Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2008. / Title from PDF t.p. (viewed on May 14, 2009). Source: Dissertation Abstracts International, Volume: 69-09, Section: A, page: 3690. Adviser: Henry Glassie.

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Thesis (Ph.D.)--Indiana University, Dept. of the History of Art, 2006. / Title from PDF t.p. (viewed Dec. 4, 2008). Source: Dissertation Abstracts International, Volume: 67-08, Section: A, page: 2790. Adviser: Bruce Cole.

Thesis (Ph.D.)--Indiana University, Dept. of the History of Art, 2006. / Adviser: Bruce Cole.

<p>The dominant narrative mode in Ainu studies today stresses an activist agenda that, although worthwhile, limits the potential for new research in the field. In this thesis, I analyze historical accounts of the development of Ainu bear carvings as a case study of the characteristics of the dominant activist mode and present an alternate narrative in order to demonstrate the need for a variety of approaches to Ainu research. </p><p> The activist narrative mode is structured to engender sympathy for Ainu people and respect for their cultural heritage. Activist accounts of Ainu bear carvings often claim that the carvers were pressured by the Japanese tourist industry to violate religious taboos against producing realistic depictions of bears. In this way, the carvings serve as a symbol of oppression of Ainu people under Japanese imperialism. At the same time, activist scholars state that the Ainu bear carvings followed a linear progression from tourist souvenirs to respected works of &ldquo;fine art.&rdquo; Thus, the carvings also reinforce optimistic projections regarding the future status of Ainu culture and socioeconomic condition. </p><p> My alternate narrative focuses on the complexities and ambiguities in the field and avoids judging events in moral or sympathetic terms. I explore a broad range of contextual issues, tracing the regional production of wooden bears from the paleolithic ancestors of Ainu people, examining the role of bears and woodcarving in Ainu culture, analyzing Ainu interactions with Japan, Russia, and other neighboring empires, and investigating the commodification of bear carvings as tourist souvenirs. </p><p> Activist narratives have contributed a wealth of valuable research to the field of Ainu studies and remain a useful tool for promoting social and cultural equality for Ainu people. However, automatic conformity to the dominant activist mode perpetuates the obfuscation of certain details in Ainu history, including the diversity within Ainu and Japanese cultures and institutions, instances of political cooperation between Ainu and Japanese communities, and unanswered questions regarding the complex development of Ainu cultural practices and beliefs. Although any historical account (including this thesis) inherently simplifies its subjects, varying our narrative approach helps us to identify and fill some of the gaps. </p>

This thesis is focused on the traditions and customs of the Czech lands. The aim was to connect as many educational areas as possible. Main emphasis was put on the visual rendering as well as the historical context of traditions and customs. The main objective was to create a exceptional complex of Czech uniques that can be used in the art lessons at primary school.

My thesis is about traditional celebrating of feasts and holidays during ecclesiastical year. It introduce us art techniques which is connected with these dates. At the start we familiarize us folklore and folk art and it shows us differences between folk art and city art. Next chapter is about ecclesiastical year and about important dates in church. At the next part we can read about time of pubescence, its characteristics and progress what the teenager has to go through, and with the typical behaving and work of these young people. The practical part leads us through the innovative art techniques and introduces us traditions and customs on our villages. We can also read here some facts about celebrating feasts in other parts of Europe and World.

The concept of this diploma thesis is based on folklore, folklorism, national art, folk customs and traditions, specifically in the region of Moravian Slovakia. In the theoretical part, I define these terms. I point out the misuse of folklore for political or advertising purposes. I introduce artists who have dealt with the processing of folklore in the visual arts, and at the same time I introduce contemporary artists who have been inspired by Moravian Slovakia folklore motifs. In the research part, I chose the method of structured interviews of five respondents active in the field of folklore, and my goal was to subsequently analyze these interviews and identify meaning nodes. What is most important for the respondents is not a surprise to me, but a confirmation and sorting of ideas so that it can be a solid basis for pedagogical activities. The practical part offers a pedagogical portfolio, which is verified in practice, and there is an effort to use its didactic potential in primary school. KEYWORDS folklore, folklorism, qualitative research, folk art, ornament, pedagogy, Moravian Slovakia, traditions and customs, art

The thesis seeks to develop a more sophisticated view of the black power movement in twentieth century America by analysing the movement’s cultural legacy. The rise, maturation and decline of black power as a political force had a significant impact on American culture, black and white, yet to be substantively analysed. The thesis argues that while the black power movement was not exclusively cultural it was essentially cultural. It was a revolt in and of culture that was manifested in a variety of forms, with black and white culture providing an index to the black and white world view. This independent black culture base provided cohesion to a movement otherwise severely lacking focus and structural support for the movement’s political and economic endeavours. Each chapter in the PhD acts as a step toward understanding black power as an adaptive cultural term which served to connect and illuminate the differing ideological orientations of movement supporters and explores the implications of this. In this manner, it becomes possible to conceptualise the black power movement as something beyond a cacophony of voices which achieved few tangible gains for African-Americans and to move the discussion beyond traditional historiographical perspectives which focus upon the politics and violence of the movement. Viewing the movement from a cultural perspective places language, folk culture, film, sport, religion and the literary and performing arts in a central historical context which served to spread black power philosophy further than political invective. By demonstrating how culture served to broaden the appeal and facilitate the acceptance of black power tenets it is possible to argue that the use of cultural forms of advocation to advance black power ideologies contributed significantly to making the movement a lasting influence in American culture – one whose impact could be discerned long after its exclusively political agenda had disintegrated.