Folk Clothing Research Articles

САКРАЛЬНАЯ СЕМАНТИКА ТУВИНСКОГО ТРАДИЦИОННОГО КОСТЮМА

The relevance of the work is due to the need to study the features of the cut and decoration of the Tuvan costume, which are, on the one hand, a bright unique ethnic image, and on the other hand, carry the universal laws of the Universe inherent in the cultures of all the peoples of the Earth. The traditional costume is included in the “cultural core” of the Tuvan people and contributes to the preservation of its national identity. The aim of the work is to study the sacred semantics of a traditional costume. The object of research is the Tuvan folk costume, the subject is the sign-symbolic nature of the traditional Tuvan costume. The study uses a cultural-historical analysis that reveals the specifics of the Tuvan national clothing and its types, as well as the structural-semiotic method, which allows you to explore the features of the symbolic and symbolic nature of national clothing. National clothing is a complex structure that includes numerous types of upper and lower clothes, hats, shoes, jewelry, personal items and hairstyles. Tuvan clothes are classified according to their age and sex and eight traditional types are distinguished: children’s, girls’s suits, boys’s suits, bridesmaids suits, women’s suits, men's suits, and older’s suits. The traditional costume of Tuvans is a ritual object that has rich sacred semantics. The Tuvan costume is considered not only as a thing, but also as a symbolic sacred form, a sign in the context of culture. This semantic status of folk clothes was to be read and understood both by its owner and other members of traditional cultural communities, as a “sign (symbol, code, artistic image), composed of clothing, shoes, accessories, external behaviors, characteristics of the figure and human personality. The costume language is an image of the real world, the accumulated spiritual experience of people, the practical and aesthetic values of previous generations. Each element of the traditional costume had both functional significance and sacred semantics. The forms of cut and elements of the traditional Tuvan costume acquired particular semantic significance and translated the unity of the “earthly” and “sacred” worlds of mythological consciousness. The traditional Tuvan costume as the most important element of the material culture of the Tuvan people is a “mirror of myth”, reflecting various spheres of life, both material and spiritual. The traditional costume captures the diversity of all aspects of human life, the complexity of social relations and human behavior patterns in material embodiment. The entire costume complex is an integral system of ordered and interconnected signs and symbols, through which the accumulation, organization and transfer of cultural experience is carried out. The result of the study is the systematization of the cultural types of costume and the identification of their symbolic sound in a specific material expression (form, cut, decoration elements).

Research of composition characteristics And fabric structure of the azerbaijani national kerchief kelagai

The publications present the characteristic features of the Azerbaijani national costume - kelagai shawls. The analysis of the current state of the problem of the artistic and compositional principles of designing women's clothing based on the national and ethno-artistic traditions of Azerbaijan is carried out. The main ornamental motifs that are used in the Azerbaijani costume are revealed. The frequency of occurrence of different types of ornamental counterpoints is determined. To determine the characteristic features of the national costume, literary sources are analyzed where ethnographic, historical, and artistic features of folk art are reflected. The tectonic structure and peculiarities of coloring and ornamentation of women’s costume in different regions of Azerbaijan were studied for a number of indicators. The color and ornamental organization of the form includes an analysis of the overall color, appearance and structure of the ornament. A historical analysis of the development of kelagai shawl production in the city of Ganja, Sheki, Baskal is carried out. The purpose of the research work is to create an up-to-date collection of women's clothing and to identify means of harmony of the modern female image based on the analysis of the features of the historical costume in the context of the specifics of art. Proposals for the use of kelagai in the design of modern fashionable women's clothing have been developed, the features of the manufacture of kelagai shawls have been investigated and factors affecting the structure of the kelagai shawl have been identified. Traditional folk clothing is not only a rich manifestation of national culture, but also a deep creative and emotional source in the development of modern design.

Ethnographic Documentation of Professional Seamstresses of Folk Clothing in Selected Localities of Southeast Moravia

Abstract The article aims to point out the continuity of folk clothing creation and to document the active creators - professional seamstresses who have been sewing parts of folk clothing. The research was carried out in the Moravian Slovakia region, namely in the Strážnice and Veselsko areas. The text follows the previous long-term researches of the last generation of folk clothing wearers who wore folk costumes every day in the area. Wearing folk costumes is a dying phenomenon today. The text documents a generation of professional seamstresses working in Strážnice at the beginning of the 20th century which still existed at a time when folk clothing was worn on a daily basis mainly by women. The personalities of Anděla Tvrdoňová – Baňařová (1907) and her mother Marie Tvrdoňová (1878) were described to the detail. These women lived in Strážnice and worked as professional seamstresses and made clothes for the inhabitants of the surrounding villages. The research of this generation of seamstresses used the family chronicle and memories of the respondents Marie Baňařová, the daughter-in-law of Anděla Tvrdoňová-Baňařová, both very unique sources of information that provide authentic testimonies. The article also publishes photographs from a family album depicting work and sewing and embroidery training. Subsequently, the research is focused on the current generation of professional tailors who continue the work of previous generation. Two seamstresses Ludmila Kočišová from Strážnice and Alena Šikulová from Kněždub were chosen. They are both engaged in making folk clothing professionally, but not commercially, i.e. they don’t have their own business in this field. The research focuses mainly on the transfer of know-how and therefore in-depth interviews with respondents of the current generation were used. The study does not deal with material study of folk clothing and its typology. The today’s generation of seamstresses of folk clothing defines a number of problems that prevent from maintaining the traditional aesthetics of clothing, such as the lack of typical materials (fabrics and lace). The respondents also pointed out the overall transformation of clothing aesthetics and its impact into the wearing of folk clothing. The contribution of the article to the field of ethnology consists in the description of way of intergenerational transfer of knowledge associated with folk clothing and its aesthetics.

Innovative Socio-Cultural Project Development Realized by The Leaders of Folklore Groups to Preserve and Develop the National Folk Culture

The article is devoted to innovative socio-cultural project development as a way of preserving and developing folk culture. In the modern world, far from traditional culture, folk rituals and art must penetrate life itself, as it was two hundred years ago, and accompany daily events and activities. Innovative socio-cultural project development contributes to this. The conceptual justification for the implementation of the laws and principles of innovation was carried out by M.M. Potashnik, L.S. Podymova and A.V. Khutorskoy. The essence of innovation was revealed by F. Bezrudnyi, V.S. Dudchenko and O.S. Sovetova. A special area of cultural innovation is the ethnocultural sphere; its features were considered in the works by N.G. Mikhailova, L.L. Khristiansen and A.S. Iareshko. The study reveals the features of project development in the field of culture and leisure, which consist in the fact that it is aimed at updating existing or developing and introducing new technologies significant for culture and priority artistic and spiritual values. The authors have systematized modern projects in the field of folk culture related to the creation of audiovisual products, organization of festivals and celebrations based on the materials of regional song folklore, artistic and creative recreation of folk clothes, jewelry, crafts and ceremonies, stage productions, as well as new forms of cultural activity, including quests, cities of folk crafts, virtual travel. The study may be useful to teachers and methodologists in developing educational programs in universities of culture and art, to social and cultural workers in organizing and conducting socio-cultural projects related to folk culture, to heads of ethnocultural centers and amateur and professional groups in conducting artistic and creative activities, as well as scientific researchers of modern sociocultural processes. The novelty of the study is associated with its conclusions. Based on the fact that the socio-cultural sphere has acquired both a non-commercial and commercial nature today, a head of a folklore collective must be an economically and legally competent specialist, whose activity correlates with the laws of cultural- and socio-historical, as well as modern, processes and experience of social communication and interaction. For successful development of innovative thinking in leaders of folk groups and institutions in the cultural sphere, scientifically based information is needed, concerning both structural and procedural characteristics of innovative thinking and socio-psychological determinants of its development and implementation.

Review of Natalia Kliashtorna. Narodne vbrannia zakhidnoi Boikivshchyny: Litovyshchi ta okolytsi [Folk Clothing of the Western Boiko Region: Litovyshchi and Vicinity

Book review of Natalia Kliashtorna. Narodne vbrannia zakhidnoi Boikivshchyny: Litovyshchi ta okolytsi[Folk Clothing of the Western Boiko Region: Litovyshchi and Vicinity]. Translated by Adam Stec' et al., Drukarnia “Foliant,” 2017. 84 pp. Map. Illustrations. Glossaries. Bibliography. $34.95, cloth.

Народне вбрання Карпатської України як відображення етнічної спільності європейських народів.

The article considers the influence of the regional factor on the formation of a traditional costume as a cultural value community of the ethnic history of European peoples.Analysis of the researches of the scientific work of the outlined problem in particular the works of O. Kosmin, K. Mateyko, T. Nikolayeva, T. Kara-Vasil'eva, G. Stelmashchuk, V. Kotsana, S. Kryvopustova and others gave an opportunity to define and generalize the ethnic interactions of European peoples, the processes of intercultural communication on the formation of a national costume. The main attention is on the identification of distinctive features and ethnic borrowing in the process of forming and development of folk clothing ethnic groups of Ukrainians in Transcarpathia. In the course of the study, it was found that the similarity of traditional attire of Ukrainians with neighboring ethnic groups is conditioned by common climatic conditions, geographical location, terrain and historical features of development.The presence of a large number of common varieties of clothing elements, ornamental motifs and techniques of its decoration has become a common element in the development of traditional culture of the ethnic border. Ethnohistorical and economic development of the Ukrainians of Transcarpathia was reflected, firstly, on the local features of the clothing complex, in particular the ways of arrangement, coloring, techniques in embroidery, ornamental motifs. The analysis of the motifs of ornamentation, composition techniques, arrangement of the decor, functional designation of the elements of folk costume are closely related and interdependent, which allowed to find out the main factors that are directly related to the local peculiarities of the Ukrainian people of Transcarpathia

마야, 아즈텍, 잉카 문명권 민속복식 특성으로 본 라틴아메리카 에스닉 스타일 연구

This study identifies various forms of Latin American ethnic styles in modern fashion and analyzes their formative characteristics in a compromised hybrid perspective between the ancient Mayan, Aztec, and Inca civilizations of Latin America and the region’s traditional folk clothing. To create a framework for analyzing modern fashion, this study examined the characteristics of the civilizations of ancient Latin America and the traditional folk clothing of today’s Latin American countries. For empirical research, images of Latin American ethnic styles were collected for analysis from www.vogue.com’s 2010 Spring/Summer to 2017 Fall/Winter collections. The five types of ethnic styles derived from this study were no-cut integral form, tone-in-tone and tonal coloring, natural patterned material, ethnic geometric pattern, and religious signifier decoration. Each formative characteristic was derived from the five types of styles, and images representing the ethnic styles of Latin America were analyzed in accordance with the classified types of styles. This study is meaningful in that it suggests an efficient direction that can be applied to the creative design of ethnic beauty by fusing the formative characteristics according to design elements.

THE TRADITIONAL HARBOUR – THE SYMBOL OF ROMANIAN IDENTITY

The Romanian traditional harbour is one of the basic elements of the material society, which developed at the same time with the Romanian people. Knowing the traditional suit allows understanding of the characters of the Romanian people's and it contributes to the definition of ethnicity. In recent years, the return to the ethnic motifs of the popular suit is considered as a necessity in the inspirational sphere, also as a cultural reference present within the fashion system. The ethnic elements are particularly important as a symbol and as an archetype in contemporary fashion. A stylized ethno shirt is an element of the continuity of traditional harbour and promotion of traditional values in a novel way. This work presents the results of a study on the analysis of the defining characteristics of the traditional clothing in the entire Romanian space and their valorisation in the contemporary costume. The folk clothing from the Romanian folkloric regions were analysed in detail following the categories: ornaments, colour chromatics and symbolism of the traditional harbour ornaments and we have presented the maps with the ethnographic areas according to the cuts of the shirts for women and men. We have identified the elements of the traditional clothing used in the modern ethno style clothing of contemporary designers. The results of the study were outlined in a collection of women's clothing products; the compositional and constructive solution presents ways of capitalizing on the elements of the traditional Romanian clothing in the wardrobe of the contemporary woman.

Theoretic and Methodological Bases for the Organization of Ethnic Tours for Children

Ethnic tourism is one of the trends of tourism with its own distinguished ethnical, language and cultural components. The purpose of this type of tourism is to get acquainted with the way of life, culture, traditions and customs of the people who live in harmony with the natural environment. The Republic Mari El is a region where many nationalities and ethnic groups live in friendship and consent. But the nation, entitled to this territory, remains the Mari, who, regardless of the assimilation process, managed to preserve their own language, traditional folk clothes, their customs and traditions, their philosophy and religion, folk songs and dance. When organizing an ethnic tour, the content of the tour and the form of the organization of the children’s activity should be clearly defined. This also involves defining the level of the students’ awareness of the aspects of history and culture, as well as biography and geography. The acquired results of the survey helped to specify the content of ethnic tours for children in the Republic Mari El. As a form of organization of ethnic tourism we suggest visit in our Republic’s cities and districts, organizing game program sand trainings, as well as meetings with the famous folk craftsmen, participating in folk feasts, etc. The final form of ethnic tourism activity is a research and practice conference, where the students present their own research projects.

Study on the Architecture Materials Design of Art and Clothing Materials Design

The building is enclosed the spatial structure of the human lifestyle, and clothing is the "packaging" of the people, with modesty naked. The building on the space recorded the development and progress of human society, and the clothing reflects the development of human civilization. In this paper, the use of color, body composition and materials of the three aspects of clothing and architecture are discussed similarities and similarities in terms of design, In addition, from the official architectural culture and clothing culture, literati building materials culture and clothing culture and folk building materials culture and clothing materials culture demonstrates the culture intrinsic link between architectural culture clothing culture of mutual learning and mutual influence. To further illustrate the architecture and clothing appears to be two different professional, but in terms of design and culture, between each other is a profound inner link, Both organically combined, will be able to better develop the architectural design and fashion design.

Ukrainian folk clothes: functions and symbolism

In the article is examined basic functions and symbolism of the Ukrainian folk clothes.

Studies on the thermal insulation effect of korean men's folk clothes

1. 1. The purpose of this study was to obtain basic data necessary to design Korean folk clothes with comfortable thermal properties by carrying out the human wearing test under various ambient-temperature environments, by calculating the thermal insulation effect (TIE) of the Korean men's folk clothes (KMFC) on the basis of both material (silk, ramie and polyester) and season and by performing a comparative study with western style clothes. 2. 2. The results of this study can be summarized as follows: (i) the factor having an effect of the KMFC on the TIE is the air layer rather than the performance of materials, and (ii) the TIE of the Korean folk clothes confers a greater thermal resistance of the lower part of the body as compared with western style clothes.

Studies on the thermal insulation effect of the Korean women's folk clothes.

The purpose of this study is to examine the basic data useful for more comfortable folk clothes of Korean women, with respect to their thermal insulation effect. The result of this study is summarized as follows, by comparing the calculated thermal insulation effect of Korean women's folk clothes with that of the western style clothes. 1. The thermal insulation effect of the Korean women's folk clothes showed that summer clothes accounted for 0.67-0.93 Clo, while spring and autumn clothes showed 1.09-1.20 Clo. 2. Air layer had more effect on the thermal insulation of the Korean women's folk clothes than one of their material properties. 3. The thermal insulation of the Korean women's folk clothes features higher effect in the lower part of the body as compared with one the western style clothes, which act as an important factor in the thermal insulation.

EATS: A Folk History of Texas Foods by Ernestine Sewell Linck, Joyce Gibson Roach

Reviews 275 He himself is an informant in the book, “an Anglo growing up in the El Paso area half a century ago.” He presents material collected over the past “twentyplus years” and lends insight into ethnic composition and development, for Mexican-American cultural elements are Indian, Spanish, Mexican, and Anglo-American. The book makes one aware that ethnicity includes not only ancestry, race, national origin, and language usage, but also group values, rules of social interaction, social customs, and perception of behavioral roles. West not only presents themes found in Mexican-American folk narra­ tives with examples of their style of presentation, such as don Cacahuate tales (trickster figure), but he addresses the issue of ethnic diversity and meaning and understanding of ethnic membership. For instance, these things reveal themselves in the anonymous mural works of a neighborhood with their themes of community, common bond, ethnic identity, and political concerns; Virgin of Guadalupe, myth of Aztlan. He recognizes that Hispanic culture is not monolithic by mentioning the difference between the northern New Mexico Hispanic ways and the border area Hispanics. And he does not go over old material nor simply present customs, beliefs, ritualsbecause they are considered exotic by Anglo-Americans. As he presents the material, what emerges is the dominance of the urban as the context for current Mexican-American folk material. Folk arts gravitate to barrio walls, to low rider cars; folk drama and dancing cease to be dominated by the country setting and “urban belief tales” arise. West’s book gives a good framework which can assist a person in attempts to fill in the gaps in Mexican-American folk knowledge. And although the Mexican-American music section lacks transcriptions of the music (the source notes contain only one) and folk clothing is hardly touched upon, the book does give a broad range of information and, more importantly, reveals a sense of Mexican-American ethnic identity and degrees of acculturation. RAMON SANCHEZ University of New Mexico EATS: A Folk History of Texas Foods. By Ernestine Sewell Linck and Joyce Gibson Roach. (Fort Worth: Texas Christian University Press, 1989. 257 pages, $23.50.) Everyone loves food. Even people who hate to cook, hate to eat, hate everything about the gastronomical process, love food. Also, almost everyone has an idea of how food should be prepared. Let’s face it, no one cooks turkey and dressing like your Grandmother Hooley did; no one bakes an apple pie like Aunt Martha’s; no one can whip up a tureen of chicken and dumplings like Cousin Bess; and absolutely no one makes anything as good as Mom used to make it. The question that burns with the intensity of dyspepsia is “Why not?” Surely the onslaught of fast-food joints, food processors, freeze-dried dinners, and the cardinal culinary sin, the cake mix (ugh!) should not com­ 276 Western American Literature pletely diminish the gourmet talents of yesteryear. But such abominations have almost ruined food; they have led to a recession in quality that makes pot likker and poke sallet antique memories along with son-of-a-gun-stew, corn dodgers, and Hoppin’John. In EATS, folklorists Sewell and Roach offer much more than mere explanations for why food tasted better twenty, forty, even a hundred years ago. They also do more than merely revive a time when counting calories and measuring cholesterol were unthinkable, when being well-fed (not just full) was as much an expectation as a right. They recall a time when eggs were measured in pounds, when heavy cream and lard were required for decent baking and frying, when “Let’s Eat” was a battle cry to signal an onslaught on vittles that had been carefully prepared for hours over a red-hot stove with utensils that would require hard scrubbing to be readied for the next bout with the demon who attacks us all:hunger. The authors have stuffed EATS with the history, lore, myth, and miscon­ ceptions surrounding this single activity shared by all humans. Centering their study in Texas, where the South met the West—at least on the supper table— and was forever changed by the experience, they catalogue compromises and innovations...