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Folklore Festivals in Moravia in the Light of Social Development

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Pavlicová M.
Our Europe. Ethnography – Ethnology – Anthropology of Culture
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2014
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issue Vol. 3
61-68
EN
The contribution Folklore Festivals in Moravia in the Light of Social Development deals with the interest in folk culture, or rather folklore expressions and their presentation at ethnographic festivities and folklore festivals. It pays attention to the first impulses for these activities, the struggles of individuals and institutions and especially the social connections of the mentioned cultural stream. As to the territory, the study of this development focuses on Moravia where since the late-19th century the living folk culture blended with the efforts to safeguard it, and where currently ethno-cultural traditions develop, which many cases have their roots in the legacy of folk culture.
2

Czech Ethnochoreology in the Context of Time and Society

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Pavlicová M.
Národopisná revue (Journal of Ethnology)
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2017
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vol. 27
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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.
3

The Image of Staged Folk Culture: From the Presentation of Traditions to a Staged Genre

100%
Pavlicová M.
Národopisná revue (Journal of Ethnology)
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2021
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vol. 31
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issue 5
21 - 32
EN
The study deals with the presentation of folk culture expressions on stage and tries to answer the questions that arise in this context. They relate both to the genesis of the presentation of folk traditions and to the subsequent developments that formed demonstrations of folk culture into a staged genre with artistic ambitions. Based on examples of selected expressions of folk culture in the Czech environment − especially expressions of folklore, which, alongside customary traditions, were always the backbone of staged presentations − the study shows how the demonstration of folk culture expressions was approached, how the performances were accepted by audiences, and which functions (ideological, artistic, and entertainment) were attributed to them. Another important question is what image of folk culture was created on the stage and how this image could have influenced the “living” terrain of the countryside and the very tendencies to protect the values of folk culture, which began to pick up strength in Czech society at the end of the nineteenth century.
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