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Journal articles on the topic 'Folk performance'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

Fomchenko, E. V. "PERFORMANCE IN FOLK CULTURE." Arts education and science 1, no. 1 (2020): 143–49. http://dx.doi.org/10.36871/hon.202001018.

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The article deals with such a modern phenomenon of culture and art — as performance. The purpose of this study is to determine the performative features as characteristics of modern artistic creativity and their influence on the development of folk culture. The tendency for turning to ritual, ceremonial types of folk art, whereby the communication is put forward, is considered on the example of the creative activity of the folklore ensemble "Rosstan". The article notes such performative characteristics as the creation of an event and atmosphere, space and communication organization, the interaction of the audience, that provide conditions for perception and response. The author relies on the works of such scientists as: E. Fischer-Lichte, V. Turner, A. Ya. Flier, L. N. Zakharova, L. V. Demina and others. In the process of studying following methods were used: generalization, comparison and also dialectical, historical and logical once. Modern features in folk culture, expressed in the interaction of traditional and innovative folkloristics are revealed on the example of the creative activity of "Rosstan". The revival of folk culture, the realization of its creative potential is possible through the development of cultural traditions and the creation of innovations related to ancient ritual forms of interaction, which should be adapted to the present and be understood by modern generation.

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2

S. Javina , MAED, Freddie. "STUDENTS AWARENESS AND PERFORMANCE INPHILIPPINE FOLK DANCES." International Journal of Advanced Research 9, no. 01 (January 31, 2021): 730–42. http://dx.doi.org/10.21474/ijar01/12350.

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This research aimed to determine the students level of awareness and performance in folk dance that served as basis of developing program for promotion of folk dancing skills in Bitin National High School for the school year 2017 to 2018.The descriptive research was used in the study using the Grade 9 students of Bitin National High School as the respondents. A self-made questionnaire and rubrics for dance performance were used to describe the level of awareness and dance performance skills of the respondents. Mean and standard deviation and Pearson r correlation using an alpha level of .05 were used as the statistical tools.The study revealed the following findings. Majority were 15 years old (90), followed by 14 years old (65), 16 years old (53), 17 years old (23) and the least 18 years old (10) with total number of 241.The over-all mean of 3.30 shows that the students are Moderately Interested about Philippine folk dances. For the Level of awareness of the students to folk dance related variables. In terms of the following variables: objectives, has an over-all mean (OM) of 3.30, strategies (OM=3.71), skills in folk dancing (OM=3.77), availability of dance materials (OM=2.88), and training (OM=3.12) were all interpreted as Moderately Aware. While exposure to Philippine folk dances (OM=3.43) shows that the students are somewhat awareto Philippine folk dances. Only the competence of the dance instructor was rated highly aware.With regard to the performance of the Grade 9 students in folk dancing fundamental skills, for the three categories given: poise and grace, timing and rhythm, interpretation of literature, most of the respondents were rated as Moderately Aware.The Correlation of folk-dance awareness variables as to poise and grace shows No Significant Correlation to folk dancing fundamental skills. The second category for folk dancing fundamental skills, timing and rhythm shows Negligible Correlation to folk dance awareness variables. The third category which is the interpretation of literature also shows Negligible Correlation to folk dance awareness related variables.

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3

Moore, Jay E. "Max Harris, Carnival and Other Christian Festivals: Folk Theology and Folk Performance." European Medieval Drama 9 (January 2005): 231–32. http://dx.doi.org/10.1484/j.emd.2.300038.

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4

Papantoniou, Ioanna, and Sofia Pantouvaki. "Folk costume as theatrical costume." Studies in Costume & Performance 7, no. 1 (May 1, 2022): 55–66. http://dx.doi.org/10.1386/scp_00060_1.

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This essay introduces an unpublished talk by Greek stage designer Ioanna Papantoniou (born 1936) entitled ‘Local costume in a theatrical performance’, originally presented at the First Panhellenic Meeting of Ephors (Curators) and Dance Teachers at the Lyceum Club of Greek Women in Athens, in November 1990. Prior to and alongside her professional design career in the field of theatre, Papantoniou was actively engaged as a researcher in ethnography studies on Greek local costumes and folk dances. Driven by her passion for the study of Greek local dress combined with her professional experience as a stage designer, Papantoniou has given several talks on the connections between theatrical performance and folk traditions, as well as on the interrelationship between local dress and theatrical costume on stage and in festivities. In this talk she conflates local costume and folk dance as a form of performance and discusses how these two elements become an artistic creation when it comes to staged performances outside their original setting in a village. Thus, she draws a line between the ‘authentic’ and the staged performance, the latter of which is what she considers contemporary folk dancing in reproduced folk costume to be. The published text is based on a transcript of the talk, translated into English, and further edited by costume designer and scholar Sofia Pantouvaki, who also provides an introduction and numerous annotations to make the talk accessible by an international audience.

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5

Isroilovich, Kuvatov Ilyos. "Performance of team orchestra in folk instruments." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 4 (2020): 52. http://dx.doi.org/10.5958/2249-7137.2020.00101.9.

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6

Saunders, Emily. "Hikâye: Turkish Folk Romance as Performance Art." Oral History Review 37, no. 2 (July 1, 2010): 314–16. http://dx.doi.org/10.1093/ohr/ohq081.

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7

Rosa, Marco Camarotti. "Animation, Affirmation, Anarchy: Folk Performance in Brazil." New Theatre Quarterly 14, no. 54 (May 1998): 159–81. http://dx.doi.org/10.1017/s0266464x00011982.

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The folk theatre of North-Eastern Brazil has been given scant critical attention in the past. Even within Brazil itself attention has been largely concentrated in the writings of folklorists, musicologists, and those interested in popular dance. Marco Camarotti Rosa's article is the first attempt to provide comprehensive coverage of the activity as theatre. In describing the four major forms, with some reference to the proliferation of deviations from the norm which are bound to occur when performance is rooted in the oral rather than literary tradition, the article draws attention away from a futile search for historic precedents and stages of development in favour of viewing the performances as they are now, and considering the part they play in the hard-working lives of the communities of North-Eastern Brazil. Marco Camarotti Rosa is a Lecturer in the Department of Theory of Art and Artistic Expression in the Federal University of Pernambuco (UFPE).

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8

Leick, Gwendolyn. "Hikâye. Turkish Folk Romance as Performance Art." Folklore 121, no. 1 (April 2010): 118–19. http://dx.doi.org/10.1080/00155870903482221.

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9

Prosterman, Leslie. "Folk Festivals Revisited." Practicing Anthropology 7, no. 1-2 (January 1, 1985): 15–16. http://dx.doi.org/10.17730/praa.7.1-2.372671065k418u5m.

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Folk festivals should not be confused with the gatherings of folk revival musicians or the traditional indigenous celebrations of shared values. Folklorists and administrators create folk (or folklife) festivals in order to demonstrate and nuture folkways. These events represent attempts to demonstrate traditional culture to the public in formats other than scholarly articles. They generally include traditional music, crafts and food in a performance and/or workshop format, aiming for a down-home spirit between performers and patrons. We describe these festivals variously as created, contrived, induced, constructed, synthetic, or simulated.

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10

Kumar, Niraj, Subhashree Sahoo, and M. Ramkrishnan. "A GLANCE AT FOLK PERFORMANCE AND NON-NATIVE AUDIENCE." ShodhKosh: Journal of Visual and Performing Arts 2, no. 2 (November 18, 2021): 93–114. http://dx.doi.org/10.29121/shodhkosh.v2.i2.2021.42.

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Performance is an interesting subject of study and it is the point of intersection for many academic fields within humanities and social sciences. The studies on performance, thus, could provide opportunities for exploring different aspects of human behaviours and their creative reflections on the matters that are intrinsic to the concept of performance. In pursuit of performance studies, one could come across various knots that connect performance with every aspect of the socio-cultural life of people by redefining the stereotypical notions of “stage”, “actors” and “audience.” Further, the studies on performance could not be placed on a single trajectory as several approaches, perspectives and orientations that have emerged ever since the delimitation of performance happened by opening up its boundary for interdisciplinary studies lead by the undefined ‘performance studies’ of Richard Schechner. However, by dealing with the performance as a live presentation in all perceived forms of “stages”, a significant question has been asked in this paper as a token of beginning on the “problematic” presence of audience as outsiders (non-native and non-belonging) who, by their nature of reception and response, are understood as those who have no concern either for the performance or for the performers. While each form, in the folkloristic sense, is comprising of its natural context along with a dedicated or defined audience, it seems to be a surprising phenomenon as it developed over a period of time as a result of the prodigious and irresistible globalization process. Thus, the unintended and unsolicited transformation, as an impact of globalization, in the traditional and modern performances has shaped the nature and role of ‘audience’, making it an insignificant and irrelevant entity for the consumption with aesthetic appreciation and conviction on the values demonstrated. So this article problematizes the nature of audience in the decontextualized performance context by drawing insights from performance studies, semiotics, and other cognate disciplines. Based on the insights drawn from the fieldwork on Sarhul festival held in Ranchi district a few years ago, this paper argues that the role of audience cannot be understood unless there is a clear perspective on the nature of performance and performance tradition as defined by the community.

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Kim, Jin Soo. "Traditions of Korean Folk Performances in the Contemporary Monodrama." Observatory of Culture, no. 4 (October 28, 2015): 46–51. http://dx.doi.org/10.25281/2072-3156-2015-0-4-46-51.

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He increasing interest to the one-actor theatre in Korea is caused by the existence of the pansori, a ballade performed by narrator to the accompaniment of a drum, in the Korean folk tradition. Nowadays, the Korean folk performance tradition is widely used by directors in contemporary monodramas. The article analyzes two performances: “The Byeoksok Fairy” (director - Sohn Jin chaek, actress - Kim Sung nuy) by Bae Sam Sik, a well-known Korean dramatist, which uses the traditions of the Korean folk performance madan nori; and the “Mother Courage and Her Children” (director - Nam In woo, actress - Yi Ja ram) by Bertolt Brecht, staged in the pansory style.

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12

Choatchamrat, Sarawut, Akapong Phulaiyaw, Thanyalak Moonsuwan, Awirut Thotham, Sayam Chuangprakhon, and Rukbancha Phimprajun. "A Guideline for Undergraduate Students at the College of Music, Mahasarakham University to Develop Advanced Solo in Folk Music Skills." Journal of Educational Issues 8, no. 2 (September 7, 2022): 291. http://dx.doi.org/10.5296/jei.v8i2.20118.

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The high-class performance style of Isan folk music is to perform as a soloist with techniques, methods, tactics, essence, rhythm, and postures. There are melodious, fun and fully indicate the ability of the performer, composer, and combiner of the music. This research aims to study the pattern of Isan folk as a solo and also creative process. Data collections are documents and field study methods—observation, interview of six gurus or scholars, five of folk music teachers, eight of folk music soloists, eight of folk music performers, and thirty members of the general public. The research results were presented by analytical description. The results are that, the advance of folk music solo happens by learning the principles and concepts of solo performance management. Demonstration of advanced folk instrument practice skills and solo performances in the practice of advanced folk instruments are shown the concepts that create works of skill in performing solo performances of Isan folk music. The style is a solo performance of Isan folk music, with techniques, methods, tactics, and rhythmic styles and the main pattern melodies in Isan folk music convey the melodious and fun character according to the traditional style of the local area. There are guidelines for playing each Isan folk instrument along with the creative process that combines contemporary folk music. There are various styles of melodies, and movement patterns, such as slow rhythms, medium rhythms, fast rhythms, etc. Summarizing the format and creative process of solo music, Isan folk music is an advanced creation of folk music with the idea of creating according to the traditional style of the Isan region and also incorporating contemporary Isan folk music. It conveys the skill of the performers who perform folk music solos to achieve a melodic sound, fun for the audience.

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13

Malakhova, Margaryta. "STUDENT’S FOLK MUSIC BAND: TECHNOLOGY OF GROUP INTERPRETATION OF MUSICAL COMPOSITION." Educological discourse, no. 3-4 (2019): 100–109. http://dx.doi.org/10.28925/2312-5829.2019.3-4.100109.

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The article deals with the problem of collaboration and group interaction during the production of a musical composition. The terms “music band”, “pedagogic technology” and “interpretation” are revealed. Based on author’s experience, the technological dimensions in the activity of student’s folk music band are shown. These dimensions are aimed at performance of musical compositions during collective interactions. According to this problem the four main stages are market out, such as familiarization with a musical composition, technical mastering, realization of artistic content and music performance. It is stressed, that performance interpretation covers all possibilities of musician. Thus for the sake of realization owns ideas it is necessary to have professional skills. Among them we point out creative thinking, performance skills, including ensemble mastering, possibilities, specifically good ear for music, and psychological stability, i.e. the high level of self-regulation during public performances. The main part of the article shows theoretical grounds, methodological recommendation and practical advice as for formation of collective thinking and common masterly performance. It is stressed, that necessary condition of good activity of student group is implementation of methods and tasks directed at development of creative individuality of every folk music band member, improvement of masterly performance and increasing of psychological stability during the performances. It is pointed out that team work during permanent cooperation creates band performance style and makes the conditions for generalization of masterly performance and development of creative potential, intuition and artistic feeling

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14

Horobets, V. P., V. M. Slaston, and N. M. Kononska. "RELATIONSHIP BETWEEN FOLK LEGACY AND CREATIVITY OF PROFESSIONAL COMPOSERS. PROBLEMS AND PROSPECTS OF FOLK SONG PERFORMANCE." Innovate Pedagogy, no. 46 (2022): 32–35. http://dx.doi.org/10.32843/2663-6085/2022/46.6.

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15

Gradén. "FashioNordic: Folk Costume as Performance of Genealogy and Place." Journal of Folklore Research 51, no. 3 (2014): 337. http://dx.doi.org/10.2979/jfolkrese.51.3.337.

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16

Ali Abdul Majid, Wafaa. "Egyptian folk dance between environmental context and public performance." International Journal of Multidisciplinary Studies in Art and Technology 4, no. 1 (November 7, 2021): 410–42. http://dx.doi.org/10.21608/ijmsat.2021.203646.

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17

이, 윤선. "Folk Music Of Mokpo Area and Arts Based Performance." Journal of Local History and Culture 15, no. 1 (May 31, 2012): 497. http://dx.doi.org/10.17068/lhc.2012.05.15.1.497.

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18

Forbes, Anne-Marie. "The British folk scene: Musical performance and social identity." Musicology Australia 17, no. 1 (January 1994): 82–83. http://dx.doi.org/10.1080/08145857.1994.10415254.

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19

Lazarus, Ashton. "Folk Performance as Transgression: The Great Dengaku of 1096." Journal of Japanese Studies 44, no. 1 (2018): 1–23. http://dx.doi.org/10.1353/jjs.2018.0000.

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20

Morcom, Anna. "Brahma Prakash, Cultural Labour: Conceptualizing ‘Folk Performance’ in India." Society and Culture in South Asia 6, no. 2 (July 2020): 346–50. http://dx.doi.org/10.1177/2393861720926149.

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21

Bozkus, Taner. "An evaluation of the relationship between physical activity, healthy lifestyle behaviors, anaerobic performance, muscle strength and sprint performance in folk dancers." International Journal of Academic Research 5 (October 15, 2013): 151–57. http://dx.doi.org/10.7813/2075-4124.2013/5-5/a.21.

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22

DOĞANER, Ali, and Zeynep TÜRKERİ. "Presentation of Folk Songs Today and Changes in Folk Songs Texture." Akademik Dil ve Edebiyat Dergisi 6, no. 2 (August 30, 2022): 0. http://dx.doi.org/10.34083/akaded.1085329.

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From the earliest times to the present, the narrators/transmitters of the oral cultural products of Turkish literature have been poets and minstrels ozan, kam, baksı. The oral culture tradition, which has a dynamic structure, has left its place to another literary product over time, formed in accordance with the conditions of the age, the sensitivities of the society and individuals without disturbing its specific features and rules. Folk stories and love stories with folk songs, which have replaced the Turkish epic tradition, have also taken their place in various stages and different cultural environments of our oral literature tradition with its own formation process. Today, it maintains this position with its performers and audience in environments suitable for the conditions of the age. It has been determined that in the structure of folk tales and folk songs, performers/minstrels went to some differentiations and orientations due to the conditions and changes that emerged over time, especially due to the conditions and changes arising from the performance environment. This situation has been transferred from the oral culture environment to the written culture environment, and to environments such as TV, radio, cinema, internet with the developing technology and opportunities. In addition, it created a chain of differences for the changes to be seen, especially in the verse parts of the stories, in accordance with the psychological, sociological, political situations of the audience.

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23

Myrsiades, Linda Suny. "Historical Source Material for the Karagkiozis Performance." Theatre Research International 10, no. 3 (1985): 213–25. http://dx.doi.org/10.1017/s0307883300010890.

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Karagkiozis, or Greek shadow puppet theatre, is a theatrical form that reflects nineteenth-century Greek oral culture. It utilizes a variety of national and regional costumes, dialects, and manners. Having developed in Greece during the period of that nation's modern history, it expresses the continuity of Greek culture and carries its themes, scenes of daily life, and characters. It retains, moreover, vestiges, or perhaps more accurately resurgences, of the pagan as well as the Christian past. Folk characters and types from folk plays and tales – the quack doctor, old man, old woman, devil Jew, Vlach, Moor, Gypsy, swaggering soldier, old rustic, jesting servant, trickster, parasite, stuttering child, ogre, dragon, bald-chin, and the great beauty – are its types as well. Popular folk dances, regional songs, and heroic poetry and ballads appear throughout Karagkiozis performances.

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24

Bermúdez, José Luis. "The Domain of Folk Psychology." Royal Institute of Philosophy Supplement 53 (September 2003): 25–48. http://dx.doi.org/10.1017/s1358246100008250.

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My topic in this paper is social understanding. By this I mean the cognitive skills underlying social behaviour and social coordination. Normal, encultured, non-autistic and non-brain-damaged human beings are capable of an impressive degree of social coordination. We navigate the social world with a level of skill and dexterity fully comparable to that which we manifest in navigating the physical world. In neither sphere, one might think, would it be a trivial matter to identify the various competences which underly this impressive level of performance. Nonetheless, at least as far as interpersonal interactions are concerned, philosophers show a rare degree of unanimity. What grounds our success in these interactions is supposed to be our common mastery of (more or less similar versions of) folk psychology.

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McNeal, Meida. "Navigating the Cultural Marketplace: Negotiating the Folk in Trinidadian Performance." Latin American and Caribbean Ethnic Studies 8, no. 1 (March 2013): 43–75. http://dx.doi.org/10.1080/17442222.2013.768461.

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26

Dhankar, Rita. "Turkish folk dances." RESEARCH REVIEW International Journal of Multidisciplinary 6, no. 12 (December 15, 2021): 86–89. http://dx.doi.org/10.31305/rrijm.2021.v06.i12.012.

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Folk-music is a very simple and intuitive science of music. It expresses the customs, way of life, food and sentiments of a particular country. Turkish folk music says the same thing. Tarkan finds a lot of mention in Turkish folk dances. In fact, Tarkan started taking special interest in folk-dances from the year 1928. The year 1941 was important in terms of changing the direction of Turkish folk dance. After the establishment of Praja Bhavan in the year 1950, the performance of folk dances had taken the form of a rich culture. Even more so, with folk-dance audiences now present in Ankara and Istanbul, folk dances were considered a new form of urban entertainment in the 1970s. In Zebeki's time there was a need to identify the national origin of every dance, but that need is no longer there. Dances were now seen as a national art form. The experience of Turkish folk dances reveals a new meaning of the word 'national'. This is different from the old prevailing servant definition of the word national. The folk dances elected in the 1970s and 1980s were national because they were amalgamated with Turkish territories. In other words, the folk dances that spread throughout urban Turkey in the 1970s were national in nature, while Tarkan-Zebeki envisioned them to be national. Abstract in Hindi लोक-संगीत, संगीत की बहुत सरल व सहज विद्या होती है। यह देश-विशेष के रीति-रिवाज, रहन-सहन, खान-पान और भावनाओं की अभिव्यक्ति करती है। तुर्की का लोक-संगीत भी यही कहता है। तुर्की के लोक नृत्यों में तरकन का काफी उल्लेख मिलता है। वास्तव में तरकन सन् 1928 से ही लोक-नृत्यों में विशेष रूचि रखने लगे थे। 1941 का वर्ष तुर्की के लोक-नृत्य की दिशा बदलने की दृष्टि से महत्वपूर्ण रहा। सन् 1950 में प्रजा-भवन होने के बाद लोक-नृत्यों का प्रदर्शन एक समृद्ध संस्कृति का रूप ले चुका था। इससे भी बड़ी बात यह थी कि अब अंकारा और इस्तांबुल में लोक-नृत्य के दर्शक मौजूद थे, 1970 के दशक में लोक-नृत्यों को नए तरह का शहरी मनोरंजन माना गया। जेबेकी के समय में हर नृत्य का राष्ट्रीय मूल पहचानने की जरूरत होती थी, किन्तु वैसी जरूरत अब नहीं रही। नृत्यों को अब राष्ट्रीय कला के रूप में देखा जाने लगा। तुर्की के लोक-नृत्यों का अनुभव बतलाता है कि ‘राष्ट्रीय’ शब्द का नया मतलब क्या है। यह राष्ट्रीय शब्द की पुरानी प्रचलित सेवक परिभाषा से भिन्न है। सन् 1970 और 1980 में चुने गए लोक-नृत्य राष्ट्रीय इसलिए थे, क्योंकि वे तुर्की के प्रदेशों से मिल-जुलकर बने थे। दूसरे शब्दों में जो लोक-नृत्य सन् 1970 में पूरे शहरी तुर्की में फेले, वे स्वाभाव से ही राष्ट्रीय थे, जबकि तरकन-जेबेकी ने उनके राष्ट्रीय होने की कल्पना ही की थी।

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Untung, Rachel Mediana, Wisma Nugraha Christianto, and Victor Ganap. "Hybrid Performance as The Behavior of Singing Folk Songs Chorally in Indonesia Choir Competition in 2019." Jurnal Kawistara 12, no. 1 (June 8, 2022): 33. http://dx.doi.org/10.22146/kawistara.68229.

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The artistic contestation between choral culture and folk song is an important concern in the study of musicology. The problem that is of concern in this study focuses on singing behavior in singing hybrid vocal music. Choir singing behavior has standard vocal techniques, on the other hand the context of understanding folk songs includes natural singing expressions from an ethnicity without being overshadowed by good vocal techniques. The study aims to reconstruct the practice of artistic requirements in Indonesian folksong choir competitions. The study is important because there is artistic contestation between choir culture and folk songs culture leading to a good hybrid performance in the Folklore category. This research method takes material from singing events through observations and studies of audio-visual documentation that are observed repeatedly. This study uses a performance centered approach study that concentrates on the choir's performance. Descriptive-analytic analysis is used as a consequence of the material of the event‘s that relies on careful descriptions. The results of this study indicate, firstly the choirs which sang folk song repertoire are a hybrid performance characteristic. Second, the relationship that occurs between artistic requirement and the reality of performances on stage occurs in a multidimensional manner. It was found that there was an adjustment to standardization in the perspective of the coral setting. Third, an understanding of the performance practice as multidimentional and hybrid with artistic requirements shows that a small portion is given to other dimensions (kinesthetic & visual).The findings can be used to reformulate artistic requirements entailing a bigger cultural aspect of folk songs.

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28

Hong, Soonil. "The Folk Knowledge of an Island Resident and the Oral Performance of a Folk Song Community -Focusing on Salt." JOURNAL OF HUMANITIES STUDIES 118 (March 31, 2020): 111–36. http://dx.doi.org/10.46346/tjhs.118..5.

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29

Baron-Cohen, S. "A mathematician, a physicist and a computer scientist with Asperger syndrome: performance on folk psychology and folk physics tests." Neurocase 5, no. 6 (December 1, 1999): 483. http://dx.doi.org/10.1093/neucas/5.6.483.

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30

Baron-cohen, Simon, Sally Wheelwright, Valerie Stone, and Melissa Rutherford. "A mathematician, a physicist and a computer scientist with Asperger syndrome: Performance on folk psychology and folk physics tests." Neurocase 5, no. 6 (November 1999): 475–83. http://dx.doi.org/10.1080/13554799908402743.

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31

Paulusma, Polly. "‘Me and Not-Me’: Folk Songs, Narrative Perspectives, and The Gender Imaginary in Angela Carter’s Shadow Dance." English: Journal of the English Association 69, no. 265 (2020): 145–71. http://dx.doi.org/10.1093/english/efaa011.

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Abstract It is a little-known fact that Angela Carter was a traditional folk singer during the 1960s, that she played the English concertina, and that she co-founded a folk club in Bristol with her first husband, Paul Carter. A newly unearthed private archive of her folk song notes from the decade, which includes her musical notations and a recording of her singing, allows us to develop new understandings of her folk praxis and, when laid alongside her private journal entries, the folk album sleeve notes she penned, her undergraduate dissertation, and other unpublished papers, a whole host of possible new readings of her literary work emerges. This essay explores just one: gender fluidity in folk song performance and its impact upon Carter’s interpretations of gender identity in her debut novel, Shadow Dance. I will suggest that Carter learned gender ambiguity from her folk singing, and that her experience of singing afforded her freedoms to explore versions of sexual performance and gendered selfhood through male characters. More broadly, I will suggest that she buried musical folk song features into the structures of her writing to present her prose as a form of audial performance.

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Dangaura, Mohan. "The Memory of Performance: From Contents to Contexts of Selected Tharu Folk Dances." SCHOLARS: Journal of Arts & Humanities 4, no. 1 (February 13, 2022): 11–28. http://dx.doi.org/10.3126/sjah.v4i1.43050.

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The major objective of this paper is to analyze the historical context of the Dangaura Tharu folk dances of Nepal. The study discusses the Tharu subjectivity by assessing the performance as an agency. The primary discussion is based on the issue of Kamaiyahood in the songs narrated during the dance of the community. Dangaura Tharu ethnicity resides across five Tarai districts of Nepal: Dang, Banke, Bardiya, Kailali and Kanchanpur. This study is to identify and evaluate the role of memory in the folk performance of the community. It concludes by justifying the abundance of Kamaiyahood, spatial memory and empathy for nature in the community's folk performance. To collect the data required for the study, this study has adopted the qualitative research method, using the techniques such as direct observation, interview and relevant documents to understand the performing arts and rituals of the Tharus of Nepal. In addition, to analyze the collected data, Richard Schechner's idea of performance as a fortitude for identity has been applied critically. In addition, Alan Dunde's concept of folklore as the identity has also been considered. Thus, the study finds the memory of displacement inherent in the Tharu folk dance. The spatial memory and the Kamaiyahood appear as the dominant motifs in Dangaura Tharu folk performance. Since the dance of the community comprises the songs, reflecting the symbols and their meanings of the dances, for each dance has been critically analyzed in the paper.

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Gülbeyaz, Kürşad. "Comparison of activation rates in the main muscle group in the performance of Turkish folk dances." Journal of Human Sciences 16, no. 4 (December 29, 2019): 1133–44. http://dx.doi.org/10.14687/jhs.v16i4.5888.

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Folk dances are “spiritual culture” in terms of music, lyrics, movement and presentation features. Also, folk dances are the “material culture” in terms of instruments, clothes and equipment. Folk dances are intertwined with many disciplines, due to its different features such as music, instrument, language, religion, literature, history, clothes, sport, stage, art, sociology, consideration and intelligence. There is no folk dance without music and rhythm. However, almost all of our women's dances and most of our men's dances are verbal. Therefore, folk dances are composed of lyrics, music and movement. Folk dances have a sportive dimension as well as a cultural dimension. Although folk dances have been examined with the dimension of movement until present day, we see that the researches on physical, physiological and kinesiological aspects are not sufficient. The main purpose of this study was to determine the contraction rates of muscles during the performance of folk dances. In this study, it has been identified 42 dances in Turkey, which movement and structural features are different from each other. These dances include 6 different “bar” type, 12 of “halay” type, 8 of “horon” type, 5 of “karşılama” type, and 11 of “zeybek” type. The study was completed using these dances. The study is derived from the author's “Analysis of Turkish Folk Dances from the Perspective of Movement Science and Culture” doctoral dissertation titled. The study was conducted in the main muscle group according to expert opinions and recommendations. The main muscle groups are Tibialis Anterior, Quadriceps Femoris, Flexor Digitorum Superficialis, Biceps Brachii, Longissimus Thoracis and Trapezius muscles. Electrodes were attached to the main muscles used in the folk dances. The measurements were obtained by bio-trace programme and data were defined in microvolt. As a result of the study, in the performance of Turkish folk dances on the type at the scale of Turkey, left Tibialis Anterior muscle (112.40), left Quadriceps Femoris muscle (112.32); the right Flexor Digitorum Superficialis muscle in the arm (49.63), the right Biceps Brachii muscle (60.07); the left Longissimus Thoracis muscle (46.68) and the right Trapezius muscle (104.19) contracted more. Determining the ratio in muscle contractions in folk dances provides valuable information which can be used in coordination exercises, motor development, training in a specific sport and also in physical therapy.

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Väisa, Leili, Jaan Ereline, Mati Pääsuke, and Tatjana Kums. "The effect of Estonian folk dance practice on static balance performance in young females." Acta Kinesiologiae Universitatis Tartuensis 26 (December 31, 2020): 61–71. http://dx.doi.org/10.12697/akut.2020.26.06.

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The aim of the present study was to establish the changes that occur in dancers’ static body balance indicators during rest, in case of interfering factors and in stress condition. The sample consisted of 14 advanced female folk dancers at the age of 16–20 years. The participants’ static body balance was measured at the beginning (in the autumn) and at the end (in the spring) of the eight-month dancing period. Static body balance indicators were registered on a dynamographic platform within 30 seconds, standing on bipedal on stable and unstable support surface in eyes-open (EO) and eyes-closed (EC) conditions. The Flamingo test balance control, the balance control after spinning around and jumping tests were conducted only in EO condition. The following parameters were registered: the movements of the centre of pressure (CoP) in the anterior-posterior (AP) and medio-lateral (ML) dimensions; the length, speed and area of the trajectory. According to the study, folk dancers’ CoP movements in the AP and ML dimensions, measured in different conditions (EO, EC), on stable and unstable support surface, did not change significantly after the eight-month dancing practice. The young folk dancers’ static body balance, assessed by CoP movement trajectory, speed and area, improved considerably over the eight-month training period. Flamingo test results indicate that practising folk dance develops the young female folk dancers’ right and left side static stability equally. In the context of Estonian folk dance practice, including preparation for performing at dance festival, the young female folk dancers’ balance performance improved both in vestibular instability (spins, standing on unstable support surface and in EO condition) and fatigue (jumping test) conditions.

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Jaimini, Ms Rajni, and Dr Priya Raghav. "Folk Literature and Social Space: Interdependences and Correlations." International Journal of English Literature and Social Sciences 7, no. 2 (2022): 187–92. http://dx.doi.org/10.22161/ijels.72.24.

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Art is not a mirror held up to reality, but a hammer with which to shape it.” this dictum attributed to famous playwright Bertolt Brecht as quoted by Bleeker et al., (2019) sums up the interdependence and correlation between art and literature and society. The world has never been a singular entity. There have always been groups that lived a powerful, privileged existence and it is their experience that has passed down the generations as literature, as the core narrative of human existence at a given time. For long ‘Literature’ did not include ‘Folk’ or their culture as was relegated to the peripheries of academic discourse as belonging to the savage, subaltern people. However, it is now increasingly being recognised as an archive of vernacular knowledge systems and a great contributor to the social and cultural development of the people. Both social space and folk literature affect and mould each other. What happens in social space gets reflected in folk literature and what folk literature depicts becomes part of social space. Saang as a form of folk performance tradition has been the source of or a defining influence on the various forms of Folk performance traditions of North India. It has been called “a north Indian Folk Opera” by Vatuk, V. P., & Vatuk, S. (1967) because the dialogues between characters are sung. Taking it as a representative form of North Indian folk performative tradition, my paper attempts to analyse issues of representation of culture, society and morality on the Saang stage. The paper, would focus on some selected Saangs of Lakhmi Chand (1905-1945), as compiled by Sharma, P. Chand. (2006) in Lakhmi Chand Granthavali. He is known as the greatest exponent of the Saang form and often referred to as the Shakespeare of North India. His Saangs invariably represent the values and experiences that formed the core of the society of his times. He has taken tales from history, myth and local legends as the basis for his performances. The present paper analyses the content of some Saangs composed and performed by Lakhmi Chand to analyse the knotty question of representation of culture and morality and how one can see reflected in the tales performed by the Saangi, the major social concerns of the times.

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BENZIUK, Oleksandr, Аndriy DUSHNIY, and Vіtalіy ZAETS. "Methodological principles of formation of the ukrainian folk-instrumental performance school." Humanities science current issues 1, no. 48 (2022): 51–57. http://dx.doi.org/10.24919/2308-4863/48-1-8.

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Suh, Young-Sook. "Principles of Narration used in the Performance of Narrative Folk Songs." Journal of Korean Oral Literature 47 (December 31, 2017): 71–102. http://dx.doi.org/10.22274/koralit.2017.47.003.

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Dolphen, Itsarate. "The Modernization of Isan Folk Performance (Morlum): A Change for Survival." Sociology and Anthropology 4, no. 5 (May 2016): 301–5. http://dx.doi.org/10.13189/sa.2016.040501.

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Freedlander, D. "Urban Folk Art: Performance, Politics, and the Right to the City." Theater 40, no. 3 (January 1, 2010): 25–41. http://dx.doi.org/10.1215/01610775-2010-006.

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Pamment, Claire. "Cultural Labour: Conceptualizing the 'Folk Performance' in India by Brahma Prakash." Asian Theatre Journal 37, no. 2 (2020): 604–6. http://dx.doi.org/10.1353/atj.2020.0051.

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Speer, Jean Haskell. "Waulking o’ the web: Women's folk performance in the Scottish Isles." Literature in Performance 6, no. 1 (November 1985): 24–33. http://dx.doi.org/10.1080/10462938509391592.

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Wilson, Michael. "Luzel’s ghosts: The unfinished business of translating folk tales for performance." Book 2.0 7, no. 2 (November 1, 2017): 159–68. http://dx.doi.org/10.1386/btwo.7.2.159_1.

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Slettum, Becky Smith, Connie Fox, Marilyn A. Looney, and Danielle M. Jay. "Validity and Reliability of a Folk-Dance Performance Checklist for Children." Measurement in Physical Education and Exercise Science 5, no. 1 (March 2001): 35–55. http://dx.doi.org/10.1207/s15327841mpee0501_3.

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Rowbottom, Anne. "“The Real Royalists”: Folk Performance and Civil Religion at Royal Visits." Folklore 109, no. 1-2 (January 1998): 77–88. http://dx.doi.org/10.1080/0015587x.1998.9715963.

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Cass, Eddie. "Alex Helm (1920–1970) and His Collection of Folk Performance Material." Folklore 122, no. 1 (April 2011): 1–15. http://dx.doi.org/10.1080/0015587x.2011.537126.

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Yakivchuk, V. "Ukrainian folk song performance in national education of future music teacher." Art and education, no. 3 (2020): 57–62. http://dx.doi.org/10.32405/2308-8885-2020-3-57-62.

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Roper, Jonathan. "Text, Context and Performance: Gagauz Folk Religion in Discourse and Practice." Folklore 124, no. 3 (December 2013): 369–70. http://dx.doi.org/10.1080/0015587x.2013.817210.

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Thornbury, Barbara E. "Behind the Mask: Community and Performance in Japan's Folk Performing Arts." Asian Theatre Journal 12, no. 1 (1995): 143. http://dx.doi.org/10.2307/1124472.

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Majumdar, Sarottama. "Folk Performances and the European Gaze in Bengal in the Nineteenth Century." Linguaculture 13, no. 2 (December 31, 2022): 35–50. http://dx.doi.org/10.47743/lincu-2022-2-0314.

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Cultural anthropologists acknowledge the primacy of the spectator’s gaze in assigning hierarchical space to performances within the public sphere. Equations of power and transactions between agents of performance and the consumer or between the language of the entitled spectator and subject performers determine the category assigned to a given performance: folk or elite, classic or popular, high or subaltern. The late eighteenth – early nineteenth century in Bengal was a period of political and social transition and of realignment along religious, spatial and intellectual lines. The birth and growth of the metropolitan urban centre (Calcutta), an increasing presence of European residents of both genders in Calcutta and Bengal and the shift of power and influence from Muslim military aristocracy to an European merchant company (The British East India Company), meant that traditional indigenous performances were often thrown open for commentary and judgment to an audience who were largely outsiders and to whom the nuances of language, caste, class, region, ritual signification were matters of academic interest only occasioning descriptive commentaries on the practices in an alien country. In the travelogues and memoirs of Maria Nugent or Fanny Parkes, for instance, rituals, customs or performances were viewed as exemplifying the picturesque ‘otherness’ of an alien race. This paper will focus on evidences within British colonial writings of the early nineteenth century describing what appeared to observers as performances, with which they attempt to conceptualize the native ‘other’ as a cultural trope.

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MacDonald, Michael B. "“The Best Laid Plans of Marx and Men”." Ethnologies 30, no. 2 (February 16, 2009): 73–91. http://dx.doi.org/10.7202/019946ar.

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Mitch Podolak said, “Pete Seeger and Leon Trotsky lead to everything in my life, especially the Winnipeg Folk Festival.” This article discusses the creation of the Winnipeg Folk Festival (WFF) in 1974 as Podolak’s first attempt to fuse his ten years of Trotskyist political training with his love for folk music. His intention was to create a Canadian folk festival which would embody the politically resistant nature of the Trotskyist international movement for the purpose of challenging the Canadian liberal capitalist democratic system on a cultural front. Heavily influenced by the American Communist Party’s use of folk music, Podolak believed that the folk song and its performance were socially important. This importance, he believed, stemmed from the social cohesion that could be created within a festival performance space. This space, when thoughtfully organized, could have the ability to create meaning. The relationships between the artistic director, the folk singer, the folk song and the festival audience become intertwined to dialectically create the meaning of the song and the space simultaneously defining folk music

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