For many years, the attention of specialists has been aimed at Těšín folk costumes decorated with silver jewellery. They are the result of a gradual diffusion of city jewellers’ products among wealthier countrymen; amateur craftsmen (so called fušeři - dabblers) used to make jewellery for less wealthy people. Jablunkov and Těšín were main centres of this production. Jewellery was primarily made of silver, but copper, tin, lead and later new materials (German silver) were used as well. The most common methods of making silver jewellery were casting (the oldest technology), extrusion and filigree. There are following types of jewellery: hooks, belts, buttons, chains, necklaces and different brooches. Grotesque, arabesque, auriculated and also zoomorphic (lion, bird, lamb) and anthropomorphic (king David, angel) ornaments prevail on the oldest jewellery. Silver belts became the height of art and craftsmanship of Těšín jewellers’ work. The most extensive and comprehensive collection of Těšín silver folk costume jewellery is owned by the Museum of Těšínsko in Český Těšín.
The attire characteristic for peasants was described by ethnographers from the early nineteenth century, and the interest in folklore itself transformed from amateur item collecting to an academic discipline, namely ethnography. Researchers were intrigued by hand-made folk costumes, which contrasted with the factory-made clothing of the urban population. As the political importance of the peasantry grew, stylised folk costumes became an element of regional and ethnic identity. The motif of peasant culture found its way into global literature and the folk elements into political propaganda of the twentieth century. At the same time the origin of folk costumes and their design arouses controversy among researchers. Are they reconstructions of the past or perhaps ideologically motivated constructs? The article presents this issue on the example of a Kashubian costume created according to the concept of Professor Bożena Stelmachowska (1889–1956). On the basis of previously unexplored descriptions of peasants’ appearance contained in arrest warrants from the first half of the nineteenth century, the sources and research paradigm, which became a basis for the creation of the model Kashubian attire in 1954–1959, have been subjected to criticism. The concept adopted by the older scholarship was not confirmed as no primary sources (material artifacts, iconographic representations, written descriptions, etc.) were found. The similarity of clothes worn by Kashubians with clothes worn by other peasants was demonstrated, and so was the influence of military uniforms on men’s clothes. The model of Kashubian costume proposed by Stelmachowska should be treated as an intellectual construction that reflects certain trends in folklore studies of the time and a response to ideological and propaganda needs that arose in Pomerania after 1945.
The purpose of the article is to discuss the names of folk costumes from contemporary speech of the inhabitants of Spiš in Poland. It is common knowledge that as the traditional forms of rural life disappear, so do archaic names replaced by new, more general terms.The data come from the Spiš Dialect Corpus. The obtained results consist of a collection of about 150 names of elements of folk costumes. The description is divided into thematic fields concerning men’s and women’s outfits. The names vary in terms of formality, semantics, geography and frequency.
PL
Celem artykułu jest omówienie leksyki z zakresu stroju ludowego, utrzymującej się współcześnie w mowie mieszkańców Spisza. Powszechnie wiadomo, że archaiczne nazwy zanikają wraz z wymieraniem tradycyjnych form życia wiejskiego, a ich miejsce zastępują nowe, ogólne określenia. Dane do badania pola tematycznego pochodzą z Korpusu Spiskiego. Otrzymane wyniki stanowią zbiór ok. 150 nazw elementów stroju ludowego. W opisie stosuje się podział na makro- i mikropola w obrębie stroju męskiego oraz kobiecego. Leksyka zróżnicowana jest pod względem formalnym, semantycznym, geograficznym oraz frekwencyjnym.
The article deals with the modern forms of parzenica - a traditional decorative pattern on male trousers of the Gorals (highlanders), an ethnographic group from the Polish Carpathian region. Traditionally placed on the Gorals trousers, the pattern has found a new application in the last several years. Its imitations are placed on various objects of everyday life; it is used as a wall decoration, a pattern on ordinary clothes, which are not part of traditional costumes. It is also used in tourism as a symbol of folk and authenticity, and sometimes even Polishness. These could be seen as the second life of the pattern, within the context of folklorism. The pattern, however, is still very popular in its place of origin and many highlanders use it to present their local identity. The article describes some of new functions that the pattern has nowadays.
This paper presents the results of an analysis of beaded artwork from the collection of the Czech ethnographer František Řehoř. The collection is located in the Department of Ethnography of the National Museum in Prague and is currently being analyzed by Czech ethnologists in cooperation with Ukrainian experts. This collection provides an important source of knowledge for studying the first stage of the tradition of beaded decoration in Ukrainian folk costume (late 18th to late 19th century) of eastern Galicia and Bukovina, which were part of the Habsburg Monarchy at that time. The analysis of artifacts from this collection expands the knowledge of technological, typological, artistic and stylistic features of traditional Ukrainian beadwork within these regions during the 19th century.
Folklor muzyczny jest zjawiskiem z pogranicza etnologii i muzykologii. Z etnologicznego punktu widzenia zagadnienie to znacznie wykracza poza niematerialne aspekty kultury. Prezentacje zespołów regionalnych czerpiących z dorobku folkloru muzycznego wymagają stosownej oprawy tworzonej na bazie artefaktów materialnych. Na wizerunek zespołów wpływa niewątpliwie odpowiednio dobrany kostium sceniczny, niemal automatycznie utożsamiamy ze strojem ludowym, warto zatem spojrzeć na strój ludowy przez pryzmat jego scenicznych modyfikacji.
EN
Musical folklore is a complex phenomenon on the border of ethnology and musicology. From an ethnological point of view, this issue goes far beyond the intangible aspects of culture itself. Presentations of regional folk music groups taking inspiration from the achievements of musical folklore reveal the appropriate artistic setting created on the basis of material artifacts. The image of these music groups is undoubtedly influenced by a properly selected stage costume, almost automatically identified with the folk costume, so it is worth looking at the folk costume through the prism of its stage modifications.
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