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Zítra se bude tančit všude, aneb jak jsme se protancovali ke svobodě : Dichotomie tzv. folklorního hnutí druhé poloviny 20. století

100%
Stavělová D.
Český lid: etnologický časopis (Český lid: Ethnological journal)
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2017
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vol. 104
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issue 4
411-432
CS
Cílem příspěvku je vypořádat se s "folklórním revivalovým hnutím", tedy s činnostmi lidových souborů - široce rozšířeným fenoménem v bývalém socialistickém Československu (1848-1989), který má svou kontinuitu v dnešní České republice. Jedná se o interdisciplinární projekt založený na metodách orální historie, textové analýzy a antropologickém studiu hudby a tance, jehož cílem je prozkoumat rozmanitost tohoto fenoménu a jeho ideologické konotace. Vyšetřování vychází z příběhů, které se vyskytují v diskursu sociokulturního kontextu lidových souborů v různých obdobích tzv. Folklórního hnutí. Příběhy poskytují značný materiál, který je třeba interpretovat s cílem porozumět zvláštnostem fenoménu folklórního oživujícího hnutí v konkrétním sociokulturním a politickém kontextu. Cílem projektu je prozkoumat dvojznačnost fenoménu folklórního hnutí v českých zemích. Výzkum poskytne různé pohledy na to, do jaké míry je hnutí nástrojem moci a do jaké míry to byla příležitost k realizaci vlastních strategií.
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Hudební folklorismus v Polsku: historický přehled

100%
Dahlig P.
Národopisná revue (Journal of Ethnology)
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2016
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vol. 26
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issue 1
44 - 55
EN
The aim of the article is to show how the ethno/musicologists, folklorists, music teachers, broadcasting people a.o. have influenced traditional peasant culture in time of basic transformation during the 20th century, and how they have contributed to its documentation and understanding. This review has an exemplary character. Each European country has its own history in this respect. The text has three parts. In the first one, the folklore is confronted with a social history, especially with the process of withdrawal of the isolation in peasants communities and with the filtering of traditional music while it gained new realms of circulation. The second one is dedicated to generations of ethnomusicologists, who created and discovered new topics enlarging the range of ethnomusicology and concept of folklorism towards the cultural and social studies. The third part is connected with contemporary functions of music traditions and roles of ethnomusicologists with the stress on the applied ethnomusicology. The comments on the applied ethnomusicology summarize the author’s experience gained during field research since 1975 and try to present how the past in the realm of traditional culture and music is transformed in the contemporaneity or, rather, how the history becomes united within the contemporary time. The text is closed with a self-reflection of the ethnomusicologist, because “objective” folklore studies are hardly to be imagined, and the individual self-criticism remains as well useful as necessary.
3

Evolutionary Paths of Czech Prosaic Verbal Folkloristics from the Formation as a Scientific Discipline until the year 2000

75%
Šrámková M.
Národopisná revue (Journal of Ethnology)
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2017
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vol. 27
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issue 5
3 - 18
EN
Two stages can be defined in the development of Czech prosaic folkloristics: the pre-scientific (it created the material basis of the discipline) and the scientific one (formation of the discipline, bounds to the social environment of European Romanticism, formation of theory and methodology). The study follows the discipline’s development and the principal representatives of the scientific stage until the turn of the millennium. In the second half of the 19th century, the revision of the Romantic conception caused the Czech folklore to have been integrated in the world context. The works by Jiří Polívka and Václav Tille were of essential importance – they showed wide knowledge of material, systematic nature, and broad cultural interpretation. Jiří Horák elaborated a comparative approach and laid the foundations of discipline’s theory. Frank Wollman interconnected folklore with the development of Slavic literatures. Piotr Bogatyriov’s works brought structuralism and functional conceptions into the discipline. After 1945, folkloristics as a scientific discipline spread to the Czech university environment and in 1954 the Institute of Ethnography and Folkloristics was founded. After the arrival of Communism the discipline and its task were required to correspond to the then ideology (coalminers’ and outlaws’ folklore). Field research developed, and general properties of legends and folk ballads, function of folklore in regions, inter-ethnic aspects, types of fairy-tales disappearing, and development of artificial fairy-tales were studied. Attention was paid to memorates, contemporary folklore and folklorism. Works by Jaromír Jech, Oldřich Sirovátka, Antonín Satek, etc. were of significant importance. Czech oral folkloristics is a permanently developing discipline.
4

Folklore Party: Prague “Folklorists” as a Cultural Cohort

75%
Hrbáčková A.
Národopisná revue (Journal of Ethnology)
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2018
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vol. 28
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issue 2
119 - 129
EN
The study focusses on the community of people who deal with musical and dance folklore. The author builds on the musicalanthropological conception of music as a social act, and she applies the concepts of Caroline Bithell´s and Jennifer Hill´s music revivals and Thomas Turin´s cultural cohort on the researched field. She defined the field by a musical-dance event which currently takes place regularly in Prague and which has been called “Folklore Party” by its organizers. She specifies the event as an interconnection between the world of modernity, which the life in the Czech metropolis offers, and the world of folk traditions (folklore). Through participant observation and semi-structured interviews, she studies the way of bargaining the concepts of authenticity and legitimacy, their granting to particular participants and entities, and in general how the event´s participants construct the folklore and what the resulting construct looks like. Prague as a fluid musical environment makes it possible to create and bargain traditions (in Henry Glassie´s concept) running in different directions. One of the traditions which are of recursive nature and which serve the participants to construct meanings and to implement a socio-cultural change relates to the concept of folklore. As understood by my informers, folklore music has a potential to be confronted with the pressure of modernity, thanks to other levels which are also described in the study and which the folklore music includes.
5

„Kroj“ v postmoderně. Politika identity, inscenování a identifikace

75%
Egger S.
Národopisná revue (Journal of Ethnology)
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2016
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vol. 26
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issue 3
191 - 200
EN
The globalized present is significantly characterized by mobilities and an analogy of possibilities. The transmission of images through digital media plays a central role in the communication. The expressions which can be subsumed under the “label of that ethno-cultural” have not become obsolete in an aestheticizing world, but they have been drawing increasing attention since the 2000s. From the ethnographic point of view, the focus on the theme national costume can be anchored between the clichés policy of identity, staging and identification. The contribution will use diverse examples, especially those connected with the Alpine region, to explain which meanings are included in the treatment of specific cuts, traditions and typical patterns, and to which extent the coping with ethno-culturally encoded objects has something to do with the search after a time, spatial or social order.
6
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Disco polo kontynuacją folkloru? Rozwój muzyki chodnikowej i jej charakterystyka w kontekście rodzimej twórczości ludowej

63%
Wachcińska O.
Warmińsko-Mazurski Kwartalnik Naukowy, Nauki Społeczne
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2012
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issue 3
87-102
PL
Muzyka disco polo, stanowiąca niekwestionowany fenomen kulturowy lat 90. XX wieku, zrodziła się w efekcie splotu wielu czynników, wśród których wymienić można: wielowiekowe funkcjonowanie i popularność określonego repertuaru folklorystycznego (ludowe pieśni powszechne, zwłaszcza miłosne i zalotne; pieśni z zakresu obrzędowości weselnej; pieśni obsceniczne; piosenka brukowa), odpowiadającego powszechnemu zapotrzebowaniu na tego rodzaju twórczość; podejmowane przez władzę ludową próby sterowania ludową schedą artystyczną, skutkujące stłumieniem jej oryginalności i spontaniczności; radykalny spadek zainteresowania chłopskich synów przejęciem muzycznych umiejętności wypracowanych przez poprzednie pokolenia wiejskich muzykantów; wzrost popularności utworów biesiadnych w środowiskach polonijnych, który zaowocował powstawaniem zespołów tę twórczość popularyzujących; pojawienie się nowoczesnych rozwiązań technicznych, umożliwiających wykonawcom aranżowanie dawnych piosenek w uwspółcześnionej formie; wreszcie masowe powstawanie grup muzycznych, dostrzegających możliwość zrobienia kariery w stylizowanym na italo disco nowym, szybko się rozwijającym nurcie muzycznym. Discopolowe teksty wykazują szereg podobieństw do tradycyjnej pieśni ludowej, zauważalnych na poziomie prymitywizmu treściowo-tematycznego, operowania czasem i przestrzenią, ograniczeń w zakresie prezentacji postaci działających, ubóstwa opisu, ponadto – w typizacji bohaterów, operowaniu prostą symboliką i ubogim zasobem leksykalnym. Formalne podobieństwo jednak pozwala tylko pozornie widzieć w muzyce disco polo kontynuację twórczości chłopskiej. Chodnikowy repertuar, powstały po śmierci kultury tradycyjnej, prezentuje całkowicie odmienną, związaną ze specyficznym typem obyczajowości, wizję rzeczywistości oraz wpisaną w nią hierarchię wartości, co każe upatrywać w nim ostatecznego kresu kultury ludowej.
EN
The musical genre of discopolo, being unquestionably a cultural phenomenon of the 90ies of the 20th century, originated from a concurrance of various factors, among others: – the centuryold tradition and popularity of a well known and specific repertoire of folkmusic ( folk songs on general topics, foremost love and flirtatious tunes and lyrics; wedding songs; juicy songs; ditties of all sorts) satisfying the public needs for this kind of „artistic“ articulation. - the attempt of the PRL authorities to control the Polish original indigenous artistic heritage, which resulted in the suppression of its spontaneity and originality; – A successor generation’s drastically waning interest to continue the musical traditions that had been cultivated and held up for generations by village musicians; – The growing popularity of drinking- and feastsongs among the Polish diaspora, which resulted in the formation of numerous bands that popularized this very kind of music; – The appearance of modern technical solutions, that gave artists means at hand to present traditional tunes in modern musical arrangements; – The formation of numerous bands that realized the possibilities of launching a musical and financial career adapting the racingly fast developing musical trend that was mainly oriented on „Italo Disco“. At first sight the lyrics of disco polo display a number of similarities with the traditional Polish folk song, which is apparent in the similarity of the rather crude scale of themes and topics, the (neglected) observance of space and time, the scant variety of characters, a rudimentary description of the settings… The same applies for the shallow charcterization of the „heroes“, a „down to earth“ imagery and a restricted vocabulary. These formal similarities, however, shoul not lead us to the misconception and appraise discopolo as the natural successor of genuine peasant musical artistry. The „sidewalk“ repertoire, having evolved but after the passing on of the traditional folk culture, presents and renders a basically different worldview – including a mutated hierarchy of values as well – so that we can acknowledge it only as the ultimate death knell of traditional folk culture.
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Nasjonal Identitet, Det Overnaturlige, Og Oversettelsesstrategier

51%
Lange T. W.
Folia Scandinavica Posnaniensia
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2012
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vol. 14
EN
The article discusses translation strategies used by the author when dealing with culture-specific references/concepts in the rendition in Polish of the Norwegian fantasy trilogy The Sign of theElves by Sigbjørn Mostue. The challenge here lay in that the novels feature a number of characters inspired by Norwegian folklore. Of the following translation strategies that in the author’s opinion are possible, but not as yet fully listed anywhere, i.e. 1) direct borrowing 2) literal translation 3) direct borrowing + footnote 4) literal translation + footnote 5) direct borrowing + descriptive explanation 6) literal translation + descriptive explanation 7) substitution with another reference from source culture 8) substitution with another reference from target culture 9) substitution with another reference from universal/global culture 10) substitution with translator’s own coinage 11) evasion by simplification 12) evasion by omission, strategies 1, 2, 5, 8, 9, 10 and 11 were used in the translation in question. In his choice of the (mostly functional) equivalents in the target language, the translator drew upon two main sources: Slavic demonology and role-playing games (RPGs).
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