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A Magic carpet, was legendary carpet that can be used to transport persons who are on it instantaneously or quickly to their destination.

Folklore (or lore) consists of legends, music, oral history, proverbs, jokes, popular beliefs, fairy tales, stories, tall tales, and customs that are the traditions of a culture, subculture, or group. It is also the set of practices through which those expressive genres are shared. The study of folklore is sometimes called folkloristics. The word "folklore" was first used by the English antiquarian William Thoms in a letter published in the London journal The Athenaeum in 1846.^[1] In usage, there is a continuum between folklore and mythology. Stith Thompson made a major attempt to index the motifs of both folklore and mythology, providing an outline into which new motifs can be placed, and scholars can keep track of all older motifs.

Folklore can be divided into four areas of study: artifact (such as voodoo dolls), describable and transmissible entity (oral tradition), culture, and behavior (rituals). These areas do not stand alone, however, as often a particular item or element may fit into more than one of these areas.^[2]

Artifacts[link]

The three wise monkeys over the Tōshō-gū shrine in Nikkō, Japan

Objects such as dolls, decorative items used in religious rituals, hand-built houses and barns,^[3] and handmade clothing and other crafts are considered^{[by whom?]} to be folk artifacts, grouped within the field as "material culture". Additionally, figures that depict characters from folklore, such as statues of the three wise monkeys may be considered to be folklore artifacts, depending on how they are used within a culture.^[4] The operative definition would depend on whether the artifacts are used and appreciated within the same community in which they are made, and whether they follow a community aesthetic.

Oral tradition[link]

Folklore can contain religious or mythic elements, it equally concerns itself with the sometimes mundane traditions of everyday life. Folklore frequently ties the practical and the esoteric into one narrative package. It has often been conflated with mythology, and vice versa, because it has been assumed that any figurative story that does not pertain to the dominant beliefs of the time is not of the same status as those dominant beliefs.^{[citation needed]} Thus, Roman religion is called "myth" by today's dominant religions. In that way, both "myth" and "folklore" have become catch-all terms for all figurative narratives which do not correspond with the dominant belief structure.

Sometimes "folklore" is religious in nature, like the tales of the Welsh Mabinogion or those found in Icelandic skaldic poetry. Many of the tales in the Golden Legend of Jacob de Voragine also embody folklore elements in a Christian context, as well as the tales of Old Mr. Brennan. Examples of such Christian mythology are the themes woven round Saint George or Saint Christopher. In this case, the term "folklore" is being used in a pejorative sense.

"Folktales" is a general term for different varieties of traditional narrative. The telling of stories appears to be a cultural universal, common to basic and complex societies alike. Even the forms folktales take are certainly similar from culture to culture, and comparative studies of themes and narrative ways have been successful in showing these relationships. Also it is considered to be an oral tale to be told for everybody.^{[clarification needed]}

Hansel and Gretel is a fairy tale of German origin, recorded by the Brothers Grimm in 1812. The tale has been adapted to various media, most notably the opera Hänsel und Gretel (1893) by Engelbert Humperdinck and a stop-motion animated feature film based on the opera. Artwork by Arthur Rackham, 1909

On the other hand, folklore can be used to accurately describe a figurative narrative, which has no sacred or religious content. In the Jungian view, which is but one method of analysis, it may instead pertain to unconscious psychological patterns, instincts or archetypes of the mind. This may or may not have components of the fantastic (such as magic, ethereal beings or the personification of inanimate objects). These folktales may or may not emerge from a religious tradition, but nevertheless speak to deep psychological issues. The familiar folktale, "Hansel and Gretel", is an example of this fine line. The manifest purpose of the tale may primarily be one of mundane instruction regarding forest safety or secondarily a cautionary tale about the dangers of famine to large families, but its latent meaning may evoke a strong emotional response due to the widely understood themes and motifs such as “The Terrible Mother”, “Death,” and “Atonement with the Father.”

There can be both a moral and psychological scope to the work, as well as entertainment value, depending upon the nature of the teller, the style of the telling, the ages of the audience members, and the overall context of the performance. Folklorists generally resist universal interpretations of narratives and, wherever possible, analyze oral versions of tellings in specific contexts, rather than print sources, which often show the work or bias of the writer or editor.

Contemporary narratives common in the Western world include the urban legend. There are many forms of folklore that are so common, however, that most people do not realize they are folklore, such as riddles, children's rhymes and ghost stories, rumors (including conspiracy theories), gossip, ethnic stereotypes, and holiday customs and life-cycle rituals. UFO abduction narratives can be seen, in some sense, to refigure the tales of pre-Christian Europe, or even the Ascent of Elijah to heaven. Adrienne Mayor, in introducing a bibliography on the topic, noted that most modern folklorists are largely unaware of classical parallels and precedents, in materials that are only partly represented by the familiar designation Aesopica: "Ancient Greek and Roman literature contains rich troves of folklore and popular beliefs, many of which have counterparts in modern contemporary legends" (Such as Mayor, 2000).

Vladimir Propp's classic study Morphology of the Folktale (1928) became the basis of research into the structure of folklore texts. Propp discovered a uniform structure in Russian fairy tales. His book has been translated into English, Italian, Polish and other languages. The English translation was issued in USA in 1958, some 30 years after the publication of the original. It was met by approving reviews and significantly influenced later research on folklore and, more generally, structural semantics. Though his work was based on syntagmatic structure, it gave the scope to understand the structure of folktales, of which he discovered thirty one functions.^[5]

Cultural[link]

Folklorist William Bascom states that folklore has many cultural aspects, such as allowing for escape from societal consequences. In addition, folklore can also serve to validate a culture (romantic nationalism), as well as transmit a culture's morals and values. Folklore can also be the root of many cultural types of music. Country, blues, and bluegrass all originate from American folklore. Examples of artists which have used folkloric themes in their music would be: Bill Monroe, Flatt and Scruggs, Old Crow Medicine Show, Jim Croce, and many others. Folklore can also be used to assert social pressures, or relieve them, for example in the case of humor and carnival.

In addition, folklorists study medical, supernatural, religious, and political belief systems as an essential, often unspoken, part of expressive culture.

Rituals[link]

Many rituals can sometimes be considered folklore, whether formalized in a cultural or religious system (e.g. weddings, baptisms, harvest festivals) or practiced within a family or secular context. For example, in certain parts of the United States (as well as other countries) one places a knife, or a pair of scissors, under the mattress to "cut the birth pains" after giving birth. Additionally, children's counting-out games can be defined as behavioral folklore.^[6]

Categories of folklore[link]

This article is in a list format that may be better presented using prose. You can help by converting this article to prose, if appropriate. Editing help is available. (July 2010)

Genres[link]

Folk narratives[link]

National or ethnic[link]

See also[link]

Folklore portal

Wikimedia Commons has media related to: Folklore

• Applied folklore
• Appropriation (music)
• Chinook wind
• Folk
• Folklife
• Folkloristics
• Intangible Cultural Heritage
• Petrosomatoglyph (image of parts of a human or animal body incised in rock)
• Signifying monkey

References[link]

Further reading[link]

• Adrienne Mayor, "Bibliography of Classical Folklore Scholarship: Myths, Legends, and Popular Beliefs of Ancient Greece and Rome", from Folklore (April 2000)
• Coffin, Tristram P.; Cohen, Hennig, (editors), Folklore in America; tales, songs, superstitions, proverbs, riddles, games, folk drama and folk festivals, Garden City, New York: Doubleday, 1966. Selections from the Journal of American folklore.

External links[link]

• Meeting-place and knowledge bank for everyone whose ancestry hails from Sweden
• CIOFF®: International Council of Organizations of Folklore Festivals and Folk Arts
• American Folklore
• Folktales from around the world
• Folklore Society
•  "Folklore". Collier's New Encyclopedia. 1921. 
•  Chisholm, Hugh, ed. (1911). "Folklore". Encyclopædia Britannica (11th ed.). Cambridge University Press. 
• Slovak Folklore — folklore groups, videos, songs, history, news, events, festivals

Atahualpa Yupanqui
Atahualpa in Cosquín
Background information
Birth name	Héctor Roberto Chavero Aranburu
Born	(1908-01-31)January 31, 1908
Origin	Pergamino, Buenos Aires, Argentina
Died	May 23, 1992(1992-05-23) (aged 84) Nîmes, France
Genres	Folk
Occupations	singer, songwriter, writer
Instruments	Vocals, Guitar

Atahualpa Yupanqui (31 January 1908 – 23 May 1992) was an Argentine singer, songwriter, guitarist, and writer. He is considered the most important Argentine folk musician of the 20th century.^{[citation needed]}

Yupanqui was born as Héctor Roberto Chavero Aranburu in Pergamino (Buenos Aires Province), in the Argentine pampas, about 200 kilometers away from Buenos Aires. His father was Argentine, descended from indigenous people, while his mother was born in the Basque country. His family moved to Tucumán when he was ten. In a bow to two legendary Incan kings, he adopted the stage name Atahualpa Yupanqui, which became famous the world over.

In his early years, Yupanqui travelled extensively through the northwest of Argentina and the Altiplano studying the indigenous culture. He also became radicalized and joined the Communist Party of Argentina. In 1931, he took part in the failed Kennedy brothers uprising against the de facto government of José Félix Uriburu and in support of deposed president Hipólito Yrigoyen. After the uprising was defeated, he was forced to seek refuge in Uruguay. He returned to Argentina in 1934.

In 1935, Yupanqui paid his first visit to Buenos Aires; his compositions were growing in popularity, and he was invited to perform on the radio. Shortly thereafter, he made the acquaintance of pianist Antonieta Paula Pepin Fitzpatrick, nicknamed "Nenette", who became his lifelong companion and musical collaborator under the pseudonym "Pablo Del Cerro".

Because of his Communist Party affiliation (which lasted until 1952), his work suffered from censorship during Juan Perón's presidency; he was detained and incarcerated several times. He left for Europe in 1949. Édith Piaf invited him to perform in Paris on July 7th, 1950. He immediately signed a contract with "Chant Du Monde", the recording company that published his first LP in Europe, "Minero Soy" (I am a Miner). This record won first prize for Best Foreign Disc at the Charles Cros Academy, which included three hundred fifty participants from all continents in its International Folklore Contest He subsequently toured extensively throughout Europe.

In 1952, Yupanqui returned to Buenos Aires. He broke with the Communist Party, which made it easier for him to book radio performances. While with Nenette they constructed their house on Cerro Colorado (Córdoba).

Recognition of Yupanqui's ethnographic work became widespread during the 1960s, and nueva canción artists such as Mercedes Sosa and Jorge Cafrune recorded his compositions and made him popular among the younger musicians, who referred to him as Don Ata.

Yupanqui alternated between houses in Buenos Aires and Cerro Colorado, Córdoba province. During 1963-1964, he toured Colombia, Japan, Morocco, Egypt, Israel, and Italy. In 1967, he toured Spain, and settled in Paris. He returned regularly to Argentina and appeared in Argentinísima II in 1973, but these visits became less frequent when the military dictatorship of Jorge Videla came to power in 1976. In February 1968, Yupanqui was named Knight of Ordre des Arts et des Lettres of France by the Ministry of Culture of that country, in honor of 18 years work enriching the literature of the French nation. Some of his songs are included in the programs of Institutes and Schools where Castilian Literature is taught.

In 1989, an important cultural center of France, the University of Nanterre, asked Yupanqui to write the lyrics of a cantata to commemorate the Bicentennial of the French Revolution. The piece, entitled "The Sacred Word" (Parole sacrée), was released before high French authorities. It was not a recollection of historical facts but rather a tribute to all the oppressed peoples that freed themselves. Yupanqui died in Nîmes, France in 1992 at the age of 84; his remains were cremated and dispersed on his beloved Colorado Hill on 8 June 1992.

Best-known songs[link]

Yupanqui's best known compositions include:

• "Los Hermanos"
• "Duerme Negrito"
• "Viene clareando"
• "El arriero"
• "Zamba del grillo"
• "La añera"
• "La pobrecita"
• "Milonga del peón de campo"
• "Camino del indio"
• "Chacarera de las piedras"
• "Recuerdos del Portezuelo"
• "El alazán"
• "Indiecito dormido"
• "El aromo"
• "Le tengo rabia al silencio"
• "Piedra y camino"
• "Luna tucumana"
• "Los ejes de mi carreta"
• "Sin caballo y en Montiel"
• "Cachilo dormido"
• "Tú que puedes vuélvete"
• "Nada mas"

Books[link]

• Piedra sola (1940)
• Aires indios (1943)
• Cerro Bayo (1953)
• Guitarra (1960)
• El canto del viento (1965)
• El payador perseguido (1972)
• La Capataza (1992)

Guitar portal

External links[link]

• Profile of Atahualpa Yupanqui
• Muchas Gracias Atahualpa. Educational and cultural project promoting the work of Don Atahualpa Yupanqui. The site contains videos, songs, poetry, books, testimonials and awards.
• Quotes from his music.
• Official site - Fundacion Atahualpa Yupanqui
• Discography, books and other

Jorge Cafrune
Background information
Birth name	Jorge Antonio Cafrune
Born	(1937-08-08)August 8, 1937
Origin	Jujuy, Argentina
Died	February 1, 1978 (aged 40)
Genres	Ballade
Occupations	Singer, Musician
Instruments	Vocals, guitar
Labels	Columbia, CBS

Jorge Antonio Cafrune (Jujuy, August 8, 1937 - Buenos Aires, February 1, 1978 ) was one of the most popular Argentinian folklorist singers of his time, as well as an unflagging investigator, compilator, and diffuser of the native culture.

His life[link]

Jorge Cafrune was born in the estancia "La Matilde" of El Sunchal, Perico Del Carmén, Jujuy in a family of Syrian–Lebanese origin. He completed his secondary studies in San Salvador de Jujuy, during which he took guitar classes with Nicolás Lamadrid.

In 1957 he recorded his first album with the band Las voces de Huayra that in 1960 changed its name to Los cantores del Alba, with Ariel Ramírez as manager. Beginning in 1962, Cafrune began to perform at the Cosquin Folkloric Festival. In 1966 in one of his visits to smaller villages, he met a young folklorist singer called José Larralde.

In 1967 shown the trip "De caballo por mi patria" in homage to Chacho Peñaloza. During this trip Cafrune traveled about Argentina as had many gauchos, taking his art and message around the country.

In 1977, after several years spent living in Spain, he returned to Argentina which was governed at the time by the military dictatorship of Jorge Rafael Videla. The government saw a menace in Cafrune's outspoken music, particularly his politically controversial song, Zamba de mi esperanza. On his persistence, Cafrune said, "Although it is not in the authorized repertoire, if my people requests it of me, I am going to sing it." On January 31, 1978, Lieutenant Colonel Carlos Enrique Villanueva ordered the assassination of Cafrune. After being run over by a van driven by two nineteen year old men, Cafrune died within twelve hours.

Discography[link]

These two locations list Cafrune's albums, with tune names and album covers. The albums are downloadable there as well.
JORGE CAFRUNE DISCOGRAFIA I :

• Jorge Cafrune discography

JORGE CAFRUNE DISCOGRAFIA II :

• Jorge Cafrune discography II

Compilations[link]

Filmography[link]

External links[link]

• Official website
• Evidence incriminating Villanueva