Assignment Code: MFC-006 / TMA-01 / 2022-23

Course Code: MFC-006

Assignment Name: Folklore: Canon, Multimediality, Interdisciplinarity and Social

Year: 2022 - 2023

Verification Status: Verified by Professor

Answer any 5 questions. All questions carry equal marks. (20 x 5 = 100)

Q 1. Explain the importance of cultural milieu for the emergence of the contemporary trends in folklore studies.

Ans) The cultural context in which folklore develops is an essential component of the study of folklore, and the development of modern trends in the field of folklore studies is not an exception to this rule. The social, historical, and political framework in which a particular cultural phenomenon originates is referred to as the cultural milieu. When it comes to the field of folklore studies, the modern tendencies that have surfaced over the course of the most recent few years are profoundly impacted by the cultural environment in which they have formed.

The growth of globalisation and the growing interconnection of the world is an important part of the cultural environment that has moulded contemporary trends in folklore studies. This has been a significant factor in the development of these trends. People who come from a variety of backgrounds and traditions are coming into contact with one another, and as a result, there has been a rise in curiosity about the ways in which various cultures and traditions interact with one another, as well as the ways in which they impact one another. This has resulted in a greater emphasis on comparative approaches to folklore studies, which are approaches that seek to investigate the similarities and contrasts that exist across various cultural traditions. Comparative methods have been utilised to investigate a variety of topics, including the manners in which various cultures depict supernatural beings, the significance of oral tradition in a variety of cultural contexts, and the processes by which cultural traditions evolve and change over the course of time.

The growing acknowledgment of the role that power and politics play in the formation of cultural traditions is yet another significant feature of the cultural milieu that has contributed to the development of contemporary trends in the study of folklore. Because of this, there is a rising interest in investigating the ways in which folklore and other cultural traditions are utilised to either support or challenge the power structures that are already in place. For instance, academics have investigated the ways in which folk narratives are utilised to either support or oppose political ideas, as well as the ways in which various groups within a community utilise folklore to establish their identity and the cultural legacy they possess. This has resulted in a greater emphasis being placed on the social and political circumstances in which folklore arises, as well as the various ways in which it reflects and affects the values and beliefs of a specific culture.

In contemporary folklore studies, a trend that is connected to this one is the increasing emphasis on the agency of the individual and the ways in which folklore is actively generated and altered by people who participate in it. [Citation needed] [Citation needed] Instead of viewing individuals merely as passive beneficiaries of cultural traditions, this viewpoint places an emphasis on the active role that individuals play in the creation and shaping of cultural traditions. For instance, academics have investigated the ways in which people actively modify and transform classic stories and songs, as well as the ways in which they create new ones that represent their own personal experiences and identities. This has not only led to a deeper understanding of the creativity and diversity of individual expression that exists within cultural traditions, but it has also challenged old views of the authenticity and purity of cultural expression.

The context of culture has also had an effect on the research methods and documentation techniques used for folklore. Technology and communication advancements have made it possible to collect and share folklore from a wide variety of sources, as well as made it possible to preserve and spread traditional cultural practises and expressions. These developments have made it easier to collect and share folklore from a wide range of sources. Because of this, there has been a rise in interest in the field of digital folklore, which investigates the ways in which folklore is created, disseminated, and modified in digital settings. Scholars have also investigated the impact that social media and other forms of digital communication are having on traditional forms of folklore, as well as the ways in which cultural traditions are generated and passed down from generation to generation.

In conclusion, the cultural context plays a significant part in the process that leads to the development of contemporary trends in the field of folklore studies. The increasing interconnectedness of the world, the recognition of the role that power and politics play in shaping cultural traditions, the emphasis on individual agency, and the advancements in technology and communication are all factors that have influenced the ways in which folklore is studied and documented. We are able to acquire a more nuanced appreciation of the variety and complexity of cultural traditions, as well as their ongoing development in the contemporary world, if we comprehend the ways in which the cultural milieu is responsible for the formation of contemporary trends in the study of folklore.

Q 2. What is “Performance-centered Approach” to the study of folklore?

Ans) The Performance-centered Approach is a methodology that is employed in the study of folklore that focuses on the performance of traditional creative expressions including dance, music, storytelling, and other kinds of cultural expression. This approach is also known as the Performance-centered Approach. This method places an emphasis on the social and cultural environment in which traditional forms of expression are performed, as well as the function that performance has in the development and transmission of folklore.

The idea that folklore is not simply a collection of static texts or items, but rather a dynamic and alive tradition that is continually developing through performance is one of the key concepts that underpins the Performance-centered Approach. This method acknowledges the significance of the performer and the audience in the development and interpretation of folklore, and it tries to investigate the ways in which these two roles interact with one another. An approach to the study of storytelling that is centred on performance, for instance, would place an emphasis on the interaction between the storyteller and the audience, the use of gestures and facial expressions to communicate meaning, and the various ways in which the performance is adapted to be appropriate for the specific setting in which it is being presented.

The Performance-centered Approach places a strong emphasis on the social and cultural environment that surrounds folkloric performances, which is another essential component of the methodology. This comprises the actual setting in which the performance occurs, the social interactions that exist between the actors and the audience, as well as the historical and cultural milieu from which the performance emerges. For instance, an approach to the study of dance that is centred on the performance of the dance would place an emphasis on the ways in which the dance reflects the cultural beliefs and values of the community in which it is performed, the role that the dance plays in social and religious rituals, and the ways in which the dance has evolved over time in response to changing social and cultural contexts.

Within the realm of the study of folklore, the Performance-centered Approach acknowledges both the significance of documentation and the value of preservation. This involves the archiving of traditional forms of expression, the recording of performances, and the building of archives and collections that can be utilised for research and educational purposes. One of the most significant benefits of the Performance-centered Approach is that it offers a more dynamic and comprehensive perspective on folklore. This perspective places an emphasis on the ways in which performance, context, and social relationships interact to create and maintain traditional forms of expression. This method acknowledges not just the variety and complexity of folklore, but also the ways in which it is ever-evolving and adjusting to the shifting social and cultural environments in which it is embedded.

The Performance-centered Approach has been used in a diverse selection of settings, ranging from the investigation of classic forms of music and dance to the examination of cutting-edge manifestations of popular culture. Additionally, it has been utilised in the production of museum displays, educational programmes, and community-based projects that are geared toward the preservation and promotion of traditional forms of expression.

One of the issues that the Performance-centered Approach faces is the difficulty of striking a balance between the need to conserve traditional modes of expression and the dynamic and evolving nature of folklore. This is one of the challenges that the Performance-centered Approach faces. In order to accomplish this, it is necessary to pay close attention to the ways in which traditional modes of expression are adapted and transformed over the course of time, as well as the ways in which these modes of expression are interpreted and reinterpreted by various communities and cultural contexts. Another obstacle is the requirement for a strategy that pulls from a wide variety of subjects, such as anthropology, musicology, linguistics, and cultural studies. This is a multidisciplinary approach that is needed. To accomplish this goal, academics coming from a variety of fields need to work together and cooperate, and they also need to engage in conversation with the communities and individuals that develop and perform traditional forms of expression.

The Performance-centered Approach is a valuable methodology for the study of folklore because it emphasises the importance of performance, social and cultural context, as well as the dynamic and evolving nature of traditional forms of expression. In conclusion, the Performance-centered Approach is a valuable methodology for the study of folklore. This method considers the many facets and complexities of folklore, and it offers a comprehensive and multidisciplinary perspective on traditional forms of cultural expression. This perspective is necessary for comprehending and appreciating the myriad facets that make up human culture.

Q 3. What are the different terms used to refer to folklore in different culture? Explain the terms with examples.

Ans) The phrase "folklore" is a term that is used to describe to traditional practises, beliefs, stories, and other forms of cultural expressions that are passed down from one generation to the next within a community or group. These are all examples of cultural expressions. On the other hand, diverse cultures have various names for the types of stories that we would categorise as folklore.

Some examples of terms that are used to refer to folklore in different cultures:

Oral Tradition: This phrase is frequently used to indicate to the process by which traditional tales, songs, and other forms of cultural expression are passed down through generations using exclusively verbal means. Oral tradition can be found in a wide variety of civilizations all over the world. It is most frequently connected with groups that place a significant focus on the art of storytelling and verbal communication. For instance, in many Native American societies, the oral tradition is an important means of transmitting traditional tales and customs from one generation to the next.

Mythology: Mythology is a term that is frequently used to refer to the traditional stories and beliefs of a culture, particularly those that deal with the origin of the world, the gods, and other supernatural beings. The stories and beliefs that are considered to be part of a culture's mythology are particularly significant. Mythology may be found in a wide variety of cultures all across the world. Its primary function is to provide an explanation for the mysteries of the world. For instance, in Greek mythology, the gods and goddesses are portrayed as having human-like features, and they are frequently involved in the lives of mortals. This serves as a means of explaining both natural occurrences and human conduct.

Folktales: The term "folktale" refers to a certain sort of traditional storey that is frequently told from one generation to the next and typically contains some kind of moral or instructive message woven within the story's plot. There are many different types of folktales, such as fairy tales, fables, and legends, and they may be found in many different civilizations all over the world. For instance, the Anansi stories are a well-known type of folktale in West Africa. These tales recount the exploits of Anansi, a trickster spider, and frequently serve as a vehicle for imparting insights regarding the significance of being both wise and clever.

Proverbs: Proverbs are pithy sayings or statements that have been used to communicate wisdom or moral principles for a very long time. They are frequently handed down from one generation to the next. There are many different cultures all throughout the world, and oral tradition is generally related with the passing down of proverbs. For instance, in China, proverbs play an essential role in the country's traditional culture. Many Chinese proverbs address the significance of putting in long hours of labour, remaining patient, and remaining humble.

Folk Music: Folk music is a phrase that is used to describe traditional music that has been handed down from one generation to the next. This type of music frequently reflects the culture and traditions of a specific community. The term "folk music" refers to a style of music that is common in many different cultures around the world and is frequently linked to a specific geographical area or ethnic group. For instance, in Ireland, traditional folk music is an essential component of the nation's cultural legacy. This type of music is frequently associated with the utilisation of traditional instruments such as the fiddle, accordion, and other similar instruments.

Superstition: The term "superstition" is used to refer to ideas and practises that are thought to be based on irrational or unsubstantiated beliefs. Superstitions can be found in many different cultures around the world. The practise of adhering to ancient rituals and beliefs is frequently linked to the presence of superstitions in many of the world's diverse civilizations. For instance, in many cultures of Latin America, it is regarded extremely unlucky to go beneath a ladder, and it is widely held that breaking a mirror will bring the person smashing it seven years of misfortune.

In conclusion, the terms used to refer to folklore can vary widely depending on the culture and context in which they are used. However, they all share the common thread of being traditional cultural expressions that are passed down through generations and are an important part of a culture's heritage and identity. Understanding these different terms can help us to appreciate the richness and diversity of human culture and to gain a deeper understanding of the ways in which different cultures express their beliefs, values, and traditions.

Q 5. Write a long note on the Oral-formulaic theory.

Ans) The oral-formulaic theory is a framework for the study of oral literature, which posits that many traditional forms of narrative poetry are composed and transmitted orally through a process of formulaic composition.

According to this theory, poets or performers of oral poetry make use of a repertoire of conventionalized phrases, formulae, and motifs that are used to build and structure their compositions. The theory has its roots in the work of Milman Parry and Albert Lord, who conducted extensive fieldwork on oral traditions in Yugoslavia in the 1930s.

The oral-formulaic theory is based on the idea that many forms of traditional poetry, such as epic poetry, are composed and transmitted orally over an extended period of time. According to this theory, poets or performers of oral poetry make use of a large number of formulae - pre-existing, conventionalized phrases or lines - that are used to build and structure their compositions. These formulae are highly stereotyped and are designed to fit into a particular metrical structure or form, such as the hexameter in ancient Greek epic poetry.

The use of formulae enables the poet or performer to create and transmit a highly complex and stylistically consistent narrative. By drawing on a vast store of traditional formulae, the poet or performer is able to create a narrative that is highly structured and yet flexible enough to allow for the improvisation of new material. This formulaic structure allows the poet or performer to maintain the continuity of the narrative over time, and to adapt the story to different audiences and contexts.

The oral-formulaic theory has been used to study a wide range of oral traditions, including ancient Greek epic poetry, Old English poetry, and various forms of traditional narrative poetry from around the world. One of the key insights of the theory is that the use of formulae is not a sign of a lack of creativity or originality, but rather a highly sophisticated and complex system of composition that enables the poet or performer to create and transmit a narrative in a highly effective and efficient manner.

The theory has also been used to study the process of oral transmission itself, and to explore the ways in which oral poetry is adapted and transformed over time. According to the oral-formulaic theory, oral traditions are constantly evolving and changing over time, as poets or performers introduce new formulae, motifs, and themes into their compositions. This process of innovation and adaptation is crucial to the continued vitality of the oral tradition and helps to ensure that it remains relevant and engaging to new generations of listeners and performers.

The oral-formulaic theory now includes global traditions. These activities continue. The oral-written dichotomy no longer fits the evidence as it has grown. Formulaic language persists in multi-author texts. Languages and genres have various construction and content rules. This hypothesis also raises performance issues. Oral tradition opens linguistic, paralinguistic, and non-linguistic channels. Few of these issues appear in written form.

The notion also suggests that formulas and themes limit oral artists. It limits creative expression. These literary criticisms raise questions regarding formulae' "basic concepts" and themes' "typical content." These criticisms can be explained by viewing the oral-formulaic language as a targeted method of communication that simplifies complex material so it can be performed, and the tradition can be made official. The performance, audience, and later writer and reader can communicate swiftly by using a language register. As long as the audience and readers are fluent in the traditional language, it is simpler to communicate and understand.

The oral-formulaic theory has been the subject of considerable debate and criticism over the years. Some scholars have questioned the validity of the theory, arguing that it is overly simplistic and reductionist, and that it fails to account for the complexity and diversity of oral traditions. Others have criticized the theory for its lack of attention to the social and historical context in which oral traditions are created and transmitted.

Despite these criticisms, the oral-formulaic theory remains a valuable framework for the study of oral literature. It provides a useful tool for analysing the complex and highly structured narratives of traditional oral poetry, and for understanding the process of oral transmission and adaptation. It also helps to illuminate the creative and imaginative aspects of oral poetry, and to challenge the notion that traditional forms of literature are inherently inferior to written forms.

In conclusion, the oral-formulaic theory is a powerful and influential framework for the study of traditional forms of oral poetry. It provides a useful tool for analysing the structure and composition of oral literature, and for understanding the process of oral transmission and adaptation. While the theory has its critics, it remains an important and valuable tool for the study of traditional forms of literature, and a testament to the power and richness of the oral tradition.

Q 7. How is gender constructed in folk performative cultures?

Ans) Folk performative cultures, like many other cultural forms, are marked by the construction of gender. Gender is a social and cultural category that is distinct from biological sex. It refers to the cultural meanings and values attached to biological sex, and it encompasses social roles, behaviours, and expectations that vary across different cultures and historical periods. The construction of gender in folk performative cultures is a complex and multi-layered process that involves the interplay of various factors, such as tradition, power, identity, and resistance.

One of the keyways in which gender is constructed in folk performative cultures is through the use of traditional gender roles and archetypes. In many traditional cultures, gender roles are clearly defined and strictly enforced. Men and women are expected to perform different roles and occupy different spaces in society, and they are often subject to different rules and taboos. These gender roles are often reflected in folk performances, where people may have different roles, costumes, and dance styles. For example, in many South Asian cultures, men perform martial dances while women perform more graceful and fluid dances.

At the same time, the use of traditional gender roles and archetypes in folk performances can also be a site of resistance and subversion. Women, for example, may use traditional dance forms and costumes to challenge patriarchal norms and assert their own agency and identity. This can be seen in the case of the Lavani dance form of Maharashtra, India, which has traditionally been performed by women to celebrate female sexuality and challenge patriarchal norms. Similarly, men may use traditional dance forms to subvert dominant masculinity and assert alternative forms of masculinity. This can be seen in the case of the Drag King performances in the West, where women dress up as men and perform traditionally masculine roles to challenge gender norms.

Another important factor in the construction of gender in folk performative cultures is the use of the body as a site of gendered meaning and expression. The body is a powerful medium for the construction and negotiation of gender, as it is both a physical and a symbolic entity. In many folk performances, the body is central to the performance, and it is often used to convey gendered meanings and values. For example, in the case of the Chinese opera, the male actors may wear heavy makeup and padded costumes to create a more feminine appearance, while female actors may use more masculine gestures and vocal styles to create a more masculine appearance. Similarly, in many African cultures, the body is decorated with intricate patterns and designs to signify gender, identity, and status.

The construction of gender in folk performative cultures is also shaped by the broader social and cultural context in which these performances take place. For example, in many cultures, the performance of gender is linked to the performance of class, race, and ethnicity. The use of traditional gender roles and archetypes may be more pronounced in rural or lower-class contexts, while more fluid and experimental forms of gender expression may be more common in urban or cosmopolitan contexts. Similarly, the use of the body as a site of gendered meaning and expression may be more pronounced in cultures that value physicality and embodiment, while more abstract and intellectual forms of gender expression may be more common in cultures that value rationality and discourse.

In conclusion, the construction of gender in folk performative cultures is a complex and multi-layered process that involves the interplay of various factors, such as tradition, power, identity, and resistance. The use of traditional gender roles and archetypes, the use of the body as a site of gendered meaning and expression, and the broader social and cultural context in which these performances take place are all important factors in the construction of gender in folk performative cultures. By studying the construction of gender in these cultural forms, we can gain insights into the social, cultural, and Gender identity is also constructed through the portrayal of gender roles in folk performative cultures. In many folk performances, gender roles are stereotypically portrayed, reinforcing gender norms and expectations. For example, in many Indian folk performances, men are often portrayed as the providers and protectors, while women are depicted as passive, obedient and nurturing. These gender stereotypes can have a significant impact on the ways in which individuals view themselves and others, as well as how they understand gender relations.