Folklore and Fakelore: Authenticity and Falsehood

Folklore and Fakelore: Authenticity and Falsehood

In the realm of culture and heritage, the distinction between folklore and fakelore is crucial for artists, culture workers, and anyone engaged in the preservation and promotion of traditional arts. Folklore, the richness of cultural narratives, customs, and practices passed down through generations, represents the authentic voice of a community. Conversely, fakelore is a superficial or false representation of this heritage—often stripped of its original context and meaning. As custodians of culture, it is our responsibility to ensure that we do not inadvertently transform authentic expressions of popular wisdom into mere imitations that lack depth and significance.

Gustav Mahler once said, “Tradition is the passing on of the fire, not the worship of the ashes.” This aphorism encapsulates the dynamic nature of cultural heritage. It reminds us that tradition is not a static relic to be admired but a living, breathing entity that must be nurtured and adapted. As culture workers, we must be cautious and aware of how we engage with heritage, ensuring that we ignite the flame of authenticity rather than merely honoring past ashes.

Reviving and Monetizing Heritage and Traditional Art Forms

To ensure that community-based heritage thrives and survives, it must be monetized thoughtfully and responsibly. This notion often raises eyebrows, as many fear that introducing financial elements to heritage will lead to its over-commercialization and degradation. However, a historical perspective on the case of storytelling reveals that it has always had economic dimensions. Traditionally, storytellers were travelers who relied on the generosity of their audiences for sustenance. They were rewarded with gifts, food, and even animals to continue their journeys. Today, while we may not offer storytellers clothes or donkeys, we can engage with them through monetary transactions, maybe in crypto money in the future, I am looking forward for such future.

To sustain and deliver traditional art forms into the future, we must embrace our responsibility towards these practices. Here are some essential steps to ensure that we do this ethically and effectively:

  1. Understanding Essence: Before engaging with any art form, we must fully grasp its essence—what makes it unique and valuable to the community. This awareness is crucial to maintaining authenticity.
  2. Reinterpretation and Adaptation: We should reinterpret the art form to fit our contemporary context, ensuring that we honor its roots while making it relevant for future generations. After all, we are tomorrow's heritage.
  3. Enriching Ecosystems: Traditional art forms thrive within their designed ecosystems. It is vital to enrich these ecosystems—be it through community support, educational initiatives, or collaborative projects—before attempting to develop the art form further.
  4. Local Wisdom over Academic Interference: The late Morocco King Hassan II (PBUHS) emphasized the importance of including local wisdom in cultural projects, particularly in recognizing Marrakech's storytelling as world intangible heritage. He asserted that the wisdom of knowledgeable individuals should guide these initiatives, rather than relying solely on academic institutions, which often overlook the nuances of "la sagesse populaire" (the wisdom of the people).

By embracing these principles, we can navigate the fine line between celebrating our cultural heritage and ensuring its sustainability. Let us work together to keep the fire of folklore alive, transforming it into a dynamic force that resonates with both past and future generations while steering clear of the superficial allure of fakelore. In doing so, we honor the stories that shape our identities and empower communities to thrive in a rapidly changing world.

Gita Sellman

Free lance, bénévole chez Academia Arabesca

4 个月

Merci Zouhair pour avoir lancé ce sujet si important! J'espère pouvoir en discuter avec toi et d'autres personnages cuturels en décembre quand je reviendrai de l′inauguration du premier Centre de Danse des Nomades de Sapmi à Vuollerim prés du circle polaire en Suède.

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