Counters

Initial concepts of the theory of folk art culture. Folk art culture as a cultural phenomenon

THEORETICAL AND HISTORICAL ASPECTS OF THE STUDY OF FOLK ART CULTURE

Fundamentals of the theory of folk art culture

1. Scientific prerequisites for the development of the theory of folk art culture.

2. Initial concepts of the theory of folk art culture.

3. The essence of folk art culture and folk art.

Scientific prerequisites for development

theories of folk art culture

Folk artistic culture, that is, the artistic culture of a particular people (ethnos) is of interest to representatives of various branches of science. The theory of folk art culture is developing on the basis of several related areas of scientific knowledge. Among them are ethnology, anthropology, ethnography, ethnopsychology, ethnopedagogy, etc.

Ethnology - comparative discipline; its goal is to describe the cultural (and initially, physical) differences between peoples and explain these differences by reconstructing the history of their development, migrations and interactions. The term "ethnology" comes from the Greek word "ethnos" - a people bound by common customs, a nation. The main subject of study of ethnology is the theory of ethnos, which is in constant development. That is why ethnology is sometimes called "theoretical ethnology".

Ethnology is considered the broadest, integrative field of research on all aspects of the life of ethnic groups. It studies such problems as: the essence and basic patterns of the emergence, development and disintegration of ethnic groups; resettlement of peoples; demographic processes taking place in various ethnic groups; the social and political structure of peoples (family relations, power relations, etc.); rituals, customs, beliefs of various peoples; life support systems of various peoples; their adaptation to the natural environment; kinship systems among various peoples; kinship clan systems; economic behavior of members of a particular ethnic group, etc. The problematic field of ethnology is very broad. Many subject areas studied by other sciences intersect with it.

Ethnological concepts make it possible to consider folk art culture in the very context of all spheres of the development of ethnic groups.

An interesting material for reflection on the role and place of folk art culture in the history of mankind is provided by SV Lurie's book "Historical Ethnology". It reveals the essence of several ethnological theories. Among them is the theory of evolutionism - the first theoretically significant school in ethnology, which originated at the end of the 18th century and became widespread throughout the 19th and 20th centuries. The evolutionist theory was an attempt to discover some universal source and universal laws of the development of human cultures. Within the framework of this theory, various approaches to the problem of the origin and development of man and mankind were developed and published. Among them:

The ideas of J. Lamarck, who suggested that all types of living beings in the process of development acquire properties that allow them to adapt to environment, and these properties are passed on to subsequent generations through inheritance;

The theory of evolution and natural selection, set forth by Charles Darwin in the book "The Origin of Species", published in 1859;

The periodization of the general historical process, presented by G. Klemm, who published in 1843-1847. his five-volume General History of the Culture of Mankind;

The study of marriage in its cultural and historical development, undertaken by the Austrian lawyer and ethnologist I. Unger, who published in 1850 his main work "Marriage and its world-historical development";

The ideas of T. Weitz, who published in 1859 his "Anthropology of Wild Peoples", where an attempt was made to combine anthropological, psychological and cultural-historical points of view in the study of the pre-state period;

Evolutionary concepts of the English ethnologists E. Tylor, J. McLennan and J. Lubbock (in 1871 the works of E. Tylor "Primitive Culture" and J. McLennan "The Theory of Patriarchy" were published, and a year earlier "The Origin of Civilizations" J. Lubbock);

The theory of remnants, put forward by the Russian scientist K.D. Kavelin, who a decade earlier than E. Tylor formulated his concept of primitive forms of culture;

Problems of the formation and development of the patriarchal community, reflected in the works of M.M. Kovalevsky;

The study of the American scientist L. Morgan "Systems of kinship and properties" (1858) and his monograph "Ancient Society" (1878), in which he divided the development of primitive society into three stages (savagery, barbarism and civilization), and each of the first two stages - three steps.

From the point of view of evolutionism, the development of any cultural element is predetermined from the outset, and its later forms are in their infancy in one way or another in every culture. Development occurs in accordance with stages and steps common to all cultures in the world. The history of culture was presented as a continuous progress, a straightforward process of transition from simple to more and more complex.

Within the framework of evolutionism, a model of primitive society was created, closely related to Darwinism. Primitive society, from the point of view of evolutionary ethnologists, had the same social, cultural and economic foundations for all peoples.

However, the actual materials in many cases did not agree with the evolutionary schemes. The search for new ways in the study of culture, its change and distribution began

Among them - diffusion theory. Its origin was associated with the name of the German scientist, geographer and ethnologist F. Ratzel. His main work "Anthropogeography" was published in 1909. According to F. Ratzel, the geographical environment plays a leading role in the formation of a particular culture, to which human societies adapt, adapt In the movements of peoples, F. Ratzsl saw a fundamental factor in the history of mankind Diffusionism is based on the idea of the development of culture or various elements of culture as a process of their distribution from one or several specific centers.

The theory of cultural circles is associated with diffusionism (the work of L. Frobenius "The Natural Science Doctrine of Culture" (1919), F. Gröbner "Method of Ethnology" (1905), W. Schmidt, W. Koppers "Handbook on the Methods of Cultural-Historical Ethnology" ( 1937) Representatives of the theory of cultural circles reduced the entire development of primitive society to several initial cultural circles, each of which was characterized by a certain number of specific cultural elements. They believed that during the early history of mankind, connections were established between individual elements of culture, and as a result of this, cultural circles were formed, arose in a certain geographical space and then spread as individual elements or, more often, as whole complexes to other regions of the Earth.Each element of the culture of mankind arose only once, and then each time it was combined with certain cultural circles.Based on this, early human culture quality was equated with the totality of cultural circles, cultural variants could arise only as a result of migrations and mixings

By the 20s. XX in the diffusionist direction began to lose popularity. It began to be supplanted by the theory of functionalism.

Theoretical basis functionalism were almost simultaneously formulated in Germany by R. Turnwald and in England by B. Malinovsky. Their main books, respectively, are "Human Society in its Sociological Foundation" (1931) and "Scientific Theory of Culture" (1944). In these works, the attention of researchers was concentrated on studying the connections between various spheres of public life. At the same time, it was emphasized that the historical process is unknowable, and attempts to study the long-term evolution of cultural elements are meaningless. The tasks of ethnology are to study the functions of cultural phenomena, their interconnections and interdependence within the framework of each individual culture, without its connection with other cultures. Culture, as the representatives of this trend believed, serves the needs of the individual and, above all, his three basic needs: basic (need for food and satisfaction of other physical needs), derivative (needs for the distribution of food, division of labor, protection, regulation of reproduction, social control) and integrative (needs for psychological security, social harmony, the purpose of life, in the system of knowledge, laws, religion, magic, mythology, art, etc.). Each aspect of culture has a function within one of the needs listed above. For example, magic provides psychological protection from danger, myth gives historical authority to the system of government and values inherent in a particular society. Culture, according to the views of functionalists, is essentially an instrumental mechanism by which a person can better cope with those specific problems that his environment poses to him in the course of satisfying his needs. Culture is also a system of objects, actions and attitudes, in which all its constituent parts are means to an end.

SV Lurie also considers other ethnological concepts, as well as the connection between ethnology and anthropology.

Anthropology is a complex of scientific knowledge about a person. It has many branches (philosophical, historical, cultural, physical, social, psychological, structural, symbolist, etc.). Some scientists believe that there is practically no established line between the terms "ethnology" and "anthropology" in modern science. They are used interchangeably. At the same time, it is noted that ethnology is wider than anthropology in its subject field. The problems of the emergence and development of ethnic groups, the settlement of peoples, and demographic processes have never come into the field of view of anthropology. Therefore, anthropology is proposed to be conditionally considered as part of ethnology, especially since initially, in the first half of the 19th century. ethnology included in its subject area and physical anthropology. This was reflected, in particular, in the charter of the "Paris Society of Ethnology", where the sphere of ethnology included "the study of the characteristics of human races, the specifics of their physical structure, mental abilities and morality, as well as the traditions of language and history." From the middle of the XIX century. there is a tendency to oppose ethnology as the science of peoples and anthropology as the science of man. A manifestation of this was, for example, the emergence in Germany of the "Society of Anthropology, Ethnology and Prehistory" (1869), in Italy - the "Italian Society of Anthropology and Ethnology" (1871), etc. This position in determining the relationship between ethnology and anthropology was also presented at the International Geographical Congress in Paris (1875), within which the section of anthropology, ethnology and prehistoric archeology worked. another tradition has developed - to consider ethnology as an integral social part of anthropology (for example, in England, the "Ethnological Society" (1863) and "Anthropological Society" (1863) created in 1871 were transformed into the "Royal Anthropological Institute of Great Britain and Ireland") .

The development of anthropological research and their philosophical foundations was reflected in the new book of the Russian scientist B.V. Markov "Philosophical Anthropology" (published in 1997).

Anthropological research helps to study folk art culture through the prism of common problems of man and the human.

Ethnography is more of a descriptive science. It deals with the description of the life and way of life of various peoples (ethnic groups), their material culture (dwellings, utensils, clothes, tools, etc.), traditions and customs. Methods of systematization, generalization and interpretation of ethnographic material are developed by ethnology. Unlike ethnology ("theoretical ethnology"), ethnography can be considered "practical ethnology".

Rich ethnographic material concerning Russian traditional culture is contained in the works of M. Zabylin, I.E. Zabelina, NI. Kostomarov, I. Pankeeva, B.A. Rybakov, A. Tereshchenko and other authors.

Ethnographic research creates a database, provides the necessary facts for understanding the artistic aspects of the life and life of various peoples, identifying and preserving original forms of folk art, and tracking trends in the development of folk art culture in various regions.

L.N. Gumilyov will put forward concept of ethnogenesis. Its essence boils down to the fact that people are organisms living in collectives that arise and disappear in historical time. These collectives are ethnic groups, and the process from their emergence to disintegration is ethnogenesis. Every ethnic group has a beginning and an end. Like any person, an ethnos is born, matures, grows old and dies. Usually, two forms of movement are applied to history - rotational, which gave rise to the theory of cyclism, and progressive, the characteristic of which is accompanied by estimates of "higher - lower", "better - worse", "more progressive - more regressive". ". An attempt to combine them gave rise to the image of a spiral. But there is a third form of motion - oscillatory. It is this form of vibrating movement, fading like the sound of a string, that corresponds to the parameters of ethnic history. Each ethnic group or cluster of ethnic groups (superethnos) arises as a result of a micromutation that changes the existing stereotype of behavior to a new, more viable one. The emerging ethnos goes through the stages of rise, overheating and slow decline over 1200-1500 years, after which it disintegrates or is preserved as a relic - a state in which self-development is no longer tangible.

The concept of ethnogenesis by L.N.

Archaeological materials and historical information on the history of the ancient Slavic tribes, their mythological views and individual manifestations of artistic creativity are contained in the widely known works of B.A. Rybakov.

Research in the field of the history of ethnic groups helps to reveal the common and special in the artistic traditions of various peoples, the historical roots and dynamics of the development of relationships and mutual influences of various national artistic cultures.

Ethnopsychology , being one of the branches of psychological science, explores: the psychological characteristics of various peoples; historical dynamics and patterns of development of ethnic consciousness; national images of the world; ethnic models and stereotypes of behavior in the natural and social environment.

GG Shpet's book "Introduction to Ethnic Psychology" played an important role in the development of domestic ethnopsychological research. Of interest are the ethnopsychological aspects in the works of another Russian scientist - G. Gachev ("National Images of the World", "Science and National Cultures", etc.). The book of the French psychologist G.Lebon "Psychology of peoples and masses" is widely known.

A certain contribution to the understanding of the ethnopsychological aspects of culture was made by the works of C.G. Jung "Soul and Myth: Six Archetypes", "Psychology of the Unconscious", "The Phenomenon of the Spirit in Art and Science", "Psychological Types".

Ethnopsychology creates a scientific basis for revealing the deep meanings and meanings of folk artistic traditions, images and language of folk art, determined by the mentality of a particular people, its psychology and ideas about the world.

Ethnopedagogy , which has developed as a branch of pedagogical research, reveals: education systems among different peoples; national traditions of family education; modern forms and methods of education and training based on national and cultural traditions; the role of ethnic traditions in the development of the highest spiritual and moral values and ideals of modern children and adolescents, their familiarization with cultural heritage, the formation of a value attitude to their native land, nature, family, mother and motherhood, to their people, pedagogical conditions for the development of interest in national and cultural and cultural and historical traditions different peoples peace.

Ethnopedagogical ideas were embodied in the works of K.D. Ushinsky, L.N. Tolstoy, VV. Rozanov and other remarkable Russian enlighteners.

In modern Russia, several concepts of national upbringing and education have been recognized. Among them, the concept of the Russian national school of Professor I.F. Goncharov (St. Petersburg) stands out.

On the basis of the concept "Russian traditional culture in the successive system" Preschool institution - school - university ", developed by the author of this section, the activities of several experimental sites in Moscow were built. Based on the experimental work, collections of integrated programs on Russian traditional artistic culture for preschoolers and younger children were published. schoolchildren.

Ethnopedagogical research is often based on the material of folk art culture, helping to identify and realize its pedagogical potential in various types of educational institutions (in preschool institutions, comprehensive schools, centers for children's and youth creativity, art schools, etc.). An important place is occupied by ethnopedagogical research in the training of specialists in the field of folk art, which is conducted in secondary and higher specialized educational institutions (primarily in higher education institutions of culture and arts).

Ethnolinguistics studies the features of the language of a particular people, explores local dialects in their relationship with the national character and way of life. Such studies help to better understand the regional characteristics of oral folk art, folk song traditions, folklore theater and other types of folk art associated with verbal forms.

Ethnoculturology , which is currently developing as an independent branch of cultural science, is designed to explore: the essence and structure of ethnic culture, the relationship and interdependence of its various components; spiritual and moral values and ideals of the people as the basis of ethnic culture; complexes of cultural features of various peoples; the dynamics of the cultural features of a particular people (cultural changes), the formation and development of national and cultural traditions; problems of national-cultural policy and international cultural cooperation. Many of the ethnic processes can be represented in cultural terms. Thus, ethnic processes are often described using the concept of "tradition". It is important for culturologists to see its manifestations and modifications, including in the field of folk art culture. Culturological concepts make it possible to deepen the understanding of folk art culture as an integral part of ethnic culture, as well as to develop mechanisms for preserving the artistic heritage of different peoples in the modern cultural space.

The works of brilliant Russian philosophers N.A. Berlyaev, S.N. Bulgakov, B.P. Vysheslavtsev, N.O. So, N.A. Berdyaev thought a lot about the “soul of Russia” and the ways of national culture. I.A. Ilyin in the 30s of the XX century developed a whole program for the renewal of Russian culture. He believed that the Russian people would be able to “regain their national spiritual face” In this, he assigned a special role to the family as a “laboratory of human destinies”. He emphasized that "each nation bears and implements spiritual acts of a special, national structure and therefore creates culture in its own way."

Folklore engaged in the collection, systematization and study of folklore (which means "folk wisdom"). Folklore includes works of various types and genres of traditional folk art. Thanks to folklorists, thousands of monuments of folk art culture, genuine masterpieces of folk art were saved from oblivion, the names of original folk masters were preserved. An important role in this was played by folklore expeditions, the traditions of fixing and publishing the materials collected in them.

They constantly collect, systematize and study folklore works of the department of folk choir in universities of culture, houses of folk art headed by the State Russian House of Folk Art, State Center of Russian Folklore, etc.

Thus, the theory of folk art culture considers other sciences as material for its conclusions and generalizations and, at the same time, provides materials for other sciences.

Initial concepts of the theory

Similar information.

Scientific prerequisites for the development of the theory of folk art culture

Folk art culture, that is, the art culture of a particular people (ethnos) is of interest to representatives of various branches of science. The theory of folk art culture is developing

based on several related areas of scientific knowledge. Among them are ethnology, anthropology, ethnography, ethnopsychology, ethnopedagogy, etc.

Ethnological concepts make it possible to consider folk art culture in the very context of all spheres of the development of ethnic groups.

An interesting material for reflection on the role and place of folk art culture in the history of mankind is provided by the book by S.V. Lurie "Historical Ethnology". It reveals the essence of several ethnological theories. Among them - theory of evolutionism- the first theoretically significant school in ethnology, which originated at the end of the 18th century and became widespread throughout the 19th and 20th centuries. The evolutionist theory was an attempt to discover some universal source and universal laws of the development of human cultures. Within the framework of this theory, various approaches to the problem of the origin and development of man and mankind were developed and published. Among them:

The ideas of J. Lamarck, who suggested that in the process of development all types of living beings acquire properties that allow them to adapt to the environment, and these properties are transmitted to subsequent generations through inheritance;

The theory of evolution and natural selection, set forth by Charles Darwin in the book "The Origin of Species", published in 1859. ;

The periodization of the general historical process, presented by G. Klemm, who published in 1843-1847. his five-volume General History of the Culture of Mankind;

- the ideas of T Weitz, who published his "Anthropology of Wild Peoples" in 1859, where an attempt was made to combine anthropological, psychological and cultural-historical points of view in the study of the pre-state period;

The evolutionist concepts of the English ethnologists E. Tylor, J. McLennan and J. Lubbock (in 1871 the works of E. Tylor "Primitive Culture" and J. McLennan "The Theory of Patriarchy" were published, and a year earlier "The Origin of Civilizations" "J. Lubbock);

The theory of vestiges put forward by the Russian scientist K.D. Kavelin, who a decade earlier than E. Tylor formulated his concept of primitive forms of culture;

Problems of the formation and development of the patriarchal community, reflected in the works of M.M. Kovalevsky;

However, the actual materials in many cases did not agree with the evolutionary schemes. The search for new ways in the study of culture, its change and distribution began.

Among them - diffusion theory. Its origin was associated with the name of the German scientist, geographer and ethnologist F. Ratzel. His main work "Anthropogeography" was published in 1909. According to F. Ratzel, the geographical environment plays a leading role in the formation of a particular culture, to which human societies adapt, adapt. In the movements of peoples, F. Ratzel saw a fundamental factor in the history of mankind. Diffusionism is based on the concept of the development of culture or various elements of culture as a process of their distribution from one or more specific centers.

The theory of cultural circles is associated with diffusionism (the work of L. Frobenius "The Natural Science Doctrine of Culture" (1919), F. Gröbner "The Method of Ethnology" (1905), W. Schmidt, W. Koppers "Handbook on the Methods of Cultural-Historical Ethnology" ( 1937) Representatives of the theory of cultural circles reduced the entire development of primitive society to several initial cultural circles, each of which was characterized by a certain number of specific cultural elements.They believed that during the early history of mankind, links were established between individual elements of culture, and as a result of this, cultural circles took shape that arose in a certain geographical space and then spread as separate elements or, more often, as whole complexes to other regions of the Earth.Each element of the culture of mankind arose only once, and then each time it was combined with certain cultural circles.Based on this, early culture h humanity was equated with the totality of cultural circles; variants of culture could arise only as a result of migrations and mixings.

By the 20s. 20th century diffusionist direction began to lose popularity. It began to be supplanted by the theory of functionalism.

Theoretical basis functionalism were almost simultaneously formulated in Germany by R. Turnwald and in England by B. Malinowski. Their main books, respectively, are "Human Society in its Sociological Foundation" (1931) and "Scientific Theory of Culture" (1944). In these works, the attention of researchers was concentrated on studying the connections between various spheres of public life. At the same time, it was emphasized that the historical process is unknowable, and attempts to study the long-term evolution of cultural elements are meaningless. The tasks of ethnology are to study the functions of cultural phenomena, their interconnections and interdependence within the framework of each individual culture, without its connection with other cultures. Culture, as the representatives of this trend believed, serves the needs of the individual and, above all, his three basic needs: basic (need for food and satisfaction of other physical needs), derivative (needs for the distribution of food, division of labor, protection, regulation of reproduction, social control) and integrative (needs for psychological security, social harmony, the purpose of life, in the system of knowledge, laws, religion, magic, mythology, art, etc.). Each aspect of culture has a function within one of the needs listed above. For example, magic provides psychological protection from danger, myth gives historical authority to the system of government and values inherent in a particular society. Culture, according to the views of functionalists, is essentially an instrumental mechanism by which a person can better cope with those specific problems that his environment poses to him in the course of satisfying his needs. Culture is also a system of objects, actions and attitudes, in which all its constituent parts are means to an end.

S. V Lurie also considers other ethnological concepts, as well as the connection of ethnology with anthropology.

Anthropology is a complex of scientific knowledge about a person. It has many branches (philosophical, historical, cultural, physical, social, psychological, structural, symbolist, etc.). Some scientists believe that there is practically no established line between the terms "ethnology" and "anthropology" in modern science. They are used interchangeably. At the same time, it is noted that ethnology is more important than anthropology in terms of its subject field. The problems of the emergence and development of ethnic groups, the settlement of peoples, and demographic processes have never come into the field of view of anthropology. Therefore, anthropology is proposed to be conditionally considered as part of ethnology, especially since initially, in the first half of the 19th century. ethnology including in its subject area and physical anthropology. This was reflected, in particular, in the charter of the "Paris Society of Ethnology", where the sphere of ethnology included "the study of the characteristics of human races, the specifics of their physical structure, mental abilities and morality, as well as the traditions of language and history." From the middle of the XIX century. there is a tendency to oppose ethnology as the science of peoples and anthropology as the science of man. A manifestation of this was, for example, the emergence in Germany of the "Society of Anthropology, Ethnology and Prehistory" (1869), in Italy - the "Italian Society of Anthropology and Ethnology" (1871), etc. This position in determining the relationship between ethnology and anthropology was also presented at the International Geographical Congress in Paris (1875), within which the section of anthropology, ethnology and prehistoric archeology worked. Along with this, from the second half of the XIX century. developed and another tradition - to consider ethnology in | | as an integral social part of anthropology (for example, in England, the "Ethnological Society" (1863) and "Anthropological Society" (1863) created in 1871 were transformed into the "Royal Anthropological Institute of Great Britain and Ireland").

The development of anthropological research and their philosophical foundations was reflected in the new book of the Russian scientist B.V. Markov "Philosophical Anthropology" (published in "1997").

Anthropological research helps to study folk art culture through the prism of common problems of man and the human.

Ethnography is more of a descriptive science. It deals with the description of the life and way of life of various peoples (ethnic groups), their material culture (dwellings, utensils, clothes, tools, etc.), traditions and customs. Methods of systematization, generalization and interpretation of ethnographic material are developed by ethnology. Unlike ethnology ("theoretical ethnology"), ethnography can be considered "practical ethnology".

Rich ethnographic material concerning Russian traditional culture is contained in the works of M. Zabylin, I.E. Zabelina, N.I. Kostomarov, I. Pankeeva, B.A. Rybakov, A. Tereshchenko and other authors.

ethnic history considers the historical forms of development of certain ethnic groups, their role and place in the history of various countries, eras, civilizations. A special place in the study of ethnic history is occupied by the works of LN Gumilyov "Ethnosphere: The history of people and the history of nature", "From Russia to Russia", "Ethnogenesis and the biosphere of the Earth".

L.N. Gumilyov will nominate concept of ethnogenesis. Its essence boils down to the fact that people are organisms living in collectives that arise and disappear in historical time. These collectives are ethnic groups, and the process from their emergence to disintegration is ethnogenesis. Every ethnic group has a beginning and an end. Like any person, an ethnic group is born, matures, grows old and dies. Usually, two forms of movement are applied to history - rotational, which gave rise to the theory of cyclism, and progressive, the characteristic of which is accompanied by estimates of "higher - lower", "better - worse", "more progressive - more regressive". An attempt to combine them gave rise to the image of a spiral. But there is a third form of motion - oscillatory. It is this form of vibrating movement, fading like the sound of a string, that corresponds to the parameters of ethnic history. Each ethnic group or cluster of ethnic groups (superethnos) arises as a result of a micromutation that changes the existing stereotype of behavior to a new, more viable one. The emerging ethnos goes through the stages of rise, overheating and slow decline for 1200-1500 years, after which it either disintegrates or remains as a relic - a state in which self-development is no longer tangible...

The concept of ethnogenesis L.N. Gumilyov to a certain extent explains the mechanisms of awakening, activation and extinction of the creative energy of the people at different stages of its development.

ethnopsychology, being one of the branches of psychological science, it explores: the psychological characteristics of various peoples; historical dynamics and patterns of development of ethnic consciousness; national images of the world; ethnic models and stereotypes of behavior in the natural and social environment.

Ethnopedagogy. which has developed as a branch of pedagogical research, reveals: education systems among different peoples; national traditions of family education;

modern forms and methods of education and training based on national and cultural traditions; the role of ethnic traditions in the development of the highest spiritual and moral values and ideals of modern children and adolescents, their familiarization with the cultural heritage, the formation of a value attitude to their native land, nature, family, mother and motherhood, to their people; pedagogical conditions for the development of interest in the national-cultural and cultural-historical traditions of different peoples of the world.

Ethnopedagogical ideas were embodied in the works of K.D. Ushinsky, L.N. Tolstoy, V.V. Rozanov and other remarkable Russian enlighteners.

In modern Russia, several concepts of national upbringing and education have been recognized. Among them stands out the concept of the Russian national school of Professor I.F. Goncharov (St. Petersburg).

Ethnopedagogical research is often based on the material of folk art culture, helping to identify and realize its pedagogical potential in various types of educational institutions (in preschool institutions, secondary schools, centers for children's and youth creativity, in art schools, etc.). An important place is occupied by ethnopedagogical research and in the training of specialists in the field of folk art, which is conducted in secondary and higher specialized educational institutions (primarily in universities of culture and arts).

Ethnolinguist studies the features of the language of a particular people, explores local dialects in their relationship with the national character and way of life. Such studies help to better understand the regional characteristics of oral folk art, folk song traditions, folklore theater and other types of folk art associated with verbal forms.

Ethnoculturology. currently developing as an independent branch of cultural science, is designed to explore: the essence and structure of ethnic culture, the relationship and interdependence of its various components; spiritual and moral values and ideals of the people as the basis of ethnic culture; complexes of cultural features of various peoples; the dynamics of the cultural traits of that other people (cultural changes); formation and development of national and cultural traditions; problems of national-cultural policy and international cultural cooperation. Many of the ethnic processes can be represented in cultural terms. Thus, ethnic processes are often described using the concept of "tradition". It is important for culturologists to see its manifestations and modifications, including in the field of folk art culture. Culturological concepts make it possible to deepen the understanding of folk art culture as an integral part of ethnic culture, as well as to develop mechanisms for preserving the artistic heritage of different peoples in the modern cultural space.

The works of the brilliant Russian philosophers N.A. Berdyaev, S.N. Bulgakov, B. P. Vysheslavtsev, N.O. Lossky, I.A. Ilyin, L.P. Karsavin and some others. So, N.A. Berdyaev thought a lot about the “soul of Russia” and the ways of national culture. I.A. Ilyin in the 30s of the XX century developed a whole program for the renewal of Russian culture. He believed that the Russian people would be able to “regain their national spiritual face” In this, he assigned a special role to the family as a “laboratory of human destinies”. He emphasized that "each nation bears and implements spiritual acts of a special, national structure and therefore creates culture in its own way."

They constantly collect, systematize and study the folklore works of the folk choir department in the universities of culture, the house of folk art headed by the State Russian house of folk art. State Center of Russian Folklore, etc.

Folkloristics occupies a special place in the development of the theory of folk art culture. It can be considered as its most important source and integral part. Folkloristics constantly replenishes the "data bank" of the theory of folk art about specific types and genres of folk art, making it possible to identify its essential features and general patterns on the basis. Thus, the theory of folk art culture considers other sciences as material for its conclusions and generalizations and, at the same time, provides materials for other sciences.

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Introduction

On the threshold of the new millennium, our society is beginning to realize more and more clearly that the future of Russia and the fate of new generations to a large extent depend on whether we manage to preserve and increase the richest heritage of folk culture.

The sad experience of the past decades has shown that the oblivion of the best folk traditions, the separation from the best spiritual and moral values and ideals developed by the people over many centuries leads to a systemic crisis in all spheres of public life: politics, economics, education, culture, etc. The main reason for the growth of crime , drug addiction, poverty, child homelessness, family breakdown, interethnic conflicts is the spiritual and moral degradation of society, as well as the devaluation of such important virtues as mercy, compassion, diligence, non-covetousness, etc. Today, more than ever before, it is important to strengthen national dignity and the authority of Russia in the modern world, which is impossible without our awareness of our own cultural identity. It is necessary to finally overcome the idealization of Western stereotypes of life associated with the cult of consumption and individualism, and remember the rich spiritual and moral heritage bequeathed to us by distant ancestors.

Their wisdom and spiritual beauty have been preserved to this day in the monuments of ancient architecture, in fairy tales, epics and songs, in ancient household items, costumes, toys and much more.

In recent years, holidays of the folk calendar, ancient wedding ceremonies, folk games are gradually returning from the past. With their help, modern society can be transmitted essential information about how our distant ancestors imagined the world, how they knew how to live in harmony with nature, how they valued the hearth, family, mother and motherhood, how they encouraged honest work in their native land.

We must not forget that for many centuries the most expedient for survival, proven by the experience of many generations, stereotypes of behavior in the natural environment and society have been reflected in folk art culture. They ensured the survival of the people, helped him to maintain spiritual and physical health. The revival of the traditions of folk art today is the path of spiritual and moral healing and renewal of our society.

A special role in the preservation and dissemination of the traditions of the Russian and other peoples in society today is assigned to the sphere of general and special education.

The National Doctrine for the Development of Education in Russia, approved by President Vladimir Putin in 2000, emphasizes the importance of the national cultural, historical and national cultural heritage as the basis of the entire modern educational space of our country.

In this regard, the training of specialists in the field of folk art, which is carried out in all higher education institutions of culture and arts in Russia, as well as in a number of republican universities and pedagogical universities, is of particular importance.

Today, such specialists face much broader tasks than teaching art lovers one or another type of artistic activity. In accordance with the concept of the new university specialty "Folk Art" and the State Educational Standard, modern specialists, in addition to artistic and performing training, should know the theory and history of folk art culture, folklore, regional studies, methods of teaching folk art and other disciplines related to dissemination of knowledge and traditions of folk culture in society.

This textbook is addressed to such generalists. Of course, it is impossible to reflect all the diversity of folk art culture, national and cultural traditions of the peoples of Russia within the framework of one textbook. The team of authors did not set themselves such a goal. For us, something else was more important - to arouse students' interest in the study of folk art culture, in its independent study and comprehension with the help of those scientific sources that are mentioned in the course of presentation of the materials.

The proposed textbook will help students in studying the course "Theory and History of Folk Artistic Culture". This course is a key one in the professional training of all specialists in folk art, regardless of their specialization.

The content of this course, according to the State Educational Standard, is based on the approach to folk art culture as an ethnic phenomenon (“ethnos” in Greek means “people”). Folk art culture is not limited to folklore, folk art, folk art. It is based on ethno-artistic consciousness in all its diversity of cultural and historical types and forms of embodiment. Such consciousness determines the ethnic stereotypes of collective and individual artistic activity and its substantive results. It reflects the mentality of the people, the "people's character", certain folk pictures of the world. Ethno-artistic consciousness is refracted in a peculiar way in sub-ethnic cultures (for example, Russian Cossacks, Old Believers, etc.).

The study of the phenomenon of folk art consciousness, penetration into its deep layers associated with the “collective unconscious” (K. G. Jung) and determining the semantics and morphology of folk art is the main goal of the university level of ethno-art education.

Recognition of the priority role in the highest echelon of the problems of ethno-artistic consciousness and the mechanisms of its formation emphasizes the importance of the fundamental anthropological and ethnological foundations of the professional training of students in the specialty "Folk Art". The reliance on these foundations is seen both in the structure and in the content of this textbook.

The approaches to the study of folk art culture, proposed by the authors of this textbook, are consonant with the new directions in the state educational and cultural policy of Russia, reflected in the National Doctrine for the Development of Education in Russia, the Doctrine of Information Security in Russia, in the Federal Program for the Preservation and Development of National Culture and Art, as well as "Recommendations for the Preservation of Folklore", adopted by the General Conference of the United Nations Educational, Scientific and Cultural Organization - (UNESCO) in 1989.

This document is the most important international normative act that reveals the essence of folklore (folk culture) as an integral part of the common heritage of mankind, its social, economic, cultural and political significance in the modern world, as well as the decisive role in bringing together various peoples and social groups, in establishing their cultural identity. The special significance of this document lies in the fact that it presents a holistic system of specific measures that member states must take to more effectively identify, preserve and disseminate traditional folk culture. It is emphasized that “governments should play a decisive role in the preservation of folklore and act as quickly as possible”, take legislative or other measures that may be required in accordance with the constitutional practice of each of them. The significance of this "Recommendation" is currently growing even more in connection with the complex socio-political and socio-economic changes taking place in Russia and other countries.

Convincing evidence of the increasing attention of the state to the problems of preserving and developing national and cultural traditions is the content of such legislative and regulatory documents adopted over the past ten years and prepared for approval as:

* The Constitution (Basic Law) of the Russian Federation (1993), guaranteeing the freedom of artistic creativity, the right of citizens to participate in cultural life and access to cultural values, as well as concern for the preservation of historical and cultural heritage, historical and cultural monuments" (Ch. 2, article 44, paragraphs 1-3);

* Fundamentals of the Legislation of the Russian Federation on Culture (1992). Section 4 "National-cultural heritage and cultural heritage of the peoples of the Russian Federation";

* Law of the Russian Federation "On the export and import of cultural property" (1993);

* Decree of the President of the Russian Federation "On measures of state support for folk arts and crafts" (dated October 7, 1994);

* Decree of the Government of the Russian Federation "On additional measures of state support for folk art crafts of the Russian Federation" (dated March 22, 1995);

* Regulations on the state code of especially valuable objects of cultural heritage of the Russian Federation;

* Federal program "Development and preservation of culture and art of the Russian Federation (1997-1999");

* Regional interdepartmental projects and programs for the revival of folk art culture (Arkhangelsk, Belgorod, Vladimir, Vologda, Tver, Nizhny Novgorod and other regions).

Data development government documents fully complies with the UNESCO Recommendation in terms of the creation by member states of the legal framework for the preservation of folklore and the dissemination in society of the spiritual and moral values and ideals embodied in it.

Along with this, great attention is paid in modern Russia to other areas of activity provided for by the UNESCO Recommendation "to identify folklore, its storage and dissemination in society, the development of international cooperation in this area. Concrete results of the activities of Russian state and public organizations, research institutions, educational institutions and other social institutions are diverse.

A special place in the dissemination of knowledge about folk art and the education of children and adolescents on the basis of the spiritual and moral values and ideals embodied in it should be occupied by preschool institutions, schools, and centers of additional education. At present, various programs on folk culture have been created for such institutions, and modern methods of ethnocultural education are being developed. The interest of specialists was attracted by experimental models of the education of children and adolescents based on Russian traditional culture, developed at Moscow experimental sites (in the educational institution "Primary School-Kindergarten" No. 1664 ("Svetlitsa"), in the progymnasium No. high school No. 683) under the scientific guidance of specialists from the Department of Theory and History of Folk Artistic Culture of the Moscow State University of Culture and Arts. A similar experience of creative cooperation between higher education institutions of culture and institutions of general and additional education is available in a number of regions of Russia (Belgorod, Krasnodar, Samara, etc.).

Scientific research is of great importance in preserving the traditions of folk art culture. They include:

* research institutes (State Institute of Art Studies, Russian Research Institute of Cultural Studies, Research Institute of Ethnology and Anthropology of the Academy of Sciences of the Russian Federation, Russian Institute of Cultural and Natural Heritage, and others);

*secondary and higher specialized educational institutions of culture and arts, conservatories, musical and pedagogical universities;

* State Russian House of Folk Art and Houses of Folk Art in all regions of the country;

*State Republican Center of Russian Folklore;

*Traditional culture centers, folklore houses, national cultural centers, etc.

On the basis of a single database, an integral multi-level system for identifying and accounting for folklore phenomena and processes is currently being created in Russia.

In order to develop the traditions of folk art culture, festivals, reviews, and folk art competitions are held. Among them:

* International festivals of folklore (Kaliningrad, 1993, 1994, 1996).

*International festivals of folk music "Sadko" (Novgorod, every three years).

*International Folklore Festival "Pearl of the North" (Arkhangelsk and the Arkhangelsk region, annually).

*International Festival of the Asia-Pacific Region (Krasnoyarsk, 1995, 1997).

* International festival of Turkic peoples (Moscow and 10 cities of the Volga region, 1997).

* International Festival of Children's Dance "Rhythms of the Planet" (Khabarovsk, annually).

* All-Russian festival of children's creativity of the peoples of the North "Following the sun" (1995,1996,1999,2000).

* International Festival of the Peoples of the North "Polar poppies" (Norilsk, 1993).

* All-Russian festival of the peoples of the North "Northern Lights" (Moscow, 1999).

* All-Russian folk music festival (Volzhsky, annually).

* All-Russian competitions for young performers on folk musical instruments (Yaroslavl, Ryazan, Tver).

* All-Russian exhibitions of folk toys, embroidered paintings, patchwork techniques, beadwork, potters and blacksmiths, and others.

Over the past decade, a number of international scientific and scientific-practical conferences have been held in Russia on the problems of preserving and developing folk art culture. Including: International Conference on the Preservation of Folklore under the auspices of the JOB (Novgorod, 1991); Tenth International Conference "Modern Festival of Folklore: Experience, Problems, Prospects" (Vladikavkaz, 1994); international conference "Folk Artistic Culture of Russia: Prospects for Development and Training" (M., 1994). The problems of cultural heritage preservation in different regions of Russia are annually discussed at the conferences of the International Informatization Academy (Novorossiysk, 1994-1999). All-Russian and regional scientific-practical conferences in Arkhangelsk, Belgorod, Vologda, Magnitogorsk, Nizhny Novgorod, Tver and other cities were dedicated to them.

The dissemination of folklore is facilitated by periodicals (the magazines Folk Art, Living Antiquity, Ethnosfera, and others), as well as television programs (for example, Russian House).

Thus, in the last decade, various areas of activity for the preservation and development of folk art culture have been developing in Russia. Graduates of higher education institutions of culture and arts will also participate in this activity.

The team of authors expresses their deep gratitude for supporting the idea of creating a textbook to the Ministry of Culture of the Russian Federation, as well as to the Department of Additional Education of the Ministry of Education of the Russian Federation and the Moscow Department of Education for the opportunity to study the experience of developing ethnocultural education and creativity of children and adolescents and conduct experimental research. Special thanks to the administration of the Moscow State University of Culture and Arts for supporting the specialty "Folk Art" and creating favorable conditions for its development, as well as the editorial and publishing department of MGUKI for the great work invested in preparing the manuscript for publication.

Section I. Theoretical and historical aspects of the study of folk art culture

1.1 Fundamentals of the theory of folk art culture

Scientific prerequisites for the development of the theory of folk art culture

Folk art culture, that is, the art culture of a particular people (ethnos) is of interest to representatives of various branches of science. The theory of folk art culture is developing

based on several related areas of scientific knowledge. Among them are ethnology, anthropology, ethnography, ethnopsychology, ethnopedagogy, etc.

Ethnology is a comparative discipline; its goal is to describe the cultural (and initially, physical) differences between peoples and explain these differences by reconstructing the history of their development, migrations and interactions. The term "ethnology" comes from the Greek word "ethnos" - a people bound by common customs, a nation. The main subject of study of ethnology is the theory of ethnos, which is in constant development. That is why ethnology is sometimes called "theoretical ethnology".

Ethnological concepts make it possible to consider folk art culture in the very context of all spheres of the development of ethnic groups.

An interesting material for reflection on the role and place of folk art culture in the history of mankind is provided by the book by S.V. Lurie "Historical Ethnology". It reveals the essence of several ethnological theories. Among them - the theory of evolutionism - the first theoretically significant school in ethnology, which originated at the end of the 18th century and became widespread throughout the 19th and 20th centuries. The evolutionist theory was an attempt to discover some universal source and universal laws of the development of human cultures. Within the framework of this theory, various approaches to the problem of the origin and development of man and mankind were developed and published. Among them:

The theory of evolution and natural selection, set forth by Charles Darwin in the book "The Origin of Species", published in 1859. ;

The periodization of the general historical process, presented by G. Klemm, who published in 1843-1847. his five-volume General History of the Culture of Mankind;

The ideas of T Weitz, who published his "Anthropology of Wild Peoples" in 1859, where an attempt was made to combine anthropological, psychological and cultural-historical points of view in the study of the pre-state period;

The theory of vestiges put forward by the Russian scientist K.D. Kavelin, who a decade earlier than E. Tylor formulated his concept of primitive forms of culture;

Problems of the formation and development of the patriarchal community, reflected in the works of M.M. Kovalevsky;

However, the actual materials in many cases did not agree with the evolutionary schemes. The search for new ways in the study of culture, its change and distribution began.

Among them is the theory of diffusionism. Its origin was associated with the name of the German scientist, geographer and ethnologist F. Ratzel. His main work "Anthropogeography" was published in 1909. According to F. Ratzel, the geographical environment plays a leading role in the formation of a particular culture, to which human societies adapt, adapt. In the movements of peoples, F. Ratzel saw a fundamental factor in the history of mankind. Diffusionism is based on the concept of the development of culture or various elements of culture as a process of their distribution from one or more specific centers.

The theory of cultural circles is associated with diffusionism (the work of L. Frobenius "The Natural Science Doctrine of Culture" (1919), F. Gröbner "The Method of Ethnology" (1905), W. Schmidt, W. Koppers "Handbook on the Methods of Cultural-Historical Ethnology" ( 1937) Representatives of the theory of cultural circles reduced the entire development of primitive society to several initial cultural circles, each of which was characterized by a certain number of specific cultural elements.They believed that during the early history of mankind, links were established between individual elements of culture, and as a result of this, cultural circles took shape that arose in a certain geographical space and then spread as separate elements or, more often, as whole complexes to other regions of the Earth.Each element of the culture of mankind arose only once, and then each time it was combined with certain cultural circles.Based on this, the early culture of mankind but equated to the totality of cultural circles; variants of culture could arise only as a result of migrations and mixings.

By the 20s. 20th century diffusionist direction began to lose popularity. It began to be supplanted by the theory of functionalism.

The theoretical foundations of functionalism were almost simultaneously formulated in Germany by R. Thurnwald and in England by B. Malinowski. Their main books, respectively, are "Human Society in its Sociological Foundation" (1931) and "Scientific Theory of Culture" (1944). In these works, the attention of researchers was concentrated on studying the connections between various spheres of public life. At the same time, it was emphasized that the historical process is unknowable, and attempts to study the long-term evolution of cultural elements are meaningless. The tasks of ethnology are to study the functions of cultural phenomena, their interconnections and interdependence within the framework of each individual culture, without its connection with other cultures. Culture, as the representatives of this trend believed, serves the needs of the individual and, above all, his three basic needs: basic (need for food and satisfaction of other physical needs), derivative (needs for the distribution of food, division of labor, protection, regulation of reproduction, social control) and integrative (needs for psychological security, social harmony, the purpose of life, in the system of knowledge, laws, religion, magic, mythology, art, etc.). Each aspect of culture has a function within one of the needs listed above. For example, magic provides psychological protection from danger, myth gives historical authority to the system of government and values inherent in a particular society. Culture, according to the views of functionalists, is essentially an instrumental mechanism by which a person can better cope with those specific problems that his environment poses to him in the course of satisfying his needs. Culture is also a system of objects, actions and attitudes, in which all its constituent parts are means to an end.

S. V Lurie also considers other ethnological concepts, as well as the connection of ethnology with anthropology.

The development of anthropological research and their philosophical foundations was reflected in the new book of the Russian scientist B.V. Markov "Philosophical Anthropology" (published in "1997").

Anthropological research helps to study folk art culture through the prism of common problems of man and the human.

Ethnic history examines the historical forms of development of certain ethnic groups, their role and place in the history of various countries, eras, civilizations. A special place in the study of ethnic history is occupied by the works of LN Gumilyov "Ethnosphere: The history of people and the history of nature", "From Russia to Russia", "Ethnogenesis and the biosphere of the Earth".

L.N. Gumilyov put forward the concept of ethnogenesis. Its essence boils down to the fact that people are organisms living in collectives that arise and disappear in historical time. These collectives are ethnic groups, and the process from their emergence to disintegration is ethnogenesis. Every ethnic group has a beginning and an end. Like any person, an ethnic group is born, matures, grows old and dies. Usually, two forms of movement are applied to history - rotational, which gave rise to the theory of cyclism, and progressive, the characteristic of which is accompanied by estimates of "higher - lower", "better - worse", "more progressive - more regressive". An attempt to combine them gave rise to the image of a spiral. But there is a third form of motion - oscillatory. It is this form of vibrating movement, fading like the sound of a string, that corresponds to the parameters of ethnic history. Each ethnic group or cluster of ethnic groups (superethnos) arises as a result of a micromutation that changes the existing stereotype of behavior to a new, more viable one. The emerging ethnos goes through the stages of rise, overheating and slow decline for 1200-1500 years, after which it either disintegrates or remains as a relic - a state in which self-development is no longer tangible...

Ethnopsychology, being one of the branches of psychological science, explores: the psychological characteristics of various peoples; historical dynamics and patterns of development of ethnic consciousness; national images of the world; ethnic models and stereotypes of behavior in the natural and social environment.

Ethnopedagogy. which has developed as a branch of pedagogical research, reveals: education systems among different peoples; national traditions of family education;

Ethnopedagogical ideas were embodied in the works of K.D. Ushinsky, L.N. Tolstoy, V.V. Rozanov and other remarkable Russian enlighteners.

Ethnopedagogical research is often based on the material of folk art culture, helping to identify and realize its pedagogical potential in various types of educational institutions (in preschool institutions, comprehensive schools, centers for children's and youth creativity, art schools, etc.). An important place is also occupied by ethnopedagogical research in the training of specialists in the field of folk art culture, which is conducted in secondary and higher specialized educational institutions (primarily in higher education institutions of culture and the arts).

An ethnolinguist studies the peculiarities of the language of a particular people, explores local dialects in their relationship with the national character and way of life. Such studies help to better understand the regional characteristics of oral folk art, folk song traditions, folklore theater and other types of folk art associated with verbal forms.

Ethnoculturology. currently developing as an independent branch of cultural science, is designed to explore: the essence and structure of ethnic culture, the relationship and interdependence of its various components; spiritual and moral values and ideals of the people as the basis of ethnic culture; complexes of cultural features of various peoples; the dynamics of the cultural traits of that other people (cultural changes); formation and development of national and cultural traditions; problems of national-cultural policy and international cultural cooperation. Many of the ethnic processes can be represented in cultural terms. Thus, ethnic processes are often described using the concept of "tradition". It is important for culturologists to see its manifestations and modifications, including in the field of folk art culture. Culturological concepts make it possible to deepen the understanding of folk art culture as an integral part of ethnic culture, as well as to develop mechanisms for preserving the artistic heritage of different peoples in the modern cultural space.

Folkloristics is engaged in the collection, systematization and study of folklore (which means "folk wisdom" in translation). Folklore includes works of various types and genres of traditional folk art. Thanks to folklorists, thousands of monuments of folk art culture, genuine masterpieces of folk art were saved from oblivion, the names of original folk masters were preserved. An important role in this was played by folklore expeditions, the traditions of fixing and publishing the materials collected in them.

Initial concepts of the theory of folk art culture.

Let us consider the concepts that researchers of folk art culture are increasingly turning to at the present time.

Culture, values. Among the many definitions of the concept of "culture", the most common is the idea of culture as a combination of material and spiritual values.

The first to define the concept of values was the Polish psychologist F. Znaniecki. This happened in 1918. He believed that the concept he introduced could become central to a new discipline - social psychology, which he considered as a science of how cultural foundations manifest themselves in human consciousness.

For most researchers, the concept of "value" was derived from the concept of "attitude", which, although interpreted by various researchers in different ways, in most cases denotes hierarchically located and inherent in the individual (or, in a different interpretation, acceptable to him) opinions, feelings, and according to some researchers, and intentions to perform a certain action.

The values of a particular culture in their totality represent the ethos of culture. Values are associated with attitudes, on the one hand, and with norms, on the other.

One of the first definitions of the concept of "value" was given by K. Klachon: "... values are a conscious or unconscious, characteristic for an individual or a group of individuals idea of the desired, which determines the choice of goals (individual or group) taking into account possible means and modes of action." This definition enabled M. Smith to consider values as a special kind of setting, "acting as standards by which choice is evaluated. Personal values belong to the area of desirable and preferred; they are more likely associated with the verb" should "than with the verbs" be "and "want".

M. Rokeach believed that values are a stable belief that certain forms of behavior or states of the world (state of existence) are preferable for the individual and society than any others. Values represent, as it were, a point of intersection between the individual and society, and the value approach as a whole is aimed at studying and explaining intercultural variations.

Some researchers considered values as the quintessence of personality. Such an interpretation of values is connected, in turn, with the concept of value orientation, which K. Klakhon defined as "a generalized concept of nature, a person's place in it, the relationship of a person to a person, desirable and undesirable in interpersonal relations and relations of a person with others world, a concept that determines the behavior (of people)."

It is the values, that is, what is cultivated, especially valued and preferred in a particular culture, that constitutes its main meaning and purpose. The philosophical theory of values (axiology) allows us to consider the culture of a people as a system of its spiritual and moral values and ideals, embodied not only in works of professional art and folk art, but also in various areas of its life (holidays, rituals, household traditions, etc.). .d.). Studies show that in the cultures of different countries, eras, civilizations, as a rule, the same system of values dominates, but it is embodied in the artistic sphere in different ways. Among them are beauty, truth, freedom, the value of the native land, home, native nature, mother and motherhood, experience and cultural heritage of ancestors, etc. A special place in culture is occupied by images-ideals of a person (a hero, a beauty, etc.), on which the development of a particular national-cultural tradition is oriented. In different epochs and in different civilizations, these ideal images usually had a national flavor (compare the images of Russian heroes and such Hollywood stars as, for example, Rambo).

Another component of any culture - those qualities of a person or people that are considered more significant in a given society, appear as virtues. Since ancient times, in Russian traditional culture, as in the cultures of many other peoples, kindness, mercy, the ability to compassion, diligence, non-acquisitiveness (priority of spiritual values over material ones), etc.

The loss of these traditional values and ideals, vividly embodied in the traditions of our folk art culture, threatens Russian society with spiritual degradation.

The artistic culture of a society is a set of works of art created and distributed in a given society, as well as forms, ways of preserving, studying, broadcasting them. Thus, artistic culture includes art (as a form of reflection of reality in artistic images, with the help of special artistic means (melody, rhythm, color, composition, etc.), but is not limited to it. In the structure of the artistic culture of society also included are various means and forms of preservation, study and dissemination of artistic values (books, films about art, art education, research, etc.).

A huge contribution to the study of the history of the artistic culture of Russia was made by Academician D. S. Likhachev. He emphasized: "The art created by the Russian people is not only wealth, but also a moral force that helps the people in all the difficult circumstances in which the Russian people find themselves. As long as art is alive, the Russian people will always have the strength for moral self-purification."

Creativity is a special character of any activity (artistic, scientific, pedagogical, etc.). Creativity involves putting forward new ideas, approaches to solving problems, making non-standard solutions. Art is impossible without creativity (the creative activity of composers, artists, actors, etc.). However, in addition to creative manifestations, in art there is training, reproduction (copying, reproduction of samples) and other elements that are necessary both in art education and in other areas of the artistic life of society.

A special view of creativity from the standpoint of religious philosophy is contained in the well-known work of the NA. Berdyaev "The Meaning of Creativity". The author considers creativity as a manifestation of divine destiny, reveals its transcendental essence. He considers the problems of creativity in the context of morality, love, marriage and family, beauty, mysticism, etc.

The problems of creativity and the development of a creative personality are being actively developed in modern pedagogy. The formation of a person's abilities for independent creative activity, the creation of conditions for the disclosure, implementation and development of his creative potential is one of the most important goals of art, folk art.

Of particular value are those works of art that reflect the unique spiritual world of their creators (folk craftsmen, musicians, etc.). Such works are distinguished by originality, originality of artistic images and means of artistic expression.

The recently adopted UNESCO program “Masterpieces of the Oral and Intangible Cultural Heritage” aims to identify and record in different countries of the world, including Russia, unique examples of folk art, support their masters and pass on to future generations the “secrets” of their creativity.

Ethnos. Academician Yu.V. Bromley considered ethnos as a socio-cultural phenomenon. He defined an ethnic community as a stable multi-generational set of people historically established in the territory, possessing not only common features, but also relatively stable features of culture (including language) and psyche, as well as the consciousness of its unity and difference from all other similar formations (self-awareness), fixed in the self-name (ethnonym).

An alternative understanding of an ethnos as a biological unit, a "phenomenon of the biosphere", a natural community was put forward by L.N. Gumilyov and gained popularity in the 80s. 20th century Ethnos, according to L.N. Gumilyov, is a stable, naturally formed group of people that opposes itself to all other similar groups, which is determined by a sense of complementarity, and is distinguished by a peculiar stereotype of behavior that naturally changes in historical time.

Each ethnos is internally heterogeneous to one degree or another: sub-ethnoi are distinguished in it, which can arise and fall apart, moreover, the feeling of the unity of the ethnos as a whole is not lost among their members. A group of closely related ethnic groups constitutes a superethnos. Ethnic groups, according to L.N. Gumilyov, constitute the ethnosphere of the Earth as part of its biosphere.

The meaning that was eventually assigned to the concept of "ethnos" is a cross between Bromley's and Gumilev's, and in principle is quite synonymous with the word "people".

In Western science, the word "ethnos" is extremely rarely used. One of the few examples of this is the work of D. Dereve "Ethnopsychoanalysis". , ethnology, etc.

The terms "ethnic", "ethnicity" are widely used, but they also have a special nuance in Western science in their meaning and most often refer to national minorities, diasporas. In Russian, the term "ethnic" is closely connected with the concept of "ethnos". But the term "ethnicity" came to us from the West and, as a rule, retains its original meaning. The culturological dictionary defines ethnicity as a set of characteristic cultural features of an ethnic group, which corresponds to the English meaning of this term, when an ethnic group is necessarily understood as part of a wider sociocultural environment.

Under the influence of laws that determine the existence and activity of an ethnos, societies that have arisen as a result of assimilation processes, i.e. having among its members people of different, if we proceed from the questions of "blood", origin. Such, for example, are the Russian ethnos and the American ethnos. In both cases, the ethnic groups had a certain core, respectively, Slavic and Anglo-Saxon, but they gathered around themselves, absorbing representatives of other peoples. Mixed marriages completed the job by cementing both of these communities into more or less strong wholes. Of course, neither in Russia nor in America did the assimilation process come to an end, did not bring together all the representatives of all peoples and tribes living in a single society. Therefore, Americans, who have long compared America to a "melting pot" that destroys all ethnic differences, began to express themselves more carefully and speak of their society as a "salad", i.e. a messy mixture of different ethnic groups and minorities. However, both Russians and Americans are ethnic groups that tend to expand through the assimilation of others.

All peoples have the same tendency to a greater or lesser extent. That is why scientists believe that it is meaningless to talk about an ethnic group as a biological community. From the point of view of modern ethnology, an ethnos has internal mechanisms that ensure its stability, and they are expressed in a special distribution of cultural traits and characteristics among the members of an ethnos. The ethnic group has certain behavioral and communication patterns that are typical for all members of the ethnic group; behavioral, communicative, value, socio-political models and cultural elements peculiar only to certain groups within an ethnic group, and other features. It must be emphasized that ethnic processes are spontaneous, unconscious, they do not depend on the desire and will of the members of an ethnic group.

In this context, the modern Russian ethnologist S.V. Lurie gives the following definition of an ethnos: "An ethnos is a social community that has specific cultural models that determine the nature of human activity in the world, and which functions in accordance with special patterns aimed at maintaining a unique for each society, the relationship of cultural patterns within society over a long period of time, including periods of major socio-cultural change. In this sense, S.V. Lurie considers ethnological culture as a structure that holds a given society together and protects it from disintegration.

The concept of "tradition", as well as "culture", has several meanings, and they are mutually exclusive. Thus, it is possible to understand the term "tradition" in a narrow sense, as a legacy of the past, which is not fundamentally changeable, not flexible.

Tradition can be viewed as something that is in the process of constant change. In tradition, there are creative (creative) and conservative components in dual unity. However, the nature of changes in traditional society is not arbitrary. It is given by tradition from within.

To explain his understanding of the term "tradition" S. Eisenstadt resorts to the proposed in the early 60s. XX in E. Shilz of the concept of the "central zone of culture" - a motionless, unchanging core of culture, around which a mobile, changeable cultural "periphery" is concentrated.

Based on this interpretation, the traditional folk art culture can be considered as a stable "core" of the artistic culture of society, and the ethnos as the bearer of tradition. Thus, the concepts of "ethnos" and "tradition" are closely related to each other.

According to L.N. Gumilyov, the ethnic tradition includes cultural and ideological foundations, forms of community and economy, which have unique features in each ethnic group. The foundation of the ethnic tradition is a stereotype of behavior,

The concept of "mentality". In recent years, the word "mentality" has come into wide use. It sounds like a foreign term in Russian speech, and most researchers were quite frankly sure that it was just a foreign borrowing, and in order to clarify its meaning, it is enough to open any foreign dictionary. However, in foreign science, the word "mentality" is not used at all, and English the word "mentality" does not act as a term and does not have a definition assigned to it (or at least various options definitions).

Occasionally, the French word "mentalite" is used as a term, but it does not have an established meaning either. The "Dictionary of Social Sciences" defines mentality as follows: "The term has different meanings, close to the concepts of attitude, mental function, and even thinking (the latter is in L. Brühl (1922). It was only in 1994 that Russian researchers made the first attempts to give the new term (which was finally recognized as a neologism) an adequate content.From the point of view of S.V. Lurie, the use of the word "mentality" in principle can be paired with the concept of "tradition" insofar as it implies mobility, correlation as with the past as well as with the present, the possibility of arbitrarily deep internal contradictions.In this sense, we can say that the tradition is expressed in the mentality of the people, or, more precisely: the mentality is a non-materialized component of the tradition.

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The concept of "Folk art culture"

Folk culture is the highest achievement of this or that people. She has come a long way through the age-old selection of the real, the true. The moral principle is very great in folk culture. It concentrates universal moral foundations, acting as a criterion, a model. The experience of goodness, justice, beauty, peace, love led to the creation of the fundamental principles of the human personality. Thus, folk culture exists as a fixed memory of mankind about itself. Only the presence of the values of altruism, beauty, nature and creative activity will not allow human culture and civilization to come to self-destruction, but will raise it to a new spiritual level.

AT modern research The general theory of systems shows that any complex developing system (and folk art culture is just such a system) must contain information that ensures its stability. Such a system formation exchanges matter and energy with the external environment and is reproduced in accordance with the information fixed and presented in the corresponding codes. These information codes take into account the experience of the previous interaction of the system with the environment and determine the ways of its subsequent interaction. From this point of view, there are information structures in social organisms that play a role similar to the role of genes in the formation and development of biological species. The basic values of culture act as such structures. They are represented by ideological universals, on the basis of which a huge number of suprabiological programs of human activity, behavior and communication function and develop, presented in the form of various code systems and constituting the “body of culture”.

V.S. Stepin, drawing a parallel between the social and biological components of man and human life, writes: “Worldview universals perform the same function in the life of society as genes do in a living organism. They organize the most complex set of various cultural phenomena into an integral system and act as basic structures, play the role of a kind of DNA of social life. Meanings of worldview universals (categories "nature", "space", "space", "time", "man", "freedom", "justice", etc.), forming a holistic image of the human life world and expressing a scale of value priorities of the corresponding type of culture, determine which fragments of the continuously updated social experience should fall into the stream of translation, and which should remain outside this stream, that is, not be transmitted to the new generation and not play any important role in its formation. Thus, they determine what knowledge, beliefs, value orientations, goals, patterns of activity and behavior will mainly regulate the behavior, communication and activities of people, shape their social life. The system of ideological universals is a cultural and genetic code, in accordance with which social organisms are reproduced. Radical changes in social organisms are impossible without changing the cultural genetic code. Without this, new types of society cannot arise. It is precisely this cultural and genetic code that folk art culture appears to be.

Folk life did not know the division into material and spiritual production and, accordingly, its spiritual culture was inextricably linked with material culture. Defining the system of folk culture, V.S. Zuckerman distinguishes three components in it: material culture, the culture of social management (more precisely, self-government) and spiritual culture. In the latter, he distinguishes the following structural elements: people's worldview, people's economic culture, people's moral culture, people's pedagogy, people's legal consciousness, people's artistic culture.

Folk art culture also plays an important role as an integrator of society. It expresses religious, socio-utopian, moral, legal, and pedagogical views in figurative and artistic form, and this connection between artistic creativity and all cultural activity is so organic and inseparable that it is often practically impossible to attribute a separate type of folk art to some form of culture. Folk art culture synthesizes other types of folk culture. Integrating is the connection that pervades all of them with the environment and life, with the labor activity and life of the people. The culture of the nation has a holistic and centripetal character.

The specific features of folk art culture make it possible to isolate it in the sphere of universal culture. It is directly connected with material production, with the natural environment and with the entire social practice of the masses, with their social and family life, with customs, with the whole way of life, which determines the peculiar “applied” nature of all types of folk art.

The concept of "folk culture" incorporates the totality of material and spiritual activities, expressing the inseparability of the connection between man and nature. Not without reason, researchers of folk culture emphasize in it a respectful and careful attitude to trees, forests, lakes, mountains, rivers and other natural objects. Folk artistic culture is distinguished by the collective nature of creative activity, stable, long-term and spreading in a wide social environment and ethnic space traditionalism.

The traditions of folk culture are gradually and, at first glance, imperceptibly changing and updating, they manifest themselves in the form of a direct transfer from generation to generation, from society to society of skills, forms, techniques, techniques of creativity and the works themselves, the forms of their existence and perception. Another feature of folk art culture is that it forms a large number of regional types and local variants. The specificity of folk art culture lies in the fact that it gives the public consciousness the experience of communicating with the phenomena of art, extracts from the funds of folk art works the necessary spiritual material that ensures the development of the person himself, his spiritual powers and abilities. It thereby contributes to the development of a creative attitude to the world, maintaining a certain level of spiritual activity and wealth based on the experience acquired by mankind and its own people in the course of its history.

In the history of mankind there are examples of turning to folk art as a model and "building material" new culture. Suffice it to name the artistic direction of European romanticism with its pronounced focus on folklore in the field of literature, music, drama, theater or the historical style of European and Russian modernity. Folk traditions acquired a very special significance in the process of the formation of the national culture of the oppressed peoples in the Balkans and on the territory of the Austro-Hungarian Empire, in the Baltic states. Here they were included in culture not only as an integral element of professional art, but penetrated literally into all spheres of culture, life, and the activities of the national intelligentsia. The process of using the traditions of folk culture was quite intensive in Russian professional art of the 18th - early 19th centuries. In modern Finland, the process of developing the traditions of folk crafts continues, which took place simultaneously with the activities of the Russian Zemstvo to revive handicrafts in the second half of the 19th century. Increasingly close attention to folk culture is manifested in African countries, where issues of national cultures and national identity are increasingly on the agenda. Thus, in the course of the historical development of nations, folk culture becomes an important, sometimes determining factor in national self-consciousness.

In modern multinational Russia, the original culture of every people living on its territory has the right to be studied, preserved and supported.

And the autonomous republics, regions, territories and districts give priority to their own national and cultural achievements. It was the folk art culture that turned out to be the most capable of self-development. Its positive socio-cultural potential, focus on the self-preservation of the ethnic group became the basis on which economic, socio-cultural and educational activities were formed in various regions of Russia. The development of traditional culture provides an opportunity to overcome many problems and anomalies that have arisen and progressed in public life over the past decades.

The leadership of various state-territorial entities attaches particular importance to supporting original types of folk art, their study, systematization, and storage. In recent years, much attention has also been paid locally to the training of specialists in the field of folk art culture and the widespread use of educational institutions and the socio-cultural sphere in order to translate the best regional and all-Russian traditions of folk art culture into modern society. In many regions of Russia, Russian national cultural centers and societies, author's folklore centers, schools of folk crafts were formed (Arkhangelsk, Astrakhan, Belgorod, Vladimir, Vologda, Yekaterinburg, Irkutsk, Krasnoyarsk, Moscow, Novgorod, Novosibirsk, Penza, etc.). A certain assistance in the training of specialists was provided by the opening in state universities and colleges of training specialists in the specialties "Folk Art" and "Social and Cultural Activities and Folk Art".

Acquaintance with folk culture is the simplest and at the same time powerful means of the spiritual development of the younger generation. Introducing a child from an early age to the culture of his people contributes to the revival of the genetic and cultural memory of children and the development of their spiritual potential. Folk art culture is originally educational, it gives children lessons in harmony, order, education, morality. Purposeful familiarization of preschoolers with folk culture is a process of solving a set of various pedagogical tasks, of which, in our opinion, the most important is the formation in children of a general idea of the culture of the Russian people, its wealth and beauty, the development of creative potential, creative self-expression of the child, the formation of ethical moral values underlying folk culture, spiritual development. Folk art culture makes it possible to harmonize the social and family environment, strengthening relations between generations.

It should also be noted such an important task as the development in the child of the ability to realize his belonging to a particular culture. In recent years, interest in national cultural traditions and a desire to master them have clearly become apparent among children and young people. The active involvement of the younger generation in the restoration of folk art culture helps to strengthen national immunity in children and youth, instill a sense of integrity, responsibility, love for the Motherland, and maintain mental and physical health.

At present, scientists and educators are also concerned about the emergence of computer rationalism, leading to the loss of a person's ability to dialectically perceive the world and reduce its intuitive capabilities. The danger of losing a person's ability to intuition is by no means harmless. Without intuition, a person’s creative activity, the formation of a person’s personality, his self-improvement and self-education are impossible. A person in the structure of cultural values is the initial and determining component and factor. He is the arbiter, bearer and at the same time the addressee of cultural transformation. The uniqueness of the current situation lies in the fact that throughout the entire observable history, a person has never yet fallen into the crucible of such a total reforging of consciousness, such a viscous dependence on the environment created by him, did not know such sophisticated temptations by the numerous technical benefits of civilization as today. In other words, its nature has not yet been subjected to such tests, and besides, on the scale of such a global experiment. Therefore, only the usual means and methods of its formation and development are completely insufficient. It is vital to involve all the possibilities of folk art culture to form the future of man and ensure his life.

What is the state of the problems of folk art culture at the present time? Initially, ethnographers and folklorists took up the collection of data on folk culture. Thanks to their activities, much has been found, recorded, and studied. This direction of scientific research and analysis has been preserved at the present time. But in parallel, an ethnographic attitude to folk art was formed, if one can define it that way, which locally often manifests itself in a kind of conservation of the folk culture of former times. You can not turn the pearls of the Russian North or the cities of the Golden Ring into the likeness of Indian reservations. In them American Indians seemed to lead a normal way of life for them, engaged in their crafts, but lost their originality, traditionality, vitality: the geometric ornament was replaced by a never-before-used floral ornament, products were made not original and necessary for the Indians, but those that were willingly bought by "white" tourists and etc. Suffice it to recall the Moscow Arbat and the embankment of the Ekaterininsky Canal in St. Petersburg, where they sell not the products of folk craftsmen, but the crudest fakes for them, insulting the feeling of "national pride of the Great Russians." The same attitude is evoked by imitations on the themes of musical folk art, when folk songs and dances are brought into line with the requirements of the stage and the taste of the spectator and interpreter who does not know true folk music and dance. Folk art culture is freely interpreted by many as both amateur art, and as primitive (naive) art, and as kitsch. Traditional applied art, known throughout the world for its local centers (Khokhloma writing, Vologda lace, Severodvinsk paintings, Kargopol and Dymkovo toys, etc.), has now been replaced by rough and primitive products, delicately referred to as "counterfeit products".

From the media, the cultural life of Russia, everything that previously served as cultural and educational activities in the field of folk art has completely disappeared. Where can one find examples of it in the modern world? It turns out that only in amateur performances and museums. It was the museums that at one time widely developed the work that later took shape in museum pedagogy. They organized centers of folk crafts, for example, in the Russian Ethnographic Museum and the All-Russian Museum of Decorative, Applied and Folk Art. Now we are losing the museum created by V.A. Gulyaev in 1982, it was renamed the Russian Museum of Decorative and Applied Arts, and everything related to folk art was removed from the exposition. With the complete silence of the Moscow public, the once world-famous Museum of Folk Art completely disappeared from the cultural life of the capital.

The only guardians and figures in the development of folk art culture remain the sphere of education, including educational institutions: general education, professional, additional education for children, and cultural and educational institutions. A separate place is occupied by higher professional educational institutions and the specialties "Decorative and Applied Arts", "Folk Art", "Design". A certain role in the promotion of folk art is played by the magazine "Traditional Culture", which was previously called "Folk Art". But also professional training in these specialties does not eliminate the problem of the complete lack of qualified specialists in the field of studying and preserving folk art culture. Of particular importance should be recognized the issue of the lack of a methodology for introducing children to the world of folk art and teaching them the basics of traditional art. The number of individual educational and methodological publications produced is increasing, but their content does not meet the requirements of modern society.

In pedagogical theory and practice, a number of unresolved problems have formed that impede the full realization of the spiritual and moral potential of the traditions of folk art. Among them - insufficient development of regional aspects of folk art; the absence in many regions of successive curricula, programs, educational and teaching aids for ethno-art education; lack of special training of teaching staff in the field of theory, history and methods of teaching folk art culture; poor coordination of pedagogical activities of socio-cultural and educational institutions, lack of prospects for graduates of professional educational institutions due to the cessation of the activities of folk choirs, dance ensembles, folk art crafts enterprises. During the implementation of the program "Preservation and restoration of traditions of folk culture as the basis for the development of rural culture", the Vologda Regional Scientific and Methodological Center of Culture was faced with the fact that the development of practical activities to restore the traditional culture of the region was slowed down by the insufficient supply of its source materials, reflecting the specifics of local traditions. Materials, collected by scientific expeditions, due to insufficient funding for their description, study and design, are not embodied in publications, teaching aids, films. So, even studies based on the latest expeditions of the now defunct Scientific Research Institute of the Art Industry were published by T.M. Razina almost 10 years after their completion. The further development of the theory of folk art culture must also play a major role. To date, it is possible to use only theoretical essays on folk art culture by E.V. Gusev, published in 1993.

Traditional folk culture requires a new level of understanding, a change in attitude towards it. The problems of preservation and development of folk art culture are becoming more and more relevant at the international level.

It is no coincidence that UNESCO came out in support of traditional folk culture, sending to its national councils a “Recommendation on the Preservation of Folklore” (in Western European science, the word “folklore” defines almost all traditional artistic culture, and not verbal, musical, and choreographic folk art, as is customary domestic researchers). One of the important areas of future activity in the regions is the integration of the activities of various social institutions involved in the preservation and development of the traditional artistic culture of the peoples of Russia. Folk art as a problem of culture is a problem of a person and a nation, a problem of worldview. In this regard, the scientific approach to the problems of preserving and translating into the future of folk art culture with the obligatory use of the achievements of philosophy, aesthetics and art history, and other humanities is of paramount importance.

In modern conditions, when traditional, primarily ethno-pedagogical, mechanisms for transferring the centuries-old experience and knowledge of the people, ethnic group have been lost, the main role in the preservation and development of the Russian artistic heritage, as a national property, should belong to regional systems. In them, it is necessary to give priority attention and support to traditional Russian artistic culture (as L.N. Gumilyov defined it). Folk art culture should be perceived as an integral ethno-cultural phenomenon and considered from the point of view of the formation of a system of interaction between all institutions, organizations, including public organizations, individuals, the importance of which cannot be underestimated, upon the return of folk traditions to various spheres of public life and human activity.

First of all, regional authorities need to develop integral, multi-level, variable educational systems based on folk art culture, including pre-school and out-of-school, educational, social, cultural and leisure institutions, specialized educational institutions at all levels.

But a more promising direction is the development of comprehensive scientific and practical programs for the inclusion of folk culture in all its guises in the life of modern Russian society.

On the ground and in the center, it is necessary to stimulate and support the conduct of comprehensive studies of folk art culture, paying special attention to their local traditions. At the same time, it is necessary to organize research in such a way that their results become an important basis for a more holistic understanding of historical, national and cultural conditioning regional specifics folk culture in all the variety of manifestations of its age-old existence. Folklore (verbal, musical, theatrical), folk clothing, arts and crafts, and other areas of folk knowledge are subject to study and development.

Particular attention should be paid to the establishment of valuable philosophical, socio-cultural, psychological, pedagogical, general aesthetic guidelines. In this regard, an important mission falls to the lot of central and provincial museums and individual specialists. Therefore, it is necessary to involve representatives of various spheres of culture, art, education, social institutions, mass media, radio, television, and public organizations in research and promotion of their results. Such local programs will help residents of various regions of Russia to meet their spiritual, cultural, artistic and creative needs and interests; formation of regional cultural landscapes, preservation of the national, including regional, cultural heritage, ensuring the socio-historical and spiritual-genetic continuity of generations.

Particular attention should be paid to the legal and economic support of such programs.

As you can see, the problems of studying, preserving and further evolution of folk art culture today require particularly close attention and the combined efforts of various authorities, institutions and organizations of culture, art and education, the efforts of society and individuals. The sociocultural, philosophical, educational, moral and aesthetic potential of this phenomenon of national culture has not yet been sufficiently studied, the ways and methods of its application have been poorly studied and tested, and the prospects are underestimated.

We must not forget that real Russian culture has always been patriotic and state. Folk art culture as a complex dynamic system has a plurality of functions: social, cognitive, ritual, ethical, aesthetic, normative, informative, communicative, educational, organizing, etiquette, etc. And these functions must be used in full and in various areas of social, cultural, educational, economic activities of the regions. Folk culture is an organic culture, it is nature itself, which preserves and forms in time the consciousness of a person who invariably lives by his involvement in the folk whole, a sense of his place in space. Folk art culture is the foundation of modern culture, the root system of national culture. Its “general function” is “the reproduction of the human in a person”, the re-creation of the ties of the individual with the nationwide, universal, while maintaining national rootedness, i.e. formation of a citizen of the future Russia.

Let's consider how things are at the present time, what is being done to promote and preserve traditions now, and what is the result. Where can you find echoes of folk traditions in modern life? Currently, there is a lot of literature devoted to folk traditions: this is both scientific literature, focused mainly on culturologists and ethnographers, and entertainment literature (fairy tales, fortune-telling, recipes, etc.). The latter are popular and do not lie on the bookshelves, however, the artistic, historical value and reliability of the information presented in them is doubtful.

At the state level, issues of not only financing are being discussed, but also ways to preserve folk culture. So, it was proposed to create centers of folk culture in the village, because. the village is the only place where ancient traditions could still be preserved. However, it is obvious that there are practically no such villages left, and even more so there are no young people in them.

There are theaters of national culture; they appeared in Russia at the beginning of the 17th century. Most often, these were folk puppet theaters, which were a success with the common spectator and aroused the rejection of the authorities. Judging by the fact that these performances were shown in the program of buffoon games, they were short and consisted of one or several scenes. Now theaters of national culture exist mainly outside of Russia, for example, in the countries of the former USSR. In Russia, as a rule, there are separate theatrical performances. Considering that the culture of visiting theaters is disappearing (mostly people go to performances with famous actors), then we can say that this form of existence of traditions is inefficient. Along with the theater, there are folk groups, they least of all attract spectators, on the one hand, because there is an information vacuum (few people know about their existence), on the other hand, many modern people have a negative attitude towards everything connected with folklore.

Fairs have been an integral part of folk culture since ancient times, today they have been modified into specialized exhibitions and sales. Such events allow to bring together people associated with the study of folk traditions, the bearers of these traditions and ordinary citizens.

The disadvantage of such events, on the one hand, is the lack of advertising, they often go unnoticed due to poor promotion. On the other hand, in most cases, visiting such exhibitions is carried out not for the sake of interest in folk art, but for the opportunity to make a purchase at a cheap price.

Museums are one of the main keepers of folk traditions; the practice of creating museums has existed for a long time. However, either tourists or people interested in the traditions of their people show interest in them. This is due to the fact that museum communications do not meet the requirements of modern times. The museum visitor expects interactivity and dynamics, but instead he ends up in a cemetery of folk traditions. Things are similar with the centers of folk crafts, they cease to be the keepers of traditions and are completely uninteresting to potential visitors.

The listed forms of promoting folk culture, despite their long existence, are ineffective in modern society. They do not correspond to the dynamics of today. This leads to the emergence of new forms of representation of traditions.

Role-playing games are becoming popular. Players act as fictional or real characters in various story settings, play them out in free improvisation, and co-create the game's story. At the same time, the main aspect of role-playing games is the presence of game paraphernalia (costumes, weapons, armor, fortresses and other objects of the material culture of the game). In such events, a complete or partial reconstruction of a certain past event takes place in real time in the form of a game with its inherent limitations and conventions. Played by experienced groups of craftsmen and players, the games are at times brighter than state theater performances, more effective than professional training, more entertaining than good books, and more coherent than military drills and maneuvers.

Of course, live-action role-playing games have great prospects - in the organization of leisure for children, adolescents and adults; they can penetrate the media as a new generation of reality shows. Role-playing games can be of interest to a wide range of people, at the same time they can painlessly immerse a modern person into the environment of ancient rites and rituals, show folk traditions in a fascinating way.

Visual forms of the existence of folk culture are becoming increasingly popular in the world. Mass culture, which can make it possible to promote folk traditions more effectively, is largely tied to visual communications, and, accordingly, the verbalization of traditions is necessary. Visualization of various forms of existence of folk culture can be a new step in their promotion. One of the most effective areas that can really arouse the interest of young people has become visual anthropology - the creation of interactive video and audio works related to the traditional culture of Russia and other countries. These are documentaries, photographic works, etc. Festivals are considered the most effective way to present visual anthropology, where you can not only watch films, but also communicate with their creators. In many countries, visual anthropology festivals have a fairly long history. Only in Europe there are about 30 festivals constantly working. The Moscow International Festival - Biennale of Visual Anthropology has been operating since 2002. Unlike festivals that have a long history of existence, the young Moscow festival aims to introduce a mass audience to a relatively new direction of cultural activity for Russia. Therefore, in addition to the actual professional problems, much attention is paid to the popularization of the ideas and materials of visual anthropology, the consideration of its socio-cultural perspectives.

Recently, visual anthropologists have accumulated significant material that can be provided not only in ethnographic museums and research organizations, but also in the media. Anthropologists themselves note that the wide promotion of the ideas and products of visual anthropology is one of the important goals. To date, interest in these types of communication is limited mainly to people associated with anthropology, photography and filmmaking. Festivals are focused primarily on people in these areas of activity and do not come into contact with a wide range of young people. Thus, it is required to find new forms of presentation of visual anthropology products that would expand the circle of viewers and become mass events. It is necessary to expand the boundaries of the festival, linking its theme with what is interesting for young people.

Perhaps the most popular in the field of visual communications was the project "Mountain of Gems". This is the largest project in the history of domestic animation. It was created according to the fairy tales of the peoples of Russia. By the standards of Russian cinema, the project has truly gigantic dimensions: 52 cartoons of 13 minutes each with a total duration of over 11 hours. The premiere screening of the first 11 films from the "Mountain of Gems" cycle took place in the winter of 2005 as part of the X Open Russian Animation Film Festival in Suzdal. These films made experts talk about a breakthrough and revival in domestic animation, and the state support for the project was assessed by the public as one of the most successful examples of government investment in national culture. The display of the cycle "Mountain of Gems" on the main state television channel attracted a large number of viewers. According to TNS-Global (formerly Gallup Media), in the section of children's programs, the "Mountain of Gems" cycle took 1st place, overtaking the traditional leaders - the programs "Yeralash" and "Good night, kids!" . The project can be considered very successful, because animated films were made on high level, and the description and analysis of the project in the media attracted a large number of viewers. The cycle of animated films as a way to promote folk culture (in this case, fairy tales) to the masses turned out to be very successful.

Elements of folk art are manifested in products promoted not only on the Russian market, but also in the West. One of the main trends on the catwalk is the so-called "Russian style": the use of elements of the Russian costume - typical folk patterns in clothes. Interest in Russian costume has been present on the catwalks of the world for a long time. In fact, the folk style fits into a broader direction - "ethnostyle" - borrowing details and clothing items from various ethnic groups of the world, as well as using Slavic motifs from Eastern Europe. There are a large number of restaurants focused specifically on traditional Russian dishes, the recipes of which could be forgotten.

Today, holidays based on traditions are in increasing demand. Theatricalization of a mass action implies the study of rituals, understanding the socio-psychological roots of the holiday. In the folk festival, elements of chance during staging are excluded. A mass holiday cannot be scheduled and held at the request of the organizers; as a rule, it is subject to the calendar rhythm of life, or is held when a wide mass of people need this, and not another festive action, in other words, when a certain festive event has ripened. situation. Folk holidays and rituals are a significant and integral part of the centuries-old spiritual culture of any nation. Holidays long before the advent of Christianity were directly related to the cycles of nature: summer and winter solstice, spring and autumn equinoxes, meeting and seeing off the seasons, sowing, harvesting, etc. It is in the folk tradition that a person’s artistic activity, his aesthetic tastes are realized .

During the holiday, the concentration of artistic creativity and cultural life is carried out. Its holding covers the architectural and decorative design of theatrical performances, poetry and prose, dramaturgy, musical events, spectacles, processions, folk festivals, contests, competitions, etc. In other words, the component of the holiday is very diverse. Some details of folk holidays are forgotten and erased from memory, not preserved to this day. Many customs are not even worth reconstructing, because they carried a completely different semantic load, unnecessary for modern people. In our time, it is important to preserve the spirit of folk festivals, to stylize customs and rituals. The culture of a folk holiday contributes to the education of both each individual and the entire team of participants, not only broadens their horizons, but also creates conditions for self-expression, self-realization of people. The holiday improves mood, promotes creative manifestation, positive emotional outburst. A folk holiday allows you to reveal the true creative aspirations of people, because here every person is a performer, a creator, a participant, and a judge of everything seen and heard. A folk holiday is a certain period of life that has its own forms of human behavior in a team, which are determined by both traditions, customs, and rituals, ceremonies and rituals. In the old days there was no division into artists and the public, each participant was involved. The state of passivity was not approved. The holiday was a social mechanism for strengthening national cohesion. A modern mass holiday is an additional day of rest marked on the calendar. It is divided into organizers, hosts, artists and spectators, who, in fact, are third-party observers of the festive action. In modern holidays, the ritual component has been preserved, but if earlier the ceremony had a special sacred meaning, today it is part of folk culture, inscribed in the script of the holiday.

The script is a detailed literary and director's development of the content of the theatrical festive action.

The script in strict sequence and interconnection sets out everything that will happen at the mass holiday, reveals the theme, idea, shows the author's transitions from one part of the action to another, enters the artistic material used into the action, provides means to increase the activity of participants, design and special equipment for all sites actions. Thus, the scenario of a mass theatrical celebration is a complex concept that synthesizes the work of a playwright, director, artist, composer, and organizer. An essential component of the screenplay and dramaturgy basis of mass spectacles is the playful nature of the composition. Along with theatrical dramaturgy, the scenario dramaturgy of the holiday develops, which involves the construction of the characters' actions according to a certain logic, a plot that is distinguished by a certain conflict. The cultural meaning of scenario dramaturgy arises through images and actions, the purpose of which is a spiritual and moral influence on the viewer. Analyzing any holiday, we must find the key points in it. In the rite, the climax is the ritual part, for the sake of which the rite itself is performed, and in the holiday, the theatrical spectacle that will reveal its essence.

The main features of a mass theatrical holiday: entertainment, synthetic, expressiveness, ideological and artistic integrity. The method of constructing the script is assembly. The nature of the conflict is the interaction and dialogue of side themes, motives leading to the main author's thought. The way the performers exist on the stage is acting, but not according to the type of living in the image, but according to the type of presentation: the actor represents the image. In a mass theatrical performance, the main expressive means is a kaleidoscope of colors, colors, sounds, that is, all kinds of arts, the use of a variety of stage and technical means.

The very connection of various phenomena into a single montage structure is inherently conflicting, has a certain possibility of the emergence of opposing forces. As a result of this struggle, a single montage structure is fused, which ultimately gives a new quality to dramaturgy, the basis of which is not traditional action and counter-action leading to conflict, but a kind of dialogism of various themes and genre varieties. The scenario of a mass theatrical festival is not a literary montage, not a set of scenes or couplets, not an alternation of poems, songs and prose, but a text built according to certain rules. All documentary, fact-based presentation information should be presented in an artistic form, not emphasized in the form of teachings, lessons, notations. A simple enumeration of facts and events should also be avoided. In the script, it is necessary to logically combine different types of art, to carry out a "fusion" of documentary and artistic material for the most emotional impact on the audience. The performers of roles in performances must have universal creative abilities, i.e. be able to sing, dance, play musical instruments (if possible), use various techniques to activate the audience. The scenario of the holiday should answer two important questions: “about what?” is a topic, and "for what?" -- is an idea. A theme is a circle of life phenomena, selected and consecrated in a scenario from certain worldview positions. An idea is not just a main idea, it is a call. The idea of the script has a strong-willed vector aimed at a certain change in public life, public mood. The theme and the idea are inextricably linked with each other and together form the ideological and thematic basis of the script. The action of a mass spectacle, performance is devoid of direct sequence and contains digressions, stops, delays, return of events, switching of verbal material to plastic, from plastic to music, from music to the word, etc.

Therefore, the plot is presented in a free dramatic structure, where the stops of the action take on great importance. The peculiarity of the plot move in the scenario of a mass holiday is that it must necessarily be figurative, visual, corresponding at the same time to the intention of the screenwriter and director. The search for such a move is specific to the screenwriter and director of mass action. The predetermined dramatic move that drives the development of the plot is the main connecting moment in the editing of script episodes; it, as it were, shows the entire action. At the same time, pathos can alternate with comic moments, tragic with light, joyful. This finds expression in a special selection of artistic material. In the scenario, songs, a dance, an excerpt from a performance, a film fragment can follow one after another, they alternate with publicistic speeches, mass actions of the participants. The script needs exposition, i.e., the setting into motion of a short story about the events that preceded the emergence of the conflict, causing it. The exposition in the script usually develops into a plot. The exposition and the plot should be extremely clear and concise. They bear a great psychological burden. The next part of the compositions is the main action, that is, the depiction of the process of struggle and its interweaving, the chain of collision events in which the conflict is resolved. This part of the script must comply with the following basic requirements: 1) Strict consistency in the construction of the theme. 2) Increasing action. 3) The completion of each individual episode. 4) Concrete construction. The action must necessarily be brought to a climax, i.e. to highest point in the development of action. After the climax, the denouement, the finale of the action, should follow. Separately, I want to say about the venue of the mass holiday. If the holiday is planned to be held in any square or in any park or square, first of all you need to come to this place.

You should plunge into the atmosphere of that area, feel its atmosphere, examine the landscape, the architecture of the buildings surrounding this place, feel this place from the inside. Come in the morning, afternoon and evening to see how the place is illuminated by the sun at different times of the day. Any building, every tree, flying birds, in a word, everything that is in this area, must be used in its production, and all this must play. Everything that surrounds an open-air theater - land and water, air and trees, architectural structures and spectators - all this is usually "involved" in the performance, everything plays and lives in the performance in the proposed circumstances of the performance. From this point of view, a mass celebration based on rituals seems to be the most interesting. Consider the scenario dramaturgy of the holiday, its plot-figurative concept and historical development from pagan times to the present day on the example of Maslenitsa. This holiday is a peculiar attribute of Russian culture; it is no coincidence that the dance number "Maslenitsa" was included in the opening ceremony of the Winter Olympic Games in Sochi in 2014. Perhaps there is no person in Russia who did not know and would not love Maslenitsa. This holiday has never left the life of the people. Shrovetide turned out to be timeless, capricious fashion, ideological pressure, prohibitions, etc. . The ceremonial part of Maslenitsa is built on dramatic principles; there is a deep conflict, effectiveness. And in this sense, in different eras, the holiday looked different: in pagan Russia, dressing up was an integral part of the holiday - they put on masks, a bearskin as protection from evil spirits. The ancient Slavs did not have theatricalization in the modern sense, theatricalization was understood as the performance of a rite - an action in which the light and dark sides came into conflict. The culmination of the ceremony was the burning of the effigy of Zima-Marena. Again, all folk Maslenitsa fun and festivities did not follow a special scenario, the holiday was subject to customs and signs: skiing from the mountains for a good harvest, reviews of newlyweds, fistfights as a demonstration of strength and a surge of energy, and, of course, the traditional abundance in food, again having a sacred basis - the movement of food: the more you eat today, the more you will be born tomorrow. At first, the archaic ritual actions of Shrovetide, then round dance games and buffoons contained elements characteristic of dramaturgy as an art form: dialogue, dramatization of the action, playing it in faces, the image of one or another character (disguise). But, since the concept of "dramatology" implies authorship and professionalism, the above-described folk ritual actions cannot be considered dramaturgy. Only later, already in the 20th century, when individual authors began to prescribe scripts, including in them the old elements of folk rites and rituals, and introducing something new, did the scenario dramaturgy of the holiday take place. On the main stage, a theatrical performance was played with the participation of such characters as Winter and Spring, mother-in-law and son-in-law, Petrushka and policeman, and other famous Russian heroes folk tales. But the original, pagan, essence of the holiday was lost. In the post-Soviet period, Maslenitsa again becomes a bright and joyful annual national holiday - in the image and likeness of traditional European Maslenitsa carnivals. A cheerful “Shrovetide town” operates on the city square, in which concerts, folk entertainments, games, competitions with prizes are continuously held, they sell pancakes and other Shrovetide food. The development of the scenario of the theatrical program and its directing are generally approached with special attention - the main artistic image of the holiday, its ceremonies, traditions, customs, and rituals are preserved. Its form and content are respected. Currently Maslenitsa is a mass theatrical festival based on folklore traditions, combining the spirit of antiquity and the phenomena of novelty. All this makes the holiday historical and modern at the same time. Speaking of the dramaturgy of the holiday, we, of course, do not mean drama as a kind of literature, as we have already mentioned above. The scenario of the holiday contains elements of drama, in particular, it is based on an action, the source of which is a conflict. The script of the holiday also obeys the laws of dramaturgy. Nevertheless, the script for a holiday and a theatrical performance “is built on a different basis than a play for a theater or even a script for a feature film. His journalistic task usually involves depicting significant social events not through a private conflict of specific characters, but according to the principle of an epic reflection of social conflict in its large-scale meaning. This does not in the least contradict the fact that the carriers of large-scale social conflicts in the scenarios of mass performances are specific historical heroes, specific people, sometimes well-known to the audience. When it comes to folk holidays, scenario dramaturgy inevitably contains the traditional, ritual and ceremonial basis of Russian folk festive culture. Let's compare three different scenarios of Maslenitsa: in kindergarten , on a city square in a Russian city and outside of Russia among Russian-speaking people. The objectives of all three events are different. So, holding a children's Maslenitsa aims to acquaint children with Russian folk customs. Dialogues, as a rule, are built in verse, traditions are told in an accessible form, the heroine of the holiday is always present - the ruddy lady Maslenitsa, the script includes games, riddles, at the end of the holiday (which usually takes place in kindergarten or elementary school) children waiting for a festive treat with pancakes. There is an acute question - to burn or not to burn Maslenitsa. Behind each tradition there is usually some symbolic meaning initially. The effigy of Maslenitsa seemed to be the center of fertility and fertility, and the rituals of seeing it off were supposed to communicate this fertility to the earth: the ashes from the effigy, or the torn effigy itself, were scattered across the fields. At present, this action has an entertaining value, and not all families explain to children the essence of the rite, which not all adults know either. The task of the scriptwriter of the children's holiday is, firstly, to talk about the symbolic meaning of this tradition, to invite children to participate in it voluntarily, to ask if they have any concerns or questions. Focusing on the reaction of children, on whether they have interest or more fears, you can already decide whether to carry out this ceremony, or maybe you should limit yourself to stories about how Shrovetide was celebrated in ancient times. The main emphasis of the holiday should be made on the inevitable onset of spring, the main characters are fabulous creatures: Spring, Winter, Goblin, Baba Yaga, Buffoons, who conduct an active dialogue with children, involve children in active games. Quite different is the carnival holiday in the city. Usually a stage platform for an entertainment program is built on the square. On the sides of the stage, "shells" for competitions are installed: a climbing post for prizes; a log-boom on which they will fight with bags of hay; stakes (piles) for driving them into the ground with a special bat, etc. Near the square where Maslenitsa is held, trade “points” can operate: pancake, kvass, pie, tea, souvenir, book, confectionery, coffee, etc. This entourage. The scenario of a city event involves interactive. The festive program on the stage should alternate with active games: the hosts of the holiday should go out “to the people”. The city festival, perhaps, most of all resembles the Shrovetide festivities of antiquity, when they did not understand the origins of the tradition, but celebrated because “it is supposed to be so.” It is necessary to include in the script the Shrovetide train, and round dances, and riding down the hills, and burning the effigy of Maslenitsa. City Maslenitsa lasts as expected - a whole week, or the peak of fun falls on the weekend, because modern people still go to work on weekdays. The program can include ditty contests, hockey and skating tournaments, riding from the icy mountains and on horseback, strongman competitions, carnival of mummers, exhibitions-fairs of folk crafts. Finally, consider the celebration of Maslenitsa abroad, among the Russian diaspora.

For compatriots, this holiday plays an important role, as it is not just an occasion to have fun, but also another opportunity to pass on knowledge to the younger generation about the history of the Russian people, its traditions and customs. Of course, in the script in the form of scenes, games, songs, the traditions of Shrovetide are told. Perhaps, here the holiday has elements of a show, because compatriots are carriers of two cultures and sometimes they know little about Russian culture. It is fair to say that sometimes Russian youth knows even less about Russian culture. Nevertheless, carnival processions with mummers and masquerades are held abroad in honor of the holiday. Shrovetide towns are organized with a stage, places for selling food (of course, pancakes) and souvenirs, and attractions. Today we are witnessing the process of the revival of Maslenitsa traditions both in Russia and in the communities of Russian compatriots in other countries. The need to celebrate Maslenitsa in modern society really exists, but there are only a few professionals in this field, people who could competently tell how the traditional Maslenitsa was celebrated a hundred or two hundred years ago. Therefore, it is important to develop the ability to write scripts for a mass holiday based on folk traditions and rituals.

From the standpoint of historical experience, a fair assessment of traditional artistic culture and its special role in the life of the peoples of Russia is necessary. Without this, neither the enormous scale of the losses suffered by folk culture, nor the significance of the life-giving roots preserved by it, despite adverse conditions, nor the power of folk traditions will remain fully understood.

In order to understand the current state of folk art culture, it is necessary to turn to its history, to critically comprehend the entire complex of problems of its functioning and development. Only on this basis can a constructive strategy for the revival of traditions be built without turning this activity into a propaganda campaign.

It is impossible to discard its tragic pages from the history of folk culture, but it is wrong to confine ourselves to the constant turning over of these pages. It continued to preserve and retained up to the present time many of its traditions and, despite the difficult conditions, developed in a kind of nationalized forms of amateur art, crafts and trades, in everyday performance. The ability to survive in adverse conditions confirms the regularity discovered by the Spanish folklorist R.M. Pidal about hidden, or latent, ways of development and existence of folk art culture. ( Pidal R. Selected works / Per. from Spanish M., 1961. S. 102.) However, its preserved forms require intelligent and sensitive treatment, special support from society and the state, and professionally trained personnel.

Forms of folk art culture change historically. It is what a person is, his way of life, philosophy, attitude, mentality. In particular, "the structure of the folklore of any social group, - according to B.N. Putilov, - at this historical stage corresponds to the structure of its way of life." ( Putilov B.P. Methodology of comparative-historical study of folklore. L., 1976. S. 181.) The structure, nature of folklore, other forms of artistic creativity is determined by the cultural, historical, everyday and social practice of a person. Therefore, disputes about whether folklore is alive, whether tradition is alive, whether folk culture is alive, seem meaningless. ( Gusev V.V. Is folklore alive? // Living antiquity. 199 5. No. 2.) In folklore, as in life in general, that which ceases to correspond to the paradigm of folk life is gradually receding into the past, but that which corresponds to it is born and develops. Naturally, not only the forms of folk culture are changing, but also the stylistic, social, and aesthetic features of its existence. It does not mean the abolition of the role of traditions in folk culture. Continuity is a deep, dialectical, historical pattern of the evolution of folk art culture. This makes it possible, on the one hand, to fairly accurately judge the belonging of samples of folk culture to a particular era, and on the other hand, to see the continuity and dialectics in its movement.

It is impossible to understand folk art culture as a task once established, developing only in a peasant environment. Much will have to be said about the special role of the peasantry, the village in the history of folk culture, but folk culture is the result of the creativity of the whole people, and not just one part of it. Folk culture can be imagined as a process of creativity of different social groups and at the same time constant accumulation, fixation, enrichment, rejection, modification of its various forms, genres, elements and as a result of a long historical development, overlapping, layering layers of different subcultures, including past and present, individual and collective, oral and written. Folk art culture can include the process of collective and individual creation of values (creativity), the results of this process (materialized, material and spiritual) and existence, distribution; functioning of works of culture in society.

On the one hand, folk art culture is included in the general system of folk culture (along with folk medicine, folk metrology, folk cuisine, folk morality, etc.); on the other hand, it is one of the subsystems of a more global system of the artistic culture of society, is included in its structure, interacts with all its formations. Obviously, folk art culture appears in these connections as a multidimensional phenomenon that has complex border formations both with folk culture in general and with elite and mass art.

Hence, the tasks of studying folk art culture are not limited to the study of folk art or folklore, applied art or modern forms of amateur amateur art.

The listed phenomena appear as components of folk culture, but at the same time through them its fundamental system-forming elements are revealed, which form the architectonics of this type of culture.

Folk art culture is not considered either as the lowest stage of the cultural development of mankind, or as a certain stage in the development of culture, but as an independent historically conditioned type of culture, which has its own forms, mechanisms, social stratification, etc. The proposed approach to folk culture already goes beyond the traditional methods of studying it, which have developed in ethnography, art history and folklore. The focus is not so much on issues such as the image, style, artistic system, ornament, language, expressive and pictorial means or the genre-species system of folk art and its historical transformation, but the essence, historical forms, morphology and structure of folk culture, status its creators and consumers, its social functions, connection with the ethnic and socio-psychological mentality of the ethnos.

Today there are certain historical and theoretical grounds for such a historical and cultural approach. In the XX century. in the study of folk art, folklore, amateur creativity, a variety of approaches and methods were tested: socio-psychological, pedagogical, philosophical, ethnographic, sociological, cultural, aesthetic, psychological. The focus was on problems that are not at all reducible to works of folk art, folklore. A wide range of issues related to the social functioning of various parts of folk art culture, its transmission and communication, and the impact on the human spiritual world were touched upon. Attempts have been made to identify cosmological, mythological, religious, moral, magical, ethnic, psychological, socio-psychological, sociological and historical patterns folk culture.

The current stage of the study of folk art culture requires its correlation with universal, stable or dynamic pictures of the life of society, depending on one or another historical state of the state. At the same time, both the initial stages of the development of folk culture and its functioning in the later stages of history should be in the field of attention. It is no less important when studying the subject, essence, boundaries of folk art culture to identify its place in the structure of culture at any stage in the history of a particular people. The originality of folk art culture will become apparent only if it is correlated with other layers of cultures that exist in a particular period of history.

In science, there is a desire to dissect the structure of folk culture, to single out the most powerful layers in it. There is an attempt to isolate the terms of the pagan, pre-Christian, medieval folk culture, as well as the folk culture of modern and recent times. If we proceed from the unconditional position that each social stratum or group of society acts as the creator and bearer of a certain type of subculture (peasantry - peasant, clergy - religious, chivalry - knightly, artisans, philistines, workers - urban, etc.), then , obviously, and the components of culture will vary greatly in different historical periods. The presence of these layers in culture does not lead to its destruction as an integral organism, but to a constantly changing architectonics and subordination of components. The independence of each of the identified layers of culture does not negate their internal relationships and mutual influences. In reality, there is no rigid division, for example, between peasant and religious culture or the culture of workers and philistines. On the contrary, religious culture often manifests itself in folklore forms, the latter carry its predestination, and folk ideas are reflected in religious art. In addition, from the picture of the world that arises in this case, in which the pagan and the religious, the sacred and the mundane are intertwined, the culture of not only the burghers, workers, peasantry, but at the same time the nobility, intelligentsia, and merchants appears.

With an increasingly differentiating social life, when some groups of society separated from others, the values of traditional culture functioned in each of them, despite social stratification. It can also be noted that the main unwritten mechanism for the functioning of the values of traditional culture, which developed in antiquity and received comprehensive development in the peasant environment, was involved by representatives of all strata, and naturally changed taking into account the characteristics of the cultural traditions of these strata.

Folk art culture, obviously, the only one of all types of cultures, has such mechanisms of functioning, which in one form or another are borrowed and transformed by other layers of culture, including elite and mass ones.

In this regard, the problem of distribution and the sphere of functioning of folk art culture arises. In our opinion, if at the stage of a new and of modern times, folk art culture has functioned and is functioning in the form of one of the layers of culture, then at the previous stages of history (paganism, the Middle Ages) it turned out to be a universal layer of culture of the entire human community. "Approaching the matter historically," wrote V. Propp, "we will have to say that for pre-class peoples, we will call folklore the creativity of the totality of these peoples." (Propp V.Ya. Folklore and reality//Selected. articles. M, 1976. S. 18.)

What is usually meant by folk traditional culture turns out to be the most ancient cultural system, which has different degrees of distribution at different stages of history and has survived to this day as one of the layers of the culture of society.

In conditions of social differentiation, folk culture retains its universal significance as a national value system. Therefore, in our understanding, folk art culture is an integral and self-sufficient system of the spiritual life of the people, the result and process of everyday, as well as socially organized creative activity of all strata of society (peasantry, workers, bourgeois, intelligentsia, merchants, students and many other groups), carried out them in accordance with the archetypes of folk philosophy, aesthetics, morality, psychology, folk faith and mentality.

The definition takes into account the idea of B.N. Putilov about two - partly independent, partly intersecting and interacting - folklore systems. One of them belongs to an environment with a dominant folklore consciousness and a folklore way of preserving and transmitting cultural tradition, the other functions in an environment whose culture is determined by a written, "learned" tradition. (Putilov B.N. Folklore and folk culture. SPb., 1994. S. 46-47.) The proposed definition follows from the logic of the modern artistic process, the composition of its carriers and keepers. The picture here is very contradictory. Preservation of balance in the development of folk art culture today is associated with the widespread destruction of the patriarchal way of life, which provided one type of cultural production, which is no longer possible in modern conditions. Formed other forms of organization of cultural activities, other mechanisms for the transmission of cultural traditions. The search for such mechanisms is a difficult task; a different understanding of the place and role of folk art culture in the modern world is required.

Teachers, masters, leaders of many studios, schools, centers, houses of crafts, folklore, and traditions that have emerged in recent years are groping for forms and methods of transferring traditional culture to children and adolescents, youth, and adults. The family, the community are being replaced by the school, the education system, a network of special out-of-school cultural and educational institutions, and mass media. Each of them is searching for its own mechanisms for including a person in cultural and artistic activities, each of them develops its own methodology for overcoming the alienation of the individual from their traditions. Therefore, one of the main tasks of the textbook is not only a presentation of the theoretical, historical, aesthetic problems of folk art, the disclosure of their cause-and-effect relationships, but also the search for ways to support and develop it in new conditions.

In folk art culture, two complementary layers are obvious - traditional and innovative formations, its backbone content, genre, style, and functional elements. This applies to folklore, traditional applied and fine folk art, all forms of modern amateur creativity, and amateur art. Of course, the ratio of traditional and innovative elements in these forms will be different.

In view of the foregoing, the following definition of the main structural formations of modern folk art culture is proposed - folklore, amateur art, neofolklore, folklorism, arts and crafts and arts and crafts.

Folklore(oral-poetic, musical-dramatic) - everyday spiritual philosophical and aesthetic culture traditional for an ethnic group, reflecting its mentality, formed as a result of centuries-old collective creativity through oral communication, manifested in an infinite multiplicity of individual-personal options.

Amateur art- socially organized creativity, focused on the reproduction and development of existing samples (works, products) of elite, mass or folk culture through special training of a certain part of the population in artistic skills and abilities.

neofolklore- everyday artistic creativity, creativity of a non-formalized leisure nature, including at the same time forms of folklore, mass and professional art, amateur art, distinguished by aesthetic diversity, style and genre instability and acting as the "second" wave in modern folklore culture.

folklorism, or secondary folklore - a stage form of folklore, prepared and meaningful, taking into account the laws of demonstration to viewers, listeners as an artistic phenomenon.

Decorative and applied arts, fine folklore- a materialized, materialized layer of folk culture, reflecting in a figurative and aesthetic form self-consciousness, the mentality of an ethnic group, which has both folklore and specialized forms.

concept "modern" in this work it is used in terms of concrete historical, i.e. reflects temporary meaningful, aesthetic, shape-forming characteristic phenomena innovative essentially. In concept "people" includes the entire population of a country or its region, having either a geographical, or administrative-territorial, or ethnic status, which acts as a subject (creator) and at the same time an object of artistic culture that meets certain characteristics and norms inherent in it as a folk culture.

Due to the fact that the concepts of "archaic", "traditional", "authentic" in relation to folk culture are often used as equivalent, it is necessary to determine the meaning of each of them.

archaic culture has an ancient peasant origin and is associated with the era of the agricultural calendar.

traditional culture determines the qualitative and most stable, established, and demonstrated their unconditional value parameters (quality, properties, characteristics) of folk culture; it is a culture that has become universally valid for all or at least for most social groups.

Authentic culture- the most typical layer of culture that exists in any marginal environment. This is the primary, original and retained its relevance folk culture, a model and symbol of the most valuable aesthetic and spiritual layer of culture of any social group. Therefore, we can talk about the authentic culture of the peasantry, workers, intelligentsia, etc. The concepts of "authentic" and "traditional" are closely related in the characteristics of folk culture.

Moreover, in each case, in each topic, lecture, in the course of further presentation, more extensive, concretized definitions of both the indicated fundamental phenomena of folk art culture and its more local, derivative, particular characteristics will be given.

Of course, the reader needs to take into account some conventionality, generalization of the interpretation of the proposed definitions. They reflect the level of scientific disclosure of the essence of folk culture, which has developed in modern folklore and the theory of artistic culture.

Section I FOLK ART CULTURE AS A SUBJECT OF STUDY

Interest in folklore and folk culture arises all over the world, and not only in Russia at the turn of the 18th-19th centuries, during the formation and flourishing of romanticism, which in a sense rehabilitates and idealizes antiquity. Romanticism criticized the process of isolation and hypertrophy of professional artistic creativity, taking the past as a model, when art was created by all the people. Romanticism was the starting point for the development of the science of folk art, its nature, features of poetics and functions.

Folk oral and poetic art in all its variety of forms began to be associated with folk culture as a whole. Although this was a one-sided and incomplete view of folk culture, it became the most common until the beginning of the 20th century. Samples of this creativity provided an opportunity to compare, study and identify its typological, social, aesthetic features.

In Russia, interest in oral poetry as a phenomenon of spiritual life begins in the 19th century. One of the main reasons for this interest, G.V. Florovsky considers the awakening of a historical feeling - one of the most characteristic features of Russian culture of the 19th century. ( Florovsky G. Ways of Russian theology. K., 1991. S. 232.) During this period, to a certain extent, there was a superficial attitude to history, a sentimental idealization of the past. Nevertheless, the actualization of the problems of folk culture was the result of the awakening of historical and national consciousness. Through folk traditional culture, the national and ethnic originality of the mentality of the Russian nation was discovered. The fundamental works of A.N. Afanasyev, M. Zabylin, I.M. Snegirev, A.V. Tereshchenko, N.I. Kostomarov, and other scientists, as it were, were the factual basis for the development of problems of folk art. Most of the works not only described life, everyday culture, customs and customs, festive behavior, but also cited literary texts fairy tales, beliefs, songs, rituals.

It was in the middle of the XIX century. the first discussions about the Russian idea, the Russian character, the special path of the historical development of Russia unfolded. Here the points of view of the Slavophiles (K. and I. Aksakov, I. Kireevsky) and Westerners (P. Chaadaev, P. Annenkov, T. Granovsky, K. Kavelin) clashed. The entire history of the 19th century is inseparable from the search for the content of the concepts "people", "nationality", "ethnos", "nation", "national identity". This period is also characterized by the intense search by the Russian people for their place among other peoples of the world and, of course, their awareness of their role in the development of the cultures of the East and West.

In this regard, there is a need to understand in a broad historical context the question of the relationship of Russian folk culture with world culture, to comprehend its contacts with it. A kind of turning point and a new starting point in the history of such contacts was the baptism of Russia, when, according to Florovsky, through Christianity, Ancient Russia entered into a creative and lively interaction with the entire surrounding cultural world. ( Florovsky G. Ways of Russian theology. P. 4.) This interaction has been and is being evaluated very ambiguously, remaining one of the most difficult problems of historical science until recently.

Special interest to folk culture is formed in Russia in 1830-1840, when the question of its relations with the West again becomes topical. It was then that the question of Russia's place in world history was raised with all decisiveness. The opposition to the Romano-Germanic world required an in-depth study of the historical fate of the Russian people. The fundamental "History of the Russian State" in 12 volumes (Moscow, 1816-1829) by N. Karamzin was one of the first attempts to answer this question. The Slavophiles also gave a peculiar answer, in particular I.S. and K.S. Aksakovs, I.V. and P.V. Kireevsky, A.S. Khomyakov, whose works not only idealized pre-Petrine Russia, its patriarchy, conservatism, Orthodoxy, but also contributed to the expansion of knowledge about folk culture and folk life.

The worldview of the Slavophiles, associated with the idealization of pre-Petrine Russia, was provoked by Russia's desire for planetary contacts with the whole world, which stimulated first Christianity, and then the rapid assimilation of the values of the Western world, initiated by the reforms of Peter the Great. From the contradiction between the protection of identity and the desire to unite with the whole world, a tense spiritual, religious, state and secular life in Russia arises.

The activation of thought about folk art resulted in the emergence of special studies on its history. Folkloristics arises, studies on Russian mythology appear. ( Azadovsky M.K. History of Russian folklore. T. 1. M., 1958; T. 2. M. 1963.) Throughout the XIX century. different sciences turn to the study of folk art: history, philology, ethnography, art criticism. scientific methods determined the pluralism of scientific approaches and reflected the historical features of the scientific thinking of the 19th century, for example, the underestimation of humanitarian knowledge. Nevertheless, many researchers expanded the boundaries of research, considered folk art in a broad context of culture. It can be argued that it was the need to study folk art that stimulated the need for the development of cultural studies, which will be finally realized in the 20th century. The question of the genesis of folk culture required the study of archaism, manifested in myth, religion, ritual, holiday, ritual.

Because in the 19th century cultural studies proper did not yet exist, it was necessary to find an area that would include the cultural aspects of folk art. Perhaps such a discipline was ethnography, within the boundaries of which the study of general issues of folk culture, as well as folk art, was undertaken. ( Pippin A. History of Russian ethnography: In 4 vols. St. Petersburg, 1890-1892.) True, for a long time this science remained quite descriptive, claimed to study the facts, life, rituals and customs of a particular people.

It is important to note that in the 19th century, considering folk art, folklore, in fact, considered folk art culture. In this regard, it is interesting to cite one of the definitions of folklore given at the end of the 19th century. V. Lesevich. In his opinion, folklore "includes fables, fairy tales, legends, tales, songs, riddles, children's games and sayings, witchcraft, divination, wedding and other ceremonies, meteorological and other signs, proverbs, sayings, proverbs, stories about the moon, stars , eclipses, comets and all kinds of superstitions: distinguishing between light and hard days, the story of witches, ghouls, vovku-lah, viyah, etc. - in a word, everything that the people inherited from their fathers and grandfathers through oral tradition. ( Lesevich V. Folklore and its study // In memory of V. G. Belinsky. Literary collection , compiled from the works of Russian writers. M, 1899. S. 343.) And then the definition of folklore is given as the "most ancient phase" of culture, preserving "the historical foundations of everything that makes up our spiritual life." (Ibid., p. 344.) Obviously, we are talking here, in the modern sense, about folklore as an artistic folk culture as a whole. Certainty in the relationship of these concepts arises only in the second half of the 20th century.

Studying folk art, the researchers raised questions that are relevant specifically for folk art culture. In particular, they were interested not only in the development of folk art, but also in the processes of its social functioning. This was inherent in the works of A.N. Afanasyev, F.I. Buslaev, A.N. Veselovsky, the classical works of B.M. and Yu.M. Sokolov, V.Ya.Propp, D.K.Zelenin, M.K.Azadovsky, A.V.Bakushinsky, P.G.Bogatyrev, M.M.Bakhtin, E.V. A.B. Saltykov and others. However, from the 20s to the 60s of the XX century. Russian folklore, defining its subject, as if in contrast to its previous history, increasingly differentiated the subject of its study into oral poetic creativity and the art of the word.

The study of folk art culture today is entering a new stage in its history: from disparate, different in scope and completeness research on folklore, arts and crafts, amateur art, folk costume, folk holidays, it is moving to a systematic presentation of the most general issues of the theory and history of folk art culture as a holistic, syncretic, complex phenomenon, included in the fabric of the spiritual life of the people and acting as an important part of this life.

Naturally, the question arises about the place and features of folk culture among other types of culture - elite and mass. Only by correlating them, revealing the specific, one can open wide opportunities for deepening knowledge about each type of culture. Ultimately, one or another type of culture correlates differently with folk, professional and mass art. The value orientations of a culture depend on its status and hierarchical relations between the types of culture.

When studying each of the layers of folk culture, a methodology that considers their development and functioning in relation to the nature of the features of folk culture inherent in it at a particular stage of history will be truly fruitful. Only within the framework of this correlation can the question of the social functions of folk culture as a whole be raised.

So, firstly, it is necessary to state the fact of greater knowledge of Russian folk art culture and the presence of a huge number of source studies and fundamental works. Secondly, the historically established international connections of Russian culture with the national cultures of all the peoples inhabiting Russia and neighboring states allow, to a certain extent, to extrapolate the conclusions and patterns in general to any other culture, including non-Slavic. Thirdly, Russian culture due to its outstanding contribution to the world artistic treasury during the XIX-XX centuries. remained one of the most attractive in terms of knowing its mentality and influence on other cultures.

Highlighting three periods in Russian folk culture (pagan, archaic and urban), we focus on the present stage of its development. This means that we do not connect the fate of folk culture only with its archaic forms. Nevertheless, the archaic layer of culture is the "golden" core of folk culture.

Throughout the history of Russia, while the archaic culture was preserved and did not experience contradictions, restraints, restrictions in its development, it developed as the dominant of artistic culture. This is fully related to medieval Russian culture, to the culture of pre-Petrine Russia, to the culture of the Golden and Silver Ages, etc. Folk culture continued to make up a significant layer in Russian artistic culture even at the stage when various subcultures began to emerge in the depths of archaic culture, replacing each other, cultivating various personal and social values, which then received expression in professional and mass art.

Certainly something else. Modern Russian folk culture is connected by its origins not only with the pagan and archaic world, but also with the world of European and Byzantine values, having inherited and developed them in its system of artistic traditions. One can note, as it were, several directions in the development of Russian folk culture: interaction and mutual assimilation of values with the peoples historically inhabiting Russia; assimilation of pagan values that preceded the introduction of Christianity in Russia, and their processing and adaptation to the new religious system; finally, active interaction and exchange of values with professional art. Such multi-vector horizontal and vertical processes, coinciding or diverging in time, constitute the architectonics of the development of Russian folk culture.

LECTURE 1

The artistic culture of society is a complex, multidimensional and multi-element formation. By the mid-1990s, specialists counted from 300 to 400 definitions of culture, in which more or less complete attempts were made to understand what culture is, its subject, structure, functions, patterns of development. (Categories and concepts of the theory of culture. M., 1985; Kroeber A., Kluckhohn S. culture. Critical analysis of concepts and functions. M., 1992; Sokolov E.V. The concept, essence and main functions of culture. L., 1989; Orlova E.A. Cultural Anthropology: Textbook. M, 1995; Rozhdestvensky Yu.V. Introduction to Cultural Studies: Textbook. M., 1996.) The question seems justified: is it possible to give a definition that suits sociologists, philosophers, culturologists, teachers, art historians, representatives of a number of other sciences who study different historical types and layers of culture?

It is very likely that the answer to this question is predetermined by the very nature of the phenomenon, which acts as a universal spiritual environment for the existence and life of a person. Artistic culture is part of a more general phenomenon - culture. It is also the environment in which a person enters from the moment of birth. At each stage of life, in each specific manifestation, a person in one way or another comes into contact with the world of artistic culture, with its certain aspects, layers, phenomena, institutions, carriers, performers, images, etc. (All these issues are the subject of a special course of history and theories of culture (culturology.) In this course, they are covered only to the extent that is dictated by its own tasks.). And again the questions arise: is culture as a whole reducible to a certain sum of its existing formations? What is the nature of their relationship at different stages of the history of culture and the history of Russia? What is the role and place of folk art culture in the life of society?

Based on the idea of parallel development in modern artistic culture of cultures of different types and social groups, it is likely that the origins of each of them must be sought in the most ancient, primary education - folk culture. However, the relationship between culture as a whole and folk art culture does not exhaust all the richness of the relationship between their constituent parts, structures, and elements. Cultural formations that arise within the boundaries of each of the cultures independently interact both vertically and horizontally with the formations of other cultures.