scholarly journals Mythology in folklore and its features

2020 ◽  
Vol 6 ◽  
pp. 63-66
Author(s):  
Hikmatova Muqadas Nurilloevna
Keyword(s):  
Folk Music ◽  
Performing Arts ◽  
Folk Art ◽  
Folk Theater ◽  
The Masses ◽  
Applied Arts

In the article, folk art - artistic, creative-practical and amateur activity of the masses; folklore, folk music (folklore), folk theater (performing arts), folk dances (dances), puppetry, wood and wooden foot games (folk circus), folk fine and applied arts of traditional material and intangible culture information and examples of art and technical and artistic hobbies

scholarly journals Populism and Folklorism in Central European Music Pedagogy of the Nineteenth and Early Twentieth Centuries

2009 ◽  
pp. 35-53
Author(s):  
Rhoda Dullea
Keyword(s):  
Twentieth Century ◽  
Folk Music ◽  
Folk Art ◽  
Art Music ◽  
Music Pedagogy ◽  
Only Children ◽  
Central European ◽  
Political Ideologies ◽  
The Masses ◽  
Selection Of

The nineteenth century saw the beginnings of a fascination for ‘naïve’ folk art as a supposed encapsulation of ‘national spirit’, a fascination which juxtaposed and frequently intersected with a growing interest by many composers in the creation of didactic art music for children. Folk themes, considered ‘child-like’ and ‘pure’ in character, informed many of these works because of their apparent aptness for a young audience. Such works led to a populist trend peaking in the early twentieth century that saw composers using everyday folk-art themes and references, in the context of their own compositional idiom, as a means of introducing not only children but the general public to arcane principles of art music in an accessible way.Bound up with the populist concern for the musical education of ‘the masses’ (through reference to ‘their’ folk-music genres) were topical social and political ideologies, chiefly nationalism and later, at the start of the twentieth century, evolutionism, which influenced the composers’ selection of folk-music themes for their pedagogical works and were clearly evident in their explanatory literature about this music. Through reference to composers from Schumann to Kodály and Orff, this article traces the development and influence of the Volk concept, from both nationalist and evolutionist perspectives, on Central European musical pedagogy of the nineteenth and early twentieth centuries.

The Features of Musical Folklore in Mongolian Shamanic Chanting

Inner Asia ◽  
2007 ◽  
Vol 9 (1) ◽  
pp. 109-117
Author(s):  
Tsetsentsolmon Baatarnaran
Keyword(s):  
Learning Process ◽  
Folk Music ◽  
Folk Art ◽  
Systematic Theory ◽  
Art Works

AbstractThis paper explores the specific features of musical folklore in Mongolian Shamanic tradition through the four essential features of folk art works, selectivity, existence, continuity and complexity. Adopting the systematic theory of Mongolian folklore including folk music which was developed by Jamtsyn Badraa, Mongolian folklorist, on the basis of Indian philosopher Nagarjuna’s Eightfold Negation, the author examines the chanting ways (formation or improvisation), functions (non- or multifunctional), learning process (transmission), and authorship (collectivity and individuality) of Mongolian Shamanic chanting.

A Struggle for Dignity: The Kalavanteens of Maharashtra

2020 ◽  
Vol 12 (2) ◽  
pp. 196-206
Author(s):  
Sushmita Gonsalves Mondal
Keyword(s):  
Performing Arts ◽  
Folk Art ◽  
Sense Of Agency ◽  
Body Parts ◽  
Art Forms ◽  
Dalit Women ◽  
And Gender ◽  
Depth Interviews ◽  
Systemic Degradation

Thrice alienated, Dalit women face a triple burden of caste, class and gender. The subaltern women belonging to Dalit communities in Kolhapur, Maharashtra is the focus of my paper. I have conducted in-depth interviews of the women I have met; and carefully documented their lives over a period of years. In due course of time, I realized that there are kalavanteen women (artistes of various folk-art forms) who are struggling to leave behind a tainted life and seize the opportunity to live a life of dignity. These are women who are involved in the performing arts, including singing, dancing and acting; Lavani, Tamasha and Jalsas. Such women who performed and entertained were available for sexual pleasures, but rarely married. They were rarely considered honourable women. Now when the image is that of a performing woman, she too will be consumed with greedy/hungry eyes. Her body parts too, are exposed to male glances, she has to attract them, as such, she cannot be expected to be chaste. However, in Kolhapur today, these kalavanteen, women have challenged their Dalitness; contested their being downtrodden; and finally derived a sense of agency from their being Dalit, their being downtrodden. I felt that it is highly significant to trace the manner in which they have attacked the systemic degradation that has eroded their lives for decades and tried to bring a sense of dignity.

From Abramtsevo to Zakopane: Folk Art and National Ideals in Russia and Eastern Europe

2019 ◽  
Vol 46 (4) ◽  
pp. 241-261
Author(s):  
Alison Hilton
Keyword(s):  
Performing Arts ◽  
Folk Art ◽  
Peasant Communities ◽  
Late Imperial ◽  
Imperial Russia ◽  
Folk Traditions ◽  
Economic Support ◽  
National Sentiment ◽  
Eastern European Countries ◽  
Special Respect

Abstract Folk art revivals were incubators for modernist movements in painting, sculpture, architecture, applied arts, and performing arts. The upsurge of national sentiment in late Imperial Russia and official economic support of handicraft industries (known as kustar’) promoted the marketing of wood crafts and textiles made at Abramtsevo, Talashkino, and other centers in western Russia and Ukraine. Parallel developments drew upon both folk traditions and patriotic ideals in the central and eastern European countries that had suffered territorial encroachments by Russia, Prussia, and the Austro-Hungarian Empire. Artists’ groups and art colonies showed special respect for regional landscapes, peasant communities, and local artistic traditions. Their activities reflected nationalist ideologies, as well as practical, economic, and philanthropic concerns. The variety of circumstances and motivations sheds light on the phenomena of art colonies, new valuations of applied art forms, and the enduring importance of education in traditional crafts.

Nadezhda Lamanova: Couturier to the Nobility, Tailor to the Masses

Experiment ◽  
2016 ◽  
Vol 22 (1) ◽  
pp. 117-138
Author(s):  
Djurdja Bartlett
Keyword(s):  
Personal Life ◽  
Avant Garde ◽  
The Social ◽  
Fashion Designer ◽  
The Masses ◽  
Applied Arts

Nadezhda Lamanova was the only well-established Russian pre-revolutionary fashion designer who declared her loyalty to the new regime following the 1917 Bolshevik insurrection. The juxtaposition of the extraordinary glamour of her pre-1917 designs with her dedicated post-revolutionary service to the Bolsheviks has contributed to Lamanova’s mythical status in Russia. This paper contextualizes Lamanova’s designs within the pre-revolutionary and post-revolutionary modernist arts and applied arts movements, and shows that Lamanova’s work and her personal life were embedded in the social, cultural, and artistic avant-garde of her times. In turn, the paper forges a link between Lamanova’s pre-and-post-1917 careers, periods that, previously, had been strictly delineated.

scholarly journals ANALISIS STRUKTUR NASKAH LUDRUK LAKON MLIWIS HITAM

2019 ◽  
Vol 10 (2) ◽  
Author(s):  
Tafsir Huda
Keyword(s):  
Structural Analysis ◽  
Folk Art ◽  
Transformation Process ◽  
Folk Theater

This research is entitled Analisis Struktur Naskah Ludruk Lakon Mliwis Hitam. This research focused on documenting folk theater in form ofwriting manuscript and the structural analysis. The script will no longer be developed into a wos, but into a modern structure one. The existence of Mliwis Hitam script is become an affirmation of folk art embodying solicitation of theater spirit in Nusantara. It is worthwhile that it can emerge new idiom to enrich kinds of theater in Indonesia. Structural analysis of Mliwis Hitam script is also done to ease director and actors to understand the story. This analysis can also be a reference in transformation process from textual script into a dramatic scene on stage.Keywords: script, structure, ludruk, and folk theater.

scholarly journals Problems of variability of the musical genre reng in the mugham performing arts of youth

2021 ◽  
pp. 68-74
Author(s):  
Fidan Ildyrymly
Keyword(s):  
Folk Music ◽  
Instrumental Music ◽  
Performing Arts ◽  
Musical Language ◽  
Musical Culture ◽  
Sheet Music ◽  
Sound Recordings ◽  
Musical Genre ◽  
Further Development ◽  
Musical Heritage

Consideration of the variability of the musical genre of rang in mugam performing arts showed that ranks arose and developed in the art of mugam as a form of vocal-instrumental music. Their melodic structure is directly related to the sections of mugam. There are numerous varieties of this relationship. Based on the analysis of the musical notation of the ranks, it was determined that in practice of performing mugam the ranks are directly related to the vocal-instrumental mugam, and this is especially important for their compositional structure. In this regard, in almost every version of mugham destgahs there is a set of different ranks, including tesnifs. The analysis of various musical records of the ranks in the musical performing arts helps to identify the features of the manifestation of this form of folk music in mugam, as well as the further development of this musical genre and musical culture as a whole. We consider it appropriate to study, primarily, the vocal-instrumental interpretation of mugham when studying mugam destgyahs and the melodic interconnections of rangs and tesnifs with sections (shobe) of mugam. After analyzing various musical notations of mugam dastgahs, we were able to trace how rengi relate to mugam shobe. It can be noted that many rengi are used in the recordings of these works associated with various performances in relation to various shobe of mugams. This feature is inherent in various mugham dastgahs – "Shur", "Segah", "Chahargah", "Bayati-Shiraz", "Shushter", "Humayun", etc. All this can be traced in musical notations, as well as in live mugham singing and sound recordings, which helps to determine the numerous variants of rengs related to these mugams. Within the framework of each mugham, dozens of rengs were created and included in musical practice. Part of this rich musical heritage is captured and preserved in sound recordings and sheet music. We believe that it is advisable to study rengi, grouping them into mugham families in order to analyze their musical language and reveal their inherent variability.

Soviet Culture in the Years of the Great Patriotic War and the Post-War Period

2020 ◽  
pp. 92-100
Author(s):  
Igor Asmarov
Keyword(s):  
Folk Art ◽  
Postwar Period ◽  
Folk Culture ◽  
Soviet Culture ◽  
Soviet People ◽  
Great Patriotic War ◽  
The Common ◽  
Post War ◽  
The Masses

Soviet culture during the Great Patriotic War and the postwar period is conventionally divided into two periods: Soviet culture during the war years 1941-1945; and Soviet culture in the postwar period 1946-1950s. Of course, these stages of the evolution of Soviet culture differ from each other in many respects, as well as in the most important, that is, in their substantive relation. What suffered during the war during the first stage was either restored or rebuilt after the end of the war. Soviet culture during the Great Patriotic War suffered greatly in material and organizational terms. However, at the same time, the culture of the USSR in the years of the war acquired a great deal spiritually and morally. Previously unprecedented patriotism raised the whole country, the entire multinational Soviet people, to fight against the common worst enemy of all progressive humanity - fascism. Soviet culture reflected this rise in patriotism in music, painting, theater and cinema, on stage, in sculpture and architecture, etc. This time was the heyday of the multinational character of the Soviet people, the time of the epochal upsurge of folk culture, folk art, and the consciousness of the masses of the Soviet people.

Preservation of nonmaterial cultural heritage through the implementation of additional educational programs in the field of folk crafts and handicrafts

2020 ◽  
pp. 107-113
Author(s):  
Irina V. Lovtsova ◽  
Lyudmila A. Burovkina
Keyword(s):  
Cultural Heritage ◽  
Russian Federation ◽  
Folk Art ◽  
Educational Programs ◽  
Folk Culture ◽  
The Russian Federation ◽  
Additional Education ◽  
Applied Arts

We substantiate the importance of preserving the nonmaterial cultural heritage, folk culture and the development of traditional handicrafts, the need to integrate culture and education. We prove the effectiveness of measures to preserve the nonmaterial cultural heritage through the development of children’s traditions and technologies of folk art crafts and handicrafts in additional education. We analyze the implementation of additional general educational programs in the field of decorative and applied arts and activities to preserve folk art crafts and handicrafts are being conducted in the regions of the Russian Federation. We make proposals for the development of educational programs in the field of folk crafts.

scholarly journals INOVASI KESENIAN RAKYAT KUDA LUMPING DI DESA GANDU, KECAMATAN TEMBARAK, KABUPATEN TEMANGGUNG

2019 ◽  
Vol 17 (1) ◽  
Author(s):  
Nur Rokhim
Keyword(s):  
Performing Arts ◽  
Folk Art ◽  
Next Generation ◽  
Regional Characteristic ◽  
Dance Training ◽  
The Arts ◽  
The People ◽  
The Village ◽  
Complicated Situation

Demam kesenian rakyat kolaborasi Leakan di Temanggung rupanya sudah tidak dapat dibendung lagi. Para seniman senior rata-rata menolak kehadiran kolaborasi tersebut, mereka merasa risih dengan pengembangan seni pertunjukan yang demikian. Akhirnya Dinas melarang pertunjukan kolaborasi Kuda Lumping dengan tari Leak, Pendet dan Barong Bali. Hal ini dimaksudkan untuk mengembalikan eksistensi pertunjukan Kuda Lumping seperti semula sebagai seni yang mempunyai ciri khas Temanggung. Kesenian Kuda Lumping Sri Budoyo berada pada situasi yang rumit, di tengah-tengah tuntutan selera masyarakat yang semakin beraneka ragam. Tekad masyarakat pendukung kesenian sudah bulat untuk menjaga dan melestarikan kesenian Kuda Lumping supaya tetap eksis dengan ciri khasnya. Berbagai permasalahan mitra sebagi akibat masuknya kesenian luar daerah yang mengusik eksistensi kesenian lokal sebagai ciri khas daerah, maka akan ditawarkan solusi untuk mengatasi permasalahan yang dihadapi. Inovasi adalah sebuah cara yang akan dilakukan sebagai solusinya. Inovasi yang dilakukan adalah pemberdayaan anak-anak sebagai generasi penerus kesenian Kuda Lumping di desa Gandu II, yang nantikan akan memegang kendali kesenian di desa tersebut. Anak-anak diberi pelatihan tari Geculan sebagai dasar kepenarian mereka, gerak-gerak yang disusun disesuaikan dengan usianya.Kata kunci: Inovasi, Kesenian rakyat, Kuda Lumping.Abstract The folk art fever of the Leakan collaboration in Temanggung apparently cannot be stopped anymore. The average senior artists reject the presence of the collaboration, they feel uncomfortable with the development of such performing arts. Finally the Office banned the performance of the Kuda Lumping collaboration with the Leak, Pendet and Barong Bali dances. This is intended to restore the existence of the Kuda Lumping performance as originally as an art that has a characteristic Temanggung. Sri Budoyo’s Kuda Lumping Art is in a complicated situation, amidst the increasingly diverse demands of the people’s tastes. The determination of the people supporting the arts has been unanimous to maintain and preserve the Kuda Lumping art in order to continue to exist with its trademark. Various partner problems as a result of the entry of arts outside the region that disturb the existence of local arts as a regional characteristic, will be offered a solution to overcome the problems faced. Innovation is a method that will be carried out as a solution. The innovation carried out was the empowerment of children as the next generation of Kuda Lumping art in the village of Gandu II, who were looking forward to taking control of the arts in the village. The children were given Geculan dance training as a basis for their dance, the movements arranged according to their age. Keywords: Innovation, Folk art, Kuda Lumping.

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