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The romantic peasant speech that began in Europe in the 18th century and gathered momentum in the 19th century and was dominant in Türkiye in the 20th century, resulted in the early collection work focusing on villages or rural places. To the end that the purest state of cultural features were found in villages, this understanding incloses folklore to the borders of the village and puts fields of folklore into certain mould frames, has begun to change through urbanization processes. Türkiye’s situation, which has witnessed rapid and radical changes through industrialization, borders between urban and rural areas are becoming increasingly indistinct as a result of some cultural, economic, political and physical/geographical factors such as a human action, migration, the increase of the number of metropolitan cities and transforming villages into neighborhoods. It has also begun to gradually destroy the sense that its purest condition should be sought in the villages (peripheries). Although this change in sense initially led folklorists to think that the compilation areas and informants (oral sources) disappeared, the term "urban folklore" was later produced and began to deal with folklore, the city, urban areas and urban people. At the same time, the fact that the city population is around 92% today and this ratio is expected to reach 95% in the future brings to mind whether cultural elements can only be created in rural areas. Individuals, who create and transmit cultural features, are going on producing according to places they live in, and the rural or urban status of these places causes these elements to experience some changes. In a period when the majority of the population stayed in urban areas, some of the cultural elements that can’t be considered independently of the individuals who create and transmit them, are no longer applied depending on the urban spaces that should be evaluated within the contextual features, and some of them are maintained by being re-established or undergoing change. By any case, the urban folklore, which refers us to think about all the parameters of the city together, also includes the entire heterogeneous structure of the city. One of the traditional practices that should be evaluated within the urban folklore is the day usually organized by women. Finally, the creation of the urban environment, although it is frequently organized by women, in some cases men can be seen as participants that have many functions. Special days when it is possible to define meetings established on functions like eating and drinking, clothing, time-space, means of saving, entertainment (dance and music), oral cultural products, communication (accepted days with its first form and naming), such as the Ottoman Empire, that ruled in big cities from its last years to the first years, especially in Istanbul. During the historical process, the days that expand from cities to towns (districts) and then to villages, are one of the important representations of folklore in the urban environment, but also presents an example of traditional practice. This example reveals how folklore is represented in urban environments, with the creation and transfer of the above-mentioned involved structures it contains, apart from the practice itself being a traditional meeting created and transmitted in the urban environment. From this point of view, this study discusses and exemplifies the relationship between the city and the day and how folklore is represented and exhibited in the urban environment through the day effect. Before the mentioned exemplification, information will be given about the processes of urbanization and the inclusion of cities in the field of folklore; the transformation of the application from the “kabul günü” to the “gün” will be handled in parallel with these processes. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Éilis Ní Dhuibhne worked with the Urban Folklore Project – which is now part of the National Folklore Collection at UCD – from 1979 to 1980. She was appointed one of six supervisors in this ambitious project, working on a full-time basis and documenting Dublin lore. She made audio recordings, took photographs, wrote notes, made video recordings, devised and circulated questionnaires and also kept a diary. She collected in farflung places such as Ringsend, Mulhuddart and Ballymun and she interviewed countless people from school children to near-centenarians. This article lists the audio recordings made by Éilís for the project. A manuscript volume in the National Folklore Collection gives a listing in numerical order of the audio tapes made by the collectors for the Urban Folklore Project. This listing includes the names of the collector and the informant and also indicates which tapes have been transcribed and bound in volumes within the National Folklore Collection. [ABSTRACT FROM AUTHOR]

The aim of the paper is to situate the most important open-air venues where music was performed on the map of interwar Warsaw. This includes venues in city parks, restaurant tea gardens, streets and squares where mass celebrations and demonstrations took place, as well as the courtyards of tenement houses frequented by street players and singers. In addition to live music, that coming from the radio, gramophone records, as well as megaphones installed in parks and streets has been taken into account. On the basis of press reports, taken mainly from the Kurier Warszawski (Warsaw's largest daily newspaper), as well as works of fiction and diaries, the repertoire of works performed in the open air has been reconstructed. The organisers and performers of concerts, open-air shows, and street marches during which music was performed have also been listed. The material is divided into contexts connected with the everyday life of Warsaw's bourgeoisie and working class (during which music, functioning independently or as part of theatrical, cabaret and film performances, functioned as entertainment) and those belonging to the official-public or ceremonial sphere (celebrations of religious and national holidays, military parades, spontaneous demonstrations of supporters of various political groups). Special emphasis has been placed on recreating the social and political context of the latter type of events, which highlight the role of interwar Warsaw as the capital of the state.

Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article is devoted to the street performer Czesław Bulczyński (1912–1992), known as the Umbrella Man from Sopot (Parasolnik z Sopotu). Based on scarce biographical data, the legend of his life, press accounts, visual documentation, social media, and the memories of Sopot residents, the author presents Umbrella Man as a performer who queered his own image, an emancipated forerunner of street performance, and a radical body artist who operated completely independently, outside both mainstream and alternative artworlds. The uniqueness of Umbrella Man’s performance activity is highlighted by the juxtaposition of his style with the work of other freaks with artistic ambitions: Krzysztof Niemczyk from Kraków, Tomasz Machciński from Kalisz, and Ryszard Kisiel from Gdańsk, as well as with the work of the professional cabaret artist and writer Jerzy Afanasjew. The author of the article interprets Umbrella Man’s deliberately ambivalent, subversive cross-dressing actions as experimental exercises in freedom transgressing the social norms of their time, carried out in the oppressive public space of the Polish People’s Republic, and as sociocognitive work. Umbrella Man’s street actions in Sopot, surprising passers-by for many years, are approached here as minimalist interactive performances and inclusive provocations with which Bulczyński created an affirmative atmosphere of openness to all kinds of otherness.