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Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of the article is to comprehensively investigate the materials of the informational and communicative content of the Internet site and Facebook page of the Vinnytsia Regional Centre of Folk Art and to reveal the essential aspects of the use of social networks in the conditions of a full-scale invasion as an effective tool for the presentation and popularisation of the intangible cultural heritage of Vinnytsia as a region of Central Ukraine. The research methodology consists of general scientific and specific cultural approaches, principles and methods of scientific knowledge. The systemic-structural approach was applied to the study of the organisational and methodological activities of the Vinnytsia Regional Centre of Folk Art, aimed at popularising the intangible cultural heritage of the region. The internal connections and interaction of various components of the cultural and educational activity of the Centre for Cultural and Educational Activities, aimed at the presentation and popularisation of intangible cultural heritage in the conditions of a full-scale invasion, are revealed by the results of monitoring the materials of the Internet pages of the Centre (the Internet site and Facebook pages). Formal and comparative methods were used to analyse the institutional features of work in the Vinnytsia region as a region of Central Ukraine. The method of content analysis was used to generalise the publications of the Internet site and the information of the Facebook page of the Vinnytsia Regional Centre of Folk Art, dedicated to the intangible cultural heritage of Vinnytsia, contributed to the objective determination of the main thematic trends related to the investigated problem. The scientific novelty consists in substantiating, revealing and proving the effectiveness of the use of social networks as a really effective tool for expanding the role of regional centres of folk creativity in the presentation and popularisation of the intangible cultural heritage of Vinnytsia in the information field, in particular in the conditions of a full-scale invasion. On the basis of a practical study of the materials of the informational and communicative content of the Internet site and Facebook page of the Vinnytsia Regional Centre of Folk Art, the traditional culture of Vinnytsia, which contains a preserved living folk artistic culture with a classical / traditional folklore paradigm. The interaction of the Vinnytsia regional centre of folk creativity with institutions, cultural institutions and the external environment in the matter of preservation and popularisation of the intangible cultural heritage of Vinnytsia region was revealed. Conclusions. Summarising the positive experience on the materials of the information and communication content of the Vinnytsia Regional Centre of Folk Art (website and Facebook page) demonstrated concrete achievements in the presentation, popularisation and preservation of the intangible cultural heritage of Vinnytsia in the conditions of a full-scale invasion. It is argued that the digital representation of the content of the intangible cultural heritage of the regions of Ukraine, in particular Central Ukraine, in social networks is a really effective tool for popularising the intangible cultural heritage in the information field. It is concluded that the traditional culture of Vinnytsia contains a preserved living folk artistic culture with a classical / traditional folklore paradigm. It was noted that the employees of centres of folk creativity need to have the skills to work in the spheres of SEO and SMM, which requires constant improvement of professional qualifications and stimulation of scientific and creative approaches in this direction and is a continuously relevant requirement of the time. [ABSTRACT FROM AUTHOR]

The Nordic Institute of Folklore, internationally well known by its abbreviation NIF, left a lasting imprint on the history of Nordic and international folkloristics despite its relatively short operation period of less than four decades. The present article, first in a series of forthcoming articles on NIF, examines Lauri Honko's directorship in the 1970s and 1980s and focuses on the changing of the institute's field of operation from folkloristics to 'tradition science'. The term 'tradition science' (traditionsvetenskap in Swedish, perinnetiede in Finnish) was never clearly defined in NIF, but was used – and it has continued to be used in folkloristics and ethnology in Finland – in three meanings: an approximate synonym for folkloristics, a joint term for folkloristics and ethnology, and (in plural) an umbrella term for an unspecified number of fields in the study of history, vernacular religion, and culture. The possible earlier history of the term is beyond the scope of this research, but there are indications that the term came into use in both Finnish-language and Swedish-language folklore research in the early 1970s, while the similar term 'tradition research' (traditionsforskning in Swedish, perinteentutkimus in Finnish) has a longer history. The term 'tradition science' was adopted into NIF's statutes around the same time as the Nordic Council of Ministers – through which the inter-governmental funding of NIF was administered – initiated the expansion of NIF's profile to cover folk culture "in its entirety", suggesting specifically the extension of NIF's field of operation to include ethnology. Whether NIF implemented this expansion or not, and to what extent, is a matter of debate, and the topic of this article. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Social & Cultural Research (SKAD) is the property of Journal of Social & Cultural Research (SKAD) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The importance of Darülelhan and the subsequent compilation tours in the Republican period is of great importance for the creation of the Turkish Folk Music repertoire. These compilation tours constitute a large part of today›s Turkish Folk Music repertoire. It is noteworthy that there were no non-Muslims as source persons in the compilation activities. We believe that Folk Music culture is not composed of people of a certain nationality or belief; but of the geography that is home to that culture; and that the sphere of infuence of cultural elements is beyond the political borders that change in historical processes. Folk music genres with a wide range of performance areas have been more afected by this situation. As a result of our research, it was detected that most of the local people living in the Gokceada region of Çanakkale are non-Muslims and that no musical feld research has been conducted in this region before. The lack of studies in the region has led to the lack of scientifc determination of information such as the society›s connection with music, which instruments they use, and which genres are performed more in this region. It is thought that this study conducted in Gokceada is important in terms of identifying and recording the musical characteristics of that region. The study was conducted with the feld research method in the Gokceada region. The fndings were obtained by using the interview method with the source person identifed as a result of the research. The musical culture of the Gokceada region was analyzed by using a qualitative research model. Four fndings were obtained in line with the works performed by Timoleon Caknis, a Turkish citizen of Greek origin who performs the traditional music of Gokceada, and it was determined that the fndings were in the «zeybek» genre. The obtained works were recorded during the interview. After the interview with the source person was completed, dictations of the works were made. The notes were written with the MuseScore4 program. The study is considered to be important in terms of carrying out feld research and compilation trips, which are relatively neglected today, in an area that has not been visited before; determining that the zeybek genre exists even in the westernmost part of the country; recording the collected works before they are forgotten by the people living in that region; and contributing the four zeybek works to the music culture of the region and the Turkish Folk Music repertoire. It is suggested that more studies should be conducted in this feld and new feld research should be created. [ABSTRACT FROM AUTHOR]

Slavic folk culture is a fusion of Christian and of pre-Christian, pagan beliefs based on magic. This article is devoted specifically to ancient pre-Christian ideas about death and posthumous existence and the associated magical rituals and prohibitions, which persist to our time. It considers the following interactions between the living and the dead: 1. the measures taken and prohibitions observed by the living to ensure their well-being in the other world; 2. the measures taken by the living to ensure the well-being of their dead relatives in the other world (including funeral rites; memorial rites; cemetery visits; providing the dead with food, clothes, and items necessary for postmortem life; and sending messages to the other world); 3. communication between the living and the dead on certain days (including taking opportunities to meet, see, and hear them; treat them; prepare a bed for them; and wash them); 4. fear of the dead and their return and the desire to placate them to prevent them from causing natural disasters (hail, droughts, floods, etc.), crop failures, cattle deaths, diseases, and death; 5. magical ways for protecting oneself from the "walking dead"; 6. transforming the dead into mythological characters—for example, house-, water-, or forest-spirits and mermaids. The material presented in the article is drawn from published and archival sources collected by folklorists and ethnographers of the XIX and XX centuries in different regions of the Slavic world, as well as from field recordings made by the author and his colleagues in Polesie, the borderland of Belarus and Ukraine, in the 1960–1980s, in the Russian North and in the Carpathian region in the 1990s. It shows that the relationship between the living and the dead in folk beliefs does not fit comfortably within the widespread notion of an "ancestor cult". It argues that the dead are both venerated and feared and that the living feel a dependence on their ancestors and a desire to strictly observe the boundary between the two worlds. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Journal of Social Research / Turkiye Sosyal Arastirmalar Dergisi is the property of Turkish Journal of Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study aims to clarify the organological aspects of the alphorn and to shed some light on aspects related to the history, evolution and construction particularities of this old, popular instrument, which is an important part of Romania's folk culture as regards instrumental music. One of the main objectives of all musicians, performers and researchers who stimulate the collection and preservation of the spiritual productions of Romanians is to increase the value of folklore. With few exceptions, the alphorn has gone out of everyday use, that's why its study is more and more difficult but all the more necessary. As it is connected to the life of shepherds and with shepherding in general, the destiny and evolution of the alphorn has been decisively influenced throughout history not only by the expansion or regression of this ancient activity, by the geographical space in which it was practiced, but also by the progress of civilization and human knowledge. [ABSTRACT FROM AUTHOR]

The article analyzes the mythological concept of Slavic paganism developed by Alexander Afanas'ev in his three-volume study Poetic Views of the Slavs on Nature: An Attempt at a Comparative Study of Slavic Traditions and Beliefs in Connection with the Mythical Tales of Other Related Peoples (1865–1869). In this book, Afanas'ev established numerous parallels between the pagan myths of the Slavs and other Indo-European peoples and reconstructed mythological images of the world tree, the tree of life, and the world egg. He also reconstructed myths about the sacred marriage between heaven and earth; the creation of the world from the body of the first man and the creation of man from the natural elements; the dying and resurrected god of vegetation and fertility; and the duel between the god of thunderstorms and his earthly adversary; as well as dualistic myths about the struggle between the forces of light and the forces of darkness and about the creation of the earth. Afanas'ev also explored enduring metaphorical pairs such as death–dream, battle–wedding feast, thunderstorm–battle, and so on. Depending on the readers' points of view, they can appreciate the book as a grandiose compendium of folklore and historical-ethnographic materials; as a scholarly work devoted to Slavic mythology; as a symbolarium of folk culture; and as a beautiful fairy tale about the pagan past. Although Afanas'ev's book has all the attributes of a scholarly publication, it can also be read as a work of fiction in which the author does not so much analyze mythology as he tries to present the point of view of a primitive poet–artist. [ABSTRACT FROM AUTHOR]

Purpose: This study aims to explore the relationship between folk religious place-making and the development of urban public spaces and summarize its influence on community network construction and daily behavior to discover the authentic practices and role of folk faith culture in social space. Design/methodology/approach: Taking Macau's Shi Gandang Temple and its belief culture as an example, on-site research, historical evidence and interviews were used to elaborate and analyze the processes of place-making, social functions, management mechanisms and folk culture to establish a new perception of folk religious place-making in contemporary urban spaces. Findings: The article argues that the culture of folk beliefs profoundly influences urban spaces and the social management system of Macau and has a positive significance in building the local community and geopolitical relations. In addition, it suggests that the participation of folk religious places in local practices is important as key nodes and emotional hubs of local networks, reconciling conflicts between communities of different backgrounds and driving urban spaces toward diversity while forming a positive interaction and friendly cooperation between regional development and self-contained management mechanisms, governance models and cultural orientations. Originality/value: This study takes an architectural and anthropological perspective of the impact of faith on urban spaces and local governance, using the Shi Gandang Temple in Macau as an example, to complement related studies. [ABSTRACT FROM AUTHOR]

Copyright of Motif Academy Journal of Folklore is the property of Motif Yayincilik and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Mythologica Slavica is the property of Scientific Research Centre of Slovenian Academy of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

According to the experts in the field of history of literature, enough attention has not been paid to the history of Iranian folk literature so far. Among the reasons for this problem could be the obstacles in compiling the history of folk literature. According to the authors of this article, one of these obstacles is ignoring the importance of the Arabic sources of the first centuries of Islam and also the translation movement in preserving Iranian folk literature while compiling the history of folk literature. The importance of these sources is in preserving the identity, original form, and evolution of the components of Iranian folk culture and literature as well as the reflections on how Iranian culture is blended with Arabic-Islamic culture. Nevertheless, even in the most significant previous researches, such as the folk literature entry in the Encyclopedia of Persian Language and Literature, Folk Language and Literature of Iran by Hassan Zulfaqari, Research and Study on Iranian Folk Culture by Hossein Ali Beyhaqi, or Folk Literature of Iran by Mohammad Jaafar Mahjoub, the role of Arabic sources in the preservation of Iranian folk culture and literature has been relatively overlooked; or in exceptional cases, such as a part of the collection of articles The Context of People's Culture by Jalal Sattari, only the texts containing information about public morality have been emphasized. One of the leading writers whose works are worthy of attention and research in terms of reflecting the components of Iranian folk literature is Ibn al-Muqaffa'. The results of this study show that his works contain an enormous collection of Iranian folk literature components, especially proverbs, sayings, and didactic anecdotes, which are very useful in explaining the historical course, types, and context of using these components. [ABSTRACT FROM AUTHOR]

The 16th Congress of the International Society for Ethnology and Folklore (SIEF) recently took place in Brno, Czechia, bringing together researchers, teachers, students, and professionals in the fields of European ethnology, folklore studies, cultural anthropology, and related areas. The Congress focused on the theme of "Living Uncertainty," addressing the various crises the world is currently facing, such as armed conflict, the pandemic, climate change, and social and political instability. The event featured numerous panels and papers covering a wide range of topics, encouraging interdisciplinary discussions. In addition to academic sessions, the Congress included keynote lectures, plenary sessions, and cultural and social activities. This article, authored by Siarhiej Makarevich and Alexandra Forra, delves into the preservation of cultural heritage within the European Union. The authors explore different approaches and challenges in safeguarding cultural heritage, including the tension between national and European identities, the impact of globalization, and the role of technology. They emphasize the importance of community involvement and advocate for a balanced and inclusive approach to heritage preservation. Overall, the article offers valuable insights into the complexities of preserving cultural heritage within the European Union. [Extracted from the article]

The roots of Brazilian folk culture have different forms, structure and history. These roots have been formed over a long period, they have intertwined and influenced one another. Authentic cultures (Indian tribes) and «newcomers» (African and European culture) have been interacting with one another in complex socio-political realities. Together these cultures have created a vivid aesthetic image of the country. The aesthetic principle is most clearly expressed in folklore, the forms of which are diverse and multifaceted. The culture of the people is dynamic; it speaks through folklore in a variety of verbal and non-verbal languages: plastic art, music, dance, folk crafts, national costumes, works of the verbal genre (fairy tales, epics, legends, myths, etc.). Folk culture defines the identity of society, it is reflected in the high aesthetics of professional visual art, music, literature and gradually enters into mass culture and show business. Modernism, the art trend of the early 20th century, became a vivid reflection of the folk features of Brazilian culture. Over time, the tendency to rely on folk national culture has intensified, affecting all aspects of society — from mass culture to social policy. The cultural construction of society in close interaction and cooperation with the folk tradition, the consolidation and renewal of tradition ultimately determine the mentality of the nation, the stability of its existence and self-preservation. The study of Brazilian folk culture opens up new horizons for those who yearn to understand the world of diversity and the world of beauty. The coexistence in a single space of the people of many traditions and aesthetic images that do not oppose, but complement each other, inspires historical optimism which is «colored» by our experience of interpreting the culture of Brazil.

Copyright of Turcology Research is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Croatian Journal of Ethnology & Folklore Research / Narodna Umjetnost is the property of Institute of Ethnology & Folklore Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Power is an important iconography in the superhero genre. In this regard, one of the most recognizable iconographies in Darna is the bato (stone). However, the nature of Darna's powers and the constitution of the stone are rarely discussed when talking about her even if these are important elements in her overall mythology. To address this, the paper explores the materiality of Darna's powers, specifically the origin and constitution of the stone, and situates it within a Filipino belief system and folk culture. Specifically, it traces the roots of Darna's powers in agimat or anting-anting (amulets or talismans), sapi (spirit possession), and loob (pure heart) as these are elements that give her a distinct Filipino identity. This articulation of Darna's power is based on the idea of canonical counter-discourse where assumptions about canon texts in fiction are subverted for post-colonial purposes. In discussing Darna's power, this paper not only affirms the Filipino folk culture origins of Darna, but also subverts the idea of power in the Western superhero genre which remains very male-centric, continues to be associated with masculine expressions of power, and privileges the individual over the collective. [ABSTRACT FROM AUTHOR]

Copyright of lnternational Journal of Geography & Geography Education is the property of Marmara University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Azerbaijan's culture, formed on the basis of rich historical traditions and values, has a special value as a socio-cultural institution that embodies the moral integrity, national-moral values and uniqueness of our people in the conditions of modern globalization. In modern conditions, because the quality of determination of the national culture of each nation is directly conditioned by folk culture and folklore in the new accultural situation that has manifested itself, the use of the opportunities of folklore resources in terms of national interests is of particular relevance. This depends, first of all, on the approach to folklore as a system and the examination of its structure at the level of modern theoretical and methodological requirements. The above-mentioned necessitates completely different approaches and defines new tasks in the science of national folklore studies. Methods: Comparative, theoretical analysis and generalization; qualitative empirical methods: observation, interview). [ABSTRACT FROM AUTHOR]

Based on the folk culture of Chaoshan, the clay sculpture of Dawu is transformed from the visual elements of Chaoshan opera characters and fused with the unique local clay sculpture skills. It owns its distinctive character and peculiar art form, and it is an important symbol for understanding the unique cultural symbols in Chaoshan area. It has multi-dimensional social functions such as education, harmony and consumption. At present, with the support of government, Dawu clay sculpture is being inherited in an orderly manner and the era transformation of "double creation" is continuously promoted. However, it is still faced with the practical problems such as single production mode, weak social participation and insufficient excavation of cultural spirit. Based on the context of modern social and cultural development, a series of effective countermeasures are put forward, such as raising the awareness of inheritance, strengthening the utilization of resources and creating new formats, which is not only of great practical significance for the activation, inheritance and development of Dawu clay sculpture, but also of great reference for the activation and innovation of intangible cultural heritage in the context of the new era. [ABSTRACT FROM AUTHOR]

Xishen (喜神, the God of Happiness) is one of the folk beliefs widely known and believed by Chinese people. He has no clear image or specific birthday, and there is no place of worship dedicated to Him. Although He has no specific religious space, there are clear directions and time requirements for the worship of Xishen. The task of this article is not to present and explain the belief in Xishen comprehensively, but rather to analyze the practice of folk belief centered on the orientation of Him and people's cognition formation process of the object of their belief. Taking the spatial study of religions as a standpoint and starting from a broad understanding of dynamic space, we compare and analyze materials from historical documents, folktales, and the practice of sacrificing to Xishen. We consider the relationship between religious, social, and cultural lives and try to prove that such folk beliefs still play an important role in our daily life. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Language & Literature Studies is the property of Turkiye Dil ve Edebiyat Dernegi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article summarizes a conference held at the Estonian Literary Museum in Tartu, focusing on the study of modern traditions in folklore. The conference was dedicated to the 65th birthday of Eda Kalmre, an expert in contemporary folklore research in Estonia. Presentations at the conference covered topics such as conspiracy theories, political humor, variations of the Noah's Ark story, demonological legends, and the influence of foreign films on children in the 1950s. The conference aimed to explore the dynamics of legends and rumors in culture and their relevance in contemporary society. [Extracted from the article]

Folk beliefs are the elements of folk culture. Therefore, it would be fruitful to understand the importance of folk beliefs in the life of people. In fact, the mystery of the origin of folk beliefs is still unknown. It cannot be denied that the illiterate people instilled a sense of belief in their minds from the ideas of good and evil they received about anything, and as a result, folk beliefs developed in certain places in the collective opinion of individuals. In the illiterate peasant society, folk beliefs have been introduced through the beliefs and rituals prevalent since the beginning of folk life. Therefore, this paper is trying to enlighten the Nature conservation. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Urban Ethnology is the property of Instytut Archeologii i Etnologii Polskiej Akademii Nauk and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Narodna tvorchist' ta etnografia (Folk Studies and Ethnography) 4: 38 - 42. 8 Alexander-Frizer, Tamar. Graph: (1945-2023) Professor Tamar Alexander left her many friends, colleagues, and students with great riches, and with an aching feeling of loss of the many gifts that she could still have shared. El Prezente, Studies in Sephardic Culture 4: 11 - 29. 12 Alexander, Tamar. [Extracted from the article]

Living largely isolated for centuries in central Iran, the Khalaj Turks have, in the last century, seen great changes in the person-to-nature and person-to-person relations which form the basis of their social order. Because of a deterioration of the social conditions of their villages, and attracted by city life, many Khalaj have left the lands of their ancestors and migrated to the big cities. This has made it difficult for the Khalaj to pass on their cultural traits to new generations, as their culture is largely oral. Negative attitudes towards the Khalaj language and culture have led to changes in Khalaj culture and particularly language. In the face of this, some Khalaj intellectuals have taken action. These people, who have a good knowledge of the language and culture, have created Telegram and Instagram pages sharing items on Khalaj language and culture. On these pages, about-to-be-forgotten traditions, rituals and games are described, and examples of folk literature like lullabies, sayings or poems are shared. Among the most important contributions in terms of digitalized culture are examples of new folk poetry which are appearing on Telegram and Instagram pages. Towards the end of the 20th century, the Khalaj had no literary texts apart from a few poems, but by the efforts of Ali Asghar Jamrasi and Abdullah Vasheqani in particular, they got to know folk poetry. Especially group admins such as Amir Mohammadbaygi, Hasan Talkhabi and Mahdi Hadigol, who have made good use of the new features provided by social networks such as Telegram and Instagram, have written poems in the Khalaj language which include many elements of Khalaj folk culture. As well as reflecting the internal world of an individual, the aim of the new poetry of Hadigol and Hossein Talkhabi is to present the Khalaj identity and to introduce Khalaj culture to new generations. For this, topics such as language, identity, traditions and patriotism are often dealt with in the poems. This study is concerned with the positive effects of digitalization in introducing Khalaj folk culture and traditions and transmitting them to new generations and different areas, and focuses on Khalaj folk poetry in the context of the sustainability of identity, cultural memory and cultural items. The Khalaj language is on the UNESCO list of endangered languages and is of great importance for Altaistic studies. This study contains examples of poetry written in the Khalaj language and mostly previously unpublished, and provides data to different areas such as literature, folklore and linguistics. It is supported with observations and interviews. [ABSTRACT FROM AUTHOR]

From the perspective of production technology, the god image usually has two manifestations: paintings and sculptures, while there are two main forms of paintings: murals and prints. In this paper, the engravings of gods named "Guan-yin-ma-lian" (觀音媽聯) were taken as the research object. The origin of "Guan-yin-ma-lian" is traced back. The form of plane composition of this type of engraving is analyzed from the perspective of iconology. The image of Mazu (媽祖) and its implied meaning in "Guan-yin-ma-lian" are discussed from the perspective of folk beliefs. As one of the plane images of Mazu, "Guan-yin-ma-lian" is not only a very important religious art in folk culture, but also an important link closely connecting Mazu belief circles at home and abroad. It is also an important cultural asset of Chinese people who worship Mazu. [ABSTRACT FROM AUTHOR]

National folk culture is a set of values that are tried to be preserved in every society and play an effective role in the formation of national identity of individuals. Kyrgyz people, who have a rich folk culture, have benefited from cinema, which is a cultural transfer tool, in order to preserve their traditions and customs and transfer them to future generations. One of the examples of this is the movie "Darak Iri". Based on the conclusion that cinema can be used as a reflector of cultural heritage in the study, the movie "Darak Iri" has been examined in terms of folklore elements. The film "Darak Iri", which has the title of the first musical film of Kyrgyzstan, reflects the traditions and customs of the Kyrgyz people who lived in the 18th century. Therefore, the study was carried out, first of all, to determine the continuity of the Kyrgyz folk culture and traditions. In the present study, the relationship between cinema and folklore, which is in interaction with each other, has been examined. In the introduction part of the study, information about the Kyrgyz cinema and the content of the movie "Darak Iri" is given. Classification tables were created and images from the film's content were included. The tables created were interpreted using the descriptive analysis method. Thus, it has been tried to prove that folklore elements can be transferred through cinema and play an important role in keeping traditions alive. [ABSTRACT FROM AUTHOR]

Since the 1930s, Yugoslav "folk" or "traditional" dances have gained the attention of many scholars who were interested not only in studying their form, but their attachments to nationalism and prevailing political ideologies. Such cultural expressions, which were later labeled as "folklore," developed with Romantic nationalism in the Yugoslav area. In this paper, I argue that through their quest for collecting peasant music and dance expressions for the purpose of creating an archive, folklorists and dance researchers were invested in creating discourses that were directly dependent on the emergence and the politicization of terms such as narodna kultura (folk culture), "folklore," and "tradition." This series of shifts allowed for social dances to assume greater import and provide a source of pride and appreciation for the communities associated with their performance. Finally, I trace the creation and the development of the fields of folklore and ethnochoreology. In order to do so, I analyze the work of dance researchers in Yugoslavia and in independent Macedonia, Serbia, and Croatia, who collected and archived this body of knowledge and published some of the first texts that represent peasant dance as folklore. [ABSTRACT FROM AUTHOR]

It is about one of the literary works discussed numerous times and in many literary dimensions, both national and international, that looks into the efforts, phenomena, history, and naturalness of the Albanian popular culture in front of the great European cultures, particularly those of Balkan countries. The great writer Kadare, who had entered through the great gates in the most important national and historical events and had penetrated very deeply into the social life and the psychology of his people, indeed, would not happen to be by chance and unexpectedly in the rich field of Albanian folk creativity. In the process of research, popular creativity remains a life-force and inspiration passed down from one generation to another. As he puts it "When you browse folk poetry, you experience a sense of eternity, reality, space. You want to live, to love, to have children, to be a mother, to be a father, to be a son-in-law, to go to war, to return from her, even to die as in a song". Culture, poetry and popular prose in Albanian literature are emphasized in these writings, in particular, in those that have a national character, and thereby even communicate freely and strongly with artistic literature like nowhere else. [ABSTRACT FROM AUTHOR]

By the time, the Old Turks have accepted Islam; they had spread over wide areas and had been under the influence of many different religions and cultures. Despite being outside of the Islamic faith, many of the superstitious beliefs, considered to be remnants of religious beliefs and cultures whose roots go back centuries, have been passed down from generation to generation and have survived until today. Such beliefs have influenced and shaped people's lives since ancient times. Although there is no scientific explanation regarding the definition of folk beliefs, such beliefs continue to affect people's lives and live on showing some changes according to the cultural and historical structure of societies. The Balkans, meaning "mountain range" or "highlands", is the region which has become the homeland of peoples belonging to different languages, religions and civilizations as well as Turkish tribes such as the Avars, Vardars, Pechenegs and Cumans, coming from Central Asia and settling in the Balkans, from the fourth century onwards. For more than a thousand years, different communities living in the Balkans have interacted in terms of culture and lifestyle. Therefore, it is common that a practice seen in Turks is also seen in Macedonian, Bosniac or Albanian communities. Of course, the same is true for Turkish communities. It can be understood from today's practices that the existence of similar cultural elements in different geographies is not a coincidence. The study covers folk beliefs, which are one of the important components of the folk culture kept alive among Turks, Macedonians, Bosniacs and Albanians living in Skopje. Folk beliefs compiled in the Skopje region have been classified according to their subjects, also attempting to evaluate similar and different beliefs and practices regarding the ongoing beliefs among communities. [ABSTRACT FROM AUTHOR]

Official statistics report that almost ninety per cent of local governments in Poland currently organize various types of local festyn—an open-air celebratory event, usually including a fair, tastings, competitions, games, and other activities. Paradoxically, the gigantic popularity of this type of event is accompanied by denigrating them and associating them with cheap outdoor entertainment; the term itself is used in everyday language to refer to banal and unsophisticated things. The main goal of this article is to answer the question of how medieval folk fairs became local community festyns. Based on original research and a special non-government report on the 'culture-forming role of local festyns' from 2017, this article presents festyns as a complex and important cultural phenomenon. They integrate local communities and are an important manifestation of their activities. Under the guise of carefree fun and entertainment, Polish local festyns celebrate serious values, such as community, identification, and continuity. [ABSTRACT FROM AUTHOR]

Folklore and culture have been the cornerstones in the development of global culture and society. The last century saw new forms of performing arts emerge including Popular [1] Music, Films and Fashion. These creative activities which have a commercial aspect have drawn immensely from Cultures and Folklore. This paper attempts to look at the interactive nature while benefitting from the vast knowledge repository of how Popular Music, Films, and Fashion have managed to keep these folklore and cultural aspects relevant to the times. The creation of Identities and popular influences are discussed while exploring certain subcultures which influenced fashion. [ABSTRACT FROM AUTHOR]

Over the last few decades (especially since 1970s) international folklore festivals across the globe have been showcasing, promoting, publicizing and safeguarding traditional cultures (specifically dance, music and art) from different parts of the world. Prominently, UNESCO (United Nations Educational, Scientific and Cultural Organization) supported organizations such as CIOFF (International Council of Organizations of Folklore Festivals and Folk Art), IOV (International Organisation of Folk Art) and CID (International Dance Council) has been focused in terms of the promotion and protection of folk and cultural heritage. A significant number of these international folklore festivals are organized by various cities, towns and villages across the world, for example, Festival Les Cultures du Monde in Gannat, France, Parade Brunssum in Brunssum, Netherlands, Mondial Des Cultures in Drummondville, Canada and WOMAD in Adelaide, Australia. On an average ten to twenty folk music and dance groups are invited from various parts of the world to participate in these festivals that run for several days/weeks, thereby not only providing an opportunity to the groups to showcase their culture, but also, to mingle with other folk groups and local people. Utilising first hand interviews with the organizers of the festival, folk group members and volunteers conducted during the 39th edition of Les Cultures du Monde - the international folklore festival of Gannat in France 2012, this research paper will examine, how the Gannat festival has become a venue for celebrating cultural diversity and in what ways it attempts to promote and safeguard the intangible cultural heritage. [ABSTRACT FROM AUTHOR]

The actual evolution of human civilization dates back to the stone age when mankind discovered the fire, rubbing the two stones together. This invention brought in the need for stability and settlement as they discovered farming, family, and trade and how all these were affected by the influence of the five strongest fundamental elements that he and his surrounding was made of. The humans acknowledged the power of the five elements, air, water, earth, and sky, and worshipped them for prosperity and protection from their extreme manifestation as natural calamities. The paper is a thematic study of the role of folklore in endorsing the power and relevance of nature in our life, further emphasizing that folk cultures are strong ambassadors of the concept of co-existence. The paper is based on the study of tribal cultures of India that have a significant contribution to preserving the Panchtatva by way of their rituals, customs, art, and culture. They have also used the power of storytelling to draw a strong narrative to emphasize the importance of nature, the five elements, and their significance in our lives that is never going to lose its relevance but has rather become the most crucial subject that has drawn the attention of the whole world in the name of climate change. The folklores and the rituals are strong communicators of the core of sustainability that keeps reflected in our media and communication that has further documented state initiatives and public awareness campaigns promoting sustainable living. This piece of work will investigate that through existing cultures of folk India, their belief in Panchtatva and its connection with the theory of co-existence, the mention of which is found in all our Vedic scriptures, the concept of sustainability can be promoted amongst the generation Z and millennial too. [ABSTRACT FROM AUTHOR]

Halkın maddi ve manevi bütün kültürel unsurlarını bilimsel bir tavırla araştırma disiplini olan halkbilimi, halk kültürünün her yönüyle ortaya konulması, çeşitli kuram ve teoriler ışığında araştırılması ve korunmasında önemli bir işlevi yerine getirir. Yakın tarihin kültürel atmosferi tasvir edilirken sivil toplum kuruluşları ve yerel medya unsurlarına özellikle odaklanmak, bütüncül bir bakış açısı oluşturabilmek adına önem arz etmektedir. Bu sebeple çok yönlü çalışmalarda basın, süreli yayın ve kurum-kuruluş kapsamındaki faaliyetlere özellikle odaklanma gereği kendini göstermektedir. Bu çalışmada 20.yy’da Van yöresinin kültürel zenginliğini ortaya çıkarma amaçlı, çoğu zaman kısıtlı imkanlarla yürütülen çalışmaların konu ve kapsamı ele alınmıştır. Van yöresinde gerçekleştirilen halk kültürü araştırma, tanıtım ve icra faaliyetlerinin sözlü kültür ürünleri, geçiş dönemi inanış ve uygulamaları ve maddi kültür vb. konulara odaklandığı, çalışmaların çoğu zaman bütüncül bir bakış açısından uzak şekilde tematik olarak yürütüldüğü görülmektedir. Ayrıca söz konusu konu çeşitliliğinde anonim halk edebiyatı ürünlerinin ağırlıklı olduğu dikkati çekmektedir. Yetişmiş insan kaynağının sınırlılığı sebebiyle çalışmalar akademik bir yaklaşımdan uzak şekilde, daha çok derleme gazeteci, öğretmen gibi meslek kollarından amatör bir ruhla gerçekleştirilmiştir.

Perceptions of man about himself, his environment, life, and the universe are expressed through various ways such as cultural elements, customs and traditions, and beliefs. People who establish a relationship between the beings they see and they do not see but believe in their existence have exhibited various acceptances and behaviors about these beings since ancient times and have formed several belief patterns with the elements they symbolize by attributing positive or/and negative properties. As these belief patterns become a part of man's personality traits, they become one of the elements that form the identity of society as they are adopted and spread by society. There is a three-dimensional structure in the mythological universe design of Turkish tribes, and every layer of the universe is full of spirits. While ülgen (luminous) spirits prevail in the holy blue sky, the evil spirits under Erlik's command live underground. The spirits of these two realms have an impact on the earth. While the luminous spirits prevailing in the sky bring goodness, beauty, and abundance to human beings with the order of Ülgen, the evil spirits living underground cause trouble, famine, and death. As in the mythological world concept of other Turkish tribes, there are evil spirits / black possessors who negatively affect people's lives and cause evil and troubles in the mythological world concept of the Kyrgyz Turks. The Kyrgyz Turks attributed the illness and death of people and animals, misfortune, infertility, and famine to the negative effects of evil spirits. In epics of the Kyrgyz Turks, which reflect the common thought systems, philosophies, and sociological evaluations of society as an epic genre, it is possible to find certain traces of the belief concept of the Kyrgyz Turks. As long as these belief elements, the common cultural heritage of the Turkish tribes in general and the Kyrgyz Turks in particular, are kept alive in the virtual environments that have emerged with the spread of digital culture environments, they will have the opportunity to reach larger masses. Western countries, which produce contemporary products by using oral culture and folk beliefs and market these products to the world, have started to come to the fore in the race to create a global culture. For example, it is seen that the fantastic heroes created in cartoons, computer games, and horror films are generally adaptations from Western culture. However, there are many sources that can create such characters in the cultural heritage of Turkish tribes. These sources should be identified and re-processed by artists such as scriptwriters and game designers to meet the socio-cultural needs of the new generations, and they should be kept alive in contemporary narrative environments (digital culture environments). Therefore, it will be ensured that the cultural memory is fed with the essential elements and the intangible cultural heritage products left from the ancestors will be adapted to new cultural environments. Such studies are also compatible with UNESCO's Intangible Cultural Heritage policies. This study aims to determine the symbolic meanings of "black possessors" in the epics of the Kyrgyz Turks called "kence epos" (short epic), and to compare them with common/similar motifs found in the belief concept and oral literature of other Turkish tribes. Bringing these motifs to regional and global culture is among the aims of the article. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Language Academy is the property of Rota Kariyer and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explores the folklore of indentured Indians and endeavors to understand the elements of Indian folk culture in the sugar colonies in the age of the empires. While examining the content and context of the folklore, it finds that the indentured folktales were very much influenced by the Indian socio-cultural life, however, these folktales got transformed and modified due to the contact with host countries' languages, places and space. On the other hand, the content of the indentured folksongs not only depicted the culture and pain of separation from homeland and familial ties, but also became an instrument to resist against the plantation hardship. [ABSTRACT FROM AUTHOR]

This research aimed to make a comparative analysis of 2006, 2007, 2008, and 2018 Middle School Elective Folk Culture Course Curriculum. For this, descriptive model was adopted in the research and document analysis technique was used. The data source of the study was the Middle School Elective Folk Culture Course Curriculums published by the Ministry of National Education Board of Education in 2006-2007-2008 and 2018. In the data collection process two forms were used; Comparative Document, and Curriculum Analysis Forms. The data were analyzed descriptively. According to the analysis results, it was determined that the sections such as the commission list, activity examples, the definition and purpose of folklore and the description of the Folk Culture course in the 2006-2007 and 2008 curricula were not included in the 2018 curriculum. When the structural features of the curriculum were examined, it was determined that the 2018 curriculum did not include skills, but instead included competencies as core skills. In addition, different values are included in the curriculum; it has been concluded that there are substantial similarities in learning areas and acquisitions. When examining the dimension of teaching-learning process, although the 2006-2007 and 2008 curricula include detailed examples of activities and daily lesson plans related to each acquisition it was determined that there was no sample activity in the 2018 curriculum. In the evaluation dimension, while the measurement tools are explained in detail in 2006-2007 and 2008 curricula and examples related to their outcomes are included, it has been determined that measurement-evaluation methods and tools are not included in the 2018 curriculum. [ABSTRACT FROM AUTHOR]

The world is degrading daily due to the overuse of natural resources, urbanization, and industrialization. When humans abuse natural resources, causing ecology to become unbalanced, the relationship between nature and man switches from symbiotic to predatory. Because belief systems substantially impact environmental behavior, ethnic adaptive folk traditions have played an important role in appraising many socio-ecological challenges. The ethnic communities throughout their territory have accumulated information over time, which in normal conditions sets them up to get by in counterbalance to their current situation, and so encourages them to counteract with the characteristic traits for their job. The main aim of the present study is the interaction between ethnic societies' adaptive traditional beliefs and the environment, which can sustain ecosystems. The present empirical study in the Purulia district of West Bengal, India has investigated and documented ethnic communities' traditional belief systems that can aid to conserve and preserve biodiversity. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Language Academy is the property of Rota Kariyer and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The results of a comparative analysis of female demonic characters that exist in the myths and folklore of the peoples of Western Siberia are presented. It is noted that the total assimilation and leveling of the peculiarities of distinctive cultures did not occur, despite the fact that the rituals and myths of the West Siberian peoples were subjected to processes of mutual influence, flow and adaptation for centuries. The relevance of the study is due to the need to study the existing picture both in its integrity and in individual fragments. It is reported that the image of a female witch, a malicious old woman, is found in the myths and tales of most of the peoples living in Western Siberia. The article analyzes the etymology of the names and attributes of female demonic characters: Porne in Khanty mythology, Parne in Nenets mythology, Forest old woman and Albasty among Siberian Tatars, Baba Yaga among Slavs. The authors pay special attention to the commonality of mythological motifs, the similar structure of fairy tales, arising on the basis of demonic images of the feminine type. The possible relationship of these images with totemic representations, common in ancient cultures, is indicated. The question of the correlation of the folklore plot “the boy and the witch” with the ritualism of the West Siberian peoples, in particular, with the rites of birth, initiation, and fire worship, is examined. By comparing the traditions of neighboring cultures, the archetypal nature of the initiation scenario while maintaining its ethnospatial specificity is proved.