4th World Conference on Folk Dance: Dance-Music in Folk Culture (International Organization of Folk Art, Larissa, Greece, 16–20 May 1990)

1990 ◽  
Vol 22 (2) ◽  
pp. 47-48
Author(s):  
Selma Jeanne Cohen
Keyword(s):  
Folk Art ◽  
International Organization ◽  
Folk Dance ◽  
World Conference ◽  
Dance Music ◽  
Folk Culture

PERFORMANCE IN FOLK CULTURE

2020 ◽  
Vol 1 (1) ◽  
pp. 143-149
Author(s):  
E. V. Fomchenko ◽  
Keyword(s):  
Folk Art ◽  
Creative Activity ◽  
Folk Culture ◽  
Creative Potential ◽  
Artistic Creativity ◽  
Cultural Traditions ◽  
The Creation

The article deals with such a modern phenomenon of culture and art — as performance. The purpose of this study is to determine the performative features as characteristics of modern artistic creativity and their influence on the development of folk culture. The tendency for turning to ritual, ceremonial types of folk art, whereby the communication is put forward, is considered on the example of the creative activity of the folklore ensemble "Rosstan". The article notes such performative characteristics as the creation of an event and atmosphere, space and communication organization, the interaction of the audience, that provide conditions for perception and response. The author relies on the works of such scientists as: E. Fischer-Lichte, V. Turner, A. Ya. Flier, L. N. Zakharova, L. V. Demina and others. In the process of studying following methods were used: generalization, comparison and also dialectical, historical and logical once. Modern features in folk culture, expressed in the interaction of traditional and innovative folkloristics are revealed on the example of the creative activity of "Rosstan". The revival of folk culture, the realization of its creative potential is possible through the development of cultural traditions and the creation of innovations related to ancient ritual forms of interaction, which should be adapted to the present and be understood by modern generation.

scholarly journals The ethnomusicological endeavors of Danica and Ljubica Jankovic

Muzikologija ◽  
2014 ◽  
pp. 245-258
Author(s):  
Mirjana Zakic
Keyword(s):  
Subsequent Development ◽  
Interdisciplinary Approach ◽  
Systematic Research ◽  
Dance Music ◽  
Structural Elements ◽  
Folk Culture ◽  
Transcription Analysis ◽  
International Trends ◽  
Traditional Dance ◽  
Rural And Urban

The pioneering efforts of Ljubica (1894-1974) and Danica (1898-1960) Jankovic consisted of their systematic research and collecting of traditional dance practice (folk dances), the methodological transcription, analysis and systematizing of dances, as well as the theoretical interpretations of numerous aspects of traditional dance. Their work resulted in the establishment of Serbian ethnochoreology in the first half of the twentieth century. As the extent of their activity in terms of transcribing musical material in the form of the accompaniment to folk dances has not yet been fully grasped by ethnomusicologists so far, the goal of this paper is to present the results and to stress the contributions of Danica and Ljubica Jankovic to the processes of the foundation and subsequent development of ethnomusicology in Serbia. These contributions are to be seen in eight public volumes of Folk Dances (1934-1964), whose methodological frame follows several important empirical and theoretical scientific approaches: firstly, analytical descriptive methodology of research, based on intense fieldwork (resulting in 800 transcribed dances and melodies from former Yugoslavia); secondly, excellent acquaintance with international trends in the field of ethno-musicology, as well as with concepts of research concerning Serbian folk culture; lastly, their inter-textual and interdisciplinary approach that essentially looks for correlates between dance, music and the context of performance. In this paper I shall elaborate in detail on the comments and significant interpretations of vocal and instrumental melodies that accompany folk dances made by the Jankovic sisters. These comments refer to stylistic and genre characteristics, melodic and metro-rhythmic attributes, the features of rural and urban melodies, the local characteristics of songs and instruments, changes in the diachronic flow, and to the characteristic relations of choreological and musical structural elements.

scholarly journals Fine arts and folk culture included in Indian painting

2020 ◽  
Vol 5 (12) ◽  
pp. 141-146
Author(s):  
Kanchan Kumari
Keyword(s):  
Daily Life ◽  
Fine Arts ◽  
Folk Art ◽  
Folk Culture ◽  
Human Culture ◽  
Art And Culture ◽  
Manufactured Goods ◽  
Indian Painting ◽  
Folk Tradition

India is an ancient cultural country. Art is a product of human culture. Its rise is reflective of the beauty of man. The unique fusion of folk art is seen in the art and culture here. Many scholars have periodically stated the importance of folk art. Folk art is a mirror of folk tradition culture in our country. Which can be seen in various rituals. Folk art can be seen in various forms in different provinces like India. Which is known by various names.Although these useful items of daily life were not made with the goal of fine arts, yet the end of the art of collective life is visible to us and it is not wrong to call them artistic objects. Along with the development of civilization, man did not leave a useful notion in his manufactured goods, but by his fluidity his fluidity made him beautiful product for fine arts in some quantity.   भारत एक प्राचीन सांस्कृतिक देश है। कला मानव संस्कृति की उपज है। इसका उदय मानव की सौन्दर्य भावना का परिचायक है। यहाँ की कला एवं संस्कृति में लोककला का अनूठा समन्वय दिखाई देता है। अनेक विद्वानों ने समय-समय पर लोककला के महत्त्व को बताया है। लोककलाऐं हमारे देश में लोक परम्पराओं संस्कृति का दर्पण है। जो विभिन्न रीति रिवाज उत्सव में देखे जा सकते है। भारत जैसें देश में विभिन्न प्रान्तों में विविध रूपों में लोककला देखी जा सकती है। जो विभिन्न नामों से जानी जाती है।दैनिक जीवन की इन उपयोगी वस्तुओं का निर्माण यद्यपि ललित कला के लक्ष्य से नहीं हुआ, तथापि सामूहिक जीवन की कलाप्रियता का अंष हमें इसमें दृष्टिगोचर होता है और इन्हें कलात्मक वस्तुएँ कहे तो गलत नहीं होगा। सभ्यता के विकास के साथ-साथ मानव ने अपनी निर्मित वस्तुओं में उपयोगी धारणा को नहीं छोड़ा परन्तु उसकी कलाप्रियता ने अपनी प्रवाहशीलता द्वारा कुछ मात्रा में उन्हें ललित कला के लिये सुन्दर उपादान बना दिया।

scholarly journals TRANSFORMATION OF WESTERN PODILLIA TRADITIONAL DANCE IN THE CONTEXT OF REGIONAL FESTIVAL MOVEMENT

2021 ◽  
Author(s):  
Liudmyla Shchur ◽  
Bohdan Vodianyi ◽  
Valentyna Vodiana
Keyword(s):  
Cultural Identity ◽  
Folk Art ◽  
Folk Dance ◽  
Research Article ◽  
Traditional Dance ◽  
Folk Ritual

The article covers the issue of transformation of traditional dance in the context of festival movement in the particular region and Ukraine as a whole. The research article analyses the functioning of art folklore festivals on the territory of Western Podillia. The study investigates the organization of art festivals of the region in historical and chronological perspective and presents the key tasks for their holding. The article partially covers the activities of some dance and folk-ritual groups of Western Podillia, which are active participants and popularisers of folk art, in particular of local traditional dances. The study reveals the issues related to the functioning and development of traditional dance in terms of folklorism, which is implemented during the «Ternopil talismans», regional festival of folk crafts, folklore and choreography, which hosts the «Ternopil Polka», festival of authentic dance (Ternopil); «Red guilder-rose», folk dance festival (Ternopil); «Bells of Lemko region», All-Ukrainian festival of Lemko culture (Bychova tract of Monastyryskyi district); «Embroidery blossoms in Borshchiv region», annual All-Ukrainian Folklore and Art Festival (Borshchiv) and other local festivals. The article highlights the importance of organizing and holding regional local holidays and folklore and art festivals in the context of the revival of the national and cultural identity of Western Podillia as an integral part of Ukraine.

scholarly journals The Ballad in Eastern European Jewish Folklore: Origins, Poetics, Music

2020 ◽  
pp. 191-228
Author(s):  
Michael Lukin ◽  
Keyword(s):  
Eastern Europe ◽  
Emotional Response ◽  
Central And Eastern Europe ◽  
18Th Century ◽  
Rhythmic Pattern ◽  
Eastern European ◽  
Dance Music ◽  
Ashkenazi Jews ◽  
Folk Culture ◽  
European Jewish

Analysis of the poetics and music of Yiddish folk ballads reveals that the Ashkenazi Jews of Eastern Europe did not preserve German songs,widely popular among them up to the beginning of their gradual migration to the east, but instead developed a ballad repertoire of their own.The group of songs, designated as “medieval” by Sophia Magid, the author of a monumental study on the Yiddish ballad, includes both old ballads and those borrowed from the Germans towards the end of the 18th century and later. While the borrowed songs carried a similarity to the German originals as shown in their melodic contours, vocabulary, and plots, the old Yiddish ballads, though generally echoing both Slavic and Western European balladry, differed significantly. The article attempts to identify and characterize this older layer. It apparently first came into being in Central and Eastern Europe in the 15th 16th centuries and continued to develop until the new“urban” ballad emerged in the mid 1800s.The poetics and music of the Yiddish ballad reflect the genre’s hallmark – ballad-singing as a form of communication – which distinguished it from the Yiddish lyric song, performed “for oneself”. The ballad melodies lack melismatic embellishments and dramatic shifts; their tempo is usually moderate; some of them frequently feature the “Ionic minor” rhythmic pattern; many others resemble Klezmer dance music. These features reflect Yiddish ballad aesthetics: music is an ostensibly neutral frame for revealing a narrative that evokes emotions without referring to them directly.Two features of the international ballad canon – readiness to draw material from diverse sources, and a focus on the collective emotional response to key moments of everyday life–stimulated the formation of the indigenous Yiddish tradition. Its character also reflected the remoteness of Eastern Ashkenazi folk culture from rural Slavic folklore, and the lack of a permanent social function of balladsinging in the Ashkenazi tradition.

scholarly journals Chronotope of Ukrainian folk art culture as a dialectical unity of traditional and innovative models of life in the space and time of the XXI century

2021 ◽  
Author(s):  
Svіtlana Sadovenko
Keyword(s):  
Cultural Heritage ◽  
Formal Method ◽  
Folk Art ◽  
Space Time ◽  
Cultural Knowledge ◽  
Folk Culture ◽  
Space And Time ◽  
Cultural Reality ◽  
Historical Methods ◽  
Different Cultures

The purpose of the article is the conceptualization and rethinking of the meaning of Ukrainian children's folklore as an integral part of the structure of Ukrainian folk art culture and carefully crafted magic rituals. Updating the concept «Ukrainian children's folklore» in the context of cultural knowledge, defining the essence of this phenomenon in the chronotope of the 21st century and evaluating temporal and spatial unity, which contributes to the preservation of the national cultural heritage, the dialogue of different cultures and human unity, is also the goal of the work. The delineation of the essence of this phenomenon in the chronotope of the XXI century and the assessment of temporal-spatial unity, which contributes to the preservation of the national cultural heritage and dialogue of different cultures, is also the goal and object of analysis. The methodology consists in applying comparative and concrete-historical methods for conceptualization of Ukrainian children's folklore in the context of national folk art culture, use of formal method, as well as hermeneutic interpretation method for analysis of the concept of «children's folklore» and its functions in today's chronotope. The scientific novelty lies in the actualization and conceptualization in the context of culturological knowledge of Ukrainian folklore, including children's (riddles), as a complex phenomenon and an integral part of the morphology and typology of national folk art culture in the chronotope of the XXI century. Scientific novelty also consists in revealing on the basis of delineation and comprehension of essence, dynamics of laws of development and an estimation of internal structure and space-time unity of functions of the Ukrainian national art culture, consideration of interaction of oral folk art of the childhood and dialogue of various cultures. Conclusions. In modern socio-cultural reality the question of understanding the chronotope of Ukrainian folk art culture as a dialectical unity of traditional and innovative models of life in space and time and conceptualization of Ukrainian children's folklore (riddles) in the context of culturological knowledge as an integral part of morphology and typology of national folk art culture. Ukrainian children's folklore in its diversity of forms, types, functions, purposes is an attractive phenomenon that requires further conceptualization and continuation of thorough research. Defining the essence of this phenomenon in the chronotope of national folk culture contributes to the preservation of national cultural heritage and dialogue of different cultures in the XXI century. Keywords: Ukrainian folk art culture, folklore, children’s folklore, riddles, musical folklore, dialogue of cultures, oral folk art, national culture, chronotope, space-time interrelations.

scholarly journals INDIAN FOLK CULTURE AND COLOR

2014 ◽  
Vol 2 (3SE) ◽  
pp. 1-2
Author(s):  
Sangeeta Sharma
Keyword(s):  
Folk Art ◽  
Special Significance ◽  
Folk Culture ◽  
The Village

Dr. According to Hazari Prasad Dwivedi - "The meaning of the word Lok is not the district or the village, but the entire people spread in the cities and villages, whose base is not artisans, but people living simple and simple lives."Folk art is an important part of folk culture. It is an identity of culture as far as Indian folk culture is concerned, folk art has special significance in it. The purpose of art can be expression, fame, earning, service, attainment of pleasure, world welfare etc. डाॅ. हजारी प्रसाद द्विवेदी के अनुसार - “लोक शब्द का अर्थ जनपद या गाँव नहीं बल्कि नगरों व गाँवों मे फैली वह समूची जनता है जिसका आधार पोथियाँ नहीं, अकृत्रिम और सरल जीवन व्यतीत करने वाले जन है।“लोक संस्कृति का अहम भाग है लोक कला। यह संस्कृति का पहचान है जहाँ तक भारतीय लोक संस्कृति की बात है इसमें लोक कला का विषेष महत्व है। कला का प्रयोजन अभिव्यक्ति, यष प्राप्ति, धनोपार्जन, सेवा, आनंद की प्राप्ति, विष्व कल्याण आदि हो सकते है।

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