The author considers the episode of the Russian wedding ritual "Groomsman opens the closed doors of the bride's house" and analyses dialogues which are pronounced at this ritual stage. The ritual of opening the closed doors of the bride's house is accompanied by a large number of riddles and questions with the cosmological motifs of gathering and structuring the Cosmos, texts on Christian mythology and folk mythological beliefs. The use of these dialogues can be explained by the specificity of the wedding situation itself: their utterance was intended to have a productive effect on the common space formation for both clans; the appeal to Christian mythology through saints' lives and apocryphal literature allows us to evaluate the valuable and cultural qualities of the groom and his entourage. The correct answers to all questions and the fulfilment of the formulated tasks indicate the readiness (mental and physical) of the groom to change his social status. The publications and archival materials recorded in the 19th-early 20th century in different local traditions and regions of Russia, also the texts recorded in some Komi traditions and in the territory of contact residence of the Russian and Komi populations, are analysed in the present article.
Of late, Chinese cultural heritage buildings have enjoyed attention as desirable destination images. This has been boosted by the tourist gaze, which derives its object of desire from the soft power of transnationally broadcast Chinese historical films and television series, such as "Longest Day in Chang'an". Within the experience of tourism lies the issue of finding authenticity, which consists of three types: objective authenticity, constructive authenticity and existential authenticity (Wang 1999). In this globalised and super-diverse environment (Vertovec 1997), does fixed authenticity based on historical experience still exist? I demonstrate how this media-enhanced tourist gaze sublimates its fantasy through tourism of Chinese heritage buildings, through a quantitative survey of tourists' experiences of authenticity in visiting one such Chinese heritage building. Ultimately, much like "Dracula-tourism" in Transylvania, this phenomenon facilitates the embodying of the folklore of Chinese cultural heritage as desirable images. This in turn represents a form of constructive authenticity similar to film tourism, which mitigates the re-enactment of tourists' projection of authenticity upon toured objects.
Tuvans and Tatars are Turkic peoples living in the Russian Federation today. Tuvans live in the east and Tatars in the west of the region. In the Turkic language classifications, Tuvan and Tatar languages are dialects on two different sides of the Turkic language. The structure of a language is influenced by the geographical and climatic conditions, beliefs and mentality of societies. Although the national culture of societies is one of the priority topics of linguistics today, the ethnolinguistic aspect of the word milk has received little attention in the linguistics of the Tuvan and Tatar languages. From this point of view, it is important to determine the position of milk as a cultural and linguistic element in the memory of the two societies. So milk gains an ethnolinguistic value due to its effective use both in traditional life and in oral culture products. The fact that Tuvans and Tatars, who are located in two different branches of the Turkic world, living in quite distant geographies and having different belief systems, interpret the concepts related to milk in similar ways clearly reveals that milk is one of the common elements in the cultural memory of the Turkic world. This study aims to determine the position of the concept of milk, which has taken its place in the cultural memory ofTuvans and Tatars, in both the traditional lives and oral culture products of the related peoples, as well as to comparatively analyze its functioning in modern language in an ethnolinguistic context.
The relevance of the key aspects of the musical culture of ethnic groups of Albania in the present period arises due to the intensification of globalisation processes and the resulting tendency towards cultural and everyday unification in the world. The study seeks to uncover the distinct features of Rugova's traditional music and other aspects of its folklore, including dances, games and attire. In the process of studying aspects of folklore, the following were examined: features of song creation; folk choreographic art; theatre performances and sports games; and the arts and crafts heritage of the region. Key categories of each branch of the folklore fund of the Kosovo Highlanders were established. The study identified unique characteristics of Rugova's vocal music, including monophonic texture, pentatonic scale with microtonal elements and traditional instruments such as lahuta, & ccedil;iftelia, and kavall. It also noted the practicality and distinctiveness of local national costumes suited to harsh climates. The innovation of the research lies in viewing Rugova's oral traditions as a comprehensive system with various key components. Its findings can aid in understanding other ethnic folklore and are valuable for experts in musicology, cultural studies, folklore, history and ethnography.
Environmental Health Crises (EHC), often manifesting as interconnected polycrises (e.g. combining environmental, medical or military aspects), have surged in frequency, intensity and geographic spread in recent decades. Public understanding of such crises plays a crucial role in taking proper action to mitigate their consequences. Thus, finding innovative communication models that would address and mediate the complex nature of EHC is of utmost importance to serve the societal needs for clarity, safety, hope and physical survival. While mythological and scientific approaches have conventionally been conceptualized as opposites, this article's objective is to delineate their points of convergence and to argue that awareness of patterns in mythological narratives can offer analytically significant insights for contemporary crisis communication. By reviewing existing map-based health risk communication tools and frameworks, and relying on multiple sources of mythological narratives related to various EHC (e.g., epidemics, environmental hazards and disruptions), the authors will propose an empirically and theoretically grounded framework for analyzing the spatial representations of environmental health crises in mythological narratives to highlight how mental mapping becomes a critical component of vernacular spatial problem-solving activity. While highlighting consistencies in spatial crisis responses in mythological narratives and comparing them to modern EHC-narrating patterns, the proposed framework aims to function as a pathway for bridging the gap between scientific crisis mapping and the vernacular lived, multisensory, mythology-informed representations of EHC. By theorizing the integration of such dynamic and agentic perspectives into public communication, the study seeks to advance more effective and empathetic engagement with EHC-related risks.
This article discusses the mythological and ritualistic meanings of the cave in Turkish culture. Steppe life formed the basis of the Turks' relationship with nature, and respect for nature has gained a sacred meaning. In the belief of Tengriism, natural sites such as mountains, rivers, trees and caves were regarded as sacred. In Turkish mythology, the cave has been identified with the womb and holds a significant place in creation and origin myths. Figures such as Umay Ana and Ak Ene in Turkish mythology are associated with cave cults. In the G & ouml;kt & uuml;rk Origin myth, the cave is regarded as the birthplace of the first ancestors. Additionally, for shamans, caves have served as spaces for spiritual journeys and communication with supernatural beings. The cave is imbued not only with mythological meanings but also with religious and mystical significance. In Islam, the Cave of Hira is considered sacred as the place where Prophet Muhammad received his first revelation. In the Sufi tradition, caves have been used as places of seclusion and spiritual purification. Sufi figures such as Ahmed Yesevi and Hac & imath; Bekta & scedil;-& imath; Veli retreated to caves for solitude, completing their spiritual maturation. The origins of the sanctification of caves trace back to mythical times. This study focuses on the origins of caves as ritual spaces in Turkish culture and the rituals that have developed around them. In Turkish culture, caves are regarded as sacred sites where healing, wish-making and communal rituals are performed. Rituals are conducted in times of crisis or in response to societal needs and manifest in various forms. In healing rituals, practices such as touching cave walls, drinking water and rubbing against stones are performed to cure illnesses. Additionally, rituals such as tying cloth to trees, placing stones, offering sacrifices and casting or drawing bones are particularly noteworthy. These rituals are carried out within specific rules, reinforcing social belonging and contributing to the transmission of cultural heritage.
The article examines Latvian hillfort folklore using an interdisciplinary approach that combines data from archaeology, folkloristics and ethnological research. Particular attention is paid to the functional aspects of hillfort folklore in the archaeological discovery process, as well as to the thematic continuity of hillfort folklore from archival records of the 1920s to fieldwork data from 2023. Interest in hillforts as historical objects became relevant in the second half of the 19th century, when studies started and collected data were systematically supplemented with folklore-legends, stories and toponyms. Interest in hillforts also continued in interwar Latvia, and, although less intense, also remained after World War II. In recent years, with the development of technologies and the use of Light Detection and Ranging (LIDAR) capabilities, more than 70 new hillforts have been discovered; nevertheless, researchers are still using folklore for site identification. With regard to Latvian hillfort folklore, three basic functions can be distinguished: it serves as a verification tool for the site of the hillforts, affects the content dimension of the place identity narrative and provides an opportunity for local communities to creatively communicate the value of their place of residence in a wider sociocultural context. While analysing the tradition of Latvian hillfort folklore, five thematic groups can be distinguished in legends and stories: 1) a sunken castle/church on a hill, 2) a mountain covered with the corners of hats/coats, 3) treasure hidden in a mountain, 4) cosmogonic actions of God and/or the Devil, and giants on a hill, 5) hillforts are given significant names. Hillfort folklore continues to be relevant nowadays. A case study of three hillforts in Baltinava parish, northeastern Latvia (Alot & amacr;ji, Punculova, and Sv & amacr;tiune / Bell Hill) demonstrates, on the one hand, the thematic continuity of hillfort folklore and, on the other, reflections of contemporary realities related to entertainment, everyday life and even esoteric practices.
This article examines Hunt on the Nazi Necromancer, a dungeon synth project by Serbian artist Dungeon Guerrilla, as an instance of counter-mythopoiesis within post-Yugoslav cultural production. Combining digitally mediated ethnography with cultural-theoretical analysis, it explores how the project reworks esoteric Nazi mythologies, South Slavic epic poetics, and partisan memory into a form of historical fantasy that reinterprets existing symbolic repertoires. The study situates the album within broader debates on re-enchantment, counter-memory, and the contested legacies of underground music, illustrating how fantasy and sound function as media through which contemporary artists negotiate ideological histories and cultural imaginaries.
The article explores the collecting of folklore intangible heritage of the Shirak region. The authors have studied the historical processes of traditionality, mutual influences, formation and application of orally transmitted folklore genres among the present-day population of Shirak. According to Alan Dundes's approach of viewing folklore as a mirror of culture, the folkloric materials from Shirak are not only artistic expressions but also symbols of cultural identity (Dundes & Bronner 2007). Over the course of more than a century, diverse folklore materials have been recorded, published and studied in the Shirak region, with a significant portion of the original works being preserved in the archives of the Institute of Archaeology and Ethnography of NAS RA. The folklore heritage of Shirak encompasses the centuries-old history of the region, the movements of the local population, traditional practices, original ideas and accumulated knowledge. It reflects the process of formation of human society, and within this folklore heritage one can find remnants of forgotten fragments of mythology, customs and beliefs, providing an opportunity to observe the historical and cultural journey of the present-day population of the Shirak region, along with their spiritual and material achievements and losses in various expressions of the epic folklore. The analysis of the study was primarily carried out by historical-comparative, historical-geographical, and anthropological methods.
The paper's primary purpose is to study the special aspects of playing erhu as part of the learning process. The author used the testing method, which helped to determine the elements required for the development of the academic program. The testing specified that 37% of the students were willing to use erhu and 28% were willing to use pipa in the learning process. Despite the fact that both musical instruments pass down the traditions, the students preferred the erhu because this instrument allows them to play subtle sounds. The testing method also showed that 38% of the students had no knowledge of playing erhu and only 23% of the students had roughly average skills in playing erhu. 10% of students believe that Western learning systems would positively impact the erhu learning process, but the bulk of students (46%) prefer blended learning systems.
Within the framework of the ecological paradigm, stereotypes in collective folk consciousness focus on identifying human behaviors and beliefs toward animals. The gradual shift of anthropocentric data toward an eco-centric perspective over an extended course of time reflects the growing influence of & ENG;oo-folkloristic approaches. The domestication of donkeys six thousand years ago established a relationship primarily based on economy and transportation. However, the value attributed to them declined with the invention of motor vehicles. Despite this, donkeys are frequently encountered in various metaphorical uses within the oral culture. This study investigates the metaphorical representations of donkeys in oral traditions. The fact that donkeys still roam freely in Cyprus's Karpa & ENG; region and attract tourists from many parts of the world further underscores the significance of this research. Donkey metaphors, which appear with notable frequency in the local oral linguistic expressions, serve as examples of both traditional and complex metaphors within the framework of Conceptual Metaphor Theory classifications. It has been observed that representations of donkeys are shaped by their economic impact, their shared living practices with humans and their biological characteristics. In cognitive mappings, donkeys are predominantly associated with negative concepts; they are objectified and used to convey inferiority, expressions of anger, emotional mockery, othering and humiliation. Notable behaviors of the wild donkeys in Karpa & ENG;- such as opening water tanker valves with their mouths or digging into the ground to find water-suggest the need to question these negative attributions.
This study aims to investigate the opinion and practical experience of folk art museums' employees on virtual reality (VR) technology, and to determine whether students can successfully master a museum's excursion program with the help of a virtual tour. The study uses a qualitative research methodology and an experimental method. The interviews were recorded and decrypted using Interview Recorder. The survey involved 12 museum specialists from 6 folk art museums in China (CAA Art Museum, Chen Clan Ancestral Hall, Former Residence of Gan Xi, Capital Museum, Fujian Museum, China Museum for Fujian Taiwan Kinship) and 80 students from Fujian Normal University. The author has found different fields of application for VR in museums. The advantages and problems of using VR in museums according to guides with technology experience are also identified. Further research will aim to expand the use of virtual technologies in museums. It is also importantto train museum workers in VR technologies using different methods to determine the effectiveness of such training.
Pottery, which is an image and a description of a culture of thousands of years that continues today as well as has the capacity to create data even with the smallest shard finds for cultural fields and sciences such as archaeology, anthropology, art etc., is a very important cultural heritage. The traditional features, methods and stages of rural pottery production in the pottery centers that are the subject of the study have been examined by field research and evaluated within the scope of "Intangible Cultural Heritage" with the aim of providing data for archaeological and anthropological studies. On the other hand, this research aims to contribute to the comparison of raw materials, methods, forms, etc. of ceramic finds that may be found in Neolithic, Chalcolithic and other period research to be conducted in the region. In addition, it has been attempted to explain the necessity of the sustainability of this cultural phenomenon.
Oral traditions play a crucial role in maintaining cultural identity and conveying historical memory, particularly within diasporic populations encountering international pressures. This research aims to indicate the parallels and contrasts in the oral traditions of Turkic-Mongolian ethnic groups, specifically examining Kazakh narratives and their evolution resulting from migration and cultural interaction. The study analyses myths, legends and epics using comparative historical, content, intertextual and genealogical methodologies to track alterations across various cultural settings. The findings indicate that Kazakh oral traditions maintained among diaspora populations preserve ancient aspects while incorporating new themes shaped by local cultures. In Mongolia, Kazakh oral heritage integrates shamanic and Buddhist components, but in Uzbekistan, Islamic themes transform conventional storytelling. Kazakh stories in Kyrgyzstan demonstrate significant intertextual connections with the Manas epic, highlighting themes of communal identity and struggle. In China, cosmogonic narratives concerning natural spirits and sacred sites demonstrate the impact of agricultural and religious traditions, resulting in modifications in their structure and themes. Despite these changes, these oral traditions remain essential tools for cultural transmission and identity maintenance. These findings enhance comprehension of how folklore evolves through migration and intercultural contact, offering insights into cultural resilience within diasporic contexts.
The aim of the study is to analyse the time sequence between historical events and the creation of epic works such as "Alpamys," "Korogly," and "Kitabi dede Korkud" in order to understand their role and significance in the cultural context of Central Asia. The following research methods have been used in this work: generalisation, systematisation, analytical and historical-typological methods. As a result of this study, it was found that the heroic epic of Central Asia reveals not only artistic aspects but also deep layers of history and cultural memory. The analysis of the epics through the prism of historicism and typology allows for understanding of the evolution of society and the formation of values. The study of the musical epic works of the peoples of Central Asia, considering historical events and characters, allowed understanding and evaluating their historical and cultural significance more deeply. The struggle of heroes against tyrants, the defence of their native land, and the reflection of the socio-cultural peculiarities of the people in epics are references to real historical phenomena and key elements of their content. The importance of the characters, their connection to historical figures and their social significance emphasise the role of these works in preserving and transmitting the cultural and historical heritage of the people.
Traditional masquerading at carnival time and similar traditional occasions speaks the language of unbroken continuity through time and is generally perceived as a straight line from time immemorial to the present day. At closer quarters, however, it becomes apparent that most, if not all, masquerading traditions are marked by a considerable intermittency with frequent interruptions often lasting whole decades. A comparative outlook at a few masquerades, largely from Italy, will show this intermittency as a precise response to the ongoing stimuli of the larger political context.
The article analyses the dialectic of the immanent and transcendent in the works of the Ukrainian folklore lyro-epic literature. Often in a folklore work, the adjustment to comprehend a certain idea occurs through certain material forms, to pass through ordinary things that are important in specific circumstances, in a particular life, to timeless entities. At the same time, the folklore image itself in dumas, historical songs, songs-chronicles, ballads, etc. can be considered in the aspect of self-transcendence: the heroes of folklore works are presented in moments of spiritual and aesthetic experience; they give an essential moral assessment of what is happening and go through the stages of self-knowledge and self-affirmation, thus trying to overcome their own ontological imperfection. The article aims to delve into the intricacies of Ukrainian oral non-ceremonial poetry, specifically focusing on dumas, ballads, historical songs and chronicle songs, to understand the universal model of being that intertwines the immanent and transcendent realms. This exploration seeks to highlight the distinctive characteristics of spirituality within the artistic macrosphere of folklore. Analysing the works of non-ceremonial poetry, the authors note that the very essence of the transcendent, which at first seems to be something indistinct, fundamentally unknown, located outside the objective world, is identified only intuitively. The artistic macrosphere of the lyro-epic work is aimed at finding those reflexive facets that will help to comprehend the transcendent, and, in the future, the dialectic of the immanent and transcendent itself. It is emphasised that in some chronicle songs there is an attempt to comprehend the history of the region through magic, which is defined in real existence.
Many factors in human life, such as illness, natural disasters, economic, social and political instability, and war and occupation, cause afeeling of uncertainty, both on an individual and on a communal level. In coping with various uncertainties that are present in everyday life, individuals and communities use various strategies. Faced with danger or a crisis, people traditionally looked to divine grace for protection and security. The article focuses on ways to cope with uncertainty by means of faith and religion, namely, making and fulfilling a promise, making votive offerings, building a cross and visiting sacred places. These practices formed a symbolic ritual of protection that created a sense of comfort and security. In addition, the role of religious imagery in protection rituals is highlighted. The question whether traditional forms of ritual still exist today, or whether people cope with danger or distress in other ways, is also highlighted.
The study purpose is to determine the importance of the aesthetic component in musical performance through the example of Chinese folk and Western music. The questionnaire method, which provided data for the study through teachers' responses, and the hierarchy analysis method, which affected determination of aesthetics criteria significance, which are interrelated with the psychological component, were used. It was found that the development of sensory abilities and the aesthetic component are not completely interconnected at the initial stage of training. Based on the results of group 1, which was taught to perform Chinese compositions, and group 2, which performed Western compositions, a high level of aesthetic performance was observed in 16% and 18% of the students, respectively. The study identified elements that affect performance aesthetics and listeners' perception: performance technique, musical literacy and musical and aesthetic consciousness. The most important criteria are tonal beauty (0.37) and emotionality (0.25). After 1.5 years of study, the level of aesthetics of performance significantly increased. In the group that studied Chinese folk music, a high level is observed in 86% of the participants; in the group that studied Western music-in 89%. The research results are of scientific interest to teachers.
At the time of globalisation and digitisation, the news about important events easily and quickly cross national boundaries, and so does the humour that emerges as a reaction to the news. Memes and jokes about conflicts can be found far beyond a country or region where the conflicts occur. In the present article we investigate whether humour on the same conflict differs across different countries. We compare the humour of three countries-Belarus, Estonia and Poland-that comment on the Wagner group rebellion that took place in late June 2023 against the backdrop of the Russian full-scale invasion of Ukraine. Our analysis of humour genres, its mechanisms and communication styles reveals that although humorous reactions to the Wagner group rebellion have been similar-but not identical-across different countries in many ways, there were also important national differences related to the political climate in the countries in question and their relationship with Russia. The content of humour, general popularity of certain characters and communication styles tended to differ across cultures as well. We conclude that the transnational aspects of humorous communication dominate over the national humour features-not only with regard to the individual humorous items, but on the more abstract levels of genres and humour mechanisms.
