Journal articles on the topic 'Folk process'
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Ibragimov, Abdupatto Ahmadjonovich. "The process of improvement of folk instruments." Asian Journal of Research in Social Sciences and Humanities 11, no. 11 (2021): 401–6. http://dx.doi.org/10.5958/2249-7315.2021.00235.5.
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Babajeva, Ludmila. "THEORETICAL CONCEPT OF LEARNING PROCESS IN FOLK HIGH SCHOOL." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (May 9, 2015): 459. http://dx.doi.org/10.17770/sie2012vol1.73.
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<p>Folk high schools during last 160 years have been known for being unique nonformal education institutions with their own philosophical conception established by Danish philosopher N.F.S. Grundtvig (1783-1872). Founded as national consciousness and Danish culture supportive institutions, folk high schools in short time became centres of democracy. The main ideas of these conception – „living word”, „enlightenment”, „enliving”, „school for life”, „personal development” – have made these institutions as providers of personal enlightenment, development and self-realization, where students enlived their transformations through dimensions of body, feelings and mind.</p>
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Kornienko, E. R. "Folk Text in the Process of Foreign Language Learning." MGIMO Review of International Relations, no. 1(16) (February 28, 2011): 255–59. http://dx.doi.org/10.24833/2071-8160-2011-1-16-255-259.
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Bajic-Stojiljkovic, Vesna. "The process of shaping stage folk music through the prism of the development of folk dance choreography." Muzikologija, no. 33 (2022): 209–29. http://dx.doi.org/10.2298/muz2233209b.
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Understanding the historical processes in the shaping of stage folk music raises an important question about the application of traditional music in stage choreographic works. Since the 1930s in Serbia, the history of music and dance was cre?ated by prominent individuals, musicians and composers, initiated by the work of choreographers such as Maga Magazinovic, Russian artists, and later by many domestic performing artists gathered around cultural and artistic societies and the National ensemble ?Kolo?. In this article, all available data relevant for the consideration of stage folk music as a specific genre will be presented along with the stage folk dance, precisely through the form of folk dance choreography (FDC), whose developmental path was hinted at since the end of the 19th century. Defining and understanding dance music, that is, music for FDC, opens new horizons in re-examining the process of forming stage folk music in our region.
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MacLaury, Robert E. "Domain-specificity in folk biology and color categorization: Modularity versus global process." Behavioral and Brain Sciences 21, no. 4 (August 1998): 582–83. http://dx.doi.org/10.1017/s0140525x98361270.
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Universal ranks in folk biological taxonomy probably apply to taxonomies of cultural artifacts. We cannot call folk biological cognition domain-specific and modular. Color categorization may manifest unique organization, which would result from known neurology and the nature of color as an attribute. But folk biology does not adduce equivalent evidence. A global process of increasing differentiation similarly affects folk taxonomy, color categorization, and other practices germane to Atran's anthropology of science; this is beclouded by claims of specificity and modularity.
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Khakimyanova, Aigul M. "EXISTENCE OF BASHKIR FOLK TAKMAKS IN THE POST-FOLK SPACE." Folklore: structure, typology, semiotics 5, no. 2 (2022): 56–72. http://dx.doi.org/10.28995/2658-5294-2022-5-2-56-72.
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The article examines the current state of the Bashkir folk takmaks. The specificity of this genre as a fact of folklore dynamics is revealed: takmaks occupy a stable position and successfully evolve. Thanks to various competitions of takmak performers held in the republic, in addition to the previously existing ones, more and more new couplets are being composed. They are distinguished by an extraordinary breadth of topics, a direct orientation towards a real-life situation and a fundamentally evaluative nature of the content. In the light of recent events, new takmaks are being written on the topic of a pandemic, covid 19, self-isolation, distance learning for children, etc. If earlier takmaks were created and performed mainly by young people, now the bearers of the genre are elderly and middle-aged people. In the post-folklore space, takmaks exist and are distributed not only orally, but also in writing, in the dissemination of which folklore ensembles and amateur groups play an important role. Placing the texts of traditional takmaks on the Internet is also a process not only of archiving, but also of being and popularization with the help of Internet technologies.
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Qosimjon Qizi, Olimova Nilufar. "Promotion Technology Of Primary School Students Through Folk Oral Creativity." American Journal of Social Science and Education Innovations 02, no. 11 (November 30, 2020): 448–52. http://dx.doi.org/10.37547/tajssei/volume02issue11-75.
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Speech is the process of speaking and its outcome. In fact, speech is one of the highest, most complex, spiritual tasks of man. A specific function of a person that emerges in the process of social work as a means of communication between people. Man perceives objects and events in the external world with the help of his senses and through speech.
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Sentevska, Irena. "All that turban-folk: Orientalism and neo-folk music in Serbia." Bulletin de l'Institut etnographique 68, no. 3 (2020): 641–60. http://dx.doi.org/10.2298/gei2003641s.
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In this paper I look at the ?oriental controversy? of the neo-folk music in Serbia, focusing on the changes in the perception of the longstanding Serbian-Bosnian ensemble Juzni vetar (Southern Wind) in the academic circles, media and various segments of the music industry. The affirmative attitude towards the performers and music legacy of Juzni vetar, which has in recent years gradually entered the media from the alternative (non-commercial) music and art circles, may be observed in the context of the contemporary globalized music industry which constantly challenges orientalist assumptions and divisions between East and West. The key turning point in this process is the newly-embraced understanding of Juzni vetar (and ?turban-folk? in general) as part of Serbia?s cultural heritage. Using a representative sample of academic and media comments, in this paper I shed some light on the shifts in the reception of Juzni vetar primarily as an indication of the wider changes in the reception of the Ottoman legacy and contemporary influences of the ?Orient? in the contemporary Serbian culture, not excluding the wider context of Southeastern Europe.
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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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Zabbarova, Marina G. "Cultivating Interest in Folk Culture in Elementary School Students." Volga Region Pedagogical Search 2, no. 40 (2022): 70–77. http://dx.doi.org/10.33065/2307-1052-2022-2-40-70-77.
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. The article presents an analysis of the concepts of “folk culture”, “cultivating interest in folk culture”. The relevance of the issue of cultivating the interest of younger students in folk culture is revealed. The role of folklore in the development of folk culture, as well as the educational potential of one of its genres, a folk tale, are substantiated. The theoretical justification and practical experience on the use of folklore works in the educational process of elementary school through the implementation of pedagogical technologies in the process of designing extracurricular activities (games, computer, group activities) is presented.
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Singh Patel, Anand. "FOLK ARTS OF BARELA TRIBE." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 165–71. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3730.
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Tribal traditional arts are associated with some rituals and festivals. The arts prevalent in the folk, which involve deep process and growth of rituals, are folk arts that should be made as demonstrators. The display has full potential. They should try to give a demonstrative look.
आदिवासी पारम्परिक कलाएँ किसी न किसी अनुष्ठान और पर्व.उत्सव से जुड़ी रहती है।लोक में प्रचलित कलाएँ जिनमें अनुष्ठान की गहरी प्रक्रिया और वृद्धि निहित होती है ऐसी लोक कलाएँ जो प्रदर्शनकारी के रूप में बनायी जानी चाहिए।ऐसी विधाएँ जिनमें अनुष्ठान बहुत कम हैं जिनमें प्रदर्शन की पूरी क्षमता है। उन्हें ही प्रदर्शनकारी रूप देने का प्रयास करना चाहिए।
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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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E. Kashekova, Irina, ., and . "Pedagogical Potential of the Folk Calendar in the Educational Process of Primary School." International Journal of Engineering & Technology 7, no. 4.38 (December 3, 2018): 231. http://dx.doi.org/10.14419/ijet.v7i4.38.24451.
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The article reveals the possibilities of improving the quality of education in the context of an interdisciplinary integrated approach to learning based on immersion in traditional culture and mastering a universal complex of folk calendar, which possesses a striking pedagogical potential in the formation of a holistic view of the world, the development of strategic and associative thinking, and instilling of environmental culture of the individual. The pedagogical potential of the folk calendar is an optimal complex that integrates into education various fields of knowledge, such as natural cycles and phenomena, geographical features of the area and the encompassing landscape, local historical collisions, customs and folklore, folk beliefs and fairy tales, and the specifics of folk ornaments decorating household items and tools of trade. The study of the folk calendar complex in primary or basic school makes it possible providing a holistic presentation of learning material scattered in different subjects. Integrating the content of subjects studying the world around us, such as mathematics, literary reading, the Russian language, visual arts, music, and technology will help the child to understand not only the diversity and richness of the world, but also the existing interconnections. At the same time, games, proverbs, sayings, bright and expressive folklore images, images of mythological characters will cause interest of the child, and thus help him to master new information on various subjects at the emotionally positive background.
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Huang, Sabrina Angela, Jeffrey Hancock, and Stephanie Tom Tong. "Folk Theories of Online Dating: Exploring People’s Beliefs About the Online Dating Process and Online Dating Algorithms." Social Media + Society 8, no. 2 (April 2022): 205630512210895. http://dx.doi.org/10.1177/20563051221089561.
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How do online daters come to understand and make sense of their online dating experiences and the algorithms that underlie online dating platforms? Across two mixed-method studies, we take a metaphoric approach to identify and explore people’s folk theories about traditional dating, online dating, and online dating algorithms. In Study 1, we take a quantitative approach and use an innovative wiki-survey procedure to identify individuals’ folk theories of online dating and their associated themes through content analyses. In Study 2, we take a qualitative approach, exploring participants’ folk theories through in-depth interviews, extended case method, and grounded theory. Our studies uncovered two folk theories unique to traditional dating ( movies, nurturing), one folk theory unique to online dating ( game), three folk theories related to online dating algorithms ( filter, personalized advertisements, bracket), and two folk theories that were found to overlap between traditional and online dating ( shopping, chance and randomness). Our findings provide novel insights into how daters make sense of traditional and online relationship development processes as well as the algorithms that underlie online dating platforms.
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Davies, Malcolm. "Stesichorus'Geryoneisand its Folk-tale Origins." Classical Quarterly 38, no. 2 (December 1988): 277–90. http://dx.doi.org/10.1017/s0009838800036946.
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‘More light is thrown on the poetic art of Stesichorus by the papyrus-text of hisGeryoneisthan by all his other fragments together.’ This verdict continues to be as true now as when it was first enunciated. But we are also in the fortunate position of being able to infer much of value about what we may term the pre-history of the legend which the poet took as the basis for his composition. And a key document within this process turns out to be a text that is not preserved upon papyrus, that is not, indeed, included as part of any edition of the poet, and which has been the object of some very serious misconceptions. The relevant section consists of a phrase only three words long, but it is difficult to underestimate their importance, once they are rightly understood.
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Watzatka, Ágnes. "Congregational Hymns in Folk Memory." Roczniki Humanistyczne 70, no. 12 (December 29, 2022): 35–51. http://dx.doi.org/10.18290/rh227012.3.
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Congregational hymns are usually composed by priests or cantors. Hymns are transmitted via congregational singing and they often become the anonymous common property of the whole congregation. In Hungarian villages many congregational hymns were adapted by the local people. These hymns were sung in the same “local” style as the folksongs (with free rhythm and rich ornamentation). Hungarian musicologists have collected hymns from the 16th and 17th centuries in rural areas. During the process of assimilation, the melodies were slightly, or sometimes significantly, modified. This occurred as a consequence of the tonal difference between the hymns, composed mostly in major-minor tonalities, and Hungarian folksongs, which predominantly use old modes. The results of this collection of folklorized hymns were used in the compilation of a new hymnal in which the editors published the contemporary folk versions of many old hymns.
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Kico, Iris, and Fotis Liarokapis. "Investigating the Learning Process of Folk Dances Using Mobile Augmented Reality." Applied Sciences 10, no. 2 (January 14, 2020): 599. http://dx.doi.org/10.3390/app10020599.
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Learning how to dance is not an easy task and traditional teaching methods are the main approach. Digital technologies (such as video recordings of dances) have already been successfully used in combination with the traditional methods. However, there are other emerging technologies such as virtual and augmented reality that have the potential of providing greater assistance, in order to speed up the process as well as assisting the learners. This paper presents a prototype mobile augmented reality application for assisting the process of learning folk dances. Initially, a folk dance was digitized based on recordings from professional dancers. Avatar representations (of either male or female) are synchronized with the digital representation of the dance. To assess the effectiveness of mobile augmented reality, it was comparatively evaluated with a large back-projection system in laboratory conditions. Twenty healthy participants took part in the study, and their movements were captured using motion capture system and then compared with the recordings from the professional dancers. Experimental results indicate that augmented reality (AR) application has the potential to be used for learning process.
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Lumer, Robert. "Pete Seeger and the attempt to revive the folk music process." Popular Music and Society 15, no. 1 (March 1991): 45–58. http://dx.doi.org/10.1080/03007769108591422.
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Hughes, A. J., Bo Almqvist, Séamas Ó. Catháin, and Pádraig Ó. hÉalaí. "The Heroic Process: The Form, Function & Fantasy in Folk Epic." Seanchas Ardmhacha: Journal of the Armagh Diocesan Historical Society 13, no. 2 (1989): 332. http://dx.doi.org/10.2307/29742415.
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Nabok, Maryna. "Ukrainian National Dumas: National Perceptions in the Process of Intercultural Communication." PSYCHOLINGUISTICS 24, no. 2 (October 3, 2018): 198–217. http://dx.doi.org/10.31470/2309-1797-2018-24-2-198-217.
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The article presents the results of empirical research on ethnopsychological groups of people living in different regions of Ukraine in the context of intercultural ideological systems. In particular, residents of Ukraine and foreign students from Africa and Middle East, which study at Sumy State University, were invited to share their impressions from the listened dumas, performed by Canadian bandurist Victor Mishalow during his concert tour in Ukraine. They also watched and listened to video recordings of such folk dumas as «Cossack Golota», «Marusya Boguslavka» performed by kobzar Mykola Budnyk and bandura player Fedir Zharko. Students analyzed the characters’ images, expressed their understanding and attitude to characters’ actions and compared them with the national heroes of their own countries.
The national peculiarities of the worldview of Ukrainians, representatives of Africa and the Middle East expressed in their language are defined. The language itself is the core of people’s psyche, way of thinking, and identity of ethnic group’s moral and ethical norms of life. The analysis of folk art helps to emphasize the peculiarity of foreign students’ perception of words, rhythm, music, and the symbolic system of folk poetic works. Author notes that the psychological of figurative system of Ukrainian dumas and folk songs of the mentioned peoples has a purely national color: it is a category of national outlook and at the same time is a artistic and aesthetic category.
The solution of these problems forms an understanding of the specific of national characters and the national world in folk poetic works of the peoples of Africa, the Middle East and Ukrainian folk dumas, which is the main purpose of the study and its novelty, because such typological comparisons are investigated for the first time.
These experimental studies, the development of the ideas of dumas studies and studies on a national character, the peculiarities of a national world perception, world outlook and world expression have substantiated the need for a deeper study of Ukrainian dumas’ role in the formation of the national personality during intercultural communication.
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Citra Amelia Sudiyati. "INQUIRY METHOD ANALYSIS IN PROCESS LEARNING OF PEOPLE'S POETRY." Jurnal Disastri (Jurnal Pendidikan Bahasa dan Sastra Indonesia) 3, no. 2 (August 17, 2021): 57–66. http://dx.doi.org/10.33752/disastri.v3i2.1776.
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In an education, learning is supported by various methods, media, and learning models to improve the quality of learning. In this article, the author only focuses on one example of the method used to assist the teaching and learning process. The method is a way whose function is as a tool to achieve a goal. The better the method, the more effective the attainment of the goal. This writing aims to describe the inquiry method regarding the strengths and weaknesses in the process of learning folk poetry and the reconstruction of the inquiry method in the process of learning folk poetry. This writing is a non-research scientific article, where only the author's ideas are expressed. Compiled from several theories such as learning folk poetry, learning methods, learning methods in the 2013 curriculum, and related to inquiry learning methods. The results of this paper are found the weaknesses and strengths of the inquiry method in learning poetry and the weaknesses are reconstructed to make it better or more effective.
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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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Galkina, Marina. "Traditions of folk culture and education." E3S Web of Conferences 284 (2021): 08015. http://dx.doi.org/10.1051/e3sconf/202128408015.
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The research on problems on preserving identity of tradition folk art and craft for strategic objective to design modern methods and tools in order to contribute to the creation of an education process. Experience was acquired in conducting relevant large-scale festivals, competitions, science conferences clearly demonstrated the younger generations growing ability in ownership to provide effective Russian Art cultural. Increased attention to realize workshops with Folk art and craft in the Moscow region system of additional education indicated positive dynamic for introducing teachers and children’s through period 2010-2020 years. It is notable for protection cultural historical heritage areas of Moscow region, which directed towards traditional Russian decorative Art especially over the past years.
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Oparina, Nina A., Ulyana V. Nedelnitsyna, Irina D. Levina, Olga V. Maltseva, and Maria G. Kaitandjyan. "Peculiarities of personality formation and creative education of children through folk dance." LAPLAGE EM REVISTA 7, Extra-D (July 22, 2021): 582–92. http://dx.doi.org/10.24115/s2446-622020217extra-d1141p.582-592.
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The article emphasizes that today the priority is given to the spiritual, moral and creative education of children of primary school age. The process of forming a highly moral personality occurs, on the one hand, in the process of family upbringing, on the other, in the course of the educational process. Cultural traditions and folk art contribute to the formation and development of personality. Folk dance, being an important choreographic direction, is one of the means that support socio-cultural traditions and folk art in society. Folk dance as a means of personality formation and creative education of children performs a number of specific functions: aesthetic, ethnocultural, self-control, self-education, self-organization, self-esteem, physical activity. These functions contribute to the development of the creative abilities of the personality of children of primary school age; arouse interest in the specifics of folk culture; provide an opportunity for a constructive release of energy; satisfy the personal needs of children for a holiday, a show, a game.
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Pasquale, Michael. "Folk beliefs about second language learning and teaching." AILA Review 24 (December 21, 2011): 88–99. http://dx.doi.org/10.1075/aila.24.07pas.
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What do students and teachers believe about the second language learning process? What if these beliefs are in conflict with each other or with prevailing applied linguistic theories? These are the types of questions that are investigated within folk linguistic research. Some researchers have taken a quantitative approach that relied on questionnaires (e.g., Horwitz 1985), while others have delved into the cognitive foundations of beliefs (e.g., Woods 2003). Lastly, some have used discoursal approaches which use discourse analytic (e.g., Pasquale & Preston, forthcoming) and culturally contextualized approaches (e.g., Barcelos 1995) suggesting that folk belief is a dynamic process. Therefore, a discoursal approach may provide insights into respondents’ reasoning rather than what might be considered more static domains of belief.
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Chen, Jing, Fang Wang, and Jia Ping Liu. "The Research of Folk House Development in Lhasa Area." Applied Mechanics and Materials 357-360 (August 2013): 33–38. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.33.
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Lhasa region's special natural environment makes a unique form of regional folk house. Because of the external culture influence, the form of traditional folk house is continuous improvement. The traditional independence Tibetan folk house is reducing in the Lhasa city. In this situation, the author and his research team had surveyed and tested different types folk houses in the Lhasa city and surrounding areas. Through comparing the spatial characteristics among the traditional Tibetan folk house, contemporary Tibetan folk house and contemporary unit resident building, and this paper analysis the problems faced by each folk house in the development process and extracts the successful experiences from them. That can be used to guide future local residential architectural design.
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Yurdanidze, Mehrali Kholisovich. "FORMATION OF NATIONAL CONSCIOUSNESS THROUGH TEACHING UZBEK FOLK APPLIED ART TO STUDENTS." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 12 (December 1, 2021): 110–14. http://dx.doi.org/10.37547/pedagogics-crjp-02-12-22.
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The article gives a brief history of the development of folk arts and crafts, their stages and current significance. Besides the educational process, the students will study the folk arts and crafts, which are an integral part of our national cultural and spiritual heritage, as well as discuss the existing opportunities and shortcomings. It's done. Teaching students the applied decorative arts, their respect for the rich cultural and spiritual heritage of our people, the formation of our national identity in the minds of young people, their responsibility to preserve our increasingly forgotten values, contributes to the formation of.
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Varlamov, Dmitri I. "The Process of Academization of the Art of Russian Folk Instrumental Music." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (June 2019): 29–37. http://dx.doi.org/10.17674/1997-0854.2019.2.029-037.
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Parks, Fayth M. "The Role of African American Folk Beliefs in the Modern Therapeutic Process." Clinical Psychology: Science and Practice 10, no. 4 (May 11, 2006): 456–67. http://dx.doi.org/10.1093/clipsy.bpg046.
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Vesic, Ivana. "Radio Belgrade in the process of creating symbolic boundaries: The example of the folk music program between the Two World Wars (1929-1940)." Muzikologija, no. 14 (2013): 31–55. http://dx.doi.org/10.2298/muz1314031v.
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This article deals with the process of creation of symbolic boundaries in the context of designing the folk music programs at Radio Belgrade since its foundation until the beginning of World War Two. A detailed insight into the musical contents aired on Radio Belgrade, the texts on folk music published in the radio weekly magazine (Radio Belgrade), and the preserved memoirs, with an emphasis on their broader socio-cultural and socio-political significance, has enabled me to single out the factors and mechanisms that played a key role in defining the boundaries of folk music. I will analyse the work of different editorial teams before World War Two; at the same time, I will consider the tastes and cultural preferences of the subscribers and listeners of the Radio Belgrade programs. By means of crossing out specific aesthetic, political and economical positions of radio editors and experts who designed the folk music program with the expectations of listeners and, to an extent, performers of folk music, I will attempt to explain how the process of symbolical demarcation of folk music as a separate entity, different from art and popular music, took place; but also, how the folk music broadcast on the radio related to the Serbian folk musical practices.
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John, S. Simon. "Human Body, Folk Narratives and Rituals." Paragrana 18, no. 1 (September 2009): 221–39. http://dx.doi.org/10.1524/para.2009.0014.
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AbstractThe socio-cultural construction of human body differs from the biological construction, and the body is seen as an existential basis of human interaction within given social, cultural, political and environmental conditions. Human body is not only an organic object but also a cultural object and it is constantly being altered by natural and cultural process. Every folk society has its own traditional understanding of the concepts of 'body′, 'self′, 'soul′ and 'agency′ and several rituals are performed in order to heal, purify and transform the body. Rituals are one mode of cultural praxis through which bodies, knowledge, powers, agency and selves have been repositioned through practice. This study is an effort to understand the socio- cultural construction of human body with special reference to 'rituals′ that are performed in folk religious practices in Tamil Nadu, South India. How human body is culturally professed, purified, transformed and healed through rituals is the important subject matter of this paper.
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Xiao, Jin Rong. "The Garment Dyeing Technology and Folk Culture of Wuling Miao-Yao Branch." Advanced Materials Research 1048 (October 2014): 322–27. http://dx.doi.org/10.4028/www.scientific.net/amr.1048.322.
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This paper studies the clothing color and dyeing technology of Wu Ling Miao-Yao, and discussing its relevant folk culture. From the perspective of geographical and climatic conditions, analysis the dyeing of raw material on the Miao Yao languages colored clothing. From the view of folk custom and technology, analysis the characteristics of garment dyeing technology and the process flow, especially the process of blue dress color which represents the main color of clothing, through the one by one explaining of the preparation of dyes, dye, indigo dyeing, after preparation consolidation of color, summing up the folk culture connotation of clothing color, aiming at exploring the plant dye resources, protecting the traditional folk culture, maintain the sustainable development of ecological environment.
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Babajeva, Ludmila, and Tatjana Koķe. "LEARNING FOR PERSONAL DEVELOPMENT IN FOLK HIGH SCHOOLS." Problems of Education in the 21st Century 55, no. 1 (July 10, 2013): 28–44. http://dx.doi.org/10.33225/pec/13.55.28.
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Nowadays in the field of andragogy, there is a significant transition from learning as a merely cognitive phenomenon to a more comprehensive approach, defining learning as a process of whole person development. Thus this study has its focus on sharing the experience of good practice for promoting adults’ personal development at six folk high schools in Latvia and Denmark. Observations have taken place since June 2011 till December 2012. All in all fifty six days of formal and informal activities were transcribed as field notes within different subjects as Danish, Latvian, Pottery, Philosophy, Self-development, Music, Yoga, Diet class etc. Data analysis were provided by AQUAD 6.0 (Huber, 2003) using mix-methods approach, combining conceptual codes and open coding. Main results show, that the most appropriate pedagogical circumstances of learning for personal development are those, where adults can develop themselves through body, mind and emotional activity and where 1) person has been treated as a value him/herself, 2) person’s values are the main focus and 3) high-/democratic values fulfil study process. Key words: adult learning, folk high school, personal development.
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Yarmola, Victoriya. "Ergology of Western Polissian folk reed pipes." Ethnomusic 14, no. 1 (2018): 104–31. http://dx.doi.org/10.33398/2523-4846-2018-14-104-131.
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In the publication, a technological system of traditional whistling reed pipes produced by folk artists, widespread in Western Polissia, is revealed for the first time in a step-by-step process. The proposed exploration is based on its expeditionary records and material collected by various folklorists and employ- ees of Kyiv and Lviv research institutions, as well as some literary sources. 131 The existence of three types of nozzle instruments, the names of which correspond to the methods of their production: a pipe made from bark, a vykrutka and kolianka are established. Western Polissian folk reed pipes belong to the type of longitudinal whis- tle flutes with an internal cleft formed by the insertion of the whistling device at the upper end of the tube, and with holes placed on the front, sometimes on the back of the instrument. Whistle airphones have specific production features, according to the age group of masters: shepherd children, teens and adults. The easiest to manufacture among the discovered pipe instruments are ones made of bark, which had been previously removed from the branches of bush trees. In the process of removing the bark shepherds told special spells, which were recorded by the author on the researched area. The following two types of tools were made of wood: a kolianka in the form of a longitudinal splitting of the branch into two equal parts, a vykrutka - a screwing out the core of pine wood, which required a masters knowledge of certain empirical and professional skills. The folk pipe instruments played the role of a musical instrument, which corresponded to the individual artistic and aesthetic test of the flute maker and served as an integral part of the Polisian shepherd's everyday life
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DeVito, Michael Ann. "Adaptive Folk Theorization as a Path to Algorithmic Literacy on Changing Platforms." Proceedings of the ACM on Human-Computer Interaction 5, CSCW2 (October 13, 2021): 1–38. http://dx.doi.org/10.1145/3476080.
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The increased importance of opaque, algorithmically-driven social platforms (e.g., Facebook, YouTube) to everyday users as a medium for self-presentation effectively requires users to speculate on how platforms work in order to decide how to behave to achieve their self-presentation goals. This speculation takes the form of folk theorization. Because platforms constantly change, users must constantly re-evaluate their folk theories. Based on an Asynchronous Remote Community study of LGBTQ+ social platform users with heightened self-presentation concerns, I present an updated model of the folk theorization process to account for platform change. Moreover, I find that both the complexity of the user's folk theorization and their overall relationship with the platform impact this theorization process, and present new concepts for examining and classifying these elements: theorization complexity level and perceived platform spirit. I conclude by proposing a folk theorization-based path towards an extensible algorithmic literacy that would support users in ongoing theorization.
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Şuşu, Petre. "2. On the Educational Potential of Folk Dance." Review of Artistic Education 15, no. 1 (March 1, 2018): 127–50. http://dx.doi.org/10.2478/rae-2018-0013.
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Abstract Folk dance, described in Folkloristics through notions like traditional dance, or, more often, folk choreography, refers to a specific domain of traditional spirituality, and is the third major component of folklore, alongside traditional literature/literary folklore and traditional music/musical folklore.The relation between folk dance and the Romanian education system is a long-lasting one, having taken various forms and degrees of intensity, as this folklore category offers resources and contents that have been used, and still are, in the education of children, youth, and adults. This article refers to the basic components of folk dance distinguished in Ethnochoreology which can offer useful contents to the process of didactic transposition at different levels of education in the Romanian school.
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Atiq, Emad H. "How Folk Beliefs about Free Will Influence Sentencing." New Criminal Law Review 16, no. 3 (2013): 449–93. http://dx.doi.org/10.1525/nclr.2013.16.3.449.
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Do recent results in neuroscience and psychology that portray our choices as predetermined threaten to undermine the assumptions about “free will” that drive criminal law? This article answers in the affirmative, and offers a novel argument for the transformative import of modern science. It also explains why a revision in the law’s assumptions is morally desirable. Problematic assumptions about free will have a role to play in criminal law not because they underlie substantive legal doctrine or retributive theory, but because everyday actors in the sentencing process are authorized to make irreducibly moral determinations outside of the ordinary doctrinal framework. Jurors, judges, and legislators are each required, at key points in the sentencing process, to make moral judgments that cannot be reached without reference to the person’s own understanding of free will. As a result, sentencing actors give legal effect to widely held folk beliefs about free will—beliefs that the evidence suggests are both scientifically suspect and morally distorting. The relevant beliefs make adjudicators less likely to attend to the underlying causes of crime, such as social deprivation—a tendency that biases adjudicators against relevant arguments for mitigation in sentencing. Modern science could have an important corrective effect in this context.
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Pisk, Marjeta. "ROKOPISNE PESMARICE – MED RELIGIOZNIM IN LJUDSKIMMANUSCRIPT SONGBOOKS: BETWEEN RELIGIOUS AND FOLK." Traditiones 48, no. 2 (June 28, 2019): 69–95. http://dx.doi.org/10.3986/traditio2019480204.
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Rokopisne pesmarice so pomemben, a premalo upoštevan vir raziskovanja cerkvenih in ljudskih nabožnih pesmi ter procesa ponarodevanja avtorskih pesmi. V članku so analizirani vzroki za nezanimanje raziskovalcev za to področje in predstavljene dileme žanrskega razmejevanja v rokopisnih pesmaricah, v katerih so zapisane tako avtorske cerkvene kot ljudske pesmi. Vprašanja razmerij med institucionalno religioznim in ljudskim dopolnjujejo prepletanja med pisnim in ustnim.***Manuscript songbooks as a very important source have only partly been taken into account in research on church songs and religious folk songs and in the process of folklorization of art songs. This article analyzes the reasons for researchers’ lack of interest of in this topic, and it presents the problems of genre demarcation in manuscript songbooks, which contain both church songs and folk songs. Discussion of the relations between institutional religious and folk elements are complemented by the interplay between written and oral material.
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Nual Velez, Maria Cristal. "Folk Healing Narratives: A Grounded Theory." Journal of English Education and Linguistics 2, no. 1 (June 12, 2021): 93–110. http://dx.doi.org/10.56874/jeel.v2i1.407.
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This study collected, transcribed, translated, and categorized the folk healing narratives from Magarao, Camarines Sur to reveal the shared meanings and derived a theory about them. The researcher used descriptive method to describe the existing folk healing narratives and contact method was used in gathering the data then followed the process of Grounded Theory Method. The collected narratives from the nine (9) folk healers were classified into four (4) categories namely; pagbulong sa paagi kan gabay (healing through the help of supernatural being), pagbulong sa paagi kan ritwal (healing through rituals), pagbulong sa paagi kan pagsanib (healing through possession), and pagbulong sa paagi kan namanang kaaraman (healing through acquired knowledge). From the categories of folk healing narratives, the researcher extracted the shared meanings that resulted to the four (4) stages of folk healing: pag-apod (calling), pag-isi (knowing), pag-umay (healing), and pag-arang (offering). This study concluded that for folk healers to perform folk healing, they combine their skills and gift of healing that was endowed to them by the Supreme Being. The extracted shared meanings reflect how people who adhere to folk healing view the world; this is because of their similarities in experiences. Shared meanings which are present in these modern times can be traced back from the practices and beliefs of the ancient Bikolanos reflected in the Bikol literature. This study recommends the future researchers to conduct similar studies specifically in the shared meanings and practices in the other aspects of the society
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Kutintara, Pusadee. "Learning Process and Transmission of Folk Wisdom in Pottery Making in Nonthaburi, Thailand." International Journal of Learning: Annual Review 12, no. 8 (2007): 107–12. http://dx.doi.org/10.18848/1447-9494/cgp/v14i08/45417.
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Phon-ngam, Patthira. "A Process of Transformation Folk Medicine‘s Wisdom on Herb Using for Communities‘s Treatment." INTERNATIONAL JOURNAL OF COMPUTING ALGORITHM 2, no. 1 (June 14, 2013): 1–6. http://dx.doi.org/10.20894/ijcoa.101.002.001.001.
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Qoşqar qızı Rəsulova, Elnarə. "Providing theoretical knowledge on folk art in the process of teaching fine arts." SCIENTIFIC WORK 75, no. 2 (February 18, 2022): 112–16. http://dx.doi.org/10.36719/2663-4619/75/112-116.
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Təsviri incəsənət fənninin tədrisində, sinif-dərs prosesində göstərilən istiqamətlərdə şagirdlərə müvafiq məlumatların verilməsi. Onların rəsmetmə fəaliyyəti ilə üzvi şəkildə əlaqələndirilməsi indiki dövrdə təsviri incəsənət tədrisi üzrə qarşıda duran və müntəzəm, sistemlə həyata keçirilən vəzifələrdən sayılır. Buna görə də V-IX siniflərin təsviri incəsənət dərslərində şagirdlərin bədii-estetik zövqünü, rəsmetmə qabiliyyətlərini inkişaf etdirmək üçün yeri gəldikcə xalq yaradıcılığının geniş yayılan nümunələrinə istinad edilməlidir. Müxtəlif formalı xalq yaradıcılığı nümunələri öz növbəsində müxtəlif qəbildən olan insanların estetik tələbatını ödəmək baxımından da mühüm əhəmiyyət kəsb etmişdir. Belə ki, bədii tikmə, xalçaçılıq və s. vasitəsilə meydana çıxarılan sənət nümunələri əsrlərdən-əsrlərə, nəsillərdən-nəsillərə keçərək xalq sənətkarlarının peşə məharətini, bədii-estetik zövqünü nümayiş etdirmişdir. Belə bir mövqe eyni zamanda ayrı-ayrı növ və janrlardakı nümunələrin əsas mahiyyəti, ifadə vasitələri, xarakterik xüsusiyyətləri haqqında düzgün biliyə, təsəvvürə malik olmaq zərurətini qarşıya qoyur. Açar sözlər: təsviri incəsənət, incəsənət və sənətkarlıq, folklor nümunələri, növ və janrlar, bədii fəaliyyət, estetik hisslər Elnara Goshgar Rasulova Providing theoretical knowledge on folk art in the process of teaching fine arts Summary To provide relevant information to students in the teaching of fine arts, in the areas indicated in the classroom. Organically linking them with drawing activities is one of the forthcoming and regular, systematic tasks in the teaching of fine arts. Therefore, in order to develop students' artistic and aesthetic taste and drawing skills in the fine arts classes of V-IX grades, it is necessary to refer to the widespread examples of folk art. Examples of different forms of folk art, in turn, were important in terms of meeting the aesthetic needs of different types of people. Thus, artistic embroidery, carpet weaving, etc. The works of art created by Such a position also emphasizes the need to have accurate knowledge and imagination about the essence, means of expression, characteristics of examples of different types and genres. Key words:fine art, arts and crafts, folklore patterns, look and genres, artistic activity, aesthetic feelings
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Henry, Edward O. "Folk Song Genres and Their Melodies in India: Music Use and Genre Process." Asian Music 31, no. 2 (2000): 71. http://dx.doi.org/10.2307/834398.
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Nilu, Kamaluddin. "Democratisation Process in Interculturalism: Staging Ibsen within a Folk Theatrical form in Bangladesh." Ibsen Studies 14, no. 1 (January 2, 2014): 38–51. http://dx.doi.org/10.1080/15021866.2014.937153.
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Darkembayeva, A., and L. Butabayeva. "The importance of forming the moral values of visually impaired children through folk music." Pedagogy and Psychology 49, no. 4 (December 15, 2021): 253–64. http://dx.doi.org/10.51889/2021-4.2077-6861.30.
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This article discusses the important role and educational significance of folk music in the formation of moral values of visually impaired children. The purpose of the article is to show the importance of using folk music in the formation of moral values among students and identify ways to use it in the process of teaching and upbringing. Based on the opinions of researchers, recommendations are given on the formation and development of moral values among visually impaired primary school pupils. The practical part of the article presents the results of a survey conducted to determine learners' interest in folk music. The results of the survey made it possible to make recommendations related to the use of folk music in the educational process. According to the survey, learners showed a much lower interest in folk music than in modern music. The authors emphasize that it is necessary to pay special attention to the importance of using folk music in the formation of moral qualities in order to educate a generation that is a true patriot, who has absorbed the National Music and spiritual heritage of his nation. Therefore, if we reveal the educational significance of folk music in the formation of moral values and determine the importance of its inclusion in the educational process of visually impaired pupils, tomorrow's generation will grow up to be a humane, patriotic citizen who has absorbed national values.
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Melnyk, Liudmyla, Olena Kyzymchuk, and Liudmyla Zubkova. "Ukrainian Folk Ornaments in Modern Knitting." TEKSTILEC 64, no. 2 (March 27, 2021): 84–95. http://dx.doi.org/10.14502/tekstilec2021.64.84-95.
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National arts and crafts are not only the skills of an individual nation but an ethnic phenomenon that has unique features and serves as a source of information on national history and culture. Decorative and applied art in Ukraine combines the traditions and techniques of manufacturing and decoration, which have been developed and passed down from generation to generation. It has a clear national identity and numerous regional differ¬ences in ornamental motifs, compositions and favourite colours. Therefore, the Ukrainian folk art has a significant potential and is a source of ideas in creating modern clothing as well as interior items. Embroidery as a way of creating ornamental motifs on a textile material using various techniques is a common process for decorating clothes and interiors for the Ukrainians. Today, ornamental compositions of embroidered folk textiles could be transmitted into modern clothes using various technologies. However, the use of a knitting machine allows creating a pattern during the item production. The ornament transformation into a pattern for knitting can be carried out with graphic software by creating a grid with a cell size similar to the loop size of a knitted structure for corresponding interlooping. A number of clothing and interior items with ethnic motifs was created using the capabilities of flat knitting machines within the masters programme “Knitting Technology and Design” at the Textile Technology and Design Department of the Kyiv National University of Technologies and Design.
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Gasharova, Aida Ruslanovna. "EDUCATIONAL AND COGNITIVE VALUE OF LEZGIN FOLK RIDDLES." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 22 (June 15, 2020): 57–60. http://dx.doi.org/10.31029/vestiyali22/8.
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The article considers the role of Lezgin folk riddles in the educational process. A distinctive feature of riddles as a folklore genre is the exceptional power of emotional impact on the listener. Initially, they developed and were popular among adults, but gradually moved into the category of genres of children's folklore. Their educational and cognitive value lies in the intellectual development and learning function of children of preschool and primary school age. In this regard the study of riddles has a scientific and practical-pedagogical value.
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Muhamedova, Galina. "Methodological Aspects of Studying Uzbek Folk Songs in the Academic Singing Class." Eurasian music science journal, no. 2 (November 4, 2021): 37–43. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_2/67.
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In the educational process of training a young vocalist, it is planned to study and master the most diverse repertoire, which includes Baroque arias, romantic music of the XIX century, and works by modern composers. Folk songs are also an integral part of the educational process. In the performance of folk songs, the best qualities of the singer's voice, his timbre, musicality, possession of national melismatics are revealed.
In the work "Methodological aspects of studying Uzbek folk songs in the academic singing class", the features of the structure of Uzbek folk songs, such as "Barnolarning barnosi" (The beauty of beauties), "Intizor etding meni" (I yearned for you), “Gul yuz uzra” (Delicate and charming face), “Sayyora” (Planet), "Chaman Ichra" (In the garden), “Kaylarga boray?” (Where should I go?) are considered, a detailed performance-theoretical analysis of some of them is carried out, educational and methodological recommendations are given for young vocalists-performers.
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Kravtsova, I. A. "CRITERIA FOR SELECTION OF THE UKRAINIAN FOLK TALE IN PRIMARY SCHOOL." Educational Dimension 20 (June 13, 2022): 371–77. http://dx.doi.org/10.31812/educdim.6614.
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The article reveals the role of a folk fairy-tale in the process of forming younger school-children’s morality. The folklore genre is characterized as an effective means for humanistic upbringing of children. The author gives the criteria to follow when choosing folk fairy-tales to form moral-and-ethical feelings of primary classes pupils.
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Chernushevich, V. A., E. A. Kupriyanova, and E. I. Bobryshova. "Folk national culture as a means of forming norms of communication in childhood." Psychology and Law 6, no. 2 (2016): 93–106. http://dx.doi.org/10.17759/psylaw.2016060207.
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The best carriers of playing culture are children, who possess and enjoy it. Destroyed social kids’ structures, territorial kids’ associations (family, yard, village, street communities of children) interrupted generally the process of culture transmission, reproduction and passing of communication tradition. And there is a need in social-state “revivification” (recovering folk games list and its’ players, enough for folk games reproduction process). Folk game includes particular properties of relations on the levels of physical and emotional, vocal interaction, imagery-symbolic filling, special features of clothes (all aspects of communication that constitute features of national culture of the nation and make from the nation the community of people very special and different from other communities and nations). Studying of correctional possibilities of folk games within the frames of playing agendas showed that their psychological and emotional resources provide the conditions for adoption by children the norms of communication.