Womanhood

   

Donnisulana

Per Agata
Polyphonies corses

1994

Tracks:

01. Princantula (m. raffaelli) 3:54
02. Padre (trad.) 5:15
03. Da qui un cantu (m. raffaelli) 4:46
04. Paghjelle (trad.) 3:09
05. S'è tù passi (trad.) 3:03
06. E sette galere (trad.) 6:07
07. U ventu (m. raffaelli) 3:22
08. Paghjelle ( trad.) 2:59
09. Lamentu di mufrella (maistrale) 5:46
10. Paghjella per agata (trad.) 2:20
11. Diafunia (m. raffaelli) 3:19
12. Terzini guagnesi (trad.) 3:36
13. Miseremini mei 4:05

Performers:

Aline Filippi, Dominique Bianconi, Gigi Casabianca, Jacky Micaelli, Patrizia Dau

   

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

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♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 This record was recorded between the 20th and 24th August 1992 at Ritiru di Marcassu.

Diapason d'Or - Grand Prix du Disque, Académie Charles Cros.

  
Donnisulana's, of course, is all polyphonic singing; but done by a group of women -- which is considered to be very untraditional in Corsica. 

some people don't know much about tradition...

traditions of course die for many reasons... 

but they may be born again for reasons... 

 Donnisulana was probably the first well-known women's group singing Corsican polyphony publicly. They have now broken up, but are well remembered. They combined the image of the island with that of womanhood. They did not attempt simply to copy their brethren, but to interpret traditional songs in their own special way. There are new women's groups emerging now - many of them inspired by the pioneering work of Donnisulana.

Jacky Micaelli, the then leader of the group has continued to sing on her own and with others. 

Per Agata 1992 - this was recorded in memory of a lamented founder member of the group - Paghjella per Agata was written in her memory. There are other contemporary tracks as well as traditional sacred music. Most embody the sad hopefulness of Corsican singing.
Donnisulana 1992 - their first record.

 The female face of Corsican polyphony

Donnisulana, founded in 1989, soon proved that women, contrary to the allegations of Corsican men, could also master polyphonic song – hitherto entirely a male domain. These were pioneers who were no longer content only to sing lullabies and death chants as their great-grandmothers had done before them, but who sought to blend tradition with their own interpretations, giving Corsican polyphonic music a new face.

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