It aims to reveal the state of Lietuvininkai musical folklore after the Second World War, focusing on the specifics and outcomes of their collection, reconstruction, and revival within the broader context of the Sovietization of culture.The division of the territory, the emptying of the region, and its rapid resettlement by newcomers from across the USSR drastically altered the area's demographic composition.As a result, musical folklore entered the final phase of its organic existence; the last authentic examples were documented through folkloristic fieldwork during this period.However, two closely related developments in the 1960s and 1970s -the ethnocultural movement and the establishment of the Klaipda Faculties of the State Conservatory -created the preconditions for a cultural revival in the region.The pioneers and key figures in this revival were the folklore ensemble Vorusn of the Klaipda faculties and the instrument maker Antanas Butkus, who laid the foundations for revitalizing the instrumental music of Lithuania Minor.The forms and methods employed in the revival of musical folklore indicate that, during the Soviet period, the musical traditions of Lithuania Minor were effectively reclassified as intangible cultural heritage. KopsavilkumsRakst tiek ptta Mazs Lietuvas mzikas folklora un ts revitalizcijas formas un metodes padomju period .Raksta mris ir atklt Prsijas lietuvieu jeb lietuvininku mzikas folkloras stvokli pc Otr pasaules kara, pievrot uzmanbu ts vkanas,

The aim of the article is to explore the historical preconditions, socio-cultural context, and internal and external factors that contributed to the emergence and development of the folk music revival in Ukraine from the late 1970s to 1991 -a period that coincides with the dissolution of the Soviet Union and the establishment of an independent Ukraine.The introductory section outlines the methodological approaches and reviews the relevant state-of-the-art literature.It also provides the social context in which the Ukrainian folk music revival emerged and developed in the outlined period.The main section traces and describes the history of the founding and early activities of the first ensembles representing the Ukrainian revival movement.The historical, political, and social contexts of the phenomenon are also addressed.The final subsection summarizes the features, results, and achievements of the first period in the history of the Ukrainian folk music revival movement.The results of the study regarding the background of the emergence of the ensembles, their interaction, areas and methods of activity, and music repertoire are presented.The final subsection also offers a brief conclusion of the significance and impact of these early ensembles on the directions and characteristics of the Ukrainian folk music revival in the subsequent decades up to the present. KopsavilkumsRaksta mris ir analizt vsturiskos prieknosacjumus, socilo un kultras kontekstu, k ar faktorus, kas veicinja tautas mzikas atdzimanas kustbas raanos un attstbu Ukrain no 20.gs.70.gadu beigm ldz 1991.gadam -periodu, kas sakrt ar Padomju Savienbas sabrukumu un neatkargas Ukrainas nodibinanu.Ievadda ir izklsttas metodoloisks pieejas un sniegts jaunks literatras prskats.Raksta galvenaj da

This article examines the Latvian folklore revival during the late Soviet period (1976–1990) through the lens of field and capital theory. It argues that authenticity functioned as a specific form of symbolic capital within the folklore field, structuring the struggles between folklore revivalists and Soviet cultural authorities. While Soviet officials promoted institutionalized and ideologically aligned represen- tations of folk culture, revivalists mobilized grassroots notions of authenticity – rooted in ancientness, community participation, and national identity – as acts of cultural resistance. The analysis maps how authenticity, as a contested concept, was central to the symbolic struggles over cultural authority, identity, and legitimacy. It highlights how the agents of the folklore movement – such as ensemble leaders, scholars, and musicians – converted cultural and social capital into symbolic power, facilitating the movement’s role in broader national revival processes. The article traces the interplay between institutional control and grassroots agency. It concludes that the strategic use of authenticity enabled a symbolic revolution within the folklore field, prefiguring political transformations of the perestroika period. This study demonstrates the analytical potential of field theory for under- standing the cultural politics of authenticity in non-democratic contexts.

Kopsavilkums

Folklore Revivals in Non-Democracies, reflects on the non-democratic circumstances during the socialist era in which many of Europe's folklore and folk music revivals developed.The issue is an outcome of the research project Folklore Revival in Latvia:Resources, Ideologies and Practices (2022-2024), funded by the Latvian Council of Science, and therefore the majority of analyses and reflections are written from the Latvian perspective.However, our goal was to analyze broader issues relevant to a wider geographical area, and we are deeply thankful for the valuable contributions that widen the scope of the discussion, including Lithuanian, Ukrainian, Hungarian, and