Definition of Folklore in Context - Research Paper Example

Folklore Affiliation Society relates the definitions of folklore to the versions of a well-known tale since they are many and varied. This proliferation is because of both the semantic and theoretical differences. Furthermore, anthropologists and students of literature have expressed their own bias into their definitions of folklore. Consequently, while anthropologists regarded folklore as literature, scholars of literature referred to it as culture. This paper is a study of the general aspects found in the broad field, which scholars well know as folklore. The paper seeks to provide a definition of the term ‘folklore’, examine the various major and minor genre of folklore. It also analyses the reason behind the preference of the phrase ‘intangible human heritage’ as opposed to ‘folklore’ by UNESCO in the 2003 Convention. Key words: folklore, intangible human heritage, genres Folklore Folklore is a term generally used with reference to traditional human beliefs, superstition, tales, and human practices that have spread or conveyed in a casual manner (informal) – usually orally or through the word of mouth. The term is also relevant when referring to the comparative and comprehensive study of tradition knowledge and human culture, which people also refer to as folkloristic. Folklore encompasses such a wide area of activities carried out by people that it is impossible to categorize it comprehensively. The following is a representative and not an exhaustive list of the genres of folklore. Folktales Folktale is usually a fairy tale or narrative among the different forms of traditional oral arts. Folktales have many characteristics that include their oral narration style, their passing on from generation to generation. Their characteristics are reliant on the time and place where a person tells them. The themes of a folktale are usually general and timeless. Often concerned with the common human being; and function to make valid certain aspects of culture. This form of art has a cultural identity, because they possess values and traits of the culture that they originate. There is often exaggeration in the characters of a folktale; they may be either human or animals. They always have a realistic setting. People often used folktales to either entertain or teach a lesson. This was especially true for the African heritage and other cultural communities. Myths The main significance of a myth is to explain the reality of any natural phenomena. They have moral teachings and divine explanations concerning religious practices. The gods or goddesses are usually the focus of most myths. Many regard a myth as a traditional sacred story, as it normally features superhuman beings that purport to give a broadened description of a natural phenomena or traditional practice. For example, the effect of the full moon on the behavior of humans is a myth that many societies share despite of cultural or religious backgrounds. Almost every culture has its own version of common myths, which have archetypal images and themes. Myth is often a metamorphosis that gives rise to the existence of a new thing. They always take place in the past, in a previous ‘world’ that is different from this one that we may be familiar with. Ballads A ballad is generally a traditional poem or folksong that tells a story. The manifestation of the stories is usually as regarded by many. They have a musical quality and people often use them in songs. This is why they are often a useful form of narrative poetry. Legends Legends are traditional tales that generations pass on to other generations throughout the years. They regarded a generation needed to have a basis, in this case be historical. It is simply a story from the past. Legends popularly appear to be very true but often contain a comprehensive fusion of fact and fiction. They can be about people, places or even events in the past. It is always associated with a particular time and place. Tall Tales Tall tales are a subcategory of folktales. A tall tale is an improbable, extravagant or unusual story. A narrative depicts the wild adventures of exaggerated folk heroes. The narrative is essentially an oral form of entertainment. This type of art usually fascinates the audience because of the imaginative invention as opposed to the literal meaning of the tales. Fables Fables are short stories that are famous for having a moral lesson. Often employ personification as their major stylistic device. Animals with human characteristics are main characters in the fables. They are set in realistic location, usually set outside. Urban Legends Urban Legends are spurious stories involving rather extravagant contemporary incidents fused with a bit of tantalizing truth in them. Urban legends contain several folkloric elements and people convey them via mass media. An urban legend often takes the form of a cautionary tale. However, they differ in the telling but are always told as true and attributed to a secondhand or third-hand source. Fairy Tales This is an exaggerated tale of legendary beings and deeds primarily intended for children. They are traditional stories, which recount human encounters with supernatural beings, most often conveying a cautionary message. They began as oral tradition thus their exact origin is untraceable. They take place in an unreal or non-specific setting. As from earlier assertion, it is clear that fairy tales entertain children and provide them with the necessary cautionary information. There are various characters in fairy tales ranging from royal characters to evil ones. Material Culture This genre of folklore consists of folk art, vernacular architecture, textiles, modified mass-produced objects.in the field of archaeology, it refers to the totality of physical remains of a past society, through which archaeologists seek to use in their study. It may also be termed as the aggregate of physical objects or artifacts used by a society. ‘Intangible Human Heritage’ in the 2003 UNESCO Convention The Washington Conference came up with recommendations that paved the way for the statement ‘intangible cultural heritage’ as opposed to the term ‘folklore’. In 1989, UNESCO passed a declaration that urged member states to protect traditional culture and Folklore. Many states initially applauded this move by UNESCO because they saw it as an important declaration. However, after some few years, many states started to criticize the term ‘folklore’. They regarded it as a clear evidence of colonialism. They perceived it as having implied a stereotype that intangible heritage (‘folklore’) was only among the third and fourth world people (Ben-Amos, 2013). The reaction by the member states resulted to the emergence of ‘intangible human heritage’ as a focus of the international community. Other states reacted negatively to the association of heritage with objects only. UNESCO, as well as other member states, ultimately settled on the words ‘intangible heritage’ or ‘intangible cultural heritage’. After holding various meetings, UNESCO ultimately settled on the preferred term to cover the various forms of expressing the culture. This is since Intangible Heritage seemed to stress knowledge rather than static items only. These two descriptions, thus, encompass previous work done by either national or international agencies that the rubrics covered such as ‘folklore’, ‘folk culture’, ‘traditional culture’, and ‘oral heritage’ (Ben-Amos, 2013). There have been a number of changes to the term ‘intangible cultural heritage’ and its content in current years. This partially attributes to the normative instruments developed by UNESCO. Cultural heritage has a wider scope and thus does not cover cenotaphs and accumulation of objects only. Cultural heritage also has traditions, living expressions inherited from generation to generation, such as oral traditions, social practices, merry, or celebratory events, information and practices, under its belt. All these characteristics focused on nature and the entire universe of the expertise and skills that result to traditional artifice (Ben-Amos, 2013). Despite being brittle and intangible, traditional heritage is an essential factor in safeguarding cultural or traditional diversity, in light of growing globalization. Intercultural dialogue and mutual respect for other ways of life is encouraged by an understanding of the intangible cultural heritage of various communities. The great wealth of information and proficiency that spreads via intangible human heritage from generation to generation highlights its great importance. The minority groups and the mainstream social groups found within a state openly receive the social and economic relevance of the transmission of this knowledge. It is also of great importance for both the developing States and the developed ones. The 2003 Convention is set to attain four primary goals. Some of them were to protect intangible cultural heritage, guarantee reverence for the intangible cultural heritage of the concerned communities, individuals and groups of individuals. Also, generate awareness at the local, national and global levels of the importance of intangible cultural heritage and of ensuring mutual gratitude thereof, and provide for international cooperation and assistance (Ben-Amos, 2013). The 2003 Convention consisted of five broad categories, which covered the broad field of ‘intangible cultural heritage’. Some of the categories are oral traditions and expressions. The two categories represent art forms where language is a means of conveying ‘intangible cultural heritage’. The other is performing arts, for example rituals and significant events, and lastly information and practices in which the universe and nature are the main concerns. All categories helped in creating traditional quality. UNESCO realized the great importance of using a relatively inclusive method of categorization in order to include artistic products as well as information and artifice, a process that gave rise to their production. It was innovative and resulted to the existence of the products and the means of interaction, which society required for the suitable reception, appreciation and acknowledgement of these products. There was also the recommendation that called for the preservation of the term ‘intangible cultural heritage’ in the new normative instrument as opposed to the term ‘folklore’ that some member states perceived as demeaning (Ben-Amos, 2013). The term ‘intangible cultural heritage’ seemed more suitable a term for designating the communities’ learned processes. It included the information, proficiency and creativity that leave behind knowledge and its development is by the community, including their products, and the other aspects of natural and social context, resources and spaces that enhanced their sustainability. All these provided existing communities with a humanly sense of continuity (growth and development) with past generations and are vital to the cultural identity, as well as to the protection of cultural diversity and innovativeness of humanity. Reference Ben-Amos, Dan. (2013). Toward a Definition of Folklore in Context, American Folklore Society, pp. 3-15. 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