Hudhud: A Living Oral Tradition of the Ifugao

This study focuses mainly on the oral tradition of Ifugao called Hudhud, its performances, cultural values, and means of pedagogical transmission. It is important to note that this oral tradition is sustaining through the school of living tradition in the place of its origin. Through this study, people will be aware of this unique oral tradition of Ifugao, which is situated in the northern Philippine highlands. This ethnographic study captures the holistic purpose of the study of Hudhud; and thus, immersion, interview, archiving, and observation of the subject were made. Performances of the Hudhud are still popular during the community gathering called Gotad ad Ifugao, death rituals, weddings, and other important gatherings—big or small—in the entire province of Ifugao.

Wooden Toy of Chennapatna, India: Beauty of Form & Socio-Cultural Reflection on the Characterization of Toy

Toy making is a part of almost every civilisation, and still, it is continuing as a living tradition in so many countries. Toys play an overall growth for a child. It developed a child mentally, physically, socially, and emotionally. Though it has started as a folk tradition or community-based craft, it has commercial and strong aesthetical value. This study focused on the Chennapatna toy from India. Chennapatna toy is a environment-friendly toy made with softwood, natural colour, and lacquer. This study critically analyses the beauty of the form of Chennapatna toys and also explore how this toy is made by natural substance. Like other art forms, toys also represent art, culture, religion, society, and civilisation. This study also critically analyses the socio-cultural issues, which are well reflected through this toy-making tradition.

PRELIMINARY STUDY ON SOME MEDICINAL HERBS AND SHRUBS OF DISTRICT SOLAN (HP)

Herbal medicines are in practice since time immortal. India has probably the oldest, richest and most diverse cul- tural traditions within the use of medicinal plants. Indians 3500 BC, Chinese 3000 BC and Egyptians 2500 BC knew the properties of medicinal plants. Medicinal plants' use is still a living tradition. This is supported by the fact that there exists around a million traditional, village-based carriers of herbal medicine traditions in the form of traditional birth attendants, visha voids, bonesetters, herbal healers and wandering monks. Tribal people who live in harmony with nature and the environment share an intimate relationship with the plants. Beneficial medicinal properties of plants have been used in some forms or the other by these tribal people and cures were effective without any harmful side effects. The medicinal plants come from categories of shrubs, herbs and trees. Various parts of these plants which are used include fruits, roots, leaves, flowers, seeds, extract etc. and are of immense use to mankind; they are a part of our daily lives, making us wealthy with the world's greatest treasure- Health. Medic- inal plants have served humankind, for hundreds of years and still, these plants are used traditionally to cure vari- ous diseases. Some of the selected plants of district Solan were analyzed for their medicinal use with the help of information gathered from local people. Keywords: Medicinal plants, Herbal medicines, shrubs, Solan

Sacred Song

The chapter surveys the primary forms that Christian sacred song took in Byzantium, in relation to the relevant manuscript evidence, liturgical practice, and music. It first draws attention to major challenges in relevant research (e.g., the immensity of the evidence, the living tradition of Byzantine liturgy, the disparate nature of the available evidence). Then, the main hymnic forms are presented: the monostrophic troparion, the polystrophic kontakion (for whose later history the chapter proposes an innovative reinterpretation of its supposed “decline” during the middle Byzantine period), the polystrophic kanôn, and the polystrophic stichêra. The chapter concludes with a presentation of various fields of desiderata in the study of Byzantine hymnography.

Living Tradition in Orthodox Theological Spirituality and/in Contemporary Society: Comments on Traditionalism, Traditions and Renewal

In this article I aim to discuss the resources and methods by which Tradition can adapt to the needs of contemporary society, without losing any of its power and content. What is the difference between “Tradition” and “Traditionalism” and to what extent does the latter distort the actualization of the Gospel message? Does the diversity of local or regional “traditions” affect the unity and character of the Tradition? Can we talk about adaptability or renewal of Tradition? What does “formalism” mean and how harmful is it for receiving the authentic content of Tradition?

Witness-in-communion: a theology of existence to essence during the pandemic

The past months of pandemic have laid down a number of challenges to both the practices of the Christian faith and the theology that underpins many of these practices. This article seeks to discern a method of doing theology that can be responsive to these changed circumstances and which might help cast new light on entrenched positions in the Church. Such a theology takes experienced phenomena seriously, recognizing the key role a lived reality plays in a sacramental faith. It situates the importance of this experience in the biblical mandate to the Christian to be a witness, albeit one grounded in and inhabiting the community of the faithful. This grounding tests experience in the fire of Scripture and living tradition to continually refine the essential nature of what can be said to be. In doing so, we enter ever more into the mystery of a God made incarnate and of God’s created order.

The Existence Of Kenthongan As Folk Art: Study Of Kenthongan Banyumas

Since its appearance until now, Kenthongan is still exist and its journey has changed its function, from a means of communication to become a folk art. Banyumas is an area that has a lot of bamboo plants as materials for making Kenthongan which has the potential for development. Kenthongan art in Banyumas exists and develops until now. Therefore, the purpose of this study is to identify and explain the existence of Kenthongan as a folk art in the Banyumas. This research is a qualitative descriptive study with an ethnomusicological approach. Kenthongan as a cultural product (living tradition) has been present as a folk art since its inception, having the form of a slit-drum and developing into a non-slit-drum. The development of the non-slit-drum form is an adaptation of Gambang Calung Banyumas’ blade. Kenthongan non-slit-drum developed in three stages, namely 1) in 2002, 2) in 2005 and 3) in 2013. Its development includes the form and the function of which it was originally a rhythmic instrument in 2002-2005 developed into a melodic instrument in 2013.

Folklore Brands of Local Tourism: Folklorism Without Folklorists

Статья посвящена вопросу фольклорного брендирования территорий на примере проекта «Рязань - новогодняя столица России-2020». В праздничных мероприятиях участвовали локально приуроченные персонажи: Рязанский Косопуз, Авдотья Рязаночка, Забава Путятишна и Евпатий. На материале онлайн-дискуссий и отзывов посетителей были проанализированы реакции внешнего и внутреннего потребителя (приезжих туристов и местных жителей) на такого рода аттракции. Для сопоставления привлекались данные экспресс-экспедиции в Рязань 2019 г., в рамках которой проводилось интервьюирование и анкетирование горожан, позволившие выявить значимые для рязанцев историко-фольклорные фигуры. Автором затронута проблема «порчи поля» и влияния «экскурсионного фольклора» на живую традицию, а также затронут вопрос вторичной фольклоризации «сказочных» туристических объектов и возможность включения их в актуальные городские практики. This article examines the issue of the folklore branding of territories, taking as its example the project “Ryazan - the New Year’s Capital of Russia-2020.” As part of the project, local notables (Ryazan Kosopuz, Avdotya Ryazanochka, Zabava Putyatishna and Evpatiy) took part in festive events. The article analyzes the reactions of visiting tourists and local residents to these events on the basis of online discussions and visitors’ reviews. The data from an “express expedition” to Ryazan in 2019 made it possible to identify historical and folkloric figures significant for Ryazan residents and was also used for comparison. The author considers the problems of “tainting the field [evidence]” and the influence of “excursion folklore” on the living tradition. She also touches upon the issue of the secondary folklorization of “fairytale” tourist sites and the possibility of considering them as part of actual urban practices.

Contemporary Greek Poetry as World Literature

In this paper, I argue that Greek poetry is a living tradition characterized by a diversity of voices and styles and that Greek poetry is a vital part of contemporary World Literature. The diversity of voices in contemporary Greek poetry gives it both aesthetic value and political relevance. Greek poetry, as it survives translation into a number of languages, including English, gives us a model for the successful translation of texts in both World literature and Comparative literature. A thematic analysis of some poems is presented in this paper. The aim is not to chronicle the contemporary Greek poetic production but to show how Greek poetic tradition continues to expand beyond national boundaries.

Voices of Edification Calls for Salvation – an Oratorio (Pilgrims to Saint Parascheva) by Viorel Munteanu

After the glorious reception of Voices of Putna – a key contribution to the genre – Viorel Munteanu makes now a new “offering of sound and letter”, a “different” sort of eulogy for the Orthodox Byzantine monody, meaning to encourage us to embark on the difficult journey of salvation together with the endless train of “pilgrims to Saint Parascheva”. It is, thus, a daring compositional effort that will be spiritually experienced by both its creator and its public, from the first contact with the graceful resonance of the title to the last shimmer of sound at the end of the final scene. If one considers the Orthodox art and its spirit, Viorel Munteanu’s Oratorio for Saint Parascheva is more than a creative act; it is an act of faith, of hope and of love, “a prayer to”, and “joy in”, Jesus Christ; it is living tradition and self-giving truth, by which we partake to one of the most memorable unions of Christian experiences and symbols.