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Seattle Art Museum (SAM) stimulates an anthropological and ethnochoreological research project for various reasons. In addition to its permanent exhibits of NativeAmerican and African Art (with archival dance video materials), it invites dance events in which the performers are representatives of different cultures and create educational programs that incorporate movement. Observations here include dance performances – from classical Indian dance at Diwali Family Festival to modern dance in dialogue with paintings. Dance events from the past decade and a recent program(Art-and-Movement) are also reviewed. Documentary notes were taken during fieldwork at SAM between October 2019 – January 2020 and include interviews with museum employees. This investigation suggests that the addition of dance and movement at SAM came in response to evolving perceptions about the museum, the human body, and performance space. In this transition from static to dynamic(opening its doors to dance and movement) imaginative programing by curators is crucial for success. Research also includes examples from Bulgaria, collected viaInternet, that also address such transition.
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The oral folk prose of Transcarpathia is a valuable source of history and culture of the region. Supplementing the written sources, it has maintained popular attitudes towards events, giving assessments and interpretations that are often different from the official one. In the Ukrainian oral tradition, we find many words borrowed from other languages, in particular Hungarian, which reflects the long period of cohabitation as well as shared historical events and contacts. They also occur in local toponymic legends, which in their own way explain the origin of the local names and are closely linked with the life and culture of the region, contain a lot of ethnographic, historical, mythological, and other information. They are represented mainly by lexical borrowings, Hungarian proper names and realities, which were transformed, absorbed and modified in another system, and, among other things, has served the originality of the Transcarpathian folklore. The process of borrowing the Hungarianisms is marked by heterochronology and a significant degree of assimilation in the receiving environment. It is known about the long-lasting contacts of the Hungarians with Rus at the time of birth of the homeland – the Honfoglalás, as evidenced by the current geographical names associated with the heroes of the events of that time – the leaders of uprisings Attila, Almash, Prince Latorets (the legends Almashivka, About the Laborets and the White Horse Mukachevo Castle). In the names of toponymic legends and writings there are mentions of the famous Hungarian leaders, the leaders of the uprisings – King Matthias Corvinus, Prince Ferenc Rákóczi II, Lajos Kossuth (the legends Matyashivka, Bovtsar, Koshutova riberiya). Many names of villages, castles and rivers originate from Hungarian lexemes and are their derivatives, explaining the name itself (narratives Sevlyuskyy castle, Gotar, village Gedfork). The times of the Tatar invasion were reflected in the legends The Great Ravine Bovdogovanya and The village Goronda. Sometimes, the nomination is made up of two words – Ukrainian and Hungarian (Mount Goverla, Canyon Grobtedie). In legends, one can find mythological and legendary elements. The process of borrowing Hungarianisms into Ukrainian is marked by heterochronology, meanwhile borrowings remain unchanged only partially, and in general, they are assimilated in accordance with the phonetic and morphological rules of the Ukrainian language. Consequently, this is a creative process, caused by a number of different factors –social, ethnocultural, aesthetic, etc. In the course of time, events and characters in oral narratives are erased from human memory, so they can be mixed, modified and updated, adapting to new realities.
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In this paper, the author deals with Predrag Stepanović’s short stories, featuring romantic sentiments written in the period of 1965-2005. They discuss autobiographical stories of Nepovrat and Pobijte plave kanarince, taking place in the present day, alongside with an early novel by the same author, Prepolovljeni, since all three texts highlight unfortunate young love. Unlike these three, whose plot is unrelated to the writer’s home country, the following two short stories, Ludačka romansa and Arhetipski krimić, feature past events in Stepanović’s home town of Mohacs (Hungary). This time, however, the writer’s persona is not in the spotlight, it is merely just one of the fictitious narrators, rendering these short stories as not purely autobiographical, although the writer appears as the first-person narrator. Instead, the protagonists in the story of Ludačka romansa are two mentally deranged characters, namely Luda Mara and Kolesar, while the story of Arhetipski krimić is centred around Marika, a famous beauty from ancient times, best known for her ‘wicked’ eyes. In oral tradition, she is thought to be a dragon’s daughter. Using this legend as a starting point in his own story, Stepanović, with great skill, penetrates deeply into the souls and actions of his characters, which results in a series of all-time and irrational archetypal motifs, such as a dragon’s love, witchcraft, and a murder caused by a magic spell. The last of the short stories discussed, with the somewhat mysterious title of Usudne reči, is embedded into the WWII milieu. On the other hand, it is a documentary. It is a known fact that there was the Sarvar concentration camp in old Hungary intended for Serbs (mainly for women, children, and the elderly). At the same time, this is a destiny-revealing story. The plot within a plot depicts a young Serbian woman named Duša and her two sons, who are prisoners in a kamp for 'chetniks' ('Csetniktábor'), and a young married couple from Hungary with a baby girl who hire Duša as househelp. When Duša loses both her sons due to a typhoid epidemic in the camp, she transfers all her love to the baby girl, she sings and talks to her in Serbian with such warmth that her words determine the girl's destiny. The main plot features a mother of a grown-up young woman that tells this story, with the punchline of the story presenting us with the fact that her daughter married the only Serb she had ever met.
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Within this paper we perceived the bright mythical spaces in the poetry of Ljubomir Simović. We conclude that the Simović Saint Sava myth is seen as one of those, bright spaces. We proved this claim by observing the songs from the collection Gornji grad, which in one part treats the myth of Saint Sava. In addition, we dealt with the masterpiece of Simovic’s poetry poem-prayer Deset obraćanja Bogorodici trojeručici hilandarskoj.
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The paper is dedicated to the traditional regard on labour, a regard based on two fundamental domains of the traditional society: the main book of Christianity (Bible) and the literary creation, both having a great age and a considerable impact on the social representations. The author analyses how labour is presented in the Holy Writ: as a duty that was assigned by God to the first humans, in Paradise. It later became a means for supporting life and a source of pain due to the original sin, committed by first humans, and their expulsion from Paradise. The author traces this biblical motif in several Romanian folk creations – wedding orations, Christmas carols, creation legends. In the traditional imaginary world, the episode of the original sin sometimes misses or it contains extra-biblical details. One of the frequent ideas is that God has taught Adam and Eve the main domestic occupations and has given them the necessary implements. Labour proves thus the Creator’s care for humans. The folk sources also support the idea that when humans, during their earthly life, had broken God’s commands, their labour became a tiresome occupation that does not always culminate with results corresponding to the invested effort.
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Baba Marta and Santa Claus are two characters who are usually related to a series of positive emotions because of the expectation to receive gifts bringing joy, hopes and expectations. The dark side of the character of Baba Marta has been studied many times but it has not been investigated or analyzed in regards to Santa Claus. This text will make an attempt to present a different point of view to the two characters, which has never been in the focus of attention of folklore studies – the one of evangelical Protestantism. The reason for it is the feeling of its followers that their opinion is not taken into consideration and is thus silenced and suppressed. I will make an attempt to draw impartial theses and antitheses, as well as to do an analysis and summary of the results. In addition, I will seek to find if these two characters belong to paganism or to folklore and to outline the reason for their demonization according to evangelical Protestantism.
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The article discusses unique 7th century materials from the Turkic mausoleum in Bayannuur sum of the Bulgan aimag of Mongolia. The sculptural images belong to one of the Tiele (Tokuz-Oghuz) tribes that were part of the Tang Empire. They are currently stored in the Kharkhorin museum. 11 equestrian figures were studied. A safety assessment of the ceramic microplastics is given. The riders’ clothes elements are revealed, a characteristic of the anthropological appearance of the prototype statuettes is given. A separate description of the horses is also offered. It has been determined that a number of images have traditional musical instruments in their hands, which are also used in the funerary rite. Image prototypes are undoubtedly Mongoloid and most likely belonged to the Turanid race. Ceramic microplastics demonstrate the authentic appearance of the ancient Turks of Mongolia and expand the range of sources on the anthropology of medieval Inner Asia.
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Praet, S., & Kérchy, A. (Eds.). (2019). The fairy tale vanguard: Literary self-consciousness in a marvelous genre. Newcastle upon Tyne: Cambridge Scholars. This article provides critical reflections on Stijn Praet and Anna Kérchy’s edited collection, The Fairy Tale Vanguard: Literary Self-Consciousness in a Marvelous Genre (2019). Vanguard can be defined as “the foremost part of an advancing army or naval force,” with established and emerging critics marching in defence of the fairy tale against the genre’s complicated reception throughout the ages. The form’s self-consciousness and intertextual complexity is foregrounded, with fairy tale experiments ranging from those of 17th-century French female conteuses, to modernist short stories and contemporary films, which all combine into a celebration of the genre’s sophistication and continued relevance. The book engages with the generic complexity of the fairy tale, defying any kind of neat categorisation. ‘Fairy tale’ often functions as a ‘catch-all’ term for different fairy tale narratives, but this study paves the way for reflections on new subgenres such as the ‘anti-tale’. Finally, it is suggested that Rikki Ducornet’s idea of the ‘deep magic’ of fairy tales opens us up to a possibility, to an embrace of the unknown and all of its potentiality, providing us with an imaginative space within which to envision a new and better reality. This is foregrounded as a central tenant to The Fairy Tale Vanguard’s privileging of experimentation, which highlights that the fairy tale harnesses a deeply political potential in challenging current oppressions. Perhaps it is not us, fairy tale scholars, who are marching to the aid of the fairy tale then, rather it is the tales fighting for us in an unjust world.
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The first part of the essay deals with the conflicting opinions of vari- ous different authors regarding the place travel books should occupy in literature. It is often thought that travel books are not only a hybrid genre but that it is also questionable whether they are a genre at all. Although such a level of disagreement regarding travel books does exist, most authors point out the doubtless existence of fictional elements within them. Travel books can range from the ones which are similar to reports (grounded in facts) but are still somewhat subjective, to the ones where fictional elements are clearly dominant. Individual authors of various travel books usually displayed a tendency to take sides in disputes between the various Christian peoples of the Balkans, while there were even those who openly wrote in support of the Ottoman Turks. Although travel books represent a valuable source of facts and information, the question whether the author was objective/subjective remains unanswered. A good example of such tendencies is Black Lamb and Grey Falcon by Rebecca West, as well as Through the Lands of the Serb by Mary Edith Durham. Taking these travel books as examples, we analyse, in broad terms, the question of objectivity/ subjectivity which the reader and researcher of the Balkans must surely face. While the first travel book had received much more publicity over the years, the latter had remained rather obscure. It is an excellent example of how an author can change not only his/her initial views but sides as well, beginning at the positive pole regard- ing the Slavic population of the Balkans and eventually reaching the opposite one.
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Together with the rites of the spring cycle, such as Summer Day, St. George, Novruz, Rusticat, etc., it was practiced the rite of Llazore. This rite with pagan characteristics, often encountered in rural areas, is no longer practiced. This has happened due to a number of reasons that have affected the intangible cultural heritage. Despite this, we have managed to preserve and inherit through the archives many songs, sung dances and folkloric motives of this rite through in a digital form, at the archive of the National Center of Folkloristic Activities and the Institute of Cultural Anthropology and Art Research (Academy of Albanological Studies). This paper will preview the data that we find in the digital archives, where the rite of Llazore is included, treating this rite in the context of artistic performance. At the same time, we will try to reconstruct the rite, addressing the stages and form of organization of the rite. We will try to achieve this by comparing the archival material with the empirical data we have to collected during our expeditions focused on the rite of Llazore.
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This work is study of the phonetics characteristic in the book Treasure of Eastern which was published 1896 AD by Mehmed-beg Kapetanovic Ljubusak, and which this Bosniak writer made translating Arabian, Turkish and Persian proverbs into Bosnian language. This book Ljubusak made in the time of the fateful turning point in the expression style of the Bosniaks in literature and language, reflecting in coupling the culture of the East with the modern spirit of the West. This is very important to know because just few years before Ljubusak published Treasure of Eastern have been published Gramatic of Bosnian language (1890 AD) – a book that brought new gramatic and standard in Bosnian language. Also, very important moment for Ljubusak’s writing were Vuk Stefanovic Karadzic’s reforms and his language standards. Throughout whole book, Ljubusak (although his main goal was proverb translating into Bosnian language) introduced us thru proverbs with elements of folk poetry. The folk influence in Ljubusak’s work can be seen in a great number of expressive phrases, ornamenting expressions. The most importanat thing (which was the main leader in this work) is tendency of showing the way how Ljubusak’s language reflects the bond with the preceding heritage. Also, Ljubusak has showed that he was way ahead from the time when he made his books in a field of language and phonetics characteristics.
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This article uses ethnographic methods to analyze how cultural and economic factors impact the way heritage is understood, preserved and developed at Kulturen and Fredriksdal, two of the oldest museums of cultural history museums in Sweden. Some questions offered for discussion will include: How does leadership understand and conceptualize cultural heritage? Whose cultural heritage count the most when related to financial circumstances and forms of ownership? Which priorities are made in the day to day work with collections, exhibitions and programming? Whose heritage is given priority in core exhibitions and whose heritage is prepared for a temporary show?
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In Eastern European folktales, the supernatural adversary appears often in form of a dragon, a snake or a giant. The same fantastic figures have symbolic meanings in Christian religion too. The article gives an account of Georgian and Bulgarian folktales, demonstrating pre-Christian and Christian thoughts in folk narrative tradition on the example of fairy-tale characters Dev (Giant in Georgian and Bulgarian folktales), Gvel-veshapi (Dragon in Georgian folktales), Zmej and Lamja (Snake in Bulgarian folktales). Because fairytales include elements of the nature-based religions of the ancients, it stands to reason that Christian religion is also reflected in them. An overview of folkloric materials outlines the characteristics, constants and variables of the mythological and Christian images of snake, dragon and giant as well as pagan folkloric transformations of the folk beliefs in these beings. This article presents a comparison of the typology of Georgian and Bulgarian folktales in context of their cultural traditions.
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This text was created by a photo shoot made by Rosen R. Malchev, Dr. of Sci, during the field research of the fishing community in Oryahovo in the summer of 2019. It has documented elements of urban tissue, many slabs and monuments, significant exhibits in the museum, thus describing various forms of local heritage.The Images of heritage are elements of the life of local communities; they are necessary for the building of individuality, as well as for presentation to your own and others. They fit into the local forms of identity and in the present have basic functions in communication process with the past. The elements of local heritage registered here are valorized by our respondents – places and images are most resilient part in stories, part of urban orientation, as they have established themselves as visual memory markers.
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Presented in the paper is the iconographic-symbolic structure of the ideogram of the arbor mundi (cosmic tree, tree of the world/life) on the mirilište (resting place) of Kosa Renjovačka halfway between the settlement of Reljinovac/Renjovac and the Ljubotić cemetery. The ideograms are analysed stylistically-morphologically on the mirilo monuments and in the funeral art on one headstone of a drystone wall type mirilo grave at the Ljubotić cemetery, and on two grave slabsat the Lun cemetery on the island of Pag. They are analogously compared with the motifs of the same or similar iconographic characteristics from the wider geographic area. The questionof the image of the tree of the world in Podgorje primarily sets the question of the reconstruction of its traditional religious-symbolic meaning, both on the mirilo monuments and on the funeral monuments. Being that the aim of this paper is to show the ideogram of the tree of the world as one of the visual motifs which to date has not been documented in literature about the visual representations of the southern Velebit mirilište (resting places), it is not possible to give a final answer to the question of understanding its image until the beginning of the 20th century.
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This paper deals with the processes of transformation of an urban festival – the Radvaň Fair in the city of Banská Bystrica, Slovakia – in a comprehensive way and from a chronological point of view. The main focus is on the development of the festival in the post-1989 (post-communist) period. The fair has been organised continuously since 1655 and went through a number of transformations. Its function has changed from a primarily commercial event of three centuries to a significant cultural and social hallmark festival in the 21st century. The key research questions concern the role of cultural heritage-based festival in identity building and city marketing, and the relationship between the festival and place (location). The paper also addresses the question of potential use/misuse of cultural heritage in current political discourse and practice.
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