura de Franco, enesos tiempos la l ibertad de expresión era muylimitada y aun mas si era en catalán.Creo que este grupo tenia la genial idad decrear canciones de doble sentido, un ladoparecían canciones de berbena i de fiesta porsus melodías divertidas, i por sus temáticascercanas a su generación como la canción de“sexe,droga i rockandrol l” y por otro,canciones vinculadas con la representación.

A través de su letra nos damos cuenta de lagran critica contra el régimen franquista queprohibía hablar abiertamente de muchascosas, sobretodo de las relacionadas con lapolítica y la l ibertad.Las letras de las canciones de la Trinca eranimportantes porque reivindicaban la sociedadliberal de una manera divertida y cercana quellegaba a todo tipo de público.Por ejemplo una de sus muchas canciones esla de “Prim,prim,prim i mort de gana” que creo

fue una canción escrita para la baja sociedadCatalana que vivía un tiempo de pobreza perocon un ritmo y una letra divertida parasobrel levarlo.En esa época era impensable y estaban malvistas muchas cosas de las que ahora sonnormales y ya a nadie sorprenden.Las letras de la trinca aun hoy son uti l izadasen diferentes situaciones políticas o sociales.Ahora sus personajes se han hecho mayores,y han realizado un programa para elegir a unanueva generación de la Trinca. Ahorapodemos revivirla de forma un poco diferente,pero igual en sus momentos alocados ydivertidos.Han salido elegidos para representar a estenuevo grupo: Marc, Dídac y David que haránuna recopilación de los momentos másrepresentativos y los recibirán en una película.

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ENTREVISTAA LLUÍS COMA

Somos un grupo de cuatro alumnos delinstituto Guil lem de Berguedà que estamosrealizando un trabajo de música dentro delmarco de un Proyecto Comènius. Esteproyecto lo estamos haciendo conjuntamentecon los alumnos de un instituto de Suècia. Eltema de nuestro trabajo es la música popularcatalana. Por este motivo hemos creído queera muy importante explicar una de lasformaciones típicas de Ctalunya, "la cobla".Hemos establecido contacto con el Sr. LluísComa que es un músico que hace más de . . . . . .años que forma parte de las coblas másimportantes de nuestro país. Él nos harespondido la siguiente entrevista que nosproporciona muchíssima información acercade lo que significa tocar en una cobla.

-Señor Coma, en primer lugar, ¿de dónde esusted?Abans de començar, disculpeu-me percontestar les preguntes en català, ja que emserá més fácil expressar-me. Si us convé pelvostre treball podeu traduïr les respostes.Em dic Lluis Coma i Coll , tinc 62 anys i vaignéixer a l ’Hospitalet de Llobregat on havienanat a viure els meus pares quan es vancasar; el ls provenen de pobles de la Catalunyacentral: Sant Feliu Sasserra el pare i SantaMaria d’Oló la mare.

-¿Qué instrumento toca y en que cobla?El flabiol i el tamborí; són dos instruments queels toca un sol instrumentista, el flabiol amb lamà esquerra i el tamborí amb la mà dreta. LaCobla actual és La Principal de Terrassa.

-¿Cuándo aprendió a tocar este instrumento?Quan tenia divuit anys em vaig comprar elprimer flabiol marca Romero, de Gavà, peracompanyar els balls de bastons de la colladel poble, i vaig aprendre a tocar de maneraautodidacta fins un nivel bàsic. Als trenta-unanys em vaig engrescar a tocar sardanes ialeshores durant dos anys vaig fer els estudisde flabiol i tamborí de manera sistemáticaseguint el mètode del mestre Narcís Paulís iels exercicis de mecanisme del mestre Jordi

Leon. I em vaig comprar el segon flabiol construitper en Reig, de Torel ló.

-¿Dónde aprendió usted a tocar?El meu mestre va ser el flabiolaire de Sabadell enSantiago Olzina, que em rebia a casa seva elsdissabtes al matí per passar els exercicis que johavia estudiat a casa cada dia de la setmana.Abans no hi havia cap Conservatori ons’estudiessin els instruments de cobla(especialment flabiol, tenora i tible) i t’havies debuscar un mestre que te’n ensenyés a casa seva.

-¿Cuánto tiempo hace que toca en la Cobla?Com us he dit abans els estudis d’instrument elsvaig començar força gran, de manera que no vaigdebutar a la Cobla fins els trenta-tres anys; ara fa,doncs, vint-i-vuit anys que toco sardanes.

-¿Podría explicar-nos la estructura que tiene(músicos, instrumentosa)?La formació de Cobla més freqüent es d’onzemúsics colocats en dues fi les: cinc a la fi la deldavant que toquen asseguts (un flabiol i tamborí,dos tibles i dues tenores) i sis a la fi la del darrereque toquen drets (duess trompetes, un trombó,dos fiscorns i un contrabaix).

-¿Cuántas Coblas similares a la suya cree ustedque hay en Cataluña?Tinc entès que arriben a unes 11 0 entre elPrincipat i la Catalunya Nord.

-¿Qué tipo de música interpreta la Cobla?El repertori tradicional es composa de quatregrans grups que practiquen la majoria de Cobles:

. Sardanes (ballades, aplecs i concursos). Acompanyaments de Festa Major (cercaviles,Misses i concerts)

. Bal lets (les dances dels Esbarts)

. Bal ls vuitcentistes (bal ls de salóinstrumentats per a Cobla)En els últims anys algunes Cobles de primeracategoria s’han endinsat també en el campsimfònic (poemes simfònics, cantates i obres decàmera) amb molts bons resultats, però demoment es una activitat minoritària.

-¿En qué lugares actúan?La sonoritat de la Cobla està pensada per actuar

9

a l’aire l l iure, es a dir, a qualsevol plaça dequalsevol poble on hi hagi un mínim espai perballar sardanes, o bé a les places Majors per aConcursos de Colles Sardanistes i per aplecsde vàries Cobles, o també a allunyats l locsboscans on es cel. lebren aplecs d’Ermites.Normalment només és en cas de mal tempsque aquestes activitats es desplacen a llocstancats (sales d’actes i pabellonspoliesportius) on la sonoritat de la Cobla perdmolta qualitat.En quan a l’àmbit geogràfic, algunes Coblesrecorren tot el país i també fan esporàdiquessortides a Espanya i a l ’extranger, però lamajoria tenen un àmbit només comarcal oprovincial.

-Usted, ¿en qué sitios ha actuado?Us diria que a les places Majors de quasi lameitat de pobles de Catalunya; seriainterminable anomenar-los.

-¿Cuál recuerda en especial?Per suposat la primera actuació, que va ser aAlel la, on no sé si era més gran la por o lai l . lusió. I una l larga l l ista de llocs emblemàticscom a dalt a Montserrat, la Plaça Sant Jaumede Barcelona, el Parc Güell , etca

-¿A qué edad empezó usted a tocar?L’activitat musical la vaig començar de moltjove en camps diferents, però com a músic deCobla soc una mica tardà, doncs vaigcomençar als 33 anys.

-¿En cuántas Coblas distintas ha tocado?He fet bolos (actuacions esporàdiques) amb1 0 ó 1 2 Cobles, però com a músic de planti l lanomés he estat a tres Cobles: Cobla Verneda(ja desapareguda), Cobla La Principal deCollblanc (que actualmente es diu Cobla BaixLlobregat), i Cobla La Principal de Terrassa.

-¿Puede un músico como usted vivir de lamúsica?Ni molt menys; jo, com la majoria de músicsde Cobla, sempre he tingut una altra feinaprofessional durant la setmana per obtenir lapart important dels meus ingressos, i lesactuacions del dissabte i diumenge amb la

Cobla mai les he près com un treball sinò comun esbarjo; es guanyen diners però no perviure’n. Només deuen ser els músics de 7 ó 8Cobles molt professionalitzades en tot Catalunyaque poden viure exclusivament de la música deCobla.

-Y para final izar, ¿tiene previsto tocar muchosaños más en la Cobla?Doncs no gaire més perquè ultimament m’esticembolicant en altres activitats musicals al meupoble, i cada vegada tinc menys temps. I tambéperquè ja tinc una edad que aconsella deixar pasa altres músics joves amb molta empenta iqualitat.

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CARTAAL DIRECTOR

Señor director, quería hacer un comentariosobre la programación de actos festivos, queeste Corpus hemos tenido en Berga.Como es sabido cada año al final izar la Patumdel jueves y del domingo por la noche, en laplaza Viladomat “el Vall” se bailan sardanas ymuy especialmente se acaba la audición con lasardana típica de la Patum “Corpus a Berga”.Este año por falta de presupuesto municipal sehan suprimido estas audiciones nocturnas.Como ciudadana de Berga expreso mi firmerechazo ante este hecho, ya que considero queel Ayuntamiento Municipal destina dinero a otrosactos que no son tan significativos para losciudadanos de Berga, como una de sustradiciones más preciadas.Quiero proponer que si el próximo Corpus tieneque pasar lo mismo, tendremos que ser losciudadanos los que nos movamos para poderfinanciar esta audición de sardanas que, es muyimportante para los “berguedans”.

Firmado : Laura Figols Isach

LETTER TO THE DIRECTOR

Mr Editor.I want to tel l you about “the Sardanes” at thelast weekend I think they were in a not verysuitable place,because it was really terrible and“the Cobla” made many mistakes while theywere playing.I would appreciate that these mistakes don’thappen any more.

Att: Eva Marceló

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LETTER TO THE DIRECTOR

Dear Sir,Last Sunday while I was walking in the centerof Barcelona, near the cathedral, I l istened tosome music in the street. I went in front of thecathedral and I saw a group of ten musicians.Five of them were sitting and five werestanding behind them. They were playing atypical song of Catalonia, “La Sardana”. Therewere a lot of people dancing in front of them.They were dancing in a round with theirhands joined. I t was very beautiful and all thepeople enjoyed dancing this song. But mysurprise was that there were only old peopledancing. I didn’t see young people there.Why? What is happening with the tradition?Aren’t these traditions enough interesting forthe teenagers? Where were the young peoplethis beautiful Sunday of Apri l? We must doanything. School has something to do aboutthis. I think that it’s important for a country thatpeople don’t forget the traditions. I hope thatsomeone wil l do something, because if wedon’t do something, this traditional dance wil ldisappear.

Èl ia Macià Puig

CARTAAL DIRECTOR

Hola, hace días que voy a ver a las coblas y a lasagrupaciones sardanistas, y últimamente no haygente joven, ni adolescentes.A los chicos jóvenes ya no les interesa ni lassardanas ni tocar para coplas, y eso es malo, yaque la sardana es la danza típica de Cataluña ysino la fomentamos, se va a acabar perdiendo.Desde el ayuntamiento tendrían que hacercursos, para informar a la gente y enseñarles lobonito que es este baile, y lo importante que esconservarlo. Así los jóvenes pondrían másinterés.

Laura Tomasa

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MUSIC

GLOBALITZATION

Many years ago, when the communicationsaround the world were very difficult, the musicand the dance were very specific in everycountry. All the communities have differentmusical traditions and dances. For example,people in Catalonia l istened to and dancedSardana’s music, bal l de bastons,a and inSweden /the polka/.But nowadays, people have similar l ikings inmany aspects of their l ives, because it’seasier to access to the media l ike Internet,television, radio, a and music isn’t anexception.When the Swedish teenagers go to the disco,they dance the same music than Catalanteens. We have to think that Sweden is thethird country in the world that exports popmusic, after the USA and Great Britain.The Swedish people l ike the same musicalgroups than Catalan people. For example>Lady Gaga, Britney Spears, Elvis Presley,Riana, a.I t’s important to note that the role of music is,in today’s world, a key tool in the process ofglobalization.However this does not necessari ly provideus with any reasons that would make usbelieve that music has a homogenizing effecton the world .Every culture wil l continue having its owntraditions although the general globalization.

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QUE ÉS LA COBLA

La cobla és una agrupació instrumental d’onzepersones que acompanya les sardanes. Toquenbàsicament instruments de vent (flabiol, tible,tenora, trompeta, trombó i fiscorn) de percusió(tamborí) i de corda (contrabaix).

LA FORMACIÓ DE LA COBLALa cobla com a conjunt instrumental a Catalunyaja existia al segle XVI . Però no tenia capformació específica ni evidentment elsinstruments actuals, que són tots originaris delsegle XIX.

PEP VENTURAPep Ventura va ser un home carismàtic i hapassat a la història de la sardana per la grantasca musical que va portar a terme i pels canvisintroduïts a la cobla. Transformà i estabil itzà lacobla en les seves característiques essencials,incorporà el contrabaix i donà a la tenora el seupaper predominant.

LA COLOCACIÓ DE LA COBLANormalment la cobla és col•loca sobre unenterimat de fusta a l’aire l l iure i els intèrpretsocupen un lloc determinat segons l’ instrumentque toquen.La distribució dels instruments enaquesta formació manté un ordre semblant al del ’orquestra simfònica. Així d’esquerra a dreta éssituen des dels més greus,al primer esgraó elsde fusta (flabiol, tible i tenora) i al segon els demetal l (trompeta,trombó i fiscorn).Finalment elcontrabaix a l ’extrem deret i el tamborí al ’esquerre percudit pel flabiolaire.

COBLES DE BERGAA Berga hi ha diverses cobles, que toquenhabitualment:-La Cobla Pirineu-La Cobla Principal-La Cobla Ciutat de Berga

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WHAT IS THE COBLA?

The Cobla is a musical group typical fromCatalonia in which wind instrumentspredominate, which runs the popular music ofdifferent dances, especial ly the Sardana.

The COBLA CATALANA was born to unify theCobla provensal, styl istical ly andstructural lywhich consisted, without a fixedpattern, of nine l ines per cobla. Cobles with thesame composition, except the final tornados. I tbecame a fixed structure of eight l ines. Theirorigins data back to a former strucuture namedTHREE QUARTANS and it was formed by threemusicians who played four instruments>bagpipes, the tarot, the flute and the drum. Thismedieval musical group grew and gave rise tomodern COBLA, as we know it today.

THE FORMATION OF THE COBLAThe Cobla as a instrumental group existed inCatalonia in the sixteenth century. But it had nospecific structure on the current instruments,which originated in the nineteenth century.The current Cobla is usually composed of 11musicians playing 1 2 instruments. Some ofthese instruments are native and typical ofCatalonia and other are used in different groupssuch as bands, orchestras, rock, jazz, a Thatis, we could say that the Cobla combinesinstruments from different cultures to create amusical culture itself.The instruments of the Cobla that are typical ofCatalonia have developed from ancientinstruments that existed in medieval Cataloniaduring the Middle Ages. The rest, which are nottypical, have been incorporated from anothergroups.

PEP VENTURAJosep Maria Ventura Casas was born in Alcalala Real in 1 81 7. Popularly known by the nameof Pep Ventura, he was a a musician andcomposer who reformed and consolidated longSARDANA giving it the Cobla amplitude.He was a popular figure at the same time as aperformer of the Cobla, a prol ific composer andskil led tenor.

PLACING THE COBLAThe Cobla is usually placed on a woodenplatform in the open air, and the performersoccupy a special place attending theinstrument they play.The instruments distribution in this groupremains on a similar order than the symphonyorchestra. I t is located, left to right from thelowest on the first wood step /flute and tenortible/ On the second, metal . trumpet,trombone and flugelhorn/. Final ly on the left,the Bass and drum struck to the flabiolaire.

COBLES IN BERGAThere are some diferents cobles, that theyusually perform in Berga-Cobla Pirineu-Cobla Principal-Cobla Ciutat de Berga

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ENTREVISTA

DE LOS

ALUMNOS SUECOS

Linnea¿Qué música escuchas?Escucho todo tipo de música.

¿Cuál es tu cancion favorita?Mi canción favorita ahora es Paparazzi deLady GaGa

¿Te gusta bailar?Si, me encanta

¿Cuál una artista favorita?Lady GaGa

¿Miras programas de baile?Si

¿Como cuáles?Let’s Dance, So you think you can dance

Josefine¿Qué música escuchas?Escucha hip-hop y r&b

¿Cuál es tu canción favorita?Mi canción favorita ahora es Colours of therainbow

¿Te gusta bailar?Si, un poco

¿Cuál es tu artista favorito?Akon

¿Miras programas de baile?Si, algunos

¿Como cuáles?America’s best dance crew

Otto

¿Qué música escuchas?Escucho Elvis Presley

¿Cuál es tu cancion favorita?Elvis Presley – Got a lot of l iving to do

¿Te gusta bailar?Un poco

¿Cuál es tu artista favorita?Elvis Presley

¿Miras programas de baile?A veces

¿Como cuáles?Let’s dance

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CULTURAL AGEND

BERGA.

-PATUM. The Patum wil l be celebrated from2nd to 6th of June in Berga. This festivityhas been considered “oral and immaterialheritage of the humanity” by UNESCO.

Wednesday 2nd of June

At 1 2.00 at noon: The drummer (“tabaler”)and two giants (“gegants”), accompaniedby the sound of the popular Pyreneaninstrumental group (“cobla”), meet thepeople on the traditional parade, while theyinvite them to take part.

At 8.00 in the evening: The drummer, thedemons (“maces”), the great mules(“guites”) and the old giants, accompaniedby the Pyrenean instrumental group, leaveSaint Peter square and make a lot of jumpson the streets and squares of the town, infront of the local authorities houses. Theyend with the fire-jumps (“tirabols”) in SaintJohn and in Saint Peter squares.

Thursday 3rd of June

At 1 0.00 in the morning: Rockets and thetypical parade by the Pyrenean instrumentalgroup start.

At 11 .00 in the morning: In the Saint Eulal iachurch, there is the significant Mass with the

assistance of the authorities, the administratorsand other people who take part in the Patum.When the Mass is finished, in Saint Petersquare, the bri l l iant Patum is celebrated, whichis cal led “de l luïment” in Catalan, becausepeople are very responsible and want to dothings correctly.

At 9.30 in the evening: The are four jumps ofPatum, but it is the moment of the Great Feastof fire, because the most interesting are the fire-jumps and the Full Demons (“Plens”).

Friday 4th of June

At 1 0.00 in the morning: Parade of al l thechildren groups of the Patum with the Band ofde Berga School of Music.

At 11 .00 in the morning: Mass wil l be celebratedin Saint Eulal ia church with the assistance of theauthorities and the administrators. People whoattend wil l receive some carnations and sweetswith pine nuts (“panallets”).

At 1 2.00 at noon: We celebrate bri l l iant Patumfor children with the Band of the Berga School ofMusic in Saint Peter square.

Saturday 5th of June

At 1 0.00 in the morning: Parade of the Pyreneaninstrumental group around the town centre.

At 11 .00 in the morning: We celebrate the Massin Saint Eulal ia church with the assistance of theauthorities and of the administrators.

At 1 2.00 at noon: In the town hall , the Mayordeliveries the titles of “Patumaire” and“Patumaire d´honor” and the prizes of the 36thposters competition.

At 8,30 in the evening: There are jumps ofPatum in front of the houses of theadministrators with fire-jumps in Saint John andSaint Peter squares, al l of them accompanied bythe Pyrenean instrumental group. 1 9

At 1 0.30 at night: Fireworks in Peace Avenue(“Passeig de la Pau”).

Sunday 6th of June

At 1 0.00 in the morning: Rockets start and thetypical parade accompanied by the Pyreneaninstrumental group.

Other events in June in Berga

On 1 3th of June: There are “Les Musiquetes dela bressola” (something l ike lul laby in English),which are a group of musicians that sing differenttypical songs for children.

On 1 6th of June: There is “Tale timetable”, whichis a show where a man tel ls some typical Catalanstories.

On 1 8th of June: We celebrate The EuropeanMaster Handball Championship 201 0.

On 1 9th of June: There is an audition of Catalantypical dances (“sardanes”) interpreted by thepopular Pyrenean instrumental group.

SWEDEN

On 24th of June: They celebrate Midsummer.In modern Sweden, Midsummer´s Eve andMidsummer´s Day were formerly celebratedon 23rd of June and 24th of June, but since1 953 the celebration has been moved to theFriday and Saturday between 1 9th of Juneand 26th of June. I t is one of the mostimportant hol idays of the year in Sweden,and probably the most uniquely Swedish inthe way it is celebrated. The maincelebrations take place in Friday, and thetraditional events include raising and dancingaround a huge maypole. Before the maypoleis raised, greens and flowers are collectedand used to cover the entire pole.

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FESTIVAL IN JUNE

Midsummer is a holiday which is celebrated around the summer solstice. Midsummer, we celebrate bydancing around the maypole, and usually there are herring and potatoes on the dinner table. We makebeautiful wreaths of flowers and leaves that we have in our hair. Almost everyone celebrate midsummerwith the there relatives. We play games, eat good food and singing.We eat:

o Meatballso Sausageo Potatoeso Herring in different flavourso Eggso Breado Various sauces

As for dessert, we always eat strawberries with milk, ice cream, sugar and cream. Down on the town, it isalways a huge maypole so anyone can go there and dance around it.

People are dancing around the maypole

Food

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ENQUESTA/ SURNEY

We decided to make a surrey about “la sardana“ a traditional Catalan dance , to see if our opinion about“La sardana” is missing in our society, is true or false.We asked: “Can you dance sardanes ? “We interviewed 240 people, divided in 6 groups according to their age.Age People can dance “sardanes”1 5-24 24 of 4025-34 25 of 4035-44 30 of 4045-54 35 of 4055-64 38 of 4065 and + 40 of 40

Blue - YES, they can dance sardanes(79 % of the interviewed people)Red - NO, they can’t dance sardanes(21% of the interviewed people)We are really surprised of the high number of people that can dance sardanes. I t`s superior to 45 % ofthe population.

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We see that there are a progressive knowing of “the sardana” direct proportional to people age. The olderpeople knows a lot of “sardana” and the younger people knows few about it._______________________________________________Do you think, that sardanes, are only for old people ?This is other survey that we have done.We interviwed 1 00 teenagers and they said :- 34 people think sardanes are only for old people.- 66 people think that “sardanes” are for al l the ages.

Some weeks ago we thought that young people thought that sardanas were only for the old people, butour survey have been demonstrated that the young generations value “la sardana” and they think thatit’s important for Catalonia, but they don’t dance it because they think that it isn’t fashionable to dance“sardanes”.

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PUZZLES

SOUP OF LETTERSYou wil l find 8 Catalan musical instruments thatappears in a “cobla” . You wil l remember that thewords can be in al l the directions:

- Tible- Flabiol- Tenora- Tamborí- Fiscorn- Trompeta- Trombó- Contrabaix

SUDOKU

CROSSWORD

Horizontal1 . Instrumento responsable de fragmentoscontundentes.Parecido a la “tenora”2. Conjunto de instrumentos de “la sardana”.4. Instrumento de viento-metal,muy conocido yel mas uti l izado.5. Instrumento que se toca junto al “tamborí”

Vertical1 . Instrumento mas importante de lacobla, l leva normalmente las melodias en las“sardanes”3. Típica danza de Cataluña.

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CROSSWORD

ACROSS22-H: typical dance inCatalonia1 7-J: orchestra that playsin the Sardana1 4-J: instrument of wind-metal.9-M: instrument moreappraised in the Cobla1 9-N: instrument that it isplayed for the sameperson than the flabiol5-A: A very known Cobla inBerga1 2-I : Traditional partycelebrated in Berga for theCorpus Cristhi3-I :Catalonian flag

DOWN20-L: instrument playedtogether with the Tamborí1 -U:the dancers of theSardana sustain the armsdown1 7-I :small pause in thedance of the Sardana

2-M: creator of the “Cobla”1 0-K:Musical group of the seventies very known in Catalonia compound for 3 humorist singers1 6-N:Someone who goes out days before the Patum, the popular festival, to announce its arrival andplays in some moments of the party

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