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Nicolae Glib,an unrepeatable and unforgettable voice in our popular lyrics, in which the sun, and the moon, and the flowers, and all that is in this world catch voice, singing life, love, longing. It’s kind of seeing the world simple and complex at the same time.
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The text focuses on the intangible cultural heritage (ICH) in the Polish Western and Northern Territories that have been overlooked so far. They form neoregions, i.e. areas where there was a great migration of people as a result of World War II. The aim of the article is 1) to define ways (methods) of recognizing tradition as the ICH of neoregions in cooperation with local communities, and 2) to recognize it as an essential element in creating the identity of residents of post-migration areas. Analysis of research methods and techniques used in projects implemented in selected regions is the basis for the expressed postulate. They serve to certify their omnipresence and important role in shaping ICH. Therefore, a critical analysis of research methods and evaluation of the national system of ICH protection was carried out and the possibilities of practical application of research results in local communities for expert support and inclusion in the national ICH register were presented.
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PiS and Fidesz are mnemonic warriors who tried to enforce their memory politics already during their first government terms – as the analysis of their flagship museums, the Warsaw Rising Museum and the House of Terror in Budapest shows. The current illiberal governments treat museums they ‘inherited’ from their predecessors differently: While PiS changes content at the Museum of the Second World War in Gdańsk, the Museum of the History of Polish Jews and the Holocaust Memorial Center in Budapest ‘only’ lost their directors. Even mnemonic warriors must take international developments like the ‘universalization of the Holocaust’ into consideration. Kaczyński and Orbán favored opening new museums rather than changing museums identified as ‘Jewish’, even those that explicitly deal with Polish and Hungarian complicity. New museums, like the Ulma Family Museum, the House of Fates in Budapest and the Warsaw Ghetto Museum, focus on rescuers of Jews and heroic uplifting messages.
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The IPCC Report on the Future of Climate Change, published in August 2021, leaves no doubt that everyone must work to reverse deadly trends. Museum institutions also share responsibility for the future of the planet, and their raison d’être also depends on it. Only a fragment of museum activities that are or may be undertaken in order to participate in saving the Earth is mentioned in the text. They concern the last and seemingly the least important link in museum activities — the shops and souvenirs offered there. The ways of thinking and organizing the sales of souvenirs were indicated, as well as arguments to counteract excessive consumerism, which was treated as the implementation of the mission and essence of museology.
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Until 1794, silverware and gold statue of Madonna and Child funded as a votive offering for blessings received by Jan Warzyniec Wodzicki, the Deputy Cup-bearer of Warsaw, was kept in Saint Mary’s Basilica in Kraków. Wodzicki donated several items to his parish church: in 1690 he made a gift of six altar candlesticks, in 1692 a gold statue of a Madonna and Child on a gilt silver pedestal and a pair of kneeling angels on pedestals identical to the pedestal of the Madonna statue, and on 12 July 1694 a five-piece silver antependium. In the Archive of the Wodzicki Family from Kościelniki, kept in the Ossolineum Library in Wrocław, the author of this article has found two cost estimates for making the above mentioned silverware, except for the antependium, issued in Warsaw on 9 May 1694 by Rad & Hößlin, a trading house from Augsburg. Christopher von Rad I and Bartholomäus Hößlin (Hösslin), jewellers and goldsmiths from Augsburg, established their company in 1690. The documents found by the author are the first ones to confirm that the above mentioned jewellers from Augsburg operated in Poland. The first cost estimate (Annex I) tells us that Wodzicki gave 1,100 ducats (1,114 Augsburg ducats) for the figure of Madonna and Child. The labour cost of both figures, a case and a travelling bag was 559 imperial thalers and 11 kreutzers (the cost of a wax model and forming the body out of gold sheet cost 35 imperial thalers, whereas the repoussage of the body cost 498 imperial thalers and 11 kreutzers). In accordance with the second specification (Annex II), the goldsmith was paid 1,847 imperial thalers and 30 kreutzers for the candlesticks. The labour cost of making two statues of angels on pedestals was 536 imperial thalers and 22½kreutzers, whereas making the pedestal for the statue of the Madonna and Child cost 182 imperial thalers and 78 kreutzers. The cost estimate of the silver antependium for the main altar has not survived. The inventory of Saint Mary’s Basilica in Kraków shows that the five-piece antependium weighed 206 grzywnas (ancient Polish measure of weight) and cost 14,856 tymf (Polish silver coins).The works were most probably the result of one workshop, and were perhaps by Abraham II Drentwett (1647–1729), a goldsmith, wax sculptor and draughtsman from Augsburg.During the Kościuszko Uprising in 1794, the above mentioned silverware, except for the statues of angels, were taken from the treasury of the basilica by the Order Committee established by Tadeusz Kościuszko and melted down to support the uprising. In 1807, the two statues of angels funded by Wodzicki were sold to goldsmiths from Kraków.
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The last decade has seen the establishment of no less than three historical exhibitions about Poles who rescued Jews during World War II: Tadeusz Pankiewicz’s Eagle Pharmacy in Cracow (2013), the Żabiński Villa in Warsaw (2015) and the Ulma Family Museum of Poles Saving Jews in World War II in Markowa (2016). While these museums tackle similar issues, they differ both in the way they present their narratives and in how they present their exhibits. Examines their reception, Wóycicka asks what the intended message could be according to visitors; she asks whom and what they are supposed to commemorate. This analysis and comparison of entries in the guestbook allow her to demonstrate that despite the thematic overlap their reception is widely different.
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The basic premise of my research regarding the fashion production of Sirogojno style was that "objects are, like words, carriers of information". Based on research published so far – a paper by Bojana Bogdanovic being the most detailed – and my own fieldwork conducted in 2010, I have attempted to ascertain the extent to which this particular style of fashion carried information about the cultural environment which it represented. The research encompasses the study of the materials being used, the production and the sale of products made of wool. The development of this particular style was influenced by the enthusiasm of designer Dobrila Vasiljevic-Smiljanic and the women of the mt. Zlatibor region, as well as the support provided by the political structure of the period, the local government, and through Dobrila VasiljevicSmiljanic’s family ties – the church. Her creations are famous for incorporating adapted local ornaments. A distinct and recognizable style of woolen products was created. This "Wool Road" – from using local raw materials to materials imported from Iceland, from creating unique motifs to sale in the open, from national and international sales to musealized sales in the first decade of the 21st century – has lasted for over fifty years. Products from Sirogojno were renowned both in the country and abroad. All the negative processes which happened during the nineties influenced the decline of production and distribution of hand-crafted products from Sirogojno. In the late 1990’s, the production was acquired by a local owner who didn’t show much interest in it. This production has been musealized in the first decade of the 21st century. Dobrila Vasiljevic-Smiljanic told me in 2010 that "everything should be started from scratch now, from new motifs to new marketing". The new owners of the firm say that "the villages are deserted and there aren’t enough weavers". On the other hand, there is sale in the open, well set up and visible to visitors of Sirogojno. In this space, in typical small houses, women weave and sell woolen garments adorned with motifs which were once created by Dobrila Vasiljevic-Smiljanic. Most of these women feed their families this way, because a number of men were left without jobs in this region. All of my informants who work in the open state that they aren’t satisfied with their status. And none of them had any specific relation toward the fact that they were copying motifs created by Dobrila Vasiljevic-Smiljanic. In the final part of the paper I will offer my own understanding of the textile craft in Sirogojno. I emphasize that Dobrila Vasiljevic-Smiljanic had an active role in the shaping of the idea to found the Staro Selo Museum. It is a pity that her initial idea to represent the traditional way of producing woolen garments in this attractive setting fell through. Research conducted in 2010 has shown that the original production of "Sirogojno style" is shrinking and being musealized. The Staro Selo Museum could pool the resources, become a center for craftsmanship and thus protect, develop and promote the textile heritage of Sirogojno.
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The article discusses the contribution of rev. Bronisław Ussas to the Joint Reevacuation Committee and Special Committee intended to claim book collections, archives, and museum items from the Soviet Russia after the Peace of Riga ending the Polish-Bolshevik war. The work of the Committee ended with relative success due to committed members struggling against the resistance of the Soviet authorities. The members of the Committee had extensive knowledge about the Polish goods stolen by Russia during the partitions. Rev. Ussas was one of them.
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The aim of the paper is to critically reflect on the Joseph Stalin Museum in Gori. The basic question is: what non-spatial values does the Museum evoke? Or, reversing the perspective: how do certain spatial values construct and perpetuate the non-spatial values of this ideologized commemorative premise? In order to answer them, the author prepared in situ photographic documentation during her field study and then compared it with the photos available on the Internet. In order to research the collected empirical material, the author attempted to create her own qualitative method, which she called the political topography method (TPM). The research procedure in which it is used involves four steps and, after the selection of the empirical material, includes: acquisition, analysis and interpretation of data from unwritten sources. The theoretical framework of the study consisted of three conceptions: Michel Foucault's power/knowledge, Pierre Bourdieu's symbolic violence and Yi-Fu Tuan's relations in space. Combining them, it was possible to demonstrate that the spatial solutions used in the museum in Gori serve the apotheosis of Stalin as the winner of the Great Patriotic War. It is a synthesis of practices typical for a museum, funeral and commemoration. The paramount example of this approach is to be found on the upper floor of the museum which constitutes the most important part of the exposition, namely a hall-mausoleum with a posthumous mask of the dictator. It imparts a sacred character to the entire museum complex. This is a reality petrified from times preceding the 20thCongress of the Communist Party of the Soviet Union, at which Khrushchev denounced the disastrous effects of the cult of the individual.
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(народната музика в българските радиопрограми от първите години на социализма и нейната „мека власт“)
peoples music, state socialism, people's democracy, Bulgarian radio, soft powerThe article describes the main power concepts and practices, related to music in Bulgarian radio during the first years of socialist Bulgaria – the Fatherland front period (1944-1947), when the authorities start to take possession of state radio, under the guise of “people’s democracy”; and the totalitarian period (1948-1956) – a period of “classical Stalinism”, a time of the completed control of radio and media music by the communist power. The focus is on the so called folk music in radio, which turns out to be one of the main conduits of “soft power” in the first years of Bulgarian national socialism. Its presence in the narratives of communist power, its place in radio programs, its main figures and formats, its power uses as “music for the people” and some discourses as “correct” and “incorrect” music, according to authorities, are examined.
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Sharing heritage is an important process in society, where a narrative makes transmission and turns in a vehicle for the understanding of both past and present. The text presents the contemporary practices of object oriented museology. Using the exhibits with history in Russe Museum, an exposition and museum educational module are produced. On the basis of the principles of the co-participatory museum, a dialogical environment is built in which the artefacts are not only witnesses of time, but also an inspiration for creativity. Russe Museum explores the relationship between cultural heritage and local development with the participation of the Museum as an environment for communication between different social actors, local communities and shared knowledge. In this process object oriented museology gives the possibility to re-conceptualize the ways of change of the approaches connected to communication through heritage. In its core stays the active public, which is part of the local community.
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The analysis of current legislation of the custom registration order of cultural values import, as well as legal effect of customs import’s rules violation was firstly realized by author in referred article. Furthermore, was realized the deep analysis of department normative acts, which regulate an order of individuals and entities taxation while transportation of cultural heritage objects in mode of "import".
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Industrially tourism, as a new cultural practices of mobility has been developed in the second half of the 60s of XX century. The beginning of industrial tourism can be considered as the first half of XX century, when European companies have begun to open their doors for tourists. At the beginning of XXI century, these trips have become more accessible. In 2007, almost all West European businesses and U.S. companies were open for tourists – tours began spending for promotional purposes. The first to studying of these cultural phenomena have turned Western scientists D. Makkennel, A. Liu, J. Kelly, B. Dickson, E. Inskir, R. Prinis, J. Swarbrooke, R. Yalе, etc. Later, to the study of industrial tourism have turned scientists from Russia, Ukraine and China. The first theoretical work in this field were devoted to the conceptualization of tourism industrial sights and their typology. Have appeared first empirical studies of perception of industrial tourist attractions by visitors. The purpose of the article is to explore the history of the formation, development and study of industrial tourism as a new form of tourism behavior and practices. In 60-es of XX century in the UK it was established a public organization for residents of industrial centers, known as The International Committee for the Conservation of the Industrial Heritage (TICCIH). The driving forces of these processes were rapid changes in production, when society in advanced countries moved from industrial to post-industrial stage, industries were closed, and the question arose what to do next with their buildings and equipment. The process of humanization of social consciousness, characterized by the growth of public interest in history and culture, including industrial, not just regional or national, but also global started. The interest in using industrial heritage in educational and tourism purposes increased. Campaigners argued for the preservation of industrial facilities as historico – cultural monuments and important elements of the socio-cultural environment of modern society. Media helped popularize industrial tourism. Lots of magazines, books, documentaries and television programs on the theme of urban and industrial research led to the fact that Europe was hit by a boom in industrial tourism. In the early 1980s held the first organized tours to industrial facilities. For foreign world experience the industrial heritage – is, above all, the monuments of mass industrial production relating to the period from the end of XVIII to the middle of XX century These are companies, stations, energy production, etc., as well as devices and mechanisms constructed on an individual or mass projects. The educational value of industrial heritage based on three main criteria. First – is technology invented by man. Secondly, it is the social value that includes working conditions and lifestyles, as well as the relationship between people and their ability to resolve conflicts. The third criterion – is ecological value, in particular, the environmental change, which occurs in the process of production. The objects of industrial heritage are attracting the attention of a large number of tourists. Currently, there are many examples of old industrial objects that have found the economic future through industrial tourism. Possibility for development object as monument – now is one of the main factors that help to preserve the industrial heritage, particularly in former industrial areas, seeking for a new basis for advancing their economy. The industrial tourism is becoming more important and for local administration, and for the owners of these objects. Opportunities that can ensure economic growth in the region using industrial heritage also were the important stimulus to preserve industrial facilities. For example, the German city Essen, which representing one of the centers of the Ruhr area, in 2010 came in a number of European Capital of Culture. This solution of the European Union gives Germany the opportunity to demonstrate their achievements in case of social and economic transformation of the area in front of which only a few decades ago, loomed a threat to develop into a one more "rusty belt". The experience of Essen can become an object lesson for some cities of the former USSR, been industrial centers in the past, now turning to complete desolation. Very often excursions to the operating companies is an additional "burden" to other travel brands, that is why most popular are items that are brands of specific cities, for example Rotterdam port complex or "Rolex" plant in Zurich. In the European Union there are travel companies that offer tours of unknown corners of European cities. Modern industrial tourism is well developed in the United States, in the European countries like France, Britain, Germany and the Netherlands. France distinguished by a special development of this type of tourism – more than 1.7 thousand companies offer excursions on their areas, shops and manufacturing facilities. Some countries specialize in thematic industrial and manufacture tours. For example, in the UK leader in visiting by tourists is productive confectionary Cadbury, and in Spain wine tourism is leading, in France – cheese tours, in the Netherlands "flourishes" floral tourism, and Finland is famous for its glass blowing factories and permanent specialized tours for them. The rapid development of industrial tourism should cause scientific interest to itself. The first scientific discipline, the subject of study of which was an industrial heritage, was the industrial archeology. In some countries, at the universities were established departments of industrial archeology. The scientific discussion concerning industrial tourism was revolved first of all around definition of "industrial tourism" itself, due to the lack of uniqueness in the definition. Firstly, the term "industrial tourism" has various meanings: in particular, in the U.S., some use the term "industrial tourism" when talking about commercial approach to tourism, about maximizing return on investment. From this point of view, according to Abby, industrial tourism provides for tourism marketing as a commodity for sale to mainstream consumers [15]. Secondly, to describe the same phenomenon using other terms. In some cases, it's just a difference in language: Industrietourismus (German), tourisme industriel (French), industrieel toerisme (Dutch), turismo industrial (Spanish), turisme industriale (Italian), etc. However, for today, there is a situation in some countries, that industrial tourism is associated mainly with visiting working companies, while in other countries it refers to a visit to the Industrial Heritage (inactive production). Among the scientists also observed some differences in the interpretation of the definition of industrial tourism. The reasons that motivate people to pay their attention to industrial tourism is also arouse scientific interest. Lovers of industrial tourism formulate the reasons for their capture of it in different ways. Interest to industrial tourism is also a sign of new youth subcultures that have appeared in the late XX – early XXI century and were previously unknown. To "industrial" subcultures include also Rivethead ("industrialnyk"), Diggers, Stalkers. Thus, industrial tourism, which began to develop rapidly from the second half of the twentieth century, became a new form of tourism behavior and practice, as well as a reflection of global trends to the mythologizing of technology and urbanism, particularly in the youth environment, and for many operating companies in Europe and the U.S. industrial tourism has become one of the most effective marketing tools. Ukraine has a significant potential of industrial heritage, so industrial tourism for it has a great promise. There are already some experience and scientific achievements in this field, which in its turn require a special scientific understanding and synthesis.
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A study of youth aesthetics is a necessary component of inculturation modern personality. The process of inculturation is seen through the communion of man to the study of arts and direct participation in the aesthetic activity, which involves the training of aesthetic assessment and imposition of aesthetic judgment. Responsibility to society and nature, professionalism and personal attitude to the objects actually define a new perspective on education and formation of the person, human activities put forward by one of the first places in the productive and social sectors of society, philosophy, aesthetics and culture. Culture is linked by numerous ties with the aesthetics. As a system that teaches human basic aesthetic categories, it enables today's youth to join the established cultural traditions, to become the bearer of a certain lifestyle, knowledge systems and values. The study of aesthetics is developing a tolerant attitude to the world as a unity of diversity, and aesthetic perception of reality allows for a more qualitative assessment of the potential of culture. The aesthetic understanding of reality means, first of all, aimed at improving the process of inculturation of the person: the development of feelings, emotions, figurative and associative thinking, artistic and creative abilities, aesthetic taste education to meet the needs in the development of cultural values, mastering the skills of analyzing works of art, an aesthetic exercise assess their artistic features, the formation and the statement of aesthetic judgments, etc. General cultural competence, which is acquired by the individual in the process of inculturation, is referring to the mastery of them large enough amount of knowledge and social experience through practice. Entry into the culture, development of its values allows the individual to shape the development of the emotional sphere of the person, of high aesthetic value, creates conditions for the improvement of the art of dialogue with various representatives of the society, presentation of results of the activity. This process allows not only to study the creative activities of individual members of different cultural epochs and aesthetic style, but also to take part in the cultural and creative activity. Examples of such activities may be projects aimed at the study of the aesthetic heritage of culture of the city, province, country, etc. In the process of self-study individual learns not only to create a separate product form of art, but also to give him aesthetic appreciation on the part of the structure, content, design, ie to implement features of aesthetic evaluation in full. The method of self-attraction to cultural and creative activity helps to develop the individual's ability to selfassessment, to interact with other members of society without conflicts, the culture of dialogue and presentation of results of individual activity. This allows the individual at the time of the study of aesthetic values, not only to improve their own culture, but also to take part in the inculturation of other representatives of culture during a demonstration of the creative developments. Involvement in the process of inculturation of the individual aesthetic values gives a great opportunity for self, self, self-creation of the individual, especially in moral and aesthetic terms. That aesthetic activity is aimed at creating an aesthetic object. It is based on a long, hard work, self-restraint, to compare its quality with the ability of others to overcome itself and achieve new results. The process of inculturation involving aesthetic resources involves modeling of situations in life in which a person is. Aesthetic activity of an individual is always emotionally saturated, which accelerates the action of the psychological mechanisms of adaptation of man to the environment, with the active position aimed at increasing personal status. During the self-identification of aesthetic activity to meet certain aesthetic needs of people, it has a permanent character and is a periodic attempts to find the individual in the socio-cultural environment of their own kind and take yourself to them. In today's society there are new value system that encourage the development of aesthetic activity of the individual, mass of different types of art, becoming relations between the aesthetic and the political, economic and cultural life of society. In the process of inculturation takes aesthetic representation of attitudes of various segments of the population. In the culture of post-industrial society the concept of beauty often gets relative and do not always become a prerequisite for the individual identity in the culture. Aesthetic inculturation can manifest itself in its visible forms of merchandise. Aesthetic inculturation should give the opportunity to enter the inner nature of man an aesthetic object. It is based on a long, hard work, self-restraint, to compare its quality with the ability of others to overcome itself and achieve new results. The process of inculturation involving aesthetic resources involves modeling of situations in life in which a person is. Aesthetic activity of an individual is always emotionally saturated, which accelerates the action of the psychological mechanisms of adaptation of man to the environment, with the active position aimed at increasing personal status. During the self-identification of aesthetic activity to meet certain aesthetic needs of people, it has a permanent character and is a periodic attempts to find the individual in the socio-cultural environment of their own kind and take yourself to them. In today's society there are new value system that encourage the development of aesthetic activity of the individual, mass of different types of art, becoming relations between the aesthetic and the political, economic and cultural life of society. In the process of inculturation takes aesthetic representation of attitudes of various segments of the population. In the culture of post-industrial society the concept of beauty often gets relative and do not always become a prerequisite for the individual identity in the culture. Aesthetic inculturation can manifest itself in its visible forms of merchandise. Aesthetic inculturation should give the opportunity to enter the inner nature of man an aesthetic object. It is based on a long, hard work, self-restraint, to compare its quality with the ability of others to overcome itself and achieve new results. The process of inculturation involving aesthetic resources involves modeling of situations in life in which a person is. Aesthetic activity of an individual is always emotionally saturated, which accelerates the action of the psychological mechanisms of adaptation of man to the environment, with the active position aimed at increasing personal status. During the self-identification of aesthetic activity to meet certain aesthetic needs of people, it has a permanent character and is a periodic attempts to find the individual in the socio-cultural environment of their own kind and take yourself to them. In today's society there are new value system that encourage the development of aesthetic activity of the individual, mass of different types of art, becoming relations between the aesthetic and the political, economic and cultural life of society. In the process of inculturation takes aesthetic representation of attitudes of various segments of the population. In the culture of post-industrial society the concept of beauty often gets relative and do not always become a prerequisite for the individual identity in the culture. Aesthetic inculturation can manifest itself in its visible forms of merchandise. Aesthetic inculturation should give the opportunity to enter the inner nature of man.
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The purpose of the article is to study the institutional component of the mechanism of state administration in cultural sector, which is embodied in a hierarchical organizational structures and public authorities. Research methodology consists in the disclosure of the essence of institutional component, which aims to provide the comprehensive development of cultural environment. The main research methods are structural -logical, formal-logical methods and methodology of systematic approach. The scientific novelty of the work consists in the fact that the author has proposed the definition of institutional support of state administration in cultural sector. The author has studied the structural component of the institutional structure of the mechanism of state administration in cultural sector, determined the basic state administration bodies and analyzed the status of secondary ones. Conclusions. The research has established that culture it-self can be viewed in three dimensions: the way of human activity on transformation of nature, society and man; a set of works of human activity; socially significant information expressed in terms of values and standards. But for the purposes of state administration culture is understood as a set of material and spiritual values created by the society, which characterize a certain level of its development. It has been established that the Ministry of Culture of Ukraine takes the lead in the institutional support of state administration in cultural sector. The attention is focused on the specificity of status of such state institutions as Cinema State Agency of Ukraine, Ukrainian Institute of National Memory, State Committee on Television and Radio Broadcasting of Ukraine and Ukrainian Center of Cultural Studies.
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The article is an attempt to come out with Yuriy Vynnychuk’s compiling activity. The author tries to analyse anthology as a separate literary genre, the brief description of Vynnychuk’s collectanea has been presented. The prominent contribution of the writer into contemporary Ukrainian literature has been discerned.
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In the article typological connections of Yakut heroic epos Olonkho, recognized as “a Masterpiece of Oral and Intangible Heritage of Humanity”, with epic monuments of Turkish – Mongolian and other Eurasian nations are being observed.
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