The purpose of this study is to introduce and analyze the folk song "Ağva Destanı" (The Epic of Ağva), which recounts heroic poetry of a true story in the Mediterranean region around the Kaş and Kemer districts of Antalya during World War I. The folk song tells the story of the naval victory of the Sericebel Corps, which sank a British and two French Allied ships attempting to blockade the coast of Antalya in the Mediterranean after the Battle of Gallipoli in 1917, using land-based artillery fire. The folk song was composed by First Gunner Sergeant Halil İbrahim Günaydın of Burdur, one of the heroes of this historical event. An example of oral history, this folk song played a significant role in folk poetry, representing the tradition of folk song-making and epic-telling. This study provides information about and analyzes the historical events surrounding the creation of the Ağva Destanı. In terms of its subject matter and theme, the folk song falls into the category of heroic and heroic songs. In terms of structure, it is a folk song with three stanzas and two-line connections. The epic folk song, as originally written, consists of six triplets and six doublets. It is sung in the 11-syllable (6+5) pattern, a common pattern in folk poetry. In terms of melody, it falls within the category of rhythmic folk songs with a well-defined melody and rhythm. Folk songs are known to play an important role in cultural transmission, and this folk song, sung at national victory day celebrations and ceremonies, as well as traditional ceremonies, can be said to support the preservation and protection of religious, national, and spiritual values. It also protests the attempted occupation of our homeland. This epic folk song, which offers a snapshot of our recent history, is considered significant because it is a historical document and, therefore, an intangible cultural heritage product.

The purpose of this study is to introduce and analyze the folk song "Ağva Destanı" (The Epic of Ağva), which recounts heroic poetry of a true story in the Mediterranean region around the Kaş and Kemer districts of Antalya during World War I. The folk song tells the story of the naval victory of the Sericebel Corps, which sank a British and two French Allied ships attempting to blockade the coast of Antalya in the Mediterranean after the Battle of Gallipoli in 1917, using land-based artillery fire. The folk song was composed by First Gunner Sergeant Halil İbrahim Günaydın of Burdur, one of the heroes of this historical event. An example of oral history, this folk song played a significant role in folk poetry, representing the tradition of folk song-making and epic-telling. This study provides information about and analyzes the historical events surrounding the creation of the Ağva Destanı. In terms of its subject matter and theme, the folk song falls into the category of heroic and heroic songs. In terms of structure, it is a folk song with three stanzas and two-line connections. The epic folk song, as originally written, consists of six triplets and six doublets. It is sung in the 11-syllable (6+5) pattern, a common pattern in folk poetry. In terms of melody, it falls within the category of rhythmic folk songs with a well-defined melody and rhythm. Folk songs are known to play an important role in cultural transmission, and this folk song, sung at national victory day celebrations and ceremonies, as well as traditional ceremonies, can be said to support the preservation and protection of religious, national, and spiritual values. It also protests the attempted occupation of our homeland. This epic folk song, which offers a snapshot of our recent history, is considered significant because it is a historical document and, therefore, an intangible cultural heritage product.

The article examines the history of the development and cultural influence of Sufism in Azerbaijan, from the early stage of the emergence of the mystical and ascetic trend in Islamic religiosity to its integration into social and cultural life and the modern situation. The initial manifestations of Sufism on the territory of Azerbaijan have been recorded since the 10th century, when figures such as Baba Kuhi Bakuvi and his contemporaries gained considerable authority in the Islamic mystical movement. During the Middle Ages, Sufi brotherhoods (tariqas) such as Khalvatiyya, Suhrawardyya, and later Safavidiyya were formed on the territory of Azerbaijan, influencing not only spiritual life, but also politics, culture, and architecture. Sufism has become an important component of the spiritual and cultural landscape of Azerbaijan: it is reflected in folk poetry, the Ashyghe tradition, the architecture of khanqahs and mausoleums, folklore and literature. For example, the influence of Sufi motifs on the work of Ashik Ashig Alyasgar is being investigated. In the modern context, Sufism is considered as an element of cultural identity and heritage, as well as an object of academic study and cultural policy. From the point of view of methodology, the article uses a historical and philosophical approach, relies on epigraphic and archival sources, as well as on recent research in the field of Sufism in Azerbaijan. The article shows that the Sufi tradition of Azerbaijan reflects the dialectic between mystical individuality and a general religious institution, between transcendent aspiration and cultural expression.

The article is devoted to the images and symbols of Vietnamese folk poetry associated with the plant world. Among them, there are autochthonous Vietnamese ones, such as the pair symbol ‘betel and areca’, which is associated with love and marriage. In addition, there is a strong tradition of plant symbolism in the Far Eastern cultural region, which is evident in various art forms such as painting and poetry. Many plants sung in Vietnamese folk poetry made their way into folk songs from Chinese classical literature. These include bamboo, plum, peach, pomegranate, willow, pear, and lotus. These borrowed symbols are perceived as having an elevated connotation. At the same time, some plants growing in Vietnam but not sung in Chinese poetry are perceived as more down-to-earth and can be synonymous with simplicity, such as carambola, water spinach, water caltrop and others. Aromatic plants and herbs such as cinnamon, jasmine, ginger, star anise, red hot pepper, and sugar cane constitute a special category. Floronyms or phytonyms in folk poetry can also be combined with elements from the animal or material world (e.g., banyan tree and boat, butterfly and flower, etc.).

acters in Hellenistic poetry (based on the poetry of Callimachus, Theocritus, Moschus and Bion). Alexandrian scientific poetry seeks to influence the reader through technical skill, i.e. through the sophisticated combination of myths, words and meters, while borrowing from folk poetry elements of imitation of everyday sensual life, which was applied to epic gods and heroes. Thus, mythological plots continue to be an important source of artistic value for Hellenistic poets, but with one important feature: a focus on selective and far from central mythological episodes. The desire to describe something local, little-known or previously untold prevails. This resulted in the emergence of lyrical-epic works, in particular the hymns of Callimachus, Theocritus’ idylls about Polyphemus and Heracles, later poems with mythological characters, and even the ‘romantic’ epic of Apollonius, which would be interesting to include in future research on this topic. In the short-form poetry of the Hellenistic period, there are many examples of the humanization of traditional mythological characters. Once exclusively epic gods and heroes begin to be endowed with individualized feelings and emotions and depicted experiencing love, jealousy or distress, and even suffering physical injuries. Thus, in Callimachus, we see a contrast between the images of traditional child gods with extraordinary abilities and the Hellenistic approach to their humanization. At the same time, by reducing the Olympian gods to the level of mortals, Callimachus ambiguously identified them with the rulers of Egypt. In Theocritus, the main ‘stimulus’ for humanizing gods and heroes is the experience of love. The traditional epic heroes Heracles and Polyphemus are depicted as lyrical characters who experience their ‘deheroization’ mainly through tragic love. The Theocritus’ followers, Moschus and Bion in their short poetic fragments emphasize the perception of Eros as the personification of love: capricious like a child, but dangerous. The goddess Aphrodite transforms from an unattainable symbol of unearthly beauty into an ‘average’ beautiful woman mourning the death of her beloved or a worried mother searching for her son. In general, such approaches by poets of the Hellenistic period can be seen as a way of bringing the author and reader closer together, because it is precisely the attribution of human traits, emotions and motivations to divine beings that makes them closer and more understandable to people.

Abstract At the University of Pest at the end of the 18th century, it was Dániel Cornides (1732–1787) who explored Hungarian ancient religion, while András Dugonics (1740–1818) studied various aspects of Hungarian folk poetry (tales, idioms, proverbs) and folk customs in his lectures. Descriptive statistics, reports on the state of affairs in various regions and ethnic groups within the country documented the ethnographic character of these areas and groups in the first half of the 19th century. In the second half of the century, professors of Hungarian literature and language investigated and discussed these topics with a comparative European perspective at universities. Ethnographic and folklore-related knowledge was disseminated by excellent professors of classical philology and oriental studies. Professors of geography (János Hunfalvy, Lajos Lóczy) played a crucial role in providing information about faraway peoples and continents at the University of Budapest. The first associate professor (Privatdozent) in ethnography was Antal Herrmann at the University of Kolozsvár (Cluj-Napoca, now Romania) in 1898. He delivered his lectures in Kolozsvár until 1918, and between 1921 and 1926 in Szeged, where the University of Cluj was relocated. The first university department for ethnography and folklore studies was established at the University of Szeged, where Sándor Solymossy, a scholar of comparative folkloristics, became professor. At the University of Budapest, the first department for ethnography and folklore studies was founded for István Györffy, who primarily studied material culture and the people of the Great Hungarian Plain. His successors were Károly Viski (1942), then folklorist Gyula Ortutay (1946). In 1951, another department at the University of Budapest came into being for István Tálasi, who was a scholar of material culture studies and historical ethnography. The head of the ethnography and folklore department of the Hungarian University of Kolozsvár (Cluj) was Károly Viski in 1940–1941, and Béla Gunda between 1943 and 1948. At the University of Debrecen, established in 1912, a number of associate professors gave ethnography and folklore lectures between 1925 and 1949 (István Ecsedi, Károly N. Bartha, Tibor Mendöl, Gábor Lükő), but an autonomous department was established only in 1949 and led by Béla Gunda until 1979. At the University of Szeged, Sándor Bálint was appointed professor of ethnography and folklore studies in 1949, but only after 1990 did it become possible to provide M.A. degrees in ethnography and folkloristics, which had been provided at the University of Budapest since 1950 and at the University of Debrecen since 1959. The study reviews the disciplinary history of ethnographic and folkloristic studies in Hungarian higher education from the beginning until 1960.

Purpose . Yuri N. Verkhovsky was a poet and philologist, a follower of Alexander N. Veselovsky and Vyacheslav I. Ivanov. His heritage belongs to two different eras – the Silver Age and Soviet Russia, and it is an example of transformation of the artistic discoveries and poetic concepts of the early 20 th century in the official Soviet culture during Stalin’s time. It is also an option for restoring cultural continuity, as he wrote about it in his articles and poems from different periods. The poem Young Heroes , published in 1943 in the newspaper Uralsky Rabochi [The Ural Worker] (Sverdlovsk, USSR), is considered as a fact of both mobilization propaganda literature in the 1940s and the restoration of epic and dithyrambic features in Soviet literature. Results . The theses about the unity of the front and the hinterland, as well as the orientation towards the mobilization of creative, physical, and spiritual forces, as broadcast by the press in the 1940s, suggest to the poet a poetic language that meets the demands of the time. This language is simple and understandable to the mass reader and is close to the style of posters or slogans. On the other hand, accessible popular newspaper poetry, adopting classical forms and drawing on folk poetry, fulfills the principles of symbolism. The poem’s case shows conscious archaization, when the original magical and suggestive functions of the poetic word are returned, as Russian symbolists talked about. Excerpts from the poem are being republished for the first time.

Рассматривается этнопоэтическая составляющая лирики Исхака Машбаша. Анализируется влияние устно-поэтической традиции на формирование этнопоэтического пласта в поэзии И. Машбаша. Исследуются ведущие этнопоэтические константы национального поэтического космоса – гор, земли, коня, очага, адыгского всадника, нартских героев, адыгских мелодий, танцев, обычаев и традиций – как элементы этноментальности и этнобытия адыгов, определяются их роль и функции в формировании национальной картины мира в поэзии. Выявляется характер и степень национальной идентичности героев, их мировоззрения и мировосприятия. Делается вывод о тесной связи поэта с народной поэзией, фольклором, об оригинальном творческом усвоении их традиций, о насыщенности поэтического текста И. Машбаша знаковыми этнодуховными константами, символами, формирующими яркий высокохудожественный национальный образ мира. The article examines the ethnopoetic component of Iskhak Mashbash's lyrical poetry. The influence of oral-poetic tradition on the formation of the ethnopoetic layer in I. Mashbash's poetry is analyzed. The study investigates the leading ethnopoetic constants of the national poetic cosmos – mountains, earth, horse, hearth, Adyghe horseman, Nart heroes, Adyghe melodies, dances, customs and traditions – as elements of Adyghe ethnic mentality and ethnobeing, determining their role and functions in forming the national worldview in poetry. The character and degree of national identity of the heroes, their worldview and world perception are revealed. The conclusion is drawn about the poet's close connection with folk poetry and folklore, about the original creative assimilation of their traditions, and about the saturation of I. Mashbash's poetic text with significant ethnospiritual constants and symbols that form a vivid, highly artistic national image of the world.

This research is based on the challenges faced by grade VII students in understanding folk poetry materials, including rhymes, poems, and gurindam, often due to less interesting learning approaches and the absence of adequate interactive media. To overcome these problems, development research is carried out to produce learning media that is relevant and can facilitate student understanding. The 4D development method (Define, Design, Develop, Disseminate) was chosen as the framework for this research. The implementation of the learning media named "Kincir Cipurak" was carried out for grade VII students in one of the junior high schools in East Java. Before being widely implemented, this media went through a validation stage involving material experts, media experts, and subject teachers to ensure its feasibility of use. A limited trial has also been carried out on 16 students. The results of the study show that the learning media "Kincir Cipurak" has proven to be effective in improving students' understanding of folk poetry materials. Assessments from subject matter experts, media experts, and subject teachers categorize this media as "very feasible" to be implemented, with a high average percentage of feasibility in terms of appearance, language, and feasibility of material content.

This paper explores the potential of literatura de cordel, a Brazilian folk poetry tradition, as a non-canonical resource for philosophical inquiry in educational settings. While Philosophy for Children (P4C) and related movements have increasingly emphasised the role of emotion in philosophical education, non-Western literary traditions remain underexplored in this context. Situated against the backdrop of Ontario, Canada’s ‘back-to-basics’ approach to learning, which prioritises standardised literacy over philosophical inquiry, we propose a non-canonical philosophy (NCP)approach that promotes non-Western literary traditions and fosters critical thinking, creativity and emotional awareness in young learners. Drawing on the distinct features of Cordel literature—its oral-poetic form, its engagement with social and ethical themes, and its capacity to evoke emotional and imaginative responses—we suggest that it offers a valuable tool for philosophical inquiry with children. Through an analysis of Cordel’s historical and cultural significance, exemplified by Leandro Gomes de Barros’ evocative poetry, we suggest how these texts might provoke philosophical reflection on topics like time and identity. While speculative and context-dependent, this proposal invites educators to consider how non-canonical texts can enhance existing pedagogical practices, offering a pathway to more inclusive and affectively engaged learning environments.

This study explores the expression of human character traits embedded in Vietnamese folk verses (ca dao), focusing on the specific case of Can Tho City in the Mekong Delta. The purpose of the research is to identify and analyze the moral, emotional, and behavioral values reflected through local oral traditions, thereby contributing to a deeper understanding of regional cultural identity. Utilizing a qualitative content analysis approach, the study collected and examined a representative sample of folk verses related to Can Tho and its surrounding areas. Findings reveal recurring themes of resilience, sincerity, affection, and community spirit, which are closely tied to the socio-cultural context and natural landscape of Southern Vietnam. The study concludes that folk poetry not only serves as a means of artistic expression but also as a cultural mirror reflecting collective human values. Practically, these insights can support cultural education, heritage preservation, and tourism promotion by highlighting the richness of local identity through intangible cultural expressions.

Âşık Ömer is one of the most important poets known for his folk poetry who lived in the 17th century. In his works, it is evident that Ömer wrote poetry in the aruz meter in the style of the divan poets of the period in addition to his folk poetry. There are several copies of the works written by Aşık Ömer. After compiling "Âşık Ömer Divanı" by Orhan Yavuz and Yakup Karasoy, the importance of the author in both the Turkish language and Turkish literature world has increased with the studies that have examined his poems in a variety of literary studies. The content of this research includes topics such as religion and love. All of the poems were written in aruz meter and the linguistic characteristics of the period are clearly seen in the poems. Hence, only the sound events in verbs are considered in terms of labial harmony in this study. This work is examined under four headings such as Rounded Vowel Suffixes in Flat-Based Words (Düz Tabanlı Kelimelerde Yuvarlak Ünlülü Ekler), Flat Vowel Suffixes in Round-Based Words (Yuvarlak Tabanlı Kelimelerde Düz Ünlülü Ekler), Round Vowel Suffixes in Round-Based Words (Yuvarlak Tabanlı Kelimelerde Yuvarlak Ünlülü Ekler), and Flat Vowel Suffixes in Flat-Based Words (Düz Tabanlı Kelimelerde Düz Ünlülü Ekler).

The present study aims at identifying and interpreting the role that the horse plays in folk poetry. More specifically, we extracted the material of folklore from the answers provided by village intellectuals starting in 1922, when the first survey was issued by The Romanian Language Museum. We had in mind the answers to question number 138: „What do people believe about the horse? What role does it play in legends, carols, disenchantments?”. We also analysed the significance this animal has in poetic imagery.

The article outlines important approaches to the study of musical texts created by Ukrainian composers of the past and present for song pieces based on poems by Yuriy Fedkovych, in which the semantics of musical writing in choral and vocal samples, the peculiarities of the sound of musical language, the construction of melody, harmony, rhythm, which reflect the poetic text, its content and emotional coloring, are studied and analyzed. Only in the combination of musical talent and selected words can a song be born, winged and sublime, recognizable and native, which will live on for many years and will honor the memory of its creators. The influence of Hutsul folklore on Yuriy Fedkovych’s literary work was significant and powerful. He collected and studied folk poetry, legends, and fairy tales, and recorded folk songs, carols, and shchedrivky in his music books. In his works, he defended the freedom-loving aspirations of his people, depicted vivid images from the life of peasants, praised the high moral qualities of his heroes, and admired the boundless beauty of the Carpathian Mountains. These ideas became close and consonant to many Ukrainian composers of the nineteenth and early twentieth centuries. Yuriy Fedkovych’s poetic texts were used by his contemporaries and colleagues, Sydir Vorobkevych, Mykhailo Verbytskyi, Yevseviy Mandychevskyi, Denys Sichynskyi, Stanislav Liudkevych, and Ostap Nyzhankivskyi to compose music. To reveal Yuriy Fedkovych’s musical talent, the exhibition materials on display at the Yuriy Fedkovych Literary and Memorial Museum in Chernivtsi have become valuable. In addition to sheet music, his personal letters, and musical recordings of songs written by him, the museum also contains the musical instruments he played: zither, lyre, drymba, and flute.

This review article explores the translation and introduction of Chinese literature by Robert Morrison, a 19th-century Protestant missionary, in the Chinese Repository. As a significant bridge for cultural exchange between East and West, Morrison’s work not only facilitated Western understanding of Chinese literature but also influenced perceptions of Chinese society and culture. The article analyzes the Chinese literature translated and introduced by Morrison, which includes Chinese biography, Confucian classics, Taoist morality books, Chinese opera, and Chinese folk poetry. It examines the content, methods, and features of this scholarly endeavor, as well as its motivations and impacts, in the context of Morrison’s missionary identity and the founding of theChinese Repository. Although Morrison’s translation and introduction were influenced by his missionary perspective and contained certain biases and inaccuracies, they provided a vital window through which 19th-century Western readers could engage with Chinese literature, making important contributions to the development of Sinology and East–West cultural exchange.

The present article aims to analyse and contextualise a poem by Laza Kostić, published in 1865 in the magazine Srbski letopis [Serbian Chronicle] under the title Beseda. Both its title and the definition of its genre – an “allegorical drama without dialogues” – were seen as unusual by its contemporaries, provoking a lively debate in the press. This article attempts to analyse the poem in the context of the ambitions of young Serbian intellectuals to reform radically Serbian self-representation and entertainment in the age of national Romanticism. The paper relates the structure and topics of the poem Beseda to the so-called Serbian beseda [srpske besede] festivities, continuously organised since 1862. These events included music, choral performances, recitations, and dances, their ticket proceeds were donated to charitable goals. This study traces how this genre arrived from Prague through Vienna to Pest and travelled onward to Novi Sad, and other cities within the Habsburg Empire with sizeable Serbian populations.The textual analysis of the poem focuses on the allegory of Beseda, its meanings and metamorphoses throughout the acts and scenes. The symbolism of the “allegorical drama” connects contemporary music, recitations, and dances from nineteenth-century bourgeois salons with (purportedly) ancient Serbian folk poetry. Beseda, as a fairy or muse, introduces various scenes from mythical medieval history, incorporating female figures of Emperor (Tsar) Dušan’s ‘golden age’, the episodes from the Kosovo cycle and the subsequent downfall of the Branković dynasty. The analysis pays special attention to the tragic figure of Mara Branković and the intertextual parallels with Károly Obernyik’s historical tragedy, Brankovics György. Like many beseda festivities of the 1860s, Kostić’s text promotes the Serbian National Theatre as a crucial Serbian national issue. The poem and the author’s commentary can be seen as part of an intensifying discourse on forms of urban entertainment which are suitable for national self-representation. The paper briefly reflects on this aspect of Kostić’s work, presenting Beseda as a cultural paradigm, which was adopted by the United Serbian Youth movement, one year afterward.

The purpose of the research paper is to highlight the circumstances of the Battle of Kosovo in 1389 as one of the most important historical events for nations of the Balkan. The main events are analysed and a comparison of versions is presented that modelled a mythological aspect of the battle. The scientific novelty lies in the exploration of different perspectives and versions in an attempt to re-examine this important historical event in the land of the Balkans, to better understand who participated in it, at what scale, how and where this event was recorded historically and why this battle became a myth. Conclusions. As a decisive event, the Battle of Kosovo had a great resonance in the Balkans. Between the Serbian and Ottoman versions discussed in this article, one can find both common points of inaccuracies and exaggerations of figures, as well as differences and changes in approach. Modern Turkish historiography treats the Battle of Kosovo as an important battle because their leader was killed along with his eldest son, and above all as a victory which defeated the Balkans and subjugated them for centuries. Serbian historiography, supported by the Serbian Orthodox Church, built the ‘myth of the battle’ with the argument that the event took place in the heart of their territory in ‘Old Serbia’. Serbian historical science deliberately denies everything Albanian and, in an organised form, ignores the relevant sources which argue the participation of Albanians in the battle and their Albanian continuity in Kosovo. The story about the Battle of Kosovo was actualised as an issue of archival research in Serbia at the end of the 19th century. Thus, all the Serbian policy was fully and consciously supported, and was propagated with myths and folklore that went to extremes, mobilising the entire Serbian intellectual elite to find scientific arguments which had never existed. These myths and legends about the Battle of Kosovo were transmitted through descendants of epic folk poetry, the Serbian Orthodox Church, intellectuals and historians, and national and political leaders. The goal of Serbian historical-political myth-making was to justify Serbia’s right to the territory of Kosovo and to deny such a historical right to the Albanian people.

ABSTRACT Pursuing righteous livelihoods and making charitable donations can be observed in most religious communities. Research to date suggests that this is due to the impact of religious teachings and religious ethics on believers. However, the process in which these ethics and beliefs are formed has not yet been researched thoroughly. The case of the Hòa Hảo Buddhist community in Vietnam in this study is useful to elucidate how these practices might be formed through the process of socialization. The research in this study investigated the Hòa Hảo Buddhist community in the Mekong Delta of Vietnam. The study employed a mixed method approach, utilizing questionnaires and conducting in-depth interviews between February 2019 and December 2020. The results suggest that social mechanisms play an important role in shaping and reinforcing the believers’ daily practices, most notably in terms of putting righteous livelihoods and charitable donations into practice. These mechanisms include: (1) the tight religious organizational system, (2) religious preaching in the form of folk poetry, (3) co-residence of Hòa Hảo Buddhist believers in the same setting.

Abstract: Three new music publications are featured, two by American publishers, and one by the venerable Italian publisher, Casa Ricordi. 40@40: Volume I is the latest release by NewMusicShelf, forty new songs by forty composers, curated and commissioned by American soprano Laura Strickling. Classical Vocal Reprints has published Phantaste, Opus 8, songs by Kenneth Mahy, American composer, with texts by nineteenth century British fantasy writer George MacDonald. Casa Ricordi has re-released songs by early twentieth century composer Ermanno Wolf-Ferrari, Canzoniere, Opus 17, for Voice and Piano: Soprano, Tenore, Baritono and Basso, all settings of Tuscan folk poetry.

The Problem Based Learning model is an innovative and participatory learning model in the Independent Curriculum which emphasizes solving real problems to increase student involvement and learning effectiveness. The purpose of this study is to describe how the Problem Based Learning approach is used to manage folk poetry learning courses (pantun) in the autonomous curriculum of SMPN 11 Bengkulu City. This type of research is qualitative and uses a descriptive method. The data in this study is the management of folk poetry (pantun) learning class activities carried out by Indonesian teachers in class VII H at SMPN 11 Bengkulu City. The data sources are teachers and students in Indonesian learning for grade VIIH students at SMPN 11 Bengkulu City. The data collection method was carried out through interviews, documentation, video recording, and observation. In this study, the data analysis technique was carried out using the steps of recording while observing the teacher who was teaching, recording evidence of activities related to the problem being studied, analyzing data, analysing data, clarifying data, interpreting data and drawing conclusions. The results of the study show that the management of folk poetry learning classes (pantun) using the Promblem Based Learning model in the independent curriculum at SMPN 11 Bengkulu City related to Problem Based Learning has been carried out using Problem Based Learning syntax such as orientation, regulating students, supervising individual and group research, presenting discussion findings, and assessing and analyzing the problem-solving process. Classroom management is demonstrated by the way the instructor organizes the class and creates a welcoming environment for learning. Students' responses to questions, group study sessions, and participation in completing assignments given by teachers are indicators of their level of learning engagement.