THE ROLE OF DOCUMENTARY FILM IN PRESERVATION AND VALORIZATION OF FOLK ART

2019 ◽  
Vol 145 (1) ◽  
pp. 214-220
Author(s):  
Dumetru OLARJESKU
Keyword(s):  
Documentary Film ◽  
Folk Art

Libraries and folk art

1981 ◽  
Vol 6 (2) ◽  
pp. 5-11 ◽  
Author(s):  
Eske Mathiesen
Keyword(s):  
Social Change ◽  
Folk Art ◽  
Fine Art ◽  
Industrial Society ◽  
Shared Activity ◽  
First Time

Folk art is widely supposed to have come to an end with the coming of urban, industrial society, but activities persist which may be termed ‘folk art’ and which include, for instance, ‘family art’ — the creating, by a family, of its own visual surroundings and traditions. Folk art is a people’s art; it affirms and renews personal, local, and community experience; it is a shared activity which does not elevate the role of the ‘artist’. But libraries by and large document fine art, and thus, at least by implication, are associated with its values and appear to have nothing to contribute to the kind of social change which may be necessary if people’s art is to flourish.The text of a paper delivered to art librarian members of the Danish Library Association in November 1972, published in Bibliotek 70, no. 2, 1973, pp. 31-34, and now published for the first time in English.

Alternative Historiography

2020 ◽  
Vol 12 ◽  
Author(s):  
Noura Kamal
Keyword(s):  
Social Science ◽  
Everyday Life ◽  
Cultural Beliefs ◽  
Popular Literature ◽  
Folk Art ◽  
Historical Events ◽  
Counter Narratives ◽  
History And Literature ◽  
Role Of Women

To obtain a deeper understanding about a society, it is important to look beyond the formal production of history and literature and consider fables, songs, folk poems, and proverbs which can reflect dimensions of the society that are usually neglected or forgotten about. Focusing on popular literature and folk art as a source of epistemological knowledge contributes to the construction of counter-narratives in Yemen. One of the major proponents of popular literature whose works serve as a key to understanding the conceptual worlds of the Yemeni people is the poet ʻAbd Allāh al-Baraddūnī (1929–1999). This blind scholar explored various types of popular literature and folk art in order to highlight the knowledge that generally is not documented but is an essential part of everyday life. Each of his genres has the ability to provide us with insights about Yemeni society such as forgotten historical events, the role of women in society, cultural beliefs, customs, practices, and historical events and circumstances that the society had to face. It is argued that, by focusing on the subaltern and marginal, al-Baraddūnī was anticipating trends in Western social science scholarship that have been apparent since the 1970s.

scholarly journals Ernst Ludwig Kirchner – the sculptor

2018 ◽  
Author(s):  
Анастасия Юрьевна Королева
Keyword(s):  
Folk Art ◽  
African Art ◽  
New Objectivity ◽  
Neue Sachlichkeit

Имя Эрнста Людвига Кирхнера практически не рассматривается в ряду мастеров скульптуры. Однако, наряду с Эрнстом Барлахом и Вильгельмом Лембруком, он принадлежит к числу крупнейших мастеров скульптуры первой трети XX века. В статье рассматриваются различные периоды творчества художника и их отражение в искусстве скульптуры – от романтических увлечений народным искусством, в том числе африканским, и классического экспрессионизма до неореализма «Новой вещественности». Рассматриваются специфические особенности произведений пластики в зависимости от возможностей разного материала, их отношение к произведениям живописи, а также роль этого вида искусства в творчестве мастера. The name of Ernst Ludwig Kirchner is very seldom considered in the series of names of sculptures. However, together with names of Ernst Barlach and Wilhelm Lehmbruck, his name belongs to the numbers of the great sculptors of the first third of 20-th century. The article deals with the different periods of the masters work and demonstrate, how they reflect in sculpture: from early romantic enthusiasm for the folk art, including African art and classic expressionism to the neorealism in form of «New Objectivity»/«Neue Sachlichkeit». The author says about specificity of materials in sculpture objects of Kirchner, also their interaction with painting and about the role of plastic in art heritage of painter.

scholarly journals "Our Freedom": Sovereignty in Rural Russia

2018 ◽  
Vol 2 (2) ◽  
pp. 166-168
Author(s):  
Laura Kuen ◽  
Yury Snigirev
Keyword(s):  
Natural Environment ◽  
Local Church ◽  
Documentary Film ◽  
Good Life ◽  
Protective Role ◽  
Individual Freedom ◽  
Philosophical Question ◽  
Self Sufficiency ◽  
Governmental Intervention

Our Freedom, the 52 min. documentary film explores everyday forms of individual freedom in contemporary rural Russia. Living remote and mostly beyond the reach of direct governmental intervention, the inhabitants of Pungino village live out their forms of sovereignty. In personal proximity to the protagonists, the film explores the possibilities and practices that emerge when money is scarce, time is abundant, and neither help nor control of the state seems present. While people garden, forage, hunt or reconstruct the local church, they address the philosophical question of what it means to have a good life: the connection with the natural environment and the protective role of community bonds surface as just as important as the capacity to act independently through self-sufficiency and craftsmanship.

scholarly journals Materiality, mediation and affective encounters: ‘Rising Phoenix’ and the cultural representation of disability

2021 ◽  
pp. 101269022110321
Author(s):  
Emma Pullen
Keyword(s):  
Cultural Politics ◽  
Documentary Film ◽  
Cultural Representation ◽  
Limited Attention ◽  
Sport Media ◽  
Disability Narratives ◽  
Modes Of Representation ◽  
Relations Of Power ◽  
Affective Dimensions

Paralympic and Para sport representation has provided an important cultural site from which to explore the role of popular disability media in shaping everyday disability knowledge(s) through relations of power, ideology and meaning. Yet limited attention has been afforded to the affective dimensions of Para sport media that may help extend our understanding of its performative power on audiences. In critique of the recent Netflix Paralympic documentary film, ‘Rising Phoenix’, this article affords particular attention to the production of disability affects through the cinematic entanglement of things, bodies and language that work to involve audiences on an affective, emotional and sensorial level. Drawing on Sara Ahmed's (2004) cultural politics of emotion, it is argued that the film produces an economy of disability affects that contribute to the qualitative affective qualities of the film yet operate to (re-)configure sites of disabled normativity, gendered disability relations and nourish ‘supercrip’ and ‘medico-tragedy’ disability narratives. Attention is paid to the implications of this and the role of sport documentary film more widely in generating affective modes of representation for marginalised sporting groups.

scholarly journals Experimentación e innovación en el cortometraje documental latinoamericano moderno: las experiencias de Brasil, Cuba y México/ Experimentation and innovation in the modern Latin American documentary short film: the experiences of Brazil, Cuba and Mexico

2017 ◽  
pp. 489
Author(s):  
Javier Cossalter
Keyword(s):  
Latin American ◽  
Documentary Film ◽  
Textual Analysis ◽  
Effective Means ◽  
Short Film ◽  
American Cinema ◽  
Latin American Cinema

Resumen: El presente artículo aborda el cine moderno latinoamericano a partir de la articulación del cortometraje y el documental en tanto agentes fundamentales en el asentamiento de este fenómeno en la región. Para ello hemos escogido tres países –México, Brasil y Cuba– que han atravesado realidades disímiles en cuanto a la conformación de una tradición cinematográfica industrial. De este modo, corroboramos en un primer apartado el rol del cortometraje documental en las tres cinematografías contempladas a través del desarrollo del mismo a lo largo de la historia para desembocar en la renovación expresiva y semántica de los años cincuenta y sesenta. El film de corta duración se ha convertido en un medio eficaz para la transición o el ingreso a la modernidad. En una segunda sección examinamos las potencialidades del cortometraje en conjunción con las características del documental y realizamos un análisis textual comparado de tres ejemplos representativos de esos tres países con el propósito de rastrear patrones estéticos comunes y constatar en los textos fílmicos las marcas significantes del cine moderno. Abstract: This article deals with modern Latin American cinema based on the articulation of the short film and the documentary as fundamental agents in the settlement of this phenomenon in the region. For this we have chosen three countries –Mexico, Brazil and Cuba– that have experienced dissimilar realities in terms of the conformation of an industrial cinematographic tradition, deployment we explore in a first section. Then, in the second section we corroborate the role of the short documentary in the three cinemas contemplated through the development of the short film throughout history to lead to the expressive and semantic renewal of the fifties and sixties. Short film has become an effective means for transition or entry into modernity. In a third section, we examine the potentialities of the short film in conjunction with the characteristics of documentary film and perform a comparative textual analysis of three representative examples of those three countries, in order to trace common aesthetic patterns and note the significant marks of modern cinema.

scholarly journals Zhivaia Starina

Folklorica ◽  
2018 ◽  
Vol 21 ◽  
Author(s):  
M. V. Akhmetova ◽  
O. V. Belova
Keyword(s):  
Oral History ◽  
Folk Art ◽  
October Revolution ◽  
Russian State ◽  
Key Topics

At the start of 2018, Zhivaia Starina journal changed ownership and is currently being published by Polenov Russian State Folk Art House (Moscow). The journal’s key topics for 2017 involve the role of tradition and innovations in folklore genres and the interconnection between folklore and folk mythology as well as between folklore texts and oral history. Additionally, Issues 3 and 4 feature sections to commemorate the 870th anniversary of the founding of Moscow and the centenary of the Russian October Revolution.

scholarly journals   SEMIOSIS of NARRATIVE OF MYTHOLOGICAL SONG prayerS OF OSSETIANs  

2017 ◽  
Author(s):  
Ф.М. ТАКАЗОВ
Keyword(s):  
Scientific Research ◽  
Folk Art ◽  
The Road ◽  
On The Road ◽  
Special Category

Мифологические песни-молитвословия занимают в устном народном творчестве осетин огромное место. Песни-молитвословия исполнялись в праздничные дни, за пиршественным столом, на свадьбе, в пути. Истоки мифологических песен-молитв восходят к традиционной застольной молитве и от них отличаются только наличием в тексте ритмики и рифмы. В молитвословных мифологических песнях можно выделить в особую категорию песни, которые звучат и как гимны, и как молитвы, отличаясь от последних развернутым сюжетом и законченной композицией. Семиозис нарратива мифологических песен-молитвословий никогда не становился объектом исследований, что не позволяло однозначно определять их место при нарратологическом анализе текстов. Исследуя мифологические песни, необходимо, прежде всего, отличать их «морфологию», структуру, чтобы с большей вероятностью выделить содержательно значимые компоненты. Описание принципов коммуникации мифологических нарративов базируется на разграничении сюжетных структур и дифференциации семиозиса мотивов. В зависимости от направленности жанровой стратегии мифологические песни осетин делятся на молитвословные, календарно-обрядовые, обрядовые, заклинательные и этиологические. В свою очередь молитвословные песни по формальным признакам можно разделить на песни-гимны (бессюжетные) и сюжетные. К молитвословным песням примыкают песни-заклинания. От заклинательных песен молитвословные песни отличаются развернутым сюжетом и композицией, а также объемом. Элемент заговора/заклинания присутствует в семантике и молитвословных песнях. Мифологическая песня изначально исполняла роль заговора/заклинания. Впоследствии, особенно нарастая сюжетом, мифологическая песня прошла путь развития от утилитарного мышления мифологическими образами до обращения к мифологическим образам как художественному приему. Mythological songs-prayers play an important role in the oral folk art of the Ossetians. Songs-prayers were performed on holidays, at a feast table, at weddings, on the road. The origins of mythological prayer songs go back to traditional table prayer and differ only in the presence of rhythm and rhyme in the text. In mythological songs-prayers it is possible to single out a special category of songs that sound both as hymns and as prayers, differing from the latter by an unfolding plot and finished composition. The semiosis of the narrative of mythological songs-prayers has never been an object of scientific research, which did not allow one to unequivocally determine their place in the narratologic analysis of texts. In investigating mythological songs it is necessary, first of all, to distinguish their "morphology", structure, in order to more presicely isolate meaningful significant components. The description of the principles of communication of mythological narratives is based on the delineation of plot structures and the differentiation of the semiosis of motives. Depending on the direction of the genre strategy, mythological songs of the Ossetians are divided into prayer, calendar-ritual, ritual, incantatory and etiological. In turn, prayer songs on formal grounds can be divided into songs-hymns (plotless) and plot. Songs-spells are attached to prayer songs. Prayer songs are distinguished from spell songs by a detailed plot and composition, as well as volume. The element of the plot / spell is present in the semantics and prayer songs. Mythological song originally played the role of plot / spell. Subsequently, the mythological song has evolved from utilitarian thinking to mythological images appealing to mythological images as an artistic device.

scholarly journals “Oh, My Thoughts, My Thoughts…”: Olena Pchilka’s and Lesia Ukrainka’s Contributions to Epigraphic Embroidery

2021 ◽  
pp. 147-162
Author(s):  
Tetiana Brovarets
Keyword(s):  
Folk Art

The article focuses on the role of Olena Pchilka1 and Lesia Ukrainka in epigraphic embroidery development. Undoubtedly, Olena Pchilka was an ardent proponent of folk art purity. Following from this, there is a tendency to think that she was against all novelty in Ukrainian embroidery. Many researchers and antiquity enthusiasts refer to her authority when arguing against inscriptions on textile as a phenomenon resulting largely from printed cross-stitch on paper. However, not all embroidered verbal texts have been of print origin. Most of them were folkloric (or folklorized) texts. What is more, Olena Pchilka to some extent provided her own comment on epigraphic embroidery in approving Lesia Ukrainka’s rushnyk (embroidered runner) containing the inscription “Oh, my thoughts, my thoughts, woe is with you! Love one another, brethren, love Ukraine” (devoted to Taras Shevchenko). In modern embroidery, embroideresses reproduce the citation with new connotations of these words, thereby continuing the epigraphic embroidery tradition. The author illustrates the folklorization of oft-cited lines from Taras Shevchenko’s poetry with examples of epigraphic embroidery from her own Interactive Index of Folklore Formulas (Epigraphic Embroidery).

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