American Journal Of Social Sciences And Humanity Research
60
https://theusajournals.com/index.php/ajsshr
VOLUME
Vol.05 Issue07 2025
PAGE NO.
60-70
10.37547/ajsshr/Volume05Issue07-12
24
Popular Folklore and Its Reflection in The Projects of
Students of The Department of Art Education
Zahraa Falah Al-shimaysawee
Al-Furat Al-Awsat University, Najaf Technical Institute, Iraq
Zahraa Noaman Sadeq A- Kweeti
Al-Furat Al-Awsat University, Najaf Technical Institute, Iraq
Noor Shaker Mahmoud ALZaidi
Najaf Education Directorate, Najaf Technical Institute, Iraq
Received:
22 May 2025;
Accepted:
18 June 2025;
Published:
20 July 2025
Abstract:
The current research included a study of popular folklore and its reflection on students' projects in the
Department of Art Education. The research problem was summarized in the following questions: 1- Is popular
folklore a role in student projects in the Department of Art Education? 2-What are the reflections of popular
folklore in students' projects in the Department of Art Education?
Introduction:
The current research consisted of four
chapters. In the first chapter, the researchers stated
the research problem, determined its importance, and
stated the objective: to identify popular folklore and its
reflection in the projects of students in the Department
of Art Education. The second chapter was divided into
two sections: the first, the art of folklore (folk heritage),
and the second, the subject of the visual arts project.
The researchers arrived at the most critical indicators
from the theoretical framework, which represent the
foundations upon which they relied to analyze the
research sample. The third chapter is devoted to the
research procedures and analysis of the sample's (5)
models. The fourth chapter included the results, the
most important of which was that students' works in
the Department of Art Education reflected the Iraqi
environment's
conceptual,
symbolic,
artistic,
expressive, religious, and social dimensions, as
observed in all samples. The researchers concluded
that folklore is inseparable from Iraqi society's
religious, spiritual, and cultural dimensions, as it is
linked to social, cultural, and religious practices.
First: The Research Problem:
Each society has its artistic heritage, visual vocabulary,
symbols, and unique heritage that distinguishes it from
other peoples and nations. This close connection exists
between society and its living reality, as well as the
customs and traditions left behind by the ancients,
which express its daily life and describe society through
its beliefs and philosophy. Folk arts represent a
significant portion of the heritage of peoples, lending a
distinctive and authentic character due to the
expressive aspects, ideas, and sincere feelings they
contain. They are the product of the popular
environment and customs. It is clear to us, through the
arts inherited from different civilizations and societies,
that they are distinguished and unique by a visual
vocabulary that helps us understand the artistic
foundations and aesthetic values of each art and
civilization and distinguish its culture from that of other
societies. There is an urgent need to emphasize the
revival of Arab folk heritage and Folklore, given its
authenticity and comprehensiveness, and to preserve
it from decline and extinction. (1)
Folk heritage and Folklore, along with their
philosophical connotations, can be invested in
enriching contemporary visual arts. The artistic output
of art education students in the Fine Arts Project
subject varies, reflecting their cultural, ideological,
American Journal Of Social Sciences And Humanity Research
61
https://theusajournals.com/index.php/ajsshr
American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
intellectual, social, and psychological references. Some
students emphasize drawing from their imagination
through their artistic output, while others tend to
depict social life, etc. Thus, the research problem
emerged in the following question: 1. Does popular
Folklore play a role in students' art education projects?
2. What are the implications of popular Folklore for
students' projects in the Art Education Department?
Second: The importance of the research:
1. Emphasizing the cultural and civilizational
foundations of society.
2. Utilizing popular Folklore in all practical academic
subjects, such as ceramics, sculpture, murals, and
handicrafts, may benefit art teachers, students, and art
education departments.
3. The results of the current research may benefit art
students and art education departments by enabling
them to utilize popular Folklore to produce works as
small projects.
Third: The aim of the research:
To identify popular Folklore and its reflection in
students' projects in the Art Education Department.
Fourth: Research Limits:
The current research focuses on Iraqi Folklore and its
reflection in the project subject (drawing) for students
in the Department of Art Education (fourth grade) in
the morning studies for the academic year 2023-2024.
Fifth: Definition of Terms:
1- Folklore:
Al-Basyouni defined it as: "The experiences reflected
from the local folk heritage left behind by our ancestors
in museums or cemeteries, which continue to have a
sociological and anthropological impact in our present
era." (2)
Al-Kakak defined it as: "FFolkloreis the sum of what a
people has created, from the beginning of their history,
in the fields of faith, culture, literature, art,
architecture, and industry. Therefore, we find in it
various manifestations of their successive civilizations
throughout the stages of their history." (3)
The researchers define folklore procedurally as:
(It is the popular heritage through which the true
features of the national character are revealed, as well
as its strong connection to civilization, literature, art,
and people's lives on the spiritual, psychological, and
material levels.)
2- Project Subject (Drawing):
Diwan defined it as: "(Drawings) executed with oil
paints on canvas in the project subject, which must be
distinguished. A fourth-year art student obtained this
subject with a grade ranging from (85-95)." (4)
Tuwaij and Alwan defined it as: "It is everything that
students produce in terms of creative formative
activities in art education departments and project
subject classes, which can be subjected to analysis and
critical evaluation through the possibility of applying
the four artistic trends in the theory of cognitive
orientation (DBAE)." (5)
The researchers believe that these definitions do not
align with the research objective. Therefore, they
defined the project subject procedurally as:
(It is everything that fourth-year students produce in
terms of paintings executed with oil paints on canvas in
the project subject in art education departments.)
Chapter Two: Theoretical Framework
Section One: The Art of Folklore (Popular Heritage)
The first to coin the term "folklore" was the English
philosopher William John Thomas, who denoted the
study of traditional customs and beliefs. On the other
hand, Alfred Nutt and Hartland defined folklore as:
"Anthropology related to humans." Both included arts
and crafts in the term "folklore." Stuart Glennie was the
only one who insisted that folklore was what the
educated classes knew about the general public. (6)
There are three major groups of definitions of folklore:
first, folklore as cultural heritage; second, a definition
of folklore limited to popular literature; and finally, a
definition of folklore as the sum of all that falls under
the term popular culture, including knowledge, beliefs,
literature, and popular arts. (7)
We must not forget that folklore is a popular heritage
among many people. It serves as a key to
understanding the origins of the people's culture, the
changes that have occurred in its development, and the
influences and impacts it has had due to interaction
and contact with other cultures. Through this heritage,
the true features of the national character become
clear, as well as its strong connection to civilization,
literature, art, and people's lives on the spiritual,
psychological, and material levels. (8)
It can be said that folklore is a mirror of popular life or
a depiction of popular life as it is. Popular literary and
artistic works do not spring from nothing. Artists,
writers, and poets compose and depict from their
experiences, knowledge, and emotional reactions.
Folklore connects the artist to his ancestors. It can
appear in any subject, group, or individual at any time
and place because he who has no past has neither a
present nor a future. (9)
Folklore has its symbols that represent and express it
across time and history. These symbols have historical
and human significance. They are not random acts but
American Journal Of Social Sciences And Humanity Research
62
https://theusajournals.com/index.php/ajsshr
American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
rather the result of a sense of faith and conviction in
their meanings and implications. The symbol is
considered one of the most critical formative elements
in folklore. It represents the value of the artwork and
brings it closer to public taste. From an artistic
perspective, the symbol is a formative language the
artist uses to express his feelings and emotions toward
whatever stirs his emotions, ideas, and beliefs. The
symbol may be a bird, a plant, an animal, a creature
feared by the group, geometric lines, or a term. The
importance of the symbolic forms used in folk art varies
according to the culture of each country. Symbols are
not merely a set of connotations pointing to specific
ideas and perceptions but a complex network of shapes
and images expressing human feelings, emotions, and
beliefs. (10)
The literal meaning of the term "folklore" has come to
denote two meanings in various circles: the first, the
science of popular traditions in terms of their forms,
content, and functions, and the second, the enduring
and living material encompassing words, movement,
rhythm, and the formation of material. In the early
stages, "folklore" was not limited to customs,
traditions, literature, and popular temporal arts, such
as music and dance. Later, it also encompassed shaped
materials deemed popular, especially those with vital
and social functions, such as engravings, pictures,
statues, and architecture. Some scholars believe that
the crafts and handicrafts currently in circulation fall
within the scope of folklore. (11) The prevailing popular
thought in society and the circumstances surrounding
the artist shape their artistic production. Popular forms
and symbols stem from the artist's original
environment. Arab heritage has also been blessed with
many of these popular symbols, enabling it to produce
a vast amount of artwork. Consequently, many artists
have sought to adopt traditional symbols and symbols
that resonate deeply within Arab society, its customs,
and its beliefs. (12)
Folklore has great importance in society because it: (13)
1. It develops national, cultural, and social awareness.
2. It incorporates folklore arts and the culture of the
local and national community and thus transmits them
to others.
3. It preserves customs, traditions, and the
community's identity.
The study of folklore requires understanding what
folklore is, identifying its types, and its sources,
especially the ancient ones, represented by (books of
heresies and logic reform, books of hisbah that discuss
industries, books of the virtues of saints that discuss
the material environment and social life, books of
stories and epics, books of descriptive poetry, books of
Arab or European travel, and history books, and books
of calamities and rulings). (14)
Folklore can be analyzed through three elements:
The first element is the remains of the ages. These
include remnants of beliefs inherited from paganism,
such as:
1- Animal symbols, religion (rituals), and morals
(purification elements like stone, water, and fire).
2- Scientific remnants, including: (ancient astrology,
ancient medicine, ancient agriculture from the Stone
Age).
3- Artistic remnants, including: (primitive music and
dance).
4- Remnants of evil powers, including: (the evil eye (the
seven eyes to ward off the evil eye) and the genies of
benefit and harm).
The second element is transformation (the Romans
believed that specific beneficial and harmful deities
inhabited water springs. When Islam came, these
springs became associated with particular saints who
gained beneficial power and healing virtues from their
blessings).
The third element is borrowing (they borrowed Berber,
Phoenician, and Roman holidays, incorporating Islamic
elements into them and turning them into popular
holidays for which festivals were held). They blended
the old and the new, lighting a fire on Ashura, which
symbolizes the old year that must be burned, thus
welcoming the new year). (15) Folkloric phenomena
represent customs, beliefs, celebrations, the births of
saints, folk music, tales, crafts, industries, popular
professions, and so on. The scope of folklore is
numerous, and this type of division is a primary
thematic division consisting of general folklore themes:
popular beliefs and knowledge, popular customs and
traditions, popular literature, popular arts, and
material culture. Another division documents and
reveals folkloric material; according to this division,
characteristics are divided between simple, complex,
and complicated. The simple refers to herbs, blessings,
magic, symbols, hospitality, herbalists, the evil eye,
dowry, and tattoos. The complex includes marriage
prayers, bridal decorations, jinn groups, proverbial
tales, evening customs, and popular costumes.
Religious songs, traditional galabiyas, folk tales, henna
decorations, and pottery sculptures are also included.
The complex consists of hanging household items,
healing miracles, music, songs, the procession of the
newborn's seventh day, and the Islamic New Year. (16)
We can say that folklore is not just customs and
traditions but also stems from psychological, cultural,
and social factors. Thus, it shapes what helps people act
American Journal Of Social Sciences And Humanity Research
63
https://theusajournals.com/index.php/ajsshr
American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
according to the cultural environment in which they
were raised, motivating them to be creative, which can
enhance the energies of the present. (17) Likewise,
religious heritage in general, and Islamic heritage in
particular, is considered a source of folklore from which
we draw lessons and wisdom inspired by the Holy
Qur'an and the stories of prophets, messengers, and
religious figures. Thus, religious heritage is a rich source
for understanding ideas and topics, encompassing all
cultural, economic, social, aesthetic, and other material
or intellectual influences. (18)
Iraqi folklore is a popular art derived from a cultural
heritage extending back to the civilizations of
Mesopotamia. Folklore encompasses a variety of
forms, particularly visual arts, narratives, folk stories,
folk dance, and other arts. Art is a phenomenon
connected to inherited or acquired temporal and
spatial concepts. Thus, the artist's experience is derived
from the intellectual and visual environment in a way
that is compatible with the concepts of his time and
environment, as well as beliefs and myths. One of the
most ancient countries to have participated in world art
history is Iraq because it is based on the cultural
heritage of ancient Iraqi civilization, popular heritage,
and local heritage. This heritage has influenced modern
European art, making it a social phenomenon that
integrates traditions, customs, and social relations. In
the contemporary era, Iraqi artists have worked to
combine methods of execution and production with
these references. (19) The aesthetics of folklore lie in
the elements and foundations of design to convey the
intellectual and aesthetic message conveyed by the
completed heritage artwork in the most beautiful form
or image. This includes the foundations of design in
terms of balance, contrast, unity, and rhythm.
Proportion and sovereignty), while the design elements
include (lines, shapes, colors, texture, size, and space).
(20)
Section Two: Productions of Art Education Department
Students (Art Project)
Since ancient times, humans have employed their
artistic productions by drawing on walls. This drawing
has two directions: the first is that it vents their
negative emotions, and the other direction is that it
attempts to pull their prey and the steps of hunting it,
believing that if the arrow falls into the neck of the
prey, he is drawing, then when he goes hunting in
reality, it will fall in the same place he pulled on the
walls. Therefore, researchers emphasized the
importance of art "as the forces that refine human
instincts and elevate them to high levels. It refines the
soul and ensures the growth of taste and sense of
beauty, in addition to the acquisition of artistic skills.
Art is treated in schools on the basis that it is an
enjoyable subject and has a major role in education.
The student of art changes his behavior and habits and
becomes able to perceive the meanings and aesthetic
values in things. Art education is the essence of
emotional education that enriches the person
spiritually and completes his intellectual interests, thus
completing his artistic personality." (21)
Since art is not isolated from education, the artist is
considered a researcher and specialist, possessing the
capabilities and feelings that qualify him to be an
artistic, aesthetic, moral, and educational contributor.
The broad knowledge that the artist acquires through
his study of the arts of other civilizations, his keeping
pace with the times and their technological and cultural
developments, and his aspiration to the achievements
of the cultures of the surrounding world represent a
valuable scientific reserve that enables him to employ
these energies and harness them in educational fields,
especially those related to the arts. Art is usually
possessed by people who distinguish the values of
things. Thus, the individual practicing the arts can
differentiate between beauty and ugliness, between
things that contain sublime human values and those
that do not. (22)
"Through artistic expression, natural beauty acquires
value and becomes a subject of artistic appreciation.
Therefore, it can be said that the subject of aesthetics
is not the beautiful things we perceive directly, but
rather is closer to an interpretation of the beautiful
expression of things, whether natural or derived from
human life. Through beautiful artistic expression,
human feelings, taste, and values are revealed." 23.
Therefore, art education products in any society derive
their themes from the local reality of that society and
work to transmit the learner's experiences and
perceptions to subsequent generations. The subject
occupies an important, fundamental position in
academic instruction, as well as in visual arts, to
stimulate the learner to discover the visual content it
contains. In the past, as we mentioned previously, the
subject was an essential goal in the works presented by
the artist, measured by the extent of his ability to draw
the subject and match it to reality. Today, current
studies confirm that a specific subject given to students
in the field of composition, construction, and formation
can, from a technical perspective, be formulated by
exploring
the
relationships
associated
with
constructing such a subject. (24)
There is a relationship between artwork and nature, as
the nature surrounding us is a source of artistic
inspiration. Various artistic styles have emerged from
this style, including:
1. The realistic or naturalistic style: The artist relies on
American Journal Of Social Sciences And Humanity Research
64
https://theusajournals.com/index.php/ajsshr
American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
his ability and artistic sense to choose the creative
angle, faithfully transmitted from nature, and
artistically record what he sees in form and color.
2. The imaginative style: In this style, the artist creates
his designs based on what he sees in nature while
adding what he sees in his imagination and perception.
3. The expressionistic style: In this style, the artist relies
on the artist's inner feelings, whether conscious or
subconscious.
4. The abstract style: In this style, the artist expresses
his response to the relationships between lines and
colors. (25)
Artistic productions are an essential component that
contributes to the development of creative expression
in students, in addition to the sensory and emotional
aspects that simultaneously help develop the student's
ability to imagine, distinguish, and perceive through
creative expression. Through this, students are trained
to produce a complete artwork that expresses their
ability to create using lines, colors, and shapes,
enabling them to demonstrate the skills and
experiences they have acquired during their practical
and theoretical studies and how they can employ these
skills in artistic productions through the distribution of
blocks and shapes and their color treatments. (26)
Previous Studies
The researchers reviewed several previous studies,
selecting those directly relevant to the current
research. The following is an overview of this study:
Study (Al-Saudi and Al-Mashaikhi): The study aimed to
discover the methods and mechanisms for employing
elements such as heritage vocabulary, shapes, or colors
and the nature of the formal aspects represented in the
works of Potter Sajida Al-Mashaikhi and Potter Siham
Al-Saudi, through a comparison between the styles of
the two potters. The theoretical framework included
two sections: the first: Iraqi folklore, and the second:
The movement of contemporary Iraqi ceramics
formation. The researchers used the descriptive-
analytical approach, relying on the indicators of the
theoretical framework as a tool to intentionally analyze
the selected works, totaling (6) works, with each
researcher (3). The researchers reached the following
conclusions:
1. The fable Siham Al-Saudi utilized folkloric forms such
as doors, arches, and domes as evidence of its religious
and cultural references. These forms contained motifs
and letters (1), (2), and (3).
2. Sajida Al-Mashaykhi described the shapes of popular
rugs and their geometric decorations as folkloric formal
characteristics, as in Models (2) and (3).
Theoretical Framework Indicators:
1. Folk arts represent a significant part of people's
heritage, conferring a distinctive and authentic
character.
2. Folklore is a social phenomenon that integrates
traditions, customs, and social relations.
3. Folklore reveals the true features of the national
character and its strong connection to civilization,
literature, art, and people's lives on the spiritual,
psychological, and material levels.
4. The artist combined the inherited civilizational and
cultural units of folklore art in paintings, blending them
with colors, drawings, and imagination to produce
something distinctively civilized.
5. The prevailing popular thought in society and the
circumstances surrounding the artist shape his artistic
production. Folk forms and symbols originate from the
folk artist's environment.
6. Religious heritage in general, and Islamic heritage in
particular, is considered a source of folklore, from
which we draw lessons and wisdom inspired by the
Holy Quran, the stories of prophets, messengers, and
religious figures.
7. Folklore phenomena represent customs, beliefs,
celebrations, the birth of saints, folk music, tales, crafts,
industries, and popular professions.
8. Folklore is divided into simple, complex, and
complicated. Simple folklore encompasses herbs,
blessings, magic, symbols, hospitality, herbalists, the
evil eye, dowries, and tattoos. Compound folklore
includes marriage prayers, bridal adornments, jinn
groups, proverbial tales, evening customs, folk
costumes, religious songs, traditional galabiyas, folk
tales, henna decorations, and pottery sculpture.
Complex folklore includes hanging household items,
healing miracles, music, songs, the baby's week
procession, and the Islamic New Year.
9. The artist uses elements and design principles to
produce artwork conveying aesthetic values.
Chapter Three/Procedural Framework
Research Community:
The researchers photographed all (50) artworks
produced by fourth-year morning students for the
academic year (2023-2024).
Research Sample:
The researchers used a random method to select the
sample of (5) artworks.
Research Methodology:
In the current study, the researchers relied on a
descriptive and analytical approach, which was
consistent with the research objective.
American Journal Of Social Sciences And Humanity Research
65
https://theusajournals.com/index.php/ajsshr
American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
Research Tool:
The researchers used the theoretical framework
indicators as criteria for analyzing the artworks to
arrive at the research results.
Sample Analysis:
1-
Tea Session
Work Description
The work above shows a vibrant social scene in the
popular Iraqi environment. It is depicted in one corner
of the house, and they appear to be experiencing a
simple, friendly social moment. We see three women
sitting around a low table, drinking tea, and a man
leaning on a wooden fence (tazer) holding a teacup. We
notice a woman and a man sitting on the stairs, looking
at the others. The woman seated to the right of the
painting is holding a hookah.
Analysis
In the work above, we notice a purely Iraqi
atmosphere, a sense of belonging, and environmental
and national pride. The work follows a realistic, folkloric
style. It celebrates simple daily life and glorifies
traditional social relations and the role of women in
Iraqi societies. Tea is a common feature of Iraqi
gatherings. In the old popular areas, neighbors would
meet in the afternoon to drink tea with cookies and
discuss neighborhood news. Therefore, meeting
between neighbors and drinking tea is considered an
Iraqi social folklore. Folk arts represent a large part of
the people's heritage, giving it a distinctive and
authentic character. Therefore, folklore is considered a
social phenomenon resulting from social relations. In
the work above, the artist combined folklore's cultural
and civilizational heritage into an artwork, blending
them with colors, drawings, and imagination, creating
a distinctive cultural masterpiece. We see the women
wearing the Iraqi abaya, a renewed folklore heritage,
and the standing man wearing a white Iraqi dishdasha
and a white scarf on his head. The painting represents
a visual embodiment of Iraqi popular society with its
intimacy and the warmth of its daily details, reflecting
simple yet profound values through human connection
and authentic traditions. In terms of color, the painting
is dominated by a warm color spectrum, leaning
toward brown and creamy white, with shades of blue
and black, which enhance the sense of intimacy and
tranquility. Folklore in this work is embodied in
connotations such as Iraqi hospitality, social life, and
popular stories. The artist uses elements and design
principles to produce an artwork that conveys aesthetic
values.
2- Ashura Commemoration Rituals
American Journal Of Social Sciences And Humanity Research
66
https://theusajournals.com/index.php/ajsshr
American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
Work Description
The painting above depicts a realistic scene from the
rituals commemorating Ashura in Islamic societies. This
religious occasion carries a social and spiritual
dimension, especially in Shiite societies, where rituals
celebrate the martyrdom of Hussein (peace be upon
him).
Analysis
The painting depicts four men working together,
performing cooking rituals to commemorate the
Husseini folklore of Ashura. A large pot stands in the
center of the painting, a well-known symbol of cooking
during Ashura occasions, amidst an atmosphere filled
with steam and smoke, suggesting the warmth of the
hearth and serious preoccupation. The traditional
cooking location is in the street, where a fire and
firewood are lit to cook the food. Cooking over
firewood is an ancient tradition, adding a distinctive
flavor to the food and creating a spiritual atmosphere.
The background of the painting represents the door of
a house with a folkloric character and an old style
through the engravings of the door and windows in a
traditional style that suggests an old place with
historical significance. We see on the right side of the
painting a red carpet hanging in the back that is part of
the Iraqi heritage, indicating the ritualistic character
related to the Husseini mourning in addition to the
blackness underneath it (which is a piece of cloth hung
on the walls at the advent of Muharram, evidence of
the sorrows and tragedies that the Ahl al-Bayt (peace
be upon them) experienced). We see the people
wearing black clothes in mourning for the father of the
free (peace be upon him), as the black color is an icon
of the sorrow of Ashura and a sign of mourning. The
features of seriousness and focus are reflected on their
faces, which expresses their spiritual and emotional
commitment to these rituals. On the left side of the
painting, we notice a person wearing the Iraqi costume
(the dishdasha) and the belt, which is a red scarf,
indicating that he is the cook who cooks the food and
holds the salt in his hand to add it to the pot. As for the
two young men on the right and left of the pot, they
appear holding (the tokamak) (which is a traditional
tool used to pound and grind food and is made of a long
wooden cylinder and most of the Traditional foods
cooked during Ashura, such as qeema, ash, harness,
and zarda, are used using a fermenting machine,
symbolizing the spirit of community and solidarity that
prevails during this occasion. Viewing the artwork, the
viewer senses the atmosphere and lives within it. When
looking at the painting and observing the dense, rising
steam, the viewer experiences a spiritual dimension, as
if rising towards something higher. The artist has
combined the inherited cultural and civilizational
elements of folklore art in the paintings, blending them
with colors and drawings, resulting in a distinctive
object, such as the red carpet, which reinforces the
connotation of grief and mourning. Red symbolizes
blood and martyrdom, while the black clothing signifies
mourning and Ashura. This artwork conveys a strong
sense of belonging and religious and social duty. Here,
food is not just a meal but a spiritual and social ritual
intended to draw closer to God and express loyalty to
Imam Hussein (peace be upon him). The artwork
connects the past to the present, history to faith, and
art to folklore identity, thus forming a visual
documentation with a profound emotional dimension.
2-
Shoe Patching (The cobbler)
American Journal Of Social Sciences And Humanity Research
67
https://theusajournals.com/index.php/ajsshr
American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
Work Description
The work above depicts a realistic scene of a man
working as a cobbler, repairing torn or damaged shoes
and restoring them to wearable condition. The man is
wearing simple clothes: blue pants, a red blouse, and
an orange cap. Beside him is a young boy, perhaps a
student or an assistant, observing the work.
Analysis
The painting depicts a simple, everyday scene with
profound popular significance. It depicts a cobbler
repairing torn or torn shoes using special tools such as
scissors, a hammer, thread, or a leather strip, placing
them on a circular wooden table. This profession has
been known since ancient times. The person who
practices it is called in the Iraqi dialect "al-Rakaa,"
meaning someone who places a leather patch on the
damaged part of the shoe and secures it with special
nails, stitches it, or adds glue, thus rendering it fit for
wear and with a new appearance. This popular
profession is observed among most people due to its
interaction with the environment and society. In the
past, an individual wore a single shoe, and when a part
was torn from frequent wear, they would send it to a
cobbler for repair. Folklore includes crafts, industries,
and popular professions, which the painting above
represents, as it represents an ancient and popular
profession. The artist uses elements and design
principles to produce artwork conveying aesthetic
values. The painting above shows the harmony of
colors, the lines' fluidity, and the details' precision. In
this painting, we find a color contrast between blue,
red, and brown, creating a balance between calm and
concentration. The child's presence beside the man
may symbolize the importance of vocational education
and learning through observation and experience. This
painting is not only a documentation of a traditional
folk profession but also a celebration of the world of
simple crafts and the role of manual labor in shaping a
community's social and cultural identity. It combines
artistic and educational dimensions through the
importance of skills passed down through generations.
4- Crochet Painting
American Journal Of Social Sciences And Humanity Research
68
https://theusajournals.com/index.php/ajsshr
American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
Work Description
The artwork above depicts two women, an older
woman and a young woman, and their son sitting
beside his grandmother playing. Behind the child is a
handmade wicker basket, and in front of them are balls
of wool and various pieces woven from wool. Analysis
The painting depicts the ancient craft of knitting clothes
or rugs (crochet or knitting). The peak of knitting is
often before the arrival of winter when the wearer can
wear them during the winter and protect themselves
from the harsh cold. Knitting takes a long time,
depending on the item being knitted. The painting also
has a social dimension. Folklore is a social phenomenon
resulting from integration into traditions, customs, and
social relationships. Knitting is a handicraft that carries
an aesthetic dimension through the harmony and
consistency of colors and sizes. It also has a financial
aspect, allowing for commercial benefits through
marketing hand knitting. It also has a psychological
dimension, as it is a way to spend free time and engage
in the production and weaving of wool. It symbolizes
women's craft creativity and the transmission of
manual skills from generation to generation. The artist
has combined the inherited cultural and civilizational
elements of folklore art in the paintings, blending them
with colors, drawings, and imagination, creating a
distinctive and culturally significant work. To the right
of the painting, we notice a pink curtain and, behind it,
a traditional hand-woven rug hanging on the wall,
demonstrating pride in the Iraqi environment. The use
of bright colors in the wool threads suggests diversity
and life. The artistic styles are varied. Above, we notice
the realistic and expressive style, which conveys reality
and imbues it with a spiritual, emotional, and humane
character. We see the harmony of the blue and pink
colors, which adds a wonderful aesthetic. The white
color of the older woman's veil also indicates the
careful consideration of the dress, a heritage of older
Iraqi women, in preserving the handicrafts.
This work is not merely a depiction of a craft but rather
a celebration of Iraqi women's folklore and evidence of
intergenerational
communication
through
art,
collaborative work, and the transfer of skills and
knowledge across generations. It is also evident
through the silent dialogue between the two women,
which suggests the social relations between women in
traditional Iraqi society.
5- Daily Life
Work Description
The work above shows a family sitting in the living
room. Behind the painting, a circular shape
representing a wicker dining table on which food is
placed hangs on the wall. A lantern hangs from it, and
to the right and left are hand fans (a "mahfa" in the
Iraqi dialect) and some pictures. We see two women
sitting and a boy reading and writing his homework.
Behind the boy, we see a "tabk" made from wicker
(palm fronds). We notice a "hawn" (mortar) on the right
side of the work. We also see a yellow teapot.
Analysis
The painting depicts a realistic, intimate scene bringing
together two women and a boy from different
generations, sitting on the floor in a traditional room.
The women are wearing traditional black and blue
dishdashas and traditional dress, displaying the
features of daily life and an atmosphere of tranquility
and intimacy. In the middle of the painting is a large,
golden circular shape, a table made of palm fronds,
which appears as a solar symbol or a popular
decoration that gives central importance to the person
American Journal Of Social Sciences And Humanity Research
69
https://theusajournals.com/index.php/ajsshr
American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
sitting in front of it. This round table is part of Iraqi
heritage, as ancient Iraqis used to eat their food on it.
It is topped with a lantern that suggests spiritual light
or memories, in addition to the presence of hand fans
made of palm fronds (mahfat) on the right and left of
the circular palm frond table. Some pictures are hung
on the wall, and in the middle of the two women is the
mortar, an ancient tool made of iron in the form of a
hollow shape with a handle used to crush and grind
herbs and grains. We also notice the antique yellow
teapot made of fan or metal, as Iraqi gatherings are
never without tea. We see two women sitting, and on
the left of the painting sits a boy with a pen in his hand
and a book in front of him. Behind the boy is the Tabak,
a large, flat, round pot made of palm fronds, and it is an
ancient cultural heritage. Popular arts represent a large
part of the heritage of people that add A distinctive and
authentic character, as in the hand-woven wicker art of
baskets, hand fans, brooms, sun hats, and some kitchen
utensils. In the artwork above, we notice the harmony
and color coordination of the old-fashioned style, as in
the coloring of the teapot, lantern, and wicker dining
table. The artwork reflects family ties and societal
traditions, capturing a scene from daily life in a popular
environment.
Search results:
1. The works of the Art Education Department students
reflected the conceptual, symbolic, artistic, expressive,
religious, and social dimensions of the Iraqi
environment, as seen in all samples.
2. The cultural heritage was evident in the students'
works, embodied by social values such as cooperation,
social communication, and strong relationships among
members of society, as seen in all samples.
3. The students' projects expressed cultural upbringing
by emdiving cultural awareness from an early age,
which contributes to the transfer of experiences and
skills across generations, as seen in samples (2), (3), (4),
and (5).
4. As seen in all samples, the students' projects
reflected cultural identity and embodied Iraqi customs
and traditions.
5. Folklore was expressed in the visual arts through
manifestations of popular life, using color and lighting
in artworks to express nostalgia for the past, creating
an emotional, religious, cultural, and social dimension,
as seen in all samples.
6. Folklore phenomena were significantly evident in
students' projects in the Department of Art Education,
where customs, beliefs, rituals of the Prophet's family,
crafts, and professions were apparent in all samples.
CONCLUSIONS
1. Popular folklore reflects the strength of social and
cultural ties by strengthening and consolidating social
values.
2. Folklore is inseparable from Iraqi society's religious,
spiritual, and cultural dimensions, as it is linked to
social, cultural, and religious practices.
3. The students' projects reflect folklore phenomena
and cultural identity, which results from their strong
commitment to and engagement with society and the
inspiration drawn from their cultural, historical, and
civilizational environment.
Recommendations
1. Document Iraqi folklore in its various forms through
research projects supported by academic and cultural
institutions.
2. Use digital media and modern technologies, such as
applications, websites, and educational platforms, to
disseminate folklore in a contemporary and attractive
manner.
Suggestions:
1. Conduct a comparative study between Iraqi and
Western folklore to highlight its characteristics and
richness.
2. Conduct an applied study on including folklore in the
curricula as a handicraft subject in faculties of fine arts
and art education departments.
REFERENCES
Akram Qanso: Arab Folk Photography, Alam Al-Ma'rifa,
1994.
Amira Hilmi Matar: Introduction to Aesthetics and the
Philosophy of Art, 1st ed., Dar Al-Tanweer for Printing
and Publishing, Cairo, 2013.
Bouleria Othmani: Critical Studies in Poetic Literature,
Popular Literary Association of the Algerian Writers'
Union, Algiers, 2008.
Hassan Al-Basha and Muhammad Al-Sahli: Popular
Beliefs in Arab Heritage, Dar Al-Jeel, 1980.
Raqi Najmuddin: Blogs on Art and Design, Majdalawi
Publishing and Distribution House, Baghdad, 2016.
Sajida
Al-Mashaykhi
and
Siham
Al-Saudi:
Characteristics of Folkloric Forms in the Works of
Potters Sajida Al-Mashaykhi and Siham Al-Saudi (A
Comparative Study), published research, Al-Akadami
Journal, Issue 101, 2021.
Abbas Al-Jarari: Inspired by Heritage, Al-Amniya Press,
Rabat, 1971.
Abdul Rahman Al-Nashar: A Comparative Study
between Symbolism in Painting and Children's
Drawings, Master's Thesis, Faculty of Art Education,
Helwan University.
American Journal Of Social Sciences And Humanity Research
70
https://theusajournals.com/index.php/ajsshr
American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141)
Othman Al-Kaak: Introduction to Folklore, Ministry of
Guidance in the Republic of Iraq, Government Press,
Baghdad, 1964.
Ashri
Zayed:
Invoking
Heritage
Figures
in
Contemporary Arabic Poetry, 2nd ed., Dar Al-Fikr Al-
Arabi, Cairo, 1997.
Imad Hamoud Twaij and Ayman Alwan Hadi: Analysis of
Art Education Students' Production in the Project
Subject According to the Theory of Organized Cognitive
Orientation, Journal of the College of Education for
Girls, University of Kufa, Issue 66, Vol. 2, 2022.
Mohsen Ali Attia: Modern Curricula and Teaching
Methods, 1st ed., Dar Al-Manahj for Publishing and
Distribution, Amman, 2009.
Mahmoud Al-Basyouni: Modern Art, Dar Al-Maaref,
Egypt, 1965.
Mustafa Jad: The Thesaurus of Folklore, Volume 1, 1st
ed., Academic Library, Egypt, 2007.
Mustafa Jad: The Folklore Encyclopedia, reviewed by
Muhammad al-Jawhari and Muhammad Fathi Abd al-
Hadi, Volume 2, Academic Library, Egypt, 2001.
Nidal Nasser Diwan: Distinctive Artistic Productions and
Their Relationship to Some Personality Traits of Fourth-
Year Students in the Department of Art Education,
Journal of the College of Basic Education, University of
Baghdad, College of Fine Arts, Issue 53, 2008.
