Search Results (6)

Clothing is a social product that represents both individual and collective manifestations of identity, functioning as a system of signs. This study examines the relationship between fashion and resilience as factors driving changes in the traditional folk costume of Romanian women from Rupea, Brașov County, from the late 19th century to the present. The research is based on semi-structured interviews with locals and enhanced by photo elicitation and participant observation, where the authors served as community insiders. The study first describes the local folk costume’s main distinguishing features, which locals use as indicators of community status. Next, it analyzes the transformations of the folk costume and their sources, including fashion, which facilitated the adoption of external influences based on their association with prestige, and resilient responses to challenges during the period under investigation. The research also demonstrates how Rupea’s Romanian residents managed to preserve and capitalize on the folk costume and community traditions after the Communist Party’s rise to power in Romania. These transformations in folk costume did not diminish its function as a system of signs. The preservation of its significance and traditions demonstrates cultural resilience in an urban environment and supports the role of local communities in sustainably managing intangible cultural heritage resources. Full article

Slavic folk culture is a fusion of Christian and of pre-Christian, pagan beliefs based on magic. This article is devoted specifically to ancient pre-Christian ideas about death and posthumous existence and the associated magical rituals and prohibitions, which persist to our time. It considers the following interactions between the living and the dead: 1. the measures taken and prohibitions observed by the living to ensure their well-being in the other world; 2. the measures taken by the living to ensure the well-being of their dead relatives in the other world (including funeral rites; memorial rites; cemetery visits; providing the dead with food, clothes, and items necessary for postmortem life; and sending messages to the other world); 3. communication between the living and the dead on certain days (including taking opportunities to meet, see, and hear them; treat them; prepare a bed for them; and wash them); 4. fear of the dead and their return and the desire to placate them to prevent them from causing natural disasters (hail, droughts, floods, etc.), crop failures, cattle deaths, diseases, and death; 5. magical ways for protecting oneself from the “walking dead”; 6. transforming the dead into mythological characters—for example, house-, water-, or forest-spirits and mermaids. The material presented in the article is drawn from published and archival sources collected by folklorists and ethnographers of the XIX and XX centuries in different regions of the Slavic world, as well as from field recordings made by the author and his colleagues in Polesie, the borderland of Belarus and Ukraine, in the 1960–1980s, in the Russian North and in the Carpathian region in the 1990s. It shows that the relationship between the living and the dead in folk beliefs does not fit comfortably within the widespread notion of an “ancestor cult”. It argues that the dead are both venerated and feared and that the living feel a dependence on their ancestors and a desire to strictly observe the boundary between the two worlds. Full article

The aim of the research is to improve the public’s assessment and understanding of the cultural values and history of Bulgaria. The main issues related to the sustainable use of elements of the cultural heritage are defined, and the accessible literary sources related to the digitization of the folklore heritage are reviewed. Shape indices, color, and textural characteristics were obtained from digital color images of the elements of Bulgarian folk costumes. The most informative indices of these features were selected. A kernel variant of the principal component analysis (kPCA) method was used to reduce the data volume of the feature vector. A Naïve Bayes classifier, discriminant analysis, and the support vector method (SVM) were used for classification. The classification accuracy was assessed. In the analysis of the decorative elements of Bulgarian costumes, it was found that the accuracy of classification depended both on the method for reducing the volume of data and on the separability of the classes of data, depending on the classifier used. In the analysis of microscopic images of textile fabrics from Bulgarian costumes, it was found that the accuracy of classification for the studied objects depended both on the method for reducing the volume of data and on the used classifier. In the considered cases, a classification error below 10% was obtained using a non-linear kPCA kernel and SVM with a non-linear partition function. It was proven that the results of this development can be used in the creation of modern cross-stitch patterns, textile patterns, and clothing. The practical application of these research findings has the potential to benefit various stakeholders, including cultural heritage institutions, researchers, artisans, designers, and the general public, promoting a deeper appreciation and sustainable use of costume embroidery elements. Research can continue in the direction of the sustainable use and preservation of embroidery elements of Bulgarian costumes, enriching the understanding of cultural heritage and promoting appreciation for it in future generations. Full article

(1) Investigating, collecting data with specific character, as well as registering and investigating data concerning ornaments and colors, patterns as expressive possibilities of designs of Romanian folk textile are important activities to do. The first goal of the research undertaken was to collect, preserve, and protect knowledge about old patterns and weaving techniques in selected regions of Romania, and the second to use old patterns for the modern needs of folk handicraft weaving and the clothing industry. (2) In the undertaken research, material was obtained from antique textiles, clothes, and paintings on canvas, from selected objects in the Maramureș region and Bihor region. The selection was made by the ReliefF method. The specimens of specification throw weight by the geometry method was used to characterize the types of weaving techniques. Principal component analysis methods were used to reduce the amount of data of the vector of textural features. (3) The research on selected Romanian textiles allowed for the construction of a model of texture features that describes them. The results include the specimens’ measurements, analysis of fabric structures, yarn specification, and the reconstruction of the fabrics. Based on the obtained results, a simulation of fashion trends was performed. (4) The analysis of individual components increased the knowledge of weaving techniques in the studied regions and may be an inspiration for contemporary design in local and regional handicrafts as well as in the clothing industry. Full article

Lithuanian authors, authors abroad, and artists have presented Lithuanian folk clothes in their works. However, the oldest examples of these representations are not very reliable, because the authors painted them according to the descriptions of other people or copied works among each other. In the 20th century, the national costume of Lithuania changed considerably. Attention was not given to ethnographic regional peculiarities; instead, similar materials were chosen without any analysis. This article performs a comparative analysis of folk (the 19th century to the first half of the 20th century) and national (the second half of the 20th century) Lithuanian costumes to establish signs of cultural pollution and remaining authenticity. Over 500 articles of clothing with different purposes are collected from Lithuanian museums. Fabric parameters, such as raw materials, weaving technique, weave, pattern, decoration elements, etc., are established. The research results show that authentic folk clothes of the 19th century differ from the national costume of the second half of the 20th century in their cut, decoration, and patterns. No differences between ethnographic regions survived in the national costumes. Thus, at present, we must preserve our tangible heritage and re-create, as authentically as possible, national costume for folk songs and dance ensembles, folk restaurants, and rural tourism homesteads. Full article

In recent years, alongside the concurrent rise of political Islam and reactionary state policies in India, Sufism has been championed as an “acceptable” form of Islam from neoliberal perspectives within India and the Western world. Sufism is noted as an arena of spiritual/religious practice that highlights musical routes to the Divine. Among Chishti Sufis of South Asia, that musical pathway is qawwali, a song form that been in circulation for over seven centuries, and which continues to maintain a vibrant sonic presence on the subcontinent, both in its ritual usage among Sufis and more broadly in related folk and popular iterations. This paper asks, what happens to qawwali as a song form when it circulates in diaspora? While prominent musicians such as the Sabri Brothers and Nusrat Fateh Ali Khan exposed audiences in the West to the sounds of qawwali, in recent years, non-hereditary groups of musicians based in the US and UK have begun to perform songs from the qawwali repertoire. In the traditional setting, textual meaning is paramount; this paper asks, how can performers transmute the affective capacity of qawwali in settings where semantic forms of communication may be lost? How do sonic and metaphorical voices lend themselves to the circulation of sound-centered meaning? Through a discussion of the Sufi sublime, this paper considers ways sonic materials stitch together the diverse cloth of the South Asian community in diaspora. Full article