Folk arts

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Folk and traditional arts are rooted in and reflective of the cultural life of a community. They encompass the body of expressive culture associated with the fields of folklore and cultural heritage. Tangible folk art includes objects which historically are crafted and used within a traditional community. Intangible folk arts include such forms as music, dance and narrative structures. Each of these arts, both tangible and intangible, was originally developed to address a real need. Once this practical purpose has been lost or forgotten, there is no reason for further transmission unless the object or action has been imbued with meaning beyond its initial practicality. These vital and constantly reinvigorated artistic traditions are shaped by values and standards of excellence that are passed from generation to generation, most often within family and community, through demonstration, conversation, and practice.

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It is these cultural artifacts, both tangible and intangible, that become the purview of the folklorist and cultural historian. They seek to understand the significance of these cultural forms within the community by studying their creation, transmission and performance, through which the values and structure of the community are expressed. It then becomes important to document these traditional acts and their meaning. Both community members and outsiders need to be educated as to the importance of these traditional objects and actions within the life of the community. And finally, the celebration of these arts needs to become an active demonstration and statement for the members of this community.

Performance folk arts

In addition to tangible folk art objects, there is a second broad category of performance folk art which includes intangible arts forms such as folk music and folk song, folk dance and various kinds of narrative structures. This category is part of the performing arts. These intangible folk art forms only became grouped as such in the second half of the 20th century, when the two terms "folklore performance" and "text and context" dominated discussions among folklorists. Performance is frequently tied to verbal and customary lore, whereas context is used in discussions of material lore. Both formulations offer different perspectives on the same folkloric understanding, specifically that folklore artifacts need to remain embedded in their cultural environment if we are to gain insight into their meaning for the community.

The concept of cultural (folklore) performance is shared with ethnography and anthropology among other social sciences. The cultural anthropologist Victor Turner identified four universal characteristics of cultural performance. These are playfulness, framing, using symbolic language and employing the subjunctive mood. [1] In performance the audience leaves the daily reality to move into a mode of make-believe, "what if". That this fits well with all types of verbal lore, music, and movement, where reality finds little footing among the symbols, fantasies, and nonsense of traditional tales, proverbs, and jokes is self-evident. Customs and the lore of children and games also fit easily into the language of a folklore performance.

Supporting organizations

The United Nations recognizes and supports cultural heritage around the world, in particular with the IOV International Organization of Folk Art, in partnership with UNESCO. Their declared mission is to "further folk art, customs and culture around the world through the organization of festivals and other cultural events, … with emphasis on dancing, folk music, folk songs and folk art." [2] By supporting international exchanges of folk art groups as well as the organization of festivals and other cultural events, their goal is promote international understanding and world peace.

In the United States, the National Endowment for the Arts works to promote greater understanding and sustainability of cultural heritage across the United States and around the world through research, education, and community engagement. As part of this, they identify and support NEA folk art fellows in quilting, ironwork, woodcarving, pottery, embroidery, basketry, weaving, along with other related traditional arts. The NEA guidelines define as criteria for this award a display of "authenticity, excellence, and significance within a particular tradition" for the artists selected. (NEA guidelines) ." In 1966, the NEA's first year of funding, support for national and regional folk festivals was identified as a priority with the first grant made in 1967 to the National Folk Festival Association. Folklife festivals have long been celebrated around the world to encourage and support the education and community engagement of diverse ethnic communities.

Regional folk arts

Associations

Related Research Articles

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Folklore is the body of expressive culture shared by a particular group of people, culture or subculture. This includes oral traditions such as tales, myths, legends, proverbs, poems, jokes, and other oral traditions. This also includes material culture, such as traditional building styles common to the group. Folklore also encompasses customary lore, taking actions for folk beliefs, and the forms and rituals of celebrations such as Christmas, weddings, folk dances, and initiation rites.

The folklore of India encompasses the folklore of the nation of India and the Indian subcontinent. India is an ethnically and religiously diverse country. Given this diversity, it is difficult to generalize the vast folklore of India as a unit.

<span class="mw-page-title-main">Folklore studies</span> Branch of anthropology

Folklore studies is the branch of anthropology devoted to the study of folklore. This term, along with its synonyms, gained currency in the 1950s to distinguish the academic study of traditional culture from the folklore artifacts themselves. It became established as a field across both Europe and North America, coordinating with Volkskunde (German), folkeminner (Norwegian), and folkminnen (Swedish), among others.

<span class="mw-page-title-main">Folk art</span> Art produced from an indigenous culture or by peasants or other laboring tradespeople

Folk art covers all forms of visual art made in the context of folk culture. Definitions vary, but generally the objects have practical utility of some kind, rather than being exclusively decorative. The makers of folk art are typically trained within a popular tradition, rather than in the fine art tradition of the culture. There is often overlap, or contested ground with 'naive art'. "Folk art" is not used in regard to traditional societies where ethnographic art continue to be made.

Public folklore is the term for the work done by folklorists in public settings in the United States and Canada outside of universities and colleges, such as arts councils, museums, folklife festivals, radio stations, etc., as opposed to academic folklore, which is done within universities and colleges. The term is short for "public sector folklore" and was first used by members of the American Folklore Society in the early 1970s.

An intangible cultural heritage (ICH) is a practice, representation, expression, knowledge, or skill considered by UNESCO to be part of a place's cultural heritage. Buildings, historic places, monuments, and artifacts are cultural property. Intangible heritage consists of nonphysical intellectual wealth, such as folklore, customs, beliefs, traditions, knowledge, and language. Intangible cultural heritage is considered by member states of UNESCO in relation to the tangible World Heritage focusing on intangible aspects of culture. In 2001, UNESCO made a survey among states and NGOs to try to agree on a definition, and the Convention for the Safeguarding of the Intangible Cultural Heritage was drafted in 2003 for its protection and promotion.

The Center for Folklife & Cultural Heritage (CFCH) is one of three cultural centers within the Smithsonian Institution in the United States. Its motto is "culture of, by, and for the people", and it aims to encourage understanding and cultural sustainability through research, education, and community engagement. The CFCH contains (numerically) the largest collection in the Smithsonian, but is not fully open to the public. Its budget comes primarily from grants, trust monies, federal government appropriations, and gifts, with a small percentage coming from the main Smithsonian budget.

Cultural retention is the act of retaining the culture of a specific ethnic group of people, especially when there is reason to believe that the culture, through inaction, may be lost. Many African-American, European and Asian organizations have cultural retention programs in place.

<span class="mw-page-title-main">National Intangible Cultural Heritage of Indonesia</span> Indonesian culture

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<span class="mw-page-title-main">UNESCO Intangible Cultural Heritage Lists</span>

UNESCO established its Lists of Intangible Cultural Heritage with the aim of ensuring better protection of important intangible cultural heritages worldwide and the awareness of their significance. This list is published by the Intergovernmental Committee for the Safeguarding of Intangible Cultural Heritage, the members of which are elected by State Parties meeting in a General Assembly. Through a compendium of the different oral and intangible treasures of humankind worldwide, the programme aims to draw attention to the importance of safeguarding intangible heritage, which UNESCO has identified as an essential component and as a repository of cultural diversity and of creative expression.

The Center for Traditional Music and Dance (CTMD) is a leading folk/traditional arts organization based in New York City. Originally established as the Balkan Arts Center in 1968, CTMD assists the city's ethnic and immigrant communities in maintaining their traditions and cultural heritage. CTMD has developed a range of programs that emphasize research, documentation, collaboration, presentation, and education to help advance its mission of cultural equity. Over the past five decades, CTMD's programs have led to the creation of nationally renowned ensembles, folk arts festivals, and community-based cultural organizations. CTMD provides the public with a full calendar of events designed to showcase and promote the diversity of New York City's performing arts traditions.

<span class="mw-page-title-main">Cultural Property (Japan)</span>

A Cultural Property is administered by the Japanese government's Agency for Cultural Affairs, and includes tangible properties ; intangible properties ; folk properties both tangible and intangible; monuments historic, scenic and natural; cultural landscapes; and groups of traditional buildings. Buried properties and conservation techniques are also protected. Together these cultural properties are to be preserved and utilized as the heritage of the Japanese people.

<span class="mw-page-title-main">International Council of Organizations of Folklore Festivals and Folk Arts</span>

The International Council of Organizations of Folklore Festivals and Folk Arts is an international nongovernmental organization (NGO) in Official partnership with UNESCO and is accredited to provide advisory service to the Committee of the UNESCO Convention for the Safeguarding of Intangible Cultural Heritage. CIOFF has 63 full members, 21 associate members and 18 corresponding members worldwide and 3 partner members. Its headquarters are in Confolens in France. Full members are National Sections with the aim to preserve traditional art, to organize Folklore Festivals or similar activities as well as unite voluntary organizations, working in the field of dance, music, costumes, customs and ethnography. The National Sections belong to sectors in the organization according to their geographic location.

<span class="mw-page-title-main">Czech folklore</span>

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<span class="mw-page-title-main">Kay Turner</span>

Kay Turner is an artist and scholar working across disciplines including performance, writing, music, exhibition curation, and public and academic folklore. She is noted for her feminist writings and performances on subjects such as women’s home altars, fairy tale witches, and historical goddess figures. She co-founded “Girls in the Nose,” a lesbian feminist rock punk band that anticipated riot grrl.

<span class="mw-page-title-main">Concepts in folk art</span> Folk and traditional arts are rooted in and reflective of the cultural life of a community

Folk and traditional arts are rooted in and reflective of the cultural life of a community. They encompass the body of expressive culture associated with the fields of folklore and cultural heritage. Tangible folk art includes historic objects which are crafted and used within a traditional community. Intangible folk arts include forms such as music, dance and narrative structures. Tangible and intangible folk arts were developed to address a need, and are shaped by generational values derived from family and community, through demonstration, conversation and practice.

David "Doc" Rowe is a folklorist, author and film-maker who lives and works in the United Kingdom. A graduate of Hornsey College of Arts, he is a prominent lecturer on and advocate for folk traditions and folk music.

<span class="mw-page-title-main">Arna Jharna Museum</span> Museum in Rajasthan, India

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