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Mari psaltery: past and present (The evolution of the instrument) A. The first information about this musical instrument dates back to the 6-th century. It was mentioned in legends, fairy tales and songs. Since X century it appeared in Slavonic literature. Psaltery can be designed in the form of a helmet, in the form of a wing or in the form of a rectangle. While performing, the instrument is placed on the laps, and the player is running his fingers over the strings. The melody sounds tender and mild. B. Mari psaltery appeared about 5-6 thousand years ago. They are made of thin boards. To get a good instrument a craftsman needs birch, maple or nut-tree planks. Traditionally the instruments were hand-made, that’s why they all were of different size. C. In XIX century there used to be psaltery for children. They had five strings. There also were psalteries with 17 strings for beginners and 35-string psaltery for real masters. Well-to-do people had psaltery-table (the instrument was arranged under the table-cover). D. The instrument was considered to be a sacred one. The psaltery played an important role during the religious rituals. There is even a legend about the divine origin of the psaltery. “Once the Lord argued with the Devil. They wanted to know whom the Mari people liked more. They had been quarrelling for a long time but couldn’t come to an agreement. Finally they made up their minds to create musical instruments and to see whose idea the Mari people would appreciate more. The Devil constructed the bagpipe, the God designed the psaltery. The Mari people liked the psaltery more, and the Devil got offended. To get his revenge and to spoil the psaltery, he perforated a hole in the upper desk. But due to it, the instrument started sounding even sweeter and clearer”. E. “While listening to the psaltery – the national instrument, you can feel the soul of the Mari people”, - said a famous Soviet composer Aram Khachaturyan. – “They sound like the voice of our forefathers”, - the Mari players confess. F. Let’s hope that being world famous, the Mari psaltery will remain the integral part of our cultural life. The melodies of its strings will accompany the birth of new children; the wedding ceremonies, symbolizing happiness of grooms and brides; the harmony between people and nature.
1. The eternal tunes. 2. Believe it or not. 3. The reminder of the past. 4. The result of thorough work. 5. How to become a good player. 6. Various types of the instrument. 7. How it all began.
Ex. 5. Read the text and do the tasks after it. Mari composers and music experts Gerasimov Oleg Michilovich – a music expert, the Honoured Art Worker of Mari El, the Laureate of the Republican Prize named after Olyk Ipai, He was born in the village of Elnet of Tatar Republic on 16 February 1937. He is the author of many research works on the Mari musical folklore. He wrote a lot of books. Among them: “The folk song in the works of the Mari composers”, “Folk groups: the principals of work and their problems”, “Christmas Mari songs”, “The structural peculiarities of the folk songs”, etc. He is the author of the programmes on the Mari radio and TV. O.M. Gerasimov is the head of the folk ensemble of the Mari University “Ria-Ria” Evdokimov Yury Savvateevich – a composer, the Honoured Art Worker of Mari El (1992). He was born in the village of Ivankovo (Permsky Region) on 12 January 1950. He is the author of a big number of symphonic and chamber works (2 symphonies, a symphonic poem “At the Eternal Fire”, quartets, plays for piano, violin, violoncello the opera “Stephan Mikale”, songs and romances (“Yoshkar-Ola”, “The Native Land”, etc). He is the author of the State Anthem of Mari El. Zakharov Veniamin Alexsandrovich – a composer, the Laureate of the Republican Prize named after Olyk Ipai (1991). He was born in Morkinsky Region on 12 December 1954. He composed a number of songs about our Motherland. He was awarded the State Prize of Mari El for the children’s cantata “A wreath to S. Chavain”. Luppov Anatoly Borisovich – a composer, the Honoured Art Worker of Mari El, a professor. He was born in Kirov Region on 2 July, 1929. He is the author of the first Mari ballet “Forest Legend”. A lot of symphonic and chamber works (4 symphonies, symphonic suites, overtures, concertos for the piano, flute, clarinet, bassoon, oboe, French horn; quartets, quintets, sonatas, plays, music to the performances “The March of Akpars”, “The Native Land”, etc. Sidushkin Nifont Afanasjevich (1898-1975) - the Honoured Art Worker of Mari El. He was born in Mountain Mari Region. In Yoshkar-Ola he was the head teacher of the Musical College, the conductor of the symphony orchestra. In 1942 he organized a choir on the Mari radio. He composed music to such performances as “On the bank of the Ilet River”, “In the forest”, “You should save your happiness”, a great number of songs, e.g. “Summer Day”, “The Sunrise”, “The Morning Star”, “The tender wind”, “In the Morkinsky Region”, “The Song about Yoshkar-Ola”, “Near the Volga River”, “The Native Land”, etc. Smirnov Kuzma Alekseevich (1917-1963) – the Honoured Art Worker of Mari El. He was born in Medvedevsky Region. He worked in the Mari Scientific-Research Institute of Language, Literature and History and in the Mari State Drama Theatre named after M. Shketan. He is one of the founders of the Mari symphony music (“Evening in Morky”, “Sernur suite”, etc.). He processed more than 700 folk songs and published three collections of songs of different regions (“The Songs of the Meadow Maris”, “The songs of the Eastern Maris”, “The songs of the Mountain Maris”). Yashmolkin Alexsei Kirillovich – a composer, the Honoured Art Worker of Mari El and Russia (1991), O. Ipai Prize Winner (1982) and Mari State Prize Winner (1986). He was born in Medvedevsky Region on 17 February 1946. He composed music to the performances “Ovda”, “Aivika”, “Wolf in boots”; songs “Oh, my Motherland!”, “Rainbow”, “Our lives have united”, etc. Neznakin Anatoly Vasilievich – the Honoured Art Worker of Mari El (1992). He was born in Novy Toryal on 1 May 1952. He composed three symphonies, cantatas, plays, 1-act ballet “Masks”, mono opera “Waltz to the cuckoo song”, etc. He is the head of the folk band “Karagod” in the Mari State University.
Ex. 6. Read the text and do the tasks after it. Modern Mari musicians Alevtina Krylova is a professional musician. She was born on 20 June, 1960 in Morkinsky Region in Mari El. From 1978 to 1982 she studied at the vocal department in the Musical College named after I. S. Palantay in Yoshkar-Ola. Now she works in the Mari Philharmonic and often goes on tours around Russia. She was warmly welcomed in Saratov, Izhevsk, Volgograd, Astrakhan. Her favourite Mari songs are composed by K. Smirnov, A. Yashmolkin, M. Stepanov, Yury Evdokimov. Alexander Rechkin was born on 8 August, 1980 in Novyi Toryal in Mari El in the family of the musicians. His father played the accordion. Alexander was a member of the folk ensemble “Pampalche” – the laureate of the folk festivals. It was also the laureate of the TV contest “Crystal shoe”. In 1998 he joined the pop group “The polar star” which gave concerts in Moscow and recorded 3 albums. Recently he has released a disk with some new songs. Among them are the hits “Rosa – Rosmary”, “Snege Peledysh”, etc. Alexsei Izimbaev-bir was born on 26 October, 1952. After the service in the Army, he joined the pop group, later – become a soloist. He went on numerous tours in Tatarstan, Bashkortostan, Kazahstan, Sverdlovsk and Tyumen regions. He was Olyk Ipai prize-winner. He is the Honored artist of the Mari republic.
Ex. 7 Read the text and fill in the gap with the appropriate form of the word. Andrey Eshpay – a famous Mari composer
Ex. 8. Read the text and do the tasks after it. Sergey Makov – a composer with a civil position In 1984 Sergey Makov became O. Ipai Prize winner. He became the Laureate of the Mari Komsomol Prize due to the number of songs about young people, our Motherland. His first song about Yoshkar-Ola he composed being a student of the musical college. Sergey Nikolaevich was born on 8 January 1954 in Kuzhenersky Region. He was seven when his parents brought him to Yoshkar-Ola, to the President Boarding School for gifted children. He was an expert in Mari folk music. He used to pick up children to organize a competition and to find out who knew more folk songs than others. His first song Sergey composed at the age of 14 and it was very successful. It still lives in the repertoire of many singers and is often on air. His most outstanding songs about the native land are: “Near the family house”, “Native Land”, “What is it – Mari El?” and “Window to the World”. In spite of the similar names, the composer found for each of them its own harmonious and melodious solution, allotting them with inimitable image. The second group of songs is devoted to the theme of a country life. They are the songs about milk women, about country landscape, about environmental problems. Some songs are about love to a woman – everlasting topic of all times and peoples. The composer is also faithful to the civil theme, creating songs about severe weekdays of our warriors, e.g. in Afghanistan. The composer rose to the new step of his talent in the collection of works under the title “Damn that war!” These songs – the hard reminiscence about the last war, pain from irreplaceable loses, dream of all mothers about the happy childhood for their kids; praise of the spring holiday – Victory Day. The author proclaims triumph of humanism, love, friendship, people’s unification. The civil character of the composer was vividly displayed in the new cycle of works “Nobody is forgotten”. S. Makov’s eight new songs about native land and the anthems of four regions were included into this cycle. The composer was awarded the State Prize named after I.S. Palantai, the Prize of the Composers’ Union of Russia named after D. Shostakovich and it goes without saying, all these rewards were given according to his deserts, due to his tireless work, his kind soul and the aspiration for the musical education of his people.
1. Why did the composer become the Laureate of the Mari Komsomol Prize? a. It was his 50-th anniversary. b. Due to the fact that he was an expert in Mari folk music. c. Due to the fact that he composed a lot of songs about youth and their heroic deeds. 2. Why did his parents bring him to Yoshkar-Ola at the age of seven? a. To organize a competition. b. To develop his musical abilities. c. To find out who knew more folk songs. 3. When did he compose his first song? a. Being a student of the President Boarding School for gifted children. b. Being a teacher of the President Boarding School for gifted children. c. After graduating the President Boarding School for gifted children. 4. Was the first musical experience a success? a. Yes, it was; but soon it was forgotten. b. Yes, it was; it is still included into the repertoire of many singers. c. No, it was not. 5. What are his most outstanding songs about? a. About his parents and teachers. b. About his native village. c. About the native land and the country life. 6. Why can we say that the composer is faithful to the civil theme? a. Because he is a deputy of the City Council. b. Because he took part in the war in Afghanistan. c. Because he is faithful to the ideas of patriotism and humanism in his works. 7. What musical works were included into the new cycle “Nobody is forgotten”? a. Eighteen new songs about his native land and the anthems of four regions. b. Eight new songs about Mari El and the anthems of five regions. c. Eight new songs about native land and the anthems of four regions. 8. What prizes was the composer awarded for his work? a. He is Olyk Ipai Prize winner. b. He is I.S. Palantai Prize winner. c. He is I.S. Palantai and D. Shostakovich Prizes winner.
Ex. 9. Read the text and fill in the gaps with the necessary words. An outstanding musician The name of Peter Nikiphorovich Nikiphorov occupies (1 …) of the most honourable places among the creators of the Mari professional musical culture. He was (2…) first teacher of the Department of folk instruments, the founder of the class of balalaika and domra, the first conductor and art director of the orchestra of folk instruments in the Musical College named (3…) I.S. Palantai, lecturer-enlightener, the author of the book “Mari folk musical instruments”, the script writer and the host of the TV programmes (4…) Mari music, the Honoured Art Worker of the Mari Republic. Peter Nikiphorovich Nikiphorov was born on 28 November, 1912 in the village of Fadeikino (Morkinsky Region). He originated (5…) the peasant family. The start of his life was full (6…) misfortunes and hardships. At the age (7…) two he lost his Mum and he was (8…) up by his stepmother. During terrible famine (1922-1925) he (9…) living in the orphan house. In the early childhood Peter was good (10…) singing. In 1929 he (11…) accepted by the Musical College in Nizhny Novgorod. In 1937 he started his career (12…) a musician in Yoshkar-Ola. In November 1937 he organized the first orchestra in the college. It consisted (13)… five students. Little (14…) little the number of participants grew (15…) 18. In 1938 the first Musical School (16…) children was opened in Yoshkar-Ola. Peter Nikiphorovich (17…) appointed (18…) head teacher. He was (19…) the director of the Mari Philarmonic. The war interrupted his professional plans (20…) long six years. He joined the Army and went to the front. (21…) demobilization, in 1946 he came (22…) to the Musical College in Yoshkar-Ola and hic musical career (23…) on. Ex. 10. Render the text about the Mari musician in English. Анатолий Тихомиров Анатолий Александрович Тихомиров родился 4 августа 1943 года в городе Козьмодемьянске. Его родители не были музыкантами, но оба очень любили музыку. После окончания школы Анатолий поступает в музыкальное училище имени И.С. Палантая в класс баяна. На выпускном экзамене он дирижировал собственным сочинением, это «Музыкальные картинки» для оркестра русских народных инструментов. В 1968 году А. Тихомиров стал студентом Нижегородской консерватории им. М.И Глинки. Здесь он много сочиняет: это прелюдии, струнный квартет, хоры, баллада, вокальные циклы, симфонические картины, поэмы, пьесы для баяна и аккордеона. С 1973 года композитор живет и трудится в Москве, но до сих пор благодарит своих педагогов, родителей, свою малую родину. Свою любовь он высказывает в произведениях для различных инструментов. Во многих из них слышны марийские интонации и даже использованы народные мелодии. Ex. 11. Read the text. Make up the right form of the word and fill it in. The Museum of I. S. Kluchnikov-Palantai
Ex. 12. Read the text and do the tasks after it. The first Mari opera The first Mari opera “Akpatyr” was composed by Eric Sapaev. The plot is based on the scenes of the peasants’ revolt with E. Pugachyov at the head against the land owners. In the center of events is Akpatyr – the leading character; the Mari warrior. Peasants from the Mari village on the bank of the Ilet River were suffering from the oppression of a well-to-do landlord Savi by name. The reason for the open uprising was the order of the Russian Tsar to take away the lands along the Ilet River. The struggle was headed by Akpatyr whose courage was known among the people. Having changed his clothes and appearance, Akpatyr decided to come to the village to see the peasants’ mood with his own eyes. The people were very angry with the unfair decree. Then Akpatyr revealed his true image and the peasants chose him to be their leader. Among the peasants he saw a young girl Evika by name and her close friend Evai. Having a talk with Evai, Akpatyr learnt about Evika’s father and to his great surprise he understood that she was his own daughter whom he had lost many years ago. The camp of the rebels was situated in the forest. Akpatyr and his peasants took an oath to be faithful to native people and native land. But the forces were unequal. In the battle with the tsar’s soldiers the rebels were defeated. People parted with a mortally-wounded Akpatyr with a folk song called “The Song of the Recruits”. Recruits were the young boys who were going to the Army to serve the Tsar for many years. They tried to compose new songs in memory of themselves. They chose the lyrics to the folk tunes and new songs appeared. The recruits tried to express their sad thoughts, longing for home, their nearest and dearest whom they left, may be for ever. The composer changed the character of this song. In the folk song we can hear complaint, humbleness but in the opera the same song of the choir sounds firm, even tough. It is the great epic culmination which expresses the strength and power of the cheered up common people.
Ex. 13. Read and discuss. Comment on the following: “The folk song is the most precious sample of the people’s art” (P.I. Chaikovsky). “Music should correspond to our inner task” (V. Levi). “I’d always been fond of music. If I didn’t listen to it for long, I missed it” (I. Repin). “Music is the only art, which penetrates in the man’s heart so deeply, that it can depict the movements of his soul” (Stendal). “Music is dear for us because it is the deepest expression of our soul, the harmonic reflection of its joys and sorrows (R. Rollan). Do you agree with the following? “Among the pleasures of life only love is stronger than music” (A.S. Pushkin). “The real character of a person is found out by his amusements” (Reynolds). “Life seems to be a mistake without music” (F. Nitsshe). “Music makes our habits more noble” (Aristotel). Ex. 14. Try your hand at translation. Спасибо, музыка Спасибо, музыка, за светлые леса… Они звучат под осень, как оркестры, Мы все еще не верим в чудеса, А ты творишь их запросто и честно. Как дети, что любуются водой, Стекающей по камушкам со склона, Ослепшие, стоим мы над тобой, А ты над нами, выше на два тона. (А. Козловский). Ex. 15. Read the text and do the tasks after it. The first Mari ballet The First Mari ballet is named “Forest Legend” (composer A. Luppov). Mari El is the land of forests and the poetic images of nature are the constituent part of the poetic works of the Mari people. The plot of the ballet is based on the ancient legends. A brave and strong hunter Aksai made up his mind to reveal the mystery of the forest land, to learn why its beautiful nature had magic power. He left his native village, his beloved girl Erica and started for the deep forest. An evil spirit of the forest Keremet by name found out about it and decided to punish the young man for his impudence. He acquired the image of a handsome groom and visited Erica to propose to her and to take her to the forest. Erica saw a beautiful but unkind man with cold steel glitter in his eyes and a tough grin. The girl got so frightened that she gave a loud cry. The neighbours heard it, ran to her place and made the werewolf leave the village. Having failed in the village, Keremet rushed after the young hunter to prevent him from realizing his plan. When meeting the boy, the forest devil didn’t start the battle but resorted to cunning, making use of his devil spell. Aksai under the evil spell fell asleep on a forest glade. In his dream he saw that the birch trees become the girls and approach him. In one of them he recognized Shaivi, a beautiful girl from a neghbouring village. They said she was a lover of Keremet and was a witch. Closer and closer were coming the girls and the young man began to forget about the purpose of his trip to the forest. All of a sudden he heard a tender voice of Eivika and woke up. He returned home. There everything was ready for the wedding ceremony. A happy groom lifted the veil from the bride’s face and got stupefied: instead of Eivika he saw an enchantress Sheivi with a green birch twig in her hand. Aksai decided to delay his marriage till he discovered the mystery of the forest which wouldn’t let him have a minute’s peace. He again set out for the distant thicket. He was wandering for a long time, at last he found himself on the familiar glade. Sheivi appeared again in front of him. She was conquered by his courage and the girl decided to reveal the forest mystery to him. She waved the birch twig and suddenly all the trees, bushes, stumps around them became alive. They used to be people who once fought against Keremet. Only Keremet’s death could save them. Aksai decided to find the evil host of the forest, to defeat him and to rescue forest people. It’s gloomy and quiet in Keremet’s Kingdom. Even the birds don’t sing here being afraid to disturb the forest lord. Aksai was on the point of entering the kingdom when all the evil forces of the forest attacked him. He struggled bravely but the forces were unequal. Aksai felt his defeat and heard Keremet laughing above his head. But at this moment Sheivi gave him a helping hand. Keremet chose a moment to kill Aksai but it was Sheivi who took the mortal blow. The girl’s death shook Aksai. He grabbed Keremet and threw him into the swamp. The boggy gulf swallowed the forest devil at once. Forest people returned home rejoicing. They arranged a celebration in honour of the hunter and his bride. Besides the turns of the plot we should mention the peculiarities of music in different parts of the ballet. Listening to the part called “Erica’s sorrow” we hear the feeling of the lonely girl – tender, mild, dreamy. Both grief and hope are united in this tune. So we see how music can reveal the inner world of a person, the depth of his emotions. Listening to the fragment “Forest Girls” we can feel the unusual fantastic character of the girls’ dance – march, the light whirling tread of the girls. The dance extract “Keremet with his suite consists of mockery pointed intonations, expressed by the sliding sounds of the brass and wind instruments. This jerky melody helps to understand the falsity and hypocrisy of the matchmaking scene, opening the true face of the wicked Keremet. So, music develops people’s musical and moral consciousness, has direct influence on the formation of tastes, values, preferences in the sphere of music, art in particular and life on the whole.
1. Mari El is the land of forests. 2. A brave and strong hunter Aksai made up his mind to reveal the mystery of the forest land. 3. He was wandering for a long time. 4. Sheive was conquered by his courage. 5. He grabbed Keremet and threw him into the swamp. 6. This jerky melody helps to understand the falsity and hypocrisy of the matchmaking scene. 7. Listening to the fragment “Forest Girls” we can feel the unusual fantastic character of the girls’ dance. 8. The dance extract “Keremet consists of mockery pointed intonations. 9. Music develops people’s musical and moral consciousness. 10. Music has direct influence on the formation of tastes and values.
Ex. 16. Read the text and do the tasks after it. Mari folk dances Dances of the Mari people are very interesting and unique. A dance as a kind of art has always been connected with its other kinds. It was one of the components of numerous rites, festivals which were organized during the whole year. In spring when the sun started shining brightly and nature awoke, the Mari girls brought out the pieces of cloth that they had woven in winter and spread them out on the snow to make them cleaner and whiter. When snow melt and the first green grass appeared, the bleached cloths were beaten on a specially made log. The girls not only were beating the pieces of cloth, but also were competing in their ability to reproduce complex rhythms. Having heard the familiar tunes, the boys joined the girls. So games and dances began. One of the most interesting spring festivals was “Agavairem” (The Holiday of a wooden plough). It was marked at the end of April. It was devoted to the sowing work. On the eve of the holiday women used to colour eggs, baked pancakes, cooked cottage cheese dumplings, honey and beer. Then, in the appointed place, in the field the fires were made. People burned candles and began playing. After these rituals, a holiday dinner started. It was followed by games and dances. One more spring festival was called “Sortavairem” (The Day of the candle). It was arranged in honour of the dead. On the first day different religious rituals were held. On the second day people visited their neighbours and relatives. After the holiday dinner the bagpipers started playing. All the guests were sitting in a circle. The hostess took a bowl full of beer and started dancing. She approached each guest, gave him the bowl with beer. Then the host took the bowl and also treated the guests. Then the dance began. A man approached a woman, stretching his hands forward as if he wanted to give her a hug. They left each other and then met again. They danced in such a way for a few minutes, then they were given a bowl with beer. They thanked the host and the hostess, drank a bit and went to their places. All the Mari dances can be divided into the following groups: 1. Ritual dances: dances-marches, performed while sacrificing; wedding dances (the dance of a matchmaker, the dance with a whip, etc), dances at funeral feast. 2. Routine dances: e.g. “Five couples”, “A stream”, “Looking for a couple”, etc.). Having common national basis, the Mari dances in different regions have their peculiarities. Meadow Mari Dances The majority of dances are of mass character. They are usually accompanied by playing the accordion and by singing chastushki (short, often humorous or satirical rhymes). One of the most spread dances is the circle dance. Boys and girls stand in a circle. First they move to the right singing a song, and then turned to the left. The second spread dance is when performers make two lines, one opposite the other. They start the dance, approaching each other. A boy and a girl form a couple, whirl to one side, then to the other. Then dances the second couple, then the third, etc. At the end they bow to each other and to the musicians. The women’s movements of the arms are mild and smooth; the men’s movements are quick and energetic. Tap-dances are commonly used dancing techniques. We may say that in Sernur-Toryal subgroup the dances are preserved in their ancient type. The dances here are reserved and slow. The couple dances of lyrical character are of great interest. They resemble the breeding dances of birds. All the feelings are expressed by soft movements of arms and hands, by swinging the body, and hardly heard tap of the heels. As a rule, they are performed to the bagpipe melodies. Mountain Mari Dances The most popular is a circle dance. The performers stand in a circle, take each other’s hands and “run” to the right. Then they stop and perform tap dance. During the tap dance they don’t break the hands; their bodies turn from side to side. Then the dance begins from the very beginning. The Mari dances are various, but don’t contain complicated structure. They reflect the people’s life and hard labour. In spring dances the Mari people expressed their hope for the rich harvest, in autumn dances honoured the difficult work of a farmer. The most widely spread movements were walking to music, tap dances, clicking by fingers. This character of dances can be explained by many reasons: 1. The female clothes were not adapted to quick movements. The clothes were multi-tiered, tied with belts. The women wore a lot of decorations. Their weight could reach up to 8 kg. 2. The musical opportunities of the Mari instruments were limited. The accompaniment was slow and monotonous. 3. The life of the Mari people was hard. It didn’t provide the development of the national literature, music, culture.
4. What are the peculiar features of the Meadow Mari dances? 5. What do they resemble? 6. What melodies are they accompanied by? 7. What is characteristic of the Mountain Mari dances? 8. The Mari dances don’t contain complicated structure, do they? 9. How can the character of the Mari dances be explained? 10. Can you dance any Mari dances? Where did you learn to do it?
Ex. 17. Read the instructions and try to perform an ancient Mari dance. “Bagpipe” (an ancient dance of the Mari people in Toryalsky Region) The brief content of the dance: A drummer enters the stage and begins to drum, inviting boys and girls for a dance. The drummer is joined by the boys who are coming from the left and right. They imitate playing bagpipes and turn to different sides as if looking for the girls. The girls appear and the dance begins – not very fast, full of dignity and mutual respect. The description of the movements:
The starting point – position number six for feet. The arms are placed in front of the chest, bending in elbows.
2. Bows with a bagpipe. It is performed by boys. The initial position – bend the right knee holding a bagpipe in the hands.
3. Lateral march crosswise. It is performed by girls. The starting point – position number six for feet. The arms are lifted in front of the chest.
Backward march. It is performed by boys.
Unit 4. Mari national crafts Ex. 1. Read the text and do the tasks after it. The Mari folk arts |