Характерні особливості діяльності С. Є. Павлюченка як художнього керівника академічного Ансамблю пісні і танцю державної прикордонної служби України (1971-1993 р р .)

Author(s): Oleksandr Magalis / Language(s): Ukrainian Issue: 2/2017

The purpose of this work is to discuss the creative and organizational components of works of Stanislaw Pavlyuschenko in a position of artistic director and chief conductor of the Song and Dance Ensemble of the National Border Service of Ukraine. The methodology of the research is based on the application of universal scientific methods, in particular: historical, chronological, method of structural and comparative analysis, systematization, and generalization. Scientific novelty. In the article we study the influence of S. Pavlyuschenko’s creative personality upon the formation of the repertoire base of song and dance military bands. Conclusions. While analyzing the creative way of S. Pavlyuschenko, the researchers have the opportunity to broaden the understanding of the creativity of the artist as well as the meaning of Ukrainian music. There is a special attention to the respectful attitude of S. Pavlyuschenko to the national folk songs.

ХАРАКТЕРНІ ОСОБЛИВОСТІ СТИЛЮ WORLD MUSIC КРІЗЬ ПРИЗМУ ТВОРЧОСТІ ГУРТУ "ДАХАБРАХА"

Author(s): Veronica Tormakhova / Language(s): Ukrainian Issue: 1/2016

The article analyzes the characteristics of styles World music. Group "DakhaBrakha" that works in this direction shows the connection of various ethnic musical traditions, including not only the Ukrainian folklore, but also Russian, African and Indian. Special style is to appeal to archaic layers of folk melodies, lyrics, frets and toolkit. A striking visual image of the group, which also infused various Ukrainian folk traditions, is filled with theatrical and spectacular entertainment. World music is one of the leading areas of modern art that is associated with the emergence of a kind of counter-culture in relation to mass music. Appeal to ancient folklore layers of different ethnic groups intertwined with the latest discoveries in the field of musical acoustics, technological advances in sound processing and actual practices, such scratching, sampling and etc. The group "DakhaBrakha" is one the most prominent representatives of Ukrainian music space, working towards World music. The main and basic principle of style World Music appeals to the earliest archaic forms of folklore around the world. World Music is a kind of synthesis of different ethnic (folk) music traditions into a single whole, accompanied by contemporary reporting, urgent sound and work with modern technologies. Participants characterized by surprisingly wide approach to the selection tools. Actually, each of the musicians playing several instruments, besides all can act as vocalists. Tools that use of the band members can be divided into "classic" and "ethnic". In classical composition symphony, orchestra and orchestra of folk instruments are cello, flute, accordion, trombone, bass drum and percussion. Instead, the second group – "ethnic" instruments rather little known to the public audience, which allocated a significant amount of percussion: Djembe (West African drum), darbuka (percussion instrument indeterminate pitch, a small drum, widespread in the Maghreb, Egypt, Turkey, the Caucasus and the Balkans), and table (Indian percussion instrument). Also in some compositions used zhaliyka (Slavic brass reed musical instrument), bag-pipes, bittern (bass friction instrument), accordion, didgeridoo (a wind instrument musical Aboriginal Australia, which is one of the oldest wind instruments in the world). One of the important features of the group "DakhaBrakha" is its strong national Ukrainian flavor, which, as already noted, is manifested at different levels. This external factors, like the visual design of Ukrainian folk costumes and internal use of folk melodies, texts, modes, rhythms. In addition, the musical material that attracts musicians in their compositions – is authentic songs they collected mainly in the central region of Ukraine. The band members consciously seek to revive Ukrainian folklore. As the M.Halanevych: "Of course, no Ukrainian authentic music would not be our creativity; Ukrainian song tradition is the basis of our experiments. And even if our songs do not sound any Ukrainian motif, still is the music of Ukraine. We play the music world with our understanding of what it may "[3]. In ancient times the sense of time was quite different, due to sunlight employment accompanied by songs that consisted of a large number of solos that had somehow eased the long and monotonous work.The characteristics of folk and ritual traditions are collective, variance, anonymity and syncretism. It is archaic layers of folk art form of the rite indissoluble unity, in which a correlation descendants of ancestors, laws ordering the world, and therefore reflects the outlook of Ukrainian. The researcher points out that each cultural epoch has typical archetypes, images, symbols, values and myths that contribute peculiar to this ethnic group ways of interpreting the traditions, customs, rituals, lifestyle and mentality. This is the heritage of Ukrainian folklore, oral folk literature fullness images, symbols, archetypes and values. In the work group "DakhaBrakha" revived archaic folklore layers, which in combination with a novel created a reconstruction of ancient Ukrainian life.

Хата ў народных уяўленнях (на матэрыяле Берасцейшчыны пачатку ХХI стагоддзя)

Author(s): Swiatłana Żygar / Language(s): Belarussian Issue: 9/2017

In the article the house is considered as a factor of cultural and landscape code in the mythological-poetic image of the world expressed in the folklore of Brest region (according to the field records of the last 15 years). The historical-genetic and functional-semantic research of “the text of the house” in Brest folklore has shown that it was regarded by the national consciousness not only as a person’s dwelling but also as a special form of the universe, the place where a person can interact with natural, cosmic and sacral world. Semiotization of the house takes place on two coordinates: horizontal and vertical. In selected households, in ritual and magic contexts, in specific types and genres of folklore the house becomes the center of the universe. Particular attention is paid to special ceremonies, bans and rules that were obeyed during the construction of the house. It is shown how important the selection of construction place and construction time was. The analyzed material (stories about christening, weddings, funerals, signs and beliefs in particular) proves that house semiotization is determined by the opposition “familiar – unfamiliar”. The further from home one goes away, more “unfamiliar”, unknown, and dangerous the place s/he lives in becomes. Besides, even in the center of the house (on a stove) there can be an entrance to another world. The folklore and ethnographic research is based on the material from Brest, Kamenets, Luninets, Ivanovo, Malorita and Ivatsevichi regions.

Хата як вобраз снабачанняў (паводле сучасных аповедаў з Берасцейшчыны)

Author(s): Ina Szwed / Language(s): Belarussian Issue: 9/2017

The article presents the image of home established in folk interpretations of dreams, recorded at the beginning of the 21st century in Brest region. It is concluded that home occupies an important place in the structure and the history of narratives about dreams. It often acts as a “semantic mode” (B. Uspensky’s term), which determines the interpretation of dreams. This image is accompanied by other elements connected with significant events in either a dreamer’s life or his relatives’ life. Interpretations of dreams can be based on the idea that home, related objects and characters are signs or omens. The connection of the sign-omen with its interpretation and meaning is often mythological, fixed in certain beliefs, folklore texts and rituals, mainly of burial-funeral character. The narrator can fix the image of home as a clearly marked sign, or can introduce it into a static picture or a dynamic plot. Dreams with the image of home have different meanings that fluctuate from mythical to aesthetic interpretations.

Хатајската кујна како пример на Средоземноморската кујна

Author(s): Nihal Kadıoğlu Çevik / Language(s): Turkish Issue: 7-8/1997

In the scientific studies and conventions оп food that have been realized in recent years, it has frequently been mentioned that Меditerranеan Cuisine can to serve аѕ а ѕоurсе of balanced and healthy nutrition. It's possible to ѕее thе traces of Мediterrаnеan food culture which consists mostly of wheat, оlivе oil, vegetable, dairy, milk products, spices and winе in Turkish cuisine. In mу paper, I will try to evaluate thе nutrition cultures of provinces, such аѕ НАТАY which iѕ оn the Мeditеrranеan cost. I also give exmaples and try to point to the importance of having, thе tradicional Меditеrranеап cuisine in modern cuisine.

Хачкары в символическом поле армянской культуры

Author(s): Iryna Hayuk / Language(s): Russian Issue: 1/2016

The purpose of the research. The study analyses some aspects of the development of sacral symbolism of khachkars. It describes the historical traditions, which have influenced the development of the symbolic field of khachkars and defines the basic types of symbols and historical transformations of their interpretation. It allows to conclude, that the formation of a sacral field of khachkars was a result of synthesis of Armenian pre-Christian and Christian traditions. The methodology of research includes methods of comparative analysis and synthesis, historicity and contextuality and also a method of iconological analysis. Scientific novelty of research consists in the accurate formulation of the thesis about binding and accumulating function of khachkars, who were the major link of preservation and transfer of sacred Tradition and its substantiation. Conclusions. Khachkars are thoughtful evident demonstration of fundamental laws of a Universe and sacral embodiment of the idea of immortality through passage through The Nether (death) and rebirth to "the life eternal". Their main task was to direct through symbols to the supernatural, to the Higher Being, because the nature of symbols influences people who do not have an idea about their true sacral meaning. The natural assumption is that this complicated high art of creation of khachkars was purposefully developed and transferred by the masters, who knew the Tradition and who wished to keep and transfer it to the following generations, which that most likely happened in the professional (craft) unions.

Хеттский миф "О царице Канеса и 30 ее сыновьях" и его белорусская паралель

Author(s): Andrej Prohorov / Language(s): Russian Issue: 8/1996

In the paper a parallelism is proposed between a Hittite myth of thirty sons of the tsarina of the city of Kanesz and a Byelorussian tale “Mag-Małyszok”, which deals with the miraculous birth and further life of the thirty-first son of an elderly couple. On the basis of W. Propp’s thesis, which states that “there are traces of weak forms of social life in the tale”, a number of historically-attested examples of dividing the whole into thirty parts are mentioned (in ancient Rome, among mediaeval Slavs, or in pre-colonial Uganda). Some motifs connected with the number 30 (33) in East-Slavonic and Irish folklore as well as in the Old Testament are also analyzed. A conclusion is drawn that the myth of thirty brothers, reflected in Hittite and Byelorussian texts, formed the basis for distinguishing thirty communal types within the Indo-European group.

Хигијенски императиви: друштвена брига о деци, школска хигијена и пуерикултура у Грчкој

Author(s): Despina Karakatsani / Language(s): English Issue: 3/2011

For more than 70 years after the founding of the Greek state (1830) the country's health care system was primarily based on charity; on Military medical Services; and, rarely, on municipal hospitals such as those at Ermoupolis and Athens. Typhus, diphtheria and smallpox epidemics frequently swept the country and morbidity rates for malaria and tuberculosis remained high until 1930.

ХЛАДНОРАТОВСКО НАДМЕТАЊЕ НА ПОЉУ НАУКЕ ИЗМЕЂУ СССР И САД: ПРИМЕР МЕЗОАМЕРИЧКИХ СТУДИЈА И МАЈАНИСТИКЕ

Author(s): Јevgeniјa Dјuževa / Language(s): Russian Issue: 2/2021

Хора и игри от Гоцеделчевско

Author(s): Rajna Katsarova / Language(s): Bulgarian Issue: 2/2008

The study by R. Katsarova Horos and Dances from the Region of Gotse Delchev is a regional research of the folk dance riches of one district in South-Western Bulgaria. She shares her observations, analysis and summaries concerning the preserved old folk dances, studied during the period from 1946 to 1958. The study contains historical information about the population of the region — local people and immigrants from the former southern outlying districts of Bulgaria as well as of Bulgarian Christians and Bulgarian Muslims. The author extensively characterizes the horos and dances in style and performance, in structure, rhythm, tempo, form and expression. She presents the elder clothing and the typical vocal and instrumental accompaniment. The article traces also the state of horos and dances connected to some ancient customs, preserved up to this day, such as Lazaruvane, St. George's Day, Enjovden (Midsummer Day), weddings etc.

Хореографічна освіта в Україні (1945-1975 рр.)

Author(s): Nadiya Oleksandrivna Gorbatova / Language(s): Ukrainian Issue: 39/2017

Purpose of Article. To review and analyse the features of higher choreographic education in Ukraine (1945-1975) in the context of improving the professional practice of the teaching staff of vocational schools and training schools for the training of cultural workers, as well as to explore the problems of the formation and development of the Amateur choreographic art as an important component of choreographic education. Methodology. The methodology of the certain research is the organic combination of the basic principles of research: objectivity, historicism, systematic, integrated approach, development and pluralism, and to achieve the objectives of the study the following methods of scientific knowledge: problem-chronological, specific historical, statistical, descriptive, logical and analytical. Scientific Novelty. Scientific novelty of the work consists in a comprehensive study of the state Supreme choreographic education in Ukraine in the context of reorganization of the educational process of the period 1945-1975 and analysis of the organization and operation of Amateur dance groups in the system of extracurricular education and leisure activities. Conclusions. The basic theoretical foundations of Amateur choreographic education in Ukraine 1945-1975 were developed the structural units of the Ministry of culture of the USSR, Central House of folk art of the USSR and the leaders of the groups and musicians who adopted the experience of leading teachers of choreographic art, enhancing their own professional level and shaping the principles and methods of dance pedagogy.

Хореографът и фолклорното танцово наследство

Author(s): Daniela Ivanova / Language(s): Bulgarian Issue: 2-3/2001

The highlights in the interview with the eminent choreographer Todor Bekirski published here are as follows: The choreographer is a "product" of the environment that has created him, yet he himself is also the creator of a new environment. Therefore it is natural, in fact mandatory, to account for the past and current political, economic and cultural model, as well as for the effects of the change in the model on the choreographic profession as a whole. As regards the creation of a new environment, it is sought primarily in outlining the image of the contemporary choreographer ("Similarity gives rise to similarity"), who moulds, teaches and educates his dancers "taking himself as a model". The interview dwells on the topics of the continuity between the old generation of choreographers and the new one, the issues of creativity, the significance of the choreographer's ability or inability to arrange and adapt folklore dance models for stage performance purposes, the desired and real position of the choreographer in the Bulgarian cultural space of today.

Хорове виконавство Дніпропетровщини першої половини ХХ століття: співвідношення універсального і локального у культурному бутті регіону

Author(s): Olena Leontieva / Language(s): Ukrainian Issue: 4/2010

This paper describes the chorus performance Dnipropetrovsk first half of the twentieth century, particularly in the aspect ratio of universal and local cultural existence in the region that is essential for the development of regional culture.

ХОРОВІ ОБРОБКИ УКРАЇНСЬКИХ НАРОДНИХ ПІСЕНЬ ОЛЕКСАНДРА ЯКОВЧУКА: РІВЕНЬ ГЕНЕТИЧНОЇ МЕНТАЛЬНОСТІ НАЦІЇ

Author(s): Alexander Yakovchuk / Language(s): Ukrainian Issue: 33/2018

The purpose of the article. The article is devoted to the genre of choral arrangements of Ukrainian folk songs and reflection of the national mentality of Ukrainians in music folklore. It is emphasized the importance of professional composers work in this field as well as the particular role of choral arrangements of folk songs in preserving the national originality of Ukrainian music, which has not only cultural but also the political significance for the processes of Ukraine state-building. The methodology of the research is to apply the source-study method – in the study of musicology literature, the textual approach – when considering various musical samples.

Храм „Св. Николай Мирликийски Чудотворец и Св. цар Борис Михаил” в гр. Стара Загора

Author(s): Yoana Encheva / Language(s): Bulgarian Issue: 20/2022

Храм „Свети пророк Илия“, с. Беласица

Author(s): Viktoria Luchkova / Language(s): Bulgarian Issue: 20/2022

Храмова история и локална идентичност – II (По примера на с. Сапарево, Кюстендилско)

Author(s): Tsvetelina Dimitrova / Language(s): Bulgarian Issue: 16/2018

The text examines the connection between the history of the temples in the village and the construction of a local identity. The churches “St. Nicholas” and “Assumption of Theotokos” apart from belonging to the temple arm template established for the region of Samokov, also marked the two stages of the settlement history ‒ medieval (“St. Nicholas”) and the period of Bulgarian National Revival (“The Assumption”). While the “old” church pledges pseudo-historical narratives for Tsar Ivan Shishman and his treasure, those tied to the “new” have a fleeting character, fluctuating between the factuality of the historical and the axiology of the legendary. The monastery “St. Arch. Michail” is bound with the very foundation of the settlement.

Храм-паметник „Рождество Христово“, с. Шипка

Author(s): Vanina Stoicheva / Language(s): Bulgarian Issue: 20/2022

Храмът „Св. Петка Българска“ в Рупите. Личността на Ванга

Author(s): Boris Borisov / Language(s): Bulgarian Issue: 20/2022

Храна и публичност: срещи в празника

Author(s): Rayna Gavrilova / Language(s): Bulgarian Issue: 4/2018

The proposed paper is an attempt to examine and discuss the relation between social interactions, festivity, and food in the beginning of twenty-first-century Bulgaria. Topics of interest are the specific forms of public space and the participation during two types of events: the festivals of individual towns and the political kurbans. The article examines the extent to which the communal celebrations have “enter[ed] the service of economic and political propaganda” (Habermas). Both types of events are organized “from the top” – they are planned, financed and practically performed by people who possess political power. Furthermore, they both include certain forms of distribution of free food; thus, the author comes to the conclusion that the consumption of offered food and drinks binds the participating individuals in a somatic and emotional mutual experiencing the celebration. Commensality is a form of participation, which by definition is voluntary and unarticulated inclusion. The citizens are a quiet audience (public, n. in Bulgarian) of the activities presented on stage but enthusiastic participants in the shared meals.