This document discusses how the performance of Lithuanian folk songs, or dainos, has taken on different political and cultural functions over the past 150 years as governmental power and the Lithuanian national identity have changed. It describes how folk songs have been used both to preserve national identity under occupation and to construct identity during independent periods. Since Lithuania's independence from the Soviet Union in 1991, folk music traditions have served a new role in nation-building, supported by state cultural programming and festivals. The meaning and purpose of these folk songs has fluctuated depending on the political context and conception of the nation-state over time.
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Enchanted Folk Music and the Development of Cultural Capital: Lithuania’s Mil...Emily Daina Šaras
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Brief Presentation summarizing a few key conflicts between the colonists and Native Americans as well as Nathaniel Bacon's attempt to overthrow the government of Virginia
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CultureGrams
TM
World Edition
2022
Republic of
Lithuania
BACKGROUND
Land and Climate
Lithuania is larger than its Baltic neighbors, Latvia and
Estonia, and is slightly bigger than the U.S. state of West
Virginia. It lies on the western fringe of the east European
plain and has a short coastline on the Baltic Sea. It is a green
country with forests, rolling hills, and thousands of rivers and
lakes. The two longest rivers are the Nemunas and the Neris.
Forests cover about 35 percent of the country and are rich in
wild animals, mushrooms, and berries.
Lithuania has four seasons. Summers are short and rainy,
and July temperatures average 63°F (17°C). Winters are cold
and snowy, with an average temperature in January of 23°F
(-5°C). In winter, children are allowed to stay home from
school when the temperature falls below -13°F (-25°C),
which generally happens at least once a year. The general
climate is comparable to that of southeastern Canada. A
westerly breeze is common.
History
Grand Duchy of Lithuania and Union with Poland
Lithuania’s first inhabitants arrived in the 10th millennium
BC. The first mention of Lithuania is found in a medieval
German manuscript, The Annals of Quedlinburg, in the early
11th century AD. Lithuanians began to form a distinct society
in the early second century. In the mid-1200s, a tribal leader
named Duke Mindaugas united several groups to form the
Grand Duchy of Lithuania. The new state grew in
prominence, especially during the 14th century, when it
annexed neighboring lands (including present-day Belarus,
Ukraine, and parts of Poland and Russia) and was ruled by
strong monarchs. During the 14th century, Lithuania was one
of the largest countries in Europe. Vilnius became the capital
in 1323.
In 1386, reacting to a serious threat from Germanic
invaders, the Grand Duke Jogaila married the Polish crown
princess and became king. This alliance brought Lithuania
into a union with Poland, which strengthened the nations
enough to defeat the German (Teutonic) invaders in 1410;
this conflict was one of the biggest battles of the Middle
Ages. After its union with Poland, Lithuania, one of the last
pagan countries in Europe, adopted Roman Catholicism in
1387 and became increasingly open to Western culture.
Poland and Lithuania tightened their association in 1569
when they united under the Lublin Union and became the
Polish-Lithuanian Commonwealth.
Russian Rule and World War I
After the Polish-Lithuanian state was partitioned by its
neighbors (in 1772, 1793, and 1795), the Grand Duchy of
Lithuania was left largely a part of the Russian Empire, which
controlled Lithuania for more than 120 years. During this
time, Russia implemented a policy known as Russification, in
which it insisted that Lithuanians speak Russian and convert
to the Russian Orthodox Church. Many attempts were made
to regain independence from Russia, but all were
unsuccessful.
During ...
Vrbas Municipality has versatile cultural potentials which can contribute to sustainable tourism and economic development of the local area.
Rich material and non-material cultural heritage of Vrbas was built during the centuries, in the process of continual immigration and emigration, migrations and colonization.
The main aim of the paper is to point out the importance of the nurture of the quality cultural contents and manifestations as the bases of the Municipality's recognition on the tourist maps of Serbia and Western Balkans.
In the analysis of tourist offer and cultural life of the Municipality, appropriate qualitative methodology was applied such as the methods of analysis and synthesis, inductive and deductive, descriptive and comparative methods.
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4 Southern Music/American Music
can folk music traditions met and fused, was the land that gave rise to virtually
every form of American popular music. The premise is simple, but the story is
as complex as the multilayered relationships between the South and the rest of
the United States. To begin to understand it better, we shall first turn to the
folk roots of the music.
Chapter 1
FOLK ORIGINS OF SOUTHERN Music
The folk music reservoir of the South was formed principally by the confluence
of two mighty cultural streams, the British-Celtic and the African. But if one
looks for purity in the music of the South, one searches in vain. Southerners
are often thought of as highly traditional people, and southern music has deep
roots in the past. However, to ignore the adaptability of southern music is to
miss one of its greatest realities. British and African styles did not leave their
home continents in undiluted forms; constant population movements and
economic transformations warred against the kind of stability that would have
promoted musical isolation or stasis. In this country, they did not simply over-
lap and interact; they also borrowed from and influenced the musical folk-
ways of other subcultures in the South—the Germans of the Southern Piedmont
and Central Texas, the Cajuns of Southwest Louisiana, and the Mexicans of
South Texas. Music from Spanish sources, already admixed with African idi-
oms, also came in from the Caribbean via New Orleans and the Gulf South or
across the Mexican border into Texas. Ferdinand "Jelly Roll" Morton spoke of
the "Spanish tinge" as an essential ingredient of early New Orleans jazz, but
the influence was also felt in the rhythms of other styles as well. Furthermore,
the songs and styles of English, Irish, Scotch-Irish, Scottish, and Welsh settlers
intermingled so rapidly and frequently on the southern frontier that they defy
the efforts of folklorists and ethnomusicologists to distinguish conclusively
among them or to determine their exact origins. Alan Lomax is probably cor-
rect when, recalling the composite quality of this music, he describes it as
more British than anything one can find in Great Britain,"1 but these styles
reached across cultural boundaries and were influenced by the music of people
who were not British at all.
Slaves built and occupied a community that white people could observe,
and sometimes appreciate, but never wholly understand. In many ways, as
Lawrence Levine has argued, their music "remained closer to the musical styles
and performances of West Africa and the Afro-American music of the West
Indies and South America than to the musical style of Western Europe."2
6 Southern Music/American Music
Intimately linked to work and worship, and marked by improvisati.
197
198
199
200
201
202
145
146
147
148
149
150
243
244
randymdrake
randymdrake
randymdrake
randymdrake
245
randymdrake
246
randymdrake
247
248
4 Southern Music/American Music
can folk music traditions met and fused, was the land that gave rise to virtually
every form of American popular music. The premise is simple, but the story is
as complex as the multilayered relationships between the South and the rest of
the United States. To begin to understand it better, we shall first turn to the
folk roots of the music.
Chapter 1
FOLK ORIGINS OF SOUTHERN Music
The folk music reservoir of the South was formed principally by the confluence
of two mighty cultural streams, the British-Celtic and the African. But if one
looks for purity in the music of the South, one searches in vain. Southerners
are often thought of as highly traditional people, and southern music has deep
roots in the past. However, to ignore the adaptability of southern music is to
miss one of its greatest realities. British and African styles did not leave their
home continents in undiluted forms; constant population movements and
economic transformations warred against the kind of stability that would have
promoted musical isolation or stasis. In this country, they did not simply over-
lap and interact; they also borrowed from and influenced the musical folk-
ways of other subcultures in the South—the Germans of the Southern Piedmont
and Central Texas, the Cajuns of Southwest Louisiana, and the Mexicans of
South Texas. Music from Spanish sources, already admixed with African idi-
oms, also came in from the Caribbean via New Orleans and the Gulf South or
across the Mexican border into Texas. Ferdinand "Jelly Roll" Morton spoke of
the "Spanish tinge" as an essential ingredient of early New Orleans jazz, but
the influence was also felt in the rhythms of other styles as well. Furthermore,
the songs and styles of English, Irish, Scotch-Irish, Scottish, and Welsh settlers
intermingled so rapidly and frequently on the southern frontier that they defy
the efforts of folklorists and ethnomusicologists to distinguish conclusively
among them or to determine their exact origins. Alan Lomax is probably cor-
rect when, recalling the composite quality of this music, he describes it as
more British than anything one can find in Great Britain,"1 but these styles
reached across cultural boundaries and were influenced by the music of people
who were not British at all.
Slaves built and occupied a community that white people could observe,
and sometimes appreciate, but never wholly understand. In many ways, as
Lawrence Levine has argued, their music "remained closer to the musical styles
and performances of West Africa and the Afro-American music of the West
Indies and South America than to the musical style of Western Europe."2
6 Southern Music/American Music
Intimately linked to work and worship, and marked by improvisati.
197
198
199
200
201
202
145
146
147
148
149
150
243
244
randymdrake
randymdrake
randymdrake
randymdrake
245
randymdrake
246
randymdrake
247
248
4 Southern Music/American Music
can folk music traditions met and fused, was the land that gave rise to virtually
every form of American popular music. The premise is simple, but the story is
as complex as the multilayered relationships between the South and the rest of
the United States. To begin to understand it better, we shall first turn to the
folk roots of the music.
Chapter 1
FOLK ORIGINS OF SOUTHERN Music
The folk music reservoir of the South was formed principally by the confluence
of two mighty cultural streams, the British-Celtic and the African. But if one
looks for purity in the music of the South, one searches in vain. Southerners
are often thought of as highly traditional people, and southern music has deep
roots in the past. However, to ignore the adaptability of southern music is to
miss one of its greatest realities. British and African styles did not leave their
home continents in undiluted forms; constant population movements and
economic transformations warred against the kind of stability that would have
promoted musical isolation or stasis. In this country, they did not simply over-
lap and interact; they also borrowed from and influenced the musical folk-
ways of other subcultures in the South—the Germans of the Southern Piedmont
and Central Texas, the Cajuns of Southwest Louisiana, and the Mexicans of
South Texas. Music from Spanish sources, already admixed with African idi-
oms, also came in from the Caribbean via New Orleans and the Gulf South or
across the Mexican border into Texas. Ferdinand "Jelly Roll" Morton spoke of
the "Spanish tinge" as an essential ingredient of early New Orleans jazz, but
the influence was also felt in the rhythms of other styles as well. Furthermore,
the songs and styles of English, Irish, Scotch-Irish, Scottish, and Welsh settlers
intermingled so rapidly and frequently on the southern frontier that they defy
the efforts of folklorists and ethnomusicologists to distinguish conclusively
among them or to determine their exact origins. Alan Lomax is probably cor-
rect when, recalling the composite quality of this music, he describes it as
more British than anything one can find in Great Britain,"1 but these styles
reached across cultural boundaries and were influenced by the music of people
who were not British at all.
Slaves built and occupied a community that white people could observe,
and sometimes appreciate, but never wholly understand. In many ways, as
Lawrence Levine has argued, their music "remained closer to the musical styles
and performances of West Africa and the Afro-American music of the West
Indies and South America than to the musical style of Western Europe."2
6 Southern Music/American Music
Intimately linked to work and worship, and marked by improvisati.
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