The folklore studies scholar, such as Dorson (1976, Folklore and fakelore: Essays toward the discipline of folk studies, Harvard: Harvard University Press), was emphatic about the distinction between folklore and ‘fake lore’, one being authentic and the other as invented by the popular industry; however, he paradoxically maintained interest in the contemporariness of folklore. This was a paradox since the contemporariness of folklore is largely, and usually, due to intersections of folk with popular and political. Nevertheless, the emphasis on contemporariness was a harbinger of discussion on the potential dynamics of folklore, and everything buried therein, including value orientation. This essay is guided by the observations emerging from folklore studies, socio-cultural anthropology and performance studies in order to get into a specific case of Bihu, a folk performance inclusive of songs, dance, attires and instruments inter alia in Assam, in the northeast of India. The curious case of Bihu in flux divulges dynamics of value orientation and intersections of identity politics, in the wake of the contemporariness of folklore.

中文翻译：

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民俗的当代性：碧湖价值取向的动态

民间文学研究学者，例如Dorson（1976年，《民间传说与假故事：关于民间学科的散文》，哈佛大学：哈佛大学出版社））强调民间文学艺术与“假知识”之间的区别，一种是真实的，另一种是由大众产业发明；但是，他自相矛盾地对当代民间文学艺术保持了兴趣。这是自相矛盾的，因为民俗学的当代性在很大程度上（通常是由于民俗与政治的交集）所致。尽管如此，对当代性的强调却预示着关于民间文学艺术，包括其中的价值取向在内的一切潜在动力的讨论。本文以民间文学艺术研究的观察结果为指导，社会文化人类学和表演研究，以探讨Bihu的特殊情况，Bihu是在印度东北部的阿萨姆邦举行的民俗表演，包括歌舞，服饰，乐器等。在民俗学的当代性之后，Bihu的一个奇怪案例揭示了价值取向和身份政治交叉的动力。