Journal articles: '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.

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Кіндрачук, Надія. "National and Patriotic Aspects of Cultural and Artistic Heritage of the Ukrainian Creative Intelligentsia in the Years of Khrushchev’s «Thaw» and the Unfolding of Brezhnev’s «Stagnation»." Старожитності Лукомор'я, no. 1 (February 28, 2023): 73–81. http://dx.doi.org/10.33782/2708-4116.2023.1.194.

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The article proves that the main layers of the Ukrainian cultural heritage of the 60s – 70s of the 20th century were filled with national content. The right to free national development of Ukrainians was defended in their writings by masters of the pen – poets, novelists, publicists, writers. Identification of Ukrainianness was carried out by them on the basis of national faith, language, traditions and other means of ethno-affirmation. It was revealed that the Ukrainian song in the conditions of the comprehensive policy of Russification became a means of implementing the national language practice in the lives of Ukrainians. Film artists and theater groups of the time also tried to distance themselves from the ideology of the Soviet system and preserve the national orientation in their work. During the difficult period of statelessness, the Ukrainian ethno-art tradition was also picked up and creatively assimilated by progressive artists. Among the creative intelligentsia, there was a growing interest in the folk as an expression of the national. There have been noticeable positive changes in the restoration of the functioning of the forgotten types of Ukrainian folk art. Even in the 1970s, the Ukrainian creative elite managed to preserve its national potential.

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Hnatiuk, Larysa. "Mykola Grinchenko as a Musicologist-Folklorist (Based on Published Works)." Problems of music ethnology 17 (November 17, 2022): 27–32. http://dx.doi.org/10.31318/2522-4212.2022.17.270898.

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The goal of the article is to characterize Mykola Hrinchenko as a historian of Ukrainian music, a researcher of the folk music; to analyze his “History of Ukrainian Music” (1922) and to identify the place of folklore related problems in it. The activity of M. Hrinchenko as a teacher, scientist, musical and public figure is characterized, its importance in the development of musical folkloristics is highlighted. An overview of the works of the early period of the scientist's creative life has been carried out, the formation of M. Hrinchenko's views on Ukrainian folk art has been traced. Characterizing the creativity of Ukrainian composers (M. Lysenko, K. Stetsenko, P. Kozytskyi), M. Hrinchenko focuses primarily on those achievements related to folklore sources. The scientist considers its genetic connection with the native culture to be a sign of the artistic value of a musical piece. The goal of Ukrainian music, according to M. Hrinchenko, is to reach the heights of world musical art and at the same time preserve its national roots. The “History of Ukrainian Music” (Kyiv, 1922) has been analyzed and the importance of folk art as a mandatory component of music-historical work is outlined. The author's statement about the fundamental importance of musical folklore for the development of Ukrainian culture, which is unique and different from all other cultures of the world, is defined as the conceptual basis of the monograph. It is proven that M. Hrinchenko initiated certain traditions with his monograph, which are still followed by almost all authors of studies on the history of Ukrainian music. In particular, the presence of a section devoted to the history of folk musical art is mandatory. The periodization of the history of Ukrainian folk art from ancient times to the time of the creation of the book is considered: pre-Christian era, Christian (pre-Cossack), Cossack era, modern period. M. Hrinchenko sees Ukrainian musical culture as a component of the European one. The impact of his ideas on the development of Ukrainian historical musicology and folkloristics in subsequent periods is indicated.

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Melnyk, Ivan. "The role of Ukrainian folk ornament in the Art Nouveau graphic: theoretical and applied aspects." Bulletin of Lviv National Academy of Arts, no. 41 (December 26, 2019): 11–18. http://dx.doi.org/10.37131/2524-0943-2019-41-02.

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Background. The article deals with the basic conceptual foundations of the "Ukrainian style" in the art of the late 19th – early 20th centuries, primarily in the field of searching for actual ways of adaptation and creative rethinking of Ukrainian folk ornament motifs. A special role in this process was played by the use of graphics, whose artistic language has evolved rapidly under the influence of contemporary European styles. However, in the graphic works of Ukrainian artists, the appeal to folk ornamentation was one of several ways of self-identification with the national artistic tradition, so the practice of integrating those ornamental motifs into the book and magazine illustration was a significant component of the creative work of many artists during that period. Objectives. This paper aims at defining the role and importance of Ukrainian folk ornament in the modern (art nouveau) graphic, based on consideration of theoretical and applied aspects of the use of ornamental motifs, their creative comprehension by graphic artists of different regions of Ukraine. Methods. In this article we rely on art historian methods and general scientific methods, such as analysis and synthesis, analogy and system analysis to outline the features of several variants of the "Ukrainian style", representing different regional differences. Comparative analysis, methods of systematization and typology were used to reveal the peculiarities of the transformation of ornamental motifs under the influence of the individual manner of each artist and to present the theoretical background of the folk ornament usage, including concepts of the development of "Ukrainian style" in the visual and decorative arts. Results. This article outlines several concepts of the use of Ukrainian folk ornament motives, elaborated by Ukrainian artists in the beginning of 20th century, period, which chronologically corresponds with the time of the paneuropean expansion of the art nouveau style. We can name an independent research of S. Vasylkivskyy, that allowed him to understand the artistic language of the Ukrainian ornament of different historical periods, and allowed the development of complex projects of interior design for new buildings. His projects demonstrate a harmonious synthesis of the traditions of folk art of the Dnieper Ukraine and Slobozhanshchyna (including specimens of paintings, carpets, ceramic tiles). Instead, V. Krychevs’kyy more often appealed to the ornamentation of Ukrainian weaving, while the main sources of decorative motifs for him were the ancient manuscripts, engravings and applied art of the Hetmanate. O. Slastion also addressed the study of the semantics of ornaments and their function in the system of folk art and culture in general. At first, he applied his own ideas in the projects of decoration of new buildings, constructed at the end of the XIX century in Poltava region, and later focused on the problem of updating the language of Ukrainian graphic art. The genre differentiation of graphic arts actually accelerated the separation of the Ukrainian voice from the general eclectic Russian-imperial culture. The area through which this process could gain more momentum was an art postcard, which at that time became one of the catalysts for the formation of new communication standards in cities and towns. Popular authors in this specialization were A. Zhdakha, O. Slastion, S. Vasylkivskyy, who gave impetus to the main line of development of Ukrainian graphic design of "small forms" at an early stage of its formation. It is interesting to compare different author's approaches to the practice of incorporation and stylizing ornamental motifs – for example, M. Sosenko uses a much more extensive range of primary sources, among which not only is available local material (Ukrainian Carpathians' applied art, handwriting book of the 16th–17th centuries), but also folk art crafts of the Dnieper Ukraine and Slobozhanshchyna and at the same time he modernizes them under the influence of the secessionist style. During the early stages of the art nouveau development in Halychyna (1897–1907), which researchers call ornamental, book and magazine graphics, architecture, and fine arts became the areas where new trends emerged very fast. This process was facilitated by the similarity of artistic language in the works of graphics, monumental and decorative arts, in particular the use of sections of local color, subordinated to a clear linear pattern, which is perceived as a kind of outline for the main elements of the image. The ornamental motifs in the art of secession were interpreted as peculiar symbols – in the Ukrainian version of this style the ornamentation of folk art, especially the local Hutsul tradition, becomes especially important. Conclusions. An important part of the strategy of national art revival of the late 19th – early 20th centuries was the introduction of ethnographic motifs to contemporary works of art. Architecture and graphics have undeniable advantages over other art genres in the sense of rapidly spreading the language of the new Ukrainian style to the widest audience possible. A special place was given to the printed postcards, the authors of which – both famous and anonymous artists, addressed primarily ethnographic topics. It is also important that, regardless of the specifics of regional variants of art nouveau, the practice of introducing ornamental motifs, plots and the images of Ukrainian folk art, re-imagined in more modern way, was a significant factor in asserting national identity, and was aimed at developing a universal artistic language.

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Bereza, R. P. "Hutsul Christmas as a Phenomenon of Christian Worldview and Folk Morality." Ukrainian Religious Studies, no. 26 (January 14, 2003): 82–89. http://dx.doi.org/10.32420/2003.26.1448.

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Hutsuls, as one of the ethnic groups of the Ukrainian people, are undoubtedly, along with fights and lemmas, among the most striking exponents of the spiritual culture of the Carpathian Ukrainians. The great attractiveness of the Hutsul's geographical space of habitation could not but affect their worldviews, bright mentality and original patterns of traditional culture. Along with unsurpassed specimens of folk architecture, folk art, choreography, the original pearls of the Hutsul's spiritual heritage include their songs.

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Bystriakova, Valentyna, Alla Osadcha, and Olesia Pilhuk. "The Use of Decorative Art Elements in the Works of Ukrainian Designers." Culturology Ideas, no. 15 (1'2019) (2019): 177–84. http://dx.doi.org/10.37627/2311-9489-15-2019-1.177-184.

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The article assesses the role of elements of decorative art in domestic design. It allocates sources and interrelation of decorative art and design, considers separate definitions of a concept of design. It is established that basic characteristic which helps to separate design from decorative creativity is manual artwork inherent in decorative art. The article argues that generally the design and decorative art are interdependent, while being rather autonomous, providing particular examples from creative practice of the Ukrainian artists and designers. It also considers functioning of creative platforms of the National Museum of the Ukrainian folk decorative art and the Museum of Modern Art of Ukraine. It is unconditional that the role of design steadily increases in the modern world, and a similar trend will only gain strength. Designers of our country managed not only to accumulate the Ukrainian traditional, original art in modern art objects, but also to solve a problem of innovations in decorative art, to keep it as a valuable reference point of modern culture according to the level of social and technological development of society. The role of the National Museum of the Ukrainian folk decorative art and the Museum of Modern Art of Ukraine which act de facto as art spaces for creative exhibitions of designers and other artists of our country is considerable.

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Dmytrenko, Mykola. "Terminological Arsenal of Ukrainian Folkloristics: the Contribution of Oleksii Dei (On the Occasion of the 100th Anniversary of the Scholar’s Birthday)." Materìali do ukraïnsʹkoï etnologìï, no. 20 (23) (December 20, 2021): 31–37. http://dx.doi.org/10.15407/mue2021.20.031.

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The article is dedicated to the centenary of birthday of an outstanding Ukrainian scholar Oleksii Dei. His biography, contribution to the research of folklore are reflected. It is emphasized on the formation of a young scientist as a researcher of I. Franko’s folkloristic activity. The significance of O. Dei as an organizer of scientific studies, instructor of projects, head of the Folkloristics Department of IASFE, editor-in-chief of the journal Folk Art and Ethnography is described briefly. Such aspects of scientist’s activity are called, as participation in international symposiums, forums of slavists, conferences; training of scientific cadres, official opponing of theses, creation of Kyiv scientific academic school of folkloristic researches. O. Dei work as a member of Scientific and the Specialized Scientific Councils at the M. Rylskyi IASFE of the AS of Ukraine, T. Shevchenko KSU is shown. O. Dei as a compiler and editor has taken an active part in the preparation and publication of literary heritage and works of I. Franko in 50 volumes, Lesia Ukrainka in 12 volumes, M. Rylskyi in 20 volumes, Ukrainian Literary Encyclopedia in 5 volumes, publication of the series Folk Art of the Dnipro Publishing House in 15 volumes, the series Ukrainian Folk Songs Recorded by the Writers in 20 collections. He is the author of chapters and articles in the History of the Ukrainian SSR, Ukrainian Soviet Encyclopedia. O. Dei has promoted actively Ukrainian folklore in periodicals, on the radio, in a special program about Ukrainian folk songs Word – Song on Ukrainian TV. O. Dei has devoted many pages of his scientific works to the figure, literary and artistic heritage of T. Shevchenko, the image of the poet in folklore, the problem of folklore and literature. The scholar’s interpretation of folkloristic terms legend, traditional story, ballad is considered. Attention is paid to O. Dei views on the problems of classification of Ukrainian folklore, songs of Slavic peoples, history of Ukrainian Folkloristics. His contribution to the voluminous series Ukrainian Folk Art as the editorial board’s chairperson, editor-in-chief, compiler is analyzed. His monographic works Poetics of Ukrainian Folk Song, Ukrainian Folk Ballad, which are still relevant in the scientific folkloristic discourse, are mentioned.

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Udris, I. M. "Ukrainian folk art as a subject of study by domestic science about the art of the early xx century." Educational Dimension 26 (December 14, 2009): 351–60. http://dx.doi.org/10.31812/educdim.7043.

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On the grounds of the analysis of Ukrainian scientists ‘ works of the beginning of the XX century the process of formation of our country ethnodesign theory & history conception is retraced. Special attention is paid to the problem of Ukrainian folk art national forms definition.

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Sadovenko, Svіtlana. "Soft-traditionalism as a strategy for actualizing folk tradition in the postmodern parameters of the chronotope of Ukrainian folk art culture." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 48–55. http://dx.doi.org/10.32461/2226-0285.1.2021.238541.

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The purpose of the article is to consider the causes of the crisis of authenticity of Ukrainian folk art culture in postmodernism and to reveal the features of soft-traditionalism as a strategy of actualization of folk tradition in the postmodern parameters of the chronotope. The methodology consists in using analytical (establishing the causes of the crisis of authenticity of Ukrainian folk art culture in postmodernism), culturological (revealing soft-traditionalism as a strategy of actualization of folk tradition in postmodernism), axiological, and systemic (determining the basic principles of axiosphere of Ukrainian folk art culture approaches. The scientific novelty is to reveal the causes of the crisis of authenticity of Ukrainian folk art culture in the postmodern, due to virtualization, deontologization, destruction of the traditional linear chronotope of historical memory in a virtual nomadic environment. Based on modern achievements of culturological thought, the ambivalent nature of cyberspace as a post-ontological and archaic-ontological phenomenon at the same time is demonstrated, given the connection of the rhizome with the symbolic language of myth, subconscious and chthonic archetypes of culture. The classification of three models of soft-traditionalism as a value-semantic strategy of preservation of tradition in the conditions of postmodernism is developed. Conclusions. The study showed that in the postmodern chronotope, the interconnected processes of deontologization and virtualization cause a crisis of authenticity of Ukrainian folk art culture. The rhizome environment of the Internet leads to the destruction of the classical linear narrative of a fairy tale, myth, traditional narrative: the hierarchical triad of the chronotope is replaced by a chaotic nomadic movement. It is shown that traditional identification has always had a consistent systematic character, inherent in the gradual entry of the individual into the cultural tradition. Today, identity practices are spontaneous and cross-cultural. Nomadism is depicted as a characteristic feature of the Internet environment, which renews the archaic practices of primitive nomads, returning us to the pre-mythological structures of chthonic magic. The common sacred, gender and informational features of traditional culture are revealed, which create favorable preconditions for the development of the latest strategies of actualization of folk tradition in postmodernism. Such a strategy was «soft-traditionalism»/«light traditionalism», developed within the Chicago School of Phenomenology of the Sacred M. Eliade. The essence of soft-traditionalism is revealed, which consists in accentuating the axiological approach to folk art culture as an existential phenomenon of experiencing meanings that can be expressed in modern semiotic language. As an adequate relationship between the language of tradition and the language of its representation, a triadic structure of classification of models of soft-traditionalism is proposed: isolation, interaction, and stylization. It is emphasized that children's folklore, as a universal cultural form, is the most vivid embodiment of the three models of soft-traditionalism.

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Yamborko, Olha. "Ukrainian industrial carpet weaving in 1940-1980s. in terms of the so called “folk handicrafts industry”: between folk art, artistic quality and economic efficiency." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 12–16. http://dx.doi.org/10.37131/2524-0943-2019-42-02.

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Background. Program of development of industrial carpet weaving in sub-Soviet Ukraine is considered. In this connection, influence of folk arts crafts on the the Ukrainian carpet weaving of a mass sample are analyzed: stylistics, artistic quality, production economy. Methodological approaches to the subject of folk crafts in the Soviet system are highlighted and the expediency of their revision from the standpoint of the present day is emphasized. Objectives. The Ukrainian Soviet carpet weaving as economic branch was a component of art industry in the segment of folk arts crafts. This direction implied production of artistic products with use of creative manual labor on the basis of folk art tradition. According to this principle, the carpet-making of republics in the USSR was developed where appropriate traditions were preserved. Today, in Ukraine there are fundamentally different socio-economic conditions that dictate new requirements including for carpet weaving. At the same time, in the national art history there is a need to revision the current approaches to the study of carpet weaving in the system of folk art, handicraft - industrial production and author's artistic textiles. The purpose of the paper is to raise the problem of rethinking and formulating modern approaches to the analysis of Ukrainian carpet weaving according to different systems of its production practices. "Neo-folklore" practice of industrial carpet weaving in Ukraine in the Soviet period generally established the meaning about Ukrainian Soviet carpet as a new phenomenon of Ukrainian folk art. The stylistic range here was determined "ethnographically", so production was concentrated in historically formed cells in Lviv region, Ivano-Frankivsk region, Transcarpathia, Chernivtsi region, Kyiv region, Poltava region, Vinnytsia region, Chernihiv region, Kirovograd region. The basis of products, in accordance with the traditions of national weaving, was made by hand-made ornamental smooth-wool carpet of vegetative and geometric types. Conclusion. Industrial carpet weaving from "living tradition" varied by a number of features, caused primarily by considerations of the economy of production. The economy of industrial carpeting is due to the pace of scheduled production. Therefore, for mass production, drawings with simpler compositions and larger forms of ornamentation were chosen. This worsened the artistic quality of the carpets, and consequently the demand for them sharply decreased. Changing the methodology of Soviet folk arts crafts - an analysis of them as an object of factory production, corresponds to the real practice of its time and relevant to study in the XXI century.

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Kindrachuk, Nadia, and Tetiana Meleshchenko. "The Place of Ukrainian National Motifs in the Art Culture of the Ukrainian SSR: 1960’s – 1970’s (the Theater and the Cinema Art Case Study)." Scientific Papers of the Vinnytsia Mykhailo Kotsyiubynskyi State Pedagogical University Series History, no. 43 (April 7, 2023): 35–40. http://dx.doi.org/10.31652/2411-2143-2023-43-35-40.

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The focus of this article is the study of the place of Ukrainian national motifs in the art culture of the Ukrainian SSR during the 60’s – 70’s of the 20th century on the example of theatre and cinema art, demonstration of protest of the Ukrainian intelligentsia against russification and denationalization of the indigenous people of Ukraine. Research methodology. During the research, such scientific methods as analytical-logical, historical-systemic, explanation, search, synthesis, comparison, complex selection were applied. The work also used the method of analysis is to find out the level of growth of national consciousness of Ukrainians. Scientific novelty. It was found that the beginning of the 1960’s was characterized by a certain rise of Ukrainian issues in art culture, however since the second half 60’s and during the 70’s of the twentieth century the Ukrainian national motives began to be actively pushed out of the movie screens and theatrical stages of the USSR etc. It is argued that the opposition of the Ukrainian creative intelligentsia to the Soviet totalitarian system resulted in cultural and artistic nonconformism. Conclusions. Despite oppression and repression by the ruling communist elite, Ukrainian artists sought to promote Ukraine’s past, reveal the multifaceted national culture of the indigenous people of the USSR, and demonstrate to the world its uniqueness and right to exist. The process of revival of the national face of Ukrainian culture, return from the depths of folk art, the relationship between national and spiritual was becoming irreversible. The spirit of free thought, moral and aesthetic innovations, struggle rights to indigenous art filled the activities of young talented Ukrainians.

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Patyk, Roksolana. "Unpublished art works of Volodymyr Sichynskyi. Systematization issues and prospects for research." Bulletin of Lviv National Academy of Arts, no. 40 (July 1, 2019): 19–24. http://dx.doi.org/10.37131/2524-0943-2019-40-2.

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Volodymyr Sichynskyi's art studies have been researched, which remain under-researched and little-known in the scientific community, some of which have not yet been published. First of all, we know about the works «Fine Arts (Industrial, Historical and Folk Art)», «Dictionary of Ukrainian Artists», «Methodological Scheme of Art Studies», «History of Ukrainian Art». The work of the scientist is characterized by a European approach to the study, research and art of generalizing scientific material. His scientific and creative achievements are presented to the world community by the greatness of Ukrainian culture and art.

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Sorochuk, Liudmyla. "FUNCTIONING OF UKRAINIAN ETHNOCULTURAL TRADITION IN THE CONDITIONS OF MODERN CHALLENGES AND THREATS." Almanac of Ukrainian Studies, no. 29 (2021): 164–70. http://dx.doi.org/10.17721/2520-2626/2021.29.22.

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The article examines the problem of the functioning of the Ukrainian ethnocultural tradition in the context of modern challenges and threats. Emphasis is placed on the need to preserve the national cultural heritage of Ukrainians and the role of cultural and spiritual priorities that form a full-fledged socio-cultural environment and values of the younger generation. The peculiarities of the creation of cultural space in Ukraine and the forms of existence of Ukrainian folklore in the socio-cultural environment are considered, taking into account the challenges and threats of the modern world. The essence of folk traditions and customs as spheres of cultural and spiritual heritage, which influence the communicative organization of people with certain life values, is substantiated. The article considers the essence of the Ukrainian ethnocultural space as an object of Ukrainian studies. It has been proved that ethnoculture is an important factor in the unity of a nation and is an indicator of ethnic and national identity among other peoples, as well as one of the factors of the revival and preservation of national memory. It should be noted that such categories as ethnicity, mentality, national traditions, customs, cultural and ideological components play a significant role in the content of national memory. Folk traditional culture is also a socio-cultural segment of national memory, which potentially helps to consolidate Ukrainian society. It is revealed that Ukrainian culture has long been leveled, censored, ideologically pressured, and destroyed, especially during the Soviet era, but despite the difficulties. Now it is a national and cultural revival of Ukrainian ethnocultural heritage, which is a priority for preserving Ukrainian identity and establishing the independence of the Ukrainian nation in the world. It is proved that ethnoculture highlights the inexhaustible and multifaceted talent of Ukrainians, who are the bearers of folk art. Therefore, responding to modern challenges and threats, changes in the social and political life of the country, new genres of folklore, new types of folk art (youth subculture; graffiti; political anecdotes, such as the genre of laughter culture, etc.) are created in information and cultural space, ridiculing and condemning conflict situations and negative phenomena in society. The Ukrainian nation is modernizing, is actively creating its cultural space despite the influence of the ideology of the "Russian world", despite the economic troubles, the military conflict in the east of our state. The article emphasizes the role of Ukrainian ethnoculture as a component of national culture, which has great potential in establishing Ukraine in the world cultural space, is a powerful factor of deconflicting of Ukrainian society and a consolidating factor of the political unity of Ukrainians, especially in modern hybrid warfare.

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Sinelnikova, Valentyna, and Maksym Berezhniuk. "Folk Music in Works of Contemporary Ukrainian Audiovisual Art (Dovbush, Mavka, Povodyr): Musical and Critical Essay." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 6, no. 2 (November 20, 2023): 177–87. http://dx.doi.org/10.31866/2616-7581.6.2.2023.291089.

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The purpose of the research is to determine the role, place, and functions of folk music in contemporary Ukrainian audiovisual products, namely in the development of the film's sound drama; to analyze the peculiarities of using folk music in Ukrainian cinema on the example of the films Dovbush (2023), Povodyr (The Guide) (2014), and the animated film Mavka (2023). The research methodology is based on an audiovisual analysis of these film examples, which makes it possible to formulate the basic principles of folk music functioning in contemporary Ukrainian cinema. The scientific novelty of the research is primarily reflected in the study’s topic, namely, the folk music tradition (vocal, instrumental, solo, group) and its role in film works. For the first time, the place and functions of folklore pieces in contemporary Ukrainian films and the influence of traditional musical material on a film's dramatic and sound solution are analyzed. Conclusions. A folk music piece can serve as a leitmotif of the entire film, a sound and visual counterpoint, as well as a kind of commentary (sound and noise supplement) to the film. Musical pieces of folklore tradition can add the necessary emotional and psychological colour to the film's plot, connect the film's scenes into a single whole, move the dramatic action forward, develop the storyline, and enhance the drama of the events. Folk music in a film contributes to the development of its plot, emphasising and accentuating the feelings, experiences, and behaviour of the characters. The use of folk vocal and instrumental music in contemporary Ukrainian films plays not only the role of accompanying the storyline of the film but also acquires extraordinary meanings in terms of emotional impact on the viewer and affirmation of Ukrainian self-identification.

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Iryna, Riabchun. "Ukrainian carillon arrangements as an instance of the cultural transmission and adaptation." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (October 3, 2021): 57–74. http://dx.doi.org/10.34064/khnum1-60.03.

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The development of carillon art in Ukraine is studied. The distribution of carillons in Ukraine is considered. The issue of creating a national carillon repertoire is investigated. The interactions between the Western European instrument and the Ukrainian national music are analysed. Possibilities in reflecting the peculiarities of Ukrainian folk song by means of carillon texture are shown. Analogies are made between the texture of the carillon and the ways of playing typical instruments of Ukrainian folklore. Methods of combining Ukrainian and Western musical vocabulary, laid down by M. V. Lysenko, are used: a list of Ukrainian folk genres that can be compared with European genres included in the European musical lexicon is given. The structure of the Ukrainian national repertoire for the carillon is outlined and a plan of the corresponding manual is given. The significance of the development of Ukrainian carillon art for the world musical practice is analysed.

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САДОВЕНКО, Світлана. "Axiosphere of folk art culture as a factor of Ukrainians’ ethnocultural identity-saving." EUROPEAN HUMANITIES STUDIES: State and Society 1, no. I (March 23, 2019): 194–208. http://dx.doi.org/10.38014/ehs-ss.2019.1-i.15.

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The article analyzes the issue of understanding the influence of axiosphere on saving ethnocultural identity. Traditional identity is considered as an integrity of a human formation general social determinism to become an individual, and self-consciousness and all the roles of a human in the society – as a product of social development. Ukrainian traditional folk culture with continuous dialectical processes taking place in a society is shown to be modern as long as it perfectly reproduces significant changes in a modern life, history, life of the people, conveys people’s aspirations and attitudes to reality, identifies Ukrainians and their culture among other cultures.

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Lukava, Daryna. "TRADITIONS OF NATIVITY DRAMA WITHIN THE OPERA ARTS OF UKRAINE." EUREKA: Social and Humanities, no. 1 (January 30, 2021): 3–7. http://dx.doi.org/10.21303/2504-5571.2020.001564.

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The article explores the ways of development of Ukrainian nativity drama - a genre of musical art that provides an opportunity to recreate the elusive breath of time, to learn not only about the world around but also the prospects for its preservation in Ukrainian culture. For the formation and development of the national musical culture of Ukraine, the traditions of Ukrainian nativity drama, the precondition of which was the folk music of national-historical orientation, became especially important. Besides, the folklore basis contributed to the formation of some professional genres, including opera and instrumental plays. The object of the research is the nativity drama within the opera art of Ukraine. The purpose of the article is to identify the features of the nativity scene as a musical and dramatic art form, which is an original monument of Ukrainian culture. It should be noted, that the nativity scene, especially the images of the second act, the type of its drama, had an impact on the development of Ukrainian musical and dramatic theater even in the XIX century. The mentioned influence was manifested, in particular, in the musical drama "Chornomorets", "Natalka Poltavka" by Lysenko, where folk song and dance are an integral part of the action and are a means of characterizing individual characters and dramatic situations. Some features of the character of Zaporozhets from the nativity scene were developed in the image of Karas from S. Gulak-Artemovsky's opera "Zaporozhets za Dynayem". Ukrainian music and drama art with its sources are associated with the ancient East Slavic agricultural and family holidays, games, dances, in which the element of dramatization played an important role since ancient times. Christmas games with costumes, Maslenitsa farewells, spring round dances, harvest festivals, autumn-winter round dances, and weddings became a rich source for the development of musical and theatrical art of the Ukrainian people in the XV–XVI centuries. To sum up, we can conclude that for the formation and development of the national musical culture of Ukraine in the XIX century, the Ukrainian opera became especially important, the precondition of the one was the folk music of national-historical orientation. Also, the folklore foundations, in particular the nativity scene, served to form professional genres including opera and instrumental plays. The study can be applied to prepare students and graduates in the field of Historical Sciences, Musicology, and Culturology. The significance and influence of nativity drama on the opera art of Ukraine have been studied, where the traditions of Ukrainian nativity scene, the precondition of which was the folk music of national-historical orientation, have been singled out. The study can be the basis for further study of the Ukrainian nativity drama of the XX–XXI centuries.

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Shutak, O. S., N. A. Konoplenko, and M. V. Podoliak. "Zomorphic images of Ukrainian folklore: demiurge birds in the Ukrainian winter calendar ritual poetry." Scientific Messenger of LNU of Veterinary Medicine and Biotechnologies 20, no. 86 (February 20, 2018): 142–46. http://dx.doi.org/10.15421/nvlvet8628.

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The world-view system of Ukrainians is one of the richest and symbolically-filled models of knowledge of the surrounding world, which fully represented itself in various forms of art and, above all, in folklore. It is the oral folk art that most fully preserved the representation of the ancient Ukrainians about the establishment of the world, the appearance of the first plants and animals, the emergence of elements, human, etc. At that time, when there was no written language yet (prehistoric period), our ancestors broadcasted their understanding of life processes by means of verbal literature, encrypting it in a figurative system. The article examines the history of the study of zoomorphic images in Ukrainian folklore from the 1930s to the present, points to the diversity of interpretation of animal symbols in different genres of oral folk poetry, and focuses on the symbols of demiurgeous birds. It is in the poetry of the winter calendar ritual cycle, as the oldest stratum of Ukrainian folklore, that we find the image of the birds-founders of our world, which forms a coherent picture of the mythological notions of our ancestors about its beginning. In carols and shcherdivkas, in particular cosmogonic, ornithopes are a prominent place. The connection between the image of the bird and the two most ancient ideas-symbols – the true and the world tree-the most archaic models of the world order – is analyzed. At a time when in folk poetry of other genres, ornithomorphic images carry a diverse semantic load, then in cosmogonic carols they symbolize only the process of creation, where the act of diving, immersion in the right is a symbol of the «conception» of the world, the penetration and degeneration of one life-giving energy into another (the idea of fertility).It was in the images of the falcon and the pigeon, pure and good beings, that our ancestors saw the founders of all living things, they considered their primary source and life-giving energy.

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Irklienko, Viktorija. "MUSIC ART AT FOLK HOLIDAYS: ETHOGRAPHIC AND EDUCATIONAL DEMENSION." Aesthetics and Ethics of Pedagogical Action, no. 14 (September 9, 2016): 99–106. http://dx.doi.org/10.33989/2226-4051.2016.14.171593.

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The article investigates ethnographic and educational dimension of functioning of music at folk holiday. The author considers national holiday as an integrated concept that, firstly, integrates a variety of types of art (music, fine arts, performing arts, dance, literature), secondly, is a combination of two cultures – the pagan and Christian. It is noted that folk holiday is a model of highly aestheticized everyday life of Ukrainian people. The author states that music art at folk holiday is represented in the form of choral music, dance songs, music for dancing, marching music, song and instrumental music for listening in the form of ensemble.It has been proved that functioning of professional, amateur choirs or just group singing is common for music content of folk holidays; Ukrainian folk song has always been the basis of that functioning.It has been emphasized that the music art at folk holidays is represented by national folk-songs in the form of dance songs. They consisted of three components: words, music and dance movements.Special attention has been given to the marching music, represented by greeting marches, procession marches, performed in appropriate situations of meetings, farewell, congratulations, and glorification.The article states that the folk holidays that are prevalent in Ukraine have an important pedagogical potential, since they give a child a coherent picture of the artistic view of the world, establish connection between art and life.The recognition of the leading role of folk music in the process of musical and aesthetic education of children is considered by the author as a key to the formation of a highly spiritual personality.The requirements for the organization and conducting of folk holiday have been presented in the article; the teacher’s basic tasks have been defined.

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Fedorenko, Svitlana, and Alisa Dashkovska. "FORMATION OF ART COMPETENCE USING THE UKRAINIAN FOLK TOY AMONG YOUNGER SCHOOLCHILDREN WITH LOW VISION." Scientific journal of Khortytsia National Academy No. 1 (2019), no. 1 (2019): 159–68. http://dx.doi.org/10.51706/2707-3076-2019-1-17.

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The article notes that remedial and compensatory focus of the teaching and education of children with visual impairments is the content of all educational activities in the institutions with special education that is implemented during the formation of competences necessary for their further socialization. An important value acquired by the use of folk toy becomes more important in correctional and educational work of Ukrainian special educational institutions for primary school age children with visual impairments, which helps to eliminate secondary deviation, resulting from the impairment. It is noted that the low level of activity with a folk toy among elementary schoolchildren with visual impairments is related to the fact that it did not find its proper place in the educational process of special schools for a number of reasons. The experimental method of art competence formed around Ukrainian folk toys in primary schools for students with low vision, which depends on the creation of optimal educational environment in a special educational institution, is described. In the design of the educational environment, the appropriate organizational and didactic pedagogical conditions for the formation of components (cognitive, activity, emotional) of visual competence about Ukrainian folk toys for pupils with reduced vision were determined. The proposed experimental methodology, including seminars, workshops, trainings, etc., favoured the increase of teachers’ professional competence level in using Ukrainian folk toys in corrective work with children that have monistic sight. An example of the content and organization of several topics of the workshop «Ukrainian Folk Toy», which became the main form of work on the formation of components of artistic competence, is presented. The effectiveness of the experimental training technique is proved.

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ОСТРОВСЬКА, Галина. "Мистецтво Прикарпаття та впровадження народознавчого компоненту у регіональну освіту." Studia Ucrainica Varsoviensia, no. 11 (December 4, 2023): 121–30. http://dx.doi.org/10.31338/2299-7237suv.11.8.

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For Ukrainians today, more than ever, it is important to defend their independence, to convey their unique national image to the whole world, to preserve the heritage of their national culture. Since ancient times, through art, Ukrainians have transmitted the code of national consciousness and culture to their descendants. One of the ways of assimilation of national traditions is the study of art and their reflection in one's own creativity. The art of Prykarpattia is famous for Hutsul ceramics and wood carvings, in which artists reveal their love for their native land and faith as components of the Ukrainian mentality. A brief review of the work of folk artists was conducted and the possibilities for the implementation of the local history component in school practice were outlined.

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SEMYCHOVA, N. "PEDAGOGICAL CONDITIONS OF FORMATION OF UNIVERSAL VALUES IN FUTURE TEACHERS OF ART BY MEANS OF UKRAINIAN FOLK SONG CREATIVITY." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 1 (July 6, 2022): 364–71. http://dx.doi.org/10.31494/2412-9208-2022-1-1-364-371.

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The influence of the proclamation of Ukraine's independence on the formation of the national consciousness of the Ukrainian people and the revision of the approach to the content of the educational sector and the requirements for personal characteristics of teachers-practicians, including measures of development and manifestation of universal values, is emphasized. It is noted that an effective tool of national education of the individual is the Ukrainian folk song. The existing contradictions in the problem of formation of universal values in future art teachers by means of Ukrainian folk songs are determined. The purpose of the article is to analyze the pedagogical conditions for the formation of universal values in future Art teachers by means of Ukrainian folk songs. The process of professional training of future Art teachers in higher educational institutions is characterized. Requirements for professional and personal qualities of an Art teacher are stipulated. The importance of value orientations as factors, under the influence of which the future Art teacher is formed, is noted. The interpretation of the process of formation of universal values is indicated. The components of universal values are listed. The definition of the concept of «universal values of future Art teachers» is given. Forms and methods of formation of universal values in future Art teachers are presented. The model of methods of formation of universal values of future Art teachers. The pedagogical conditions of formation of universal values of future Art teachers in the process in the process of professional training are presented. The peculiarities of building and ensuring the functioning of the model of formation of universal values of future Art teachers are described, taking into account current trends in reforming the education system of Ukraine. The principles of model construction are described. The main elements of optimization of the educational process are outlined. The emphasis is placed on the method of «modeling» in the formation of universal values in future Art teachers. A set of pedagogical conditions effective for increasing the level of formation of universal values of future Art teachers is presented. Key words: value orientation, national heritage, Ukrainian song, patriotism, art, song creativity.

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Hong, Sogu. "Ukrainian Cultural Resistance on Russia’s Invasion of Ukraine." East European and Balkan Institute 47, no. 1 (February 28, 2023): 39–73. http://dx.doi.org/10.19170/eebs.2023.47.1.39.

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This study explains that the Russia-Ukraine War is a culture war. The essay “On the historical relationship between Russians and Ukrainians” published by Putin on July 12, 2021 reflects Putin’s historical and cultural views, denying Ukraine’s independent historical, national, and cultural identity. Based on Putin's view of history, this study will discuss how the Russian military is carrying out 'erasing Ukrainian culture' and how Ukrainians are preserving their cultural heritage and identity. As a case study, I also introduce how the public and artists in various cultural spheres of Ukraine are culturally resisting the Russian invasion. Analyzing the cases of Ukrainian resistance in folk culture, street art, music and song, this study explains the impact of the Russian invasion on Ukrainian culture.

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Kara-Vasylieva, Tetyana, Olha Lukovska, and Valentyna Kostiukova. "The Avant-Garde Phenomenon in the Ukrainian Textile Art of the XX Century." Arta 32, no. 1 (September 2023): 50–57. http://dx.doi.org/10.52603/arta.2023.32-1.07.

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The early XX th century is a bright phenomenon in the history of decorative art in Ukraine. This is a period of active cooperation between famous avant-garde artists and folk-art masters. The article examines a unique creative experiment of professional and folk artists implemented in the A. Semigradova`s craft workshops in the village of Skoptsy and N. Davydova`s craft workshops in the village of Verbovka. It was these workshops that had differences in their artistic orientation. The art of the famous folk craftswomen G. Sobachko, P. Vlasenko, G. Tsybulyova, who came from there, is analyzed in the article. The works of the professional artists A. Ekster, K. Malevich, L. Popova, O. Rozanova, N. Genke-Meller also are being studied. The folk craftsmen embroidered artistic works based on their sketches and performed ideas of suprematism in this way. Professional artists paid attention to embroidery as the most expressive type of decorative art. It is indicated that the artistic style of decorative panels, carpets, as well as interior decoration and costume items was a new word in the art and brought Ukrainian embroidery to the highest level of development. Such cooperation contributed to the mutual enrichment of the works of folk-art masters and avant-garde artists. Joint innovative research proves the fact that the Ukrainian embroidery of the early XX century, developed in the context of artistic trends at that time, was a synthesis of decorative and fine arts.

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Vernyhor, Dmytro. "Ukrainian Dance – Global Hallmark (Dedicated to the Anniversary of the National Honoured Dance Ensemble of Pavlo Virsky)." Diplomatic Ukraine, no. XIX (2018): 757–66. http://dx.doi.org/10.37837/2707-7683-2018-47.

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The article is concerned with life and creative path of P. Virskyi and the ensemble he leads in the context of cultural diplomacy. The author analyses that the aspiration to create realistic and folk plays by nature has influenced the artist in his exploring and further developing the folk dance. Therefore, applying the experience of folk talents, Virskyi was committed to create characters of Ukrainian stage dance, expanded and enriched its expressiveness. Pavlo Virskyi directed some choreographic performances already in the first days of his activity as choreographer, but his actual work on the formation of the Ukrainian stage dance started in 1936, particularly following successful performance of the outstanding theatrical play “Zaporozhets za Dunaiem” (Eng. A Zaporizhian (Cossack) Beyond the Danube).In 1937, Virskyi and Bolotov organized the first ever in Ukraine folk dance ensemble and quit Taras Shevchenko National Opera and Ballet Theatre of Ukraine, where they headed a ballet group. The choreographers involved in the ensemble skilled young people as well as a team of experienced ballet dancers, among whom was M. Ivashchenko − their old friend and companion, brilliant performer of folk dances. Later B. Tairov and I. Kurylov engaged in choreographic process. The ensemble captured people’s attention, successfully performing at the VI World Festival of Youth and Students in Moscow in the summer of 1957. The group of youngsters of the ensemble attained the title of winners of the VI World Festival and was awarded gold medals and the first-place diploma (soloists V. Kotliar, L. Zastrozhnova, H. Chapkis, N. Birka, L. Sarafanov, B. Mokrov, V. Holyk). Artists of the dance ensemble of the Ukrainian SSR performed for the audience from many countries of the world: Poland, Czechoslovakia, China, Vietnam, Cuba, Angola, France, Austria, Portugal, Spain, Belgium, USA, Canada, Mexico, Argentina, Brazil, Peru, Chile, Colombia, Venezuela. All of the countries equally acknowledged the ensemble. The troupe performances abroad not only were a great success, but also sparked a massive political resonance. The national press continuously wrote about the unsurpassed art created by renowned Ukrainian choreographer P. Virskyi and his invaluable contribution to the development of Ukrainian folk dance choreography. V. Korniichuk, Honoured Journalist of Ukraine, author of the article “To pioneer of Ukrainian folk dance” noticed the festive concert dedicated to the 90-annivarsary of P. Virskyi’s birth. In his speech before the concert, Y. Stanishevskyi, Doctor of Arts, Honoured Art Worker of Ukraine, member of the International Academy of Dance, declared, “P. Virskyi is a distinguished master of choreography, director and pioneer of Ukrainian folk dance, who not only formed a unique dance group, but also glorified Ukraine on all continents by the high art.” Keywords: cultural diplomacy, Ukrainian folk dance, art, artistic view, Virskyi.

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Fedorchuk, Olena, and Romana Motyl. "Tradition of Beaded Decoration in the Ukrainian Folk Costume: Reconstruction of the Second Stage (Based on the Materials of Western Regions of Ukraine)." Arta 32, no. 1 (September 2023): 124–31. http://dx.doi.org/10.52603/arta.2023.32-1.17.

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The article continues the previously started reconstruction of ethnic artistic tradition of beaded decoration in the Ukrainian folk costume. The authors’ vision of the second stage of development of this tradition (the end of the 19th– the middle of the 20th centuries) is presented. It was found that at the second stage of its development, the tradition of beaded decoration in the Ukrainian folk costume went through the phase of creative uplift. Ukrainian folk craftsmen considerably expanded the arsenal of technical as well as artistic and stylistic means of their creative works. The following techniques were used: typesetting, sewing “v prykrip“, stringing, weaving, embroidery, etc. The typology of beaded components of the folk costume expanded significantly. Alongside with overhead jewelry and headdresses, the beaded decoration emerged in the structure of several old and new components of clothes and accessories. By virtue of the implementation of the techniques of weaving and embroidery, artistic stylistics developed further. In the compositions of beaded components of the costume, apart from the motifs of geometric shapes, the motifs of geometrised shapes appeared, as well as the national symbols. The colouring of beaded artworks was significantly enriched. Successful development of all-Ukrainian and local features of folk art continued. The knowledge, accumulated by the authors, will be of a great interest to ethnologists, art historians as well as modern folk craftsmen of beaded artworks.

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Tureiskyi, Ihor. "Ukrainian Children’s Folk Clothing in the Artistic and Ethnographic Heritage of Yurii Pavlovych." Folk art and ethnology, no. 3 (September 30, 2023): 94–104. http://dx.doi.org/10.15407/nte2023.03.094.

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The article examines the issue of children’s folk clothing of Ukrainians in the work of the outstanding Ukrainian ethnologist Yurii Pavlovych (1872–1947), his rich heritage includes thousands of sketches of Ukrainian folk life, clothing, housing, and landscapes are studied and presented in the work «Ukraine in Folk Types, Landscapes, and Architecture: Artistic and Ethnographic Heritage of Yurii Pavlovych» published by the M.T. Rylskyi Institute of Art Studies, Folkloristics, and Ethnology in 2010. From 1921 to 1934, Yurii Pavlovych worked as a permanent freelance employee of the Cabinet of Anthropology and Ethnology named after Khvedir Vovk, enriching the work of this institution with detailed illustrative material. Some of Yurii Pavlovych’s drawings and works highlight the issues of children’s clothing culture. These materials are extremely valuable for studying the children’s subculture, features of children’s clothing, its forms and specifics. The original point of view of the author of the illustrations, who fixed the inconspicuous and atypical details of children’s everyday life is noteworthy. During the preparation of the research, drawings and manuscripts of Yurii Pavlovych involved from the Archival Scientific Funds of Manuscripts and Audio Recordings of the Maksym Rylskyi Institute of Art Studies, Folkloristics and Ethnology of the National Academy of Sciences of Ukraine (funds 1 and 39). Based on the discovered sketches, an attempt was made to analyse the characteristic features and peculiarities of children’s clothing, their informative value for the study of children’s folk clothing of Ukrainians in the first half of the XX century. Drawings and materials reflect various aspects of children’s clothing culture, its variability, established norms and transformations in both traditional and urban culture, namely in Kyiv. In the discovered sketches, it is possible to see the colours of the costume, aesthetic taste, traditions, and trends in clothing creation. The types, costume elements and appearance recorded by Yurii Pavlovych clearly represent the local specificity of children’s clothing. The unique materials are a valuable source for the study of folk dress, as well as questions about the role of the child and childhood in Ukrainian culture. Some of Yurii Pavlovych’s drawings are being published for the first time.

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DEM’YANKO, N. "COMPONENTS OF NATIONAL CULTURE IN PEDAGOGICAL HERITAGE AND ACTIVITY OF V. VERKHOVINETS." ТHE SOURCES OF PEDAGOGICAL SKILLS, no. 22 (November 7, 2018): 81–86. http://dx.doi.org/10.33989/2075-146x.2018.22.185019.

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The article considers the components of national culture as theoretical foundations of pedagogical heritage and activities of the outstanding Ukrainian teacher, musicologist, ethnographer, choreographer, conductor and composerV. Verkhovynets. These include folklore, musical, choreographic and dramatic art. The essence of Ukrainian folklore as a form of social consciousness and its national peculiarities is revealed. The criteria of distribution of folklore to genres are given (by discharges, means of artistic expressiveness and the nature of their combination). Epic prose and song genres are described. The specifics of using animal tales by the teacher are revealed. The author analyzes artistic features of lyrical genres: songs (labor, charm, anthem, heroic, elegiac, humorous); musical-choreographic (domestic dance, plot dance), song and choreography (dance song, round dance, choral and play song). Dramatic genres (ceremonial games, folk games, folk drama) are described. The educational value of Ukrainian folklore, musical and choreographic art is revealed. The peculiarities of their application by V. Verkhovynets in work with student and student youth, with artistic theatrical, choral and choreographic groups are analyzed. The role of choral art in the educational process was identified and its place in the work of the teacher was determined. The results of implementation national culture’s components in its theoretical activities (creation of scientific works "Ukrainian Wedding", "Theory of Ukrainian folk dance", "Vesnyanychka") are highlighted.

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Sobkovych, Olha. "Folk poetics in creative work of Petro Kholodnyi Senior." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 66–78. http://dx.doi.org/10.37131/2524-0943-2019-42-10.

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Summary. The defined issue is the new angle to study Petro Kholodnyi Sr. heritage, that allows to research the thematic interest features and style synthesis specific to artist`s original language, where we can trace the modernist style, symbolism, byzantine style and impressionism echoes. It was observed an important group of artwork by Kholodnyi Sr. in the article. Together with the sacral heritage, they have played a significant role in the reviving of the Ukrainian national art in the first part of XX century - the compositions on the folk themes. The comprehensive review of the folk poetics in creative work by Petro Kholodnyi Sr., is lightened in context of the current historical and art-cultural realities of the defined period, that allowed to distinguish the characteristic, typical and novel features in creating, by Petro Kholodnyi Sr., the Ukrainian national art through appealing to the folk poetics. It was marked, that Petro Kholodnyi Sr. engagement in folklore was natural in context of two essential interdependent tendencies of that period: the idea of the “national reviving” in the Ukrainian culture in the first part of XX century, among the characteristic features of which – appealing to folklore as the field of the national spirit preserving and “tradition discovery”. It is defined the peculiarities of trendsetting technical performance and ideological-stylistic understanding and rendering of the folk poetics in the visual form, that expanded the idea of this source interpretation abilities in form and sense aspects of that period art searches context. Methods. For holistic analysis, author applied the following methods: form and style analysis to explore the art peculiarities of the artwork, on the Ukrainian folklore motives, by Petro Kholodnyi Sr.; comparative style analysis to detect the features of artist creation manner and its change according to certain one or other ideological-sensitive or emotional message, and to distinguish the differences, between comprehension and visual implementation of the folk poetics in Kholodnyi Sr. creative work in comparison with Russian artists, who, in their creative activities, appealed to the folk well-springs. Results. Through folk poetics, which he felt delicately, Kholodnyi Sr. propagates the most current messages of “national reviving” in early XX century. In particular, the Ukrainian national history pages he exposes via appealing to such source of its study as ballad (thought) (“The thought of the Black sea windstorm”), that added some folk-poetic colours to the theme; also he refers to one of the most famous ancient Rus literature memorials of the late XII century – “The Lay of Igor’s Campaign”, which is saturated with Slavic folk poetry motives. In compositions created by these sources, Kholodnyi Sr. not so much emphasized the ballad subject illustrations or historical annals context as the poetic highness. So there is in his artwork, even on historic themes, a strong, musical in its harmonic melody, rhythm of colourful spots and lines. That’s the important individuality of his creations. The same powerful national poetics we can also feel in his creative works on Ukrainian tales, corals and songs motives, where the emphasis is put on enlarging the emotional-sensitivity edge, but not on the external plot, that we can see in such works as “Oh, there is rye on a field”, “Ivasyk and witch” and “The tale of a girl and a peacock”. Poetry and subjective-emotional components of two last creations point out on the affinity to symbolic-modern worldview, where the reality and tale are mixed at the moment. In his works on folk themes, he combined the style trends early XX century with the national painting traditions. Particularly “The Tale of a girl and a Peacock” corresponds by style to plastic language of modern with its emphasized decorativeness, softness of lines and clear lineal drawing, but in composition “Oh, there is rye on a field” we can see the signs of late modern which includes into its art language the method of stylization one or other famous historical pattern, in this case - byzantinism. Both art work performed in discovered by artist tempera technique which allowed to get that colour tints that enchanted in the ancient Galician icons. So these paintings possess you by delicately harmonized tincture which together with folk motive, its subject and ethnographic details, like heroes’ cloths, creates the folk-national sound of composition.

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Danyliuk, Yana. "Art-Dominanta International Folk Instruments Performers Competition as a factor in maintaining the spiritual security of the Ukrainian society and promoting the traditions of folk instrumental art of Ukraine in the world." Culturology Ideas, no. 19 (1'2021) (2020): 174–87. http://dx.doi.org/10.37627/2311-9489-19-2021-1.174-187.

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The issue of preserving national culture in such traditional forms of musical art development as contests of folk instruments performers is an important research area considering the existing exacerbation of socio-economic and spiritual crisis of Ukrainian society against the background of the world processes of globalization and digitalization of cultural and educational space. Therefore, the study aims to comprehensively explore the experience of conducting the Art-Dominanta International Folk Instruments Performers Competition as an important promotion factor of folk instrumental art among young people, to highlight its importance for maintaining the spiritual security of society at the regional and country levels, to consider the contest as a significant stimulus for promoting the Ukrainian culture in the world. The author has proved that the musical performing contests are a significant factor in the development of folk instrumental art as a part of the national musical culture. It has been established that conducting the contest is an important cultural resource for strengthening the image of Kharkiv as a center for the development of folk and instrumental art, a source of cultural and creative growth for the city and its citizens. Many years of experience in conducting the contest creates fertile ground for the integration of its best achievements into the educational process of numerous regional educational institutions raising the cultural level of the city.

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Wang, Chengxi. "Relationship between folk music art and ukrainian ethnic and family traditions." Scientific Bulletin of the Izmail State University of Humanities. Section «Pedagogical sciences», no. (58) (March 30, 2022): 26–35. http://dx.doi.org/10.31909/26168812.2022-(58)-3.

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Karatsuba, Myroslava. "Typological Comparisons of Folk Poetry of the Ukrainians and Southern Slavs at the Figurative-Lexical Level." Slov'ânsʹkij svìt, no. 21 (December 30, 2022): 23–38. http://dx.doi.org/10.15407/slavicworld2022.21.023.

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The focus of the study proposed below is on important issues related to the identification of the common features of folk poetry of separate southern Slavs, in particular, Serbian, Croatian and Bosnian, and Ukrainian folk poetry, as well as individual works of art with a folklore component (for instance, Vila-Posestra by Lesya Ukrainka). It is, in particular, about the characteristic features of folk-poetic works at the level of imagery, poetics, and indicative lexical patterns. Common to folk poetry of the Southern Slavs and Ukrainians, especially when it comes to works of love or social nature, is the use of not only permanent epithets, but also indicative metaphors, comparisons and characteristic figurative expressions. In stages and separately considered are poetic tropes, separately their content and formal load, as well as functions when used in folk poetry of Ukrainians and South Slavs. Considerable attention is paid to lexical characteristics when creating the image of a beautiful girl in Ukrainian folk poetry and in folk-poetic South Slavonic samples, as well as to additional attributes of clothes and outfits of a young man and a girl in the folklore of the mentioned peoples. Figurative characteristics of animals, plants and natural phenomena (flowers, herbs, trees), as well as their functional purpose and place in the palette of folk-poetic works, characteristic lexical features of their reproduction in texts of epic and lyric songs, and folk ballads, do not remain without attention as well. The article compares dumas and songs and ballads about the escape from captivity, where there is also a distinct similarity in vocabulary when characterizing heroes and their actions. By collating folk poetry of Southern Slavs and Ukrainian folk songs, extraordinary factual material is revealed at the figurative-lexical level, eloquently testifying to the similarity of the texts. It is about certain clear general regularities of the overall plan, which can be traced both at the level of plot imagery in the thematic-genre dimension, and in the aspect of metaphors (constant epithets).

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Klepar, Maria. "НАЦІОНАЛЬНІ НАРОДНОПІСЕННІ ТРАДИЦІЇ У РОЗВИТКУ ДУХОВНОСТІ МАЙБУТНІХ УЧИТЕЛІВ." Mountain School of Ukrainian Carpaty, no. 24 (June 1, 2021): 64–67. http://dx.doi.org/10.15330/msuc.2021.24.64-67.

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It was concluded that knowledge concerning spiritual achievements gained by young people during their studies should make stimulant active treatment of young Ukrainian to study specific in nature, truly accurate historical spiritual heritage of his people, rooted in folklore (folk art) and saved in any manifestation at the local level.The article analyzes the role of national traditions in the spiritual development of future teachers. The specific focus is placed on the problems of primary school. According to scientists, it is in the early school years that the worldview of the individual is formed, in particular the national identity.The upbringing of a versatile and harmonic personality of a petty in the new age Ukrainian school is one of the most important tasks at the present stage of society; in which enrichment of the child's spiritual world involves the formation of creative potential and inner culture as well as spiritual unity of generations. The upbringing of young citizens should be aimedprimarily at developing their humanistic feelings, the formation of national and universal values. Therefore, the revival of folk song culture has great importance in the education of students of the new age Ukrainian school.The educational possibilities of Ukrainian folk songs were determined in the theoretical analysis. The necessity of directing the attention of the petty on the ideological and didactic nature of the folk song was described. That is important as the song folklore is a polysystemic means of personality formation, and it affects the spiritual, intellectual, emotional, and other spheres of a human being; morally and psychologically adjusts a person to work. The proper use of ethno –pedagogical tools ensures the esthetic development of students along with a high culture of perception of various arts. In conclusion, the knowledge of spiritual achievements gained by petty during their studies should stimulate an affirm attitude of them as young Ukrainians to study and research historical, spiritual heritage of their people, the roots of which are folklore (folk art) that is preserved in different manifestations at the local levels.

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Taras, Yaroslav. "THE VISUAL HERITAGE OF VADYM SHCHERBAKIVSKYI IS THE PRIMARY SOURCE FOR THE STUDY OF THE GENESIS OF UKRAINIAN SACRED CONSTRUCTION, FOLK ART AND ETHNOGRAPHY (BASED ON ARCHIVAL MATERIALS OF THE INSTITUTE OF NATIONAL ACADEMY OF SCIENCES OF UKRAINE)." Current Issues in Research, Conservation and Restoration of Historic Fortifications 18, no. 2023 (2023): 93–107. http://dx.doi.org/10.23939/fortifications2023.18.093.

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Photographs and negatives of V. Scherbakivskyi are an important source for studying the genesis of Ukrainian sacred construction, architecture, folk art, and ethnography. They are the basis for the restoration of the artistic tradition, remain relevant, and go far beyond the boundaries of historiographical discourse. The goal is to publicize and analyze information about Vadym Shcherbakivskyi's negatives, which are stored in the funds of the Institute of Ethnology of the National Academy of Sciences of Ukraine, to show his familiarity with photographic practice, to highlight their value for architecture, folk art, ethnology, and church history. The object of the study is the legacy of V. Scherbakivskyi's negatives, collected by the Museum of the National Academy of Sciences. The subject is the practice of using visual material by Vadym Shcherbakivskyi to study the genesis of Ukrainian sacred construction, folk art, ethnography and to restore the artistic tradition. Methods: comparative-historical analysis is used for the reconstruction, study and research of certain ethnographic territories of Ukraine; synchronous and diachronic — to characterize the content variability of its photo-fixation, its use for building the genesis of Ukrainian sacred architecture and its origin. The article highlights the cooperation of V. Shcherbakivskyi with the National Academy of Sciences, his scientific research in Galicia at the beginning of the 20th century. and in the Poltava region, it is shown how the collected visual sources allowed V. Shcherbakivskyi to assert the existence of an independent "Ukrainian church style", that the Ukrainian artistic tradition is a confirmation of national identity, it is highlighted how his photo-fixation of Ukrainian church architecture became an important factor in the breakdown of the Great Russian piece in appropriation other people's achievements. It is shown how visual sources serve as artifacts for the study of architecture, folk art, ethnology and Church history, the tasks set for the processing and digitization of photos and negatives of V. Shcherbakivsky and the publication of an album for the 150th anniversary of his birth.

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Tsytsyriev, V. "Development of the Ukrainian Orchestra of Folk Instruments: Socio-Cultural and Historical Aspects." Culture of Ukraine, no. 80 (June 30, 2023): 118–25. http://dx.doi.org/10.31516/2410-5325.080.15.

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The relevance of the article. Ukraine is currently going through a difficult period of its existence, all strata of the Ukrainian population are now suffering from the consequences of the beginning of full-scale Russian aggression against our country, so today the preservation and development of folk and instrumental performance on folk instruments is relevant, covering all aspects of society and the national preservation of folk art and the unity of the Ukrainian people. The purpose of the study is to demonstrate key points at the stage of development of such phenomenon of national music-making as the Ukrainian orchestra of folk instruments and to indicate specific features of orchestral-ensemble activity for facilitating further fixation and analysis of the modern experience of the groups of such type. The methodology. Among the applied approaches and methods, a complex multidisciplinary method supplemented by an additional source of own methodical materials is of primary importance. Such methodological tools as a systematic approach allowed to determine the main orchestra components, study their essence and identify methods for combining them into an organic whole; theoretical approach applied to comprehend and clarify the content of the main concepts of folk-orchestral performance; comparative-historical method — to describe and trace the key stages of the evolutionary development of the Ukrainian orchestra of folk instruments and reproduce a complete picture of its formation in the context of the Ukrainian musical culture. The results. Investigating the current state of development of such a specific form of Ukrainian national music making as the orchestra of folk instruments, and relying on the history of folk musical instruments, we conclude that the cultural and historical conditions were favorable for the emergence and further development of the folk orchestra in Ukraine. According to the definition of theoretical musical studies of different years, which were cited in this study in the literature review, it is indicated that the formation of the Ukrainian orchestra of folk instruments was influenced by both socio-political and purely socio-cultural factors. After the beginning of such influence and interaction, the strengthening and development of professional musical education in the general direction of new or forgotten folk instruments was of great importance. As a result, the process of founding departments of folk instruments in conservatories and musical faculties of educational institutions in Ukraine began. The matter of the repertoire policy of orchestras of folk instruments is revealed due to the historical studies regarding the formation of the Ukrainian folk orchestra. This was done only after the plan for the development of the musical instruments of the Ukrainian folk instrument orchestra was professionally outlined. This was also done taking into account the processes of formation of the instrumental composition. No less important is the study of ways to improve the direction of the Ukrainian orchestra of folk instruments. An important issue is the search for possibilities for the reconstruction of musical instruments for their further full use in the main composition of the Ukrainian folk orchestra. This can be facilitated both by increasing the performance level of the groups of folk instruments in general and by improving their leaders’ professional skills. Expanding the genre-stylistic sphere of the repertoire is possible thanks to the strengthening of creative ties with composers. Such cooperation will contribute not only to the internal development of collectives, but can also activate concert performances of orchestras of folk instruments. The scientific novelty. The work, in addition to recording the historical stages of the development, reveals the main social functions that are characteristic of orchestras of folk instruments through the description of the three most significant forms of their activities. The combination of the historical context and socio-cultural features characteristic of Ukrainian folk instrument orchestras reveals a scientific novelty in the description of the evolution and development of this direction of Ukrainian music-making. The practical significance. The topic studied in the work has the prospect of further research, especially due to the scientific importance of folk-instrumental traditions as the nation’s spiritual heritage. Namely, the collectives of folk instrument orchestras that popularize folk instrumental art among society, revive forgotten works and promote the best examples. The results of the research on the development of orchestras of folk instruments and their ensembles can be used in the programs of special seminars, individual optional sections, lecture courses of higher educational institutions, it is also appropriate to use them in the process of studying relevant topics from the theory and history of folk orchestra performance, it will be an interesting addition for the direction of the authorial disciplines in cultural studies, art history, as well as individual points of the results can become the basis for further scientific developments on this issue.

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Koltukova, A. V. "The treasure of Ukraine: people's art as first source of formation of modem Ukrainian design." Educational Dimension 16, no. 1 (December 14, 2006): 233–44. http://dx.doi.org/10.31812/educdim.6097.

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The treasure of Ukraine: people's art as first source of formation of modem Ukrainian the analysis of modem Ukrainian design has shown that its primary' source was the Ukrainian folk art. The influence of ethnic traditions of work with natural dye-stuff, threads, wax and fabric is quite obvious in the modern tendencies, which are realized in the design of clothes, interior, architectural-landscape compositions and in decorative applied art in general. So, only dye to the reconstruction of old technologies and its harmonious connection with new and interesting ideas and forms can provide the following stage of development of the original and national art.

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Osypenko, V. "Ethnoaesthetics of the Ukrainian folk song tradition in the performance of the singer Oksana Mukha." Culture of Ukraine, no. 72 (June 23, 2021): 124–30. http://dx.doi.org/10.31516/2410-5325.072.17.

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The topicality is associated with the need for musicological understanding of the value categories of ethnoaesthetics in the creative activity of singers that represent the Ukrainian folk song tradition in modern variety vocal art. The purpose of the article is to identify ethno-aesthetic value components in the performance of O. Mukha as a personification of the uniqueness of the Ukrainian national expression. The methodology consists of scientific works of prominent Ukrainian scientists devoted to the study of ethno-aesthetic ideas and criteria in the traditional songs of Ukraine (Y. Harasym, T. Orlova, V. Lychkova), as well as genre-style and performance specifics of Ukrainian musical folklore (K. Kvitka, F. Kolessa, A. Ivanytskyi, S. Hryts). The results. The artistic imagery of the iconic folk songs of O. Mukha repertoire, which is a part of the ethno-aesthetic fund of the Ukrainian folk song tradition, is considered. The general features of ethnoaesthetics of the folk song performing tradition of Ukraine, including its vocal and technical component are outlined. The novelty. The article considers the performance of O. Mukha for the first time and reveals ethnoaesthetic value components in it. The practical significance. The study of the essence of folk singing as an art with its own artistic and value component, based on an established system of qualitative components of ethnoaesthetics, as well as the study of performing experience of prominent Ukrainian folk singers are the necessary practical material for creating a scientific basis and general methodology of folk vocal art. The conclusions. Musical ethnoaesthetics as a component of traditional culture covers the semantic field of songs, concentrating on the structure, rhythmics and size of a poem, the richness of national melos, its intonation and tonality basis. Ethnoaesthetics of the folk song tradition of Ukraine is manifested in the uniqueness of the national expression, namely: vocal-timbre color of sound, in the peculiarities of intonation, freedom of metro-rhythmic movement, variability and melismatic richness. In O. Mukha’s works, the creation of the sound matter of the modern performance version of a folk song is based on the perception of song intonation as sound emotion and understanding of the boundless ocean of ancient symbols of the national musical language, which during centuries has crystallized in the folk song tradition. Her works grow out from the reflection on the national song culture and traditions of her family. Work on each ancient relict of tradition is based on discovering the potential of the power of its aesthetic, spiritual and emotional impact on listeners, perception of the stock of expressive possibilities.

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Pasitska, Oksana. "«TRADE LOCAL, BUY LOCAL, BE LOCAL»: AGRICULTURAL EXHIBITIONS AND FAIRS IN HALYCHYNA IN THE 20-30S OF THE 20TH CENTURY." Contemporary era 8 (2020): 19–27. http://dx.doi.org/10.33402/nd.2020-8-19-27.

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The article focuses on the exhibition activities of the Ukrainians, which were reflected upon in periodicals. In particular, it analyzes the organizational aspects and features of fairs and exhibitions of the agricultural products that were held upon the initiative of economic institutions and public organizations such as «Silskyi Hospodar» («The Farmer»), «Maslosoiuz», «Tsentrosoiuz», RSUK («The Auditing Union of Ukrainian Cooperatives»), «Soiuz ukrainok» («The Union of Ukrainian Women»), «The Ukrainian Folk Art» («Ukrainske narodne mystetstvo»), «The Hutsul Art» («Hutsulske mystetstvo»), «The Beekeeping Union» («Pasichnycha spilka»), «Rii» («The Swarm»), «Prosvita» («The Education») county unions, cooperatives, etc. Economic educational institutions also took part in the exhibitions. The first Ukrainian agrotechnical exhibitions were held in Stryi in 1909 and 1907, and later they took place in various Halychyna towns and villages, including Staryi Sambir, Dashava, and Sokal. Cooperative figures, such as D. Sembratovych, E. Olesnytskyi, O. Nyzhankivskyi, O. Lutskyi, A. Zhuk, M. Khronoviat, etc., played an important role in the organization of the given exhibitions. The article outlines the main functions performed by the exhibitions and fairs and the range of goods in demand among the visitors. Each exhibition was divided into separate sections, where the passers-by and the buyers could get acquainted with the results of work of the Ukrainian entrepreneurs and farmers in crop production, horticulture, vegetable growing, animal husbandry, beekeeping, crafts, and agricultural equipment. «Maslosoiuz» products, folk art products, and a wide range of medical products were especially popular at agro-technical exhibitions. Exhibitions and fairs were the manifestation of competitiveness in the local market, a factor of the region's economic and cultural development, as they were accompanied by entertainment and educational activities, including lectures, speeches, and presentations of new economic publications. Keywords: exhibitions, fairs, Halychyna, agricultural exhibitions and fairs

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Zlochevska, Yuliya. "Rola malowanych jaj w ukraińskiej obrzędowości." Polish Journal of the Arts and Culture New Series, no. 16 (2/2022) (November 30, 2022): 131–49. http://dx.doi.org/10.4467/24506249pj.22.013.16836.

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The Role of Easter Dyed Eggs in Ukrainian Rituals The article describes the phenomenon of one of the oldest and most significant fields of Ukrainian folk art ‒ Ukrainian Easter dyed eggs, represents the mythical origins of Easter dyed eggs, explains the process of making decorated eggs and highlights their role in Ukrainian folk ceremonies, mainly spring and Easter rites and traditions. In purpose to demonstrate the phenomenon of Ukrainian painted eggs, the author formulates a hypothesis from which it follows that the Easter dyed egg plays a very important role in Ukrainian rituals, both pagan springtime and Christian Easter. The article refers to the achievements of Ukrainian researchers in this area of study, notably the scientific studies of Mykoly Sumcova, Erasta Biniashevskiego, Vasylia Sapigi, Oleksy Voropaja and others.

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Pivtorak, Yuliya. "Ukrainian Hopak: From Dance for Entertainment to Martial Art." Congress on Research in Dance Conference Proceedings 2016 (2016): 299–305. http://dx.doi.org/10.1017/cor.2016.40.

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Hopak dance is one of the most visually recognizable symbols of Ukraine—either as a Soviet republic or an independent country. Men in bright colored sharovary pants performing virtuosic jumps in squatting position or effortless high leaps to stylized folk tunes is one of the most popular moving images that represent Ukrainian culture. During from the 1950s until recently, the hopak in Ukraine was performed almost exclusively as a stage dance art (unlike in diasporas where it has over time has taken on traits of social dance and event), connected with state celebrations.Starting in 1985, a new kind of hopak has been formed and implemented in Ukraine—military hopak. Its tradition is claimed to descend from the martial art of Zaporizhian Kossaks, which was lost during Soviet times and later rediscovered and renewed as specifically a Ukrainian martial art. It gained lots of publicity, fans, and practitioners in the 2000s, and it seemed that military hopak strived to replace the old, representational stage dance version of its practice, which emphasized playfulness and light-hearted character of Ukrainian folk. Hopak as a martial art refers to the heroic past of Ukraine, its identity, and uniqueness.

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Bernadska, Nina. "Historical and literary works of Leonid Biletskyi: diversity of scientific interests of the scientist." IVAN OHIIENKO AND CONTEMPORARY SCIENCE AND EDUCATION 20 (December 25, 2023): 146–55. http://dx.doi.org/10.32626/2309-7086.2023-20.146-155.

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The article analyses the historical and literary works of the famous Ukrainian liter-ary critic Leonid Biletskyi (1882-1955), written by him in the diaspora. They are both of various genres (textbook, literary portrait of a writer or scientist, preface), and colourful thematically: Ukrainian folk art, individual writers or characteristics of the achieve-ments of Ukrainian scientists. This work is addressed to diff erent audiences – school, academic, and the general public with the aim of popularizing Ukrainian literature and its best assets. L. Biletsky constantly emphasizes the idea of the inclusion of native writing in the world context, uses a set of methodologies that complement each other – biographical, cultural-historical, comparative. However, the philological one is funda-mental for him, which allows to characterize literary phenomena as self-suffi cient aes-thetic phenomena. Also, the scientist successfully combines historical and literary mate-rial with theoretical, considering the genre nature of the work, the specifi cs of literary trends, in particular, modernism. He, like his predecessors, begins the author’s course of the history of Ukrainian literature with folk poetry, involving a large mass of informa-tion about the anthropological, ethnographic, and national features of Ukrainians. In various genre texts about Ukrainian writers, L. Biletskyi explores the origins of their talent, place and role in the history of Ukrainian literature, peculiarities of style, genre system. In the portraits of famous Ukrainian fi gures, he emphasises their service to the Ukrainian idea, the originality of their contribution to science.

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Journal articles on the topic 'Ukrainian Folk art'

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