scholarly journals Reading Rain, Reading River: An Interpretative Discussion on Rajbanshi Folk Ritual

2019 ◽  
Keyword(s):  
Folk Ritual

‘Communal Hellenism’ and ancient tragedy performances in Greece (1975–95): The ritual quest

2021 ◽  
Vol 7 (1) ◽  
pp. 69-103 ◽  
Author(s):  
Efthymios Kaltsounas ◽  
Tonia Karaoglou ◽  
Natalie Minioti ◽  
Eleni Papazoglou
Keyword(s):  
Audience Reception ◽  
Collective Consciousness ◽  
National Theatre ◽  
Modern Greek ◽  
The Press ◽  
Cultural Movements ◽  
Definition Of ◽  
Folk Ritual ◽  
Ancient Drama ◽  
Of Greece

For the better part of the twentieth century, the quest for a ‘Greek’ continuity in the so-called revival of ancient drama in Greece was inextricably linked to what is termed and studied in this paper as a Ritual Quest. Rituality was understood in two forms: one was aesthetic and neoclassicist in its hermeneutic and performative codes, which were established and recycled – and as such: ritualized – in ancient tragedy productions of the National Theatre of Greece from the 1930s to the 1970s; the other, cultivated mainly during the 1980s, was cultural and centred around the idea that continuity can be traced and explored through the direct employment of Byzantine and folk ritual elements. Both aimed at eliciting the cohesive collective response of their spectators: their turning into a liminal ritual community. This was a community tied together under an ethnocentric identity, that of Greeks participating in a Greek (theatrical) phenomenon. At first through neoclassicism, then through folklore, this artistic phenomenon was seen as documenting a diachronic and essentially political modern Greek desideratum: continuity with the ancient past. Such developments were in tune with broader cultural movements in the period under study, which were reflected on the common imaginings of Antiquity in the modern Greek collective – consciousness – a sort of ‘Communal Hellenism’. The press reception of performances, apart from being a productive vehicle for the study of the productions as such, provides indispensable indexes to audience reception. Through the study of theatre reviews, we propose to explore the crucial shifts registered in the definition of Greekness and its dynamic connections to Antiquity.

scholarly journals N.P. Ostroumov as a Collector of Uzbek Folk Songs (Based on the Materials of the Central State Archives)

2021 ◽  
Vol 04 (12) ◽  
Author(s):  
Shahodatkhon Kh. Imomnazarova ◽  
Keyword(s):  
Fairy Tales ◽  
Folk Songs ◽  
Local History ◽  
Central State ◽  
Educational Work ◽  
The Republic ◽  
State Archives ◽  
Oriental Studies ◽  
Folk Ritual ◽  
The 19Th Century

At the end of the 19th century, a certain amount of work was done to record, collect and popularize Uzbek folklore, including scholars studying oriental studies, local history, geography, archeology and other areas in Turkestan, as well as educational work. They translated folk legends, legends, fairy tales, proverbs and sayings, the songs they heard or wrote, often translated them into Russian and published them in periodicals, including them in their studies, literary and journalistic works, and travel notes. One of the specialists who contributed to the collection of folk art, in particular fairy tales, proverbs and songs, is the famous orientalist, ethnographer Nikolai Petrovich Ostroumov. The article analyzes the folkloristic activities of the orientalist N.P. Ostroumov based on the recordings of Uzbek folk ritual songs stored in the Central State Archives of the Republic of Uzbekistan.

Folk Ritual and the Minnesang

1963 ◽  
Vol 58 (2) ◽  
pp. 196
Author(s):  
A. T. Hatto
Keyword(s):  
Folk Ritual

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.

Stravinsky's Les Noces and Russian Village Wedding Ritual

1990 ◽  
Vol 43 (1) ◽  
pp. 99-142 ◽  
Author(s):  
Margarita Mazo
Keyword(s):  
Folk Music ◽  
Voice Quality ◽  
Emotional Intensity ◽  
Folk Ritual ◽  
The Village ◽  
Fresh Insight ◽  
Insight Into ◽  
The Way

This study presents Stravinsky's well-known ballet Les Noces as seen by an ethnomusicologist familiar with wedding rituals and, particularly, laments of Russian villages. The music of Les Noces, statements made by the composer himself, and the data gleaned from published sources of folk music (those Stravinsky is known to have come in contact with or those accessible to him) are juxtaposed with observations obtained in field interviews with Russian villagers who themselves were participants in wedding rituals and performers of wedding laments. The conceptual and structural ideas of Les Noces are compared to those of the village ritual. The examination of the role of laments and songs in the unfolding of the ritual, the use of ostinato, the analysis of the manner of singing and voice quality in laments, and an inquiry into the polyphonic forms based on polymorphic texture enable a fresh insight into Les Noces and the way Stravinsky handled materials derived from folk practice. The general conceptualization of the composition with its coalescence of high emotional intensity and, at the same time, personal detachment is traced to folk ritual where the episodes, being part of the ritual, embody primarily impersonal responses to the requirements of a ritualized situation, even though they are presented as highly tense and emotionally charged.

A West Virginia Folk Ritual

1968 ◽  
Vol 81 (320) ◽  
pp. 159
Author(s):  
Avery F. Gaskins
Keyword(s):  
West Virginia ◽  
Folk Ritual

scholarly journals The Precious Scroll of the Blood Pond in the “Telling Scriptures” Tradition in Changshu, Jiangsu, China

Religions ◽  
2021 ◽  
Vol 12 (10) ◽  
pp. 865
Author(s):  
Rostislav Berezkin
Keyword(s):  
Yangtze River ◽  
The Yangtze River ◽  
Narrative Texts ◽  
Local Varieties ◽  
Late Imperial ◽  
Imperial Period ◽  
Local Tradition ◽  
Folk Ritual ◽  
The 19Th Century ◽  
Ritual Practices

The Precious Scroll of the Blood Pond is a newly discovered manuscript (copied ca. 1993), used in the “telling scriptures” tradition in Changshu, which represents ritualized storytelling based on the vernacular narrative texts called “precious scrolls” (baojuan). The local tradition of “telling scriptures” can be traced back to the 19th century, though it may have even earlier origins. While it has been generally accepted that precious scrolls had ritual functions in the late imperial period, little research has been done on the local varieties of this type of storytelling in connection with ritual practices. The material of the Precious Scroll of the Blood Pond from Changshu demonstrates how the Mulian story, widely known in China, has been adapted to the folk ritual of the afterlife salvation of a female soul through repentance of her sin of physiological impurity. While the related ritual in the neighboring Jingjiang on the northern bank of the Yangtze River has been thoroughly studied, the Changshu practice has received little attention of scholars so far. The Precious Scroll of the Blood Pond from Changshu demonstrates that the Mulian narrative was also associated with the ritual of “breaking the Blood Pond” in the Jiangnan areas, which also provides a new angle of evaluation of the Jingjiang tradition of “telling scriptures”. This article discusses relations between modern ritual practices and several variants of the Precious Scroll of the Blood Pond, mainly using fieldwork materials collected by the author in Changshu and adjacent areas in 2011–2018.

scholarly journals MOCERA TASI RITUAL AMONG THE WOTU COMMUNITY IN EAST LUWU (The Maslahat Perspective)

2019 ◽  
Vol 8 (1) ◽  
pp. 82
Author(s):  
Zulhas'ari Mustafa
Keyword(s):  
Cultural Practices ◽  
Ethnic Community ◽  
Traditional Leaders ◽  
Folk Ritual

This article deals with the explanation of local celebration called mocera tasi performed by the ethnic Wotu community in East Luwu District. The focus of the research is closely related to the values understood by the Wotu ethnic community, in relation to the ritual of mocera tasi. Such Values, according to Community understanding, were derived from the cultural practices within the community. The ritual, in addition, was carried out by the Wotu community in order to legitimize the leadership of the Macowa Bawalipu  as Wotu traditional leaders, to expressing gratitude to Allah SWT, and to rejecting reinforcements. The mocera tasi rituals as a ritual for ratifying traditional leaders are classified as adat rituals. Mocera tasi, in addition, as an expression of gratitude and refusal of reinforcements is also classified as folk ritual. The benefit to be achieved in the ritual of mocera tasi is linked to the maintenance of the benefit of Nasab  (family blood) and wealth. The level of the benefit of the ritual of mocera tasi is at the level of ḥājiyyat.

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