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Articles de revues sur le sujet « Folk art, middle east »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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1

Nabok, Maryna. "Ukrainian National Dumas: National Perceptions in the Process of Intercultural Communication." PSYCHOLINGUISTICS 24, no. 2 (2018): 198–217. http://dx.doi.org/10.31470/2309-1797-2018-24-2-198-217.

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The article presents the results of empirical research on ethnopsychological groups of people living in different regions of Ukraine in the context of intercultural ideological systems. In particular, residents of Ukraine and foreign students from Africa and Middle East, which study at Sumy State University, were invited to share their impressions from the listened dumas, performed by Canadian bandurist Victor Mishalow during his concert tour in Ukraine. They also watched and listened to video recordings of such folk dumas as «Cossack Golota», «Marusya Boguslavka» performed by kobzar Mykola Bu

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Rumyantsev, V. P. "The Six-Day War of 1967: Folk Myths and “Battles of Historians”." Izvestiya of Altai State University, no. 6(116) (December 18, 2020): 57–61. http://dx.doi.org/10.14258/izvasu(2020)6-09.

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The article analyzes the role and influence of folk and historical myths on the process of forming the historical memory towards the Arab-Israeli war of 1967, which was one of the most significant events in international life in the Middle East. The disputes of historians about the causes, nature and consequences of this war create their own field of discussion. When the wars waged by the armies cease, other wars waged by historians begin. These wars are directly related to the creation of national identity and the formation of historical memory. The disputes of historians about the Six-Day Wa

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Zh.D., Ramadanova. "Art as a reflection of the genetic cultural code (on the example of Kazakh folk dance)." Bulletin of the Karaganda university History.Philosophy series 107, no. 3 (2022): 169–81. http://dx.doi.org/10.31489/2022hph3/169-181.

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This article presents the results of the study of the genetic cultural code, reflecting the spiritual values of the people on the example of the traditional dance-plastic art of the Ka- zakhs. As a research method, the author uses a semiotic analysis of movements and pos- tures of traditional Kazakh dance, which is part of the Turkic culture. The article provides definitions and functions of such terms as «art», «figurative language in art», «arche- type», «semantics», «semiotics». It also gives an analysis of the art of dance as a semiotic system, based on the fact that the language of dance,

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Abdullayeva, Sevda, and Samira Gasimova. "XVII century Azerbaijani culture through the eyes of european travelers." Grani 24, no. 2 (2021): 41–45. http://dx.doi.org/10.15421/172113.

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At the beginning of the 16th century, due to the establishment of the Safavid Empire of Azerbaijan, the culture of the people also developed significantly, especially due to the strengthening of the centralized political structure. “Language commonality, which is one of the factors of the national stage of public unity” was a reality that closely united the people of Azerbaijan in the 17th century.In the 17th century, Azerbaijan was remaining one of the most important cultural centers of the Near and Middle East. The ongoing Safavid-Ottoman wars at that time dealt a crushing blow to the cultur

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Magomedov, Amirbek J., and Madina A. Omarkadieva. "TRADITIONAL CRAFTS OF DAGESTAN IN THE CONTEXT OF HISTORICAL AND CULTURAL RELATIONS WITH THE REGIONS OF RUSSIA, COUNTRIES OF THE CAUCASUS AND THE MIDDLE EAST." History, Archeology and Ethnography of the Caucasus 18, no. 2 (2022): 284–305. http://dx.doi.org/10.32653/ch182284-305.

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The present study examines the formation and mass development of artistic crafts in Dagestan for the past millennium. The evolution of traditional arts and crafts of Dagestan can be seen through the history of their formation, contacts of the inhabitants with foreign cultures. The leading approach in the study of the problem that combines historical-cultural, historical-comparative and artistic-descriptive methods, which allow for a comprehensive consideration of the cultural influences of neighboring (Transcaucasia, Russia) and the Middle Eastern countries on the development of arts and craft

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Norris, H. T. "The Near and Middle East - Ann Parker and Avon Neal: Hajj paintings: folk art of the great pilgrimage. xxvii, 164 pp. Washington and London: Smithsonian Institution Press, 1995. £38.95." Bulletin of the School of Oriental and African Studies 60, no. 3 (1997): 553–54. http://dx.doi.org/10.1017/s0041977x00032699.

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Koudal, Jens Henrik. "Musikkens betydning på en større gård i mellemkrigstiden." Kulturstudier 4, no. 1 (2013): 6. http://dx.doi.org/10.7146/ks.v4i1.8138.

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The meaning of music at a large farm during the inter-war periodThis article investigates music as culture from a historical, ethno-musicological perspective. Jens Henrik Koudal bases his work on the preserved music collection and large private archives of Christian Olsen (1881–1968), who was born and spent most of his life on the farm Torpelund in Zealand, Denmark. From Olsen’s collection, it is possible to make a historical reconstruction of the rich musical life that took place on the farm, and the purpose of the article is to examine what the musical activities meant to the Olsen family’s

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Jawad, Rana, Daniel Béland, and Emmanuele Pavolini. "State of the Art: ‘The People’ and Their Social Rights: What Is Distinctive About the Populism-Religion-Social Policy Nexus?" Social Policy and Society 20, no. 2 (2021): 267–81. http://dx.doi.org/10.1017/s1474746420000664.

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The aims of this review article are two-fold: (1) to set out the key theoretical trends in the study of religion, populism and social policy as antithetical concepts that also share common concerns; (2) to re-assert the relevance of social policy to the social and political sciences by making the case for studying outlier or indeed rival topics together – in this case populism and religion. Social policy scholars do not necessarily associate these two topics with modern social policy, yet they have a long history of influence on societies all over the world; populism is also especially timely

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Akritidis, Dimitris, Andrea Pozzer, and Prodromos Zanis. "On the impact of future climate change on tropopause folds and tropospheric ozone." Atmospheric Chemistry and Physics 19, no. 22 (2019): 14387–401. http://dx.doi.org/10.5194/acp-19-14387-2019.

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Abstract. Using a transient simulation for the period 1960–2100 with the state-of-the-art ECHAM5/MESSy Atmospheric Chemistry (EMAC) global model and a tropopause fold identification algorithm, we explore the future projected changes in tropopause folds, stratosphere-to-troposphere transport (STT) of ozone, and tropospheric ozone under the RCP6.0 scenario. Statistically significant changes in tropopause fold frequencies from 1970–1999 to 2070–2099 are identified in both hemispheres, regionally exceeding 3 %, and are associated with the projected changes in the position and intensity of the subt

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Zavidovskaia, Ekaterina Alexandrovna, and Polina V. Rud. "Popular Religion in Early Republican China Based on Vasilii Alekseev’s Materials from to the Peter the Great Museum of Anthropology and Ethnography RAS (fund No. 2054)." Written Monuments of the Orient 6, no. 2 (2021): 3–21. http://dx.doi.org/10.17816/wmo56798.

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One of the founding fathers of Russian sinology Vasiliy Mikhailovich Alekseev (18811951) had acquired an impressive collection during his ethnographic expedition to the southern regions of China (May 4 August 19, 1912), which was organized by the Russian Committee for Middle and East Asia Exploration and initiated by the Committee`s head, founder academician Vasilii Vasilievich Radlov (18371918). Alekseevs expedition stated from Vladivostok and passed through Harbin, Shanghai, Ningbo, Putuoshan, Fuzhou, Xiamen, Shantou, Guangzhou and ended up in Hong Kong. Alekseev has collected about 1083 art

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Koudal, Jens Henrik. "Musikkens betydning på en større gård i mellemkrigstiden." Kulturstudier 4, no. 1 (2013): 6. http://dx.doi.org/10.7146/ks.v4i1.8136.

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The meaning of music at a large farm during the inter-war period This article investigates music as culture from a historical, ethno-musicological perspective. Jens Henrik Koudal bases his work on the preserved music collection and large private archives of Christian Olsen (1881–1968), who was born and spent most of his life on the farm Torpelund in Zealand, Denmark. From Olsen’s collection, it is possible to make a historical reconstruction of the rich musical life that took place on the farm, and the purpose of the article is to examine what the musical activities meant to the Olsen family’s

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Rodov, Ilia. "What is “Folk” about Synagogue Art?" Images 9, no. 1 (2016): 49–63. http://dx.doi.org/10.1163/18718000-12340052.

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This publication is a tribute to the memory of the outstanding folklorist and ethnographer Dov Noy, who passed away in 2013. In the scholarly discourse that classifies folklore by modes and media of transmission, synagogue art—as distinct from folk narrative and behavioral lore—is commonly categorized as “visual folklore.” This paper examines the approach of classifying murals and sculptural decoration in east and central European synagogues from the late seventeenth century until the Holocaust as “folk creations.” It suggests a revision of pre-established definitions in the field, in general,

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Moody, Ivan. "East and West, folk and art, new and old." Early Music 42, no. 3 (2014): 499–501. http://dx.doi.org/10.1093/em/cau054.

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He, Wei, Yan Yue Luo, Su Shan Zhang, and Xian Jun Hu. "The Value of Research, Inheritance and Development of East Hunan Folk House." Advanced Materials Research 639-640 (January 2013): 752–56. http://dx.doi.org/10.4028/www.scientific.net/amr.639-640.752.

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The folk house of Zhuzhou, Liling, Youxian and Liuyang situated on the east Hunan is taken shape by two varieties of historical culture in Hunan and JiangXi province. The folk house has great value of research in history, culture, environment, architectural space and art. This paper aims to discuss about the research value of the folk house, and the methods of inheritance and development.

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TANNER, STEPHANIE COTELA. "Contemporary Art in the Middle East." Art Book 16, no. 4 (2009): 15–16. http://dx.doi.org/10.1111/j.1467-8357.2009.01057.x.

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Zibdawi, Nashaat. "The Genesis of Lebanon Theater Art in the Context of the Cultural Landscape in the Arab East." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 2, no. 2 (2019): 139–52. https://doi.org/10.31866/2616-759x.2.2.2019.186650.

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The purpose of the study is to reveal the processes of the origin and formation of the Lebanese theater movement in the cultural and historical context of the Arab East. Research methods. The following methods were used in the work: historical and cultural are to study historical processes and cultural phenomena that had a decisive influence on the origin and development of the Lebanese theater movement of the 19th century; analytical is to analyze a wide range of the cultural landscape of the Arab world, which shaped the theatrical culture of the Arab East as a whole and Lebanese th

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Sherbayevna, Shukurova Lobar. "Bukhara Applied Art In Middle Of XVIII - Early XX Century, During The Mangit Dynasty." American Journal of Applied sciences 02, no. 12 (2020): 156–59. http://dx.doi.org/10.37547/tajas/volume02issue12-24.

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In the article stressed about some features of Bukhara's applied art in the middle of the 18th - early 20th centuries. Art historians and historians have cited the scientific views of some scholars on the development of folk applied art in these periods.

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Razzakova, Guzal. "PLACE OF A WOMEN-EXECUTOR - HALFA BOOK IN KHOREZM OASIS." JOURNAL OF LOOK TO THE PAST 4, no. 3 (2020): 89–95. http://dx.doi.org/10.26739/2181-9599-2020-4-10.

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The article says that, in the Khorezm region of Uzbekistan, the performer of folk songs and folk epic tales, as well as excerpts from dastans and their songs, are called half. Khalfachilik - the art of half was formed and developed in Khorezm in the Middle Ages.In the nineteenth and twentieth centuries, this art acquires its status and form of performance, which was functioned by women in the female half of the Ichkari.

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Jason, Heda. "Indexing of Folk and Oral Literature in the Islamdominated Cultural Area." Bulletin of the School of Oriental and African Studies 59, no. 1 (1996): 102–16. http://dx.doi.org/10.1017/s0041977x00028573.

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Galland's translation of the Arabian Nights in the eighteenth century brought to the wider European readership an awareness of the wealth of written folk literature of medieval provenance in the Near and Middle East. During the Romantic movement, popular translations or rewritings from Arabic, Turkish and Persian medieval folk literatures proliferated (see Appendix 1 below, Chauvin, no. 6; Marzolph, no. 10).

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Turanov, Bakhit Gurbanbaevich, and Salamat Kudaybergenovich Allambergenov. "IMAGE OF BIRDS IN KHOREZM ART CRAFTS (BASED ON ARCHAEOLOGICAL MATERIALS)." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 07 (2021): 21–25. http://dx.doi.org/10.37547/history-crjh-02-07-05.

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The article is devoted to the research of archeological findings of art of khorezm people in ancient and middle-aged period of time the image of birds in the examples of art items. That time in the mythological ideas of khorezm folk art the image of birds was mighty and superficial symbol.

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Safonova, Nataliya V. "Specific Features of Middle Eastern Street-Art." Oriental Courier, no. 3-4 (2021): 275. http://dx.doi.org/10.18254/s268684310018032-3.

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The article focuses on the distinctive features of street-art, presented by artists from the Middle East. The origin and development of this artform in the Middle East differs from the Western one. In European countries and the United States (within the framework of Western culture) street-art was originally a way of personal self-expression, of saying «I was here», the possibility of individual opposition to the system and even its conceptual destruction. On the contrary, in the East, graffiti is characterized by a collective or communal character. It became a type of a mirror reflecting the

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Sunderason, Sanjukta. "Lokaja Bodh: Sense/s of the Social, with Quamrul Hassan and Burhanuddin Khan Jahangir." Journal of Bangladesh Studies 26, no. 2 (2024): 37–45. https://doi.org/10.1163/27715086-02602007.

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This article explores the question of artistic taste via the art practice of Quamrul Hassan – one of first generation of artists who moved to Dhaka after independence and partition of the Indian subcontinent in 1947, becoming a formative figure in the making of art institutions and artistic publics in East Pakistan (Bangladesh after 1971). Foregrounding writing on Hassan by the art critic and patron of sociological art criticism in East Pakistan/Bangladesh, Burhanuddin Khan Jahangir, the article develops the concept of artistic taste via a set of overlapping vocabularies of the social, includi

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Kurakina, Irina I. "Initial Stages and Origins of the Theory of Folk Art." Observatory of Culture 18, no. 5 (2021): 538–48. http://dx.doi.org/10.25281/2072-3156-2021-18-5-538-548.

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The article is devoted to understanding the origins of the formation and development of the theory of folk art. The relevance of the topic is determined by the existing contradiction: on the one hand, the positioning of folk art and traditional folk art crafts as an important part of the national artistic culture, an independent field of art criticism, which can be seen in legal documents, popular science literature and scientific works of the 20th century, and, on the other hand, the limited range of modern research in this area, insufficient development of the theoretical aspect of this issu

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NOYES PLATT, SUSAN. "Contemporary Art in the Middle East: New Perspectives." Art Book 14, no. 2 (2007): 9–10. http://dx.doi.org/10.1111/j.1467-8357.2007.00790.x.

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Tripp, Charles. "THE ART OF RESISTANCE IN THE MIDDLE EAST." Asian Affairs 43, no. 3 (2012): 393–409. http://dx.doi.org/10.1080/03068374.2012.720061.

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El Enshasy, Hesham, Elsayed A. Elsayed, Ramlan Aziz, and Mohamad A. Wadaan. "Mushrooms and Truffles: Historical Biofactories for Complementary Medicine in Africa and in the Middle East." Evidence-Based Complementary and Alternative Medicine 2013 (2013): 1–10. http://dx.doi.org/10.1155/2013/620451.

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The ethnopharmaceutical approach is important for the discovery and development of natural product research and requires a deep understanding not only of biometabolites discovery and profiling but also of cultural and social science. For millennia, epigeous macrofungi (mushrooms) and hypogeous macrofungi (truffles) were considered as precious food in many cultures based on their high nutritional value and characterized pleasant aroma. In African and Middle Eastern cultures, macrofungi have long history as high nutritional food and were widely applied in folk medicine. The purpose of this revie

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Bedirkhanov, Seyfeddin Anver ogly. "THE SONG GENRE OF VERBAL ART OF LEZGHIN PEOPLE OF THE MIDDLE AGES: GENDER PEСULIARITIES". Herald of the G. Tsadasa Institute of Language, Literature and Art, № 25 (30 квітня 2021): 39–43. http://dx.doi.org/10.31029/vestiyali25/7.

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The article deals with the Lezghin female poetry of the Middle Ages. Based on the analysis of the works, the natural, irrational, emotional, sensual principles in the song traditions of oral folk art are determined.

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Hayashi, Isao. "Folk Performing Art in the Aftermath of the Great East Japan Earthquake." Asian Anthropology 11, no. 1 (2012): 75–87. http://dx.doi.org/10.1080/1683478x.2012.10600857.

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DeTurk, Sabrina. "The “Banksy Effect” and Street Art in the Middle East." Street Art & Urban Creativity 1, no. 2 (2015): 22–30. https://doi.org/10.25765/sauc.v1i2.25.

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The English street artist known as Banksy has in recent years become an important figure in the contemporary art world, garnering both critical acclaim and commercial success with his work. The “Banksy effect” is a term coined to describe the increased interest in street art that has emerged in the wake of Banksy’s popularity. Although the Banksy effect is not universally applauded, it offers a useful lens through which to consider the emergence of street art as a means of popular expression in the Middle East and North Africa (MENA) region. This paper considers three places in which street ar

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Liu, Xin, and Young Chun Ko. "Analysis of the Influence of Geographical Environment on Chinese Ethnic Folk Dance, Taking the Development of Dance Curriculum in Huaihua No. 1 Middle School as an Example." Journal of Environmental and Public Health 2022 (August 29, 2022): 1–8. http://dx.doi.org/10.1155/2022/9692803.

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Among the treasures of Chinese art, ethnic dance is an important part. As a key form of expression of national art and emotion, dance has strong regional and gender characteristics for those affected by different ethnic groups and regions. The unique characteristics of the region are the driving force for the masses of all ethnic groups in China to continuously promote the prosperity and development of ethnic and folk dances living alone in different living conditions and living environments. In the analysis of ethnic and folk dances, environmental elements have a profound impact on the rapid

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Manjit Kumar Shah. "Mukha Shilpa (Mask Making) is the Artefact form of Assam." International Journal for Multidimensional Research Perspectives 2, no. 6 (2024): 58–64. http://dx.doi.org/10.61877/ijmrp.v2i6.157.

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The north-eastern state of Assam is very rich in terms of diverse arts. Revolutionary great men in Assamese literature, culture, society and spiritual life The contribution of Shrimant Shankardev is unforgettable. His great works made this Strengthened the feeling of social and cultural unity in the area. He wrote Ramayana and translated Shrimad Bhagwat into Brajavali language.Vaishnavism in the North-East for propagation, Shankardev started Bargeet, Kirtan, Ankiya Naat (Bhaona) etc. Composed. There are two main forms of dance here – Bihu dance and Satriya dance. bihu dance The identity of Ass

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Baker, Phil. "PALACE AND MOSQUE: ISLAMIC ART FROM THE MIDDLE EAST." Art Book 12, no. 2 (2005): 62. http://dx.doi.org/10.1111/j.1467-8357.2005.555_8.x.

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Yücel, Şebnem. "Art Museums and the Middle East: A Contested Territory." International Journal of Islamic Architecture 9, no. 1 (2020): 231–44. http://dx.doi.org/10.1386/ijia_00012_1.

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واكفيلد, يوفون. "In Art and Application: Pomegranates in the Middle East." المجلة العربية للعلوم الإنسانية 28, no. 111 (2010): 259–77. http://dx.doi.org/10.34120/ajh.v28i111.2211.

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يعد (الرمان) في ثقافة بلدان الشرق الأوسط كما هو (التفاح) بالنسبة لأمريكا الشمالية، وفير و مرتبط بمفاهيم متعددة ومستخدم لأغراض عديدة. إن كلاً من (الرمان) و (التفاح) يشيران إلى رموز مختلفة في الكتاب المقدس والفن والثقافة الأوروبية، ويحملان معاني ومدلولات رمزية كثيرة وهامة، وكذلك لم تخل منهما أساطير كثير من الثقافات الأخرى كما لامست الحياة المعيشية فيها. ومع ذلك فإن موقع (الرمان) في الفن - والثقافة الشرق أوسطية تحديداً - هو الملهم لهذا التحقيق و الدراسة الجغرافية- الجرافيكية (التصويرية)، حيث تشكل المجموعة الأولى من اللوحات الفنية محور هذا البحث، وأما المجموعتان الأخريان فبينما كانت إحداها وسيلة ح

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Stillman, Yedida K., and Nancy Micklewright. "Costume in the Middle East." Middle East Studies Association Bulletin 26, no. 1 (1992): 13–38. http://dx.doi.org/10.1017/s0026318400025025.

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Clothing constitutes a cultural statement. It is a manifestation of culture, no less than art, architecture, literature, and music. Like all cultural phenomena, it communicates a great deal of information both on the physical and symbolic level about the society in which it is found. Fashions, or modes of dress, reflect not only the æsthetics of a particular society (what might be called the “adornment factor”), but also its social mores and values (the “modesty/immodesty factor,” or “reveal/conceal factor”). Furthermore, dress is often a clear economic indicator. The fabric, quality of cut, a

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Khalilov, Ilhom Isroiljonovich. "Development Of Oriental Art." American Journal of Social Science and Education Innovations 03, no. 02 (2021): 8–12. http://dx.doi.org/10.37547/tajssei/volume03issue02-02.

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The article examines the early and middle periods of the visual arts of the East. First of all, these are monumental works of art from ancient times, including frescoes found near Samarkand and Dalvarzintep, as well as the works of the great artist Kamoliddin Behzod.

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Sentevska, Irena. "All that turban-folk: Orientalism and neo-folk music in Serbia." Bulletin de l'Institut etnographique 68, no. 3 (2020): 641–60. http://dx.doi.org/10.2298/gei2003641s.

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In this paper I look at the ?oriental controversy? of the neo-folk music in Serbia, focusing on the changes in the perception of the longstanding Serbian-Bosnian ensemble Juzni vetar (Southern Wind) in the academic circles, media and various segments of the music industry. The affirmative attitude towards the performers and music legacy of Juzni vetar, which has in recent years gradually entered the media from the alternative (non-commercial) music and art circles, may be observed in the context of the contemporary globalized music industry which constantly challenges orientalist assumptions a

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MLADENOVA, Tetiana. "THE EAST OF CRIMEA IN THE CREATIVITY OF OLEKSANDR SPENDIAROV." Bulletin of the Lviv University. Series of Arts Studies 243, no. 25 (2024): 97–108. https://doi.org/10.30970/vas.25.2024.97-108.

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The events of the heyday of musical orientalism as a manifestation of the dialogue between the West and the East, related to the cultural landscape of the Crimean Peninsula (end of the 19th – beginning of the 20th century), are highlighted. The peculiarity of the musical culture of Crimea lies in its syncretism, the essence of which is the complementary dialogicity of many genetic elements generated by both the East and the West. Taking into account the genetic aspect of the contact dialogue, the Crimean period of Oleksandr Spendiarov’s work is considered. It is known that O. Spendiarov’s form

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Fedorchuk, Olena, and Romana Motyl. "Tradition of Beaded Decoration in the Ukrainian Folk Costume: Reconstruction of the Second Stage (Based on the Materials of Western Regions of Ukraine)." Arta 32, no. 1 (2023): 124–31. http://dx.doi.org/10.52603/arta.2023.32-1.17.

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The article continues the previously started reconstruction of ethnic artistic tradition of beaded decoration in the Ukrainian folk costume. The authors’ vision of the second stage of development of this tradition (the end of the 19th– the middle of the 20th centuries) is presented. It was found that at the second stage of its development, the tradition of beaded decoration in the Ukrainian folk costume went through the phase of creative uplift. Ukrainian folk craftsmen considerably expanded the arsenal of technical as well as artistic and stylistic means of their creative works. The following

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Narzikulova, Manzura. "Folklore Motifs In Alisher Navoi’s Epic “Sabai Sayyar." American Journal of Social Science and Education Innovations 03, no. 06 (2021): 249–57. http://dx.doi.org/10.37547/tajssei/volume03issue06-42.

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The article deals with the traditions of folklore in the works of Alisher Navoi, the role of mythology and folk art in the epic “Sabai Sayyar”, the plot of the epic in folklore, the connection of the main motives with folklore; folklore traditions in the interpretation of the composition and image system of the epic “Sabai Sayyar”; the sources of the plot of the epic “Sabai Sayyar” in the folklore of the peoples of the East and the artistic evolution of the epic plot are analyzed. The plot of the epic “Sabai Sayyar” is clarified in connection with the traditions of Uzbek folk epics.

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Gulara, Vezirova. "EAST OR WEST? WAYS OF INTEGRATION OF EAST AND WEST IN AZERBAIJANI MUSICAL CULTURE." Problems of Arts and Culture 17, no. 1 (2023): 56–66. https://doi.org/10.5281/zenodo.7856876.

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The second half of the 19th – early 20th centuries is one of the significant periods of Azerbaijani musical culture’s history. The development of the country’s musical culture processes happened in the socio-political, economic, and cultural life played a huge role. On the one hand, it was a time of active development of national art (folk music, professional music of the oral tradition - mugham and ashig creativity), on the other hand, there was an active process of penetration of the Russian and European art traditions into Azerbaijan. As is known, in the first quarter of t

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Dewi Tukan, Maria Klara Amarilis Citra Sinta. "”DOLO-DOLO” SEBAGAI BENTUK MUSIK, TARI DAN SASTRA MASYARAKAT FLORES TIMUR (LAMAHOLOT), NTT." JURNAL HARMONI 13, no. 2 (2023): 199–215. http://dx.doi.org/10.26618/jh.v13i2.12886.

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: Dolo-dolo as a Kind of Music, Dance and Literary Community in East Flores (Lamaholot), NTT. Dolo-dolo is a kind of folk art that consist of music, dance and literature that comes from the East Flores (Lamaholot), NTT. There are many other similar arts can be found in every province from NTT that has the same elements. The art like this usually have the shape of ritual and entertainment by the performance art. Dolo-dolo is a kind of art from NTT that packaged in one complete presentation which has third of the art elements in a show. Such as in the form of dance, which is not only the dance t

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Demchenko, Aleksandr Ivanovich. "The Middle Ages: From the Birth of Christ to the 13th century. The East and the West." Pan-Art 4, no. 1 (2024): 1–14. http://dx.doi.org/10.30853/pa20240001.

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The essay provides a summary overview of the main phenomena of artistic culture during the Middle Ages in the West and the East (from the Birth of Christ to the 13th century). The paper covers the global art culture of the medieval period both from the point of view of the general historical process and in the consideration of individual types of art (sculpture, architecture, painting, literature, music). The author examines the achievements of medieval authors in these types of creativity: the increasing trends towards simplification in depiction of man and mythological creatures in Western a

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AVDEEV, ALEXANDER. "THE RUSSIAN FOLK “EGYPTOLOGY”." Культурный код, no. 2024-1 (2024): 120–34. http://dx.doi.org/10.36945/2658-3852-2024-1-120-134.

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The paper deals with Russian folk legends about “pharaohs” - mythical creatures with a human torso and a fish tail, who inhabited the water element. The legends reflected the oldest layer of folk knowledge about the ancient Egyptian history. These ideas go back to the biblical story about Pharaoh's army that drowned in the Red Sea during the exodus of the Jews from Egypt. In Old Russia, the title “Pharaoh” became a symbol of a proud and wicked ruler. The legend about the mythical water people was first recorded by Vasily Poznyakov, who travelled to Egypt in 1558. At the end of the 16th century

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Kurbanova, Jamilva. "Turkmen Epic Song: Musicological Approach." Bulletin of KNUKiM. Series in Arts, no. 42 (July 14, 2020): 113–21. https://doi.org/10.31866/2410-1176.42.2020.207640.

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The purpose of the study is to identify the genre and structure features of Turkmen epic songs. The work has the following objectives: to describe the local school of epic art in Turkmenistan; to research a particular style of singers of tales; to review the epic songs for determining its genre and composition characteristics. The research methodology includes comparative-historical method mainly. For the first time in the Turkmen sciences society, the epic genres were provided with an integrated approach, which includes prosaic texts and poetry, epic songs and art of singer. Scientific novelt

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Rakhimova, Gavkhar, Sayfuddin Rakhimov, and Manzura Abdurakhmonova. "Amazing Musical Instruments of Uzbekistan and the Middle East." International Journal of Multicultural and Multireligious Understanding 10, no. 3 (2023): 188. http://dx.doi.org/10.18415/ijmmu.v10i3.4555.

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Each nation has its own national art, traditions and literature, which are valued from generation to generation as a national treasure. As part of the article, we tried to show the similarity of the Far Eastern countries such as Chinese and Japanese national musical instruments with Uzbek national musical instruments.

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Skeates, Robin. "Visual Culture in Prehistoric South-east Italy." Proceedings of the Prehistoric Society 68 (2002): 165–83. http://dx.doi.org/10.1017/s0079497x00001493.

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Using the approach of visual culture, which highlights the embeddedness of art in dynamic human processes, this paper examines the prehistoric archaeology of the Lecce province in south-east Italy, in order to provide a history of successive visual cultures in that area, between the Middle Palaeolithic and the Bronze Age. It is argued that art may have helped human groups to deal with problems in subsistence and society, including environmental changes affecting the cultural landscape and its resources, the breaking up of old social relations and the establishment and maintenance of new ones.

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Abu-Hamdi, Eliana. "Forms of Protest: Political Art in the Digital and Urban Realm." International Journal of Islamic Architecture 13, no. 1 (2024): 23–37. http://dx.doi.org/10.1386/ijia_00128_7.

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IJIA’s Dialogues series brings together scholars and practitioners from across varied disciplines for a discussion of critical contemporary issues that interrogate the boundaries between architecture, art, anthropology, archaeology, and history. This session, the third instalment, was held as a webinar in February 2023 and hosted by IJIA Assistant Editor Eliana Abu-Hamdi, featuring Middle East scholars Jillian Schwedler, Deen Sharp, and Kyle Craig. Their conversation addressed the intersection of art, urban politics, and protest in the Middle East, broadly defined, in the form of public displa

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Khajehi, Yassaman. "A Fearless Hero: The Puppet in the Socio-political Context of the Middle East." AOQU (Achilles Orlando Quixote Ulysses). Rivista di epica 4, no. 2 (2023): 149–71. http://dx.doi.org/10.54103/2724-3346/22204.

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Since the beginning of the 21st century, the countries of the Middle East have experienced several episodes of revolt and revolution. Art in general has both been affected by and has influenced these events. With this in mind, my essay examines the art of puppet theatre as an epic narrative approach in the sense of both epic-political and epic-adventurous. To explore this phenomenon in historical context, I first trace puppetry’s past in the Middle East and then discuss in more detail its important contemporary role. My contention is that the Middle Eastern puppet becomes a narrative schema of

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Pavlova, N. V. "Traditional formulas in Yakut folk songs recorded S. I. Bolo and A. A. Savvin." Languages and Folklore of Indigenous Peoples of Siberia, no. 40 (2020): 38–49. http://dx.doi.org/10.25205/2312-6337-2020-2-38-49.

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The paper presents the results of the study of Yakut folk songs, with the principle of classification of traditional formulas of folk tales applied. The study focused on the songs included in the manuscript of the volume “Yakut folk songs” 2012 of the series “Monuments of folklore of the peoples of Siberia and the Far East”. The author draws several conclusions. All the songs under consideration contain some categories of medial formulas. Besides having the categories of medial formulas, the songs with their own plot contain some groups of initial formulas (“Song of the broom”, “Sippie”, “Ann

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