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Academic literature on the topic 'Folklore, south america'
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Journal articles on the topic "Folklore, south america"
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Klich, Lynda. "Flatness, Fabric, and Folklore." Latin American and Latinx Visual Culture 6, no. 1 (January 1, 2024): 83–87. http://dx.doi.org/10.1525/lavc.2024.6.1.83.
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During the first half of the twentieth century, representing the body was a pivotal means to reimagine national and regional identities at a moment when the legacies of colonial power structures were coming under increasing scrutiny. The body became a vehicle through which artists could envision new, expanded, and intersecting notions of race, gender, class, nation, and region. Through close readings of single images created in eight different countries—Guatemala, Bolivia, Brazil, Uruguay, Mexico, Venezuela, Colombia, and Cuba—this Dialogues contains essays by scholars from South America, Europe, and the United States that reveal the capaciousness for the body to encapsulate local racial, class, and gender dynamics, to illuminate regional and national politics, and to embody divides between socially progressive politics and entrenched conservative social systems and hierarchies. The authors pay careful attention to form, subject, and style to demonstrate the potency of modernist figuration, an international and vibrant visual language, to interrogate issues of race, ethnicity, indigeneity, and gender. Together, the essays point to the critical particularities of iconography, context, and style. In so doing, they reinforce the ability of representation to resonate in multivalent ways and assert the power of the image to stir debate, fix (or challenge) convictions, and raise questions about histories. The authors harness the power and visual variety of realisms and representation in Latin America, revealing the malleability of the modernist body and its efficacy as a carrier of meaning and locus for debates about power, progress, and identity.
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Stepanova, O. "Piano culture of South and Latin America: features of formation and transformation." Culture of Ukraine, no. 74 (December 20, 2021): 66–72. http://dx.doi.org/10.31516/2410-5325.074.11.
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The purpose of the article involves a thorough study of the original sources of the emergence in Latin and South America of such an instrument as the piano. In addition, it is necessary to trace the historical stages of the transformation of the composer’s style — from European classical to a new ideological and artistic musical embodiment of a specific Latin American culture.
The methodology. The main research method in the article is based on next principals: cultural-historical, comparative-typological, structural, analysis and synthesis and ascent from the abstract to the concrete.
The results. The conducted historical and musical analysis revealed the importance of the piano for the formation of the musical culture of South and Latin America. Thanks to touring artists from Europe, the piano gradually gained popularity. Its evolution has gone from European imitation to the formation of its own identity in world music culture. The path of Latin and South American composers to national identity took place through rethinking and interpreting the musical styles of past eras (baroque, classicism, romanticism) and folklore. During the period of experiments, study and introduction of national cultural elements, piano works by composers of Latin and South America had a high level of professionalism and popularity.
The scientific novelty. It is that the work is a comprehensive scientific study, which substantiates a holistic system of evolution and transformation of piano culture in South and Latin America.
The practical significance. The materials of the article can be used in further research on the phenomenon of Latin America piano culture, as well as in classes on the history of piano art and world music history.
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Berezkin, Yuri. "African Heritage in Mythology." Antropologicheskij forum 17, no. 48 (2021): 91–114. http://dx.doi.org/10.31250/1815-8870-2021-17-48-91-114.
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Our analytical catalogue contains information on many thousands of folklore and mythological texts. The systemic approach to this material argues in favor of an African origin of episodes and images that were recorded in sub-Saharan Africa, the Indo-Pacific border of Asia and in America but are absent in continental Eurasia. Such a pattern corresponds to genetic and archaeological data concerning the early spread of the modern human from Africa in two directions, i.e. to the East along the coast of the Indian Ocean to Southeast Asia and Australia, and to the North into Europe, Central Asia and Siberia. The natural conditions of humankind in the Indo-Pacific Tropics and in the African homeland are essentially similar; conversely, in the Eurasian North, deep cultural changes and a loss of the African heritage are to be expected. Though there are no cultures in Asia that could be considered to be related to the ancestors of the earliest migrants into the New World still being identified by archaeologists, similar sets of motifs in South America and in the Indo-Pacific part of the Old World provide evidence in favor of the East Asian homeland of the first Americans. Later groups of migrants brought those motifs typical for continental Eurasia to North America. Though we take into account conclusions reached by specialists in other historical disciplines, big data on mythology and folklore is argued to be an independent source of information on the human past.
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Brum Kagyerják, Patricia Alejandra. "The Vision of Hungarian Folk Dance in the Diaspora : Folk Dance Teaching Methodology Work Plan for the Uruguayan Tündérkert Folk Dance Ensemble." Tánc és Nevelés 4, no. 2 (November 12, 2023): 113–33. http://dx.doi.org/10.46819/tn.4.2.113-133.
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How can Hungarian folk dance education be implemented in the Hungarian diaspora communities in South America, particularly in Uruguay, with goal-oriented and development-focused results? Following linguistic assimilation, Hungarian folk dance is one of the most important pillars keeping the Hungarian community in Uruguay alive. In order for Hungarian identity to continue to remain thrive in Uruguay, conscious development in the field of dance education is essential. The work plan presented in this study aims to help dance teachers efficiently and accurately organize, plan, and deliver dance classes, thus achieving improved results in regard to dance technique and general knowledge of Hungarian folklore.
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Rose J S, Cynthiya, and Bhuvaneswari R*. "FOLKTALES FROM SIX CONTINENTS: CULTURAL INFLUENCE AND LIFE SKILL DEVELOPMENT FOR CHILDREN." Folia linguistica et litteraria XIII, no. 44 (January 31, 2023): 165–77. http://dx.doi.org/10.31902/fll.44.2023.9.
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Children are enthusiastic and show a keen interest in learning new skills. Learning and participation, equipped with essential life skills, ensure success in their life. Building life skills enables children to understand personal conflicts (both physical and mental) and make them aware of their environment. The folktales of various regions in the world with solid traditions expand children’sliterary horizons. Folklore inspires young minds and teachesthem to be morally, ethically,and socially conscious. Anthropomorphic narratives take children into the world of tales, keep them engaged, teaching history, tradition and value systems, and helping the individual build lifeskills. The paper focuses on realising the life skills and cultural influence imbibed in folktales and how it works on children. The article examines popular folktales from Asia, Africa, Australia, Europe, North America, and South America and examines how they operate as a tool to enable us to understand culture and life skills.
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Tabarev, A. V., and E. E. Slavinskaya. "Night Guest Tintin: The Origins of a Demonic Character in the Folklore and Archaeological Materials of Ecuador." Vestnik NSU. Series: History and Philology 22, no. 5 (May 8, 2023): 157–68. http://dx.doi.org/10.25205/1818-7919-2023-22-5-157-168.
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Purpose of this research is the analysis of archaeological, ethnographical data devoted, first of all, to the demonic personage Tintin, typical for manteña-huancavilca beliefs in the coastal zone, and to the image of bat, and bat-like creatures in modern provincial folklore of Ecuadorian Indians.Results. A review was conducted of a wide range of archaeological materials (sculptures, images on pottery, seals, ceramic masks and whistles) known from the pre-Hispanic cultures that existed on the territories of modern Ecuador, Colombia, Peru and Mesoamerica. The article clearly demonstrates that Tintin is the reflection of the long-term mythological tradition which connects bats with the Underworld, shaman’s practices, rituals and fertility.Conclusion. Tintin is one of the multiple anthropo-zoomorphic characters connected with the Pre-Columbian mythological systems of ancient cultures in South America. The peculiarities of bats biological behavior (nocturnal activity, living in caves and specific sound production) are the reason why they are associated with the dark side of the Universe. from the other hand, help to keep the demonic image of Tintin in colonial period and today.
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Huffman, Michael A. "Folklore, Animal Self-Medication, and Phytotherapy–Something Old, Something New, Something Borrowed, Some Things True." Planta Medica 88, no. 03/04 (October 8, 2021): 187–99. http://dx.doi.org/10.1055/a-1586-1665.
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AbstractThe use of medicines was long considered by Western schools of thought to be a a domain unique to humans; however, folklore/Traditional Ecological Knowledge (TEK) from around the world suggests that animals have also long provided inspiration for the discovery of some medicinal plants used to treat humans and their livestock. Searching for medicinal knowledge from animals depends on the recognition of their ability to select and effectively use medicinal plants to prevent or actively ameliorate disease and other homeostatic imbalances. The interdisciplinary field of animal self-medication is providing scientific evidence for this ability in species across the animal kingdom and lends support to animal-origin medicinal plant folklore and recent ethnomedicinal information. Here, 14 case studies of purported animal-inspired plant medicines used by cultures around the world are presented together with ethnomedicinal and pharmacological evidence. Based on this evidence, the diversity and potential mode of self-medicative behaviors are considered. Over 20 animal species, including llama, sloth and jaguar in South America, reindeer and yak in Eurasia, langur and macaque in Asia, and chimpanzee, wild boar, porcupine and elephant in Africa, are linked to these case studies, representing a variety of potential preventative or therapeutic self-medicative behaviors. These examples provide an important perspective on what is likely to have been a much wider practice in the development of human traditional medicine. A role for animal self-medication research in the rejuvenation of old therapies and possible new discoveries of phytotherapies for human and livestock health is encouraged.
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Odugbemi, Ibrahim A. "Toyin Falola and Akintunde Akinyemi (Eds). Encyclopedia of the Yoruba. Bloomington and Indianapolis: Indiana University Press, 2016. 371pp." Yoruba Studies Review 3, no. 1 (December 21, 2021): 1–3. http://dx.doi.org/10.32473/ysr.v3i1.129933.
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Encyclopedia of the Yoruba is a single-volume encyclopedia that is comprised of 285 entries of short essays written by 188 authors who are predominantly scholars and academic researchers from Africa, Europe and North America. The different word-ranges of the essays vary from 1000 words (for 78 entries) to 750 words (for 88 entries) and 500 words (for 119 entries). Across these entries, the encyclopedia gives a complex, yet detailed, presentation of the Yorùbá, a dominant ethnic group in West Africa and the most prominent African cultural population, identity and presence in the African diaspora including North America, the Caribbean and South America. It presents the Yorùbá with respect to their involvements in, and interactions with, different sociocultural experiences, practices and expressions by “emphasizing the peculiarities, features, and commonalities of the people” (xi). Following an alphabetical ordering, each entry in the encyclopedia is complete on its own as it examines and discusses a subject, subject matter, concept or topic that shares an affiliation with the Yorùbá world in time (the traditional past in all its distant and intricate temporal dimensions and the modern present in all its complex interrelations) and/or space (Yoruba homes across West Africa and the African diaspora. Such concentrations of the entry include persons/personalities, demographics, worldviews and cosmological values and elements, and several material and non-material aspects of the Yorùbá culture and folklore, and their corresponding affiliates. It is important to add that the completeness of the entries is considerably informed by the suitability of the word-ranges used. It is commendable that 358 Ibrahim A. Odugbemi the editors are able to determine the word-range that fits the discourse of every entry and the authors are also able to conform. By writing across the various word-limits, the authors have been able to give adequate information about their subjects of discussion. Each word-limit is moderate enough to convey the basic information on the subject or topic of every entry.
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Bekkaoui, Hamza. "The Travelling Folktales of the Basil Girl’s Wiles." International Journal of Linguistics, Literature and Translation 7, no. 5 (May 16, 2024): 35–46. http://dx.doi.org/10.32996/ijllt.2024.7.5.5.
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This article sheds light on the translation, evolution, transformation, and circulation of "The Merchant's Daughter," a highly significant piece of Moroccan folklore, tracing its journey within Morocco and globally. Central to our analysis is the tale's origins, which, as theorized by Hasna Lebbady, trace back to Andalus and were carried across the world by Muslims exiled from Spain. This journey encompasses varied landscapes and geographies, across three continents, North Africa, Europe, and South America, illustrating the tale's adaptability and enduring relevance. A focal point of exploration is the tale's nuanced portrayal of women's wit as a tool to navigate and subvert the constraints of patriarchy and authoritarian power structures within their societies. By compiling and comparing variations of the tale from different regions, this study demonstrates the diverse ways in which the narrative has been refashioned to reflect local cultures, societal norms, and resistance strategies. Through the lens of "The Merchant's Daughter," we contend that cultures are not monolithic entities bred in isolation but are instead the result of centuries-long encounters and exchanges. By engaging with this folktale's transnational circulation and thematic richness, our study contributes to a broader understanding of how folktales cross borders, circulate, and adapt as well as the dynamic processes of cultural transmission and adaptation. It underscores the role of storytelling in preserving cultural identity, fostering resilience, and navigating the complexities of global and local intersections.
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Uchida, J., S. Zhong, and E. Killgore. "First Report of a Rust Disease on Ohia Caused by Puccinia psidii in Hawaii." Plant Disease 90, no. 4 (April 2006): 524. http://dx.doi.org/10.1094/pd-90-0524c.
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Several species of Metrosideros (Myrtaceae), referred to as ohia in Hawaii, are endemic trees that comprise as much as 80% of the native Hawaiian forests. For centuries, these trees have provided niches for many indigenous and endangered plants and animals and are treasured by Hawaiians for their beauty and role in folklore and legends. During April 2005, a cultivated ohia plant was diagnosed by the Agricultural Diagnostic Service Center at the University of Hawaii at Manoa as infected by a rust fungus. Rust pustules containing abundant urediniospores were observed on leaves, stems, and sepals, causing discolored spots and severe deformity of young leaves and growing tips. By July 2005, a similar rust disease was observed on other plants in the family Myrtaceae; namely Syzygium jambos (L.) Alston, Eugenia koolauensis Degener, E. reinwardtiana (Blume) DC, and Psidium guajava L. Microscopic examination of the uredinia and urediniospores showed that the rust was morphologically similar to Puccinia psidii, which is reported as the guava or eucalyptus rust in Florida and Central and South America (1,2). To confirm the identity of this fungus, DNA was extracted from urediniospores of two isolates collected from ohia plants, and their nuclear ribosomal internal transcribed spacer (ITS) was amplified with two universal primers, ITS4 and ITS5 (3). Sequences of the ITS region of these isolates from ohia were identical to the P. psidii isolates provided by A. Alfenas in Brazil and M. Rayachhetry in Florida. Koch's postulate of the isolates, obtained from ohia, was performed using 1 × 108 spores/ml of urediniospores suspension in distilled water. The suspension was sprayed onto 6-month-old ohia seedlings. These inoculated seedlings were placed in clear plastic chambers maintained at 100% relative humidity and 22°C with a combination of 10-h fluorescent light period and a 14-h dark period. After 48 h of incubation, the seedlings were removed from the chambers and transferred to a greenhouse where the ambient temperature ranged from 20 to 24°C. Rust pustules appeared after 1 to 2 weeks of incubation. Symptoms first appeared as tiny, bright yellow, powdery eruptions that developed into circular, uredinial pustules on the stem and foliage. These pustules later expanded, coalesced, and became necrotic, spreading over the entire leaf and stem surfaces, and then leaves and stems were deformed and tip dieback ensued. These symptoms were the same as those observed on the naturally infected cultivated ohia plant mentioned above. P. psidii is reported to be native to South and Central America that later spread to some Myrtaceous plants in the Caribbean countries (1). It has a very wide host range within the family Myrtaceae (2). To our knowledge, this is the first report of P. psidii in Hawaii. This rust disease may pose a formidable threat to Myrtaceous species that make up the native Hawaiian forests and are grown as ornamental plants or for the production of wood chips. References: (1) T. A. Coutinho et al. Plant Dis. 82:819. 1998. (2) M. B. Rayachhetry et al. Biol. Control 22:38. 2001. (3) T. J. White et al. Page 315 in: PCR Protocols. M. A. Innis et al., eds. 1990.
Books on the topic "Folklore, south america"
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Parker, Victoria. Traditional tales from South America. North Mankato, MN: Thameside Press, 2001.
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Vásconez, Irene Paredes. Folklore nutricional ecuatoriano. Quito, Ecuador: Artes Gráficas Señal Impreseñal, 1986.
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Corzón, Carmelo. folklore de bolivia Danzas y vestimentas folklóricas de Bolivia: Folklore. La Paz: Producciones CIMA, 1994.
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Mildred, Merino de Zela, ed. Ensayos sobre folklore peruano. Lima, Perú: Universidad Ricardo Palma, 1999.
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Pachamama tales: Folklore from Argentina, Bolivia, Chile, Paraguay, Peru, and Uruguay. Santa Barbara, CA: Libraries Unlimited, 2014.
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Pereyra, Elsa Vásquez. Cuentos de mi tierra y apuntes para el folklore cajamarquino. Lima: INC-Cajamarca Editores, 1987.
Find full textBook chapters on the topic "Folklore, south america"
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Leeming, David, and Jake Page. "African American." In Myths, Legends, And Folktales Of America, 90–95. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195117837.003.0008.
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Abstract African folklore and mythology, like that of Native Americans, is heavily populated by animal figures who are fabulous and some times monster like in that they combine animal agility and power with human wile and trickery. The slaves who were brought to America from Africa naturally carried these animal tales in their memories. Tales of the African spider-trickster Anansi continued to be told in the American South, as were tales of the rabbit trickster who, also influenced by American Indian tales, emerged as the ubiquitous Brer Rabbit, perhaps the prime African American trickster (see the Brer Rabbit story in Part 3).
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Jackson, Joyce M. "African American and West Indian Folklife in South Florida." In The Florida Folklife Reader, 10–22. University Press of Mississippi, 2011. http://dx.doi.org/10.14325/mississippi/9781617031403.003.0002.
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Welsh, Kariamu, Esailama G. A. Diouf, and Yvonne Daniel. "Introduction." In Hot Feet and Social Change, 1–18. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042959.003.0001.
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African dance has become a distinct genre that traces its lineage across a worldwide Diaspora to the dances of Africa. Thereby, African dances are found on six of seven continents: Africa, Asia, Australia, Europe, and North and South America; however, our concern here is the “American African Diaspora,” which ultimately extends from Canada to Chile, the Caribbean to the Hawaiian Islands. In these sites the term “African dance” includes social and popular dances, sacred rituals, folkloric traditions, concert forms, and tourist displays as well....
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Castro, Rafaela G. "J." In Chicano Folklore, 131–34. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195146394.003.0010.
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Abstract A jacal is a hut or shack, but in south and west Texas it refers to a specific type of structure that was home to the Tejano of the eighteenth and nineteenth centuries. Jacales were the first houses built by the Spanish settlers in 1749 and became the houses of the mestizo (mixed-race) population of Texas. Constructed from posts and mud, with the vertical posts embedded in the ground, tied together with rawhide, and covered with a mixture of mud or clay, it is similar to the adobe house of New Mexico, except that the mud was not formed into bricks. The roofs were made of dried weeds, cane thatched with tule, straw, or coarse grass. Some of the straw roofs lasted for thirty or more years. Usually jacales were only one room, measuring twelve by twelve feet, and blankets covered the door and window, but they were well insulated, keeping out heat and cold, and lasting for many years. Construction of jacales started in the eighteenth century and persisted into the early twentieth century; it is identified with the Tejano way of life. When the Anglo Americans moved into Texas they too lived injacales until their “big houses” were built, but their vaqueros (cowboys) continued to live in jacales in clusters surrounding the ranches. To this day many people on the Mexican side of the border still live in jacales. The grandparents and parents of many Chicano baby boomers were born and raised in Tejano jacales, and the expression “nae( en un jacal” (I was born in a hut) has often been heard as the beginning line of a cuento (story).
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Jackson, Joyce Marie. "African American and West Indian Folklife in South Florida." In Black Hibiscus, 176–88. University Press of Mississippi, 2024. http://dx.doi.org/10.2307/jj.10782314.12.
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Soileau, Jeanne Pitre. "Introduction." In Yo' Mama, Mary Mack, and Boudreaux and Thibodeaux. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496810403.003.0001.
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This chapter covers the timeline from 1960 when New Orleans integrated its public schools, to 2011, the age of computers and the Internet. Integration had an immediate impact on children and their folklore – African American and white children began to communicate on the playground, sharing chants, jokes, jump rope rhymes, taunts, teases, and stories. Through the next forty-four years, schoolchildren of South Louisiana were able to conserve much traditional schoolyard lore while adapting to tremendous social and material changes and incorporating into play elements from media, computers, smartphones, and the Internet. As time passed African American vernacular became trendy among teenage whites. Black popular music became the music of choice for many worldwide. This is a story about how children, African American and “other” have learned to fit play into their rapidly changing society.
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Lambert, Matthew M. "Back to the Land." In The Green Depression, 59–98. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830401.003.0003.
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This chapter focuses on ways that southern depression-era authors contributed or responded to a renewed interest in the “old” South during the period. While the Southern Agrarians, William Alexander Percy, and filmmakers like Victor Fleming and William Wyler created nostalgic depictions of antebellum southern life, Richard Wright and Erskine Caldwell responded with “antipastoral” depictions of sharecropping that expose the exploitive social, economic, and environmental effects of plantation agriculture. The chapter also identifies ways that Zora Neale Hurston creates alternative forms of social and environmental thought through her depictions of African American folklore in Mules and Men (1935).
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Gussow, Adam. "Zora Neale Hurston in the Florida Jooks." In Whose Blues?, 151–79. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469660363.003.0008.
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Like W. C. Handy and Langston Hughes, Zora Neale Hurston was a translator: she sought textual analogies—words on a page--for the bittersweet lyricism, dynamism, and bold self-declarations found in blues music made by Black people in the rural South of the early Twentieth Century. She was also, like both men, a migrant to the urban North, a key figure of the Harlem Renaissance. A biographical as well as literary-critical exploration, this chapter focuses on Hurston’s two best-known works: Mules and Men (1935), a folklore study, and Their Eyes Were Watching God (1937), a cornerstone of the African American literary tradition. Both works vividly evoke the rough but vital blues culture of rural Florida, offering us Black spaces of self-making through the eyes of a Black female participant-observer. Both texts also force readers to confront the presence of scarifying, sometimes deadly violence within that juke-joint world. Hurston, this chapter argues, uses the novel to rewrite the folklore study, offering us a questing and indomitable young woman, Janie Crawford, who earns her way into the blues and lives out her destiny with the help of Tea Cake, a passionate, adventurous, and mercurial young bluesman.
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Levine, Lawrence W. "The Meaning of Slave Tales." In Black Culture and Black Consciousness, 81–135. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195305692.003.0002.
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Abstract For the historian interested in slave culture, the use of folk tales parallels that of songs and folk beliefs. Although few black tales were collected until the decades following the Civil War, their distribution was so widespread throughout the South, their content so similar, and their style and function so uniform that it is evident they were not a sudden postemancipation creation. “All over the South the stories of Br’er Rabbit are told,” Octave Thanet reported in 1892. “Everywhere not only ideas and plots are repeated, but the very words often are the same; one gets a new vision of the power of oral tradition.” The variations in patterns of mobility, educational and vocational opportunities, cultural expression, and life styles brought about by emancipation produced inevitable changes in black folklore, and they will be examined in later chapters. Still, throughout the remainder of the nineteenth century-and well into the twentieth- the large body of slave tales remained a vital and central core of Afro American expression.
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Hall, Michael Ra-Shon. "Variations on a Paradoxical Theme." In Freedom Beyond Confinement, 105–38. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781949979701.003.0004.
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The third chapter continues examination of gendered mobility, travel, and imagination through an analysis of Zora Neale Hurston’s early travels and novels, Jonah’s Gourd Vine (1934) and Their Eyes Were Watching God (1937), both influenced by Hurston’s ethnographic travels collecting folklore in the US South (1928–32). The chapter argues that with these novels Hurston employs a strategy of theme and variation, a self-contained iteration of the African American call-and-response tradition, to first illustrate a problem of gendered mobility and then intervene presenting a new vision of mobility in which women corporeally and psychically challenge, even to some extent surmount, gendered barriers. In Jonah’s Gourd Vine, Hurston presents a vision of mobility in which men are more mobile than women and in which she ties the train image to men’s mobility, and by extension masculinity. In Their Eyes, she makes an artistic intervention depicting the journey of a woman protagonist Janie who struggles against paradigmatic restrictions to assert her right to freedom of mobility.