Books: 'Folk process'

1

Sarkar, Amitabha. Religious belief and practices: A portrayal of the integrative process. New Delhi: Agam Kala Prakashan, 2010.

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2

Dasgupta, Samira, 1953- , joint author., ed. Religious belief and practices: A portrayal of the integrative process. New Delhi: Agam Kala Prakashan, 2010.

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3

Prasad, Onkar. Santal music: A study in pattern and process of cultural persistence. New Delhi: Inter-India Publications, 1985.

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4

Björkholm, Johanna. Immateriellt kulturarv som begrepp och process: Folkloristiska perspektiv på kulturarv i Finlands svenskbygder med folkmusik som exempel. Åbo: Åbo akademis förlag, 2011.

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5

Bo, Almqvist, Ó Catháin Séamas, and Ó Héalaí Pádraig, eds. The heroic process: Form, function, and fantasy in folk epic : the proceedings of the International Folk Epic Conference, University College, Dublin, 2-6 September 1985. Dun Laoghaire, Co. Dublin, Ireland: Glendale Press, 1987.

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6

International Folk Epic Conference (1985 University College, Dublin). The heroic process: Form, function and fantasy in folk epic : the proceedings of the International Folk Epic Conference, University College Dublin, 2-6 September 1985. Dublin: The Glendale Press, 1987.

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7

Ampene, Kwasi. Female song tradition and the Akan of Ghana: The creative process in Nnwonkoro. Burlington, VT: Ashgate, 2004.

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8

Kakan, Crispin Agweyo. The use of folk media for community motivation: A process and experience in the promotion of family planning and health. Nairobi, Kenya: Family Planning Private Sector Programme, 1988.

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9

Min jian wen hua yu gong min she hui: Zhongguo xian dai li cheng de wen hua yan jiu = Folk culture and civil society : cultural studies of Chinese modern process. Beijing Shi: Beijing da xue chu ban she, 2008.

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Min jian wen hua yu gong min she hui: Zhongguo xian dai li cheng de wen hua yan jiu = Folk culture and civil society : cultural studies of Chinese modern process. Beijing Shi: Beijing da xue chu ban she, 2008.

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11

Manicardi, Nunzia. Tradizione musicale irlandese: Prodotti, processi, ruolo. Sala Bolognese (BO): A. Forni, 1988.

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12

Bailarino, pesquisador, intérprete: Processo de formação. Rio de Janeiro: Ministério da Cultura, FUNARTE, 1997.

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13

Obata, Nobuaki. White noise calculus and Fock space. Berlin: Springer-Verlag, 1994.

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14

Rondelli, Beth. O narrado e o vivido: O processo comunicativo das narrativas orais entre pescadores do Maranhão. [Rio de Janeiro, Brazil]: FUNARTE/IBAC, Coordenação de Folclore e Cultura Popular, 1993.

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15

Guerra, Ramiro. Calibán danzante: Procesos socioculturales de la danza en América Latina y en la zona del Caribe. Caracas, Venezuela: Monte Avila Editores Latinoamericana, 1998.

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16

Ortakov, Dragoslav. Ars Nova Macedonica: Osnovni estetički procesi vo makedonskata umetnost od XIX vek so poseben osvrt vrz muzikata. Skopje: Makedonska kn., 1986.

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17

Teske, Wolfgang. A roda de São Gonçalo na comunidade quilombola da Lagoa da Pedra em Arraias (TO): Um estudo de caso de processo folkcomunicacional. Goiânia: Editora Kelps, 2008.

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18

Cultura quilombola na Lagoa da Pedra, Arraias - Tocantins: Rituais, símbolos e rede de significados de suas manifestações culturais : um processo folkcomunicacional de saber ambiental. Brasília: Senado Federal, 2010.

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19

La Guelaguetza en Oaxaca: Fiestas, relaciones interétnicas y procesos de construcción simbólica en el co. México, D.F: Centro de Investigaciones y Estudios Superiores en Antropología Social, 2006.

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20

La música en la comunidad indígena ȩbȩra-chamí de Cristianía: Descripción de su sistema musical y aporte metodológico para el aprovechamiento de la música en procesos de reapropiación cultural y desarrollo etnoeducativo. Medellín, Colombia: Editorial Universidad de Antioquia, 2000.

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21

Brorens, P. H. The effect of twist on the felting behaviour of singles and two-fold woollen carpet yarns in the rub-felting process. Christchurch: Wronz, 1987.

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22

White noise: An infinite dimensional calculus. Dordrecht: Kluwer Academic Publishers, 1993.

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23

Graves, Thomas Edmund. The Pennsylvania German hex sign: A study in folk process. 1986.

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24

Almquist, Bo. The Heroic Process: Form, Function and Fantasy in Folk Epic. Irish Books & Media, 1987.

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25

Rodrigues, Graziela. Dancer - Researcher - Performer: A Learning Process. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2017.

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26

Rodrigues, Graziela. Dancer - Researcher - Performer: A Learning Process. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2017.

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27

Rodrigues, Graziela. Dancer - Researcher - Performer: A Learning Process. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2017.

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28

Dancer - Researcher - Performer: A Learning Process. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2017.

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29

Suleiman, Yasir. Arabic Folk Linguistics. Edited by Jonathan Owens. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199764136.013.0011.

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This article addresses some long-standing issues in Arabic sociolinguistics. The starting point is the concept of diglossia, which has become the port of entry for any discussion of the semiliquid language situation in the Arabic-speaking world. It first outlines the most abiding criticisms against diglossia and then offers thoughts on these as a prelude to discussing Arabic folk linguistics. It is argued that a folk linguistic perspective should be incorporated in studying Arabic in the social world. This perspective is important in developing an insider understanding of the language that may be at odds with the findings of modern linguistics. To aid the process of developing this perspective, the article adopts the terminology and conceptual frameworks Arabic speakers use in describing their language situation wherever possible—hence, the choice of fusha and ‘ammiyya instead of any of their translations into English, including Classical Arabic and vernacular, which Haeri uses.

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30

Prasad, Onkar. Santal Music: A Study in Pattern and Process of Cultural Persistence. Stosius Inc/Advent Books Division, 1986.

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31

Stapley, Jonathan A. Cunning-Folk Traditions and Mormon Authority. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190844431.003.0005.

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Cunning-folk found what was lost, healed the sick, foretold the future, influenced love, and, perhaps most importantly, battled witches in a time when churches had lost interest in them. When Joseph Smith established Mormonism, American villages lacked cunning-folk, though aspects of their traditions remained on the fringes of society. Smith and other early church leaders translated aspects of this culture into the LDS Church’s liturgy and cosmology. However, he and other church leaders also created alternatives to cunning-folk practice that were more explicitly rooted in the patterns of the Bible. Key to this process of translation and creation was Mormonism’s explicit anticessationism and the establishment of institutional structures that integrated folk practitioners into the church by channeling their impulses into orthopraxic liturgical forms. This context is useful for explaining modern uses of CAM among Mormons and to further contextualize the rise of the priesthood bureaucracy that regulates Mormon lived religion.

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32

Harding, Valentine. Children Singing: Nurture, Creativity, and Culture. A Study of Children’s Music-Making in London, UK, and in West Bengal, India. Edited by Graham Welch, David M. Howard, and John Nix. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199660773.013.65.

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This chapter considers children’s music-making in London, UK, and in rural West Bengal, India. While learning styles within these communities differ considerably, folk music is the basis of learning in both, with nursery rhymes and children’s songs considered within this category of “folk” music. The role of parents in both communities is a crucial factor in the learning process. In the Bengali context, parents often continue to teach music to their child into adulthood. The chapter considers the process of nurturing in early years, the role of nursery rhymes, teaching styles, introducing children to their cultural roots and, above all, the reactions of children themselves to these processes. The narrative also includes the influences of colonialism on children’s songs past and present, both in the UK and India, and in other previously colonized countries. The impact of modernization in India on the development of folk music is also considered.

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33

Gerken, Mikkel. The Psychology of Knowledge Ascriptions. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198803454.003.0006.

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Chapter 5 surveys some empirical psychology and outlines some folk epistemological principles. By considering the heuristic and biases tradition, it is argued that ordinary knowledge ascriptions are standardly driven by heuristic processes and, therefore, associated with biases. This idea is integrated with a dual process framework for mental state ascriptions. On this basis, some of the central heuristic principles that govern intuitive judgments about knowledge ascriptions are articulated, and some of the biases associated with these principles are identified. The result is an account of an epistemic focal bias in intuitive judgments about knowledge ascription. Thus, Chapter 5 provides both a survey of relevant psychology and a development of the folk psychological principles governing knowledge ascriptions.

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34

Wu, Ka-ming. Narrative Battle. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039881.003.0003.

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This chapter examines how Xiaocheng Folk Art Village in Yan'an was transformed into a container of tradition and the practice of paper-cutting into an intangible cultural heritage. It first considers the origin narrative of Xiaocheng Folk Art Village before discussing how China's urban intellectuals in the fields of folklore, religious studies, and anthropology have sought to re-understand the meanings of their work in the broader national and international framework. It then explains how Xiaocheng Folk Art Village emerged as a site of local, national, and international interests, with particular emphasis on the birth of creative rural subjects, reconfigured domestic relations, and a new public life in the village. It also describes the village's democratic struggles over folk art and concludes with an analysis of the politics of cultural authenticity and the invention of tradition in the broader context of intense urbanization and agrarian crisis in China. The chapter argues that heritage making in China is a process of “narrative battle” in which various actors construct differentiated meanings of history and tradition against the official party-state narrative.

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35

Be-You-Tiful: The Three Fold Process To Becoming You! Jada Collins Publishing, 2007.

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36

Keens-Douglas, Richardo. Trial of the Stone: A Folk Tale. Tandem Library, 2000.

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37

Keens-Douglas, Richardo. The Trial of the Stone: A Folk Tale. Annick Press, 2000.

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38

Keens-Douglas, Richardo. The Trial of the Stone: A Folk Tale. Annick Press, 2000.

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39

Larsen, Matthew D. C. Epilogue. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190848583.003.0008.

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Approaching the Gospel according to Mark as unfinished notes, the author argues that literary critics do not “find” nuanced literary structure in the text. They produce it—not unlike what the Gospel according to Matthew does with the Gospel according to Mark. The author proposes a new methodological framework for future study of early Christian gospels. He points to an example from cultural history (Robert Darnton’s work on eighteenth-century French folk tales) and to possible projects in the digital humanities in order to begin to think about how to reconceptualize the process of gospel writing.

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40

Wu, Ka-ming. Spirit Cults in Yan’an. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039881.003.0006.

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This chapter examines the public secrecy and popularity of spirit cults in Yan'an in the context of the urbanization of the rural area. It first provides an overview of folk popular religion and spirit possession in and out of China before discussing how deity worship figures as a form of unspoken yet widely circulated knowledge, communal bonds, and spiritual services in rural Yan'an. It then considers how spirit cults in Yan'an produce what it calls a “surrogate rural subjectivity” and proceeds by turning to the emergence of women spirit mediums in the 1990s. The chapter argues that, in the context of rapid urbanization, spirit cults provide occasions for the expression of disappearing rural communal relations, folk values, and ritual memories. It also suggests that folk religion now constitutes a new form of rural discourse through which the urbanizing rural subject of China is recognized. Finally, it describes spirit cults as a major site through which rural norms, values, dispositions, and desires are de facto produced and reconstructed in the urbanization of the rural area.

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41

Tran, Anh Q. In the Realm of the Dead. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190677602.003.0005.

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Chapter 4 deals with the afterlife and the cult of the dead, according to both Confucian and Vietnamese folk Buddhist practices. It begins with an overview of traditional Vietnamese anthropology and its influence on ancestral worship: outlining several characteristics that are the basis of ancestor worship, the discussion then turns to how the Confucian tradition linked rituals honoring the dead with filial piety, and to traditional conceptions of the soul and the afterlife in Confucianism, Daoism, and Buddhism. Then the chapter proceeds to a detailed description of the traditional funeral rites and ancestral veneration, including an account of practices surrounding the burial, as well as folk Buddhism and the afterlife. The chapter ends with a Christian evaluation of these practices.

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42

Sherinian, Zoe. Songs of Oru Olai and the Praxis of Alternative Dalit Christian Modernities in India. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.14.

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This chapter addresses an alternative Dalit Christian modernity transmitted and practiced through song and drumming in Tamil Nadu, India. Using two examples of the praxis of sharing, I analyze expressions of agency by the caste and gender oppressed that shows an awareness of discourses of liberation in both the bible and the modern world outside the caste-inflected village. Daily practice of economic sustainability through community finds its musical analogy in folk music’s potential for re-creation, unity, accessibility, and common ownership by the oppressed. I theorize this as an indigenous religio-political cosmopolitanism, expressed by Dalits as a discourse of supra-localism and spirituality that reverses the discourse of caste impurity and pollution. These cases show the historical and contemporary nature of Christian transnational flow in the form of theology, politics, and utopian community, its dialogical process of indigenization, and the process of cross-cultural musical exchange to (re)make Christianity meaningful through local musical reconstruction.

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43

Snyder, Jean E. Introducing Antonín Dvořák to African American Music. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0005.

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This chapter focuses on how Harry T. Burleigh, during his study at the National Conservatory of Music, became Czech composer Antonín Dvořák's most direct link to the African American music traditions in which he was keenly interested. Burleigh's second year at the conservatory would be a momentous one not only for him but also for the conservatory and for American music when Dvořák was appointed director. By the end of the academic year, Dvořák would complete the composition of his most famous American work, Symphony No. 9 in E Minor, “From the New World.” Burleigh would be intimately involved in the process of its creation. Dvořák validated the artistic value of African Americans' folk music during his time at the conservatory.

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44

Majumdar, Anindita. Matchmaking Genes. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199474363.003.0003.

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Much of the debates on commercial surrogacy are marked by the interventions and involvement of the assisted reproductive technologies such as in vitro fertilization (IVF). In this chapter the medico-technological process of commercial surrogacy is seen through the involvement of IVF specialists, embryologists in their identification and understanding of genes and kinship. The chapter also explores the ways in which fertility clinics negotiate with the practice of commercial surrogacy by invoking Indian Council of Medical Research’s (ICMR) draft law on surrogacy and reproductive technologies. The chapter looks at how medicine does not always operate within a tradition of rationality but often invokes local-folk wisdom of kin and kinship to understand the consequences of assisted conception. In that sense IVF specialists, clinicians, and embryologists often become ‘matchmakers’ invoking an idea of genes and biology that is not embedded in scientific rationality.

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45

Hermans, Hubert J. M. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190687793.003.0001.

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The introduction presents the two-fold purpose of this book: (a) to demonstrate that the self is not determined by society as an outside cause but shaping society in its own self-organization and (b) to investigate the extent to which the self is democratically organized. The presented positioning theory provides an alternative to both Antony Greenwald’s totalitarian ego and Marvin Minsky’s depiction of the self as a bureaucratic organization. As an analogy to Amartya’s conception of democracy as a societal learning process, the democratic self is described as an internal learning process in which parts of the self (so-called I-positions) are continuously organized and reorganized in fields of tension between dialogue and social power. The presented theory is characterized as a “bridging theory” that explores the links between theories from different disciplines with the intention to develop a theory of a self that is continuously involved in processes of positioning, counter-positioning, and repositioning. The content of the 8 chapters of the book are summarized.

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46

Hazzard-Donald, Katrina. Prescript. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037290.003.0001.

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This book examines the sociocultural movement of Hoodoo in terms of its continuities with African religion. Hoodoo is the indigenous, herbal, healing, and supernatural-controlling spiritual folk tradition of the African American in the United States. Essentially, Hoodoo, for African Americans, is embodied historical memory linking them back through time to previous generations and ultimately to their African past. It is also a paradigm for approaching both the world and all areas of social life. This book offers a fresh perspective on Hoodoo development and a reinterpretative glimpse at contemporary as well as preexisting Hoodoo practice. It both asserts and assumes that the old Hoodoo religion was the African American “sacred canopy” and that certain aspects of black culture were once part of the old African American Hoodoo system. In this prescript, the author explains the process of his research that became the basis for the book.

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47

Jackson, Naomi M., Rebecca Pappas, and Toni Shapiro-Phim, eds. The Oxford Handbook of Jewishness and Dance. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780197519516.001.0001.

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The Oxford Handbook of Jewishness and Dance documents, critically analyzes, and celebrates the significant impact of Jewish dance artists and changing notions of Jewish identity on different communities and the dance field writ large. Responding to recent evolutions in religious and secular contexts, the volume focuses on North America, Europe, and Israel in the twentieth and twenty-first centuries. Building on a significant body of existing research, the Handbook focuses on the sometimes surprising, often hidden, and overlooked Jewish resonances within a range of styles (such as modern and postmodern dance, ballet, folk dance, and flamenco), amplifies marginalized voices (queer, African American, Ethiopian, and Yemenite), and considers the powerful role of dance in addressing difference (as between American and Israeli Jews). In the process, the over thirty chapters also advocate values of social justice, like Tikkun Olam (repair of the world), debate, and humor as the authors explore the fascinating and potentially uncomfortable contradictions and ambiguities that characterize the topic.

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48

Lange, Barbara Rose. Sampling and Commercialization in Danubian Trances and Boheme. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0010.

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Chapter 9 discusses the reuse of old recordings as an aspect of neoliberalism, examining Hungarian reactions to the ways that local and West European musicians sampled and processed recordings of folk music. The chapter contrasts two projects: the French duo Deep Forest’s album Boheme and Károly Cserepes’s album Danubian Trances: Mikroworld-ambient. Both projects remixed recordings of Hungarian and Romani (Gypsy) vernacular music. The chapter details how Hungarians treated Danubian Trances and some other local remixes as prestigious art music compositions. It outlines how Hungarians gave Boheme less prestige, viewing that album’s success as an instance of broader commercial exploitation of Central Europe by West European and multinational companies.

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49

(Editor), Andy Clark, and Peter Millican (Editor), eds. Connectionism, Concepts, and Folk Psychology: The Legacy of Alan Turing, Volume II (Mind Association Occasional Series). Oxford University Press, USA, 1997.

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50

Lange, Barbara Rose. Local Fusions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.001.0001.

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Local Fusions: Folk Music Experiments in Central Europe at the Millennium explores musical life in Hungary, Slovakia, and Austria between the end of the Cold War and the world financial crisis of 2008. It describes how artists made new social commentary and tried new ways of working together as the political and economic atmosphere changed. The book presents case studies from Budapest, Bratislava, and Vienna, drawing from ethnographic research and from conversations about the arts in Central European publications. The case studies illustrate how young musicians redefined a Central European history of elevating the arts by fusing poetry, local folk music, and other vernacular music with jazz, Asian music, art music, and electronic dance music. Their projects contradicted ethnic exclusions and gender asymmetries in Central Europe’s past expressive culture and in its present far-right political movements. The case studies demonstrate how musicians had to become skilled neoliberal actors, even as they asserted female power, broadened masculinities, and declared affinity with regional minorities such as the Romani (Gypsy) people. The author contrasts the live performances and physical recordings of world music 1.0 with the peer-to-peer networks of world music 2.0, arguing that Central European musicians occupy a liminal space between the two spheres. An epilogue describes how economic shocks of the late 2000s transformed sociality, creative processes, and the market for musical experiments in Central Europe.

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Books on the topic 'Folk process'

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