Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 6

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  folklore movement
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

Institucionalizace folklorismu v českých zemích

100%
Jančář J.
Národopisná revue (Journal of Ethnology)
|
2015
|
vol. 25
|
issue 4
273 - 277
EN
The term “folklorism” comprises a wide spectrum of the so-called second existence of folk culture: from the production of folk costumes and the revival of folklore expressions, customs and habits to the renewal of traditional handicraft techniques. Even though many folklore expressions accompanying the entertainment and social activities were used as early as in the late-18th century, the first attempts to institutionalise these interests came only with the development of club activities in the late-19th century. Folklorism and transformations of traditional folk expressions became a theme for the research fellows at universities and academic institutes in the late-20th century. It was Oldřich Sirovátka who paid attention to folklorism in our country. He emphasized that folklorism could be observed and evaluated solely as part of the complete cultural and social life. The foundation of the National Institute of Folk Culture in Strážnice in 1990, which is directly controlled by the Ministry of Culture, was important for research on this realm. An impetus for this was brought by the UNESCO document known as the Recommendation on the Safeguarding of Traditional Culture and Folklore. The result of research on folk traditions awakes the interest of the wide public that chooses and prefers particular items from contextual and complex expression of folk culture according to its interests. This results in activities which we call folklorism with regard to their bound to folk tradition.
2

Tradičné čepčenie v kontexte súčasnej svadby na Slovensku

100%
Hamar J., Filipová L.
Národopisná revue (Journal of Ethnology)
|
2015
|
vol. 25
|
issue 1
31 - 39
EN
Recently, we can observe an increase in traditional elements at wedding (civil or church) ceremonies and wedding parties, especially in towns and settings with active folklore ensembles in Slovakia. The contribution focuses mainly on the ritual of traditional čepčenie [putting a married women’s bonnet on bride’s head] in the context of the contemporary wedding in Slovakia. The authors reflect this phenomenon from the point of view of insiders and participants in this contemporary phenomenon. The traditional ritual of čepčenie with members of folklore ensembles is signed by the ensemble folklorization whereby the aesthetic and entertainment function of čepčenie is emphasized. Gradually – alongside the popularity and demand for such stage performances, there are formed organized semi-professional groups of those who offer the ritual of čepčenie as a commercial paid service, mainly through social networks and the Internet. Despite the conversion of the original ceremonial function of čepčenie’ into the aesthetic and entertainment function, this phenomenon is an important step towards the protection and promotion of intangible cultural heritage.
3

Czech Ethnochoreology in the Context of Time and Society

100%
Pavlicová M.
Národopisná revue (Journal of Ethnology)
|
2017
|
vol. 27
|
issue 5
19 - 29
EN
The history of Czech ethnochoreology follows the general development of the interest in traditional folk culture and formation of ethnochoreology in the European geographical space. At present, ethnochoreology is perceived as part of ethnology; however, it overlaps beyond this discipline, especially towards the art-historical study of dance and music. The beginnings of ethnology’s current dance specialization may be part of the abovementioned interest in traditional folk culture in the late 19th century. The work Jak se kdy v Čechách tancovalo [How People Used to Dance in Bohemia] (1895) with the sub-title Dějiny tance v Čechách, na Moravě, ve Slezsku a na Slovensku od nejstarší doby až do konce 19. století se zvláštním zřetelem k dějinám tance vůbec [The History of Dance in Bohemia, Moravia, Silesia and Slovakia from the Oldest Times to the End of the 19th Century with Special Respect to the History of Dance in General] by the historian of culture Čeněk Zíbrt remains a hitherto unequalled Czech synthesis about the history of dance. The work was published again in 1960 as a commented edition. From the late 19th century, dances began to be collected in particular regions and the first collections with folk dances were published. The always stronger wave of the interest in folk dance was intensified by the disappearing dance tradition in the countryside. The intellectuals’ efforts did not focus only on recording the dance, but also on maintaining them. The folklore movement, which built its social position between the two world wars, became stronger in the second half of the 20th century. At that time, the institutionalized aspect of ethnochoreology developed in the Czech lands, and both levels, the practical and the theoretical one, complemented each other. Czech ethnochoreology became involved in international professional structures and the subject-matter of its interest began to spread beyond the borders of traditional folk culture. It focuses not only on folk dance, but on dance as a phenomenon that is one of the oldest expressions of people’s souls and emotions in human existence.
4

Development and Current State of the Folk Dance, Using an Example of the Slovácko Verbuňk and the “Královničky” Ceremonial Processions

88%
Teturová J., Blažek J.
Národopisná revue (Journal of Ethnology)
|
2023
|
vol. 33
|
issue 1
3 - 17
EN
The study deals with the development and current state of the folk dance, using an example of two significantly different motion expressions: the ceremonial “Královničky” [The Little Queens] processions in central and western Moravia and the Slovácko verbuňk in southern Moravia. These two dance expressions, appreciably differing in their type, are presented in the context of the environment where they are currently practised. The verbuňk is a distinctive representative of male folk dances, while the “Královničky” processions represent a girl element integrated in the calendar cycle. Both expressions are currently living and they fulfil their cultural and social functions. Based on archival research and analysis of available literature, an image of the historical development of these expressions from the first mentions about them up to present days has emerged. Main historical milestones are depicted graphically for comparison. The results of thorough field research have revealed the importance of the verbuňk and the “Královničky” processions for particular communities. In the case of verbuňk, the functions are competitive, identifying and representational, in the case of ”Královničky” processions, the core function is presentational, while the ceremonial function persists in both expressions. The summarization of the findings has made it possible to update the definitions of expressions’ bearers and the description and role of the audience looking on contemporary dance and ceremonial occasions.
5
Content available remote

Arnošt Kubeša jako představitel folklorního hnutí na Valašsku

75%
Volčík O.
Národopisný věstník
|
2019
|
vol. 36_(78)
|
issue 1
51-66
EN
The celebration of The Wallachian Year held in 1925 significantly influenced the development of folklore movement in the ethnographic region of Moravian Wallachia. This event inspired Arnošt Kubeša to promote traditional folk music and dances as part of his teaching career. For this purpose he founded with his students the first Wallachian Circle in the mid-1930s, he organised its public performances (as well as the first foreign tour of this kind of an ensemble) and continued to found other circles in the end. After his involuntary retirement from the education system due to his "political and ideological unreliability" and his withdrawal from the leading positions in folklore movement associations, Arnošt Kubeša started a new career as a museum employee. This study refers to his activities which contributed to the development of folklore in its second existence.
6
Publication available in full text mode
Content available

Zmiany w kulturze litewskiej XX i XXI wieku. Muzyka ludowa w Wilnie

63%
Nakienė A.
Łódzkie Studia Etnograficzne
|
2018
|
vol. 57
EN
A modern metropolis is an artificially created landscape brimming with a vast variety of significant places, public spaces that mark the historical past, streets with flows of transport, and internet networks that transmit information at lightning speed; it is a landscape with numerous cultural institutions and even with locations where these institutions are concentrated (cultural industries). Traditional culture lives on in such a complex urban structure yet in modest conditions, small premises, or abandoned spaces. Hardly will a resident of Vilnius, who is not interested in it, detect any signs of its existence, but more curious burghers know that they can visit various events associated with traditional culture. Traditional culture has adapted itself: it has found a shelter and has taken root like moss on a stone.This research was carried out by participating in the folklore movement of Vilnius, by taking part in various events and carefully observing them. Having scrutinized the musical scene, the author found some connections between the changes that traditional music underwent in earlier times and the historical shifts she has witnessed in her own lifetime.
PL
Nowoczesna metropolia to sztucznie stworzony krajobraz pełen różnorodnych miejsc znaczących, przestrzeni publicznych, które odnoszą się do historycznej przeszłości, ulic ze sunącymi po nich środkami transportu i sieci internetowych, które przesyłają informacje z prędkością błyskawicy. Jest to krajobraz z wieloma instytucjami kulturalnymi, a nawet z lokalizacjami, w których instytucje te się skupiają (przemysł kulturalny). Tradycyjna kultura funkcjonuje w tak złożonej strukturze miejskiej, ale w skromnych warunkach, w małych lub opuszczonych przestrzeniach. Mieszkańcy Wilna, którzy nie są zainteresowani tym rodzajem kultury, ledwo dostrzegająjakiekolwiek oznaki jej funkcjonowania. Ci bardziej zainteresowani wiedzą jednak, że istnieje w mieście możliwość uczestniczenia w wydarzeniach związanych z kulturą tradycyjną. Kultura ta dostosowała się: znalazła schronienie i zakorzeniła się jak mech na kamieniu.Badania polegały na zaangażowaniu w działalność ruchu folklorystycznego w Wilnie, na uważnej obserwacji i uczestniczeniu w różnych wydarzeniach. Po przeanalizowaniu sceny muzycznej autorka znalazła pewne powiązania między zmianami, które zaszły w tradycyjnej muzyce w przeszłości, a zmianami we współczesności, których jest świadkiem.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.