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Definition: Folk |
FolkAdjective1. (of music) characteristic of rural life. Noun1. People in general; "they're just country folk"; "the common people determine the group character and preserve its customs from one generation to the next". 2. A social division of (usually preliterate) people. 3. People descended from a common ancestor; "his family had lived in Massachusetts since the Mayflower". 4. The traditional and typically anonymous music that is an expression of the life of people in a community. Source: WordNet 1.7.1 Copyright © 2001 by Princeton University. All rights reserved. |
Date "folk" was first used in popular English literature: sometime before 1200. (references) |
Etymology: Folk \Folk\ (f[=o]k), Folks \Folks\ (f[=o]ks), noun. collect. & plural [Anglo-Saxon folc; akin to Dutch volk, Old Saxon & Old High German folk, German volk, Icelandic f[=o]lk, Swedish & Danish folk, Lithuanian pulkas crowd, and perhaps to English follow.]. (references) |
| Domain | Definition |
Literature | Folk Latin, vulg' (the common people); German, volk; Dutch, volch; Saxon, folc; Danish, folk. Folk and vulgar are variants of the same word. Folk Fairies, also called "people," "neighbours," "wights." The Germans have their kleine volk (little folk), the Swiss their hill people and earth people. "The little folk, So happy and so gay, amuse themselves Sometimes with singing ... Sometimes with dancing, when they jump and spring Like the young skipping kids in the Alp-grass." Wyss: Idyll of Gertrude and Rosy. "In the hinder end of harvest, at All-hallow e'en, When our good neighbours ride, if I read right, Some buckled on beenwand, and some on a been." Montgomery: Flyting against Polwart. "I crouchë thee from the elvës, and from wights." Chaucer: The Millere's Tale. Source: Brewer's Dictionary. |
Slang | Noun. Source: Mark-Member of African American group of friends. Definition: Good friend,partner, group member. Context: A word used my a group of friends used to refer each other. Social Source: African American Slang. Source: Compiled by The University of Oregon. (additional references) |
Source: compiled by the editor from various references; see credits. | |
(From Wikipedia, the free Encyclopedia)
Folk can refer to a number of different things:
- It can be short for folk music,
- or, for folksong,
- or, for folklore;
- it may be a word for a specific people, tribe, or nation, especially one of the Germanic peoples;
- it might even be a calque on German Volk, a concept that featured most notably in the ideology of Nazism.
Source: adapted by the editor from Wikipedia, the free encyclopedia under a copyleft GNU Free Documentation License (GFDL) from the article "Folk."
(From Wikipedia, the free Encyclopedia)
The following dance categories are closely related to each other:
See List of dances sorted by ethnicity for a list of specific ethnic,folk, traditional, and regional dances sorted by ethnicity or country.
- Folk dance
- Ethnic dance
- Traditional dance
- Country dance
- Street dance
Folk dance
Folk dance is a term used to encompass a large number of dances that tend to share the following attributes:
Some examples of families of folk dances would be:
- They were originally danced in about the 19th century or earlier (or are, in any case, not currently copyrighted);
- Their performance is dominated by an inherited tradition rather than by innovation;
- They were danced by common people, regardless of whether they were danced by any sort of aristocracy;
- There is no one governing body that has final say over what "the dance" is or who is authorized to teach it. This also means that nobody has the final say over the definition of folk dance or the minimum age for such dances.
- Contradance
- English country dance (Although today's ECD is a revival)
- International folk dance
- Irish dance
- Morris dance
- Scottish country dance (Although the RSCDS is a governing body and country dancing in general was at first a pastime of the nobility)
- Square dance
- Russian country dance (And singing. Or singing and dancing )
Ethnic/Traditional dance
The terms Ethnic and Traditional dance are used when it is required to emphasize the cultural roots of the dance. It this sense, nearly all folk dances are ethnic ones. Even if some dances, such as Polka, cross ethnic boundaries (and even cross the boundary between Folk and Ballroom dance!), ethnical differences are often considerable enough to speak of, e.g., "Czech Polka" vs. "German Polka".On the contrary, not all ethnic dances are folk ones. The simplest example are ritual dances or dances of ritual origin.
Country dance
Country dance is a loose term for a variety of dance forms. Among these are:Clogging - Contradance - Cumbia - Galop - Mazurka - Minuet - Polka - Polonaise - Quadrille - Redowa - Schottische - Two step
Country dance overlaps with contemporary folk dance and with contemporary ballroom dance. Most country dances and ballroom dances originated from folk dances, with gradual refinement over the years.
Some specific forms of country dance, such as English Country Dance refer to specific folk dances. The term "country dance" first appeared in the 16th century, before any of the above-mentioned dances paragraph came into existence.
The meanings of country music and country dance were once more intertwined than they are today. Contemporary country music has roots in the various forms of dance music that traditionally accompanied country dance, but is now mostly a separate concept.
See also Country/western dance.
Street dance
Modern Street dances such as Hip hop are not generally considered folk dances because they do not meet the above criteria. In particular, street dances are living and evolving dance forms, while folk dances are in siginicant degree are bound by tradition.The main distinction this term bears is with respect to Ballroom dance with its reglamented technique and formalized dance schools and studios.
See Dance basic topics for a list of general dance topics.
Source: adapted by the editor from Wikipedia, the free encyclopedia under a copyleft GNU Free Documentation License (GFDL) from the article "Folk dance."
(From Wikipedia, the free Encyclopedia)
Folk music, in the original sense of the term, is music by and of the people. Folk music arose, and best survives, in societies not yet affected by mass communication and the commercialization of culture. It normally was shared and performed by the entire community (not by a special class of expert performers), and was transmitted by word of mouth.During the 20th century, the term folk music took on a second meaning: it describes a particular kind of popular music which is culturally descended from or otherwise influenced by traditional folk music. Like other popular music, this kind of folk music is most often performed by experts and is transmitted in organized performances and commercially distributed recordings.
Defining folk music
Because of the changing meaning of "folk music", people asked to define it give widely varying answers. When Gene Shay, co-founder and host of the Philadelphia Folk Festival, was asked to define folk music in an April 2003 interview, he gave an answer similar to the definition above: "In the strictest sense, it's music that is rarely written for profit. It's music that has endured and been passed down by oral tradition. [...] And folk music is participatory—you don't have to be a great musician to be a folk singer. [...] And finally, it brings a sense of community. It's the people's music." The jazz performer Louis Armstrong, is famously credited with saying, "All music is folk music, leastwise I ain't never heard a horse sing". This emphasizes the universality of people's love for music (which folk music also attests), and aptly expresses Armstrong's warm personal connection to his audience, but it also misses a distinction. Armstrong was not a folk musician, but a gifted performer within a sophisticated popular music tradition, which by his time had evolved to be very different from its folk origins.
The English term folk, which gained usage in the 18th century to refer to peasants or non-literate peoples, is related to the German word Volk (meaning people or nation). 'Folk music' in the strict, original sense of the term covers only that music which arises from the speech and circumstances of the common people of a culture. It matters not whether that culture is 18th century rural Suffolk or 21st century inner-city Manchester; the material which can truly be identified as folk music (and especially folk song, because language is more important than musicality in expressing the condition of life) must be that music and song which is created by the common people in the process of expressing themselves.
Music which was created in this way before the rise of mass communications and mass media is now termed "traditional music," i.e., the traditional music of particular ethnic groups learned by ear, that is, as part of an oral tradition, and played on acoustic instruments or sung with unaccompanied voice. In those days (bygone, in most of the Western world, as we shall see), the motivating forces behind the creation of folk music were those of communication, teaching and entertainment. These needs of the community were met from within the community, through the medium of folk song in particular.
Variation in folk music
Music transmitted by word of mouth though a community will, in time, develop many variants, because this kind of transmission cannot produce word-for-word and note-for-note accuracy. Indeed, many traditional folk singers are quite creative and deliberately modify the material they learn.
Because variants proliferate naturally, it is naïve to believe that there is such a thing as the "authentic" version of a ballad such as "Barbara Allen." Field researchers in folk song (see below) have encountered countless versions of this ballad throughout the English-speaking world, and these versions often differ greatly from each other. None can reliably claim to be the original, and it is quite possible that whatever the "original" was, it ceased to be sung centuries ago. Any version can lay an equal claim to authenticity, so long as it is truly from a traditional folksinging community and not the work of an outside editor.
Cecil Sharp had an influential idea about the process of folk variation: he felt that the competing variants of a folk song would undergo a process akin to biological natural selection: only those new variants that were the most appealing to ordinary singers would be picked up by others and transmitted onward in time. Thus, over time we would expect each folksong to become esthetically ever more appealing--it would be collectively composed to perfection, as it were, by the community.
Many feel, examining the folksongs that Sharp collected from traditional singers, that there is something to this theory. The Sharp material often shows a very striking, simple beauty, and is there is little tawdry, cheap material that it might have temporarily picked up from external sources. This suggests that such material did indeed get "filtered out" by the collective efforts of the community. On the other hand, there is also evidence to support the view that transmission of folk songs can be rather sloppy. Occasionally, collected folk song versions include material or verses incorporated from different songs that makes little sense in its context. A perfect process of natural selection would not have permitted these incoherent versions to survive.
The decline of folk traditions in modern societies
Folk music seems to reflect a universal impulse of humanity. No fieldwork expedition by cultural anthropologists has yet to discover a preindustrial people that did not have its own folk music. It seems safe to infer that folk music was a property of all people starting from the dawn of the species.
However, the development of modern society--first literacy, then the conversion of culture into a salable commodity--created a new form of transmission of music that first influenced, then in some societies ultimately decimated the folk tradition. The decline of folk music in a culture can be followed through three stages.
Stage I: Urban influence
One of the first folk traditions impacted by modern society was the folksong of rural England. Starting in Elizabethan times, urban poets wrote broadside ballads that (thanks to printing) could be sold widely. The ballads probably didn't need musical notation, since they would have been sung to tunes that everybody knew, the folk tradition being very much alive at the time. These ballads heavily influenced the folk tradition, but did not override it. In fact, the folk tradition showed great resilience. Through the process of folk transmission, the urban ballads were modified, keeping the more vivid content and ironing out the less "citified" material. The resulting body of folk lyrics is widely considered to be a very appealing blend. Thus, the printing press and widespread literacy did not suffice to destroy the English folk tradition, but in some ways enriched it.
The English folk song legacy was probably affected by urban melodies as well as words. The clue here is that folk music in remote rural areas of the English-speaking world, such as Highland Scotland or the Appalachian mountains, abounds in tunes that employ the pentatonic scale, a scale widely used for folk music around the world. However, pentatonic music was rare among the rural English villagers who first volunteered their tunes to researchers in the late 19th century. A plausible explanation is that life in rural England was far more closely affected by the proximity to the urban centers. Music in the standard major and minor scales evidently penetrated to the nearby rural areas, where it was converted to folk idiom, but nevertheless succeeded in displacing the old pentatonic music.
Stage II: Loss of folk traditions
The pattern of urban influence on folk music was intensified to outright destruction, as soon as the capitalist economic system had developed to the point that culture could be widely bought and sold. It was around Victorian times that the common people of the Western world were offered music as a commodity which they could purchase, for example, in the phenomenon of Music Hall. This was happening simultaneously with the latter part of the Industrial Revolution, at a time of great change in lifestyle for the great body of the people. The forces of commercialism made sure that the people were persuaded of the need to buy this commodity; and between these commercial pressures, and the migration of the old agrarian communities to become the new industrial ones, the process of folk creation became lost to the people.
Several succeeding generations became enticed with ever more accessible and desirable forms of the commodity of music. Gramophone records became LPs and then CDs; the Music Hall gave way to radio, followed by television. The marketplace kept expanding and it generated an industry dedicated to the creation of a musical product by a paid elite of performers. This is the diametric opposite of 'folk creation', because its motivating force is individual or corporate profit rather than communal need, and also because instead of reflecting the lives of the people, commercial music tends to shape those lives.
The loss of folk traditions in favor of commercial culture is lamented by advocates of folk music. However, this loss clearly was due at least in part to choices made freely by members of the community. Sad as it may be for advocates of folk music, it seems that replacement of folk music by commercially-produced music is a very powerful, perhaps even irresistable force.
Stage III: Loss of musical ability in the community
The terminal state of the loss of folk music can be seen in the United States and a few similar societies, where except in isolated areas and among hobbyists, traditional folk music no longer survives. In the absence of folk music, many individuals do not sing. It is possible that non-singers feel intimidated by widespread exposure in recordings and broadcasting to the singing of skilled experts. Another possibility is that they simply cannot sing, because they did not sing when they were small children, when learning of skills takes place most naturally. Certainly it is very common for contemporary Americans to claim that they cannot sing.
There is anecdotal evidence that the loss of singing ability is continuing rapidly at the present time. As recently as the 1960's, audiences at American sporting events collectively sang the American national anthem before a game; the anthem is now generally assigned to a recording or to a soloist.
Inability to sing is apparently unusual in a traditional society, where the habit of singing folk song since early childhood gives everyone the practice needed to able to sing at least reasonably well.
Regional variation
The loss of folk music is occurring at different rates in different regions of the world. Naturally, where industrialization and commercialization of culture are most advanced, so tends to be the loss of folk music. Yet in nations where folk music is a badge of cultural or national identity, the loss of folk music can be slowed. For instance, it is generally believed that Ireland retains a living folk tradition to this day.
Fieldwork and scholarship on folk music
Starting in the 19th century, interested people - academics and amateur scholars - started to take note of what was being lost, and there grew various efforts aimed at preserving the music of the people. One such effort was the collection by Francis James Child in the late 19th century of the texts to over three hundred ballads in the English and Scots traditions. Contemporaneously came the Reverend Sabine Baring-Gould, and later and more significantly Cecil Sharp who worked in the early 20th century to preserve a great body of English rural folk song, music and dance, under the aegis of what became and remains the English Folk Dance and Song Society (EFDSS). Sharp also worked in America, recording the folk songs of the Appalachian Mountains in 1916-1918 in collaboration with Maud Karpeles and Olive Dame Campbell.
Around this time, composers of classical music developed a strong interest in folk song collecting, and a number of outstanding composers carried out their own field work on folk song. These included Ralph Vaughan Williams in England and Béla Bartók in Hungary and neighboring countries. These composers, like many of their predecessors, incorporated folk material into their classical compositions.
In America, during the 1930s and 1940s, the Library of Congress worked through the offices of musicologist Alan Lomax and others to capture as much American field material as possible.
Often, fieldworkers in folk song hoped that their work would restore folk music to the people. For instance, Cecil Sharp campaigned, with some success, to have English folk songs (in his own heavily edited and expurgated versions) to be taught to schoolchildren. Fieldworkers also played a role in the "folk revival", narrated in the next two paragraphs.
In 1950 Alan Lomax came to Britain, where at a Working Men's Club in the remote Northumberland mining village of Tow Law he met two other seminal figures: A.L.'Bert' Lloyd and Ewan MacColl, who were performing folk music to the locals there. Lloyd was a colourful figure who had travelled the world and worked at such varied occupations as sheep-shearer in Australia and shanty-man on a whaling ship. MacColl, born in Salford of Scottish parents, was a brilliant playwright and songwriter who had been strongly politicised by his earlier life, and who was already responsible for creating material - such as 'The Manchester Rambler' - which now is often viewed as folk song. MacColl - whose daughter Kirsty was later to become a well-known pop singer - had also learned a large body of Scottish traditional songs from his mother.
The meeting of MacColl and Lloyd with Lomax is credited with being the point at which the British folk revival began. The two colleagues went back to London where they formed the Ballads and Blues Club which eventually became renamed the Singers' Club and was the first of what became known as folk clubs - it was also the longest-running of them all. And as the 1950s progressed into the 1960s, the folk revival movement built up in both Britain and America (it wasn't a 'revival' in Ireland, because Irish folk music never died).
One theme that runs through the great period of scholarly folk song collection is the tendency of certain members of the "folk", who were supposed to be the object of study, to become scholars and advocates themselves. For example, Jean Ritchie was the youngest child of a large family from Viper, Kentucky that had preserved many of the old Appalachian folk songs. Ritchie, living in a time when the Appalachians had opened up to outside influence, was university educated and ultimately moved to New York City, where she made a number of classic recordings of the family repertoire and published an important compilation of these songs.
The emergence of popular folk artists
In the twentieth century, a crucial change in the history of folk music began. Folk material came to be adopted by talented performers, performed by them in concerts, and disseminated by recordings and broadcasting. In other words, a new genre of popular music had arisen. This genre was linked by nostalgia and imitation to the original traditions of folk music as it was sung by ordinary people. However, as a popular genre it quickly evolved to be quite different from its original roots.
Confusingly, popular (i.e., commercially-disseminated) music based on a folk tradition is called "folk music", no matter how different it may be from a folk music rooted in the community. As a result, some individuals in a modern society are unaware that folk music of the original variety ever existed.
The rise of folk music as a popular genre began with performers whose own lives were rooted in the authentic folk tradition. Thus, for example, Woody Guthrie began by singing songs he remembered his mother singing to him as a child. Later, in the 1930s and 1940s, Guthrie both collected folk music and also composed his own songs, as did Pete Seeger. Through dissemination on commercial recordings, this vein of music became popular in the United States during the 1950s, through singers like the Weavers (Seeger's group) and the Kingston Trio, who tried to reproduce and honor the work that had been collected in preceding decades. The itinerate folksinger lifestyle was exemplified by Ramblin' Jack Elliott, a disciple of Woody Guthrie who in turn influenced Bob Dylan. Sometimes these performers would locate scholarly work in libraries and revive the songs in their recordings, for example in Joan Baez's rendition of "Henry Martin," which adds a guitar accompaniment to a version collected and edited by Cecil Sharp.
Many of this group of popular folk singers maintained an idealistic, leftist/progressive political orientation. This is perhaps not surprising. Folk music is easily identified with the ordinary working people who created it, and preserving treasured things against the claimed relentless encroachments of capitalism is likewise a goal of many politically progressive people. Thus, in the 1960s such singers as Joan Baez, Phil Ochs and Bob Dylan followed in Guthrie's footsteps and to begin writing "protest music", particularly against the Vietnam War, and likewise expressed in song their support for the civil rights movement. Such songs were newly written, but took their instrumentation and stanza forms from folk tradition.
In Ireland, The Clancy Brothers and Tommy Makem (although the members were all Irish born, the group became famous while based in New York's Greenwich Village, it must be noted), The Dubliners, Clannad, Planxty, The Chieftains, The Pogues and a variety of other folk bands have done much over recent years to revitalise and repopularise Irish traditional music. These bands were rooted, to a greater or lesser extent, in a living tradition of Irish music, and they benefitted from collection efforts on the part of the likes of Seamus Ennis and Peter Kennedy, among others.
When rock and roll stars and singer-songwriters began to sing traditional songs and play traditional tunes, this music, and the leading characteristics of the performance genre in which the music was made, were changed. For example, bass guitar and drum kit were often added to express and satisfy popular tastes; traditional melody and song were placed into arrangements that scarcely resembled their original sources.
As less traditional forms of folk music gained popularity, there grew to be a tension between so-called "purists" or "traditionalists" and the innovators. For example, traditionalists were indignant when Bob Dylan began to use an electric guitar. His electrified performance at the 1963 Newport Folk Festival was to prove to be an early focal point for this controversy.
Sometimes, however, the exponents of amplified music were bands such as Fairport Convention, Pentangle and Steeleye Span who saw the electrification of traditional musical forms as a means whereby to reach a far wider audience, and their efforts have been largely recognised for what they were by even some of the most die-hard of purists.
Other examples of this transformation have occurred with bluegrass (a development of American old time music), which is often referred to as a kind of folk music, as well as with the use of traditional music in country music (itself a development of both bluegrass and old time music). In recent times, bluegrass has been revitalised by its central role in the Coen brothers' cult movie, O Brother, Where Art Thou.
Since the 1970s a genre of "contemporary folk", fuelled by new singer-songwriters, have continued to make the coffee-house circuit and keep the tradition of accoustic music alive in the United States. Such artists include Steve Goodman, John Prine, Cheryl Wheeler, Bill Morrisey, and Christine Lavin. Lavin in particular has become prominent as a leading promoter of this musical genre in recent years. Some, such as Lavin and Wheeler, inject a great deal of humor in their songs and performances, although much of their music is also deeply personal and sometimes satirical.
Traditional folk music forms also merged with rock and roll to form the hybrid generally known as folk rock which evolved through performers such as The Byrds, Simon and Garfunkel, The Mamas and the Papas, and many others. More recently the same spirit has been embraced and expanded on by performers such as Ani Difranco. At the same time, a line of singers from Baez to Phil Ochs have continued to use traditional forms for original material.
In addition to the direct descendants of traditional folk music, many have identified the street evolution and the overtly political lyrics of rap music as being strongly in the folk tradition.
Folk music is still extremely popular among some audiences today, with folk music clubs meeting to share traditional-style songs, and there are major folk music festivals in many countries, eg the Port Fairy Folk Festival is a major annual event in Australia attracting top international folk performers as well as many local artists.
A similar stylistic shift, without using the "folk music" name, has occurred with the phenomenon of Celtic music, which in many cases is based on an amalgamation of Irish traditional music, Scottish traditional music, and other traditional musics associated with lands in which Celtic languages are or were spoken (regardless of any significant research showing that the musics have any genuine genetic relationship; so Breton music and Galician music are often included in the genre).
Folk music has frequently been the target of satire and parody. Exponents in this field range from the worst excesses of e.g.Rambling Syd Rumpo and Bill Oddie to the deft and subtle artistry of Sid Kipper, Eric Idle and Tom Lehrer. It should be noted that even "serious" folk musicians are not averse to poking fun at the form from time to time, for example Martin Carthy's devastating rendition of the "All the Hard Cheese of Old England", to the tune of "All the Hard Times of Old England", Robb Johnson's "Lack of Jolly Ploughboy" (in which he 'apologises' for including 'politics' in his material) and more recently "I'm Sending an E-mail to Santa" by the Yorkshire based harmony group Artisan and the 2003 film A Mighty Wind.
List: styles of folk music by nationality
- Algeria
- Rai
- Andalusia
- Fandango
- Flamenco
- Arab
- Haflat al-zaffâf
- Khalîjî
- Maqâmât
- Nahmâ
- Qawwali
- Sawt
- Taghrud
- Argentina
- Milonga
- Aruba
- Danza
- Tambu
- Australia
- Bush ballad
- Wangawilli
- Azerbaijan
- Mugam
- Bavaria
- Bava
- Bedouin
- Ayyâla
- Hidâ
- Brazil
- Afoxe
- Baiao
- Batucada
- Berimbau
- Bossa nova
- Carimbo
- Chorinho
- Choro
- Forro
- Frevo
- Samba
- Tropicalia
- Cajun
- Zydeco
- Cambodia
- Pinhat
- Mohori
- Carriacou
- Cantiques
- Celtic
- Clare
- Donegan
- Chile
- Nueva canción
- China
- Kunqu
- Colombia
- Colombianas
- Cumbia
- Cuba
- Cha cha
- Danzon
- Guajira
- Lambada
- Mambo
- Salsa
- Timba
- Dahomey
- Rada
- Dominican Republic
- Bachata
- Gagá
- Mangulina
- Merengue
- Sarandunga
- England
- Ballad
- Broadsides
- Country dancing
- Cow folk
- Figzig
- Filofolk
- Gallery music
- Morris dancing
- Rapper sword dancing
- Sea shanty
- Spire folk
- Step dancing
- West Gallery music
- Greece
- Hassapiko
- Rembetika
- Syrtaki
- Tsamiko
- Tsifteteli
- Zembekiko
- Kalamatiano
- Gypsy
- Bulerías
- Flamenco
- Rumba gitana
- tango
- Tientos
- Haiti
- Cadense
- Compas
- Meringue
- Hawaii
- Hula
- Kihoalu (slack key guitar)
- Hebrew
- Klezmer
- India
- Bhajan
- Bhangra
- Dadra
- Dhrupad
- Ghazal
- Giddha
- Kheyal
- Kriti
- Ragas
- Rasiya
- Sangeet
- Tappa
- Tarana
- Thumri
- Indonesia
- Dangdut
- Gamelan
- Jaipongan
- Ketjak
- Kroncong
- Iran
- Dastgah
- Iraq
- Maqam
- Ireland
- Donegal fiddle tradition
- Highlands
- Jig
- Reel
- Sean nós
- Slow airs
- Iroquois
- Ohwejagehka
- Italy
- Tarantella
- Jamaica
- Dub
- Mento
- Ragga
- Roots reggae
- Ska
- Japan
- Ga-gaku
- Nou-gaku
- Ji-uta
- Sou-kyoku
- Shakuhachi-gaku
- Tozan-ryuu
- Kinko-ryuu
- Naga-uta
- Gidayuu-bushi
- Tokiwazu-bushi
- Kiyomoto-bushi
- Tomimoto-bushi
- Sinnai-bushi
- Icchuu-bushi
- Miyazono-bushi
- Katou-bushi
- Heike-biwa
- Satsuma-biwa
- Chikuzen-biwa
- Mousou-biwa
- Ko-uta
- Ha-uta
- Utazawa
- Toumei-ryuu
- Yamato-gaku
- Gaikyoku
- Honkyoku
- Jiuta-Mai
- Kabuki
- Kinko
- Tozan
- Kashmir
- Sufyana kalam
- Laos
- Khap
- Lam
- Latino
- Fandango
- Republic of Macedonia
- Oro
- Malaysia
- Bangsawan
- Gamelan teranggannu
- Mali
- Mande
- Martinique & Guadeloupe
- Beguine
- Gwo ka
- Mazourka
- Zouk
- Mauritania
- Bhar
- Mongolia
- Duu
- Maglaal
- Xoomii
- Morocco
- Aïssaoua
- Al ala
- Gnaoua
- Melhoun
- Myanmar
- Hsaing waing
- Netherlands
- Schottisch
- Mazurka
- Polka
- Wals
- New Zealand
- Haka
- Oro
- Patere
- Waiata
- Norway
- Bånsull
- Halling
- Slåttar
- Springar
- Papua New Guinea
- Peroveta anedia
- Taibubu
- Ute
- Philippines
- Dasang
- Idangdang
- Limbay
- Manobo
- Maranao
- Salâ
- Tabúk
- Ulagíng
- Portugal
- Fado
- Puerto Rico
- Jibaro
- Plena
- Punjab
- Bhangra
- Romania
- Doina
- Russia
- Bayan
- Saami
- Joik
- Scandinavia
- Mazurka
- Polka
- Waltz
- Scotland
- Reel
- Sikh
- Kirtan
- Shabad
- Spain
- Bamberas
- Campanilleros
- Cante Jondo
- Farruca
- Flamenco
- Garrotín
- Salsa
- Sevillanos
- Villancicos
- St. Lucia
- Debot
- Kélé
- Switzerland
- Yodeling
- Taiwan
- Nan kuan
- Thailand
- Pi phat
- Tibet
- Passim
- Tuvan
- Tuvan throat singing
- Trinidad & Tobago
- Belairs
- Big Drum
- Calypso music
- Carnival
- Kalinda
- Lawway
- Pan
- Parang
- Shango
- Turkey
- Fasil
- Uigur
- Muqam
- United Kingdom
- Punk
- Techno
- United States
- Blues
- Country music
- Doo wop
- Filk
- Gospel music
- Hip hop
- Jazz
- Oldtime
- Punk
- Ragtime
- Rock and roll
- Electronic music
- Uruguay
- Candombe
- Uzbekistan
- Ferghana
- Shashmaqam
- Vietnam
- Nhac dan toc cai bien
- Virgin Islands
- Bamboula wake
- Yemen
- ghina' sancani
- Zaire
- Pende
- Zanzibar
- Taarab
- Zimbabwe
- Mbira
- Marimba
- Chimurenga
Resources
See also:
External links:
- Christmas carol
Books:
- http://ingeb.org. A list of folksongs from all over the world
- http://www.smsu.edu/folksong/maxhunter/. The Max Hunter Folk Song Collection is a set of about 1600 field recordings made by Max Hunter between 1956 and 1976 in the Ozark Mountain region of Missouri. The recordings are downloadable.
- Cecil Sharp's Folk song: some conclusions (1907; reprinted 1977; Charles River Books) is an early theoretical account of folk song by a pioneering collector. Similar ideas are presented from a later perspective in Maud Karpeles, An introduction to English folk song (1973; reprinted 1987; Oxford: Oxford University Press).
- The introductory chapter of English folk songs from the southern Appalachians, collected by Cecil J. Sharp (1932, ed. Maud Karpeles; London: Oxford Univ. Press) contains a vivid account of the lives and folk singing of the Appalachian mountain people around 1916, at a time when outside influences were few and folk songs were sung by the entire community. This book--which also contains hundreds of beautiful songs that Sharp and Karpeles collected--is out of print but can be found in university libraries.
Source: adapted by the editor from Wikipedia, the free encyclopedia under a copyleft GNU Free Documentation License (GFDL) from the article "Folk music."
(From Wikipedia, the free Encyclopedia)
Folk religion is a term used to describe a set of beliefs, superstitions and cultural practices transmitted from generation to generation, in addition to the formally stated creeds and beliefs of a codified major religion.The term is also applied to the blending of folk practices with those of major religions, so that folk practices amongst people in Christian countries are called "Folk Christianity", in Islamic countries "Folk Islam", and so on.
Folk religion also can be thought of the practice of religion by lay people outside of the control of clergy or the supervision of theologians. There is occasionally tension between the practice of folk religion and the formally taught doctrines and teachings of a faith. For "folk religion" to be a meaningful category, there must be an institutional religion with a traditional teaching or professional clergy to contrast it against; in cultures that lack these things, it is difficult to speak of folk religion as a meaningful category.
Folk religion answers human needs for reassurance in times of trouble, and many of its rituals are aimed at mundane goals like seeking healing or averting misfortune. Many elements of folk religion stem from animistic or fetishistic practices, which is almost inevitable given its mundane goals and ritualistic nature. Folk religion also often aims at divination to foresee the future. The line is often blurry between the practice of folk religion and the practice of magic: see magic and religion.
In general, believers in these folk versions of a religion are usually not aware of any distinction between their folk practices and their official religion. No one consciously practices a folk religion or calls their own religious practices a folk religion. When awareness of the tension between folk religion and the formal creed of an institutional religion rises to conscious levels, and the folk religion successfully resists that tension, it is well on its way to becoming an institutional religion in its own right, and develops a body of doctrine of its own to justify its continued practice against the institutional opposition.
Examples:
more to come
- belief in the Evil Eye
- rituals to ward off evil, curses, demons, witchcraft
- blessing of animals, crops, beer, wine, cheese
- fertility rites
- belief in traditional magic systems
- thanksgiving prayers, grace before meals and other domestic rituals
- veneration of ancestorss and deceased family members, esp. in Christian, Jewish, or Islamic households
- some aspects of the veneration of various saints and the Blessed Virgin Mary in Roman Catholicism and Eastern Orthodoxy
- Marian apparitions
- hoodoo, voodoo, pow-wow and Santeria
- snake handling
- hex signs
- religious jewelry
- religious art in the home
- use of Bible, crucifix, other objects as talismans
- systems of interpretation of prophecy as it relates to the end times
See also:
External links:
- Deep England
- folklore
- civil religion
- superstition
- Folk religion in Taiwan
- Folk Christianity in the Philippines
- Folk Islam in Kazakhstan
- Folk Islam in Somalia
- Introduction to Folk Religion
Source: adapted by the editor from Wikipedia, the free encyclopedia under a copyleft GNU Free Documentation License (GFDL) from the article "Folk religion."
(From Wikipedia, the free Encyclopedia)
Folklore is the ethnographic concept of the tales, legends, or superstitions long current among a particular ethnic population; in other words, the oral history of a particular culture. The concept developed as part of the 19th century ideology of romantic nationalism, leading to the reshaping of oral traditions to serve modern ideological goals; only in the 20th century did ethnographers begin to attempt to record folklore objectively.
The term was coined in 1846 by an Englishman who wanted to use an Anglo-Saxon term for what was then called "popular antiquities". Johann Gottfried von Herder first advocated the deliberate recording and preservation of folklore to document the authentic spirit, tradition, and identity of the German people; the belief that there can be such authenticity is one of the tenets of the romantic nationalism which Herder developed.
While folklore can contain religious or mythic elements, it typically concerns itself with the 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. Thus, Roman religion is called "myth" by Christians. 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. In this case, folklore is being used in a quasi-pejorative sense. That is, while the tales of Odin the Wanderer have a religious value to the Norse who wrote the stories, because it does not fit into a Christian configuration it is not "religious" per se. Instead it is "folklore."
On the other hand, folklore can be used to accurately describe a figurative narrative which has no theological or religious content, but instead pertains to useful mundane lore. This mundane lore may or may not have components of the fantastic (such as magic, ethereal beings or the absurdist personification of inanimate objects). These folktales may emerge from a religious tradition, but are essentially secular. "Hansel and Grethel" is a strong example of this fine line. While the element of witchcraft may possibly contain a religious subtext, or at least imply some early euro-pagan origin (like what Margaret Murray or The Golden Bough might describe), it can be said with some degree of certainty that the purpose of the tale is primarily one of mundane instruction regarding forest safety, as well as secondarily a cautionary tale about the dangers of famine to large families. There is moral scope to the work, but not necessarily a religious scope.
The modern western folklore that we are faced has been identified by some scholars as that of urban legend and conspiracy theory. Only time will tell what of that tradition is practical, what is ephemeral and what is religious. "Hansel and Gretel" lives on today in the tales that inspired the Texas Chainsaw Massacre film. But UFO abduction narratives can be seen, in some sense, to refigure the tales of pre-Christian Europe... or even such tales in the Bible as the Ascent of Elijiah to Heaven in a spinning wheel. Are these "folktales"? Or is their religious dimension being purposefully, if unconsciously, ignored or suppressed?
See Wikipedia commentary/Folklore, Myth, and Religion.
Categories of Folklore
- Fairy tale
- National or Ethnic (see Romantic nationalism)
- Albanian folklore
- American folklore
- Chinese folklore
- Russian folklore
- German folklore
- Scandinavian folklore
- English folklore
- Japanese folklore
- Korean folklore
- Scottish folklore
External Links and References
- Folklife Theory: Brief History
Source: adapted by the editor from Wikipedia, the free encyclopedia under a copyleft GNU Free Documentation License (GFDL) from the article "Folklore."
(From Wikipedia, the free Encyclopedia)
Folk-rock is a musical genre, combining elements of folk music and rock music. Bands that can be classified as folk-rock can lean toward either border. The heyday of folk-rock is likely between the mid-sixties to the mid-seventies, aligning itself approximately with the hippie movement. Many feel the genre was invented by the English band Fairport Convention, who formed in north London in the late 1960s.
The genre developed from the folk music of Bob Dylan and earlier musicians, the rock music of the British Invasion, and also the country music of Hank Williams and others. Folk-rock combined with experimental aspects, found for example in The Incredible String Band, eventually developed into prog rock.
Turkey, during the 1970s and 1980s, also sustained a vibrant Folk Rock scene, drawing inspirations from diverse ethnic elements of Anatolia, the Balkans, Eurasia and the Black Sea region and thrived in a culture of intense political strife, with musicians in Nationalist and Marxist camps. See Music of Turkey for detail.
Folk-rock artists
Not all of these performers were limited to folk-rock, but all had folk and rock elements.
- The Band
- Jonatha Brooke
- Buffalo Springfield
- The Byrds
- Capercaillie
- Leonard Cohen
- Jim Croce
- Crosby, Stills & Nash
- Bob Dylan
- Energy Orchard
- Fairport Convention
- Gordon Giltrap
- The Grateful Dead
- Horslips
- Indigo Girls
- Jefferson Airplane
- Jethro Tull
- The Mamas & the Papas
- Joni Mitchell
- Van Morrison
- Moby Grape
- Phil Ochs
- PHOENIX
- Peter, Paul & Mary
- Planxty
- Renaissance
- Ruby Blue
- Runrig
- Paul Simon
- Simon & Garfunkel
- Steeleye Span
- Strawbs
- Thin Lizzy
- The Turtles
- The Waterboys
- Andy White
- World Party
- Neil Young
Source: adapted by the editor from Wikipedia, the free encyclopedia under a copyleft GNU Free Documentation License (GFDL) from the article "Folk-rock."
Synonyms: FolkSynonyms: country(a) (adj), folk(a) (adj), hillbilly (adj), western(a) (adj), common people (n), ethnic music (n), family (n), family line (n), folk music (n), kinfolk (n), kinsfolk (n), phratry (n), sept (n), tribe (n). (additional references) |
| Context | Synonyms within Context (source: adapted from Roget's Thesaurus). |
Amusement | Dance; hop, reel, rigadoon, saraband, hornpipe, bolero, ballroom dance; minuet, waltz, polka, fox trot, tango, samba, rhumba, twist, stroll, hustle, cha-cha; fandango, cancan; bayadere; breakdown, cake-walk, cornwallis, break dancing; nautch-girl; shindig; skirtdance, stag dance, Virginia reel, square dance; galop, galopade; jig, Irish jig, fling, strathspey; allemande; gavot, gavotte, tarantella; mazurka, morisco, morris dance; quadrille; country dance, folk dance; cotillon, Sir Roger de Coverley; ballet; (drama); ball; bal, bal masque, bal costume; masquerade; Terpsichore. |
Mankind | People, persons, folk, public, society, world; community, community at large; general public; nation, nationality; state, realm; commonweal, commonwealth; republic, body politic; million. (commonalty); population. (inhabitant). |
| Source: adapted from Roget's Thesaurus. | |
| Domain | Usage | |
Screenplays | She was a folk singer (Forrest Gump; writing credit: Eric Roth) I was lucky in the order, but I've always been lucky when it comes to killin' folk. (Unforgiven; writing credit: Walon Green; Roy N. Sickner) It's a folk song (The English Patient; writing credit: Anthony Minghella) You can't outsmart carnival folk. They're the cleverest folk in the world (The Simpsons; writing credit: Artur Brauner; Paul Hengge) This happens every time one of these floozies starts poontangin' around with those show folk fags (Smokey and the Bandit; writing credit: Hal Needham; Robert L. Levy) | |
Lyrics | We are the Folk Song Army (The Folk Song Army; performing artist: Tom Lehrer) I left my folk and friends with the aim to clear my mind out (On The Road To Find Out; performing artist: Cat Stevens) Is another folk singer (Teen Angst (What The World Needs Now); performing artist: Cracker) I ain't tryin to collide with folk, (Guilty Until Proven Innocent; performing artist: Jay-Z) Yeah, city folk drivin’ in a black limousine (Thank God I’m A Country Boy; performing artist: John Denver) | |
Movie/TV Titles | The Folk Singer (1972) Folk Instruments of Rajasthan (1965) Som går på gaden Folk (1964) Young People's Concerts: Folk Music in the Concert Hall (1961) Finnskogens folk (1955) | |
Song Titles | Folk Song Army, The (performing artist: Tom Lehrer) Folk Music ( Libyan On A Jet Plane) (performing artist: Pinkard & Bowden) | |
Source: compiled by the editor from various references; see credits. | ||
| Domain | Title | ||
Books |
| ||
Periodicals | |||
Theater & Movies | |||
Music |
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High Tech |
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Source: compiled by the editor from various references; see credits. | |||
| Thumbnail | Description & Credit | Thumbnail | Description & Credit |
 | Caption: Mina Edison Folk Dancing at National Recreation Congress; Atlantic City, NJ; October, 1922; {14.352/62} (jpg). |  | Gosh, I like those old New England folk songs!. Credit: Library of Congress. |
 | Couples in traditional Latvian dress folk dancing at fishermen's festival, Riga, Latvia. Credit: Library of Congress. |  | Lithuanian folk dance "Shapochnaya" performed by the Lithuanian State Folk Ensemble of Song and Dance. Credit: Library of Congress. |
 | Hollow folk who beg along Skyline Drive, Blue Ridge Mountains, Virginia. Credit: Library of Congress. |  | Folk art in North Platte, Nebraska, home of Buffalo Bill. Credit: Library of Congress. |
 | Folk musical instruments including homemade horns. Credit: Library of Congress. |  | Goldi tribesmen acting out folk drama, "The repulse of the kidnapper". Credit: Library of Congress. |
 | The folk dance troupe comes to the date grove. Credit: Library of Congress. |  | It's her oil : so why are many Scots old folk cold and undernourished?. Credit: Library of Congress. |
Source: pictures compiled by the editor from various references; see picture credits. | |||
 |
| "Fox collar" by Dmitry N/a Commentary: "Vendor in folk dress, Izmailovo park, Moscow." |
Source: photographs selected by the editor, with permission from the photographers. |
| Play | Caption | Play | Caption |
 | A very 1960's style folk guitar strumming pattern. | | A typical English folk melody played on piano. |
| An upbeat folk rock style piece played by two guitar. | | Typical Irish folk melody played on piano. |
| A typical folk guitar playing style characteristic of the 1960's. | | Folk melody performed on the piano featuring arpeggiated accompaniment. |
| A tenor saxophone playing an old folk melody. | | A slow folk style guitar-dominant excerpt. |
| Folk style melody played in a hymn-like manner using block chords on piano. | | A very typical 1960's guitar folk piece typical of Cat Stevens. |
| Source: compiled by the editor from various references; see credits. | |||
| Author | Quotation |
Jonathan Swift | She wears her clothes as if they were thrown on with a pitch folk. |
MoliFre | There's nothing quite like tobacco: it's the passion of decent folk, and whoever lives without tobacco doesn't deserve to live. |
Ovid | Quarrels are the dowry which married folk bring one another. |
Ralph Waldo Emerson | We are a puny and fickle folk. Avarice, hesitation, and following are our diseases. |
Sir P. Sidney | In all exigencies or miseries, lamentation becomes fools, and action wise folk. |
Source: compiled by the editor from various references. | |
| Author | Date | Quotation |
Winston S. Churchill | 1946 | When the designs of wicked men or the aggressive urge of mighty States dissolve over large areas the frame of civilized society, humble folk are confronted with difficulties with which they cannot cope. ("Iron Curtain" Speech) |
Source: compiled by the editor from various references. | ||
| Subject | Topic | Quote |
Health | The great American folk singer and composer Woody Guthrie died on October 3, 1967, after suffering from HD for 13 years. (references) | |
Civil Liberties | China | Most officials who practice a religion are Buddhist or practice a folk religion. (references) |
China | In addition, local authorities destroyed thousands of local shrines dedicated to traditional folk religion. (references) | |
China | However, at the same time, folk religions have been labeled as "feudal superstition," and sometimes were repressed. (references) | |
Economic History | Bolivia | Its regional folk music is distinctive and varied. (references) |
Trinidad and Tobago | Trinidad has two major folk traditions: Creole and East Indian. (references) | |
Taiwan | At the same time there is a strong belief in Chinese folk religion throughout the island. (references) | |
Minorities | Ukraine | In May 2000, a popular folk singer was killed at a cafe in Lviv, allegedly by Russian-speakers who objected to his singing Ukrainian songs. (references) |
Women | Nepal | Folk beliefs about witchcraft, which are especially strong in the lowland Terai area on the Indian border, generally target women, particularly elderly and/or widowed women. (references) |
Source: compiled by the editor from ICON Group International, Inc.; see credits. | ||
| Speaker | Phrase(s) |
Barry Manilow | Well, I should have been so lucky. I wasn't even up to bar mitzvahs. I was just playing folk songs on the accordion. |
Source: compiled by the editor from various references; see credits. | |
| "Folk" is generally used as a noun (plural) -- approximately 92.29% of the time. "Folk" is used about 2,125 times out of a sample of 100 million words spoken or written in English. Its rank is based on over 700,000 words used in the English language. Some parts-of-speech are not covered due to the samples used by the British National Corpus. (note: percents less than one-hundredth of one percent have been omitted) |
| Parts of Speech | Percent | Usage per 100 Million Words | Rank in English |
| Noun (plural) | 92.29% | 1,961 | 4,385 |
| Noun (proper) | 6.63% | 141 | 26,682 |
| Noun (singular) | 0.56% | 12 | 101,599 |
| Noun (common) | 0.38% | 8 | 124,375 |
| Lexical Verb (-s form) | 0.14% | 3 | 202,518 |
| Total | 100.00% | 2,125 | N/A |
Source: compiled by the editor from several corpora; see credits.
| The following table summarizes the usage of "folk" based on a population census conducted in the United States. Ranks and frequencies are based on all names reported and classified. |
| Name | Usage/Gender | Usage per 100 million Persons | Rank in USA |
| Folk | Last name | 2,000 | 4,855 |
| Source: compiled by the editor from several corpora; see credits. | |||
Expressions using "folk": Agency for European Folk High School Work ♦ chapel folk ♦ common folk ♦ country folk ♦ folk art ♦ folk ballad ♦ folk costume ♦ folk dance ♦ folk dancer ♦ folk dancing ♦ folk etymology ♦ folk instrument with three double strings ♦ Folk lore ♦ folk medicine ♦ folk museum ♦ folk music ♦ folk poet ♦ folk remedy ♦ folk singer ♦ folk song ♦ Folk speech ♦ folk story ♦ folk tale ♦ folk weave ♦ folk writer ♦ Good folk ♦ North Folk Village. Additional references. | |
| Hyphenated Usage | |
Beginning with "folk": folk-art, folk-artists, folk-belief, folk-beliefs, folk-culture, Folk-custom, folk-customs, folk-dance, folk-dancers, folk-dances, folk-dancing, folk-devil, folk-devils, folk-etymology, folk-group, folk-hero, folk-heroes, Folk-law, folk-legend, folk-life, folk-lore, folk-loristic, folk-medicine, folk-memory, folk-moot, folk-music, folk-myth, folk-pop, folk-psychological, folk-punk, folk-religion, folk-rock, folk-rock-country, folk-rockers, folk-roots, folk-saying, folk-singer, folk-singers, folk-singing, folk-song, folk-songs, folk-speech, folk-stories, folk-tale, folk-tales, folk-themes, folk-tradition, folk-tunes, folk-weave, folk-wisdom. | |
Ending with "folk": men-folk, women-folk. | |
Containing "folk": cultural-southern-hip-hop-folk-ethnic-funk. | |
| Source: compiled by the editor from various references; see credits. | |
| The following statistics estimate the number of searches per day across the major English-language search engines as identified by various trade publications. Hyperlinks lead to commercial use of the expression at Amazon.com. |
| Expression | Frequency per Day | Expression | Frequency per Day |
queer as folk | 3,798 | queer as folk fan fiction | 76 |
folk music | 821 | festival folk kutztown | 75 |
folk art | 756 | old town school of folk music | 73 |
gossip folk | 571 | folk implosion | 73 |
meet my folk | 537 | mexican folk art | 73 |
folk | 317 | folk gang | 70 |
folk gossip lyrics | 166 | queer as folk on showtime | 69 |
folk tale | 139 | the soul of black folk | 68 |
festival folk winnipeg | 137 | thats all folk | 68 |
folk song | 136 | the real folk blues | 68 |
queer as folk picture | 135 | elliot folk gossip lyrics missy | 66 |
folk nation | 126 | folk art painting | 64 |
wee forest folk | 123 | folk song lyrics | 63 |
calgary festival folk | 119 | festival folk vancouver | 61 |
newport folk festival | 110 | folk wood | 61 |
edmonton festival folk | 105 | queer a folk | 60 |
folk dance | 104 | philadelphia folk festival | 58 |
po folk | 98 | folk rock | 58 |
elliott folk gossip lyrics missy | 96 | queer as folk episode guide | 56 |
folk festival | 83 | american art folk museum | 53 |
folk medicine | 53 | ||
| Source: compiled by the editor from various references; see credits. | |||
| Language | Translations for "folk"; alternative meanings/domain in parentheses. | |
Albanian | folklorik (ethnic, ethnical, folkloric), farefis (blood, cognation, family, fellow creatures, kin, kindred, kinsfolk, relative), popullor (demotic, national, pop, popular, vogue, vulgar, well known), popull (crowd, demos, laity, nation, people, populace, population, public, race), njerëz (connection, connexion, people), muzikë popullore, i afërm (adjacent, agnate, allied, connection, connexion, familiar, family, fellow creature, kin, kindred, kinsman, neighbor, neighbour, next of kin, related, relation, relative, tribesman), gjinde (people). (various references) | |
Arabic | مجتمع (community, society), ناس (oblivious, wave), قوم (adjust, appraise, assess, calibrate, correct, esteem, estimate, evaluate, guess, horde, measure, nation, people, prize, rate, reckon, rectify, reform, straighten, value), أمة شعب (nation), أسرتي, شعبي (bronchial, classless, communal, demotic, pop, popular, public, vulgar). (various references) | |
Bulgarian | народен (demotic, national, popular, public, vernacular, vulgar), народ (nation, nationality, people). (various references) | |
Chinese | 民間 (among the people, involving people rather than governments, non-governmental, popular), 伙计 (buddy, folks). (various references) | |
Czech | příbuzní (family, kin, kinsfolk, next of kin, relatives), lidový (plebeian, popular), lidé (humanity, people). (various references) | |
Danish | folk (nation, people). (various references) | |
Dutch | volk (nation, people). (various references) | |
Esperanto | popolo (nation, people). (various references) | |
Faeroese | fólk (human being, man, nation, people). (various references) | |
Finnish | kansa (nation, people). (various references) | |
French | peuple. (various references) | |
Frisian | folk (nation, people). (various references) | |
German | Leute (folks, gentry, people, persons), volk (colony, country, crowd, folks, hoi polloi, masses, men and women, nation, people, populace, public, rabble). (various references) | |
Greek | παραδοσιακόσ (conventional, traditional, traditionary), άνθρωποσ (guy, man). (various references) | |
Hebrew | לאום (nation, people), קרובי משפחה (kin, kindred), עם (community, crowd, mob, nation, people, populace), חברה (company, society, sodality), אנשים (men, people). (various references) | |
Hungarian | népi (popular, vernacular), nép (commons, nation, people, popular), emberek (all flesh, menfolk, people, people of good position, picked men). (various references) | |
Icelandic | þjóð (nation, people). (various references) | |
Irish | mhuintir. (various references) | |
Italian | popolo (commonalty, Commons, crowd, mob, nation, people, populace), gente (folks, people, persons, race). (various references) | |
Japanese Kanji | フェルミ粒子 (a walk, fall, fault, fault-tolerance, fauvisme, fellowship, fence, fencing, fender, Fermi particle, ferret, ferro-alloy, foam, foam rubber, focus, Fodor, fog, fog lamp, fog light, foie gras, folder, folk art, folk dance, folk song, folklore, follow, follow wind, follow-through, followup, follow-up, fondue, font, force, force-out, ford, fore, forecast, foreground, forehand, foreman, forge, fork, fork ball, forklift, forklore, form, formal, formal dress, formal wear, formalism, format, formation, formatter, formatting, form-feed, formula car, formula plan, formula translation, forte, FORTRAN, fortune, forum, forward, forward pass, forwarding, fossa magna, foster child, foster parent, four nines, fox-trot, Fuji, Fuji-TV, pheromone, phone, phonograph, photo, photo library, photo realism, photo story, photo studio, photochromic glass, photocoupler, photodiode, photogenic, photogenie, photograph, photographer, photography, photogravure, photoresist, phototransistor, Volkswagen, VW), 民間 (civil, civilian, popular, private, unofficial), 民間 (civil, civilian, popular, private, unofficial). (various references) | |
Japanese Katakana | フォーク (fork), みんかん (civil, civilian, popular, private, unofficial). (various references) | |
Korean | 사람 (folks, People, Person, persons). (various references) | |
Lombard | gent (nation, people). (various references) | |
Manx | theayagh (civil; layman, common, lay, plebian, villager, vulgar), pobble (community, congregation, masses, people, population), kynney (breed, connection, family, genus, kin, kind, kindred, lineage, people, race, species, stock), feallagh (ones, people, persons). (various references) | |
Norwegian | folk (people), mennesker. (various references) | |
Papiamen | pueblo (nation, people, village). (various references) | |
Pig Latin | olkfay.(various references) | |
Portuguese | povo (commonwealth, crowd, general, multitude, nation, people, public, race), nação (commonwealth, country, land, people, realm, state), gente (people, race). (various references) | |
Romanian | familie (Covey, family, kind, name, parentage, people, stem, tribe), rude (belongings, connection, kin, kindred, kinsfolk, own, people), popor (nation, nationality, peasantry, people, race), oameni (gentry, men, people, public), naţiune (nation, nationality, people), lume (cosmos, creation, earth, existence, humanity, mankind, people, realm, society, universe, world). (various references) | |
Russian | родня (kindred, kinfolk, kinsfolk), народный (demotic, national, people's, popular, vernacular, vulgar), народ народный, народ (Demos, people, public), люди (folks, human beings, men, people). (various references) | |
Scottish | feadhainn (people, some people, those, troop), luchd (a burden, a set; used mostly in compound words, burden, cargo, load, people), dream (a tribe, clan, family, race, tribe), aiteam (a people, people, persons). (various references) | |
Serbo-Croatian | rodbina (affinity, In law, kin, kindred, kinfolk, kinsfolk, relatives), narodni (demotic, national, popular, public), narod (demo, demos, nation, people), ljudi (capitation, men, people). (various references) | |
Spanish | pueblo (common people, nation, people, populace, the people, town, village), población (city, demos, dwellers, humanity, nation, people, population, town). (various references) | |
Sranan | pipel (nation, people). (various references) | |
Swahili | watu (nation, people). (various references) | |
Swazi | ín-goma yémvelo (folk song). (various references) | |
Swedish | folk (commonage, commonalty, folks, gentry, nation, people, servants). (various references) | |
Thai | ประชาชน (citizen, national), ดนตรีแนวลูกทุ่ง. (various references) | |
Turkish | millet (nation, people), insanlar (cattle, folks, human beings, humanity, mankind, people, they), halk müziği, halk (communal, demo-, demos, grass roots, people, populace, popular, public, the community, the crowd, the million, the people, the vulgar, vulgar), ahali (the community, the million), ahalí (nation, people), ırk (peoples, phylo-, race, racial, strain). (various references) | |
Ukrainian | народність (nation), народ (commonalty, demos, humanity, nation, nationality, people, public). (various references) | |
Vietnamese | truyện dân gian (folk-tale), phong tục tập quán dân tộc (folk-custom), nhạc dân tộc (folk-music), dân ca (folk-song), điệu múa dân gian (folk-dance). (various references) | |
Welsh | pobl (nation, people). (various references) | |
| Source: compiled by the editor from various translation references. | ||
| Language | Period | Translations |
| Latin | 500 BCE-Modern | plebe, plebem, plebi, plebis, plebs, populus. (various references) |
| Source: compiled by the editor from various references. | ||
| Language | Date | Source | Proverbs Chapter 30, Verse 26 |
| Greek (transliterated) | 250 BC | Septuagint | Kai oi coirogrullioi eqnoV ouk iscuron oi epoihsanto en petraiV touV eautwn oikouV |
| Latin | 405 | Vulgate | Lepusculus plebs invalida quae conlocat in petra cubile suum |
| Middle English | 1395 | Wyclif | A litil hare, a folc vnmyyti, that in a ston his bed settith; a king the locuste hath not, |
| Jacobean English | 1611 | King James | The conies are but a feeble folk, yet make they their houses in the rocks; |
| Victorian English | 1833 | Webster | The conies are but a feeble people, yet they make their houses in the rocks; |
| Basic English | 1964 | Ogden | The conies are only a feeble people, but they make their houses in the rocks; |
Source: compiled by the editor from various references; see credits. | |||
| Language | Proverbs Chapter 30, Verse 26 |
| Cebuano | Ang mga conejo maoy usa ka maluyahon nga kaubanan, Bisan pa niini nagabuhat sa ilang mga balay sulod sa mga bato; |
| Croatian | jazavci, stvorovi bez moæi, što u stijeni grade sebi stan; |
| Danish | Klippegrævlinger, et Folk uden Magt, bygger dog Bolig i Klipper; |
| Dutch | De konijnen zijn een machteloos volk; nochtans stellen zij hun huis in den rotssteen. |
| Finnish | tamaanit ovat heikko kansa, mutta he laittavat majansa kallioihin; |
| French | Les damans, peuple sans puissance, Placent leur demeure dans les rochers; |
| German | Kaninchen, ein schwaches Volk; dennoch legt es sein Haus in den Felsen, |
| Hungarian | A marmoták nem hatalmas nép, mégis kõsziklán csinálják az õ házokat; |
| Indonesian-Bahasa Sehari-hari | Pelanduk, binatang yang lemah, tetapi membuat rumahnya di bukit batu. |
| Indonesian-Terjemahan Lama | dan kelinci itu suatu bangsa yang lemah, maka diperbuatkannya juga sarangnya dalam batu gunung; |
| Italian | gli iràci, popolo imbelle, ma che hanno la tana sulle rupi; |
| Maori | Ko nga koni, he iwi ngoikore, heoi e hanga ana i o ratou whare ki te kamaka; |
| Norwegian | fjellgrevlingene er ikke noget kraftig folk, og enda bygger de sitt hus i berget; |
| Portuguese | os querogrilos são um povo débil, contudo fazem a sua casa nas rochas; |
| Rumanian | woarecii de munte, cari nu sknt un popor puternic, dar kwi aweazq locuinya kn stknci; |
| Russian | ЗПТОЩЕ НЩЫЙ--ОБТПД УМБВЩК, ОП УФБЧСФ ДПНЩ УЧПЙ ОБ УЛБМЕ; |
| Spanish | los conejos, pueblo no poderoso, pero tienen su casa en la roca; |
| Swedish | klippdassarna äro ett folk med ringa kraft, men i klippan bygga de sig hus; |
Source: compiled by the editor from various references; see credits. | |
Derivations | |
Words beginning with "folk": folkie, folkies, folkish, folkishness, folkishnesses, folklife, folklike, folklives, folklore, folklores, folkloric, folklorish, folklorist, folkloristic, folklorists, folkmoot, folkmoots, folkmot, folkmote, folkmotes, folkmots, folks, folksier, folksiest, folksily, folksiness, folksinesses, folksinger, folksingers, folksinging, folksingings, folksong, folksongs, folksy, folktale, folktales, folkway, folkways, folky. (additional references) | |
Words ending with "folk": fisherfolk, gentlefolk, kinfolk, kinsfolk, menfolk, townfolk, townsfolk, womenfolk, workfolk. (additional references) | |
Words containing "folk": gentlefolks, kinfolks, menfolks, womenfolks, workfolks. (additional references) | |
| |
"Folk" is suggested in spellcheckers for the following: falko, felk, Fialka, filk, flj, floj, flok, fock, fok, fol, Folb, folc, Folch, folg, folik, folke, folky, foll, foln, folv, fonk, fook, fosk, fowk, fuk, Fulco, fuxk, Fylke, Ifaluk, Ofek, olk, volk. (additional references) | |
| Source: compiled by the editor, based on several corpora (additional references). | |
| # of Phoneme Matches | Pronunciation | Word(s) rhyming with "folk" (pronounced fō"k) |
| 2 | -ō" k | awoke, baroque, bloke, broke, choke, cloak, coke, croak, evoke, hoke, invoke, joke, misspoke, oak, poke, provoke, revoke, Roque, smoke, soak, spoke, Stoke, stroke, woke, yoke, yolk. |
Source: compiled by the editor (additional references); see credits. | ||
Scrabble® Enable2K-Verified Anagrams | |
| Words within the letters "f-k-l-o" | |
-2 letters: lo, of. | |
| Words containing the letters "f-k-l-o" | |
+1 letter: flock, folks, folky, kloof. | |
+2 letters: flocks, flocky, folkie, folksy, kloofs. | |
+3 letters: bookful, elflock, fetlock, flocked, flokati, folkies, folkish, folkmot, folkway, forkful, foxlike, kinfolk, menfolk. | |
+4 letters: backflow, bookfuls, chockful, cockloft, elflocks, fetlocks, firelock, flatwork, flockier, flocking, flokatis, foamlike, folklife, folklike, folklore, folkmoot, folkmote, folkmots, folksier, folksily, folksong, folktale, folkways, footlike, forelock, foremilk, forkball, forkedly, forkfuls, forkless, forklift, forklike, forksful, froglike, frolicky, hooflike, kinfolks, kinsfolk, lifework, loftlike, menfolks, outflank, rockfall, rooflike, townfolk, wolflike, workfolk. | |
| Source: compiled by the editor from various references; see credits. SCRABBLE® is a registered trademark. All intellectual property rights in and to the game are owned in the U.S.A and Canada by Hasbro Inc., and throughout the rest of the world by J.W. Spear & Sons Limited of Maidenhead, Berkshire, England, a subsidiary of Mattel Inc. Mattel and Spear are not affiliated with Hasbro. | |
| 1. Definition 2. Synonyms 3. Crosswords 4. Usage: Modern | 5. Usage: Commercial 6. Images: Slideshow 7. Images: Photo Album 8. Images: Digital Art | 9. Sounds 10. Quotations: Familiar 11. Quotations: Historic 12. Quotations: Non-fiction | 13. Quotations: Spoken 14. Usage Frequency 15. Names: Frequency 16. Expressions | 17. Expressions: Internet 18. Translations: Modern 19. Translations: Ancient 20. Bible Trace | 21. Derivations 22. Rhymes 23. Anagrams 24. Bibliography |
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