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114-654: The list of Lithuanian gods is based on scarce written sources and late folklore . Many of them were outright invented . Lithuania converted to Christianity in 1387, but elements of Lithuanian mythology survived into the 19th century. The earliest written sources, authored by foreigners and Christians, only briefly mention the Lithuanian gods. Beginning in the 16th century, the pagan religion received more attention from authors, but often their accounts were confused, contradictory, and heavily influenced by various religious agendas. Collection and recording of folklore began in

228-538: A Polish lesser noble who worked as a royal land surveyor. The list contained very minor deities, representing everyday household items. Łasicki was also not intimately familiar with Lithuanian culture or language. Therefore, the academic opinion on the list ranges from a valuable resource to a practical joke designed to poke fun of Christian saints through an inverted mirror. Deities mentioned by Jan Łasicki were: Deities mentioned by Matthäus Prätorius (1635–1704) were: Polish-Lithuanian historian Theodor Narbutt wrote

342-463: A street culture outside the purview of adults. This is also ideal where it needs to be collected; as Iona and Peter Opie demonstrated in their pioneering book Children's Games in Street and Playground . Here the social group of children is studied on its own terms, not as a derivative of adult social groups. It is shown that the culture of children is quite distinctive; it is generally unnoticed by

456-606: A basic need in every community ... a key element in the adaptation of different cultures to the transformations imposed by globalization . The objectives of protecting and promoting the diversity of cultural expressions are part of the organization's mandate. In the context of the negotiations of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions , the concept of cultural expressions

570-432: A binary: one individual or group who actively transmits information in some form to another individual or group. Each of these is a defined role in the folklore process. The tradition-bearer is the individual who actively passes along the knowledge of an artifact; this can be either a mother singing a lullaby to her baby, or an Irish dance troupe performing at a local festival. They are named individuals, usually well known in

684-408: A child's birthday party, including verbal lore ( Happy Birthday song ), material lore (presents and a birthday cake), special games ( Musical chairs ) and individual customs (making a wish as you blow out the candles). Each of these is a folklore artifact in its own right, potentially worthy of investigation and cultural analysis. Together they combine to build the custom of a birthday party celebration,

798-489: A community. Many objects of material folklore are challenging to classify, difficult to archive, and unwieldy to store. The assigned task of museums is to preserve and make use of these bulky artifacts of material culture. To this end, the concept of the living museum has developed, beginning in Scandinavia at the end of the 19th century. These open-air museums not only display the artifacts, but also teach visitors how

912-421: A double value, cultural and economic. The digital environment can serve as a catalyst for dissemination and production , offering new forms of cultural expression, but it also represents a challenge for the diversity of cultural expressions. The cultural covered by the 2005 Convention may be linked to some forms of traditional cultural expressions but the latter are subject to their own rules. More generally,

1026-626: A dual economic and cultural value. The cultural and economic aspects are interdependent; they both contribute to the existence, development and preservation of diversity. To identify the scope of what constitutes cultural goods and services, one can refer to the non-exhaustive list annexed to the Preliminary Draft of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions, published in 2004. Here are some examples of cultural expressions: As permitted by

1140-404: A formal school curriculum or study in the fine arts . Instead, these traditions are passed along informally from one individual to another, either through verbal instruction or demonstration. The academic study of folklore is called folklore studies or folkloristics, and it can be explored at the undergraduate, graduate, and Ph.D. levels. The word folklore , a compound of folk and lore ,

1254-402: A main role in the mythology of Lithuanians. Folklore Each one of these, either singly or in combination, is considered a folklore artifact or traditional cultural expression . Just as essential as the form, folklore also encompasses the transmission of these artifacts from one region to another or from one generation to the next. Folklore is not something one can typically gain from

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1368-419: A number of conventions on the protection of traditional cultural expressions. The World Intellectual Property Organization is continuing its work on a convention to recognize intellectual property rights in traditional knowledge and traditional cultural expressions. To understand the concept of diversity of cultural expressions, we can look at the concept of cultural diversity . The notion of cultural diversity

1482-516: A problem to be solved, but as a tremendous opportunity. In the diversity of American folklife, we find a marketplace teeming with the exchange of traditional forms and cultural ideas, a rich resource for Americans". This diversity is celebrated annually at the Smithsonian Folklife Festival and many other folklife fests around the country. There are numerous other definitions. According to William Bascom major article on

1596-605: A scripted combination of multiple artifacts which have meaning within their social group. Folklorists divide customs into several different categories. A custom can be a seasonal celebration , such as Thanksgiving or New Year's . It can be a life cycle celebration for an individual, such as baptism, birthday or wedding. A custom can also mark a community festival or event; examples of this are Carnival in Cologne or Mardi Gras in New Orleans . This category also includes

1710-509: A shift in purpose and meaning. There are many reasons for continuing to handmake objects for use, for example these skills may be needed to repair manufactured items, or a unique design might be required which is not (or cannot be) found in the stores. Many crafts are considered as simple home maintenance, such as cooking, sewing and carpentry. For many people, handicrafts have also become an enjoyable and satisfying hobby. Handmade objects are often regarded as prestigious, where extra time and thought

1824-426: A small sampling of objects and skills that are included in studies of material culture. Customary culture is remembered enactment, i.e. re-enactment. It is the patterns of expected behavior within a group, the "traditional and expected way of doing things" A custom can be a single gesture , such as thumbs down or a handshake . It can also be a complex interaction of multiple folk customs and artifacts as seen in

1938-450: A social event during the winter months, or the gifting of a quilt to signify the importance of the event. Each of these—the traditional pattern chosen, the social event, and the gifting—occur within the broader context of the community. Even so, when considering context, the structure and characteristics of performance can be recognized, including an audience, a framing event, and the use of decorative figures and symbols, all of which go beyond

2052-400: A swell in popular interest in folk traditions, these community celebrations are becoming more numerous throughout the western world. While ostensibly parading the diversity of their community, economic groups have discovered that these folk parades and festivals are good for business. All shades of people are out on the streets, eating, drinking and spending. This attracts support not only from

2166-572: A whole, even as it continues to be a point of discussion within the field itself. The term folkloristics , along with the alternative name folklore studies , became widely used in the 1950s to distinguish the academic study of traditional culture from the folklore artifacts themselves. When the American Folklife Preservation Act (Public Law 94-201) was passed by the U.S. Congress in January 1976, to coincide with

2280-492: Is "not idle speculation… Decades of fieldwork have demonstrated conclusively that these groups do have their own folklore." In this modern understanding, folklore is a function of shared identity within any social group. This folklore can include jokes, sayings, and expected behavior in multiple variants, always transmitted in an informal manner. For the most part, it will be learned by observation, imitation, repetition, or correction by other group members. This informal knowledge

2394-457: Is a distinct branch of folklore that deals with activities passed on by children to other children, away from the influence or supervision of an adult. Children's folklore contains artifacts from all the standard folklore genres of verbal, material, and customary lore; it is however the child-to-child conduit that distinguishes these artifacts. For childhood is a social group where children teach, learn and share their own traditions, flourishing in

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2508-678: Is a social group that includes two or more people with common traits who express their shared identity through distinctive traditions. "Folk is a flexible concept which can refer to a nation as in American folklore or to a single family. " This expanded social definition of folk supports a broader view of the material, i.e., the lore, considered to be folklore artifacts . These now include all "things people make with words (verbal lore), things they make with their hands (material lore), and things they make with their actions (customary lore)". Folklore are no longer considered to be limited to that which

2622-400: Is also transmitted within a group, remains a practical hygiene and health issue and does not rise to the level of a group-defining tradition. Tradition is initially remembered behavior; once it loses its practical purpose, there is no reason for further transmission unless it has been imbued with meaning beyond the initial practicality of the action. This meaning is at the core of folkloristics,

2736-485: Is as close as folklorists can come to observing the transmission and social function of this folk knowledge before the spread of literacy during the 19th century. As we have seen with the other genres, the original collections of children's lore and games in the 19th century was driven by a fear that the culture of childhood would die out. Early folklorists, among them Alice Gomme in Britain and William Wells Newell in

2850-404: Is enmeshed in a multitude of differing identities and their concomitant social groups. The first group that each of us is born into is the family, and each family has its own unique family folklore . As a child grows into an individual, its identities also increase to include age, language, ethnicity, occupation, etc. Each of these cohorts has its own folklore, and as one folklorist points out, this

2964-541: Is found in an issue of the Journal of American Folklore , published in 1975, which is dedicated exclusively to articles on women's folklore, with approaches that had not come from a man's perspective. Other groups that were highlighted as part of this broadened understanding of the folk group were non-traditional families , occupational groups, and families that pursued the production of folk items over multiple generations. Folklorist Richard Dorson explained in 1976 that

3078-451: Is found in hex signs on Pennsylvania Dutch barns, tin man sculptures made by metalworkers, front yard Christmas displays, decorated school lockers, carved gun stocks, and tattoos. "Words such as naive, self-taught, and individualistic are used to describe these objects, and the exceptional rather than the representative creation is featured." This is in contrast to the understanding of folklore artifacts that are nurtured and passed along within

3192-559: Is intended to organize and categorize the folklore artifacts; they provide common vocabulary and consistent labeling for folklorists to communicate with each other. That said, each artifact is unique; in fact, one of the characteristics of all folklore artifacts is their variation within genres and types. This is in direct contrast to manufactured goods, where the goal in production is to create identical products, and any variations are considered mistakes. It is, however, just this required variation that makes identification and classification of

3306-401: Is multifaceted and has been the subject of UNESCO's work since its inception. The UNESCO Universal Declaration on Cultural Diversity elevates the concept of cultural diversity to the status of common heritage of humanity in its very first article: Culture takes diverse forms across time and space. This diversity is embodied in the originality and plurality of identities that characterize

3420-525: Is not just any conversation, but words and phrases conforming to a traditional configuration recognized by both the speaker and the audience. For narrative types , by definition, they have a consistent structure and follow an existing model in their narrative form. As just one simple example, in English, the phrase "An elephant walks into a bar…" instantaneously flags the following text as a joke . It might be one you have already heard, but it might be one that

3534-411: Is old or obsolete. These folk artifacts continue to be passed along informally, as a rule anonymously, and always in multiple variants. The folk group is not individualistic; it is community-based and nurtures its lore in community. "As new groups emerge, new folklore is created… surfers, motorcyclists, computer programmers ". In direct contrast to high culture , where any single work of a named artist

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3648-434: Is protected by copyright law , folklore is a function of shared identity within a common social group. Having identified folk artifacts, the professional folklorist strives to understand the significance of these beliefs, customs, and objects for the group, since these cultural units would not be passed along unless they had some continued relevance within the group. That meaning can, however, shift and morph; for example,

3762-412: Is reflected in the Convention on the Protection and Promotion of the Diversity of Cultural Expressions. The convention contains this definition of cultural diversity : cultural diversity refers to the multiplicity of forms in which the cultures of groups and societies find expression. These expressions are transmitted within and between groups and societies. Cultural diversity is manifested not only in

3876-578: Is spent in their creation and their uniqueness is valued. For the folklorist, these hand-crafted objects embody multifaceted relationships in the lives of the craftspeople and the users, a concept that has been lost with mass-produced items that have no connection to an individual craftsperson. Many traditional crafts, such as ironworking and glass-making, have been elevated to the fine or applied arts and taught in art schools; or they have been repurposed as folk art , characterized as objects whose decorative form supersedes their utilitarian needs. Folk art

3990-403: Is still transmitted orally and, indeed, continues to be generated in new forms and variants at an alarming rate. Below is listed a small sampling of types and examples of verbal lore. The genre of material culture includes all artifacts that can be touched, held, lived in, or eaten. They are tangible objects with a physical or mental presence, either intended for permanent use or to be used at

4104-669: Is the complex balance of continuity over change in both their design and their decoration. In Europe, prior to the Industrial Revolution , everything was made by hand. While some folklorists of the 19th century wanted to secure the oral traditions of the rural folk before the populace became literate, other folklorists sought to identify hand-crafted objects before their production processes were lost to industrial manufacturing. Just as verbal lore continues to be actively created and transmitted in today's culture, so these handicrafts can still be found all around us, with possibly

4218-540: Is used in discussions of material lore. Both formulations offer different perspectives on the same folkloric understanding, specifically that folklore artifacts need to remain embedded in their cultural environment if we are to gain insight into their meaning for the community. The concept of cultural (folklore) performance is shared with ethnography and anthropology among other social sciences. The cultural anthropologist Victor Turner identified four universal characteristics of cultural performance: playfulness, framing ,

4332-428: Is used to confirm and reinforce the identity of the group. It can be used both internally within the group to express their common identity, for example in an initiation ceremony for new members. It can also be used externally to differentiate the group from outsiders, like a folk dance demonstration at a community festival. Significant to folklorists here is that there are two opposing but equally valid ways to use this in

4446-842: The Bicentennial Celebration , folkloristics in the United States came of age. "…[Folklife] means the traditional expressive culture shared within the various groups in the United States: familial, ethnic, occupational, religious, regional; expressive culture includes a wide range of creative and symbolic forms such as custom, belief, technical skill, language, literature, art, architecture, music, play, dance, drama, ritual, pageantry, handicraft; these expressions are mainly learned orally, by imitation, or in performance, and are generally maintained without benefit of formal instruction or institutional direction." Added to

4560-619: The Halloween celebration of the 21st century is not the All Hallows' Eve of the Middle Ages and even gives rise to its own set of urban legends independent of the historical celebration; the cleansing rituals of Orthodox Judaism were originally good public health in a land with little water, but now these customs signify for some people identification as an Orthodox Jew. By comparison, a common action such as tooth brushing , which

4674-616: The Historic–Geographic Method , a methodology that dominated folkloristics in the first half of the 20th century. When William Thoms first published his appeal to document the verbal lore of the rural populations, it was believed these folk artifacts would die out as the population became literate. Over the past two centuries, this belief has proven to be wrong; folklorists continue to collect verbal lore in both written and spoken form from all social groups. Some variants might have been captured in published collections, but much of it

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4788-566: The Smithsonian Folklife Festival celebrated each summer on the Mall in Washington, DC. A fourth category includes customs related to folk beliefs . Walking under a ladder is just one of many symbols considered unlucky . Occupational groups tend to have a rich history of customs related to their life and work, so the traditions of sailors or lumberjacks . The area of ecclesiastical folklore , which includes modes of worship not sanctioned by

4902-583: The Vienna Convention on the Law of Treaties , the notion of cultural expressions is further defined by state practice and use of the term. In the context of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions, this practice is reflected in the quadrennial reports produced by the parties. In the digital environment, cultural expressions are interpreted in the same way. They are also endowed with cultural content and carry

5016-460: The cultural identities of their authors. They are treated in the international legal system in terms of cultural rights , intellectual property law and international trade . The objective of the 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions is, as its title indicates, to protect and promote the diversity of cultural expressions. The achievement of such objectives requires respect for all cultures ,

5130-471: The fundamental rights components of freedom of expression, information and communication, and freedom of choice of cultural expressions, although they are, to some extent, interrelated. There is sometimes some confusion about the scope of application of three major UNESCO cultural conventions: the Convention concerning the Protection of the World Cultural and Natural Heritage, the Convention for

5244-434: The 19th century, by which time the pagan mythology had become fragmented and mixed with Christian traditions. The cults of old deities transformed into folklore (individual tales, myths, songs, etc.) without associated rituals. Because of such difficulties obtaining data, there is no accepted list of Lithuanian gods. Different authors present wildly contradictory reconstructions of the Lithuanian pantheon. This section includes

5358-500: The American Folklore Society brought the behavioral approach into open debate among folklorists. In 1972 Richard Dorson called out the "young Turks" for their movement toward a behavioral approach to folklore. This approach "shifted the conceptualization of folklore as an extractable item or 'text' to an emphasis on folklore as a kind of human behavior and communication. Conceptualizing folklore as behavior redefined

5472-476: The Diversity of Cultural Expressions is limited to a specific aspect of cultural diversity, namely the elements generated by cultural industries , and many elements are mistakenly or misunderstood as such. Considerations of tangible and intangible cultural heritage as well as intellectual property rights are outside the scope of the 2005 Convention because of the specific definition of cultural expressions. Cultural expressions must also be distinguished from

5586-561: The History and Folklore Section of the American Folklore Society and concerned with the connections of folklore with history, as well as the history of folklore studies. Lacking context, folklore artifacts would be uninspiring objects without any life of their own. It is only through performance that the artifacts come alive as an active and meaningful component of a social group; the intergroup communication arises in

5700-535: The Protection of the Intangible Cultural Heritage, and the 2005 Convention. Performing arts (traditional rites and dances ), crafts , and cuisine are more examples of intangible cultural heritage .  On the other hand, urban planning and design are part of the world's cultural heritage, but do not qualify as cultural expressions within the meaning of the 2005 Convention. Fashion , advertising and trademarks certainly relate to

5814-552: The Safeguarding of the Intangible Cultural Heritage , the UNESCO Universal Declaration on Cultural Diversity and the Convention concerning the Protection of the World Cultural and Natural Heritage , as well as the model provisions adopted by both institutions for the protection of expressions of folklore. The concept of cultural expressions in the Convention on the Protection and Promotion of

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5928-537: The Second World War, folklorists began to articulate a more holistic approach toward their subject matter. In tandem with the growing sophistication in the social sciences , attention was no longer limited to the isolated artifact, but extended to include the artifact embedded in an active cultural environment. One early proponent was Alan Dundes with his essay "Texture, Text and Context", first published 1964. A public presentation in 1967 by Dan Ben-Amos at

6042-603: The United States, felt a need to capture the unstructured and unsupervised street life and activities of children before it was lost. This fear proved to be unfounded. In a comparison of any modern school playground during recess and the painting of "Children's Games" by Pieter Breugel the Elder we can see that the activity level is similar, and many of the games from the 1560 painting are recognizable and comparable to modern variations still played today. These same artifacts of childlore, in innumerable variations, also continue to serve

6156-785: The ability of individuals to choose cultural expressions, are guaranteed." To ensure cultural diversity, the 2005 Convention commits parties to adopt and implement measures to promote and protect cultural expressions. These measures take the form primarily of cultural policies . The World Intellectual Property Organization (WIPO) defines traditional cultural expressions through examples: Traditional cultural expressions, also known as "expressions of folklore ," may include music , dance , art , designs , names, signs and symbols , performances , ceremonies , architectural works , handicrafts and stories, as well as many other artistic or cultural expressions. Traditional cultural expressions: Traditional cultural expressions are an integral part of

6270-509: The archives of a society's cultural heritage . For the sake of simplicity and clarity, the concepts of cultural contents and artistic expressions were merged into cultural expressions. It was thus agreed that the terms culture and cultural diversity should be understood in their strict sense, i.e. in relation to the term cultural expressions, which should thus refer to a contemporary conception of cultural goods and services. The link between cultural diversity and diversity of cultural expressions

6384-413: The artifacts and turn them into something else; so Old McDonald's farm is transformed from animal noises to the scatological version of animal poop. This childlore is characterized by "its lack of dependence on literary and fixed form. Children…operate among themselves in a world of informal and oral communication, unimpeded by the necessity of maintaining and transmitting information by written means". This

6498-536: The author. This section contains those names of Lithuanian and Prussian gods or other mythical beings that are mentioned in old treatises on history or philosophy, sometimes accompanied by brief descriptions, and which are known from a few independent sources or from their counterparts under different names in later collections of myths and tales. Names of figures that were more marginal in Lithuanian mythology or less known from existing sources are put here. In fact they denote some spirits or local deities that do not play

6612-423: The business community, but also from federal and state organizations for these local street parties. Paradoxically, in parading diversity within the community, these events have come to authenticate true community, where business interests ally with the varied (folk) social groups to promote the interests of the community as a whole. This is just a small sampling of types and examples of customary lore. Childlore

6726-546: The community as knowledgeable in their traditional lore. They are not the anonymous "folk", the nameless mass without of history or individuality. The audience of this performance is the other half in the transmission process; they listen, watch, and remember. Few of them will become active tradition-bearers; many more will be passive tradition-bearers who maintain a memory of this specific traditional artifact, in both its presentation and its content. Cultural expressions Cultural expressions are creative manifestations of

6840-457: The complexity of the interpretation, the birthday party for a seven-year-old will not be identical to the birthday party for that same child as a six-year-old, even though they follow the same model. For each artifact embodies a single variant of a performance in a given time and space. The task of the folklorist becomes to identify within this surfeit of variables the constants and the expressed meaning that shimmer through all variations: honoring of

6954-472: The continent is a single example of an ethnic group parading their separateness (differential behavior ), and encouraging Americans of all stripes to show alliance to this colorful ethnic group. These festivals and parades, with a target audience of people who do not belong to the social group, intersect with the interests and mission of public folklorists , who are engaged in the documentation, preservation, and presentation of traditional forms of folklife. With

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7068-403: The creative industries. However, without excluding the possibility that some components could be included in the definition of cultural expressions, they are not covered a priori. Author Rostam J. Neuwirth suggests that the fashion industry, as a creative industry, may be indirectly affected by the 2005 Convention. The archival and library sectors are unique in that they were included in one of

7182-587: The creativity of individuals, groups and societies, and which have a cultural content. The definition of cultural expression emphasizes content over the means and modes of cultural expression. It can be read in conjunction with two other definitions, that of cultural content and that of cultural activities, goods and services: Cultural content refers to the symbolic meaning, artistic dimension and cultural values that originate from or express cultural identities. Cultural activities, goods and services refers to those activities, goods and services that, when considered from

7296-454: The cultural and social identity of indigenous and local communities, incorporating skills and techniques and conveying fundamental values and beliefs . Their protection relates to the promotion of creativity, the enhancement of cultural diversity and the preservation of cultural heritage . Although the definition is broad, some traditional cultural expressions do not fall within this framework. Traditional cultural expressions fall outside

7410-609: The custom, either as performer or audience, signifies acknowledgment of that social group. Some customary behavior is intended to be performed and understood only within the group itself, so the handkerchief code sometimes used in the gay community or the initiation rituals of the Freemasons. Other customs are designed specifically to represent a social group to outsiders, those who do not belong to this group. The St. Patrick's Day Parade in New York and in other communities across

7524-456: The defining features a challenge. While this classification is essential for the subject area of folkloristics, it remains just labeling and adds little to an understanding of the traditional development and meaning of the artifacts themselves. Necessary as they are, genre classifications are misleading in their oversimplification of the subject area. Folklore artifacts are never self-contained, they do not stand in isolation but are particulars in

7638-527: The developmental function of this childlore, the artifacts themselves have been in play for centuries. Below is listed just a small sampling of types and examples of childlore and games. A case has been made for considering folk history as a distinct sub-category of folklore, an idea that has received attention from such folklorists as Richard Dorson. This field of study is represented in The Folklore Historian , an annual journal sponsored by

7752-410: The established church tends to be so large and complex that it is usually treated as a specialized area of folk customs; it requires considerable expertise in standard church ritual in order to adequately interpret folk customs and beliefs that originated in official church practice. Customary folklore is always a performance, be it a single gesture or a complex of scripted customs, and participating in

7866-434: The extensive array of other legislation designed to protect the natural and cultural heritage of the United States, this law also marks a shift in national awareness. It gives voice to a growing understanding that cultural diversity is a national strength and a resource worthy of protection. Paradoxically, it is a unifying feature, not something that separates the citizens of a country. "We no longer view cultural difference as

7980-496: The first classification system for folktales in 1910. This was later expanded into the Aarne–Thompson classification system by Stith Thompson and remains the standard classification system for European folktales and other types of oral literature. As the number of classified oral artifacts grew, similarities were noted in items that had been collected from very different geographic regions, ethnic groups, and epochs, giving rise to

8094-411: The generations and subject to the same forces of conservative tradition and individual variation" that are found in all folk artifacts. Folklorists are interested in the physical form, the method of manufacture or construction, the pattern of use, as well as the procurement of the raw materials. The meaning to those who both make and use these objects is important. Of primary significance in these studies

8208-551: The groups and societies that make up humanity. As a source of exchange, innovation and creativity, cultural diversity is as necessary for humankind as biodiversity is for the living world. In this sense, it constitutes the common heritage of humanity and must be recognized and affirmed for the benefit of present and future generations. Although it is non-binding, the Universal Declaration on Cultural Diversity has considerable legitimacy and symbolic force because it

8322-404: The individual within the circle of family and friends, gifting to express their value and worth to the group, and of course, the festival food and drink as signifiers of the event. The formal definition of verbal lore is words, both written and oral, that are "spoken, sung, voiced forms of traditional utterance that show repetitive patterns." Crucial here are the repetitive patterns. Verbal lore

8436-417: The items were used, with actors reenacting the everyday lives of people from all segments of society, relying heavily on the material artifacts of a pre-industrial society. Many locations even duplicate the processing of the objects, thus creating new objects of an earlier historic time period. Living museums are now found throughout the world as part of a thriving heritage industry . This list represents just

8550-431: The job of folklorists..." Folklore became a verb, an action, something that people do, not just something that they have. It is in the performance and the active context that folklore artifacts get transmitted in informal, direct communication, either verbally or in demonstration. Performance includes all the different modes and manners in which this transmission occurs. Transmission is a communicative process requiring

8664-408: The language of a folklore performance. Material culture requires some moulding to turn it into a performance. Should we consider the performance of the creation of the artifact, as in a quilting party, or the performance of the recipients who use the quilt to cover their marriage bed? Here the language of context works better to describe the quilting of patterns copied from the grandmother, quilting as

8778-433: The meaning or values thus conveyed. The artistic expression of these goods, services and activities refers to the cultural expression that results from aesthetic creativity or creation. Five other options were proposed by the editorial board. Among these, we can mention the one that proceeds by enumeration : OPTION 2: Cultural expressions are defined as the creative product of cultural initiatives intended to be presented to

8892-476: The military. Martynas Mažvydas in his Latin introduction to Catechismusa Prasty Szadei (1547) urged the people to abandon their pagan ways and mentioned the following gods: Maciej Stryjkowski (1547–1593) – Polish–Lithuanian historian and author of Chronicle of Poland, Lithuania, Samogitia and all Russia . In this work, Stryjkowski provided two lists of gods, one Old Prussian and another Lithuanian. He listed 16 Lithuanian gods: Jan Łasicki (Lasicius)

9006-478: The most part self-explanatory, these categories include physical objects ( material folklore ), common sayings, expressions, stories and songs ( verbal folklore ), and beliefs and ways of doing things ( customary folklore ). There is also a fourth major subgenre defined for children's folklore and games ( childlore ), as the collection and interpretation of this fertile topic is particular to school yards and neighborhood streets. Each of these genres and their subtypes

9120-503: The names of gods, divine or demonic beings, and other personages from Lithuanian myths, legends, folklore , and fairy-tales. Some names from Lithuanian mythology are also found in Kievan Rus' chronicles of the 13th century. These deities were secretly worshiped by King of Lithuania Mindaugas after his baptism. Rus' chronicles are considered the best source of information about the ancient Lithuanian pantheon worshiped by nobles and

9234-411: The necessary beat to complex physical rhythms and movements, be it hand-clapping, jump roping, or ball bouncing. Furthermore, many physical games are used to develop strength, coordination and endurance of the players. For some team games, negotiations about the rules can run on longer than the game itself as social skills are rehearsed. Even as we are just now uncovering the neuroscience that undergirds

9348-460: The next meal. Most of these folklore artifacts are single objects that have been created by hand for a specific purpose; however, folk artifacts can also be mass-produced, such as dreidels or Christmas decorations. These items continue to be considered folklore because of their long (pre-industrial) history and their customary use. All of these material objects "existed prior to and continue alongside mechanized industry. … [They are] transmitted across

9462-531: The options for defining cultural expressions suggested during the negotiations of the 2005 Convention. These sectors are critical to the preservation of cultural expressions. These sectors are essential to the issues of preservation, dissemination and access, but are considered peripheral to the notion of cultural expression. Moreover, they are more in line with the objectives of sustainability of intangible cultural heritage than of vitality of cultural expressions. Recreational services, sports and games fall under

9576-547: The past that continued to exist within the lower strata of society. The " Kinder- und Hausmärchen " of the Brothers Grimm (first published 1812) is the best known but by no means only collection of verbal folklore of the European peasantry of that time. This interest in stories, sayings, and songs continued throughout the 19th century and aligned the fledgling discipline of folkloristics with literature and mythology. By

9690-531: The performance and this is where transmission of these cultural elements takes place. American folklorist Roger D. Abrahams has described it thus: "Folklore is folklore only when performed. As organized entities of performance, items of folklore have a sense of control inherent in them, a power that can be capitalized upon and enhanced through effective performance." Without transmission, these items are not folklore, they are just individual quirky tales and objects. This understanding in folkloristics only occurred in

9804-559: The period of romantic nationalism in Europe. A particular figure in this development was Johann Gottfried von Herder , whose writings in the 1770s presented oral traditions as organic processes grounded in the locale. After the German states were invaded by Napoleonic France , Herder's approach was adopted by many of his fellow Germans, who systematized the recorded folk traditions and used them in their process of nation building . This process

9918-535: The point of view of their specific quality, use or purpose, embody or convey cultural expressions, irrespective of the commercial value they may have. Cultural activities may be an end in themselves, or they may contribute to the production of cultural goods and services. Thus, expressions are cultural to the extent that they carry meaning, value and identity and can be conveyed, expressed, through cultural activities, goods or services. They can come from individuals, groups or societies. Activities, goods or services have

10032-439: The preservation of cultural diversity requires respect for fundamental human rights, particularly cultural rights. The 2005 Convention also recognizes this close relationship by articulating the principle of respect for human rights and fundamental freedoms that "[c]ultural diversity can only be protected and promoted if human rights and fundamental freedoms such as freedom of expression , information and communication, as well as

10146-705: The preservation of cultural heritage, traditional knowledge and traditional cultural expressions is covered by other UNESCO conventions. With respect to the cultural expressions of indigenous peoples , the United Nations Declaration on the Rights of Indigenous Peoples specifically mentions the right of indigenous peoples to preserve, control, protect and develop their cultural heritage , knowledge and traditional expressions, as well as their right to collective intellectual property . The World Intellectual Property Organization (WIPO) has established

10260-525: The public and which carry symbolic meanings or cultural values distinct from the commercial value of that product. This includes: (1) the product of individual creativity in the performing arts, visual arts and crafts; (2) sounds, images and texts in films , videos, sound recordings, books , magazines , broadcast programs and other forms of media, including multimedia , whether already in existence or yet to be invented; and (3) collections and exhibits in museums , art galleries and libraries , including

10374-462: The reaffirmation of the cultural sovereignty of states , the recognition of the dual nature of cultural goods and services (as having both economic and cultural value), and the rebalancing of cultural exchanges through the strengthening of international cooperation and solidarity measures. The concept of cultural expression is central to the 2005 Convention, which provides a definition: Cultural expressions are those expressions which result from

10488-408: The rural poor as folk. The common feature in this expanded definition of folk was their identification as the underclass of society. Moving forward into the 20th century, in tandem with new thinking in the social sciences , folklorists also revised and expanded their concept of the folk group. By the 1960s, it was understood that social groups , i.e., folk groups, were all around us; each individual

10602-420: The same function of learning and practicing skills needed for growth. So bouncing and swinging rhythms and rhymes encourage development of balance and coordination in infants and children. Verbal rhymes like Peter Piper picked... serve to increase both the oral and aural acuity of children. Songs and chants, accessing a different part of the brain, are used to memorize series ( Alphabet song ). They also provide

10716-411: The scope of the 2005 Convention and the definition of cultural expressions set out in its Article 4. It is possible to address the issue of their protection and promotion using the concept of cultural diversity rather than intellectual property . This is a point of contact of the competences of WIPO and UNESCO , which is materialized through other international instruments such as the Convention for

10830-410: The second half of the 20th century, when the two terms " folklore performance " and "text and context" dominated discussions among folklorists. These terms are not contradictory or even mutually exclusive. As borrowings from other fields of study, one or the other linguistic formulation is more appropriate to any given discussion. Performance is frequently tied to verbal and customary lore, whereas context

10944-521: The self-representation of a community. Different genres are frequently combined with each other to mark an event. So a birthday celebration might include a song or formulaic way of greeting the birthday child (verbal), presentation of a cake and wrapped presents (material), as well as customs to honor the individual, such as sitting at the head of the table and blowing out the candles with a wish. There might also be special games played at birthday parties, which are not generally played at other times. Adding to

11058-444: The sophisticated world of adults, and quite as little affected by it. Of particular interest to folklorists here is the mode of transmission of these artifacts; this lore circulates exclusively within an informal pre-literate children's network or folk group. It does not include artifacts taught to children by adults. However children can take the taught and teach it further to other children, turning it into childlore. Or they can take

11172-403: The speaker has just thought up within the current context. Another example is the child's song Old MacDonald Had a Farm , where each performance is distinctive in the animals named, their order, and their sounds. Songs such as this are used to express cultural values (farms are important, farmers are old and weather-beaten) and teach children about different domesticated animals. Verbal folklore

11286-412: The study of a group: you can start with an identified group in order to explore its folklore, or you can identify folklore items and use them to identify the social group. Beginning in the 1960s, a further expansion of the concept of folk began to unfold through the study of folklore. Individual researchers identified folk groups that had previously been overlooked and ignored. One notable example of this

11400-405: The study of folklore is "concerned with the study of traditional culture, or the unofficial culture" that is the folk culture, "as opposed to the elite culture, not for the sake of proving a thesis but to learn about the mass of [humanity] overlooked by the conventional disciplines." Individual folklore artifacts are commonly classified as one of three types: material, verbal or customary lore. For

11514-470: The study of folklore. With the increasing theoretical sophistication of the social sciences , it has become evident that folklore is a naturally occurring and necessary component of any social group; it is indeed all around us. Folklore does not have to be old or antiquated; it continues to be created and transmitted, and in any group, it is used to differentiate between "us" and "them." Folklore began to distinguish itself as an autonomous discipline during

11628-469: The ten-volume work History of the Lithuanian Nation ( Dzieje starożytne narodu litewskiego ) between 1835 and 1841. The first volume contained a description of Lithuanian mythology. However, modern historians have accused Narbutt of falsifying historical facts and reporting speculations. Thus, some gods mentioned only by Narbutt and unknown from other sources are usually treated as inventions of

11742-420: The topic, there are "four functions to folklore": The folk of the 19th century, the social group identified in the original term "folklore" , was characterized by being rural, illiterate, and poor. They were the peasants living in the countryside, in contrast to the urban populace of the cities. Only toward the end of the century did the urban proletariat (on the coattails of Marxist theory) become included with

11856-478: The totality of their customs and beliefs as folklore. This distinction aligned American folkloristics with cultural anthropology and ethnology , using the same techniques of data collection in their field research. This divided alliance of folkloristics between the humanities in Europe and the social sciences in America offers a wealth of theoretical vantage points and research tools to the field of folkloristics as

11970-464: The turn of the 20th century, the number and sophistication of folklore studies and folklorists had grown both in Europe and North America. Whereas European folklorists remained focused on the oral folklore of the homogenous peasant populations in their regions, the American folklorists, led by Franz Boas and Ruth Benedict , chose to consider Native American cultures in their research, and included

12084-432: The use of symbolic language, and employing the subjunctive mood . In viewing the performance, the audience leaves the daily reality to move into a mode of make-believe, or "what if?" It is self-evident that this fits well with all types of verbal lore, where reality has no place among the symbols, fantasies, and nonsense of traditional tales, proverbs, and jokes. Customs and the lore of children and games also fit easily into

12198-688: The utility of the object. Before the Second World War , folk artifacts had been understood and collected as cultural shards of an earlier time. They were considered individual vestigial artifacts, with little or no function in the contemporary culture. Given this understanding, the goal of the folklorist was to capture and document them before they disappeared. They were collected with no supporting data, bound in books, archived and classified more or less successfully. The Historic–Geographic Method worked to isolate and track these collected artifacts, mostly verbal lore, across space and time. Following

12312-488: The varied forms in which the cultural heritage of humankind is expressed, enriched and transmitted through the variety of cultural expressions, but also in the various modes of artistic creation, production, dissemination, distribution and enjoyment of cultural expressions, whatever the means and technologies used [...] The last sentence refers to cultural expressions, which are a manifestation of cultural diversity. The 2001 Universal Declaration on Cultural Diversity states that

12426-418: Was a Polish Protestant activist. He wrote a treatise on idolatry About the gods of Samogitians, other Sarmatians, and false Christians ( De diis Samagitarum caeterorumque Sarmatarum et falsorum Christianorum , written ca. 1582 and published in 1615). This 18-page treatise contained a lists of 76 Lithuanian gods with brief description of their functions. Łasicki obtained most of his information from Łaszkowski,

12540-416: Was adopted unanimously by the member states of UNESCO. The Convention for the Safeguarding of the Intangible Cultural Heritage adopted in 2003 reiterates the concept of cultural diversity, this time within a binding legal instrument. The diversity of cultural expressions is one aspect of cultural diversity that UNESCO is addressing. Cultural expression is seen as "[a] mode of communication [that] fills

12654-458: Was born from the juxtaposition of the concepts of cultural content and artistic expressions. The original text read: The term cultural expressions encompasses both the notions of cultural content and artistic expression and refers to the various ways in which cultural goods and services, as well as other cultural activities, can carry symbolic meaning or transmit cultural values. The cultural content of these goods, services and activities refers to

12768-626: Was coined in 1846 by the Englishman William Thoms , who contrived the term as a replacement for the contemporary terminology of "popular antiquities" or "popular literature". The second half of the word, lore , comes from Old English lār 'instruction'. It is the knowledge and traditions of a particular group frequently passed along by word of mouth. The concept of folk has varied over time. When Thoms first created this term, folk applied only to rural, frequently poor, and illiterate peasants. A more modern definition of folk

12882-437: Was enthusiastically embraced by smaller nations, like Finland, Estonia, and Hungary, which were seeking political independence from their dominant neighbors. Folklore, as a field of study, further developed among 19th-century European scholars, who were contrasting tradition with the newly developing modernity . Its focus was the oral folklore of the rural peasant populations, which were considered as residues and survivals of

12996-513: Was the original folklore , the artifacts defined by William Thoms as older, oral cultural traditions of the rural populace. In his 1846 published call for help in documenting antiquities, Thoms was echoing scholars from across the European continent to collect artifacts of verbal lore. By the beginning of the 20th century, these collections had grown to include artifacts from around the world and across several centuries. A system to organize and categorize them became necessary. Antti Aarne published

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