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Things of the Warsaw Ghetto - a conversation about the agency, materiality and vitality of archaeological monuments as museum objects
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The article analyzes the relationship between education and poverty in isolated communities in Northwest Bulgaria. By using ethnographic methods, the main obstacles and motivations for continuing education in universities for children of Roma origin are highlighted. The focus of analyze is the social and cultural factors that characterize the environment and that have an impact on the educational process.
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The organization of musical life of Belgrade as the capital of the newly founded Kingdom of Serbs, Croats and Slovenes was characterized by eforts towards a material, economic and cultural consolidation of the city afer a war disaster; thus the mapping of continuity with pre-war traditions acquired a special signifcance. Te frst joint performance of Belgrade choirs in peacetime conditions, organised by the Belgrade Choral Society (1919) and dedicated exclusively to Mokranjac’s output testifed to that efect. Soon there followed four similar events (1922– 1923), and then a manifestation of the transfer of Mokranjac’s remains from Skopje to Belgrade (1923). Te aim of this article is to examine these events as the frst, though belated (due to war circumstances) cases of memorizing Mokranjac afer his death in 1914. Tis research has taken into account the processes of canonization of Mokranjac that had begun even during his lifetime, and the critical examination of the canon is complemented by theoretical elements from memory studies, because these events are about a (re)interpretation of the canon of national art music through strategies of memorialization. Concerts and narratives that are directly related to them are marked as artistic memorials to Mokranjac; aferwards, I analyzed the commemoration ceremony itself. Considering the results of the analysis, I concluded that these were two types of memorizing Mokranjac, one of which was in the domain of the professional music elite, while the other one acquired the proportions of the national-state event. Accordingly, they also ofered two kinds of national memory. On the one hand, the version presented by the representatives of the elite contributed to the canonization of Mokranjac and the creation of national memory within the dominant group in the field of music which, through its narrative about Mokranjac, expressed its own aesthetic orientation and reinforced its social positions. On the other hand, the mass gathering of various representatives of the state, civil institutions and citizens pointed to the apposite narratives of glorifying Mokranjac, while loading the ideology of the ofcial state apparatus and puting memories of Mokranjac into desirable Yugoslav frameworks.
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The richness of the Albanian culture, its traditions, and customs easily fascinate any researcher. Amidst the diversity of these traditions and customs, certain elements have played a role in reinforcing gender role divisions and strengthening patriarchal mentalities. Through this article, it is intended to explore customary laws that have nurtured and strengthened gender role divisions, by exploring the customary rights in the Kanun of Leke Dukagjini and Kanun of Luma, which have been implemented in the northern and northeastern part of Albania. The Kanuns, as customary rights, and codes of laws, have served as a legal basis for a long time in the Albanian society, and they are an important part of the cultural tradition of Albania. This article highlights elements that have influenced the strengthening of patriarchal mindsets, which contributed to the unequal position of women in family and society. Although nowadays the customary rights in the Kanuns are considered obsolete, the Kanun norms have often served as the opposite of the current legal regulations and continue to do so. In many cases, the rules of the Kanuns have been followed by the people in different areas of life, often conflicting with the law in force. The customary rights of the Kanuns and the mindset created by them have contributed to the strengthening of the patriarchal mentality and the division of gender roles. Gender roles perpetuate inequalities between females and males, where there are clear divisions inside the Kanun regulations, which are still strong and influential on gender-related issues.
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The gramophone record industry had developed in the Yugoslav region from the beginning of the 20th century. The paper is based on an analysis of the corpus of 78 rpm records of singing with gusle accompaniment, which were produced between 1908 and 1932. Available recordings highlight the issue of representing both the epic and the gusle playing tradition in this media format and its relationship with “unmediated” live gusle playing practice. Therefore the authors opted to analyze gramophone records as both a text in culture and an actor in tradition. After introductory theoretical and methodological remarks, the authors offer a brief description of the historical, political and socio-cultural context that emphasized epic singing with gusle accompaniment as a representative traditional genre in this area. For that reason it was noteworthy for both western and local production companies which made recordings in the Balkans (Deutsche Grammophon Gesellschaft mbH., Odeon Records, Marsh Laboratories, Inc., Edison Bell Penkala Ltd.). Analysis of the recordings is focused on examination of the way in which gusle players responded to different requirements of the new media (e.g. the insufficient capacity of a record itself compared to the usual duration of a performance; the reduction of a complex form of artistic communication to an oral, auditory message, while additional forms of non-verbal communication are excluded). Through discussion of the treatment of verbal and musical components of the recorded performances it has been shown that tradition was simultaneously exemplified and reshaped by this new medium. In addition to the guslars themselves, being already recognized artists in this traditional genre and the acoustic source (the voice accompanied by the gusle), the representative base of the epic tradition comprised traditional (poetic) texts, although modifications / innovations are recognizable at different levels of verbal content, as well as on the level of music interpretation. On these bases, it is possible to talk about the contribution of new media to the professionalization of guslars’ practice and the creation of “stars” among them on the one hand, and the progressive transformation of once-active audience members (in the sense of potentially exchangeable performer / listener positions) into passive buyers and consumers, on the other. It is noted that these, first gramophone records of guslars had a great role in and impact on the survival of the epic singing tradition, brokering its promotion in urban areas and among the “cultural elite”. Finally, in this way they contributed to the strengthening of this tradition in a historical period that brought disintegration of the system of traditional culture and “crisis” of the most of the current classic folklore genres.
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Through rhythm-typological analysis and cartography the author has detected a similarity in the typological structure of early traditional musical forms belonging to agricultural and wedding genres on the territory which unites Ukraine, Belarus (within its ethnic area at the beginning of the 20th century), Eastern Poland (the Vistula river basin), and Lithuania (Dzūkija and Aukštaitija).. This concerns several dozen song types, composed of items from a common grammatical base, forming the UkrainianBelarusian-Polish early-traditional melo-massif ‒ UBPEM. These types share interethnic (2-4-lingual) areals, which do not correlate with linguistic ones.
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Although ethnochoreology and ethnomusicology as related academic disciplines have decades-long histories, reviewing and redefining their basic epistemological and methodological principles remained one of the main focuses of disciplinary discussion. Most ethnochoreologists and ethnomusicologist agrees that “field” work (in all its traditional and contemporary forms) remains an essential and constitutive quality of their research and disciplinary fields. The inherent interdisciplinary networking of ethnochoreology and ethnomusicology starts from the theoretical premise that the relationship between the kinetic and musical components of dance is not only unbreakable, but also interactive, and that complex and dynamic manifestations of dance performances represents an expressive medium through which a particular community constructs and represents itself. Since the importance of the individual experience of researchers has been ephasized during the last few decades, a comprehensive method of participant observation remains a central and unifying aspect of fieldwork, both in ethnochoreology and ethnomusicology. Based on field research of musical and dance practices of the village of Svinica (Sviniţa) in Romania, this paper reviews the application and combination of various methods of field research (observation, participation in the performance process, filming, interviews and writing field notes) as the primary tools for the acquisition and shaping of scientific knowledge about dance and music. Issues that will be discussed include the following questions: What are the advantages of personal kinetic/auditory experience during simultaneous perception of dance movement and dance music? How can different methods of field research be combined in order to improve cognitive processes? Are there border areas between ethnochoreological and ethnomusicological fieldwork? Does the variety of methods of field research represents a weakness of the interdisciplinary approach or its advantage? On which information recorded during the fieldwork does a researcher usually build his post-field ethnochoreological/ethnomusical narratives? Through discussion of all these issues, particular emphasis will therefore be placed on the consideration of processes of memorization (visual, auditory and kinetic) when applying the method of participation in the dance performance.
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The International Society for Ethnology and Folklore (Société internationale d’ethnologie et de folklore — SIEF) is a professional organisation that assembles ethnologists, anthropologists, folklorists, ethnomusicologists, linguists, sociologists and others. The Society held its 12th Congress in Croatia in June 2015 with the theme Utopias, Realities, Heritages: Ethnographies for the 21St Century, assisted by local organizers, the Department of Ethnology and Cultural Anthropology of the Faculty of Humanities and Social sciences of the University of Zagreb, and the Institute of Ethnology and Folklore Research in Zagreb. Although one of the largest humanities conferences in the region, it attracted many scholars from other parts of the world, who offered contributions on various topics related to the conference theme: archives, body/embodiment, digital/virtual, disciplinary discussions, food, gender and sexuality, heritage, home, migration/borders, museums, narrative, politics and social movements, religion, rural, socialist, post-socialist and urban studies, including music. Thus, it is understandable that throughout the conference there were continuous sessions showing ethnographic films, since they, as a medium, potentially encompass all humanities and social sciences.
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In this article, the author observes and discusses the effects of Russian history on Russian music in the second half of the XXth century. Forming part of author’s long-range persistent polemics against Russian exceptionalism and against the kind of romantic overvaluation of art, the article expresses sharp and provocative views of the main stylistic tendencies in Soviet and Russian music during and after the epoch of the Cold War, as well as after the Second Russian Revolution in 1991. Special attention is paid to the activity and works of the most prominent Russian composers of their time: Andrey Volkonsky, Edison Denisov, Nikolai Keretnikov, Arvo Pärt, Elena Frisova, Sofia Gubaidulina and Alfred Schnittke.
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The present paper is designed with the intention of capitalizing on the narrative praxis of foreign travelers, which partially outlines the image of music from the culture of Moldova, resulting from their stay on the territory of the country. Starting from the researched historical sources, the content, presented in chronological order, highlights and analyzes the points of view of the travelers from outside, whose refl ections and comments facilitate the penetration into the realities of court music and fi ddle music, oft en considered “minor forms” of manifestation of the sound art, to which local research has oft en paid less attention. Captured from the perspective of the non-professional traveller, the described information reveals the circumstances, in which the services of music are appealed to and the share of the phenomenon in offi cial events. At the same time, the syntheses undertaken shed light on the exaggerations and (or) subjectivisms expressed in the interpretations and opinions of foreign visitors. Nevertheless, the travel notes have the role of contributing to broadening the horizon of national music in the historical period under research.
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Romanian toponymy evolved over the years and millennia from a linguistic point of view. Topical names appeared at certain historical moments and are associated with certain moments in the material and spiritual life of people, leaving a trace of society from different eras. The research of Dobrudgean toponymy highlights current problems and aspects in the general and Romance linguistics. These problems and aspects have materialized in analyses and interpretations of distinct toponymic facts and phenomena, as a result of the complexity of investigation methods and principles at the contemporary level. The way of life of the inhabitants, the relations and the direct links between people and society, etc. played a special role in this process. We can assert that the cities in Dobrogea are very stable, regardless of their ethnicity, and the toponymic names provide an additional proof of the continuity and stability of the Romanian society in medieval and contemporary Dobrogea.
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In the present study, we created an overview of the popular literature of the huts of Bucovina, starting from the volume of stories of the writer of hut origin Casian Balabașciuc. The popular literature specific to the shacks of Bucovina starts from a symbolic interpretation of the world that the shacks often considered hostile or mysterious. Casian Balabașciuc's stories surprise the reader by presenting a world of simple people, with all their rituals, traditions and beliefs. The popular literature specific to the huts is based on animistic beliefs, the transmission of strong sacred values and the existence of a mysterious life, which unfolded as they pleased in the middle of the forest.
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The funeral rite is a fundamental aspect of the process of a person's passage from this world to the underworld. Throughout history, each culture and society has developed its own representations of this important moment of transition. In modern society, depictions of funerary ritual have evolved in accordance with social and technological changes. Individual traditions and increasing cultural diversity have brought with it a number of changes in the way people face and express their grief of loss. Currently, funeral rites can range from traditional religious ceremonies to personalized civil burials or even commemoration actions. Many beliefs and traditions we inherited from our ancestors, the Dacians and Romans, and as testimonies over time are the customs and rituals that we still find in rural life. Each civilization emphasized its own values and beliefs about the afterlife. Depictions of the funeral rite give us insight into human values and understanding in the face of the inevitable – death. The funeral rite among the Greeks, as in Romanian culture, involved certain practices of preparing the body of the deceased for the burial rite. The last road to the Greeks was marked by certain offerings and sacrifices, where the community expressed its regrets; they organized memorial dinners to honor the memory of the departed, a custom that is still practiced today among Romanians. In Ancient Rome, there is also that custom of purifying the family home. The ancient Romans used certain aromatic plants to banish all the energies left after death. From the Dacians we do not have so much information regarding the funeral ritual. However, following discoveries and historical accounts, a different aspect catches our attention: cremation, burning of the body of the deceased. We also remember the Dacian tombs where various personal objects were placed, traditions that we inherited and which are practiced today.
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In the center of attention of the paper, there are three Wallachian dance melodies in piano transcription, which, together with the music of other peoples, are included in a collection of songs published at the beginning of the 19th century in London. The article focuses on the morphological and syntactic analysis of the musical content, trying to distinguish the facets of the sound discourse, which would prove its belonging to the Romanian musical fund. The radiography, undertaken along the way, at the level of structural elements (motif, phrase, melodic profile) and musical language as a carrier of semantic, cognitive and affective information (intonations, scales, modes, cadences, modulation), aims to mark the specific particularities of the music of the national dance in the perspective of the melodies found in the London collection. The aspects investigated and the conclusions of the study underline the idea of the interest shown for our musical culture of oral tradition and its circulation abroad, which, along with the recognition of its artistic qualities, configures the ethnic specificity rendered through music.
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The study addresses the diverse and controversial aspects regarding the concept, notion and principle of authenticity in neo-traditional music, known as “popular/folk music”, promoted by the popular studio orchestra “Folclor”, within the Republican Television and Radio Broadcasting Company (TRM), in the ideological context of the Soviet period, throughout 1970-1980s. The author tries to reveal the directorial role of the Artistic Council of the TRM, as an institutional body of control, censorship, evaluation, homologation and political accreditation of the popular creations as cultural expressions of the Moldavian SSR, in accordance with the cultural policies of the party-state. Calling on the analysis of some studies on the topic, the synthesis of typical wordings from the minutes and the evaluation of the critics, exposed in the press pages of the era, the main characteristics of the neo-traditional popular/folk authenticity are highlighted.
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The Hispanic Rite is the distinctive way of celebrating liturgical actions in the Spanish Church during its first ten centuries of history. It was first used by the Hispano-Roman Christians, and its use continued under Visigothic rule, during which time the great Fathers of the Visigothic Church significantly enriched it. There is no doubt that the Hispanic rite was influenced by Eastern liturgies, from which the Goths had borrowed ecclesiastical traditions through the Bishop of the Goths, Ulfila. He had Arianized the people and translated the Bible into the native language. At this point, the Hispanic rite acquired a predominantly Eastern-Byzantine character without ceasing to be fundamentally Roman. It was also used by Christians who remained under Muslim rule in various regions of Spain, as well as by those in the unoccupied regions.
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The paper is a synthetic presentation of the contents of parish websites and Facebook profiles in terms of historical information posted online. For the purposes of the analysis, a representative group of one-third parishes of the Archdiocese of Przemyśl has been selected (125 out of 392). The research lasted from April to early June 2022. The analysis showed that 64% of the parishes had their own websites, another 8% (without a website) had a Facebook profile, and 28% of the examined parishes remained offline. Within the group of parishes with their own websites, 84% included historical information in the form of texts of considerably varied size and quality, prepared for the purposes of the website. Some of the texts had a quality of reliable scientific monographs. In rare cases calendars of events from the parish life or parish chronicles were found. Parish Facebook profiles were hardly ever used for publishing historical content.
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In this article the nature of sacredness of areal units has been revealed. Extensive attention has been devoted to the importance of researching the images of folk speech as a cohesive linguistic microsystem. It has been mentioned that the verbal symbolism of phraseological units reflects material and spiritual life. Phraseological units concentrate the images that a person makes, reflecting the national worldview, which is one of the most important parameters of the description of mentality and individual or group picture of the world. The phraseological composition of the language reproduces the peculiarities of the worldview and identity of the native people. Peculiarities of representation of mythological culture in areal phraseology of the Ukrainian language are analyzed; the peculiarities and prospects of research of the sacred phraseological unit as a socially, culturally, nationally marked phenomenon of linguistic nature are clarified. It is noted that the image of the sacred is created through the characteristics of the sacred subject, sacred object, sacred action, sacred time, sacred space. The field of sacred phraseology has been revealed, the motivational-symbolic description and the analysis of functional-semantic meanings are carried out. One of the aspects of reflecting the phraseological mythological worldview of the Ukrainians has been analyzed, in particular the peculiarities of the representation of ideas about a demonological being – the “devil” in areal speech. It has been revealed that the demonological world of Ukrainian mythology is the most ambiguous and the least studied element of the folk worldview.
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