Academic literature on the topic 'Ukrainian Folk art'
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Journal articles on the topic "Ukrainian Folk art"
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Mokhirieva, Yu. "OUTSTANDING MASTERS OF UKRAINIAN FOLK ART: BIOGRAPHICAL NARRATIVES." Aesthetics and Ethics of Pedagogical Action, no. 22 (December 27, 2020): 80–95. http://dx.doi.org/10.33989/2226-4051.2020.22.221998.
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The article considers the problems of creating a semantic component of the pedagogical narrative (based on biographical studies of prominent personalities of Ukrainian national art) as an effective method of professional-pedagogical education of teachers of fine arts. Among the most representative phenomena of Ukrainian culture are the works by Hanna Sobachko-Shostak, Kateryna Bilokur, Oleksandr and Nadiia Babenko, the Piliuhin family. As a result of the research, the individual features of our selected outstanding masters of Ukrainian folk art were clarified, the influence of the social environment and the family on the formation and creative development of outstanding Ukrainian folk artists was determined.The Department of Fine Arts of Poltava V. G. Korolenko National Pedagogical University has developed biographical narratives about outstanding masters of Ukrainian traditional folk art, which are used in teaching the following subjects: "History of Ukrainian Fine Arts", "History of Decorative and Applied Arts", "Basics of Decorative Composition". The study proved the effectiveness and feasibility of introducing biographical narratives in the training of future teachers of fine arts.
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САДОВЕНКО, Світлана. "Folklore as a semantic core of Ukrainian folk art culture." EUROPEAN HUMANITIES STUDIES: State and Society 1, no. II (March 30, 2019): 181–95. http://dx.doi.org/10.38014/ehs-ss.2019.1-ii.14.
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The article shows that Ukrainian folklore is filled with a real meaning of the collective unconscious of people, carries a living memory and symbolically inspired pre-images that can equally resist the commercial symbols of the art market and quasi-religious doctrine of the political ideology of the present. Ukrainian folk art is disclosed as the basis and the most important layer of national culture, without which the formation of national consciousness and the development of professional art is unfeasible. Ukrainian folk riddles can serve as a good example here. It is concluded that the question of conceptualization of folklore as a semantic core of Ukrainian folk art culture in modern conditions of socio-cultural reality is relevant and requires further scientific research.
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Shevchuk, Petro. "METHODICAL PRINCIPLES OF PREPARATION OF FUTURE TEACHERS-MUSICIANS TO LEAD FOLKLORE GROUPS." Вісник Національного університету "Чернігівський колегіум" імені Т. Г. Шевченка 175, no. 19 (March 6, 2023): 108–12. http://dx.doi.org/10.58407/231921.
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The purpose of the article is to reveal the methodological principles of training future teachers of musical art to lead folk music groups.Methodology. The main theoretical provisions of this article are based on the leading principles of the cultural approach. Such research methods as the method of artistic analysis of folklore sources, art history and pedagogical literature, the method of theoretical generalizations and conclusions are used in the investigation.Scientific novelty. The article highlights the problem of continuity of national traditions, transmission of aesthetic ideals and self-awareness of the people in modern Ukrainian society.The author developed the issue of folklore as a means of personality formation, considered folk songs as a model of aesthetic taste, high moral qualities and artistic experience of Ukrainians, as the embodiment of the national identity of the people. Attention is drawn to the originality, uniqueness and versatility of Ukrainian folk music.The article explains the methodical principles of training future teachers of musical art to lead folklore groups, which consist in: cultivating Ukrainian national identity in working with students, creative productivity of performing activities and artistic integration in the design and implementation of an artistic idea. Special attention is paid to the methods of interaction between the manager and the members of the artistic team as the basis of effective creative work.Conclusions. National folklore reveals the dynamism and multi-layered existence of Ukrainians, attests to the ways of understanding the artistic and aesthetic values of the past through the prism of the perception of modern cultural realities. The training of future teachers-musicians is interpreted by us, first of all, as a process of gaining experience of communication with folk art in the postmodern era based on the current methodical principles of interaction of student youth with samples of Ukrainian folk art.
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SVYRYDIUK, N. "TECHNOLOGIES OF INVOLVING STUDENT YOUTH IN UKRAINIAN TRADITIONS USING ETHNO-DESIGN." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 1 (June 1, 2023): 154–64. http://dx.doi.org/10.31494/2412-9208-2023-1-1-154-164.
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Ethno design as at teaching has deep roots in Ukrainian people’s lifestyle, which are an effective means for aesthetic, humanistic and national education of schoolchildren, this ethno cultural environment become particularly relevant during the development of the New Ukrainian school. Folk crafts vividly reflect and best preserve the traditional educational ideal of the Ukrainian people, which is contained in the works of decorative and applied art, available for students to perceive and understand. A decisive factor in the ethno-cultural and labor education of modern youth is various forms of their involvement in Ukrainian traditions and folk art, in particular, familiarization with the technologies of making Ukrainian folk toys, which occupy an important place in the upbringing and educational process of student youth. The knotted doll is a unique technology, because this type of folk art is an ethno design project that combines several types of traditional Ukrainian decorative and applied art. In the process of making a knotted doll, such authentic techniques as: ornaments from different ethnographic regions of Ukraine, traditional embroidery techniques, fabric dyeing with biological dyes, weaving, vybiyka (wood printing on fabric), beading, felting from wool, art ceramics, technologies for modeling artificial flowers from paper, fabric, wood shavings, creating wax headband accessories, ancient techniques and methods of tying head scarves and shawls, sewing and decorating head covers – are used. Among the variety of forms, methods and means of ethno design that contribute to the involvement of student youth in Ukrainian traditions, a number of simple and effective educational technologies have been identified and presented in our research, such as: museum-pedagogical activities, visits to cultural and artistic events, exhibitions of works of folk art, thematic exhibitions-presentations use of audio and video recordings from ethnographic expeditions, etc. Of particular importance in the popularization of folk art among young people is personal communication with the bearers of traditions in the format of creative meetings with masters of folk art, visits to master classes, personal exhibitions and workshops of folk masters. The described technologies of youth involvement in folk art affect the development of the cognitive and emotional sphere of the individual, his creative abilities, contribute to the creative and productive educational activities of students. Key words: ethno design; folk art; Ukrainian knotted doll; traditional technologies of making and decorating a folk doll; aesthetic, humanistic, national education of students; technologies for familiarizing young people with folk traditions.
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Dolesko, Svitlana. "ARTISTIC IMAGE OF UKRAINIAN FOLK COSTUME IN THE CONTEMPORARY UKRAINIAN ICON PAINTING ARTWORKS BY OLEKSANDR OKHAPKIN." Baltic Journal of Legal and Social Sciences, no. 2 (October 25, 2022): 52–58. http://dx.doi.org/10.30525/2592-8813-2022-2-9.
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This study offers an analysis of certain works by the contemporary Ukrainian icon painter Oleksandr Okhapkin. His works address the traditions of Ukrainian decorative and applied arts by impregnating the icon’s composition with typical examples of folk artworks of the Ukrainian people, with Ukrainian folk costume playing an important role among these artworks. Therefore, this article is aimed at interpreting the Christian image of the Mother of God as a Ukrainian Berehynia Woman and Mother, which can be seen in the complex of the depicted Ukrainian folk costume and its particular elements. The methodological basis included priority methods of art studies: historical method, art analysis method, comparison and generalization, comprehensive method, and interviewing method. Conclusions. An analysis of icons of the Mother of God has revealed the particularities of using examples of Ukrainian decorative and applied arts in the composition of icon painting works. It was ascertained that the Mother of God is presented as the legendary Berehynia Woman and Mother Earth. In the future, this topic deserves to be studied in greater depth and filled with new senses of contemporary significance, at the time when national self-identification of Ukrainians in the world is extremely necessary. In particular, this can be done using the figurative language of icon painting.
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VOLIK, KATYA. "Ducaches in the ukrainian culture area." Journal of Education Culture and Society 4, no. 2 (January 10, 2020): 325–33. http://dx.doi.org/10.15503/jecs20132.325.333.
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The report describes the emergence (origin) and distribution of dukachey in the Ukraine, their popularity and distribution, and why they have been largely forgotten.The report examines dukach - traditional ukrainian folk decoration. It is considered one of the branches of folk art - namely, the tradition of folk ornaments in the example of ducats.It examines the role of dukachey in the material and spiritual life of the Ukrainians. Appeal to the national art and national traditions is a means of creating a cultural identity and national consciousness.The in uence of cultural traditions dukacha Ukrainians. The diversity of national cul-tures enriches the culture of the world, and shows the universal and the particular, inherent in a particular culture.The report investigates the artistic means of the expression of dukachey based on tech-nical and technological characteristics of the production of coin-dukachey.
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Stelmashchuk, Halyna. "OLENA NYKORAK THE RESEARCHER OF UKRAINIAN FOLK ART." Ethnology Notebooks 143, no. 5 (October 21, 2018): 1062–68. http://dx.doi.org/10.15407/nz2018.05.1062.
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Melnyk, Liudmyla, Olena Kyzymchuk, and Liudmyla Zubkova. "Ukrainian Folk Ornaments in Modern Knitting." TEKSTILEC 64, no. 2 (March 27, 2021): 84–95. http://dx.doi.org/10.14502/tekstilec2021.64.84-95.
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National arts and crafts are not only the skills of an individual nation but an ethnic phenomenon that has unique features and serves as a source of information on national history and culture. Decorative and applied art in Ukraine combines the traditions and techniques of manufacturing and decoration, which have been developed and passed down from generation to generation. It has a clear national identity and numerous regional differ¬ences in ornamental motifs, compositions and favourite colours. Therefore, the Ukrainian folk art has a significant potential and is a source of ideas in creating modern clothing as well as interior items. Embroidery as a way of creating ornamental motifs on a textile material using various techniques is a common process for decorating clothes and interiors for the Ukrainians. Today, ornamental compositions of embroidered folk textiles could be transmitted into modern clothes using various technologies. However, the use of a knitting machine allows creating a pattern during the item production. The ornament transformation into a pattern for knitting can be carried out with graphic software by creating a grid with a cell size similar to the loop size of a knitted structure for corresponding interlooping. A number of clothing and interior items with ethnic motifs was created using the capabilities of flat knitting machines within the masters programme “Knitting Technology and Design” at the Textile Technology and Design Department of the Kyiv National University of Technologies and Design.
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Fedorchuk, Olena. "The folk-art center as a phenomenon of ethnic artistic tradition." Journal of Ethnology and Culturology 29 (August 2021): 94–100. http://dx.doi.org/10.52603/rec.2021.29.13.
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The research of folk-art centers is based on the materials of the ethnic artistic tradition of the Ukrainian folk costume beaded decor. The folk-art center is presented as a unique place with a strong energy field. In such places, several artistic traditions are often born and developed. The birth of each new artistic tradition is always associated with the need for works of art as in the means for the realization of socially significant functions. In particular, the artistic practices within the tradition of the Ukrainian folk costume beaded decor have always been an effective means of ethnic self-identification. During the 1950s–1970s, the tradition of the Ukrainian folk costume beaded decor had been in the phase of extinction (reverberation), thus a significant part of knowledge had been lost. Nowadays, in the context of globalization, this tradition faces new challenges, such as the danger of cultural unification. The joint annual meetings of amateur and professional folk artists, organized on the basis of the traditional folk-art centers could become an effective means for the preservation and revival of the unique nature of such centers. An important condition for the success of such measures must be the participation as curators of the professional researchers of folk art, knowledgeable of local traditions.
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Syvash, Ilona. "Ukrainian vytynanka art in the context of ethno-design : modern progress trends." Bulletin of Lviv National Academy of Arts, no. 52 (July 11, 2024): 111–18. http://dx.doi.org/10.37131/2524-0943-2024-52-11.
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The article considers the possibilities of using modern Ukrainian vytynanka in interior design and graphic design, made with due regard for original Ukrainian traditions. The historical and social prerequisites for the development of this type of art are outlined, since vytynanka has powerful creative possibilities, harmoniously combining art and craft. It is emphasized that the production of vytynanka does not require a special material and technical base, and this allows many amateur artists to realize their creative potential, involving them in folk culture. It has been determined that Ukrainian vytynanka as a component of ethno-design is a form of creative activity with a pronounced ethnic component based on folk traditions, synthesizing artistic and technical components and having the prospect of mass replication of these products. At the same time, Ukrainian vytynanka can be used in art therapy to support people in difficult life circumstances, as well as as a means of national and patriotic education of young people, as it helps to affirm the national identity of Ukrainians. Vytynanka can be used to draw the world's attention to Ukrainian culture, which is an important task during the war in Ukraine. Vytynanka, thanks to its appeal to folklore sources, accessibility, mass production, and simplicity, can influence the development of Ukrainian ethnic design, which in the future, during the postwar development of Ukraine, should become the basis for the revival of culture, spiritual values, and self-identification of Ukrainians. The creative modernization of such a traditional art form as vytynanka will contribute to the development of the national style and the establishment of Ukraine's cultural image in the world. The purpose of the study is to identify current trends in the development of Ukrainian vytynanka in the context of ethnic design, considering its potential for further popularization of Ukrainian culture in the field of design. The methodology is based on comparative-historical, descriptive, analytical, and art historical methods to determine the culture-creating potential of vytynanka as a component of folk material culture and a trend in contemporary ethnic design at the same time. The relevance and scientific novelty lies in the consideration of the art of vytynanka of the modern period, taking into account its specificity and the possibilities of popularizing Ukrainian culture in the world with the help of ethnodesign as a materialized means of artist's expression.
Dissertations / Theses on the topic "Ukrainian Folk art"
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Мозгова, М. С. "Українські народні ігри молоді." Thesis, Сумський державний університет, 2017. http://essuir.sumdu.edu.ua/handle/123456789/66557.
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Мета науково-дослідницької роботи полягає в дослідженні історії української
народної гри, грунтовному аналізі її видів, змісту та методики використання як засобу
морального виховання молоді.
Об’єктом дослідження є українські народні ігри.
Предмет дослідження – історія появи і розвитку українських народних ігор,
дослідження їх особливостей та характерних ознак.
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Бераіа, Анна Віталіївна, and Anna Vitaliivna Beraia. "Автентичні пісні та фольклор у сучасному українському вокальному мистецтві." Bachelor's thesis, СумДПУ імені А. С. Макаренка, 2021. http://repository.sspu.edu.ua/handle/123456789/10900.
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У бакалаврській роботі конкретизовано сутність і зміст понять «фольклор», «пісенний фольклор» і класифікацію українських пісень як частини фольклору та вплив народної пісні на становленні професійної музики, а також здійснено аналіз використання народних мотивів у поєднанні з різними музичними стилями (джаз, рок, поп, соул) та обґрунтовано використання елементів фольклору у системі сучасного українського вокального мистецтва та вплив фольклору на нього. У кваліфікаційній роботі проаналізовано еволюції форм побутування пісенного фольклору, а також творчий спадок сучасних вітчизняних виконавців («Kazka», «AlinaPash», «Khayat» «DakhaBrakha», «Onuka») і місце різних фольклорних елементів в ньому.The bachelor's thesis specifies the essence and content of the concepts «folklore», «song folklore» and classification of Ukrainian songs as part of folklore and the influence of folk songs on the formation of professional music, as well as analyzes the use of folk motifs in combination with different musical styles (jazz, rock, pop, soul and others) and substantiates the use of folklore elements in modern Ukrainian vocal art and influence folklore on modern Ukrainian vocal art. The qualification thesis analyzes the evolution of forms of song folklore, as well as the creative heritage of modern Ukrainian performers («Kazka», «AlinaPash», «Khayat», «DakhaBrakha», «Onuka» and others) and the place of different folklore elements in it.
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Гавриленко, Анна Вікторівна, and Anna Viktorivna Havrylenko. "Творчість Михайла Бойчука в контексті розвитку українського образотворчого мистецтва першої половини XX століття." Master's thesis, 2020. http://repository.sspu.edu.ua/handle/123456789/9827.
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Творчість Михайла Львовича Бойчука як художника станкового та монументального живопису, реставратора, педагога, теоретика мистецтва є важливою складовою українського мистецького процесу першої половини XX століття. Його принципи органічного поєднання сакральної, народної, академічної та авангардної образотворчої естетики стали підґрунтям виникнення авторського стилю художника – неовізантизму, що згодом трансформувався у бойчукізм. Сьогодні важливого значення набуває і вивчення педагогічної системи, за якою учні М. Бойчука опановували основи таких дисциплін як рисунок, живопис та композиція. Тому дослідження мистецької спадщини Михайла Бойчука, його теоретичних засад творчості в контексті розвитку українського образотворчого мистецтва першої третини XX століття та педагогічної системи художника є актуальним.
Мета дослідження: висвітлити значення художньої творчості й педагогічної діяльності Михайла Бойчука та розкрити її особливості в контексті розвитку українського образотворчого мистецтва першої третини XX ст.The work of Mykhailo Boychuk as an artist of an easel and monumental painting, restorer, teacher, art theorist is an important component of the Ukrainian artistic process of the first third of the XX century. His principles of the organic combination of sacred, folk, academic, and avant-garde visual aesthetics became the basis for the emergence of the artist's authorial style called neo-Byzantinism, which later transformed into Boychukism. Today, the study of the pedagogical system, according to which M. Boychuk's students mastered the basics of such disciplines as drawing, painting, and composition, is also important. Therefore, the study of the artistic heritage, and theoretical foundations of creativity of Mykhailo Boychuk, and the artist`s pedagogical system in the context of the development of Ukrainian fine arts of the first third of the XX century is relevant. The purpose of the study is to highlight the importance of artistic creativity and pedagogical activity of Mykhailo Boichuk and to reveal its features in the context of the development of Ukrainian fine arts of the first third of the XX century.
Books on the topic "Ukrainian Folk art"
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Lykhach, Lidii︠a︡. Ukrainian folk icons from the land of Shevchenko. Kyïv: Rodovid, 2000.
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Latansʹkyĭ, Serhiĭ. Narodne ta obrazotvorche mystet︠s︡tvo Zaporiz︠h︡z︠h︡i︠a︡. Zaporiz︠h︡z︠h︡i︠a︡: "Tandem-U", 2007.
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Ukrainian Museum (New York, N.Y.). Ukraïnsʹke narodne mystet︠s︡tvo: Novi nadbanni︠a︡ = Ukrainian folk art : new acquisitions. Edited by Wolynetz Lubow. New York: Ukrainian Museum, 1990.
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Ukrainian Museum (New York, N.Y.). Ukraïnsʹke narodne mystet︠s︡tvo: Novi nadbanni︠a︡ = Ukrainian folk art : new acquisitions. Edited by Wolynetz Lubow. New York: Ukrainian Museum, 1990.
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Shcherbakivsʹkyĭ, V. Ukraïnsʹke mystet͡s︡tvo: Vybrani neopublikovani prat͡s︡i. Kyïv: "Lybidʹ", 1995.
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Derz͡havnyĭ muzeĭ ukraïnsʹkoho narodnoho dekoratyvnoho mystet͡stva. Muzeĭ ukraïnsʹkoho narodnoho dekoratyvnoho mystet︠s︡tva: Museum of Ukrainian Folk Decorative Art. Kyïv: Mystet︠s︡tvo, 2009.
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Shudri͡a, I͡Evhenii͡a. Oranta nashoï svitlyt͡si: Rozvidky ĭ narysy z narodoznavstva. Kyiv: Atelʹi͡e "Polihrafichnyĭ kompleks", 2011.
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Holubet͡sʹ, O. M. Lʹvivsʹka keramika. Kyïv: Nauk. dumka, 1991.
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Istomina, Halyna. Mystetstvo narodnoi keramiky Volyni druhoi polovyny XIX-XX stolit. Rivne: Volynsʹki oberehy, 2009.
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Instytut mystet͡stvoznavstva, folʹklorystyky ta etnolohiï im. M.T. Rylʹsʹkoho, ed. Narodna ikona Serednʹoï Naddnipri︠a︡nshchyny v konteksti seli︠a︡nsʹkoho kulʹturnoho prostoru. Kyïv: Knyha, 2009.
Find full textBook chapters on the topic "Ukrainian Folk art"
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Shatova, Irina. "Тема війни і миру в сучасній українській поезії." In Biblioteca di Studi Slavistici, 289–309. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0238-1.25.
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The Perception of War and Peace in Modern Ukrainian Poetry. Ukrainians are going through a very difficult, traumatic, catastrophic experience. Contemporary Ukrainian poetry about the war, for instance, is closely connected with the themes of women and childhood during the war. The tragedy of mothers who stayed with their children in Ukraine or went abroad to save their children is sometimes depicted in a folk-poetic style or acquires an interpretation close to the biblical one. There is a tragic, mythologized, figure of a warrior woman, and a widow. There are also poems that express the feelings and experiences of Ukrainians during the war, their psychological trauma and transformation, and the horrific experience of being physically present at war. Like most Ukrainians after February 24, 2022, the poets are acutely aware of the war against Ukrainian identity and language. The invasion of Ukraine has greatly accelerated the process of national self-identification, as evidenced by the poetry. Most Ukrainian authors are not interested in the war as such, but in the human being at war: at the front and in the rear. An individual person, his or her suffering, pain, trials, emotions, feelings, traumas, struggle, love, and death have become the main object of depiction. The heroes of Ukrainian contemporary poetry are ordinary people who were destined to defend their homeland and become warriors; they are also civilians in the rear and evacuated, suffering from the cruel burden of war but finding the strength to resist stress and fatigue.
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Duda, Larysa. "THEORETICAL AND PRACTICAL FUNDAMENTALS OF MUSICAL FOLKLORE PROCESSING IN THE WORKS OF DIASPORA ARTISTS." In Art Spiritual Dimensions of Ukrainian Diaspora. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-8.
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The article analyzes the theoretical and practical principles of processing samples of folk music. Musical folklore is transformed in composition and performance, including for bandura, by arrangement and its varieties (harmonization, transposition, arrangement, improvisation, etc.). Musical folklore is an integral part of the bandura’s repertoire, presented in the form of vocal-instrumental and instrumental arrangements, as well as instrumental works for solo and ensemble performance. Authentic, classical and modern methods of music processing, as well as creative (author ‘s) and complex approaches are distinguished. The authentic method is inherent mainly in the art of kobzars-bandurists, who were the authors of dumas, historical and other songs and created them simultaneously with the bandura accompaniment. The classical method has been dominant since the second half of the XXth century up until now. The modern approach occurs mainly from the end of the XXth century. The transformation of folklore samples often consists in changing the genre of the original source, the environment of performance, the functional purpose of the work, the appearance of instrumental bandura accompaniment, the change of group singing into solo performance or vice versa. Genres of Ukrainian musical folklore are widely represented in the art of bandura players in Ukraine and abroad. As a result of the analysis of creativity for a bandura of the second hakf of the XX – beg. XXI centuries, in particular artists of the Ukrainian diaspora, it was found that musical folklore to a greater or lesser extent became the subject of works by L. Haidamaka, O. Herasymenko-Oliinyk, Н. Kytasty, R. Levytsky, V. Mishalow, Y. Oliinyk, P. Potapenko , M. Teliga, Z. Shtokalko and others. It is determined that vocal-instrumental arrangements of folk songs, instrumental arrangements of dance music, as well as instrumental works based on Ukrainian musical folklore, occupy an important place in the work of bandura performers and composers in Ukraine and abroad.
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Kurbanova, Lidia. "THE EPISTOLARY SPIRITUAL DIMENSIONS OF THE UKRAINIAN DIASPORA ARTISTS." In Art Spiritual Dimensions of Ukrainian Diaspora, 234–57. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-11.
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The purpose of the section is to outline the spiritual dimensions of the epistolary of the Ukrainian diaspora artists and, in particular, one of its leading representatives – Pavlo Matsenko (1897–1991), who with his various activities made a significant contribution to the development of Ukrainian musical culture. Pavlo Matsenko’s multi-vector activity covers a wide field of activity in various directions: teacher, conductor, musicologist, composer, organizer of the musical and cultural life of the Ukrainian community in exile, editor, publicist. From a wide range of its addressees (more than 200), correspondence with Metropolitan Hilarion (Ivan Ohienko), choral conductors Oleksandr Koshyts and Myroslav Antonovych, composer Stanislav Lyudkevych, and singer Yosyp Hoshuliak was chosen for analysis. These are close to Matsenko personalities in spirit, whose interests coincided with his own. The main area of interest in these letters is the study of Ukrainian church music, as well as choral performance, concert activities, work with bands. Another area of correspondence is a discussion of folk songs origin and its significance for church singing, as well as the peculiarities of performing folk songs. As a result of the study, taking into account the study of epistological materials as source material, three stages of the process are identified – contextual, attributive, actualization, as well as components of spiritual dimensions of Pavlo Matsenko’s epistolary: emotional-motivational, moral-ideological, cognitive-axiological, activity-creative. The rich epistolary heritage of the artist allows to better understand certain events of his life, to fill gaps in scientific research on communication with other artists and to characterize certain features of his personality. Letters are an integral aspect of source studies, on the basis of which the image of Pavlo Matsenko as a spiritual person is created.
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Fabryka-Protska, Olha. "Folklore tradition as a system of spiritual and cultural symbols of the Ukrainian diaspora." In Art Spiritual Dimensions of Ukrainian Diaspora, 165–94. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-7.
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The aim of this section is to reveal the specificity of the folklore tradition in the system of spiritual and cultural symbols of the Ukrainian diaspora, which can be traced in various forms of functioning (revival, preservation, transformation, transmission). The methodology of the research lies in the synthesis of theoretical principles and methods, the leading of which are: systemic-analytical, historical, culturological, art studies, and others. The multifaceted nature of the research necessitates the application of an interdisciplinary approach and the integration of methods from humanities such as history, art studies, music art, culturology, and so on. The main principle of the work is a comprehensive approach. The ethnocultural experience of Ukrainians, fulfilling their important cognitive, educational, and socializing functions in the process of historical development, undoubtedly undergoes changes, but the ethnocultural heritage continues to live in the spiritual culture of the present. The musical folklore tradition, which until recently was preserved in the folk memory, is one of the oldest forms of spiritual culture of Rusyn-Ukrainians and Lemkos in the Carpathian region. In the first decades of the 21st century, the folklore tradition appears as a constantly active part of modern culture, particularly in the repertoire of artistic ensembles of many genres on the concert stage. The representation of its forms in transformed versions of folklore tradition (as folklorism) on the border between Ukraine, Slovakia, and Poland is traced in the functioning of amateur and professional artistic ensembles, the development of the festival movement, the preservation of linguistic dialects in musical genres, their popularization in compositional creativity and, undoubtedly, in concert performance.
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Одарченко, Вероніка. "РЕАЛІЗАЦІЯ ТЕХНОЛОГІЇ ВИХОВАННЯ НАЦІОНАЛЬНОЇ ГІДНОСТІ ЗДОБУВАЧІВ ВИЩОЇ ОСВІТИ ЗАСОБАМИ УКРАЇНСЬКОГО НАРОДНОГО МИСТЕЦТВА." In CROSS-CULTURAL STUDIES IN HIGHER SCHOOL PEDAGOGY, 607–41. OKTAN PRINT, 2024. http://dx.doi.org/10.46489/ccsihsp-23-21.
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The article presents the concept of introducing into the educational process of communal institutions of higher education the technology of raising the national dignity of higher education students by means of Ukrainian folk art. The author defined and substantiated the main professionally oriented pedagogical directions of means of education of national dignity, the main requirements (pedagogical principles) of the process of implementation of research and experimental work, the basis of the content of education of national dignity. The developed stages of pedagogical technology (motivational-target, content-processual, analytical-reflective) are also highlighted and described. The developed program of the special course «Education of national dignity by means of Ukrainian folk art» is proposed, included in the curriculum of the permanent and correspondence faculty. Its purpose, content and features of the course are defined. It was concluded that the development of national dignity is carried out within the framework of a civilizational approach, which involves reliance in the process of education on the ethnic features of the Ukrainian people, the Ukrainian mentality, and therefore, patriotism, spirituality, cathedral unity, simplicity, sensitivity, high work capacity, conscience, high and versatile giftedness, etc.
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Kinder, Karyna. "THE ART OF DANCING OF VOLYN: THE DYNAMICS OF TRADITIONS AND INNOVATIONS." In Science, technology, and innovation: the experience of European countries and prospects for Ukraine. Publishing House “Baltija Publishing”, 2021. http://dx.doi.org/10.30525/978-9934-26-190-9-13.
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In the complex and contradictory process of social and ethnonational progress of Ukraine, the study of the original creative potentials of the nation becomes especially important not only in the historical and theoretical, but also in the regional aspect. In the domestic research area, we can see the appearance of studies aiming to form a special field of research – the regionics, which is designed to reveal the uniqueness and originality of the cultural environment within a particular local unit. The diverse palette of movements, gestures and poses has a strong ethnic color, reflecting national characteristics, psychological stereotypes, specific regional and local features, various perspectives of rhythmical thinking of people living in the domestic territory. The system of pictorial means is traditional and publicly available to the ethnic community as a certain sign system within the national or regional tradition. Problems and tasks of the article lie in the field of art studies, which develop issues of folk dance, the relationship between general and ethnospecific, traditional and new. In this context, the idea of relying on the historical traditions of Ukrainian spirituality as a source of self-preservation and burst for new development is increasingly put forward. All this determines the objective need for scientific analysis of authentic dance samples, which have been the bearers of certain ideas and concepts for many centuries and reflect the main features of ethnic mentality, rhythmical thinking, and «spiritual flair» of the people. On the basis of literary sources involving developments in ethnochoreology, artistic features of Volyn folk dance, its ethno-national specifics, which are manifested in both choreographic folklore and professional art, are analyzed and characterized. The aim of the work is to investigate the trends in the development of choreographic culture of Volyn and the problem of the relationship between traditions and innovations, which directly affects the creative process of the interpretation of authentic sources. The research methodology is based on the principles of an integrated approach and the application of analytical, historical, cultural and comparative-typological methods. The scientific novelty of the development is that a comprehensive art study of the original dance art of Volyn has been conducted, and its place and role in the modern spiritual and socio-cultural space has been determined. Given the dynamics of cultural and historical processes of today, it has been concluded that the choreographic art of the Volyn region continues to develop in the context of the all-Ukrainian tradition and is a part of it. The study made it possible to identify such a distinctive trend as the appeal to the original folk art and the development of newborn forms of dance on this basis. In the choreographic culture of Volyn, the abovedescribed trend reveals a complex dialectic of the interaction of tradition and innovation, with the predominance of the traditional component.
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Voloshchuk, Yurii, and Petro Krul. "GENESIS AND DEVELOPMENT OF AEROPHONES AND CHORDOPHONES GROUPS IN THE MUSICAL CULTURE OF UKRAINE." In Traditions and new scientific strategies in the context of global transformation of society. Publishing House “Baltija Publishing”, 2024. http://dx.doi.org/10.30525/978-9934-26-406-1-16.
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Wind and string instruments belong to the oldest types of musical instruments. They emerged as a result of a complex development process of aerophones and chordophones. This became possible due to the general development of musical culture, changes in social conditions, and the increasing complexity of tasks faced by composers and musicians. The subject of our research is the genesis and development of groups of aerophones and chordophones in Ukrainian musical culture. The aim of the scientific inquiry is to study the evolutionary processes in the formation of wind and string instruments in the territories of Ukraine from ancient to the present times. During the preparation of the monograph chapter, general scientific and specialized approaches and methods were used: collection and processing of information regarding the evolutionary development of orchestral instruments, historical approach and within this one the historical-chronological method, method of comparative analysis, and socio-cultural approach. The research methodology is based on the comprehensive combination of the following methods: analytical – in the study of scientific and methodological literature; organological – in the analysis of the features of the construction of string and wind instruments; comparative – in the analysis of performance techniques on instruments in different historical periods; historical – in revealing the influence of historical factors on the formation of aerophones and chordophones in the musical culture of Ukraine.The conclusions drawn from the conducted research can be summarized as follows: Summarizing the lengthy and complex process of evolution of folk and classical violin models in Ukraine.It can be concluded that the violin in its classical form gained wide popularity in Ukraine during the 15th-16th centuries due to close trade and cultural ties with Western Europe. Professional Ukrainian craftsmen engaged in the production of string instruments adhered to the traditions and canons of European schools, primarily Italian and Polish.A significant factor in the development of the professional violin school in Ukraine was the ancient and strong traditions of making string instruments in the work of folk masters. Folk violins in different regions were made according to local traditions and very often with violations of basic classical canons, namely: instability of canonical violin parameters; giving the contour of the violin and its details of their own forms; decorative ornamentation of the body and other parts of the instrument. However, a significant number of such masters contributed to the development of folklore performance in the territories of Ukraine, the formation of ensembles (trio music), and folk music orchestras, which undoubtedly influenced the development of professional instrumental performance.Alongside the violin, other instruments of the string group of chordophones were actively developing in Ukraine: cello (bass), double bass, lyre (lyre bass). They were involved in folk-instrumental ensembles (primarily the "trio music") and orchestras, but during the 18th-19th centuries – in professional collectives.The multifaceted evolution of aerophones in folk-instrumental sphere actively contributed to the formation, alongside ensemble and orchestral, also of solo-performing style. Relying on folk singing creativity, certain performing methods were determined by the system of artistic means, forming a separate gene pool of Ukrainian wind performing school with its emotional breadth and multifacetedness. By the end of the 18th – beginning of the 19th centuries, the main tendencies of Ukrainian musical performing art were determined.Thus, for many centuries, a diverse folk musical instrumentarium existed in the territories of Ukraine. In the process of historical development of the people's musical culture, this instrumentarium underwent significant evolution. The development of wind instruments occurred through changes in pitch (invention of playing holes) and improvement of sound production mechanisms (creation of a whistle device and mouthpiece). The development of string instruments consisted of sound reinforcement, search for new timbres, and expansion of the sound range by increasing the number of strings and improving their sound quality. The conducted research does not limit all aspects of the chosen topic. The creativity of domestic masters of musical instruments, constructive features, technical and sound capabilities of modern string and wind instrumentarium were left beyond attention. These and other issues may be addressed in future scientific research.
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Tyshchyk, Vadym, Ruslan Zhoga, and Oleksandr Spivak. "COMPONENTS OF BUTTON ACCORDION ART IN THE SYSTEM OF PROFESSIONAL MUSICAL AND PEDAGOGICAL EDUCATION (BASED ON THE WORKS OF UKRAINIAN COMPOSERS)." In Enrichment of the pedagogical cluster of educational services. OKTAN PRINT, 2023. http://dx.doi.org/10.46489/eotpcoes-17-22.
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The article analyzes the new possibilities of the button accordion as a musical instrument with a new sound, able to meet the today’s «challenges» in higher educational institutions. The authors emphasized the importance and role in general of such a concept as «components of accordion art in the system of professional music-pedagogical education». Button accordion art for young button accordionists as a component of Ukrainian folk-instrumental performance at the turn of the XX–XXI centuries found new forms, preserving the traditional ones in concert practice. Without the education of button accordion thinking in students of higher education, the development of button accordion art as a whole is impossible. Button accordion art was formed in an independent branch of modern button accordion art, which was not only determined in its formation, but it is still actively developing. In general, the authors of the study found out that bayan art is an emotional formation that is focused on the synthesis of moral, intellectual, and physical aspects of harmonious development. It was revealed that the formation of accordion art in Ukraine was influenced by various factors: national traditions of different regions, political and social preconditions, artistic preferences depending on the needs of the urban and rural population.
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KOSTECKA-SADOWA, ANNA. "Polsko-ukraińskie kontakty językowe w mowie ukraińskojęzycznych mieszkańców województwa lwowskiego." In Tradycja i nowoczesność. Z zagadnień języka i literatury Słowian Wschodnich 2, 87–97. Wydawnictwo Naukowe Uniwersytetu Pedagogicznego w Krakowie, 2020. http://dx.doi.org/10.24917/9788380845282.7.
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The aim of the paper is to present Polish-Ukrainian contacts in the south-eastern borderlands, language influences resulting from the direct neighbourhood of Poles and Ukrainians. In modern Ukrainian, you can find a number of polonisms, very often worded or changed word-forming. There are many more of them in the Ukrainian dialects, where the Polish population for centuries has been adjacent to the Ukrainian, especially on the borderland of the country. The observations I will present are the result of many years of research conducted in 2012–2017. The subject of the discussion are Polish linguistic influences on the Ukrainian dialect in terms of vocabulary. Dialectological research covered the local Ukrainian community of the village of Wolica (1040 people) and Trzcieniec (573 people) in the Mosciski region, where Ukrainians now constitute the majority, because almost 85% of the population. The remaining 15% is the Polish population, which at the beginning of the 21st century accounted for almost 30% of the inhabitants of these villages. The lexical borrowings are, first of all, words referring to everyday life, realities of everyday reality, and mainly they refer to the home, household, economic tools or names related to kitchen utensils, names of food. This is a situation that shows how strictly ethnography connects with dialectology; After all, folk objects reproduce the material culture, in their names they bring back the history, the mentality of the people who created them and use them.
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Maiovets, Andriy, and Roman Yatsiv. "MODERN UKRAINIAN CHILDREN’S EDITIONS 2000–2010: IN GRAPHIC, ILLUSTRATIVE DESIGN OF GRADUATES LVIV NATIONAL ACADEMY OF ARTS." In Theoretical and practical aspects of the development of modern scientific research. Publishing House “Baltija Publishing”, 2022. http://dx.doi.org/10.30525/978-9934-26-195-4-27.
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The article analyzes the experience of some illustrators, graduates of the Lviv National Academy of Arts, whose creative program has developed since the beginning of the XXI century. There are common features of professional criteria of artists working on publishing projects for children: general approaches to solving the system «author – text – vision», stylistics, metaphorical and plastic imagery, interpretation of elements of ethnic tradition and modern design technologies. The aim of the article is to analyze the conceptual approaches of a group of modern illustrators of children’s publications, which were formed in a common educational environment – in LNAM. The rich factual material examines the multiplicity of authorial approaches to the interpretation of classical literary forms or innovations in different versions of the aesthetics of modern book graphics. Graduates of the Department of Graphic Design, as well as other departments of LNAM, cooperate with various publishers, including «Kamenyar», «Apriori», «Old Lion Publishing House», «Svichado» and «Svit», implementing original formal ideas. The relevance of the article is that for the first time the typology of the basic principles of solving spatial illustration complexes, which belong to the characteristic features of Lviv academic professional art education features of decorative interpretation of plastic form and appeal to folk tradition. In addition, examples of other ways of compositional organization of sheets with illustrations of children’s publications are considered. The most interesting representatives of such aesthetics with the so-called «associative chains» are Romana Romanyshyn and Andriy Lesiv, who work in the family creative workshop «Agrafka». Relevance of the article is that for the first time a typology of the basic principles of solving spatial illustration complexes, which belong to the characteristic features of the Lviv academic professional art education features of decorative interpretation of plastic form and appeal to folk tradition. In addition, examples of other ways of compositional organization of sheets with illustrations of children’s publications are considered. The object of research is the graphics of children’s publications of Ukrainian publishers that specialize in publishing books for children. For the first time, the creative work of these artists is analyzed: illustration, decoration, created by means of computer graphics. Children’s books of publishing houses: «Kamenyar», «Apriori», «Old Lion Publishing House», «Svichado» and «Svit». The decoration and design of the whole book is studied. The subject of the research is figurative and expressive means of illustrators of Ukrainian children’s publications of 2000–2010. The methodological basis is the historical and cultural consideration, the stage of development of publishing and printing, material equipment and software, which served as a tool for creating illustrations, design of children’s publications of the time. Comparative method, finding an analogy in the artistic and technical execution of illustrations, children’s book design. The method of analogy, analysis and synthesis is applied. The article analyzes the experience of some modern illustrators, graduates of the Lviv National Academy of Arts, from the beginning of the XXI century (2000–2010). The common features of professional criteria of artists working on publishing projects for children are noted: general approaches to solving the system «author – text – vision». Stylistics, metaphorical and plastic imagery, interpretation of elements of ethnic tradition and modern design technologies are traced. For the first time in book design, new features of computer technology have been tested, and the word «book design» is often used.
Conference papers on the topic "Ukrainian Folk art"
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Filimonova-Zlatohurska, Ye S. "Ukrainian folk dance as a means of self-identification of the Ukrainian people in the modern world cultural space." In THE INFLUENCE OF CULTURE AND ART ON THE VALUE ORIENTATIONS OF CIVILIZATION IN WAR AND POST-WAR TIMES. Baltija Publishing, 2022. http://dx.doi.org/10.30525/978-9934-26-237-1-22.
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Chamakhud, D. V. "THE SPECIFICS OF YAKIV YATSYNEVYCH’S COMPOSER’S THINKING IN CHORAL ARRANGEMENTS OF UKRAINIAN FOLK SONGS." In FOCUS AREAS OF CULTURE AND ART IN UKRAINE AND THE REPUBLIC OF POLAND. Izdevnieciba “Baltija Publishing”, 2023. http://dx.doi.org/10.30525/978-9934-26-374-3-7.
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БЕРЕСТ, Роман, Александр ПЛАХОТНЮК, and Игорь БЕРЕСТ. "Dance movements and figures in ancient and modern choreographic culture of the population of the Hutsul region." In Probleme ale ştiinţelor socioumanistice şi ale modernizării învăţământului. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.46728/c.v2.25-03-2022.p165-175.
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The article considers ancient and modern features of folk choreographic art of the population of Hutsul region. Emphasis is placed on the historical and ethnocultural past of the Carpathian region, as well as its interpretation in domestic and foreign written sources, scientific works of famous Ukrainian and foreign researchers of the XIX - XXI centuries, the results of our field research.
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Spasskova, O. P., and T. V. Horanska. "ILLUSTRATIONS BY E. UDIN AND V. YEFYMENKO FOR THE BOOK “FOLK SONGS IN THE RECORDS OF IVAN FRANKO” IN THE CONTEXT OF UKRAINIAN BOOK GRAPHICS OF THE 1960S." In DEVELOPMENT OF CULTURE AND ART IN THE WAR AND POST-WAR PERIODS. Izdevnieciba “Baltija Publishing”, 2023. http://dx.doi.org/10.30525/978-9934-26-341-5-19.
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Yasiuk, T. L. "THE INFLUENCE OF FOLK AND MASS CULTURE ON THE FORMATION OF THE WORLDVIEW OF UKRAINIANS AFTER FEBRUARY 24, 2022." In DEVELOPMENT OF CULTURE AND ART IN THE WAR AND POST-WAR PERIODS. Izdevnieciba “Baltija Publishing”, 2023. http://dx.doi.org/10.30525/978-9934-26-341-5-8.
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Zubchenko, Olexander. "Visualisation as a method for investigating the dysfunctional of the educational institution in the temporarily occupied territories of the South Ukraine." In Sociology – Social Work and Social Welfare: Regulation of Social Problems. Видавець ФОП Марченко Т.В., 2023. http://dx.doi.org/10.23939/sosrsw2023.107.
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Background: after the Russian occupation in February – March 2022, an occupation regime was established in a significant part of Southern Ukraine, within the framework of which the aggressor state is carrying out institutional construction, in particular, in the field of education. Purpose: analyze the dysfunctional character of the institute of education in the temporarily occupied territories of the South of Ukraine Methods: qualitative analysis of photo images that are publicly available on the Internet Results: the hypothesis that the main task of educational institutions is Russification, the spread of enemy propaganda and the education of the young generation in the spirit of collaboration has been confirmed. For this purpose, various tools are used - re-education centers, folk and unofficial holidays, inciting inter-ethnic enmity, creation of children's and youth organizations. The activities of social organizations in the field of education are aimed at the destruction of Ukrainian identity, deindividuation, zombification and militarization of the consciousness of schoolchildren and students. Conclusion: the dysfunctionality of the educational institution in the temporarily occupied territories of the South of Ukraine is the result of the deliberate actions of powerful actors, which are aimed at preserving and strengthening the occupation regime, dehumanizing the educational process and turning the school into a closed totalitarian space Key words: social institution, education, dysfunctionality, visualization, russification
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Cavalleri, Chiara, Yernur Akashev, Samira Ahmad, Sviatoslav Yuras, Vasyl Karpyn, and Ibrahim Abdelatif. "Advanced Formation Evaluation Approaches in Complex Low-Resistivity Thin Shale Sand Laminations: Success Case Histories from Western Ukraine." In SPE Eastern Europe Subsurface Conference. SPE, 2021. http://dx.doi.org/10.2118/208513-ms.
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Abstract Several gas fields from the Carpathian Foredeep basin are characterized by high heterogeneity of rock quality. It is critical to understand the characteristics of pore architecture and mineralogy to quantify the rock's storage capacity and productivity. Field "A" is characterized by thin low-resistivity shale-sand laminations, which poses technical challenges to conventional evaluation methods. Until recently, only conventional local logging suites were deployed, and cutoffs-based interpretation was applied. Core analysis was not done. The Ukrainian segment of the Carpathian fold belt and foredeep is located in the westernmost part of the country, bordering Poland, Slovakia, and Romania. A few fields are situated in the foreland basin but most of the production comes from the fold belt, where complex structural traps are in a series of nappe units. Many of the fields were found based on an understanding of the surface geology alone. The presence of anisotropic layers with a predominance of very thin beds and intercalation of shale, siltstone, and sands with low resistivity contrast between water and gas significantly affects the definition of the reservoir properties and potential. Recently, the use of modern logs was mandated to obtain reliable information. In this study, we analyze and discuss the applicability and results of using advanced technology and tailored logs interpretation methods adapted for the local conditions. These methods were applied in different cases in 2019-2021 and enabled building the first robust petrophysical model for these types of reservoirs. Tri-axial resistivity measurements combined with high resolution density and neutron porosity logs optimally defined the porosity and saturations within the thin bedded sequences. Water volumes and textural parameters were computed from dielectric dispersion measurements. Pores system's heterogeneity and grain sorting, free fluid content and downhole testing optimization was performed using high-resolution nuclear magnetic resonance logs. The ability to measure formation pressure in the thin layers help understanding connectivity and deliverability of the reservoirs. The integration of these log measurements enabled unlocking the true properties of the anisotropic layers and quantify the hydrocarbons in place. High-definition borehole imager and dipole sonic logs complemented the petrophysical logs analysis and assisted the geomechanics and geophysics modeling. The addition of pulsed neutron spectroscopy logging further reduced the evaluation uncertainties providing an independent assessment of gas presence and proper control on mineralogy and matrix effects on the log responses to further refine the computation of total and effective porosity, and volumes within the thin sands. Finally, accurate reservoir summations were calculated and used together with producibility estimates and rock mechanical properties to guide the completion and production strategy. This paper presents examples of fit-to-purpose evaluation programs being deployed in such complex scenarios. In addition, it describes key information used to define a future field development management strategy and to optimize the petrophysical analysis. A comprehensive evaluation program and logs analysis can also be used as data calibration for other offset wells and nearby fields with similar properties and evaluation challenges.