Folklore Art Research Articles

Folk games as a tool of formation of artistic and creative competence of primary school children in music classes

The article describes the features of acquiring artistic and creative competence, as a child's elementary awareness of the specifics of art forms (artistic and productive, musical, theatrical); valuable attitude to art and artistic activity, the desire to perceive folklore art. Folkloric forms of the heritage of Ukrainian culture are considered. Teaching and methodical material and practical recommendations are offered, which in music classes will be useful both to experienced teachers of preschool institutions and to those workers who are starting to work with the smallest brains. Normative documents in the field of preschool education were studied and play competence was considered as a child's ability to free, emotionally saturated, spontaneous activity on his/her own initiative, in which the possibility of applying existing and assimilating new knowledge and personal development is realized due to the child's desire to participate in the life of adults through the realization of interests in game and role-playing actions in a generalized form. The necessity of using folk games for the formation of artistic and creative competence in preschool children is substantiated. Peculiarities of knowledge of the surrounding world of preschool children and themselves in it are determined. The work proposes to create a basis for the natural formation and development of musical abilities in preschoolers through a folk game by encouraging children to play folk games. It has been emphasized that raising children is based on love and respect for Ukrainian musical folklore. The secrets of conducting music classes using folk games and working with preschoolers are recommended to teachers of primary schools, music teachers, teachers of children's vocal ensembles of extracurricular and club institutions, scientists, graduate students, students of pedagogical and art educational institutions, parents and the general public

Signs of colour symbolism in traditional Altaian culture

The study of the symbolism of traditional culture categories, including the symbolism of colour in folklore studies and toponymic names becomes very relevant due to the revival of many aspects of spiritual culture. Nowadays the symbolism of colour becomes important in the life of a modern person. It accumulates deep meanings. The extent of research done on the topic: In the Altaian folkloristics colour epithets were studied in detail in the research of M. A. Demchinova, V. P. Oinoshev, S. P. Tyukhteneva and others. Up to the present time colour symbolism in the traditional culture of the Altaian people has not been the object of special research. The aim of the study is to highlight some aspects of colour symbolism in folklore art and toponymy of the Altai Mountains. Theoretical comprehension of colour symbolism as a special category in Altaian folklore studies is based on the functional method and has been applied in the researches by S.S. Surazakov, S.P. Tyukhteneva and M.A. Demchinova. The genre symbolism of Altaian folklore seemed to be considered in those researches. The present study includes the usage of a complex of comparative and historical research methods. Being a characteristic and actively used component for a number of ethnonyms, toponyms, hydronyms and to designate religious names colour has a great semantic load in the traditions of Altaians. For example, many Altaian clans (seoki) are divided into smaller units and colours such as white, black and yellow are actively used to name them: ak (white) kobok [kœbœk], karа (black) kobok [kœbœk], kara todosh (black todosh), sary todosh (yellow todosh). There is also a large number of hydronyms and toponyms associated with black, white, yellow, blue and other colours: KaraArka, Sary-Chet, Karakol, Akkem, Karasuu etc. O.P. Molchanova, a researcher of the toponymy of the Altai Mountains, writes about the great importance of some adjectives that indicate colour in the construction of geographical names. The use of colour epithets in folklore works creates a colorful image. The sharply contrasting colours show the opposition of good and evil. There is a hierarchy of colours in traditional culture. Red colour shows the colorfulness of the object being described, also symbolizes health, wealth, a world of prosperity. Grey is typical for poor people, and it has semantics of unhealthiness. There are names with the formant “kan” in the toponymy of Altai. It turns out that the formant “kan” is added to the names of especially revered natural objects. The author of the article suggests that the word “kan” (in the meaning of “blood”) is present in the names of especially revered objects. Research perspectives: The results of the research of colour symbolism in folklore and toponymy of the Altai Mountains can be applied for further study of the characterization of artistic images in literature, folklore and ethnography. The topic requires further research.

“Shchyogol” and “Shchap” in Russian Folklore

The article describes denominations denoting dandies in Russian folklore. The research is based on texts of Onega epics, historical songs and non-ritual lyrics recorded in different regions of Russia in the 19th century. We complied and analyzed lists of words denominating dandies and fashionistas in different folklore genres based on the lexicographic materials. The article demonstrates that the corpus of the lyrical songs in comparison with the other sources contains the greatest variety of lexemes under analysis, in which the noun shchyogol takes the central place. This word is the head of the expanded word-formation socket, comprising dialectal and specific folklore words. It is illustrated that in the Onega epics a fashionably dressed person is often called Shchap, and dandyism is characteristic of two epic heroes – Churila and Dyuk, who compete with each other. A similar plot connection is typical of historical songs, where lexemes denominating a fashionable person are found exclusively in the 17th century texts about Stenka Razin’s son. The article notes the usage features of the analyzed type of words and identifies the most frequent constructions. The author concludes about the existence of the general genre, intergenre and specific genre features in the usage of vocabulary that names and characterizes dandies in oral folklore art, and outlines prospects for further research.

Muṭiyēṯṯu – Field Research of Kerala Folklore Theatre

The paper is dedicated to the results of the field research conducted in Tripunithura (India / March 2013) on Muṭiyēṯṯu theatre, one of the local folklore art forms of Kerala. It is argued that the inclusion of Muṭiyēṯṯu in 2010 in the list of Masterpieces of the Oral and Intangible Cultural Heritage / UNESCO, became a turning point in the recent history of this art form, affecting it both in positive and negative way. The positive aspect concerns primarily a fundamental shift in the level of popularity of Muṭiyēṯṯu, manifested in the appearance of a number of research projects, general publications and various databases. It also found reflection in the material status of performers now supported not only by Hindu temples but also by the Indian Government. Less often discussed are the negative consequences. Having been acknowledged as one of the cultural achievements of humankind (UNESCO), the Muṭiyēṯṯu began to change fundamentally. It transformed from a rural religious mystery performance aimed at local community of believers into an exotic theatrical art form intended for the wider international audience. As a result, performances began to be staged not only in accordance with strict religious canons developed over the centuries, but also on various occasions predetermined by commercial and public interests. This tendency poses a significant threat to the preservation of the artistic and religious authenticity of the Muṭiyēṯṯu theatre along with its cultural importance for humanity.

Жанр йорял в калмыцкой поэзии ХХ в. (по материалам газетной периодики 1930–1940-х гг.)

Introduction. In folklore of Mongolic peoples, well-wishes are referred to as ritual poetry. This is one of the ancient, surviving and widespread genres to have essentially preserved the idea of word magic. It has undergone some changes but still articulates benevolent messages towards future. The Mongolian ерɵɵл (derived from Mong. ерɵɵ ‘bless, wish well, greet’), Kalmyk йɵрəл (from Kalm. йɵрǝх), and Buryat үрээрнууд address family life, nature, society, state, universe to narrate the history, lifestyles, culture, and philosophy of the ethnos. The article proves topical enough since yöräls by 20th century Kalmyk poets created on the basis of folklore analogues through interactions of oral folklore art and literature remain unexplored. Goals. The study aims at identifying and clarifying the genre differentiation of Kalmyk poets’ yöräls, thematic classification, poetics of texts. Materials and methods. The paper examines folklore and literary works from newspapers of the 1930s and 1940s. The historical/functional method shows perceptions of authorial yöräls through time. A comparative approach makes it possible to trace ties between folklore analogues and literary texts, investigates traditions and innovations — both in form and in contents — of the new yöräls by Kalmyk poets. The textual analysis reveals common features and differences of folklore and literary works of this genre. Results. In newspapers of those years, the work discovers yöräls authored by Kalmyk poets to be classified as ‘shin yöräl’ (‘new well wishes’) that served to reflect actual realities. Conclusions. While ancient yöräls had a short and spatial poetic form, the new ones of S. Kalyaev, Ts. Ledzhinov, L. Indzhiev, B. Dordzhiev, Kh. Syan-Belgin, M. Khoninov, D. Kugultinov, E. Kekteev, and K. Erendzhenov tended towards larger volumes, lexical diversity, sociopolitical and ideological orientation, thus showing a connection with modernity and enriching the genre system of Kalmyk poetry. Another scientific problem is Russian translation of the Kalmyk authors’ poetic well wishes.

Uzbek folklore art and folk episodes

This article presents the opinions of scientists and researchers who conducted research in the field of studying the role of folk art and folk tales in the spiritual life of the people. And also, examples of high attention to this type of art are shown.The saying that any art begins with folklore did not appear today. It is the result of long-term life observation, scientific experience. The basis of the above classification is determined by the nature of the events described in the epics. We can proudly say that we have epics, fairy tales, proverbs, songs, legends and narratives that can easily compete with examples of world folklore.

FORMATION OF THE MUGHAM SINGING SCHOOL IN AZERBAIJAN (LATE 19TH – FIRST HALF OF THE 20TH CENTURIES)

Mugham plays a significant role in the national culture of modern Azerbaijan. Considering this fact, this article describes the initial period of the formation of the Azerbaijani mugham singing school, that is, the end of the 19th – the first half of the 20th centuries. Based on the results of field research (participant observation, and also interviews in Russian and Azerbaijani languages ​​with representatives of the musical community of the capital of Azerbaijan: performers and listeners of mugham, scientists, publicists, employees of concert halls where mugham performances take place, employees of state institutions who are responsible for development programs culture in the country), and available sources, the author of the article focuses on those socio-historical circumstances and characters that testify to the specifics of the modern singing school of mugham. Therefore, special attention is paid to two soloists and connoisseurs of Azerbaijani music: Jabbar Garyagdioglu and Bulbul. The first of them, although he grew up in the traditional environment of folklore singers, performed mughams in a new, theatrical form on the stages of concert halls. The change in the place and form of mugham performance laid the foundation for the emergence of the main genre of modern national music in Azerbaijan - mugham opera. Bulbul's merit for the formation of the mugham singing school, in turn, is that he developed an original singing technique, the specificity of which is the synthesis of modified norms of vocal performance of classical music of the Western type and folklore art, primarily mugham. Due to technical innovations, the national music of Azerbaijan, colored with a purely folk style, is not only interesting, but also understandable to a foreign listener.

الامکانات التشکيلية للزخارف العسيرية ودورها في تعزيز القيم الوطنية وتنمية الثقافة البصرية للطفل السعودي The plastic capacities of Asiri motifs and their role in promoting national values and developing the visual culture of the Saudi child

Folk motifs are considered one of the areas of heritage worthy of attention, as they are distinguished by their simple expressive and symbolic language, which made them a true mirror of the society's culture and life philosophy, and its transmission between generations, as well as its connection clearly with the practical aspect, motivated by adding the aesthetic dimension and attractiveness of things. The Kingdom of Saudi Arabia has its own art that defines the features of each region and distinguishes it from others, as the Asiri motifs are distinguished by their richness and beautiful decorative units stemming from the environment, and it is considered one of the heritage areas worthy of attention because it contains meanings related to the lives of the population, their traditions and beliefs, and the aesthetic values ​​they carry that require study and benefit It is a source for the development of artistic culture and the promotion of the national values ​​of the Saudi child, as children are greatly attracted to works that take a heritage character. Therefore, the current research aims to study the plastic and aesthetic capabilities of Asiri motifs as one of the Saudi folklore arts, and revive the Saudi folklore arts by shedding light on Asiri art and its role as an artistic cultural influence in promoting the cultural and artistic identity of the child in the Kingdom of Saudi Arabia. In order to achieve the objectives of the research, it relied in its methodology on both the descriptive and analytical approaches and the experimental method, and the research reached a set of results, the most important of which is that by studying the plastic ornamentation potentials of Asir, it can contribute to the development of visual culture and the strengthening of the national values ​​of the Saudi child, and the research reached a set of recommendations from The most important of which is the need to spread awareness of the culture and heritage of the Saudi society, especially for children, by addressing traditional arts, including the vocabulary, elements, symbols and aesthetic values ​​they contain in artistic works.

ARTS AND FOLKLOR RESOURCES AS ATTRACTION AND DEVELOPMENT OF INDONESIAN CULTURAL TOURISM

Art and folklore is a culture that has been passed down from the ancestors. Folklore is often used as research material and study material. Folklore must be used properly so that it can be useful for everyone. Folklore art itself has many elements such as artistic elements, namely drama, sound, literature, music, movement and fine arts. Folklore art is also one of the development tools in the tourism sector for schools, campuses, cultural villages, tourist attractions and other historical buildings. The use of folklore art can increase knowledge for children today, where culture in Indonesia must be sought first and it can be said that the culture in Indonesia has begun to decrease due to cultural acculturation. Through folklore, they can quickly gain knowledge about previous cultures that already exist and have been passed down from their ancestors. This research uses a qualitative method. The results showed that art and folklore have many benefits for the tourism sector. This paper will explain about how to use art and folklore for the development of Indonesia's tourism sector. Keywords: Arts and Folklore, Cultural Tourism

Creativity of Vasyl Avramenko and his contribution to Ukrainian and world culture

The purpose of this article is to establish the contribution of Ukrainian ballet master, choreographer, director and pedagogue Vasyl Kyrylovych Avramenko to the Ukrainian and world art. Avramenko’s native country has been silent about his work for a long time, although the artist has made the Ukrainian dance famous all over the world. He was one of the first to start shooting films on the Ukrainian topic in the USA. His activity was always aimed at developing the Ukrainian art, regardless of the country he lived in. The research methodology consists of a range of methods: historical, biographical, theoretical. The abovementioned methodological approach allows studying the question of historical data relating to the events in Ukraine that led to the emigration waves, find out certain biographical facts and analyze the artist’s creative activity. The scientific novelty of the thesis is in systemizing the artist’s biographical data, studying his contribution to developing the Ukrainian culture (Ukrainian dance and cinema) in Ukraine and abroad, seeking to define the special features of dramatic characters created by the artist. Conclusions: The artist had not lived in the native land for a long time (until 1924), as it was a hard time for our country, but it did not prevent V. Avramenko from engaging in creative activity. Setting an example of his personal performance of folk dances, the artist communicated the values of folklore art and its powerful educational potential. The performances of the choreographer and his students conveyed the love for the native land and symbolism of Ukrainian dance, which was reflected in artist’s other creative projects, particularly in cinema.

The role of art festivals in improving the tourist mental images ( applying to the ismailia folk art international festival

The research aims to study the role of the International Festival of Ismailia Folklore Art in promoting and improving the tourist mental image of Egypt. The results of the survey study showed that Ismailia governorate has elements tourism attraction and services. But it lacks some services to promote the festival. The study recommends publishing a lot of information about the festival on the internet, increasing its publicity inside and outside Egypt, and announcing the festival in early enough time before its opening to attract more teams to participate and improve the tourist mental image.

Belarus folklore studies in the context of ideas and practice of socialist realism

Communicated by Academician Alexander I. Lokotko Based on the great factual material, the article retraces the formation of ideological, social and cultural attitudes and regulations that implemented the socialist realism methodology in theory and practice of the Belarus folklore studies. In the 1930s, the socialist realism established itself as an ideology of the folk art studies, as a result of which it virtually lost its independence and entered the system of new conceptual coordinates in social dialogue. The article broadly examines the establishment of an extensive and inherently unique project known as the “Soviet folklore” in the academic and cultural discourse of Belarus. Belarusian folklorists were claimed to be incorporated in the process of finding and representing the works of the new socialist folklore art authorized and ideologically defined by those in authority. The strategies of adherence of intellectuals to the social realist discourse during the period of 1930-1950 included various forms of compromise between science, traditional culture holders, mass recipients of the Soviet culture and the authorities. The article states that the methodological crisis in social realist science has expressed itself through the unification of folklore and the established canon (i. e. the corpus of texts of explicit ideological modality), the elimination of the whole layer of uncensored folklore texts from the scope of the study; the ignoring of the dialect nature of traditional culture in collection and editing practices; the blurring of the research subject in folklore studies due to the legitimized role of an active amateur artist, as well as amateur art and punli-cation integrated to the research paradigm. The article employs new facts from the history of folklore studies that prevent the one-way interpretation of the specific features of the Soviet period folklore studies and expand the problem field of the modern science.

CHILDREN'S FOLK ART AND MOVEMENT RHYTHMIC GAMES AS A REGIONAL FEATURE FOR THE DEVELOPMENT OF TOURISM POTENTIAL

Children's traditional creativity as an inexhaustible inspiration, but also an alternative form of musical education, represents the biological human need. It is also an "extraordinary means of stimulating intelligence and a way of connecting and bonding people of the world" (Habermeyer, 2001). Our region features a large number of songs for pre-school children, as well as a large number of rhythmic games, which also belong to the field of physical and musical education, as well as domains of learning traditional games. More and more research suggests that children "possess the least knowledge of rhythmic games in general" (Dopudja, 1977). Although there has always existed a tradition of nurturing traditional games / dances that have been transferred to younger generations, both within families and in institutions for pre-school children, it can also be transferred through a well-organized and planned regional tourist offer if its contents are adapted and presented in one of the world languages. Every country in which tourism is one of the most important branches of the economy, naturally turns to its own traditional values and potentials. Furthermore, folklore heritage has proven to be an inexhaustible source of inspiration for both artists and lay people. One should bear in mind the important fact that tourism can be defined as "a correlation of services and other benefits used by tourists created from the need for temporary displacement of people. Having in mind the distinctiveness of tourism from the aspect of its heterogeneity, where the tourist aggregate is constituted of important elements" (Cuervo S. 1967) which also include folklore art as well as various forms of entertainment and leisure time (Stavric, Baros, 2005). If we are familiar with the fact that children primarily learn by listening, watching, doing or their combination, then it is clear that children's folk art and movement rhythmic games, music and art combine these three ways of learning, and at the same time, enhance the development of intelligence in children. All the elements, as well as the inevitable factors that accompany children's folk art, influence the psychophysical, intellectual and emotional development of a child (Planjanin-Simic, 2016). Such potentially offered cultural and educational content certainly leads to better understanding among people from different countries and regions. On the other hand, today, the English language has indubitably become the language of world communication, a contemporary “lingua franca”. What is more, the English language entered almost all spheres of life: music, entertainment, mass media, traveling, tourism... To that note, with the intention of bringing people who speak different languages closer together, this paper will offer the English translation of famous children folk songs, games and dances from our region, especially Montenegrin traditional rhythmic games, with the aim to present regional culture to foreigners and transcendent the language barrier.

Egyptian Folkloric Trims in designing and producing Costumes of the Contemporary Women

In the early fifties there were many voices demanding attention to our folklore and studying it in a serious scientific way. A score of studies have been conducted in this regard. In addition a number of researchers were interested in folklore that received care and encouragement. This interest was a natural response to the study of folklore according to its presence at the social and national levels. Accordingly, studies were interested in folklore including all its folkloric arts, where there were many methods of reading the folkloric art from the creative point of view in the various arts. The art of fashion industry had a big share of the folkloric art. From this point of view, the two researchers used the trims of the Egyptian folklore in the design and production of Poncho for women, which is predominantly characterized with the Egyptian heritage in a contemporary way of nowadays fashion, and the use of raw materials (basic - assisting) and one of the methods of folkloric fashion trims, that is the method of "addition". The problem of the research is the possibility of using the trims, materials and methods of the Egyptian folklore to design and produce costumes for contemporary women and to consult the views of specialists and consumers regarding these designs. The objective of the research was to identify the decorative values and symbolic indications of the symbols, materials and methods used in the Egyptian folklore and attempt to employ them in the development of a collection of executed contemporary designs of women's fashion. The research followed the descriptive approach with analysis and application to answer the research questions and hypotheses. It was possible to employ the trims of the Egyptian folkloric heritage in designing and producing (10) executed designs inspired by some symbols of the Egyptian folk heritage (Hijab” Triangle”,- square - rectangle – diamond - hand palm - eye - zigzag line - the bride - the shape of the burqa) , and used raw materials such as (flax, chalky, mauri, artificial leather, chamois, automated embroidered

СЛОВА НАРОДНЫЕ

The presence of authentic anonymous texts of various levels and genres in the lingual culture of the nation indicates the determining role of the total creative activity of the socium that gives birth to the language system potential and the vaiety of patterns of its use. The current paper considers the process of producing and perceiving of anonymous folklore works including songs, anecdotes, aphorisms in social networks. Content and form of these pieces of folklore art are analyzed, their functions and role in forming national lingual mentality are viewed.

The Strategic Plan for Preservation and Promotion on the Southern Folk Art in the Area of Songkhal Lake Basin

This research aims to study the properties, the purpose and the significance of folklore arts. Also, aims to study the conception of the folklore artists for preservation and promotion of folklore performances. This research applied the application of ethnographic study for collecting field data and organizes academic conferences. Academic conferences gather the notions of personals from different authorities to form a strategic plan. Participants of which, are the local citizens that locate on the basin of Songklha lake. The primary survey has found that, there were variety performances of folk. However, the researchers will study for 4 categories includings: Shadow play (Nang Talung), Manora Performance, Thai folk music, and LikayHulu. Each genre showcases fine attributes and unique purpose of Its own. The arts express the dwelling of locals, politics, top ographical terrain and etc. Furthermore, the artists suggest the objectives of preservation and promotion of folklore performances. The expectancy of this research is to inherit the inestimable arts of folklore performance to the future generation. The hosting of the academic conference, for strategic planning, is through the contribution of folklore artists and personals from different organizations. Elementary schools, high schools, the secondary education service area office, universities, children and juvenile training center office 9, Songklha’s cultural office, Songklha Rajabhat University’s cultural office, Nang Talung and Manoraperformance training center, Songklha Province administrative organization and students all get in the act of brainstorming, analyzing and criticizing. The aftermaths of the conference are to form a strategic plan on promotion and preservation of folklore arts across the Songklha lake basin areas.

Bartra, Eli y Huacuz Elías, María Guadalupe (Coords.) (2015): Mujeres, Feminismo y Arte popular. Ciudad de México: Obra Abierta Ediciones

This collective book emphasize the need the gender perspective and the inclusion of feminism in the creative and artistic the folkloric art spaces. This book is an ethnographic mosaic composed of social realities. Such as invisibility and unnamable of women in these processes of creation, distribution and sale in some of the communities mentioned in Chapters, and that there are essential for subsistence and empowerment of women.

Copyrighting Culture for the Nation? Intangible Property Nationalism and the Regional Arts of Indonesia

AbstractThis article analyzes how intangible cultural expressions are re-scripted as national intellectual and cultural property in postcolonial nations such as Indonesia. The mixing of intellectual and cultural property paradigms to frame folkloric art practices as national possessions, termed “intangible property nationalism,” is assessed through consideration of Indonesia's 2002 copyright law, UNESCO heritage discourse, and the tutoring of ASEAN officials to use intellectual and cultural property rhetoric to defend national cultural resources. The article considers how legal assumptions are rebuffed by Indonesian regional artists and artisans who do not view their local knowledge and practices as property subject to exclusive claims by individuals or corporate groups, including the state. Producers' limited claims on authority over cultural expressions such as music, drama, puppetry, mythology, dance, and textiles contrast with Indonesian officials' anxieties over cultural theft by foreigners, especially in Malaysia. The case suggests new nationalist uses for heritage claims in postcolonial states.

Creating Our Own: Folklore, Performance, and Identity in Cuzco, Peru

Zoila Mendoza’s book, which complements her previous work Shaping Society through Dance: Mestizo Ritual Performance in the Peruvian Andes, constitutes a passionate defense of the study of folklore as an individual and collective field of creative activity. She shows that artistic expression is a suitable way to comprehend the social experience of practitioners of music, dance, and theater. Starting from the cultural postulates of Raymond Williams, Mendoza posits that no separation exists between the affective elements of consciousness, that is, feelings, and social and ideological thought. Rather, both concepts are equivalent and interrelated, so that folkloric expressions must be studied as autonomous realities and not as simple reflections of social processes. Mendoza proposes that the heterogeneous folkloric activity that flowered in the city of Cuzco between the decades of 1920 and 1950 inspired a creative revaluation of Incaism, indigenism, and mestizaje. This cultural view allows her to conclude that, by the end of the 1950s, the renewal and recreation of cuzqueño folklore by artists and intellectuals had succeeded in becoming a symbol of national identity, which afterwards was overshadowed by afrocriollo artistic expressions developing in Lima.Creating Our Own offers a chronological review of the artistic cuzqueño scene in the twentieth century. Mendoza challenges the view that the impulse of folkloric art was the result of manipulation by the intellectual and artistic elites, in which racist discourse and ethnic exclusion were fundamental. She shows, on the contrary, that there was a continuous interaction between elites and popular sectors, urban and rural populations, and criollos, Indians, and mestizos in the common wish to create and transmit a new feeling of regional identity. In other words, folklore was a field of redefined identities of all cuzqueños and therefore constituted a heritage shared by the upper and lower classes. To examine the popular results of the process of folklorization, the author describes the international tour of the Mision Peruana de Arte Incaico, led by the indigenist thinker Luis E. Valcárcel in 1923 and 1924; the massive regional contests of folklore organized by the Centro Qosqo de Arte Nativo in the 1920s and 1930s; the great popularity achieved by the radio program “The Charango Hour” in the 1930s; and, finally, the promotion of cuzqueño popular art undertaken by the Instituto Americano de Arte, founded in 1937 by the neo-indigenist writer Uriel García. All these examples show how self-taught and popular artists interacted with the criollo and mestizo musicians of the elite to develop new styles and repertoires that were soon adopted as typically cuzqueños. For instance, the author analyzes the individual paths of the arpista Manuel Pillco Cuba and the cha-ranguistas Pancho Gómez Negrón and Julio Benavente Díaz, and the leadership of popular groups like Centro Musical Cuzco, Conjunto Mosoc Llacta, and Centro Artístico Ollanta. All these show how artistic and cultural cuzqueñismo, in a complex process of negotiation, adopted Inca, mestizo, Indian, and cholo values as symbols of identity.Mendoza’s sources come from the newspapers of the period, the archives preserved in the Centro Qosqo and the Instituto Americano de Arte, and interviews with some actors directly involved in the spread of the cuzqueñista cultural phenomenon, such as the composer Armando Guevara Ochoa. Most of the protagonists are now deceased, but information provided by their descendants partly makes up for this, as in the case of the Pillco family. In sum, this book is a valuable contribution to the understanding of Peruvian cultural history in the past century, arising from an admirable methodological meeting between anthropology and musicology. Creating Our Own not only brings new ideas and knowledge, but the reader can enjoy the musical works studied here by purchasing recordings listed in the discography.

The Russian avant-garde painting palette: Documentary and physicochemical codification of organic colorants

Abstract In the present article an attempt is made to elucidate the organic colorants commonly encountered in the Russian avant-garde painting palette by a combined art historical, documentary and physicochemical investigation, and to examine the influence of environmental factors on the chromatic profile originally sought by the artist. The overall approach based on written sources is confirmed by measurements on relevant paintings. The documentary research deals with the influences of Orthodox iconography, folkloric art, and occidental modernist tendencies on the Russian avant-garde palette, and studies the effects of contradictory historical processes in the chromatic profile of individual paintings. In the experimental section a series of colorants are investigated concerning the effects of accelerated ageing on experimental painting tables, prepared as watercolor and gouache layers on paper ground. The resulting samples are subjected to colorimetric and spectroscopic measurements, and analogous analytical procedures are applied on samples taken from selected paintings. A systematic comparative study of all data permits evaluation of the materials used in terms of their stability towards extrinsic factors, and proposal of degradation routes in order to assist museum curators and conservators in every concrete case related to the broad spectrum of pigments examined.