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Artículos de revistas sobre el tema "Fold drama"

Autor: Grafiati

Publicado: 27 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Michaud, Matthew, and Todd Hooper. "Cultivating student understanding of context through drama and scriptwriting." Scenario: A Journal of Performative Teaching, Learning, Research X, no. 2 (2016): 22–36. http://dx.doi.org/10.33178/scenario.10.2.3.

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This paper presents an English as a foreign language (EFL) drama in language acquisition scriptwriting project that took place at a four-year private university located in Japan. The focus of this project was two-fold: firstly, to see if students’ cognition of situational context improved after completing scriptwriting exercises, and secondly to see if role-playing the scripts increased awareness in the identification of setting, roles of speakers, and purpose while increasing language aptitude. Furthermore, this study addresses the insufficient communicative competence abilities of Japanese s

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2

Marković, Ljiljana, and Nina Lazarević. "As They Wrote It - Students' Projects." ELOPE: English Language Overseas Perspectives and Enquiries 7, no. 1 (2010): 89–104. http://dx.doi.org/10.4312/elope.7.1.89-104.

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With the reformed curriculum introduced in Serbia, students have a more active role during their studies. Projects may help make students more ‘visible’ in the learning/teaching process by both providing a broader basis and catering to different interests of students. They also enable teachers to continuously follow and assess the work and achievements of students, thus taking the ‘burden’ off the final exam. Bearing that in mind, we organized a three-fold project for the third-year students at the English Department in Niš. The students could choose among writing for a magazine, acting in a d

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3

Gabbert, Lisa. "Folk Drama." Humanities 7, no. 1 (2018): 2. http://dx.doi.org/10.3390/h7010002.

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4

Li, Xin, and Yumeng Yuan. "When lying is more than deceiving." Pragmatics and Society 11, no. 1 (2020): 124–48. http://dx.doi.org/10.1075/ps.17021.li.

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Abstract Lying is a common but controversial verbal phenomenon in human society. This paper aims to uncover the motivation and mechanism of lying as regards its definition, classification and operation by analyzing both the speaker’s production and the addressee’s interpretation process. The Relevance-Adaptation Model is adopted as its theoretical framework. Lying cases, retrieved from an American TV drama Lie to Me, are analyzed from different perspectives to provide concrete evidence for the theoretical assumptions. The findings are two-fold: Theoretically, this paper formulates a working di

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5

Graham-White, Anthony. "Rethinking Folk Drama (review)." Theatre Journal 53, no. 4 (2001): 667–68. http://dx.doi.org/10.1353/tj.2001.0105.

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6

Csík, Zsófia, and Júlia Eck. "Drama Games in Folk Dance Education." Tánc és Nevelés 3, no. 1 (2022): 125–46. http://dx.doi.org/10.46819/tn.3.1.125-146.

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This paper examines the effects of drama games on successful competency development in teaching and education, specifically within folk dance education. We also present the results of data drawn from two non-representative pieces of research done among educators (n=30) and students (depending on game n=19–39) regarding the effective use of structured drama activities in the folk dance classroom to strengthen group cohesion or trust between students. Finally, as a methodological recommendation, we introduce a collection of drama games and possibilities for their integration into folk dance educ

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7

Qiao, Huhe. "Research on Field Investigation Methods of Folk drama." SHS Web of Conferences 167 (2023): 01016. http://dx.doi.org/10.1051/shsconf/202316701016.

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Field investigation is an important research method for studying folk drama. Taking field survey experience of Errentai as an example, this article summarizes the methods and precautions that need to be used in the field survey of folk drama, hoping to provide a substantive case for the research methods of folk drama.

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8

Karasik, Vladimir I. "Modes of Interpretation of «The Tragedy of Coriolanus» by W. Shakespeare." Proceedings of Southern Federal University. Philology 2020, no. 4 (2020): 12–28. http://dx.doi.org/10.18522/1995-0640-2020-4-12-28.

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The paper deals with the hermeneutic approach to drama interpretation on the material of «The Tragedy of Coriolanus» by W. Shakespeare. The offered model includes a two-fold coordinate system: the analysis of the plot from the point of view of its identification, comprehension and attitude formation, on the one hand, and its semantic, pragmatic and stylistic explanation, on the other hand. The application of this approach to understanding of the tragedy in question makes it possible to define the subject of the play, its genre and the main characteristic features of its heroes. This is a seman

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9

Adjeketa, Blessing. "Eurocentric(ism) and Folk(ism) in Edegborode Festival Performance." African Performance Review 14, no. 1&2 (2025): 68–77. https://doi.org/10.30817/01412.apr0199.

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This article explores the Edegborode Annual Festival Performance of Sapele, Delta State, Nigeria, as one of the dramatic performances in Africa, with the possibility of defining the festival as a contemporary folk drama using Sam Ukala’s Folkism eight (8) Laws of Aesthetic Response. Adopting traditional African performances into modern African folk drama is a challenge. I adopt the qualitative methods of research in collecting and analysing data on the festival. My aim is to examine and measure the number of Eurocentric dramatic elements like plot, character(isation), music, song, performance

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10

Kharel, Megh Prasad. "Performing Arts and BarkaNaach of Dangaura Tharus as Folk Drama." SCHOLARS: Journal of Arts & Humanities 3, no. 1 (2021): 26–33. http://dx.doi.org/10.3126/sjah.v3i1.35356.

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This article examines different elements of folk drama in the BarkaNaach of Dangaura Tharus. It attempts to present the multiple features of the folk drama in the folk community. Based on the basic features of vernacular theatre, the study spotlights the key dramatic elements like ritual rule, context, narrative, stage and setting, characters and semiotic implication, song, dance and language as well as musical instruments and costumes in the presentation of BarkaNaach. The analysis of such drama in the light of elementary facet underlines the multiple sides of folklore as it embodies the cult

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11

Diamond, Elin. "Folk Modernism: Zora Neale Hurston’s Gestural Drama." Modern Drama 58, no. 1 (2015): 112–34. http://dx.doi.org/10.3138/md.0692.112.

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12

Adjeketa, Blessing. "Eurocentric(ism) and Folk(ism) in Edegborode Festival Performance." مجلة بيت المشورة, no. 4 (August 30, 2023): 26–41. http://dx.doi.org/10.33001/18355/imjct0410.

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This essay analyses the Edegborode Annual Festival Performance of Sapele, Delta state, Nigeria, as one among the many dramatic performances in Africa, with economic values, vis-à-vis the possibility of adapting the festival into contemporary folk drama using Sam Ukala’s Folkism eight (8) Laws of Aesthetic Response. There is no doubt about the tourism potential and the economic values present in many Nigerian festival Performances. However, the question of whether traditional African performances can be classified as drama or not still lingers. Adopting traditional African performances into mod

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13

Bekbenbetova, Kazyna, Gaukhar Baltabayeva, Ulbossyn Aimbetova, Kulshat Smagulova, and Rauan Kemerbay. "Social and philosophical research structures of drama and folk narratives: the manifestations of embodied world views." XLinguae 15, no. 1 (2022): 14–22. http://dx.doi.org/10.18355/xl.2022.15.01.02.

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The article analyzes the methodological potential of drama in modern socio-philosophical research. It is shown that the theoretical reconstruction of the drama model allows us to talk about the dramatic approach in the study and explanation of society, and the morphological analysis of the structure reveals its methodological potential for studying crises in society. Our focus is on the socio-philosophical study of drama. The subject allowed us to appreciate philosophy’s complex, contradictory nature and history with its gains and losses. It also overcomes simplistic and excessive ideologizati

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14

Al-Khalili, Raja. "Resisting cultural colonization: the role of folk songs in modern Irish drama." Journal of Language and Literature 5, no. 3 (2014): 33–38. http://dx.doi.org/10.7813/jll.2014/5-3/6.

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15

Diala. "M. J. C. Echeruo and Igbo Folk Drama." Research in African Literatures 51, no. 3 (2020): 85. http://dx.doi.org/10.2979/reseafrilite.51.3.05.

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16

Bass, George Houston. "Folk Traditions as Referents for Black Ritual Drama." Black Scholar 25, no. 2 (1995): 13–23. http://dx.doi.org/10.1080/00064246.1995.11430715.

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17

Riswandi, Budi, Ai Siti Nurjamilah, and Nanda Saputra. "Transfer of Oral Literature: The Folk Story of Galunggung Tasikmalaya into Drama Text as a Culture Conservation Effort." Lakhomi Journal Scientific Journal of Culture 2, no. 2 (2021): 54–64. http://dx.doi.org/10.33258/lakhomi.v2i2.470.

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Oral literary works usually produce works related to culture because they develop by word of mouth in the community. Oral literature is one of the cultural heritages originating from the community. One of the oral literature that develops in the community is folk prose or folklore. Folklore is said to be a cultural heritage because it usually expresses an event or occurrence that comes from a certain region or area and can be a toponymous story of an area. One of the folk prose or folklore that developed in the community is the folklore of Mount Galunggung originating from the City of Tasikmal

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18

Hulak, N. A. "Genre transformation of folk drama in the space of ritual culture." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 67, no. 1 (2022): 80–87. http://dx.doi.org/10.29235/2524-2369-2022-67-1-80-87.

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The article presents rare fact of folk tradition recorded by Belarusian scientists in the Rechitsa region during the Minsk-Gomel ethnographic expedition in 1956. A comparative historical study allows us to put forward a hypothesis about the existence of a unique Christmas rite at the end of the 19th – beginning of the 20th centuries on the territory of the Belarusian and Ukrainian Polesie. The ceremony is based on a modification of the folk drama “Tsar Maximilians”. There is a reflex of this phenomenon in the ritual known today “Tsars” in the village of Semezhevo, Kopylsky district. The reduce

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19

Shen, Bingyan, and Kyunghoi Kim. "Cultural Characteristics and Social Values of Mongolian Folk Dance: Focusing on the Dance Drama “The Cavalry”." Korean Society of Culture and Convergence 45, no. 11 (2023): 465–73. http://dx.doi.org/10.33645/cnc.2023.11.45.11.465.

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This study focused on the Mongolian national dance drama 'Cavalry' to trace the roots of Mongolian national culture and to examine its historical background. It analyzed the ethnic elements of the dance drama 'Cavalry' and reviewed the diversity of Mongolian culture as depicted in the drama. Finally, the study examined the value of Mongolian national dance culture as depicted in 'Cavalry' and its impact on society. The results revealed that Mongolian national dance goes beyond just being a form of dance, playing a significant role in the derived cultural values, contributing to the transmissio

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20

Happé, Peter. "Fansy and Foly: The Drama of Fools in Magnyfycence." Comparative Drama 27, no. 4 (1993): 426–52. http://dx.doi.org/10.1353/cdr.1993.0034.

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21

Mukuna, Kazadi Wa. "Sotaques: Style and Ethnicity in a Brazilian Folk Drama." Revista Música 3, no. 2 (1992): 118. http://dx.doi.org/10.11606/rm.v3i2.55044.

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Since its first presentation in the Eighteenth Century (ca. 1780) during the so-called "Civilização de Couro" period when the cattle raising was at its peak in Brazil, Bumba-meu-Boi continues to evolve, in spite of persecution by those in authority, by adapting to changes in social fabrics. This paper argues that Bumba-meu-Boi was created by the African slave in colonial Brazil. This assertion is sustained by several facts, primarily, the function for which the drama was created, to serve as a vehicle of social control used to denounce and to ridicule slave owners during colonial Brazil. Other

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22

Kim, Young-hag. "Characteristics and Significance of Folk Faith in May Drama." Hanminjok Emunhak 99 (March 31, 2023): 97–125. http://dx.doi.org/10.31821/hem.99.3.

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23

Tomoko Ueno, Michiko Kan, and Yukari Yamazaki. "A MUSICAL DRAMA BASED ON FOLK TALES BY JUNIOR HIGH SCHOOL SPECIAL NEEDS STUDENTS." Journal of Science Educational Science 66, no. 4AB (2021): 27–32. http://dx.doi.org/10.18173/2354-1075.2021-0057.

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This paper discusses a musical drama based on Japanese folk tales presented by a junior high school special needs class and how these activities related to a community music therapy that promotes cultural growth in the local community. The results clarified two points. First, a musical drama that utilized the musical resources and local resources of special needs class students created relationships between regular class students, teachers, and local people, and empowered special needs class students. Second, the knowledge gained from community music therapy is also useful for inclusive educat

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24

Zoheeba B. Alsouihi and Dawla S. Alamri. "The Outsider-Within Representations in Zora Neale Hurston’s and Georgia Douglas Johnson’s Folk Drama." International Journal of Linguistics, Literature and Translation 7, no. 8 (2024): 107–16. http://dx.doi.org/10.32996/ijllt.2024.7.8.14.

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The study aims to explore the shared experiences of Georgia Douglas Johnson and Zora Neale Hurston, incorporating the elements of African-American folklore in American theatre to negotiate the circumstances of black women. In addition, it scrutinizes how Johnson and Hurston utilize folk drama to navigate the political and artistic conflicts in the early 20th century, delving into the intricate interplay of ethnicity, gender, politics, and aesthetics. The study examines two folk plays from the Harlem Renaissance era: Johnson’s Plumes (1927) and Hurston’s Color Struck (1926). Both plays illustra

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25

Dr. Prakash. N. Naragund, Prof. S. S. Hugar, Prof. Smt. Kaveri. D. Birada, Dr. A. M. Satyanaik, and Prof. Krishnappa. Melavanki. "Folk Dances in Kannada Literature." International Research Journal on Advanced Engineering and Management (IRJAEM) 2, no. 09 (2024): 2826–28. http://dx.doi.org/10.47392/irjaem.2024.0413.

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As far as folk literature is analyzed, the true voices of the culture of the land are duplicitous. Garathi song, folk dances, folk songs, story song, proverb, puzzle, odapu, drama, Bayalata, Yakshagana followed many literary ways and introduced human values like diligence, love, love in life. Rituals like Kumbha Puja, Ganga Puja, Vriksharadane, Dung Puja, Bhumi Puja etc. came to light. Folk art, folk games, folk dances have made humans happy. In folk dances, humans use animals and birds for their own use and entertain the people and get money and grains from them and create awareness among the

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26

Sizova, Irina Igorevna. "Reception of Folk Drama in L. N. Tolstoy’s Creative Work." Filologičeskie nauki. Voprosy teorii i praktiki, no. 5 (May 2020): 57–64. http://dx.doi.org/10.30853/filnauki.2020.5.11.

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27

Pavlova, Svetlana A. "The Promised Novelty of Mussorgsky's Folk Dramas." Scientific and analytical journal Burganov House. The space of culture 20, no. 4 (2024): 10–19. http://dx.doi.org/10.36340/2071-6818-2024-20-4-10-27.

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Boris Godunov and Khovanshchina are folk dramas, for the composition of which the composer prepared as for the main creative achievements, exploring the artistic style and honing his skills on previous and simultaneously created works. The goal was "new shores &lt;…&gt; of boundless art". M. Mussorgsky's decisive call "to new shores!" is unforgettable in the memory of descendants. However, not everyone knows the full statement of the composer, who strived to "seek these shores, seek tirelessly, without fear and embarrassment", to seek in order to "stand firmly on the promised land" [5]

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28

Preston, Dennis R. "Historical Folk Sociolinguistics." Roczniki Humanistyczne 71, no. 6sp (2023): 185–201. http://dx.doi.org/10.18290/rh237106.9s.

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This paper shows how the canonical definition of historical sociolinguistics as the study of language use fails to consider independent evidence for language attitudes, beliefs, and ideologies (i.e., language regard).[1] One approach to avoiding this limited understanding of use might lie in a historical folk sociolinguistics, in which particular attention is paid to the nonasserted (i.e., indirect, presuppositional, implicational, perlocutionary) meanings, described in Preston (2004) as “metalanguage 3.” Interactions in drama are first justified as “good data,” and analyses of such nonasserte

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29

Pettitt, Tom. "When the Golden Bough Breaks: Folk Drama and the Theatre Historian." Nordic Journal of English Studies 4, no. 2 (2005): 1. http://dx.doi.org/10.35360/njes.35.

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30

Astashenkova, Mariya F. "RUSTICAL DRAMA AND L.N. TOLSTOY’S FOLK STORIES OF THE EARLY 1860S." Lomonosov Journal of Philology 47, no. 5, 2024 (2024): 192–201. https://doi.org/10.55959/msu0130-0075-9-2024-47-05-15.

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A.N. Ostrovsky’s Storm and A.F. Pisemsky’s Bitter Fate , despite similarity of the plot and problems, received a different assessment by L.N. Tolstoy: The Storm , in his opinion, was a “pitiful” work, but, on the contrary, he liked Bitter Fate . As it is shown in the article, this was due to the writer’s specific ideas about the role of moral values in the life of peasants and the nature of their thinking. In the 1860s, Tolstoy himself, preoccupied with the peasant question, worked on a number of stories about the common people’s life. The classic conflict based on the depiction of adultery re

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31

Некрылова, Анна Федоровна. "Nina Ivanovna Savushkina, scholar of folk theater." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (November 11, 2019): 61–70. http://dx.doi.org/10.26158/tk.2019.20.3.005.

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Статья посвящена научному творчеству Нины Ивановны Савушкиной, доктора филологических наук, профессора Московского государственного университета им. Н. В. Ломоносова, которой в этом году исполнилось бы 90 лет. Ее научные интересы в фольклористике были многообразны, но в данной статье внимание автора сосредоточено на вкладе исследовательницы в изучение народной зрелищно-игровой культуры. Н. И. Савушкина вела большую собирательскую работу. Ею был записан большой массив текстов народной драмы и свидетельств о ее бытовании в различных регионах России, в том числе и тех, где эта традиция ранее не ф

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Babu, Shyam. "Habib Tanvir’s Experiment with Folk Idioms: An Approach toward an Inclusive Theatre." International Journal of Literature Studies 3, no. 3 (2023): 01–08. http://dx.doi.org/10.32996/ijts.2023.3.3.1.

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Modern Indian theatre has a long and sustained tradition. It got invigorated and exposed to the western conventions of drama and performance in the post-independence scenario. It is therefore, a conglomerate of three strands: Sanskrit, folk and western dramaturgy. All these strands collide, intersect and sometimes blend with each other with a fine balance. Folk theatres and traditions of regional bhasha drama thus are key constituents of Modern theatre, which is rooted in the local cultures of common people’s belief systems and language. Folk theatre in India and modernity thus are integrated

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Yakhontova, Ya B. "Elements of Folk Drama in the Greek Calendar Rites of the Carnival." Philologos 51, no. 4 (2021): 86–92. http://dx.doi.org/10.24888/2079-2638-2021-51-4-86-92.

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Panda, Asit. "Navigating the evolution of African Drama: Yoruba folk theatre and Wole Soyinka." International Journal of Humanities and Arts 6, no. 1 (2024): 106–10. http://dx.doi.org/10.33545/26647699.2024.v6.i1b.79.

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35

Zhang Guodong and Thomas A. Green. "“I Am the Greatest Boxer”: Articulating Group Identity through Chinese Folk Drama." Journal of American Folklore 131, no. 521 (2018): 250. http://dx.doi.org/10.5406/jamerfolk.131.521.0250.

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Ning, Li. "The Musical Component in the Modern Chinese Folk Opera on the Example of “The Yimenshan Mountains” Opera." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (2020): 47–55. http://dx.doi.org/10.36340/2071-6818-2020-16-2-47-55.

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The modern Chinese folk opera “The Yimenshan Mountains” is the genre of historical revolutionary drama. The Yimenshan revolutionary bridgehead is the setting (1). Dramatic events unfold against the background of the War of Resistance against the Japanese invaders, the breakthrough of Daqingshan, a defensive battle on the cliff of Yuanzi. The story of the unity of the opera characters, Hai Tan, Lin Shen, Xia He, Commander Zhao, in the face of a national threat is at the center of the plot. The spirit of self-sacrifice, the spirit of unity of the army and the people of Yimenshan is revealed in t

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Guister, Marina. "Сказочные сюжеты и сюжеты ирландских саг в драматической поэме Н. Гумилева «Гондла» (Folk-Motifs and Plots of the Irish Sagas in Goumiliev’s “Gondla”)". Studia Celto-Slavica 2 (2009): 193–207. http://dx.doi.org/10.54586/schn9351.

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The nineteenth–twentieth centuries’ frontier, and onto the nineteen-thirties, is the period when the literature and the folklore of the Celtic and Scandinavian counties were brought into Russia. In this way Nikolaj Goumilev, the author of the drama “Gondla”, translates “Countess Kathleen” by W. B. Yeats and writes his own drama “Morny’s beauty” influenced by some recurring themes of the Irish sagas. The drama-poem “Gondla” is also based on the Irish comparanda, namely on the history and the sagas of the echtrae-cycle of tales. The story takes place in Iceland in the eleventh century; Gondla, t

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Kim, Yong-gweon, and Sang-gyo Sim. "The Study on the Magical Characteristics of Folk Dramas." Journal of Korean Culture 57 (May 31, 2022): 219–48. http://dx.doi.org/10.35821/jkc.2022.05.57.219.

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Tolstolutskaya, T. G. "Author's position in the folk dramas of L.N. Tolstoy." Vestnik of North-Eastern Federal University History Political Science Law 21, no. 2 (2024): 192–200. http://dx.doi.org/10.25587/2222-5404-2024-21-2-192-200.

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The subject of the study is the author's position in the folk plays of L.N. Tolstoy “The First Distiller, or How the Little Devil Earned a Crumb”, “From Her All the Qualities”, “Peter Khlebnik”, “Dramatic Arrangement of the Legend of Haggai”. The objectives of the study include identifying ways of expressing the author’s position in the writer’s dramatic texts, which is possible through the use of structural, mythopoetic methods, as well as the use of motive analysis techniques. The purpose of this article is to explore the features of expressing the author’s position in the “folk” dramas of L

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40

Hamera, Judith. "Disruption, Continuity, and the Social Lives of Things: Navajo Folk Art and/as Performance." TDR/The Drama Review 50, no. 4 (2006): 146–60. http://dx.doi.org/10.1162/dram.2006.50.4.146.

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Contemporary Navajo artworks bind together communicative competence, history, and affect within the commodity situation. Exploring the dynamic character of the object and its social trajectories, the author demonstrates how Navajo art objects are not static entities, but invested and infused with infinite performative powers. The object “speaks”; it animates relations of exchange even as it is, itself, animated.

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Oliinyk, Viktoriia, and Oleksandr Malets. "THE FOLK CHRISTMAS DRAMA IIN THE PHILOSOPHICAL BEING OF UKRANIAN PEOPLE OF TRANSCARPATHIA." International scientific journal «Education and Science» 2(27), no. 2 (2019): 65–69. http://dx.doi.org/10.31339/2617-0833-2019-2(27)-2-65-69.

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42

Park, Myeaong Suk. "A Study on Folk Storytelling in TV Drama : Fouse on [When Camellia Blooms]." Jounal of Cultural Exchange 11, no. 6 (2022): 375–91. http://dx.doi.org/10.30974/kaice.2022.11.6.16.

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Roja, Mario A. "“Tresdedos”, el legendario bandido de la banda de Joaquín Murieta: su metamorfosis en textos dramáticos hasta Pablo Neruda." Anales de Literatura Chilena, no. 32 (2019): 59–76. http://dx.doi.org/10.7764/analeslitchi.32.03.

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Este artículo examina la evolución de Tresdedos, el lugarteniente de Joaquín Murieta, quien en la saga literaria de la leyenda es caracterizado como un sangriento y fiero bandido, pero que, como Joaquín, con el tiempo sufre una metamorfosis de acuerdo con variables contextuales y la subjetividad enunciativa de sus emisores. Para este efecto, hemos seleccionado dramas publicados hasta la aparición de Fulgor y muerte de Joaquín Murieta de Pablo Neruda donde encontraremos a un Tresdedos depurado de sus rasgos negativos y asumiendo un importante rol agencial en el desarrollo del conflicto dramátic

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이영 and CHANSOON AN. "Discuss Confucianism and Buddhist Taoism Thoughts in Folk Ceremonial Dramas." Journal of Chinese Language and Literature ll, no. 82 (2019): 5–34. http://dx.doi.org/10.15792/clsyn..82.201912.5.

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Okeke, Ikedimma Nwabufo, and Patrick Nwike Ojiakor. "IGBO COSMOLOGY OF DEATH AS EXPRESSED IN SOME SELECTED IGBO FOLK SONGS." Hofa: African Journal of Multidisciplinary Research 4, no. 1 (2019): 116–24. https://doi.org/10.5281/zenodo.3334891.

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ABSTRACT The traditional Igbo society though deficient in written tradition employed different oral means such as: folksongs, folktales, proverbs, histories, legends, myths, drama etc in explaining the realities among them. Death is one of those realities that have continued to receive widespread explanation in Igbo culture. The mention of death in Igbo culture fascinates and frightens the broad range of humanity. This work therefore explored and studied the Igbo metaphysical sense of death as expressed through some selected folk songs. The work strived toward a musical cum anthropological ana

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Singh, Neetu. "The song of the ‘yaksha’ (spirits): Costume and character representation in Yakshagana folk performance from Karnataka, India." Studies in Costume & Performance 10, no. 1 (2025): 55–72. https://doi.org/10.1386/scp_00129_1.

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Yakshagana is a traditional theatre form of Karnataka, a southern state of India. With a history of over 500 years, it incorporates creative elements of elaborate gestures, facial expressions, body movement, costume, make-up, music, dance and dialogue. Performed in open-air theatres, this form of traditional dance drama reflects the socio-economic and cultural milieu they are a part of, reinterpreting the Hindu epics through the art of storytelling adapted through improvisation, which is why each performance uniquely shapes the characters. Enacting epic stories from Ramayana, Mahabharata and B

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Fine, Gary Alan. "Playing Dead: Mock Trauma and Folk Drama in Staged High School Drunk Driving Tragedies." Folklore 125, no. 2 (2014): 262–63. http://dx.doi.org/10.1080/0015587x.2014.922788.

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Guenard, Rebecca. "The recent drama over dairy." INFORM International News on Fats, Oils, and Related Materials 32, no. 5 (2021): 30–31. http://dx.doi.org/10.21748/inform.05.2021.30.

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How cow nutrition affects milk composition is a well understood phenomenon. Farming and feeding practices differ around the world based on factors like land availability and climate. Due to these different feeding methods, dairy scientists have observed that the composition of milk—particularly the fatty acid (FA) composition of milk fat—varies depending on a cow’s intake.

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YANG,JI SUN. "Korean Language Education through Folk Dramas: Focusing on “Talchum”(Mask Dance)." Korean Studies Quarterly 33, no. 4 (2010): 155–73. http://dx.doi.org/10.25024/ksq.33.4.201012.155.

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Jahangir, Amar. "Historical Analysis of Afghan Folk Culture in Kashmir During 1752-1819." Academy of Education and Social Sciences Review 3, no. 4 (2023): 464–71. http://dx.doi.org/10.48112/aessr.v3i4.377.

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Kashmir, the kingdom of fairies and Paradise on World, has a history of being ruled by several dynasties. Hindu, Buddhist, and Muslim empires have all held power over it. Every dynasty has unique folk customs that reflect the character of that dynasty. A community's residents' way of life is referred to as its culture. Afghan and Kashmiri folklore is based on traditional drama, music, and other activities. The current study makes an effort to investigate the traditional view of Afghan authority in Kashmir from 1752 to 1819. Kashmir history demonstrates that several folk beliefs entered Kashmir

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