2 Minority Art, Folk Art and Popular Art

2020 ◽  
pp. 45-65
Keyword(s):  
Folk Art ◽  
2016 ◽  
Vol 11 (22-24) ◽  
pp. 180
Author(s):  
Dulce Maria Viana

Resumo: Tendo por base os anos 60 no Brasil, estuda-se a presença das Vanguardas e a posição da Cultura Popular, esta como possibilidade de veiculação de mensagens politicamente dirigidas para uma Revolução que afinal nunca se fez. Marcam-se como núcleos o ISEB, o MCP e o CPC. Dimensionam-se os conceitos de arte do povo e de arte popular. Por fim, discute-se a validade da apropriação das formas populares como veículos ideológicos revolucionários, uma vez que os consumidores das mensagens eram as próprias elites intelectuais que as produziam.Abstract: The paper describes how Brazilian literary vanguards of the sixties adopted popular forms in their calls for a revolution that never happened. Specific reference is made to ISEB, MCP, CPC and other groups.In this context, the differences between popular art and folk art are discussed, as the legitimacy of appropriating popular forms for revolutionary messages that, ultimately, were consumed exclusively by the very elites that produced them.


2021 ◽  
Author(s):  
Ionut Alexandru Banu ◽  

The icon on glass, more precisely the icon painted on the back of the glass, is a category of folk art, a genre of folk art practiced almost exclusively in Transylvania and which must be related to some influences from Central Europe. Through this communication, we set out to research, in more detail, a part of the collection of cult objects – icons on glass, bringing to the public’s attention some data about several items of this collection. From this category of heritage, the collection of Dr. Nicolae Minovici Museum of Folk Art counts about 30 icons on glass, made in Transylvania and being dated in the period between the XVIII–XIX centuries. They were made in the two great Transylvanian workshops, Șcheii Brașovului (20 icons) and the one from Nicula (10 icons). The work is structured in two parts; the first part includes some general data about icons, iconography, the appearance of the icon on glass and iconographic centers in our country, especially in Transylvania, where the objects from the museum’s collection were made. The second part includes a series of iconographic representations on glass from the museum’s patrimony, accompanied by descriptions, information on the workshop, craftsmen and technical data.


Author(s):  
Akhat G. Salikhov ◽  
◽  
Gulnaz M. Gizzatullina

Introduction. In the oral popular art and written literary monuments of the Bashkir people, there is a special musical-poetic genre of the lyric-epic and religious character, which is called munajat. This article aims to analyze some of the ayats, hadiths, and religious terms used in the Bashkir munajats. Materials and methods. Samples of religious poetry borrowed from a thematic volume of the Bashkir folk art compendium were used as the main source of the research data. Over 1,500 examples have been identified, some of which are used in this article. A systematic and comparative analysis and a historical-typological research method were employed for the analysis of the material. Results. Many Bashkir scholars were among the students of the munajats. In their works, they often focused on the main features of the genre, such as religious motifs, plots, and appeals to Allah that they contain. Since early 1990s, the munajats have been experiencing a rebirth: old versions have returned to become popular again; also, new types, composed by our contemporaries, have emerged, and spread in various regions. The study resulted in identifying over one and a half thousand examples containing Muslim terms, ayats, and hadiths; some of them have been included in this article. Conclusions. The present study shows the peculiarities of the use of religious subjects, terms, and motifs in the Bashkir munajats. Some words and phrases were changed to adapt to the popular usage, while preserving the Arabic cliché. In its turn, the use of religious vocabulary enriched the Bashkir language and literature.


2019 ◽  
pp. 12-24
Author(s):  
Alfonso Castrillón Vizcarra

El presente artículo presenta los puntos más destacados de la polémica suscitada con motivo del otorgamiento del Premio Nacional de Cultura al artista popular Joaquín López Antay en el año 1976. Luego de una introducción en que se da cuenta de los hechos, la conformación del jurado y la reacción de los artistas académicos, el autor fundamenta su tesis sobre la diferencia entre arte popular y artesanía examinando las propuestas de otros estudiosos que salieron a la luz en los años que vinieron. El autor concluye proponiendo la denominación de arte popular para significar hoy día aquellas manifestaciones que no son “arte informado” y tampoco artesanía. Palabras clave: López Antay, Premio Nacional de Cultura, arte, arte popular, artesanía, arte informado.   AbstractThis article presents the most prominent points of the controversy brought on by the giving of the National Culture Prize to the popular artist Joaquín López Antay in 1976. After an introduction, in which the facts of the situation are explained and a description of the composition of the award panel and the reaction of the academic artists is given, the author bases their thesis on the difference between popular art and professional craftsmanship, examining the proposals of other scholars that came to light in the years they came out. The author concludes by proposing the naming of popular art to mean today those manifestations that are neither informed art nor works of professional craftsmanship. Keywords: López Antay, Culture National Prize, art, folk art, craftsmanship, academic art.


Author(s):  
Patricia Emison

Cinema began primarily as a folk art, and remained a popular art, so there tended to be a considerable gulf between film and fine art. The history of cinema often exhibits a casual attitude toward stylistic innovation, while the history of art has traditionally tended to emphasize exactly that. The combined effect has tended to exaggerate the difference between the two traditions. Yet they do not operate in total isolation. The makers of cinema, even if scarcely students of the history of art, have absorbed certain of its precepts and examples. The emotional life prompted and supported by the new narrative imagery was crucial to the development of Renaissance sensibilities; cinema constituted a new chapter in this kind of enhancement. In both cases, effusive delight was expressed for the new imagery.


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