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Lidový tanec jako pohyb i emoce

100%
Pavlicová M.
Národopisný věstník
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2009
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vol. 26_(68)
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issue 1
76-84
EN
It is first of all ethnology, which deals professionally with the folk dance in the Czech milieu, even when the interest in it falls into the other branches of science. Musicology or choreology consider it rather as a marginalized object of their research. It is a certain paradox, because ethnology, in certain phases of its development, considered the dance as folk art and in this spirit it dealt with this phenomenon. Attention was concentrated on the aesthetically valuable dance presentations and interest was thus oriented, above all, to the traditional dance culture and its residues. Human being, however, expresses his emotions by all kinds of motion and disappearance of traditional repertoire did not imply disappearance of the dance as such. The anthropological approaches help us to study dance culture in the broadest sense of the word. It is the stage folklorism, which we should include in this culture as well. In addition to intermediation of the folk dance knowledge, this way of dance can reveal the inner world of the dancer. Broadly defined research and interference of branches is thus the basis for further development of ethnochoreology, a significant subdiscipline of ethnology.
2
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" Něco za něco…" : Folklorní hnutí v českých zemích ve světle totalitární kulturní politiky

63%
Pavlicová M., Uhlíková L.
Český lid: etnologický časopis (Český lid: Ethnological journal)
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2018
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vol. 105
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issue 2
177-197
EN
The essay deals with the transformation of society and culture in totalitarianism with the example of the Czech folklore revival movement between 1948 and 1989. The text reflects the results of research that used the method of oral history in combination with the study of official and unofficial written and pictorial sources. While describing the principal objectives of the Communist cultural policy, the essay observes the reasons for the mass development of folk ensembles in the 1950s and the gradual transformations of their activity’s philosophy. The degree of cooperation between folk ensembles and political power, and their exploitation for the propagation of Communist regime was varied. Politically engaged performances as well as participation in the events organized by the totalitarian state apparatus – all that has resulted in the negative attitude that a part of the Czech public has adopted towards the folklore revival movement as a whole. Yet it is currently obvious that most members of folk ensembles were not politically motivated, and for many of them this leisure activity was an escape from reality to the romantically viewed world of folk culture and its ethos.
CS
Příspěvek se zabývá proměnou společnosti a kultury v totalitarismu na příkladu folklorního hnutí v českých zemích v letech 1948–1989. Text reflektuje výsledky výzkumu realizovaného metodou orální historie v kombinaci se studiem oficiálních i neoficiálních písemných a obrazových pramenů. Popisuje hlavní cíle komunistické kulturní politiky, sleduje důvody masového rozvoje folklorních souborů v 50. letech i postupné proměny filozofie jejich činnosti. Míra kooperace folklorních souborů s politickou mocí a jejich využívání pro propagaci komunistického režimu byla různorodá. Politicky angažovaná vystoupení i účast na akcích organizovaných totalitárním státním aparátem – to vše vedlo k tomu, že část české veřejnosti má k folklornímu hnutí jako celku negativní postoj. Přesto je dnes zřejmé, že motivace činnosti většiny členů folklorních souborů byla nepolitická a pro mnohé byl tento způsob trávení volného času únikem z reality do romanticky nahlíženého světa lidové kultury a jejího étosu.
3
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“Quid Pro Quo”: the Czech folklore revival movement in the light of totalitarian cultural policy

63%
Pavlicová M., Uhlíková L.
Český lid: etnologický časopis (Český lid: Ethnological journal)
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2023
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vol. 110
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issue 2
183-210
EN
The paper deals with the transformation of society and culture in totalitarianism through the example of the Czech folklore revival movement between 1948 and 1989. While describing the main objectives of communist cultural policy, the paper observes the reasons for the mass development of folk ensembles in the 1950s, the gradual transformations to their activity, and the philosophy behind it. The degree of cooperation between folk ensembles and political power, as well as the exploitation of these troupes to promote the communist regime, was varied. Politically-engagé performances by such ensembles and their participation in events organized by the totalitarian state apparatus have resulted in many Czech people adopting a negative attitude towards the folklore revival movement as a whole. In the fact most members of these ensembles were not motivated by politics – for many of them, this leisure activity was an escape from reality to the romantically viewed world of folk tradition.
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