Abstract

            Art and literature, already subjects of extensive debate, become even more complex when qualified as ‘folk’ or ‘rural’. Defining these expressions is challenging because they draw from multiple disciplines such as anthropology, community studies, art history, narrative traditions, religiosity, and historiography. At their core, folk creative practices embody an intricate process where diverse elements converge into culturally significant forms. This convergence reflects the dynamic interplay between individual expression and collective cultural influences, intertwining both tangible artifacts and intangible beliefs, a discourse discussed by the Material Culture School. Consequently, these creations serve as indicators of broader socio-economic, historical, and political frameworks. Their inherent ambiguity defies simple categorization, urging continual reassessment of how creative practices express and shape the evolving cultural codes and social norms within any given society.