This paper presents one case study of state-sponsored cultural activities that occurred throughout 2014, Turkmenistan’s Year of Magtymguly, the 290th anniversary of this Turkmen poet’s birth. Such activities constitute examples of public culture; they can organize representations of a society’s past and present to reaffirm for participants the values and power structure of their society and revalidate its philosophical underpinnings. After examining this Turkic poet’s iconicity, this paper compiles 2014's celebratory events from disparate sources, complementing broader general literature on Central Asia’s spectacles of public culture and their role in nation-building and identity-formation. Rather than merely resulting from any top-down decision specifying required activities nationwide, the year’s events involved numerous synergies as artists, museum and theater administrators, composers, and other cultural-sector workers benefited by responding to the potential of aligning their work with a theme as broad, as widely appreciated, and as eligible for various forms of support as this one. In addition, Turkmenistan’s strong central leadership benefited from this widely shared and highly visible celebration, especially emphasizing one element within Magtymguly’s eighteenth-century vision, an end to his people’s tribal conflicts within a unified Turkmenistan under one leader. 相似文献
AbstractIn April 1936, the magazine Kamigata hanashi (Kamigata Story) was launched in Osaka. This was a rakugo (traditional comic storytelling) magazine published monthly out of a local storyteller's home. One mission of the magazine as laid out by the editor in the inaugural issue was to preserve a local narrative tradition that was losing a popularity battle with manzai (two-person stand-up comedy) and other modern performing arts and media. Interestingly, in the second year of the magazine's run, the editor issued a call for yoshikono, which, like dodoitsu, are songs conventionally written in lines of 7-7-7-5. This too was a tradition that, it was written, needed a champion. Yoshikono submissions increased with each issue until they filled multiple pages, reaching into the hundreds. Prizes were given for the best entries, and public yoshikono gatherings were advertised – singers and shamisen players were even enlisted in what appears to be an attempt to revive a community performance tradition with historic links to storytelling in Osaka. This article shines light on the largely forgotten art of yoshikono, discusses its role in an Osaka rakugo magazine from 1937 to 1940, offers forty verses in translation, and considers why yoshikono was unable to make a comeback after the Second World War. 相似文献
Mapanje and Mphande make a persuasive case for the significant role of literature in challenging Dr Banda's one-party hegemony. The contested terrain, as Mphande notes, was orality, the dominant medium in Malawi where literacy levels are low. It has been assumed, though, that orature did little to challenge Banda's hegemony. I argue that far from being silent, the popular musicians and dramatists (as orature) were much braver than the writers. While written poetry and prose was often presented in coded and dense texts, the musicians’ and dramatists lyrics and texts were usually much more explicit. And while writers used folk tales and appropriations from traditional culture as templates to critique Dr Banda's autocratic regime, oral practitioners went further, critiquing Dr Banda's regime using the same templates but also pointing out the socio-economic suffering of the peasantry.
Since 1994, as writers’ critiques have become muted and spasmodic in the ‘multiparty’, musicians have consistently been loud and forceful voices on behalf of the poor. From 1953 to 2006, orature has been a continuous tool of resistance whereas literature has been an intermittent response, often related to patronage, to political and socio-economic events. Further, while literature tends to be concerned predominantly with human rights and democracy issues, orature is concerned with these as well as socio-economic rights; a distinction reflective of class, the rural/urban divide and education in Malawi. The findings are generalisable to other Bantu-language-speaking countries such as Zambia, Zimbabwe, Tanzania and Mozambique. I posit that assessments of Malawi's current and future socio-economic and political cultures that exclude oral critiques miss significant and critical factors impacting on developmental changes in these spheres. 相似文献