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This qualitative research project investigates the Yangge cultural performance and its unique cultural identity in the context of modern China. The two primary objectives of this study are: (1) to examine the history and evolution of Yangge in Chinese society and (2) to analyze its cultural identity within the modern Chinese milieu. The study finds that Yangge, a folk drama predominantly found in northern China, traces its origins back to songs sung by farmers during their agricultural activities. Over time, these practices have transitioned from mere singing to encompass dance and drama forms, evolving in accordance with the era and reflecting the historical developments of traditional folk dances in modern China. Three distinct identities and cultural facets of Yangge are identified: (1) the music accompanying working life, (2) independent folk songs and dances formed over time, often featured during traditional folk festivals and harvest celebrations, and (3) diversified forms of singing and dancing, transitioning into a formal cultural production. In summary, Yangge mirrors the geography, culture, politics, economy, and customs of China and serves an important purpose in the maintenance of cultural identity, despite ongoing challenges to its preservation. [ABSTRACT FROM AUTHOR]

The article discusses the cultural festival, Ati-Atihan held every January in Kalibo, a municipality in the Aklan province on Panay Island in the Philippines.

In recent years, the increasing volume of born-digital materials (i.e. those created digitally rather than digitized from analog originals) deposited in archives has fostered the development of new software-based tools and workflows for processing archivists. Archivists seeking practical guidance for preserving digital materials have a wealth of resources at their disposal, including many community-owned tools, workflows, and tutorials. This case study examines how archival standards and technological advances have influenced the semiautomated description of born-digital audio records through the lens of a recent project at the Clara Thomas Archives and Special Collections (CTASC) at York University Libraries (YUL). The Mariposa Folk Foundation Fonds, containing a large and growing collection of born-digital audio recordings, served as an opportunity to design and test a new software-aided descriptive workflow. The project leverages the programmable nature of born-digital materials in an attempt to streamline the time-consuming process for creating the item-level descriptions typically associated with sound recordings and born-digital records while also improving the discoverability of this material in the unmediated environment of online finding aids. This case study demonstrates how technology has influenced descriptive practices, with the advent of online finding aids providing increased access to archival descriptions, online databases permitting keyword searching, and tools to script metadata extracted from born-digital records enabling robust archival descriptions. [End Page 72] [ABSTRACT FROM AUTHOR]

Copyright of Journal of Educational Studies (1673-1298) is the property of Journal of Educational Studies Editorial Office 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.)

Bhadu is a folk festival which is led by women. The deity is a female deity. All rituals of the festival are celebrated by women. Joy, sorrow, wish, love and the glimpses of the entire lives of women are expressed in the Bhadu songs. Though this festival is mainly celebrated by women of sub-castes and outcastes of Rarh Bengal, it has reached the household of uppercaste family also. The difference between other female deities and Bhadu is that women cannot think of other female deities below their divinity, but Bhadu is sometimes their daughter, sometimes she becomes their mother. There is no difference between a common woman and Devi Bhadu. She is the bosom friend of women of Rarh Bengal with whom they can share every thought and they express their thoughts through Bhadu songs. [ABSTRACT FROM AUTHOR]

Copyright of Umsatzsteuer-Rundschau is the property of De Gruyter 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 Pensamiento, Palabra y Obra is the property of Universidad Pedaggica Nacional 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 history of the debates on the preservation of culture has progressed in parallel with the history of folklore research, and a two-century-old literature has been formed on this subject. Although there are many conservation models proposed in the debates on the preservation of traditional culture, they contain two basic understandings in essence. The first and older conservation approach proposes to preserve folklore by freezing it, while the second and more modern approach proposes to preserve folklore by keeping it alive. In this article, İbrahim Aslanoğlu's (d. 1995) conservation approaches are questioned. As a result of the evaluations, it was seen that İbrahim Aslanoğlu understood folklore as a dull type of knowledge and had thoughts that this dull knowledge should be represented without deteriorating its formal qualities. However, the findings obtained regarding the 1964 Sivas Folk Poets' Festival, which was organized under the leadership of Aslanoğlu, show that Aslanoğlu was also aware of the dynamic aspect of folklore and that he had ideas that one of the ways to keep traditional culture alive was transmission. From the findings obtained, it is understood that Aslanoğlu, who passionately pursued folk knowledge in the provinces of Anatolia at a time when technical possibilities were not as widespread and accessible as they are today, was a visionary folklore lover in every respect. There are lessons to be learned from Aslanoğlu's passion for folklore in understanding the importance of the XXI century folklorists, materials and source persons. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Chinese Ritual, Theatre & Folklore / Mínsú Qǔyì is the property of Shih Ho-Cheng Folk Culture Foundation 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 studies, compares and analyses participatory music making at Estonian and Finnish folk music festivals. By comparing the empirical research materials collected during comprehensive fieldwork in 2004-2019 from the regilaulupesa (Eng. runosong nest) of the Viljandi Folk Music Festival (Est. Viljandi pärimusmuusika festival) in Estonia and from the pelimanni (Eng. folk musician, fiddler) evenings of the Kaustinen Folk Music Festival (Fin. Kaustisen kansanmusiikkijuhlat) in Finland, answers were sought to the following questions: What kind of participatory music making takes place at these folk music festivals? What are the social dynamics between and within the groups and individuals in participatory music making situations? How are the primary and secondary functions of music making formed? As a result of the qualitative comparative phenomenological research, it was found that although in participatory music situations at Estonian and Finnish folk music festivals the musical behaviour of participants and the social dynamics of groups could differ radically, they still strive for direct musical experience at a community and personal level and bring the older musical tradition closer to the contemporary people. During participatory music making the secondary function, that is, musical behaviour directed outside the group, could turn naturally into a primary function - musical activity that unites the community and fulfils its internal needs. Situations of participatory music making at Estonian and Finnish contemporary music festivals revealed the common music making as a cultural, social, creative, and emotional phenomenon which has symbolic and direct connections with traditional Finnic folk music culture. [ABSTRACT FROM AUTHOR]

For many Americans, Christmas became inextricably linked to a celebration of the outdoor life in the latter decades of the nineteenth century. Earlier generations of genteel folk in New York had taken the festival indoors, setting a fashion for many of the customs recognised to this day, and shaping a celebration of family and piety, home and consumption. But Christmas did not stay indoors forever. Appealing to a growing, broad middle-class interest in outdoor sports during the Gilded Age of the 1870s-1890s, a proliferating range of magazines shaped new ideas about leisure and recreation, and in festive special issues, about Christmas too. Sitting by the fire in dark and chilly December, readers of magazines like Forest and Stream or Outing could find encouragement to enjoy an active, outdoor Christmas Day, to venture into the winter landscape on skate or sled perhaps, or equally to lose themselves in stories of sport and adventure that could take them on imagined escapes, to the icy forests and mountains of the North, to sunny Florida and California, or to faraway lands, overseas. In these ways outdoor-sports magazines brought to mind wonderlands of thrill and enchantment. In the process, they reimagined Christmas for the twentieth century and the age of individualism and play, leisure and consumption. [ABSTRACT FROM AUTHOR]

Consumer Culture Theory (CCT) is a theoretical approach that analyzes consumer behavior in a subjective way, offering a perspective opposed to marketing. At the Parintins Folk Festival, in the state of Amazonas, cultural marketing strategies are applied locally, exploring the rivalry between the protagonist bumbás to build a culture of consumption and collective identity. This study aimed to understand the consumption behavior of fans of the bumbás of Parintins, using a sociocultural, experiential, symbolic and ideological view, associated with the sponsoring brands of the festival. The research revealed a strong link between the traditional ideologies promoted by the sponsoring brands and the projected identity, as well as socio-historical patterns of consumption that underlie the observed market cultures. [ABSTRACT FROM AUTHOR]

At Saltburn Folk Festival 2021 in the North of England our folk group Patchwork performed S.J. Tucker's song, Witch's Rune, in tribute to 'witches' killed or mistreated. The performance and tribute inspired me to find out about the 'witches' of the North York Moors where I live: their names and lives, how they were treated, their legacy and how to fairly present them today in educational and artistic projects. Records consulted ranged from books of local folklore to unpublished handwritten historical documents. Two firsthand accounts in particular - George Calvert's (1823) and Rev. J.C. Atkinson's (1891) - provided names, locations, living conditions and stories of some of the women who were branded as 'witches' during the nineteenth century. 'Wise men' ('wizards') from those times were also named and recorded; wise men were believed to have supernatural powers that could counter the witches' influence. Healing potions and magical practices of North York Moors 'witches' recorded in the nineteenth-century were found to be similar in kind to those recorded from much earlier Anglo-Saxon communities (fifth to eleventh centuries), indicating a continuity and adaptation of traditional practices handed down over 1,000 years or so. Resistance to change in this remote moorland area is presented as one reason for the practice of witchcraft surviving so long despite the rise of science and modern medicine. Fear of witches and belief in magic was rife in the local community in the mid-nineteenth century. The witch stereotypes passed down to us today were initiated through the demonisation of witches by the medieval Christian Church in an effort to stamp out paganism. The isolation of the North York Moors helped to insulate the area from the famous witch hunts and witch trials happening elsewhere, but close reading of collected local witch stories hint at ostracisation and violence at a village level towards powerless, generally older women branded locally as 'witches', who had few alternatives for making a living. A legacy of the healing practices of local historic 'witches' is found in the herbal and alternative health practitioners in the area today, and spiritually in modern nature-based philosophies and religions, including modern Paganism. This paper strips away witch stereotypes to reveal real people practising witchcraft in the North York Moors well into the nineteenth century and their prolonged persecution. It supports fleshing out their historical records, bringing justice to the 'witches' by representing them through educational and artistic initiatives, and re-education to stop witch-hunts within local communities around the world today. 'Patchwork' will continue to sing S.J. Tucker's song together with a tribute, informed by this paper, to the local witches of Blackamoor. [ABSTRACT FROM AUTHOR]

Videoecology and ecology related to the architectural and landscape spaces of the city are increasingly occupying not only the minds of scientists and architects but also the residents of modern cities themselves, which are increasingly being built with high-rise buildings. The problem of increasing green spaces and organising urban architectural and landscape territory at different times of the year is revealed in a comfortable and environmentally friendly component. Previously, a significant place of historical centres was occupied by private households with adjacent green areas, which are an significant part of the landscaping of settlements, especially cities. The winter-spring period, when nature is not yet filled with spring colours, requires special attention from architects, landscape designers, and other specialists in the urban environment. It is necessary to create an everyday and solemn atmosphere, especially on holidays: traditional, religious, patriotic, and international Women's Day.

Known as the “king of fruits” and “peony in fruits”, litchi bears a unique cultural enthusiasm of Chinese people. Among the rich litchi agricultural heritage system (AHS) resources in China, litchi festival custom is one of the most active and popular parts. Due to the people's deep understanding of the beauty of litchi garden, the fun of tasting, and the charm of cultures, the functions of litchi in food, aesthetics and recreation have been fully explored in ancient times. The dignitaries and the public have generally organized a series of gathering and communication activities with tasting litchi as the core during the ripening season. Typical patterns of litchi festival custom include the “official organization” in Bashu, the “literati club” in Fujian, and the “folk party” in Lingnan. It is of great significance to explore the conservation of litchi AHS for its Chinese characteristics and global influence. As an important “cultural gene” to maintain the traditional agricultural production and lifestyle in the AHS site, and the historical value and inheritance of the litchi festival should be attracted enough attention. [ABSTRACT FROM AUTHOR]

This article investigates the reputation management process in the embedded festival context. Embedded festivals (i.e., "home-grown," "grassroots," or "community" festivals) are distinct from other festival in that they: (a) are held in regional locations (b) coopt the regional location's infrastructure, (c) are community led, and (d) are volunteer driven. This research was conducted using a qualitative, quasilongitudinal case study method focused on the reputation management process of the Cygnet Folk Festival. Primary and secondary data were collected via semistructured interviews with key stakeholder groups and from published materials in newspapers and periodicals. The results indicate the following factors as critical to the reputation process: local and volunteer-driven management structures; an authentic regional location; the generation of a sustainable "story"; the monitoring and responding to local environmental changes; the prioritization of interpersonal communications and influence with local stakeholders; maintaining the embedded festival's authenticity; and maintaining ongoing information/feedback loops with all stakeholder groups. [ABSTRACT FROM AUTHOR]

In the Reformation era, the Chinese-Indonesians enjoy more freedom in expressing their ethnic identity in the public sphere, which was once oppressed under Soeharto's New Order (1967-1998). The return of the Chinese festivals appears to indicate the end of discrimination and the celebration of multiculturalism, which recognizes the acculturation between the Chinese and local cultures. However, several festivals received backlash and resentment from local Islamic groups. Based on fieldwork and observation on the Chinese New Year folk festivals 2019-2020 in Semarang, Solo, and Yogyakarta, this article describes the socio-political dimensions behind the revival of Chinese New Year folk festivals. The findings show that while Chinese cultural icons become obvious, these folk festivals accommodate the acculturation between the Chinese and local ethnic and/or religious cultures, which made them closer to the expression of hybrid and multicultural identities. However, the Islamic groups still felt the exposure of Chinese culture was beyond limit and the hybridity is disturbing the Islamic faith. They protested to limit or cancel these festivals. In mitigating the protests and conflicts, the local governments tend to take pragmatic problem solutions, rather than educating the public regarding multiculturalism and tolerance. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Chinese Ritual, Theatre & Folklore / Mínsú Qǔyì is the property of Shih Ho-Cheng Folk Culture Foundation 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 study aimed to clarify the importance Strategic planning for education and Recreational services in the Al-Qaf Valley Reserve to the population increase in the vicinity of the study area and the noticeable increase in the recreational and recreational movement in the study area, and thus the area cannot fulfill the increasing desires of the population in its current situation, This is as a result of the absence of prior strategic planning to meet the needs of the population, and therefore the decision-maker must intervene, as the study area enjoys an average location among the population centers, with a distinctive terrain and vegetation diversity, and a population size that represents a third of the population of the West Bank, and it is a crossroads of transportation routes, which has earned it recreational interest Recreational, and in order to achieve spatial and recreational development, the study showed that the region needs to serve restaurants by 89% from the point of view of officials of the Ministry of Tourism and respondents from among the region's pioneers, and about 98% of the respondents said that the region needs a car park, and about 80% reported the importance of security services, Thus, the study focused on meeting those desires through recreational geographical spatial planning for the region using remote sensing and geographic information systems and through field study, and one of the most important results of the study is the increase and development of recreational services provided in the Wadi Al-Qaf reserve, encouraging private investment in the recreational activity industry beside the public being One of the economic activities is to operate regular buses to transport hikers from the center of Hebron city to the reserve. Providing parking for cars and buses near the proposed park sites, and the stops are in colors or specific signs indicating that this place is for visitors, Establishing folk, folk and artistic festivals to celebrate national and religious holidays, and holding international exhibitions of folk and heritage arts, which encourages the recreational and cultural movement together. [ABSTRACT FROM AUTHOR]

This article adopts Claridge's tridimensional social capital lens to explore how social capital is developed in an embedded festival setting. The study was based upon a quantitative survey and semistructured in-depth interviews with multiple stakeholders of the embedded Cygnet Folk Festival (a regional festival located in Tasmania, Australia). Results indicated that embedded festivals could generate unique social capital by coopting the local infrastructure and providing volunteer opportunities. Although all dimensions of social capital were detected, it appeared that embedded festivals may be particularly effective in generating the structural and cognitive dimensions of social capital; the findings of this study support the notion that embedded festivals differ in the manner in which social capital is produced and in their ability to create a sense of community in the host location. This article concludes with a range of theoretical and practical implications for the effective management of social capital development in festival settings. [ABSTRACT FROM AUTHOR]