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50 results for “folk”
Exploring Vocatives in Folk Songs of the Podillia Region
<p>This dataset is based on the folklore collection <em>Pisni Podillia: zapysy Nasti Prysiazhniuk v seli Pohrebyshche. 1920-1970 rr.</em> (Myshanych 1976). The collection consists of 850 songs, encompassing 13,005 lines and 78,888 tokens. Vocatives were manually distinguished and recorded in a separate column in the corpus without the assistance of RStudio, due to the complexity of distinguishing vocatives in Ukrainian.</p> <p>Vocatives in Ukrainian folk songs were analysed using the R programming language along with RStudio. </p> <p>Code written for text analysis in Estonian Literary Museum. </p> <p> </p> <p>This dataset consists of the following files:</p> <p>1. <strong>vocatives_Podillia_folk_songs.R</strong>: R script used for analyzing the corpus, including vocative counting, song length analysis, POS-tag analysis, semantic group and structural types analysis. </p> <p>2. <strong>corpus_vocatives.csv</strong>: Contains the text data of Podillia folk songs with manually distinguished vocatives. </p> <p>3. <strong>corpus_POS_tokens.csv</strong>: Contains verified the POS-tagged tokens of the corpus.</p> <p> </p>
Local Ecological Knowledge and folk medicine in historical Esthonia, Livonia, Courland and Galicia, 1805-1905
<p>Background: Historical ethnobotanical data can provide valuable information about past human-nature relationships as well as serve as a basis for diachronic analysis. This thesis aims to document medicinal plant uses in the 19th century mentioned in German-language sources in the historical regions of Esthonia, Livonia, Courland and Galicia to analyse the gathered data in regard to plant families and medicinal use categories and finally to qualitatively compare the results with various studies from the study area and surrounding regions with recently acquired data as well as historical data.</p> <p>Methods: Data was mainly obtained by systematic manual search in various relevant historical German-language works focused on the medicinal use of plants. Data about plant and non-plant constituents, their usage, the mode of administration, used plant parts and their German and local names was extracted and collected into a database in the form of Use Reports.</p>
FolkArtiNet: Folk music groups: their artistic practice and infrastructural needs in the COVID-19 era and beyond - survey data
<p> The online survey was one of three methods used for collecting information about the infrastructural needs of the folk music groups. It included a series of questions about different areas of artistic activity, such as working on repertoire, collaboration among group members, storage and sharing of data, and organization of artistic events. The survey data includes all questions and answers in csv format.</p>
The role of population size in folk tune complexity
<p>Demography, particularly population size, plays a key role in cultural complexity. However, the relationship between population size and complexity appears to vary across domains: while studies of technology typically find a positive correlation, the opposite is true for language, and the role of population size in complexity in the arts remains to be established. Here, we investigate the relationship between population size and complexity in music using Irish folk session tunes as a case study. Using analyses of a large online folk tune dataset, we show that popular tunes played by larger communities of musicians have diversified into a greater number of different versions which encompass more variation in melodic complexity compared with less popular tunes. However, popular tunes also tend to be intermediate in melodic complexity and variation in complexity is lower than expected given the increased number of tune versions. We also find that user preferences for individual tune versions are more skewed in popular tunes. Taken together, these results suggest that while larger populations create more frequent opportunities for musical innovation, they encourage convergence upon intermediate levels of melodic complexity due to a widespread inverse U-shaped relationship between complexity and aesthetic preference. We explore the assumptions underlying our empirical analyses further using simple simulations of tune diffusion through populations of different sizes, finding that a combination of biased copying and structured populations appears most consistent with our results. Our study demonstrates a unique relationship between population size and cultural complexity in the arts, confirming that the relationship between population size and cultural complexity is domain-dependent, rather than universal.</p>
Indian Folk Music Dataset
<p>This dataset is a collection of mel-spectrogram features extracted from Indian folk music containing the following 15 folk styles:<br> Bauls, Bhavageethe, Garba, Kajri, Maand, Sohar, Tamang Selo, Veeragase, Bhatiali, Bihu, Gidha, Lavani, Naatupura Paatu, Sufi, Uttarakhandi.</p> <p>The number of recordings varies from 16 to 50 in the mentioned folk styles representing the scarcity of availability of given folk styles on the Internet. There are at least 4 artists and a maximum of 22. Overall there are 125 artists (34 female + 91 male) in these 15 folk styles. </p> <p>There is a total of 606 recordings in the dataset, with a total duration of 54.45 hrs.<br> Mel-spectrogram is extracted from a 3-second segment with each song's 1/2 second sliding window. Extracted mel-spectrogram for each segment is annotated with folk_style, state, artist, gender, song, source, no_of_artists, folk_style_id, state_id, artist_id, gender_id.<br> _________________________________________________________________________________________________________<br> This project was funded under the grant number: ECR/2018/000204 by the Science & Engineering Research Board (SERB).</p>
FIGURE 1 in Folk taxonomy of the gray mullets (Mugilidae: Mugiliformes) in a marine extractivist reserve of northern Brazil
FIGURE 1 | Map of Ajuruteua Plateau, on the northern coast of Brazil, showing the two villages at which the ethnotaxonomic data on the fish of the family Mugilidae were collected in the present study.
FIGURE 4 in Folk taxonomy of the gray mullets (Mugilidae: Mugiliformes) in a marine extractivist reserve of northern Brazil
FIGURE 4 | Results of the Redundancy Analysis (RDA) of the definition of the ethnospecies by the artisanal fishers from the Caeté-Taperaçu Marine Extractive Reserve in Bragança, northern Brazil, with the characteristics that best identify each taxon. A. CA: 'caica', PA: 'pratiqueira', PR: 'pratiqueira/ ribação', SR: 'sajuba/ribação', RI: 'ribação', UR: 'urubarana', PQ: 'pratiqueirão', FI: 'filhotes'; B: narrow body, B1: juvenile of large mullet, D: does not grow a lot, G: narrow headed, I: small headed, M: small eyed, P: small scales, U: does not jump, Z: smells. B. TA: 'tainha', TM: 'tainha macho', TBR: 'tainha branca', TB: 'tainha boi', TC: 'tainha chata', TGP: 'tainha grande/puá', TG: 'tainha grande', TCU: 'tainha curimã', CT: 'caica tamatarana', SA: 'sajuba', A: rounded body, C: grows a lot, E: back dark/bluish, F: flattened head, H: rounded head, J: large headed, L: large eyed, N: red eyed, O: large scales, Q: rounded scales, R: shiny scales, S: scales close together, V: smart, X: stupid. C. PB: 'pratiqueira/barrasco', BA: 'barrasco', BR: 'barrasco/ribação', SBR: 'sajuba/barrasco/ribação', IR: 'irichona', A1: sexual dimorphism, C1: 'baby mullet'.
FIGURE 3 in Folk taxonomy of the gray mullets (Mugilidae: Mugiliformes) in a marine extractivist reserve of northern Brazil
FIGURE 3 | Folk taxonomy designated by the artisanal fishers of the Caeté-Taperaçu Marine Extractive Reserve for the gray mullet (Mugilidae) and the corresponding scientific classification. The numbers within parentheses indicate the number of fishers reporting the ethnospecies. * = the number of fishers who stated that they did not know the ethnospecies or that it did not occur in the region.
FIGURE 2 in Folk taxonomy of the gray mullets (Mugilidae: Mugiliformes) in a marine extractivist reserve of northern Brazil
FIGURE 2 | Morphological features of a gray mullet (Mugilidae), showing the terminology used by the fishers of the Caeté-Taperaçu Marine Extractive Reserve in Bragança, Pará, Brazil.
Fig. 4 in Stag Beetle Lucanus Cervus (Linnaeus, 1758) In Latvia (Coleoptera: Lucanidae): Faunal Status, Protection And Use In Folk Art
Fig. 4. The sweater knitted and embroidered by Nadežda Harlamova with an image of a stag beetle. Photo: Nadežda Harlamova.
Fig 2 in Stag Beetle Lucanus Cervus (Linnaeus, 1758) In Latvia (Coleoptera: Lucanidae): Faunal Status, Protection And Use In Folk Art
Fig 2. Distribution map showing known sites of records for Lucanus cervus in Latvia. Red dots are marked with higher confidence (all more than 40 years old), but with black squares – low reliability or erroneously published information.
Fig. 3 in Stag Beetle Lucanus Cervus (Linnaeus, 1758) In Latvia (Coleoptera: Lucanidae): Faunal Status, Protection And Use In Folk Art
Fig. 3. The mittens knitted by Laura Riekstiņa with an image of a stag beetle on the palm part of the mitten. Photo: Arvīds Barševskis.
Fig. 1 in Stag Beetle Lucanus Cervus (Linnaeus, 1758) In Latvia (Coleoptera: Lucanidae): Faunal Status, Protection And Use In Folk Art
Fig. 1. Lucanus cervus specimen caught in 1969, in Ieriķi. Currently kept in Alūksne Museum. Photo: Mārtiņš Kalniņš
Re-igniting Windrush Folk stories and songs to improve African-Caribbean mental health disparities in the London Boroughs of Lewisham & Greenwich
<p>This cross-disciplinary intergenerational project created a network of experts from multiple fields, aiming to achieve several key objectives. Using A-C Folk Songs and Art methods, it provided support to hub spaces, including training, remuneration for services and connecting them to therapists. The project also embeded culturally relevant narrative therapy techniques in community settings to support proactive positive mental health, whilst ensuring community organisations had access to affordable meeting spaces. Finally, it created opportunities for intergenerational connection, fostering a more cohesive and supportive community environment.</p> <p>A-C communities are 40% more likely than white-British people to come into contact with mental health services and be detained under the Mental Health Act, reflecting a stark historical pattern of structural racism and its ensuing health inequalities within the mental health system (Vige, 2019). Access to mental healthcare services are limited as a result of institutional, cultural and socio- economic exclusion factors related to BME groups (Memon, et al., 2016). The field of clinical psychology often 'assumes a deficit-based-approach' to the mental health of those minoritised by society (Renkly & Bertolini, 2018). This model is problematic with those from A-C groups because it places emphasis on the individual rather than systems of oppression and ignores the ways cultural traditions and communities create supporting mechanisms for mental health. Our approach offers an alternative model.</p> <p>This project uses an augmented generative co-design framework base on Bird et al (2021) where a narrative enquiry (Pinnegar, & Daynes, 2007) is used to engage participants in conversations on folk songs and how these can be utilised to support mental health of the local A-C community. Through a series of workshops we brought together storytellers, A-C elders and young adults 18-85 to gather traditional stories as well as to create new ones. This supported our understanding of both folk stories and song routes and the lessons learnt within them. We used these stories as analogies to map out the socio-cultural ways in which mental health is discussed in African-Caribbean communities, capturing these conversations via film which, after each session, is edited and re-shared in the next session to create a focus for future conversations. </p> <p>During the project we have co-produced a toolkit including: film, workshop plans and thematic analysis of findings. Our work will feed into at least 2 publications which connect the 10 NHS 75 projects (article and policy document) and we plan on publishing at least 2 further works; 1 on methodological insight and the other on research findings.</p> <p>Our work has been shared at the International symposium (1st July 2024 University of Greenwich) linked to mental Health and the Climate crisis, opening possible future avenues of work with international organisations as well as with the Caribbean Association. </p> <p> </p>
index of folk culture (journal) articles [Arabic]
<p>فهرس مقالات مجلة «<a href="http://folkculturebh.org/">الثقافة الشعبية</a>» من العدد 1 حتى العدد 44؛ تم استخراجها لأغراض البحث العلمي، و قد تفيد سائر الباحثين.</p>
Volker Mahnert chasing aquatic wildlife and being the attraction of village folks on Lefkada Island in 1971 (photo B. Hauser). in Volker Mahnert 3 December 1943 – 23 November 2018
Volker Mahnert chasing aquatic wildlife and being the attraction of village folks on Lefkada Island in 1971 (photo B. Hauser).
"I'm something of an untrained, unofficial cultural anthropologist myself. Ihave a business interviewing people to capture their personal histories. I'm always interested how people fit into their world and how they affect their world. I'm a graphic designer who works in the same building as the printing presses that I recorded. Iwalk past the presses every day on my way to talk to the folks in the prepress department. I'm on friendly but not drinking terms with the pressmen. I'm a friend with the prepress manager. Three Heidelberg presses are installed side by side in an open warehouse-like room. The presses are about twenty feet long and about five feet high. With their series of four humps or mounds where each printing cylinder is located, the presses remind one of giant, gray, mechanical caterpillars. Each press has a cyan cylinder, a magenta cylinder, a yellow cylinder and a black cylinder – so the humps are brightly colored. The presses are well lit by banks of fluorescent lights hanging from the ceiling over each press. When you walk into the press room you hear the sound of rock music blaring from a boom box radio mixed with the general din of the presses. It is only when you walk up to a press like Idid for the recordings that you really start to hear the individual strains of clicking, clacking and mechanical, syncopated chattering. When I made my recordings I was intrigued by the subtle variations in the sounds produced by these machines that aren't apparent when you first walk through the door. The pressmen were kind enough to allow me to walk right up to the presses and poke my microphone quite close to the rotating press cylinders. Iuse a Danish Pro Audio microphone about the size of a pencil eraser. An extremely sensitive mic with the capacity for capturing loud sounds such as the presses up close. Rotating the mic to one side or the other focused on the unique sounds coming from one cylinder or the other." [Kevin/KMerrell]18 in Collecting Sounds. Online Sharing of Field Recordings as Cultural Practice
"I'm something of an untrained, unofficial cultural anthropologist myself. Ihave a business interviewing people to capture their personal histories. I'm always interested how people fit into their world and how they affect their world. I'm a graphic designer who works in the same building as the printing presses that I recorded. Iwalk past the presses every day on my way to talk to the folks in the prepress department. I'm on friendly but not drinking terms with the pressmen. I'm a friend with the prepress manager. Three Heidelberg presses are installed side by side in an open warehouse-like room. The presses are about twenty feet long and about five feet high. With their series of four humps or mounds where each printing cylinder is located, the presses remind one of giant, gray, mechanical caterpillars. Each press has a cyan cylinder, a magenta cylinder, a yellow cylinder and a black cylinder – so the humps are brightly colored. The presses are well lit by banks of fluorescent lights hanging from the ceiling over each press. When you walk into the press room you hear the sound of rock music blaring from a boom box radio mixed with the general din of the presses. It is only when you walk up to a press like Idid for the recordings that you really start to hear the individual strains of clicking, clacking and mechanical, syncopated chattering. When I made my recordings I was intrigued by the subtle variations in the sounds produced by these machines that aren't apparent when you first walk through the door. The pressmen were kind enough to allow me to walk right up to the presses and poke my microphone quite close to the rotating press cylinders. Iuse a Danish Pro Audio microphone about the size of a pencil eraser. An extremely sensitive mic with the capacity for capturing loud sounds such as the presses up close. Rotating the mic to one side or the other focused on the unique sounds coming from one cylinder or the other." [Kevin/KMerrell]18
Enhancing pay quality: Development of a physical environment rating scale for children's folk games in chinese neighborhoods
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The role of population size in folk tune complexity
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Guatemalan Deer Folk Art Mask
Purchased at Nim Po't, Antigua, Guatemala Scanned with an Artec Leo and processed in Artec Studio 16, Zbrush, Blender, and Xnormal Source: Objaverse 1.0 / Sketchfab
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Allen Brain Atlas
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DANDI Archive for NWB datasets
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International Brain Laboratory public data
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OpenNeuro
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