1716 is a French pun, pronounced [mille sept cent zeize] which sounds roughly like [Mi chel San chez]. This short jazzy piece is a nod to Deep Weather featuring Joe Zawinul.
Thanks to Bernard Delhalle for the information
Referring to Bohemia, which Deep Forest describe as a region in Transylvania and lifestyle of gypsies.
|
(Hungarian)
Babám, babám, de babám,
De babám, de babám.
(repeat x 3)
Rudas csillag, hajnal hasadik,
Rudas csillag, hajnal hasadik,
Kelj fel romnji, mer' itt maradsz,
Olyat vágok három fele,
Hull a cigány minden fele
(repeat x 2)
Babám, babám, de babám,
De babám, de babám.
Rudas csillag, hajnal hasadik,
Rudas csillag, hajnal hasadik,
Kelj fel romnji, mer' itt maradsz,
Olyat vágok három fele,
Hull a cigány minden fele
Babám, babám, de babám,
De babám, de babám.
(repeat x 2)
Rudas csillag, hajnal hasadik,
Rudas csillag, hajnal hasadik,
Kelj fel romnji, mer' itt maradsz,
Olyat vágok három fele,
Hull a cigány minden fele
Babám, babám, de babám,
De babám, de babám.
(repeat x 3) |
My lover, my lover, oh my lover,
Oh my lover, my lover
(repeat x 3)
Pole star cracks open the dawn,
Pole star cracks open the dawn,
Wake up [my] wife, or you'll be left here,
I cut in three directions,
Gipsies fall all around
(repeat x 2)
My lover, my lover, oh my lover,
Oh my lover, my lover
Pole star cracks open the dawn,
Pole star cracks open the dawn,
Wake up [my] wife, or you'll be left here,
I cut in three directions,
Gipsies fall all around
My lover, my lover, oh my lover,
Oh my lover, my lover
(repeat x 2)
Pole star cracks open the dawn,
Pole star cracks open the dawn,
Wake up [my] wife, or you'll be left here,
I cut in three directions,
Gipsies fall all around
My lover, my lover, oh my lover,
Oh my lover, my lover
(repeat x 3)
|
Thanks to Oláh Gábor for the lyrics and translation from the Rom Sam Ame booklet |
Turkish lyrics are from a poem by 13th century, Turkish poet Yunus Emre. These lyrics indicate that all things once belonged to God, an Anotolian philosophy.
|
Is it real
Is it right
What I see now in your eyes
Will you smile
Will you cry
|
|
Teardrops in your eyes.
|
|
Are you strong
Are you weak
Can you give me what I seek
Give me laughter
Make me cry
|
|
Teardrops in your eyes.
|
|
Are you strong
Are you weak
Can you give me what I seek
Give me laughter
Make me cry
|
|
Teardrops in your eyes.
|
(Turkish)
Mal sahibi, mülk sahibi
Hani bunun ilk sahibi? |
Owner of wealth and property
Who is the original owner? |
|
This is real
This is right
To every beholder beauty lies
See it shining deep inside
Beauty in your eyes |
(Turkish)
Mal sahibi, mülk sahibi
Hani bunun ilk sahibi? |
Owner of wealth and property
Who is the original owner? |
|
Beauty in your eyes. |
(Turkish)
Mal sahibi, mülk sahibi
Hani bunun ilk sahibi? |
Owner of wealth and property
Who is the original owner? |
|
Beauty in your eyes. |
|
This is real
This is right
To every beholder beauty lies
See it shining deep inside
Beauty in your eyes |
|
Beauty in your eyes. |
(Turkish)
Mal sahibi, mülk sahibi
Hani bunun ilk sahibi? |
Owner of wealth and property
Who is the original owner? |
|
Teardrops in your
eyes. |
(Turkish)
Mal sahibi, mülk sahibi
Hani bunun ilk sahibi? |
Owner of wealth and property
Who is the original owner? |
|
Beauty in your eyes. |
(Turkish)
Mal sahibi, mülk sahibi
Hani bunun ilk sahibi? |
Owner of wealth and property
Who is the original owner? |
Thanks to Atilla and Ghanedan, for the Turkish lyrics and translations |
Through its use of only piano and voice, this song is a bit different from the others on the album. Using some of Marta's vocals, it mixes classical and traditional singing.
|
(Bulgarian)
Todora Kupaya Missiri Todora
Iz Irdaiski chaibiri |
Was washing vegetables
From the place called Irday |
|
Todora Kupaya Missiri Todora
Iz Irdaiski chaibiri |
Was washing vegetables
From the place called Irday |
|
Otdolu ide Mustafa
I na Todora dumashi |
Mustafa was moving
from far
And asked Todora |
Otdolu
ide Mustafa
I na Todora dumashi
|
Mustafa
was moving from far
And asked Todora |
Nu
male ti, el mari momiche
Che da ti znaya imeto
|
Can
you tell me
What is your name |
Nu
male ti, el mari momiche
Che da ti znaya imeto
|
Can
you tell me
What is your name |
Todora
duma Mustafa
Moeto ime nai-rasno,nai-rasno
I nai Hubavo. Todora Turska izgora |
Todora told to Mustafa
My name is the most beautiful
and sweet. Todora is turkey's lover |
| nai,
nai-lei ,non..no..na..na |
|
Worked out by Ivan Proskurin and his friend
Tanya |
A song about a place in Budapest, using
the voices of Native Americans, a violin and panpipes.
Native American Frank A. Douglas sings the chorus which is a love
song. Love songs are affective songs performed to make someone fall
in love with or come back to the singer. They are considered "lucky"
songs. His voice had remarkable flexibility and power for an eighty-four-your-old.
Douglas translates his song as follows:
|
|
Come
crossways, you look.
Come a-tearing crossways.
Glad to get back to his sweetheart |
Information about Douglas obtained
from 'Songs of the Yurok & Tolowa Indians' |
Played in the movie "Strange Days".
The scene where Lenny is trying to win over a new client (at the Coral
Lounge), whom he shows a clip of a "girl taking a shower".
|
Somewhere,
Deep in the jungle,
Are living some little men and women,
They are our past,
And maybe,
Maybe they are our future... |
(Bahasa)
Jangankan biar hilang semua yang telah diberi
Jangankan pergi rasa manusiawi dan naluri diri
Biar bumi tetap bersinar di bawah mentari
Agar kita tetap bersinar di bawah mentari |
Give those gifts from Heaven no way to vanish
Don't let humanity and self instinct fade away
Let the ground beneath
our feet keep shining by the morning light
Then we can keep the light within as long as we live under the same sun |
|
Chorus
Let there be joy and harmony
From the roof sky above to the deep blue sea
All that we have under the sun
Singing loud in unheard sounds
Telling us that we are one. |
(Bahasa)
Jangankan biar hilang semua yang telah diberi
Jangankan pergi rasa manusiawi dan naluri diri
Biar bumi tetap bersinar di bawah mentari
Agar kita tetap bersinar di bawah mentari |
Give those gifts from Heaven no way to vanish
Don't let humanity and self instinct fade away
Let the ground beneath
our feet keep shining by the morning light
Then we can keep the light within as long as we live under the same sun |
|
Chorus x 2 |
(Bahasa) - Background Vocals
Jangankan lenyap keindahan diri,
Kesucian hati
|
Don't let the self-beauty be lost,
The pureness of heart |
|
Joy and harmony |
(Bahasa)
Di bawah mentari |
Under the sun |
|
Joy and harmony |
|
Chorus x 2 |
(Bahasa) - Background Vocals
Jangankan lenyap keindahan diri,
Kesucian hati |
Don't let the self-beauty be lost,
The pureness of heart |
Thanks to Orchid, Harrys and Blue Ocean for the Bahasa lyric translations |
Deep Forest had some fun with this track by placing in some hidden lyrics. The sample that appears at about 3:33, is French played backwards, followed by some laughfter. Note that SABAM and SACEM are the two main artists associations in France (you can see the SACEM logo on the CDs)
(French)
"Ŕ Benibanane,"
les samplings on les fait nous męme
pour pas payer de droits ŕ la SABAM, ŕ la SACEM.
"Ŕ Benibanane,"
C'est comme ça qu'on les aime
pour pas payer de droits, ni ŕ la SABAM, ni ŕ la SACEM. |
"In Benibanana," [imaginary country ?]
We make the samples ourselves
not to pay rights to SABAM nor SACEM.
"In Benibanana,"
We like'em like that
not to pay rights to SABAM nor SACEM. |
Thanks to Bleezy for the discovery and to Nicolas for the translation |
The title refers to the jazz-rock group
Weather Report, which was cofounded by Joe Zawinul. Joe Zawinul plays
the accordion synth at the end of Deep Weather. 1716, the short jazzy
piece is a friendly nod to Weather Report.
|
|
Pull the sword from
the sheath
Place the wreath beneath the tree of life
Honor in the dust the final thrust
In which the trust once thrived
Now dies |
|
|
Pull the sword from
the sheath
Place the wreath beneath the tree of life
Honor in the dust the final thrust
In which the trust once thrived
Now dies
Honor in the dust the final thrust
In which the trust once thrived
Now dies |
|
Lift your head in
prayer
Only if you dare
You can speak to your God
Hold him in your heart |
|
Roots in the ground
Winding down around the feet of time
Poverty and pain
The ball and chain tradition claims the right |
|
Honor in the dust the
final thrust in which the trust has died |
|
Lift your head in
prayer
Only if you dare
You can speak to your God
Hold him in your heart
(repeat x 4) |
| Earthquake
(Transition 1): |
|
In this song a native Mexican Indian tells
a legend. He begins speaking in a Mexican dialect and then translates what he was saying in Spanish (bad Spanish). The Indian tells the interviewer that he - and his people - don't know WHAT caused the earthquake.
| (Mexican
Dialect) |
??? |
|
(Spanish)
Quiere decir: 'No, no sabemos qué cosa',
quiere decir. |
It means: 'No, we don't know what'.
That's what it means |
| (Mexican
Dialect) |
??? |
(Spanish)
żTampoco usted sabes, por qué hace
temblor?
|
Neither do you know, why there is an earthquake
(Indian is assuming that the interviewer doesn't either know what causes the earthquake) |
(French)
|
He has
told me that you don't know why it shakes. It shakes because the
moon, the sun, and the earth are fighting |
Thanks to Romeo
and Leo for the lyrics and interpretation |
| |
She
moves like water over England
And carves her footprints in the earth
She feels like wind to a sailor
And like a candle on a hearth |
|
|
Elemental
(repeat x 2) |
(Arabic)
Allahu ekber allah.
(Turkish)
Asik olmak
Of dunyada senin asikin olmak
(repeat x 2)
|
Greetings Allah.
To be your lover
In this life (world) be your lover
|
|
|
She
sounds like poetry to a blind man
Step, step, stepping from the pages of a book
Comes on as smooth as the truth in high fidelity
Sharper than a look.
|
|
|
Elemental
(repeat x 2) |
(Arabic)
Allahu ekber allah.
(Turkish)
Asik olmak
Of dunyada senin asikin olmak
(repeat x 2)
|
Greetings Allah.
To be your lover
In this life (world) be your lover
|
| (Unknown
Dialect) |
??? |
| |
Be
it animal or human, crawling on the ground or on the roof
Hunting like the lonely, lonely fighter
Picking up the truth behind the messages
So fearful of the meanings
Turning to the gods of technology
Wisdom far beyond the galaxies
But not enough to cure the last disease |
|
|
Endangered
Species |
| (Unknown
Dialect) |
??? |
|
|
Telecommunication,
counting every crater on the moon
Roaming like the only, only rider
High upon the back of flaming Dragon rockets
Carrying the messages of the gods of technology
Wisdom far beyond the galaxies
But not enough to save the almighty |
| |
Endangered
Species |
| (Unknown
Dialect) |
??? |
| |
Endangered
Species |
| (Unknown
Dialect) |
??? |
| |
The
butterfly, the tiger
Nothing but a shadow in the stone
Flamingo future dinosaur underneath the urban sun
Victims of the truth behind the messages of the Stoic saints of
profit
Victims of the truth behind the messages of the Stoic saints of
profit
Smiling as the wonders of all nature go crumbling in their pockets
Flying to another galaxy
Leaving Mother Earth |
| |
Endangered
Species |
| (Unknown
Dialect) |
??? |
| |
Endangered
Species |
| (Unknown
Dialect) |
??? |
| |
Endangered
Species |
(Japanese)
fukai kiri wo nuke watashi ga mitanowa
maboroshi darouka
kokoro no sakebi yobiokosareta
anata no omokage
inochi no kodou yo
yuzurenai sono omoi nara
ima mo koko ni ikizuite
fukinukeru kaze watashi no honoo
yurugashite kieta
nani wo nakusazu mamoreruto iuno
taisetsu na mono wo
inochi no kodou yo
yuzurenai omoi no tameni
ikita tashikana yakeato
oshiete oshiete
sono atsuki hitomi no mamade
asu wo mitsumeru yuuki wo
aruki hajimeta, hikari no motoe
negai wa itsuka todoku
inochi no, kodou yo
yuzurenai sono omoi nara
ima mo koko ni ikizuite
inochi no, kodou yo
yuzurenai omoi ni kakete
kieta ikutsu no tamashii
kotaete kotaete
sono hokori wo mune ni idaite
ima wo ikitemo iiyo to |
What I saw after a dense fog
was an illusion?
Cry from my heart,
your image evoked from within
My heartbeat, let my
heart breathe still
with the unyielding thought
Wind blew
and put out my fire,
my fire that was important and to be protected
without a loss
Let my heart beat
for the unyielding thought,
for sure ruins of the fire
Teach me the courage
to look ahead for tomorrow
with the passionate eyes
I started walking toward light,
for our wish will come true some time
My heartbeat, let my
heart breathe still with
the unyielding thought
My heartbeat, let my
heart beat for the unyielding thought,
for several spirits that are gone
Tell me in your answer,
that I can live now
with my pride in heart
|
Thanks to Daisuke Hayashi for the Japanese lyrics. |
A song from a man singing in a jail, which would liked to be free again. You can hear him sobbing while singing. (? - refers to sobbing)
|
(Hungarian)
Úgy hallgatja (j)az eso suhanását,
Engedjék el nem rig (rég?) látó (látott?) urá(hoz?)
Korán reggel feltekintek az égre
Kényes bugyli, (a) komisz kinyírt (kenyeret) levágják
Boci baja az is itt lett elvág(va).
Korán reggel feltekinték az égre,
Mé(g), kisangyalom!
Úgy hallgatja az eso suhanását,
Engedjék el nem rig (rég?) látó (látott?) urá(hoz?)
Korán reggel feltekintek az égre
Van egy madár, aki elhordja majd,
Mé(g), kisangyalom(?) |
So he/she is listening to the whooshing of the rain
Let him/her go to his/her not-too-long-ago seen master
Early morning I look up at the sky
Fine pocket knife, the rough-bread is being cut
Little calf's trouble has also been cut here
Early morning I look at the sky
My little angel
So he/she is listening to the whooshing of the rain
Let him/her go to his/her not-too-long-ago seen master
Early morning I look at the sky
There is a bird, who will carry away
My little angel
|
Bele vagyok elevenen temetve, elevenen
Sárgulok is, de nagyon,
Anyus, majd megírom, hogy mikor
szabadulok,
Még, kisangyalom |
I am buried in it alive, alive
I am turning yellow, heavily
Mommy (meaning 'wife'), I will write when I am free
My little angel |
|
Úgy hallgassa az esot,
Van egy madár, aki elhordja majd,
Még, kisangyalom
Korán reggel feltekintek a polcra,
Úgy hallgatja az eso(t)..
Van egy madár, aki elhordja, még
Engedjék el nem riglá (rég látott?). |
So he/she is listening to the whooshing of the rain
There is a bird, who will carry away
My little angel
Early morning I look upward at the sky
So he/she is listening to the whooshing of the rain
There is a bird, who will carry away
Let him/her go to his/her not-too-long-ago seen master |
Thanks to Ziegler Ga'bor for lyrics and translations |
The song contains parts of a hymn to King St. Stephen who founded the Hungarian state in 1000 A.D., as well as portions of the Belurussian song The Partisan (heard in the chorus)
|
(Hungarian)
De fõképpen, De fõképpen,
Nálunk ma, mint országunk istápja. |
But pre-eminently, but pre-eminently [be praised]
among us today, as the patron of our country
|
|
De fõképpen, De fõképpen,
Nálunk ma, mint országunk istápja. |
But pre-eminently, but pre-eminently [be praised]
among us today, as the patron of our country
|
|
(Belurussian)
(Chorus)
Mo-o-o-rem,
Vam, bednenkim, nekuda sest.
Ne veytesia, chaiki.
Mo-o-o-rem,
Vam, bednenkim, nekuda sest.
|
Sea,
You, poor, have nowhere to sit down.
Don't circle, gulls.
Sea,
You, poor, have nowhere to sit down.
|
| (Hungarian)
De fõképpen, De fõképpen,
Nálunk ma, mint országunk istápja. |
But pre-eminently, but pre-eminently [be praised]
among us today, as the patron of our country
|
|
(Belurussian)
(Chorus 4x)
Mo-o-o-rem,
Vam, bednenkim, nekuda sest.
Ne veytesia, chaiki.
Mo-o-o-rem,
Vam, bednenkim, nekuda sest.
|
Sea,
You, poor, have nowhere to sit down.
Don't circle, gulls.
Sea,
You, poor, have nowhere to sit down. |
| Interpreting the Song:
This song contains Hungarian excerpts from András Berecz's recording: "A szél patkójától a ko is szikrázik" ("Even the stone is sparkling due to the cog of the wind"). The orginal song is as follows: |
| Ó Szent István, dícsértessél, menny és földön tiszteltessél,
De fõképpen nálunk ma, mint országunk istápja.
Kérünk mint apostolunkat, és az elsõ királyunkat:
Szent István, nézz mennybõl le,
A szép magyar népedre!
Sok sánta vette járását, sok vak nyerte meg látását,
Némák kezdtek szólani, siketek is hallani.
Kérünk mint apostolunkat, ...
|
Oh, Saint Sthephen, let you be praised and revered both in Heaven and on Earth,
But pre-eminently [be praised] among us today, as the patron of our country.
We beg you as our Apostle and as our first King:
Saint Stephen, look down from Heaven,
to your beautiful Hungarian nation
Many lames have got his walking, many blinds have got his vision,
Mutes have started to talk, even deafs have started to hear.
We beg you... |
The chorus is an excerpt from the Belurussian song 'The Partisan': |
Ne veytesia, chaiki, nad morem,
Vam, bednenkim, nekuda sest. (repeat x 2)
Sletaite v Sibir, oy, krai daliokiy,
Snesite pechalnuyu vest. (repeat x 2)
A tam u gorah, oy, za Baykalom,
Nash polk okruzhion byl vragom. (repeat x 2)
Tam dralsia prokliatiy Semionov
S vos'mym partizanskim polkom. (repeat x 2)
Patrony u nas, oy, na ishode,
Snariady uzh vyshli davno. (repeat x 2)
Nam pomostchi net niotkuda,
Pogibnut nam zdes suzhdeno. (repeat x 2)
|
Don't circle, gulls, above the sea.
You, poor, have no place to sit down.
Fly over to Siberia, faraway land,
Carry the message of sorrow.
There, in the mountains, beyond the Baikal lake,
Our regiment was surrounded by the enemy.
Cursed Semionov fought there
With the eighth partisan regiment.
Our cartridges are coming towards an end,
And we ran out of shells long time ago.
There's nowhere to wait for help from.
We're destined to find our end here. |
Background information on 'The Partisan' from Chants Des Femmes de la Vieilles Russie:
The Simielski Of Bolshoď Kunale
The village of Bolshoď Kunale, situated several ten kilometers to the south-east of Lake Baďkal, was founded about 3 centuries ago by peasants deported during the long period of revolts which bloodied Russia in the 16th century. The crises followed one another in sporadic manner until the end of the 19th century, serfs and workers drawing little benefit from the economic lift-off the country initiated by Peter The Great. Under the reign of Catherine II and until the social reforms of 1855 and the abolition of serfdom in 1861, many peasant and worker's revolts were put down and punished with deportation to southern Siberia.
The deported populations settled in and around Lake Baďkal and Irkustk, founded in 1654. In this region inhabitated almost exclusively by Buriat peoples related to the Mongols, the Russians and their Simielski descenddant (literaly, "those of the family") withdrew into their village communities and preserved as far as possible the essential of their ancestral traditions, beginning with songs of the women.
The Simielski repertoire is distinguished by a richer harmony than the two preceding ones.
The modal system is comparable to that of Kieba with three diatonic modes, the mode of G, D and the mode of A, subject tio the fourth + full tone structure.
On the harmonic level, the Simielski obey the principle of parallel voices, but these are usually three in number. If the Mouvement in parallel thirds is mainly used, one also finds sixths, and above all parallel fifths and octaves which give these songs their highly individual tone colour.
The partisans
Dating from the twenties, this song evokes the sacrifice of partisan combattants deprived of |
Thanks to Ziegler Ga'bor for lyrics, translations, and additional background of the Hungarian portions,
additional thanks goes to Nicolas for providing 'The Partisan' song, and to Aidar the lyrics and translation. |
| La lune se bat avec les étoiles (transition 2): |
|
"The moon fights with the stars"
(Spanish)
La tierra se pelea con el, con el sol. |
The earth
fights with the, with the sun. |
|
(French)
La terre, elle se bat avec le soleil. |
The earth fights with the sun. |
(Spanish)
Y la luna... Igualmente.
|
And with the moon the same thing happens.
|
|
(Mexican Dialect) |
???
|
(French)
Et la lune se bat avec les étoiles.
|
And the moon fights with the stars. |
Thanks to Romeo
for the lyrics |
A Mongolian choir and singer produced the sounds to this song.
|
(Mongolian)
Mandah Nar |
The Rising Sun |
|
Mandaj gardag naran
shinghenee
Manataygaa hoyoulaa daa huo
Martagdashghuy gurvan jill bolsson bolovchigh
Mansuurahh noyrondoo hoyoulaa daa huo |
The
rising sun will set,
Also the fog.
Unforgettable three years are already over,
But I'm with you when I sleep. |
Worked out by Enkhbat Baatar |
|
(Hungarian)
Arararararara
aira rararara rarara...
Három mérő piros szalag
ej de nem ér... |
Arararararara aira rararara rarara...
Three
units of red ribbon
does not fit
|
|
Istenem, istenem
Vajon mi lelt engem?
Három mérő piros szalag
ej de nem ér körül engem! |
Oh my God,
oh my God
What has happened to me?
Three units
of red ribbon
does not fit around me! |
Istenem,
istenem
Vajon mi lelt engem?
Nekem is van egy bánat
Vajon mi lelt?
Három mérő... Három mérő |
Oh my God, oh my
God
What has happened to me?
I have a sorrow too...
What happened to me?
Three units, three units |
|
Arararararara aira
rararara rarara... |
Arararararara aira
rararara rarara... |
Istenem,
istenem
Vajon mi lelt engem?
Három mérô piros szalag
ej de nem ér körül
Három mérő... Három mérő |
Oh
my God, oh my God
What has happened to me?
Three units of
red ribbon
does not fit around me!
Three units,
three units |
Arararararara
aira rararara rarara...
Nekem is van egy bánatom...
Arararararara aira rararara rarara...
Vajon mi lelt engem?
Arararararara aira rararara rarara...
Nekem is van egy bánatom...
Arararararara aira rararara rarara...
Vajon mi lelt engem?
Arararararara aira rararara rarara...
Nekem is van egy bánatom...
Arararararara aira rararara rarara...
Vajon mi lelt engem?
|
Arararararara aira
rararara rarara...
I have a sorrow too...
Arararararara
aira rararara rarara...
What happened to me?
Arararararara
aira rararara rarara...
I have a sorrow too...
Arararararara
aira rararara rarara...
What happened to me?
Arararararara
aira rararara rarara...
I have a sorrow too...
Arararararara
aira rararara rarara...
What happened to me? |
| Interpreting
the Song:
This Song is an old
"Csángó" folk song. The Csángó
(pronounced: chan-goe) are a small group of the "Székely".
The Székely (pronounced see-kay) are inhabitants of Transylvania,
who speak the Hungarian language, and live in the Eastern
part of Transylvania. Transylvania is part of Romania, and
the official language there is Romanian. The Csángó
population migrated a few hundred years ago from the other side
of the Carpatian mountains, in Eastern Moldova (also part of Romania,
populated entirely by Romanians) and they have kept their culture,
and their language (Hungarian) even, though there was (is) a high
regression on them. The Csángó speak an archaic
form of the Hungarian language, which is used only (and only)
by them at this moment. This song is sung in this archaic language.
Marta's Song is about a girl, who cries that she has a big sorrow,
which is that three units of red ribbon do not fit her. The
Csángó people used (and somewhere still use) a long
ribbon as a belt, which was whipped round them three times (one
round whipping was called "mérő",
which also means unit os measure). The girls used a red ribbon.
So what happens if someone can't whip round her three times? She
does not fit her belt anymore, because... there is something wrong
with her.
The young csángó girls get this ribbon at a very
young age, and always use the same length for a new ribbon, when
they decide to change. What is wrong, if someone cannot
be whipped round three times with a ribbon? The problem is, that
she has become a little bit "fat", this is why she does
not fit in her belt anymore. And to finalize this interpretation:
the (young) girl is pregnant, this is why she is so sad.
We know that the girl is young because she does not recognize
her problem correctly, and she is afraid to tell her mother her
problem, this is why she does not know her "problem".
If you want to see
how actually looks the red ribbon, take a look at:
http://www.csango.hu/index_kika4.html
There you will see an old woman, with this belt (the fourth picture
on this page)
Finally there is
a lot of archaism in this song, and there is no dictionary which
contains their correspondent english form, this is why those strange
english phrases were used as translations. |
Thanks to Fritz
for lyrics and interpretation. |
| (Arabic)
Lahzuha nushuan
Lahzuha nushuan
Khadduha bustaan
Lahruha Eqian
Jismuha reehan
Lafzuha burhaan
Wasluha redwaan
|
The blink of her eye is (my) ecstasy
The blink of her eye is (my) ecstasy
Her cheek is (my) garden
Her (even insignificant) mumbling is pure gold
Her body is basil
Her (even insignificant) word is (strong) proof
To be close to her is to be in heaven |
|
Maza nozemat be zak al qaddi
Min almahasin nazuma Al 'eqdi
Maza nozemat be zak al qaddi
Min almahasin nazuma Al 'eqdi
|
How was she moulded in such a body
A magnificent charm like a necklace!
How was she moulded in such a body
A magnificent charm like a necklace!
|
(Spanish)
Su mirada es vino
Su mirada es vino
Su mejilla un huerto |
Her gaze is wine
Her gaze is wine
Her cheek a garden |
|
Como en un collar en su cintura
Se engarzan mil joyas de hermosura
Ramos son de suerte a media luna
Ramos son de suerte media luna |
Like a necklace on a belt
You thread a thousand jewels of beauty
A bouquet of light at half moon
A bouquet of light at half moon |
(Arabic)
Ghusnun wa badrun wa shumsu saaddii
Ghusnun wa badrun wa shumsu saaddii
Bada fa aghshaa oyoona el insii
|
(She is) a bough, a moon, a sun (that brings) happiness
(She is) a bough, a moon, a sun (that brings) happiness
that rose and overwhelmed the eyes of mankind |
(Spanish)
Se engarzan mil joyas de hermosura |
You thread a thousand jewels of beauty |
(Arabic)
Bada fa aghshaa oyoona el insii |
that rose and overwhelmed the eyes of mankind |
(Spanish)
Ramos son de suerte media luna |
A bouquet of light at half moon |
(Arabic)
Bada fa aghshaa oyoona el insii |
that rose and overwhelmed the eyes of mankind |
(Spanish)
Como en un collar en su cintura |
Like a necklace on a belt |
Interpreting the Song:
The song speaks of the 'thousand jewels of beauty', that shine with the light of the half moon and compares them to a bouquet (flower bouquet). This alludes to an old Judea-Rome-Latin tradition in which flowers, or tree branches (bough), are held to salute and honor someone. This bouquet of jewels are saluting and honoring the loved one.
Thanks to Natalia for the Spanish lyrics, Ivan Proskurin & Amr Bashaa for Aribic Lyrics, and Leo for additional corrections and interpretations. |
|
|
I can't understand it
The search for an answer is met with a darker day
And we've been handed these moments forever
But I'm reassured
There's another way |
|
|
You don't have to close your eyes
There is room for love again
Ease the pain to realize
All that love can be |
| |
Forced apart by time and sand
Take a stab and take my hand
And don't let it go
Never let go |
|
|
Broken, once connected
We were so strong and so blessed in a simple way
So don't let me go without love
|
|
Turn your head up to the sky
Nothing down below
But me
Face the truth to realize
All that we could be |
|
Torn apart by rage and fear
Hold onto what brought you here
Don't let it go
Never let go |
|
Chorus
Turn your head up to the sky
Nothing down below but me
Face the truth and realize
All that we could be |
|
Turn your head up to the the sky
Nothing down below...
Don't let go |
| |
The phrase 'Euzubillahimine seytanirracim' is the opening sentence of most muslim prayers
| (Arabic)
Euzubillahimine
seytanirracim
(repeat x 4) |
|
Thanks to Devrim for the lyrics and English
translations |
The lyrics are from the Solomon Islands (small islands north of Australia).
(Baegu)
Sasi sasi ae ko taro taro amu
Ko agi agi boroi tika oli oe lau
Tika gwao oe lau koro inomaena
I dai tabesau I tebetai nau mouri
Tabe ta wane initoa te ai rofia
Sasi sasi ae kwa dao mata ole
Rowelae e lea kwa dao mata biru
I dai tabesau I tebetai nau mouri
Sasi sasi ae ko taro taro amu
Ko agi agi boroi tika oli oe lau
Tika gwao oe lau koro inomaena
I dai tabesau I tebetai nau mouri
(repeat x 3)
|
Little brother, little brother, stop crying, stop crying
Though you are crying and crying, who else will carry you
Who else will groom you, both of us are now orphans
From the island of the dead, their spirit will continue to look after us
Just like royalty, taken care of with all the wisdom of such a place
Little brother, little brother even in the gardens
This lullaby continues to the different divisions of the garden,
From the island of the dead, their spirit will continue to look after us
Little brother, little brother, stop crying, stop crying
Though you are crying and crying, who else will carry you
Who else will groom you, both of us are now orphans
From the island of the dead, their spirit will continue to look after us
|
Interpreting
the Song:
The Baegu lullaby heard in Sweet Lullaby
is from Northern Malaita (Solomon Islands) recorded by ethnomusicologist
Hugo Zemp. The song is called Rorogwela and is
sung by Afunakwa.
The lullaby is about a young child crying because his parents are not around.
In response his older brother sings this song to comfort, as well as tell him
the reality, with an appeal for his deceased parents to protect this child in
the land of the living (local ancient belief is that the dead care for loved
ones they left behind).
A great thanks goes to Celsus Eloga Talifilu, and his relatives, who helped to transcribe and translate the lyrics of this lullaby. Celsus is son of Saverio Talifilu who was the Baegu headsman that organized the recording session with Hugo Zemp which took place in 1969 in their village called Fulinui.
Below are the lyrics to the entire Rorogwela lullaby, with the portions used in Sweet Lullaby highlighted in blue: |
Sasi sasi ae taro taro amu
Ko agi agi boroi tika oli oe lau
Tika gwao oe lau koro inomaena
Sasi sasi ae na ga koro ma koro
mada maena mada ni ada I dai
I dai tabesau I tebetai nau mouri
Tabe ta wane initoa te ai rofia
Sasi sasi ae kwa dao mata ole
Rowelae e lea kwa dao mata biru
Na rowelae e lea kwa dao mata luma
Rowelae e lea sasi sasi ae
Angi angi boro ti ka oli oe lau
Iaia rofia ro aro aro
Nau ne na wela wane ku adedite amu
Sasi sasi ae ko taro taro amu
Ga koro ma koro da maena fasi koro
Koro inomae na ka sasi sasi ae
ahre aro a teai roro roroa
tea roa roa roai roa |
Little brother, little brother, stop crying, stop
crying
Though you are crying and crying, who else will carry you
Who else will groom you, both of us are now orphans
Little brother, little brother our mother and father
They have died and now live in on the island of the dead
From the island of the dead, their spirit will continue to look after us
Just like royalty, taken care of with all the wisdom of such a place
Little brother, little brother even in the gardens
This lullaby continues to the different divisions of the garden,
And even to each house visited, this lullaby seems endless
Little brother, little brother
though you are crying and crying, who else will carry you
oh oh…my heavens.. be quiet, be quiet
I am just a boy what have I done to you
Little brother, little brother you stop crying
Our mother and our father have died
Both of us are now orphans, little brother, little brother. |
Thanks to the people of the Solomon Islands
for the lyrics, translation, and interpretation. |
|
(Hungarian)
Határimot meghaladtam
Színyem
nem volt, úgy búsultam |
I've gone past
my borders
I was so sad, I had no color |
Határimot
meghaladtam
Színyem nem volt, úgy búsultam
Mikor Csíkból kiindultam
Színyem is volt, nem búsultam |
I've
gone past my borders
I was so sad, I had no color
When I started from "Csík"
I still had my color, was not sad |
|
ó Istenem, mit csináljak
Anyám (én) szívem ha még élne
Jaj Istenem, merre vetél
Jaj Istenem adj nekem... |
Oh
My God What can I do
My mother, oh my heart,
if she still would be alive
Oh My God where did you throw me
Oh My God give to me... |
|
Határimot meghaladtam
Színyem nem vót, úgy búsultam
Mikor Csíkból kiindultam
Színyem is volt, nem búsultam |
I've gone past my
borders
I was so sad, I had no color
When I started from
"Csík"
I still had my color, was not sad |
ó
Istenem, mit csináljak
Anyám (én) szívem ha még élne
Jaj Istenem, merre vetél
Jaj Istenem adj nekem... |
Oh
My God What can I do
My mother, oh my heart,
if she still would be alive
Oh My God where did you throw me
Oh My God give to me... |
Határimot
meghaladtam
Színyem is vót, nem búsultam
ó istenem, mit csinájak
(Határimot... Határimot...)
Anyám (én) szívem ha még élne
Szegény embert... (?)
Jaj Istenem, merre vetél (Határimot... Határimot...)
Jaj Istenem adj nekem...
|
I've
gone past my borders
I still had my color, was not sad
Oh My God What can I do
(My Borders... My Borders...)
My mother, oh my heart,
if she still would be alive
The poor man...
Oh My God where did you throw me (My Borders... My
Borders...)
Oh My God give to me... |
Interpreting
the Song:
| Like
"Marta's Song" this is also a "Csángó"
song, but this one has a deeper sense. The word "Csángó"
in Hungarian
meens: "those, who have gone". The Csángó people
call themselves
"csángó-magyar", which means: "the hungarians
who have gone". And in fact, some time ago
(a few hundred years) a significant part of the "Székely"
(see Marta's
Song) people migrated east, and have become the "Csángó".
Nowadays no one really knows why they
decided to migrate east, but the fact is they have gone and
established in Moldavia a lot of villages, where they have
continued to live their lives. The map shows where the Csángó
started and ended their migration. |
|
This song dates back
to the times of the migrations, and is a song of a young orphan
girl, who was forced to leave "her borders", which means
that she had to go from her natal place, "Csík" to an
unknown and new land without having her mother near. Since 1918
(Pact of Trianon), Csík has been called "Miercurea Ciuc",
and was the spritual center of the "Székely" people
for a long time.
The song uses a lot
of archaisms, which are present only in the Csángó dialect of
the Hungarian language. The phrases have an unusual construction,
which is strange even for those, whos natal language is the Hungarian.
After their migration, the Csángó people were very isolated from
the rest of the Hungarian speaking world (Transylvania and Hungary).
As a result their spoken language has remained the same as when
they migrated. The so called modernizations of the hungarian language
did not affect the Csángó dialect, but they have borrowed a lot
of words from the romanian speaking neighbor villages. For ex.
the lines "I had no color" is translated word by word,
the true meaning is: I was *VERY* pale. You can imagine, that
no one leaves their natal place if they are not forced to, by
someone or something, and the people who had to leave their natal
place were very "sad". This song is about them, the
ones who were forced to do this terrible act to survive.
The Csángó people in their long existence have faced a lot of
adversities that have endangered their continuity as individuals
and as a group. The Romanian Government does not recognize
their language as existing, they aren't allowed to use it in church,
have schooling in their natal language, and as a minority group
they are not even present on papers. Unfortunately this song is
very real in the present day, not only for the Csángó, but for
all the mistreated minorities around the world. If governments
do not allow minority groups to recognize themselves as being
different, then not only do they kill a culture and a language,
but their country loses something as well. This is currently recognized
in Romania. |
Thanks to Fritz
for lyrics and interpretation. |
| (Macedonian)
Dali znaesh mila majko
shto sum ne srekjna
Cel den doma sama sedam
Nadvor ne smejam.
(repeat
x 4) |
Do you know, my dear mother,
How unhappy (misserable) I am?
All day I sit at home alone,
I am not allowed outside.
|
Interpreting
the Song:
This song is one of many, with the motive of "forbiden
love" and mother's punishment. | |
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