A decisive role in the cultural life of the Kuban in the 1920-1930s. played by the Bolshevik Party and Soviet authorities. Party building in the Kuban covered a wide range of people. The membership of the party grew steadily. In 1922 alone, 2028 people became communists. Bolsheviks, communists of Kuban actively participated in the public life of the country. 30 delegates from the Kuban-Black Sea Region and 5 from the Adygei Autonomous Region took part in the work of the 1st Congress of Soviets of the USSR. Among them: A.I. Mikoyan - Secretary of the South-Eastern Bureau of the Central Committee of the RCP (b), A.K. Abolin - Secretary of the Kuban-Chernomorsk Regional Committee, V.N. Tolmachev - Chairman of the Regional Executive Committee, D.P. Goon - the hero of the Civil War, Sh.U. Khakurate - Chairman of the Executive Committee of the Adyghe Regional Council, A.I. Meleshchenko - a compositor, A.V. Lebedeva-Repina - an obstetrician, and others. Among those elected to the Central Executive Committee of the USSR were also Kuban: Ya.V. Poluyan, A.K. Abolin, V.N. Tolmachev, Sh.U. Hakurate. The Regional Committee of the Central Committee of the RCP(b) sent R.S. Zemlyachka, a veteran of the revolutionary movement, A. Bulyga-Fadeev, an active party worker in the Far East. In the summer of 1924, he was elected First Secretary of the Krasnodar City Party Committee.

The Bolsheviks actively involved young people in social and political life. On March 28, 1920, a meeting of proletarian youth took place in the summer theater of the city garden of Yekaterinodar. The leaders of the party organization of the city and the political workers of the garrison spoke about the goals and objectives of the Union of Proletarian Youth. Cells of the Youth Union in the same year arose in Armavir, Novorossiysk, Sochi, Yeysk, in the Caucasian and Timashevsk departments. In mid-April, the formation of organizations in Novorossiysk began. On August 1, the I Kuban-Chernomorsk regional congress of the Komsomol took place. By this time, the Komsomol organization had grown to almost 10 thousand people. The Children's Pioneer Organization of the Kuban was founded in 1923.

From among the first leaders of the communist youth subsequently emerged major party workers, military leaders, and cultural figures. A. Chudnov became an employee of the Central Committee of the CPSU, secretary of the Volgograd regional committee, was chairman of the defense of the hero city during the Battle of Stalingrad. P. Lomako, who received a Komsomol membership card in 1920, was a minister and deputy chairman of the USSR Council of Ministers for many years. P. Ponomarenko, the leader of the Korenovsk Komsomol members, was in state and party work for many years, during the Great Patriotic War he served as chief of staff partisan movement country. L. Ilyichev, a worker at the Kubanol plant, was the editor of the Pravda newspaper for many years. G. Fish, organizer of Komsomol cells in Novorossiysk, became famous writer. In Armavir, the appearance of the first cells is associated with the name N.I. Podvoisky, one of the leaders of the October armed uprising in Petrograd.

The Soviet government attached great importance to the development of public education. Immediately after the Civil War, work began on the elimination of illiteracy ("literacy program"). In 1920-1921. started building a new public school. The 1st Congress of Soviets of the Kuban-Chernomorsk region decided "to recognize the tasks of public education as shock." Created emergency commissions opened schools and points for the education of the illiterate. In the interests of the campaign for the development of public education, the nationalization of bookstores and shops was carried out, books were confiscated from private individuals for the needs of new schools, and premises were freed up for new schools. The educational process has undergone major changes. By decree of the Kuban-Black Sea Revolutionary Committee, the teaching of religious beliefs in all state and public, as well as private educational institutions was stopped.

The results of the Soviet government's policy of eradicating illiteracy are striking. In the Kuban in 1920, 468,766 school-age children were illiterate. And in 1937 there were already 2498 schools in which all children studied.

In 1924, in the village of Slavyanskaya, the first school of peasant youth arose in which they also taught agricultural work. Education of adults was carried out at no less shock pace. Active work was carried out by the society “Down with illiteracy”. Already in 1931, 85% of the population were literate.

There were no kinks either. Thus, the forced Ukrainization of the Kuban in the 1920s, which affected all spheres of public life, including school, should be noted. In 1932, a decision was made to stop the Ukrainization of the Kuban, the publication of 20 Ukrainian newspapers and magazines was banned, radio broadcasting in the Ukrainian language was stopped, several schools were closed, and "Ukrainian" institutions were abolished. Books in Ukrainian were confiscated. In 1933, many writers, professors, students of the Pedagogical Institute and the Ukrainian branch of the workers' faculty were repressed, including writers V. Potapenko, G. Dobroskok, S. Grushevsky. Some emigrated later, including in the 1940s (V. Ocheret, N. Shcherbina, and others).

A lot of work has been done to develop education in the mountainous regions. In Adygea, in 1922, writing was introduced (based on the Cyrillic alphabet), which made it possible to start teaching in their native language, and in 1931, illiteracy was already eliminated among the Adygs.

After the establishment of Soviet power, the organization of higher and secondary vocational education began. In 1920, the first university in the Kuban was opened. After the reorganization, medical, pedagogical and agricultural institutes arose on its basis. By 1937, classes were conducted in 11 technical schools and colleges, 4 institutes. The number of Kuban students was 4196.

Well-known scientists in the country gave lectures at 3 universities. The first rector of the Kuban State University was N.A. Marx, a great paleographer. The organizer of the Agricultural Institute was A.A. Yarilov. The lecturers and teachers were famous scientists S.A. Zakharov, M.V. Klochkov, M.N. Kovalensky, N.A. Marx, N.F. Melnikov-Razvedenkov, P.E. Nikishin, I.G. Savchenko, S.V. Ochapovsky, V.S. Pustovoit, B.L. Rosing. It should be noted that in the 1930s pre-revolutionary professors were persecuted for political reasons, but it was the professional cadres of the “pre-revolutionary leaven” that played a decisive role in the initial stage of the formation and development of the Soviet intelligentsia. Already in 1932, the scientific potential of the Kuban made it possible to open the All-Union Scientific Research Institute of Oilseeds, which soon became world famous.

In the 1920s, the Caucasian State Reserve was created - one of the largest and most famous in the world.

In the 1920s continued to work artistic groups from among creative intelligentsia who arrived in the Kuban during the Civil War. Its representatives became the organizers of Soviet art, headed the departments of public education: musicians M. Erdenko, S. Bogatyrev, G. Kontsevich; artists S. Voinov, A. Junger, P. Krasnov; writers S. Marshak, E. Vasilyeva, B, Leman. The art department of Novorossiysk was headed by director V. Meyerhold, the poet A. Rostislavtsev also worked there.

On May 1, 1920, the "First Soviet Theater" was opened in Yekaterinodar. The theater business was led by the future famous artist and director V.E. Meyerhold. S.Ya. Marshak organized children's theater, whose work was warmly approved by A.V. Lunacharsky. In 1937, performances were staged in 11 theaters in the region, there were about 800 film installations, 71 cultural centers, more than 1600 clubs functioned. On October 1, 1920, the Kuban State Conservatory was opened.

During the NEP years, state funding for cultural institutions was reduced. About a third of art workers were unemployed. The orchestra of the Kuban Cossack army broke up (since 1920 - the state one). Educational institutions were removed from the state budget. Wages were not paid. By the mid 1920s. many creative people who came to the Kuban left the region.

The situation changed during the years of collectivization and Stalinist modernization. In the late 1930s 154 newspapers were published in the region with a total circulation of 350,000 copies. Of the central press, Znamya Truda, Krasnoye Znamya, Izvestiya, Pravda, Rabochaya Gazeta, Golos Rabochiy, the magazines Krasnaya Derevnya, Bezbozhnik, Krokodil, Krasnaya field”, “Peasant woman”, “Communist”.

The broadcasting network developed. 58 districts of the region were radio-equipped with 218 radio stations. In 39 districts, editorial offices of district broadcasting were created, releasing the latest news 10-15 times a month. There was a radio station for every 66 people.

In the late 1930s 1157 libraries operated in the Kuban, each book fund averaged 1-2.5 thousand books. When completing the library fund, serious attention was paid to socio-political literature - the works of K. Marx, F. Engels, V.I. Lenin, I.V. Stalin.

Agitation and mass art and monumental sculpture played a special role in the initial period of the development of Soviet culture. The art of designing revolutionary holidays, focused on the performance of the propaganda function in the 1920s, in the 1930s. develops into a glorification of the achievements of Soviet power. The art of sculpture in the Kuban before the revolution was not widespread, and in the first decade after the revolution in the cities of the Kuban, standard plaster-concrete sculptures, monuments in honor of the revolution and its leaders, were installed everywhere.

Soviet literature developed intensively. Major Soviet writers lived and worked in the Kuban. V. Vishnevsky began to study literature in Novorossiysk. The events of the Civil War are reflected in the works of A. Serafimovich and D. Furmanov. A. Fadeev wrote the first chapters of the book "Rout" in Krasnodar. N. Ostrovsky, the author of the books “How the Steel Was Tempered” and “Born by the Storm”, lived and worked in Novorossiysk and Sochi. The life and work of A. Gaidar, V. Mayakovsky, A. Perventsev, the satirist L. Lench, Ts. Teuchezh were connected with the Kuban.

In the Kuban, the tasks of the cultural revolution were successfully solved: the elimination of illiteracy, the construction of a new Soviet school, the training of specialists from workers and peasants. The life of the population of the Kuban has changed significantly. Many settlements received new names in the spirit of the time, the streets were renamed. For example, in the village of Krymskaya on May 1, 1921, the executive committee decided to rename the streets: Nikolaevskaya - in them. Lenin, Getmanovskaya - in the Soviet, Evdokimovskaya - in them. K. Liebknecht, Bagrationovskaya - to the Communist, etc. Revolutionary plays are staged in the villages by local creative teams, and cinematography is developing.

A large place in the cultural policy of the Bolsheviks was played by anti-religious propaganda, since atheism became state policy. The Soviet decree "On Freedom of Conscience, Church and Religious Societies", adopted on January 23 (February 5), 1918, deprived the church of the right of a legal entity, the opportunity to engage in charitable and educational activities, and to teach the doctrine at school. In February 1922, the All-Russian Central Executive Committee adopted a resolution on the seizure of church valuables to fight hunger. From 1918 to 1928 in the Kuban region the number of churches decreased from 667 to 510, all 3 monasteries were closed.

By January 1926, 201 anti-Soviet speeches on religious grounds were noted in the territory of the Kuban and the Black Sea

Introduction

CHAPTER I. ORTHODOXY AND FOLK CULTURE AS THE BASIC ELEMENTS OF THE SPIRITUAL LIFE OF THE EAST SLAVIC POPULATION OF THE KUBAN. THEORY AND GENESIS

1.1. Orthodoxy as the fundamental basis of spiritual culture 27-51

1.2. Genesis of spiritual life and folk culture 51-

1.3. Dialectics of Traditional and Modern in Folklore 57-66

1.4.Evolution of ethnocultural traditions 66-74

1.5. Stage forms of folk art 74-94

CHAPTER II. TRADITIONS AND DYNAMICS OF CALENDAR RITES AND SPELL CULTURE

2.1. Calendar Tradition 94-116

2.2. Calendar ritual folklore in the era of socialism and post-Soviet history 116-124

2.3. Conspiracy-ritual culture 124-142

CHAPTER III. EVOLUTION OF EVERYDAY (FAMILY CUSTOMS AND RITUALS OF THE RESIDENTS OF THE KUBAN)

3.1. The system of traditional family folklore... 142-162

3.2. Modern family rituals and holidays 162-172

3.3. Historical and genetic connection of calendar, family and non-ritual folklore 172-182

CHAPTER IV. TRANSFORMATION PROCESSES IN EXTRA-RITUAL ART FORMS OF FOLK CULTURE

4.1. Folk culture in the context of changing performing genres 182-234

4.2. Oral folk art as a catalyst for the transformation of spiritual life 235-258

4.3. Traditions and innovations in the gaming folk culture 258-269

4.4. Cultural evolution of fine and arts and crafts 269-287

Conclusion 292-301

Notes

List of sources and literature 302-332

Addendum 333-344

Introduction to work

The urgency of the problem. In the era of globalization, cultural symbols and forms of behavior are rapidly moving from one society to another. The electronicization of communication means makes it possible to transmit visual information over long distances, contributing to the formation of cultural stereotypes on a global scale. The expansion of the sphere of cross-border interactions between people, enterprises, markets leads to the leveling of ethical cultures. Feeling a threat to its cultural identity, humanity is increasingly experiencing the need to preserve national and regional specifics. In this regard, the problems of the local history of culture, its evolution and traditions are especially relevant.

In modern conditions, a contradiction is becoming more and more noticeable, which is expressed, on the one hand, by the assertion in the public consciousness of certain common cultural norms and values, and on the other hand, in people's awareness of their ethnic and cultural affiliation. This trend was revealed by the All-Russian population census of 2002: the idea of ​​creating a single nation "Soviet people" turned out to be untenable. The survey showed that society has a strong desire for national self-consciousness and originality. There were such variants of self-determination as "Cossack", "Pomor", "Pecheneg", "Polovtsian". The unity and spiritual enrichment of Russians is seen in the achievement of cultural diversity. Under these conditions, the study and dissemination of historical and cultural experience in its spiritual sphere acquires a special meaning.

At the same time, it should be recognized that negative moods are strong in society. The loss of socio-cultural guidelines, the discrepancy between value systems and living standards create a feeling of catastrophic existence, cause a feeling of inferiority and aggression. All this is inevitable

4 leads to social, religious and ethnic tensions. decision

The problem is hampered by the lack of evidence-based cultural policy.

It is quite obvious that the development of such a policy should be based on

taking into account the lessons of the past.

The possibilities for the formation of a new worldview paradigm in Russian society directly depend on how national roots are preserved. In this regard, it is necessary to create conditions for the self-development of traditional ethnic cultures that can serve as a moral guide for new generations. The expansion of the sphere of cultural life can and should occur through the inclusion of various segments of the population in socio-cultural creativity, the enrichment of interests and the development of initiatives. That is why, the study of the primordial traditions of folk culture and its evolution is of particular relevance.

The dynamics of ethno-cultural processes in the regions largely depends on how certain channels that transmit cultural information function. Traditions serve as a mechanism for the transmission of socio-cultural experience, allowing to preserve the spiritual heritage for quite a long time. An important role in solving this problem can be played by scientific conclusions and recommendations based on the study of folk culture, aimed at substantiating ways to optimize ethno-cultural processes in Russian regions. The lack of large-scale historical works in this area predetermined the choice of the topic - the history of the formation and development of the spiritual life of the East Slavic population of the Kuban on the example of the folklore of the region in the unity of its content and dynamic aspects.

Spiritual life, folk culture and its manifestations are studied by various scientific disciplines of the humanitarian profile - historical

5
science, philosophy, cultural studies, art history,

folklore, ethnography, aesthetics, etc. Each of them strives

form your subject of study. specific feature

study of this object is that folklore is the main

source for revealing the transformation of spiritual life in its basic

component. That is why, as an object of study, we

chose the spiritual life of the East Slavic population of the Kuban in

the process of its historical development, from the end of the 18th to the beginning of the 21st

century at its base - folk culture.

Subject of study: the relationship between traditions and the dynamics of folk

culture as an integral part of spiritual life and evolution

East Slavic folklore of the Kuban.

The chronological framework of the dissertation covers more than

bicentennial period: from the end of the 18th century to the beginning of the 3rd millennium. Choice

of these time parameters is due to the fact that from the beginning of colonization

edge, in the spiritual life of the Slavs of the Kuban, as well as in Russia as a whole, there were

quality changes. Once an original national culture,

based on the Orthodox faith, formed the foundation of the Russian

states. The ideals of the Russian people were the church, the family, traditional

values. Rejection of primordial spiritual traditions in favor of

supranational, universal, forced atheization of education and

education in the 20th century led society to devastation and decline.

Rejection of the religious foundations of culture and folklore traditions

past during the years of Soviet power, the imposition of liberal ideas on the people

West in the post-Soviet period - an example of how depersonalized and

the spiritual basis of society is artificially destroyed. The future of the country

its security, socio-economic development and position in the world

should be considered inextricably linked with the restoration

6 historical memory of Russian civilization, the revival and strengthening

national conservative outlook.

In the study of the pre-revolutionary state of the problem, we limited ourselves to geographical boundaries Kuban region, which included the Black Sea province (Chernomoriya) in the period from the end of the 18th century to 1917. In Soviet times, the administrative-territorial division was characterized by extreme instability. In the first post-revolutionary years, the region was called the Kuban-Chernomorskaya. By decision of the Presidium of the All-Russian Central Executive Committee of the RSFSR, in 1922, the Circassian (Adyghe) Autonomous Region was created at the expense of part of the Krasnodar Territory and the Maikop Department, which became part of the Kuban-Black Sea Region. Most of the Batalpashinsky department was transferred to the Terek region and the Karachay-Cherkess Autonomous Region.

In 1924, the Don, Kuban, Terek and Stavropol provinces, the city of Grozny, which was part of the rights of the district, the Kabardino-Balkarian, Karachay-Cherkess, Adygei and Chechen Autonomous Regions merged into the South-Eastern Territory with the center in Rostov-on-Don. In the same year, the region was renamed North Caucasian. In 1934, the region was subdivided. The structure of the Azov-Chernomorsky with the center in Rostov-on-Don included some areas of the Kuban and the Adygei Autonomous Region. The city of Pyatigorsk became the center of the North Caucasian region. In September 1937, the Azov-Chernomorsky Territory was divided into the Krasnodar Territory and the Rostov Region. (I) In 1991, the Adyghe Autonomous Republic became an independent subject of the Russian Federation. It is customary to call Kuban the territory of the former Kuban region and the current Krasnodar Territory, with the exception of part of the eastern regions that were ceded to the Stavropol Territory in Soviet times and part of the southern regions that are part of Karachay-Cherkessia.

7 Historiography of the problem. Problems of formation and development

spiritual culture of the Russian people are reflected in

cultural concepts of the Slavophiles K.S. Aksakov, (2) A.S.

Khomyakova, (3) N.Ya. Danilevsky, (4) learning-oriented

Orthodox Church about the interaction of the divine and the human in

personality. The idea of ​​a merger was fundamental to us

communality and catholicity as the most important prerequisites for the formation

national identity of the Russian people.

Theoretical approaches to understanding culture as a specific and integral organism were actively studied by representatives of religious metaphysics, in particular, P.A. Florensky, (5) P.B. Struve, (6) V.C. Solovyov. (7) The ideas of the supra-historicity and supra-social nature of spiritual principles developed by them allowed us to penetrate deeper into the essence of the works of folk prose and song folklore Christian content.

In the study and description of symbols, cults, the universal category of creativity, the experience of A.F. Losev, (8) M.M. Bakhtin, (9) and P.A. Florensky.(5) Philosophy of culture was presented by them as the basis on which humanistic values ​​and the principles of historicism are able to organically fit into a new worldview paradigm.

A great contribution to the study of the history of religion by the methods of hermeneutics was made by the French culturologist M. Eliade. (10) Other Western scientists were also involved in the development of the theory of the cultural genesis of ethnic groups and subethnoi. The experience of K. Levi-Strauss in the study of cultural structures made it possible to present rituals, totems, myths as a special kind of sign systems and to reveal the plurality of cultural forms. (P) K. Malinovsky believed that differences between cultures manifest themselves in fixed ways

8 satisfaction and the nature of the transferred needs. culture in such

appears as a collection of artifacts. Thesis

used the theoretical approaches developed by him to

functional analysis of culture.(12) In the study of stages in the development

culture, we relied on the philosophical works of H. Spencer, (13) O.

Spengler, (14) E. Tylor, (15) P. Sorokin. (16)

The value of views on the genre nature of oral works is indisputable. folk art V.G. Belinsky (17) and his associates Chernyshevsky (18) and N.A. Dobrolyubova. (19) The principles of the scientific collection of folklore developed by them became fundamental in pre-revolutionary domestic folklore and have not lost their significance to this day.

Comprehending the material on the history of Russian folklore, one cannot pass by the works of the founder of the mythological school in Russia F.I. Buslaev, who created his own concept of myth. (20) One of the first in domestic science the scientist convincingly proved that the past for traditional consciousness is the area of ​​universal ideas and moral values. Mythology was considered by him as part of the historical memory of the people.

Dedicated to an extensive study of myth-making

fundamental work of A.N. Afanasiev Poetic Views of the Slavs on Nature. (21) The scientist was the first to raise the question of the origin of myth in close connection with thinking. Of course, the researcher's contribution to the systematization and publication of Russian folk tales should be recognized as valuable. His contemporary, Slavic philologist A.A. Potebnya in his own way formulated and put forward a number of convincing arguments in favor of the myth as a way of human mental activity. (22) The dissertation also used the works of the head of the comparative school, literary critic A.N. Veselovsky, (23)

9 who discovered internal evolutionary patterns in individual

genres and areas of folklore. The conclusions have not lost their scientific significance,

made by him when comparing spiritual verses with calendar

customs and ritual folklore. Great importance for us had

works of D.K. Zelenin, who studied the cycle of calendar Trinity rites

using retrospective analysis. (24)

Philosophical aspects of the theory and history of culture were studied in the second
half of the 20th century and especially active in the 70s and subsequent years
Soviet scientists Yu.M. Lotman, (25) S.N. Artanovsky, (26) S.N.
Ikonnikova, (27) M.S. Kagan, (28) L.N. Kogan, (29) E.V.

Sokolov. (thirty)

With all the variety of concepts, scientists agree that culture is a complex system that is a subsystem of being. The formulated priority directions in the study of the problems of historical cultural studies serve as a guide in modern scientific research. (31)

General theoretical problems of folklore were studied by Yu.M. Sokolov, (32) V.Ya. Propp, (33) D.S. Likhachev, (34) K.S. Davletov, (35) V.E. Gusev. (36) Of particular importance for us were the works devoted to issues of a private nature. P.G. Bogatyreva, (37) I.I. Zemtsovsky, (38) Yu.G. Kruglova, (39) I.A. Morozov,(40) A.F. Nekrylov, N.I. Savushkin,(41) K.V. Chistov. (42) Their experience made it possible to understand the logic of the historical and structural transformation of folklore.

An important role in the study of the folk culture of the Cossacks was played by the Society of Lovers of the Study of the Kuban Region (OLIKO), founded in 1896, which brought together historians, writers, and artists. The archivist took an active part in its activities.

10 Kuban Regional Board M.A. Dikarev, regent of the Troop

Cossack army "F.A. Shcherbina. Released in Yekaterinodar in 1910,

1913 work of a historian, contains extensive information about mores and

interethnic interaction of Kubans. (43) The work turned out

incomplete, the scientist was forced to leave his homeland and live in

emigration. The main legacy of the society that lasted until 1932

A large group of published works on the research
problem are historical and ethnographic materials related to
to the second half of the 19th - early 20th centuries, in which there are barely
or not all genres and types of folk art of the Kuban. The variety of topics
artistic images, poetic devices, bright colorful language
characterize this layer of folk art culture. Thanks to
thanks to the efforts of collectors and researchers, thousands of
monuments - true masterpieces of folk art. Work on
fixation and study of folklore was led by the Caucasian Department
Imperial Russian geographical society. She was attracted
administration of the Kuban Cossack army, local intelligentsia and
clergy. (44) The first historical and ethnographic description

public and family relations, crafts, objects of material culture was made by I.D. Popka in the book "Black Sea Cossacks in civilian and military life". (45)

In 1879 E.D. Felitsyn published the author's version of a comprehensive program of statistical and ethnographic description of the populated areas of the Kuban region. On its basis, P. Kirillov, K. Zhivilo, D. Shakhov, V.V. Vasilkov, T. Stefanov and others collected the richest factual material on the cultural history of the Kuban. (46) He

11 concentrated mainly in a series of issues under the titles

"Collection for the description of localities and tribes of the Caucasus" and in "Kuban

collection", published in Tiflis and Yekaterinodar, starting in the 80s

The first attempts at an analytical approach to song folklore are found in the publication by E. Peredelsky “The village of Temizhbekskaya and the songs sung in it”, published in 1883. developed a classification of household and ritual songs. Unique information about the existence of a folklore theater in the Kuban is contained in the diary of V.F. Zolotarenko, superintendent of the Ekaterinodar Theological Parish School and the records of the teacher of the Rodnikovskaya stanitsa school L.K. Rozenberg. (48)

Throughout the first half of the 20th century, the collection and systematization of works of folk art was carried out by individual enthusiasts from among amateurs, scientists and representatives creative professions. A purposeful comprehensive analysis of the traditional culture of the Kuban began only in the 30-50s. The result of the ethnographic expedition, undertaken by the staff of the Institute of Ethnography of the USSR Academy of Sciences and Moscow State University in 1952-1954, was the collective monograph “Kuban Villages. Ethnic and cultural processes in the Kuban”. The book was published in 1967 in Moscow. (49) During the expedition, the Kuban dialects, the ethnic composition of the population, objects of material culture were studied quite deeply, but ritual and non-ritual folklore are presented very schematically and fragmentarily. It is obvious that ideological factors affected the results of the work in this part. However, the study found a clear

12 dynamics in the traditional culture of the East Slavic population

Kuban: share of traditional cultural forms during the Soviet period

decreased, they were replaced by organized leisure in the form of

amateur performances and professional tours

teams.

The SI monograph is devoted to the richest traditions of choral performance. Eremenko "Choral Art of the Kuban". (50) The chronological range of the study covers almost two centuries and contains valuable information about the features of home ensemble singing, about regimental song traditions, about the concert and performing activities of the Military Choir (1811 - 1917), Kuban - The Black Sea Choir (1918 - 1921), the Kuban Vocal Quartet (1926 - 1932), the State Kuban Cossack Choir for the period from 1969 to 1977. A significant part of the materials is devoted to the amateur choral movement, the work of the regional House of Folk Art and the branch of the All-Russian Choral Society.

Among the most famous names of the last three decades of the 20th century, V.G. Komissinsky and (51) I.A. Petrusenko, (52) who made a significant contribution to the development of historical and theoretical problems of the folk song art of the Kuban. Musicologist A.A. Slepov, (53) and a collector of Kuban ditties, dance songs and melodies I.N. Boyko (54), known to the Kuban people for his numerous stories and tales about fellow countrymen.

The works of choreographer and folklorist L.G. Nagaitseva. (55) The most significant for us are the approaches of the scientist to the combination of folk Kuban dance and secondary forms of choreography.

13 The study of trends in the development and renewal of folklore

are engaged, starting in 1987, by employees of the Center for Folk Culture

at the Kuban Cossack Choir under the direction of N.I. Bondar, annually

undertaking scientific expeditions to various regions of the region.

The research strategy is based on the methodological principle

unity of all stages of the research process (collection - archival

processing - study - edition). Expeditions are given a comprehensive

character. The range of recorded species and genres has significantly expanded

folklore. The collected materials are actively introduced into scientific circulation.(56)

Given the "mosaic" of the traditional culture of the Kuban, which is due

the complexity of the settlement of the region, polyethnicity and polyconfessionality

population, ethnographers strive for a complete survey of cultural

zones. Along with the Kuban theme, the problems of

ethnic and cultural history of the Don, Terek, Ural, Siberian,

Far Eastern Cossacks. Fundamental work published in 2002

"Essays on the traditional culture of the Cossacks of Russia", is dedicated to the decision

both general and particular issues related to individual phenomena

cultural past of the regions. (57)

Since the late 1980s, and especially since the official

rehabilitation of the Cossacks, the attention of historians, ethnographers, philologists,

folklorists to the history and current state of the traditional

culture of the Kuban intensified. Versatile and objective lighting

problems presented at conferences of regional and international

level. It has become a tradition to regularly hold Dikarevsky readings, (58)

Kuban literary and historical readings, (59) conferences on

problems of culture and informatization on the basis of research

center at the Kuban Cossack Choir, in the Kuban State

University, Krasnodar State University of Culture and

14 arts, (60) in the Armavir and Maykop state

pedagogical institutes.(61)

In recent years, a number of candidate and doctoral dissertations of a general theoretical and applied nature have been defended (62), monographs have been published on the problems of the traditional culture of the Kuban and the ethnic history of the Cossacks (63). Lyakh and N.G. Denisova, N.G. Nedvigi. (64).

At the same time, the issues of interaction between traditional Kuban folklore and stage forms are still poorly studied. As a rule, scientists limit themselves to standard time frames: the end of the 18th - the beginning of the 20th centuries. At the same time, the history of the folk culture of the Cossacks did not end with a revolution and a civil war. In the 20th century, the historical and cultural process experienced a powerful influence of ideological, economic, and integration factors. Folklorism developed rapidly, many genres of authentic folklore were transformed. Understanding the dynamics and interaction of these two layers of culture makes it possible to identify their content aspects and the course of cultural evolution, as well as the stability and adaptability of cultural forms to new realities.

Unlike many works on the cultural history of the Kuban, we focused on the study of the formation and development of East Slavic folklore, its structure and functions, and the processes of interaction with secondary forms of spiritual culture. The specificity of the presented work lies in the fact that two spectrums of analysis - authentic folklore as the fundamental basis of folk culture and folklorism - are not divorced, but are considered together and mutually influence each other.

15 Appeal to traditional East Slavic folklore

population of the Kuban and secondary forms of its existence from the standpoint of

history is an objective social need. It is conditioned

the need to improve cultural policy, the effectiveness

which directly depends on the use of scientific ideas. To

To fill this gap, we undertook our own research.

Purpose of the study- analysis of the content and dynamics of folklore

East Slavic population of the Kuban as a basic element of the spiritual

culture and secondary forms of cultural practice that are in

interaction and mutual influence in the course of historical development.

The historical approach involves the study of value-normative

ideas, ideas, methods of symbolic and subject-material

incarnations that took place in different periods of cultural history

region. These essential components of spiritual culture allowed

ethnocultural community to realize itself as an integral organism and

maintain their identity for a long time. For

sciences are important and technologies of practical handling of values,

symbols, meanings, forms of their maintenance, renewal and transmission from

generation to generation. With this approach, they acquire their

methodological status of the bearers of spiritual traditions.

The organic connection between the value-normative system,

forms of functioning and social transmission within

specific ethno-cultural organization, makes it possible to see

transformation of spiritual culture as a constantly flowing and

unfinished process, accompanied by a change in cultural paradigms

and technology for their implementation.

Research objectives:

1. Identify the role of the Russian Orthodox Church in the organization

spiritual life of the East Slavic population of the Kuban.

2. Characterize the multifunctional nature of the traditional
folklore and mechanisms for the transfer of cultural experience.

Determine the historical boundaries of the existence of the Kuban folklore and folklorism, analyze the reasons for the transformation of regional traditions of folk culture.

To study cultural forms, social base and tendencies in their preservation and improvement.

To comprehend the qualitative changes that have taken place in the spiritual culture of the East Slavic population of the Kuban over the past two centuries.

Formulate ways to preserve the cultural specificity of the region in the context of integration and globalization.

Source study base of the study includes written documents stored in the state archives of the Krasnodar (GAKK) and Stavropol Territories (GASK), the Russian State Historical Archive (RGIA), the Krasnodar Historical and Archaeological Museum-Reserve named after E.D. Felitsyn. These include materials on the establishment of the Russian Orthodox Church in the Kuban: legislative and administrative acts of the Holy Synod and diocesan authorities on the main stages and features of church administration in the region. Among the documents of particular interest are the reports of the clergy on the state of religious and moral education of the civilian population and in the troops, on the number of Orthodox and schismatics, on the protection of ancient monuments, and statistical information on the diocese. (65)

The most important symbolic part of the national culture is Orthodox churches and the shrines stored in them, church rites and folk

17 Orthodox traditions. Archival documents record the events

related to the history of temple construction in the Kuban. Among them -

descriptions of church relics of the Zaporizhzhya Sich. Wide spectrum

activities of the church are documents about religious feelings and

worldview of Orthodox believers, information about donations

ordinary parishioners and the military elite, material support and

communication of clergy and clergy with the flock. (66)

A wide layer of the history of the spiritual culture of the Orthodox population of the Kuban is presented in acts and office materials on the establishment, construction and economy of monasteries, on the participation of monks in education, missionary work, social charity and the improvement of parishioners. (67)

Exploring documentary sources, we paid attention to their scientific significance, objectivity and completeness of the reflection of the problem. Preference was given, first of all, to the originals.

The second group of sources includes published collections
folklore works (songs, folk prose, small folklore
genres, games and fun). Some of them contain collectors' comments.
Analysis of musical, textological, genre and specific material
produced by us with the help of various methods of cognition:
inductive and deductive methods, analogies, descriptions,

classification, typology, etc.

Of particular value to us are the recordings made in the early 1980s by E. Peredelsky. The collector managed to record more than a hundred verbal and musical texts of everyday and ritual songs known in the village of Temizhbekskaya, many of which are unique. (68)

In the last years of the 19th century, 14 editions of the songs of the Black Sea, Linear and Terek Cossacks were published, edited by A. D. Bigdai, in

18 which contains more than five hundred works for voice and choir.

Of great value to us were also collections of folk

Kuban songs in the processing of the regent of the Military Choir G.M.

great rarity. And the more encouraging is the fact that, thanks to the efforts

artistic director of the State Academic

Kuban Cossack Choir V.G. Zakharchenko, they again saw the light in a new

musical and textual editing, giving a vivid idea of

original song art of the Kuban people. (69)

At the beginning of the 20th century, on the recommendation of the Ukrainian composer N.V. Lysenko, a graduate of the Kiev Theological Academy A. A. Koshits arrived in the Kuban. (70) Collected by him folk songs failed to publish, the revolution began, then the civil war, followed by years of wandering in exile. The handwritten collection of Kuban song folklore is in a private collection and is waiting for its research. Some of the materials were published in the monograph by I. A. Petrusenko. (71)

Starting from the 60s of the 19th and early 20th centuries, the newspaper Kuban Oblastnye Vedomosti regularly published correspondence from the localities, which described the manners, customs and rituals of the Kuban people. Of these, more than three dozen publications belong to a teacher from the village of Rodnikovskaya L.K. Rosenberg. The book “Among the Kuban” published by him in Ekaterinodar in 1905 contains rare information about the Cossack culture: methods of folk medicine, customs and beliefs, texts of conspiracies, legends and much more. (72)

The poet and folklorist A.E. Piven. Together with the Volunteer Army, he left his homeland and spent most of his life in exile. Until recently, his collections

19 were known to a wide readership. Only in the last

years, there was an opportunity to get acquainted with rare in style and

genre of folklore works in the record of the collector. (73)

Local expeditionary work to collect folklore was carried out in the Cossack villages in the first decades after the revolution, but information about them is very scarce. (74) A large-scale campaign to search for and record works of Soviet folklore, launched at the initiative of party bodies, did not pass by the Kuban either. In the early 1930s, employees of the Institute of Anthropology and Ethnography of the USSR Academy of Sciences arrived in the region. The result of their work was a collection of songs about the civil war. (75) With the same goal in different time composers A. Mosolov and A. Novikov (76) came from Moscow. Local artists were also involved in collecting. (77) Big collection rare works of folklore of the Nekrasov Cossacks, who lived in the Primorsko-Akhtarsky region of the region, were collected by a folklorist from Rostov-on-Don F.V. Tumilevich. .(78) Shortly after the war, employees of the regional historical and archaeological museum made a scientific trip to the Nekrasovites. (79) In the 60s, the poet I.F. Barabbas.(80) However, it should be noted that many collections and publications of the pre-war and post-war period suffer from a common drawback - the absence of musical tunes. The authenticity of a significant part of folklore texts is also doubtful due to the admissibility at that time of editing records and writing “under folklore”.

Opportunities in the study of song traditions expanded after the publication of the book by V.G. Zakharchenko “Songs of the village of the Caucasus, recorded from Anastasia Ivanovna Sidorova.” authentic culture in the process of collective

20 creativity. (82) The result of many years of collecting work was

two-volume edition by V.G. Zakharchenko, containing a variety of genres and

artistic style folk songs of the Kuban. (83)

Folk prose and small folklore genres are represented by separate editions and single texts. The most diverse publications in terms of content and structure include “Legends and were of the Black Sea region” and compiled by L.V. Martynenko collection of proverbs, sayings and riddles of the Kuban. (84)

Search and forwarding practice acquired a regular character in the 70-80s. It was attended by employees of the Krasnodar Historical and Archaeological Museum-Reserve and students of the Krasnodar State Institute of Culture.(85) The collected materials are still stored in the museum's archives and have been poorly studied. The search and fixation of the Kuban folklore in subsequent years was carried out by the center of folk culture, operating on the basis of the State Academic Kuban Cossack Choir. Publications are valuable sources. recent years. (56,58)

Most of the field material presented in the dissertation was collected by the author in various territorial zones of the Krasnodar Territory. (86) To obtain an exhaustive description and recreate an objective picture of the current state of the East Slavic folklore of the Kuban, we turned to living people - the bearers of folklore traditions. At the preparatory stage, the texts were passportized and their condition was assessed: the quantitative and qualitative composition of genre varieties, repertoire, and manner of performance were analyzed. As a method of collecting cultural information, visual observation was used: attention was paid to the gestures, facial expressions, and intonations of the performers. Entries

21 provided with detailed comments. During the preliminary

research, we sought to trace the process of reorientation of genres and

the influence of secondary forms on authentic folklore. In progress

direct perception and direct registration of all factors

concerning the object under study, we sought to exclude personal

attitude towards them. The observation was carried out in a natural setting with

direct contact with informants. At the stage of collecting specific

empirical material was fixed in special

observation cards provided with digital indexes. This

facilitated recording, and subsequently simplified data processing and analysis.

When studying, for example, calendar and family rituals

the time, place and sequence of the performance of rituals, gender and

the age of the participants, the specifics of attributes, costumes, ritual food,

scenarios and programs of performances of stage groups.

The ordering of data according to similarity criteria made it possible to group

information and bring individual facts into the system. Apart from

phonetic sources (tape and video recordings),

iconographic materials were used (drawings, reproductions,

photographs, paintings).

Methodological basis of the dissertation. The complexity of the object and the nature of the tasks set necessitated the use of the complex methods. One of them became system method, which made it possible to consider Kuban folklore as an open dynamic system with many subsystems that are closely interconnected, mutually influencing and complementing each other.

genetic method created the conditions for understanding the etymology of the content and meaning of folk beliefs, poetic images, genres, the evolution of cultural phenomena in time and space.

22 functional method made it possible to identify changes

occurred in certain cultural objects, as well as comprehend them

as specific units. The fact that in the course of history

culture, these objects performed many functions, it required extremely

careful analysis of their nature and meaning. East Slavic

folklore of the Kuban was conceived as a unique, integrated system, all

parts of which perform mutually agreed functions. To identify

dynamics of spiritual culture, it was necessary to analytically divide it into

a number of aspects - a system of knowledge, beliefs, morality, various ways

creative expression, etc.

result comparative historical method

was the history of spiritual life in a certain time interval.

The method is based on comparing similar data in order to study

historical ties and the environment that shaped and modified

folk culture. The research conducted in this perspective allowed

reveal more fully the true meaning and value of folklore, its relationship with

historical reality, place and role in people's life.

The historical way of interpreting culture involves the description

chronological series of individual phenomena, showing how

elements of culture have become such in the process of their development and their connection with

certain conditions and past events. (87)

Via linguistic method studied the "language" of folklore texts and their role in the functioning of the mechanism for the exchange of cultural information. Textual analysis helped to establish a number of factors that influenced the course of the cultural history of the Kuban.

Semiotic method requires consideration of works of folk art as a result of sign activity: coding of culturally significant information, storage, distribution,

23 reproduction of knowledge and cultural experience, impact on consciousness

iconic means. combination of verbal, musical and

visual sign systems created the prerequisites for a more complete

A flexible combined technique made it possible to find out the features cultural objects, their internal and external relations, the specifics of functioning. Understanding the logic of the dynamic changes that have occurred in the spiritual culture of the East Slavic population of the Kuban helped to formulate the general patterns of the transformation of old and the emergence of new cultural formations in the course of the historical process.

Scientific novelty of the research consist in explaining the causes of dynamic shifts in folk culture, typical for a particular period of the cultural past of the region. It is proved that changes in the structure of traditional folklore and its interaction with secondary forms (folklorism) are associated with the influence of the external environment and processes occurring within the system. The author's concept of the transformation of folk culture allows us to interpret the history of the origin and development of cultural space in the Kuban in a new way.

The dissertation for the first time formulated a systematic idea of ​​the originality of the East Slavic branch of regional folklore as a basic component of the spiritual life of the Cossacks. The involvement of the scientific data obtained by the author made it possible to critically rethink a number of fundamental issues relating to the worldview context of folk culture, the classification of genres and types of folklore of the Eastern Slavs of the Kuban, which does not exist in such a full volume. Scientific novelty is also determined by the fact that

24 for the first time, numerous archival data were introduced into scientific circulation and

folklore sources. With their help, clarified and interpreted

individual facts of the cultural history of the region, especially the Soviet and

post-Soviet periods. This is the first generalizing work that does not have

analogues in national history.

The practical significance of the dissertation due to the possibility of using the ideas and conclusions of the author in the activities of centers of national cultures, departments and scientific and methodological centers of culture and art, in the educational work of amateur and professional groups.

The research materials form the basis of the basic courses "Folk Art Culture" and "Folk Holidays", special courses "Folklore of the Kuban Slavs" and "Modern Festive and Ritual Culture of the Region" at the faculties of traditional culture and arts, socio-cultural activities in the training of teachers of world art culture , managers of social and cultural activities and creative specialists.

Basic provisions for defense.

1. The spiritual life of the Slavs of the Kuban in its origins was determined
Orthodox beliefs and traditions of folk culture, in
in particular, authentic ritual and non-ritual folklore.

2. The specifics of the Kuban East Slavic folklore, the basis
which were the cultural traditions of the Cossacks, developed under
the influence of the military-territorial structure, class affiliation,
historical experience, geographical and natural conditions. Authentic
folklore, reflecting the deep processes in the individual and
collective consciousness, ensured the integration of subjects of cultural

25 life, created the prerequisites for the perception of the past, present and

future, acted as a means of universalization of ideas.

3. As the formation and historical existence of local

communities within the territorial, intercultural and multi-ethnic

spaces in authentic folklore, qualitative

changes. This process was step by step.

4. The beginning of cultural genesis was determined by the needs of the population in
preserving and maintaining the traditions of the metropolitan countries. In the personality type of a Cossack
organically combined inherited religious and cultural forms
ancestors - warriors and farmers. The Energy of Cultural Preservation
heritage was concentrated in traditional beliefs, customs and
rituals, musical, choreographic, verbal, game genres, in
folk arts and crafts. Completion of the first stage
coincided with the end of hostilities in the Trans-Kuban region and meant an offensive
limit in the qualitative restructuring of the nature of authentic folklore.

5. The second half of the 19th century became a time of active dynamic
the development of a subculture that is constantly in need of innovation.
The dominant property of the Slavs-Kubans was liminality -
the need and ability to go beyond cultural traditions.
The traditional folklore that developed within the boundaries of the Cossack class,
actively absorbed the spiritual values ​​of other ethnic and social
groups. The decisive role in this process was played by new "countercultures" -
youth, women, Cossack elders, intelligentsia. This stage
was marked by the expansion of the genre-species composition due to the parameter
area and quality. Covering various forms of cultural
creativity, folklore was a self-organizing and
a system developing in the historical process, each element of which
occupied a certain place and was in interaction with others

26 elements. A stimulating role in this was played by the initial

education, book and newspaper business, breaking down class barriers,

introduction of new ways of managing, changes in the structure and

first formed, and then emerged from it stage forms

folk art. School institutions became the basis of folklorism,

holiday fairs, public and officer meetings, clubs. V

mass forms of leisure have turned into folk theatre, choral and

instrumental performance. Replication of handicrafts,

the expansion of urban fashion and the culture of neighboring ethnic groups accelerated the process

transformation of folk traditions. New genres have emerged

forms of creativity: songs of literary origin, everyday dances with

elements of secular and highland dances, theatrical mass

representation. At the same time, the genres of historical and

round dance songs, calendar and family folklore.

The third stage in the development of regional folklore began with the establishment of Bolshevik power in Russia. Already in the first decades artistic creativity the popular masses purposefully given an organized character. performing arts was considered by the ideologists of socialism as an effective way to control the mass consciousness. The development of amateur and professional forms of art oriented towards folklore hampered the intervention of state structures in the creative process of the masses and the establishment of uniform criteria for evaluating the activities of amateurs and professionals.

At the fourth stage (60-80s), the evolutionary possibilities of the festive and ritual culture were exhausted, the sphere of existence of non-ritual folklore was reduced. The transformation was accompanied

27 further destruction of the semantic core, weakening of the functions

recreation, reproduction and transmission of authentic folklore.

At the same time, the modernization of rural and urban socio-cultural

environment, shifting the mechanism of transmission of folklore traditions towards

indirect contacts (printed materials, radio, television)

intensified the search for and introduction into everyday life of the lost forms of folk

creativity. Demand turned out to be original handicraft products,

collecting, scenic forms of creative embodiment,

allowing for individuality.

8. The last fifth stage in the dynamics of the system came in the 90s
XX century. Catalysts at the interface of traditional interaction
folklore and the external environment served as the processes of globalization,
urbanization, the influx of migrants and, as a result, the violation of ethnic
balance in the region.

9. The system of authentic folklore strives for maximum
sustainability. The ability to self-reorganize is possible with
condition of non-interference in the mechanisms of its functioning,
providing the bearers of folklore traditions with complete freedom
creativity.

Approbation of work. The main provisions of the dissertation were discussed at regional and university conferences, published in university, central Russian and foreign publications. The results of the study are reflected in the monograph "Folklore of the East Slavic population of Kuban: historical and cultural analysis". Scientific and methodological materials are presented in the book "Stage Forms of the Kuban Folklore", tested in the work of amateur and professional teams working in the Southern Federal District.

28 Structure and scope of work. The dissertation consists of an introduction,

four chapters, 15 paragraphs and a conclusion, with notes,

a list of references and sources of 505 titles and an appendix.

Orthodoxy as the fundamental basis of spiritual culture

The Cossacks, as a specific social group of pre-revolutionary Russia, were distinguished by their special religiosity and adherence to the Orthodox faith. When enlisting in the army, a prerequisite for the Gentiles was the acceptance of the sacrament of Baptism. It was in the Cossacks that patriotic ideas, churching, sacrificial readiness to defend the primordial spiritual traditions were successively preserved.

History gave the Cossacks a leading role in the arrangement and protection of the outlying borders of Russia. So it was in the Kuban, where in September 1792 the first settlers arrived as part of the Black Sea Rowing Flotilla under the command of Savva Bely. On the occasion of a successful landing on Taman, a thanksgiving service was served, in which the entire army took part. The assembled Cossacks were read the text of a letter of commendation from Her Imperial Majesty Catherine II. The ceremony was accompanied by cannon and rifle fire. Bread and salt was distributed among all Cossack kurens. (one)

In the same place on Taman in 1794, the construction of the first parish church of the Holy Intercession began. Researchers believe that it rose on the foundation of an ancient temple built by the Tmutarakan prince Mstislav Udaly in 1022.(2) The church kept ancient monuments found on the Taman Peninsula, ancient books - the Bible and the Liturgion of 1691, which belonged to the first priest of the church, Pavel Demeshko. A particularly revered military shrine was the Holy Cross with a part of the tree from the Holy Life-Giving Cross.

In Yekaterinodar in the 90s of the 18th century, services were corrected by Hieromonk Anthony in the field Holy Trinity Church, donated to the Black Sea Cossack army by Prince G.A. Potemkin. (3) The church was brought disassembled and placed on the Fortress Square. It was sewn from white canvas and stretched over wooden poles. The iconostasis was painted on canvas. The church operated until the construction of the military Resurrection Cathedral, then it was located in the porch of the new church.

The laying of the Ekaterinodar Cathedral of the Ascension of Christ began in 1800. It was built on the model of the temple that existed in Zaporozhye Kosh, but larger. Construction ended seven years later. The remnants of rich utensils, sacristy, books of old printing, gospels of expensive decoration were inherited by the cathedral from the Mezhyhirya Zaporozhye monastery. . Among the gift items were also a cross purchased at the expense of the ataman Zakhary Chepiga; donated by the military judge Anton Golovaty, the Gospel set in silver and gilding, bells, church utensils and much more.

During military holidays, Cossack regalia were delivered to the parade site. When carrying commemorative symbols, the escort platoon and musicians, bypassing the church on the eastern side, occupied the places indicated by the head of the parade. Here stood the timpani removed from the saddle, calling for the Cossack circle of the still Zaporizhzhya Sich. The banners of the units were attached to the military banners. Together with the letter they were brought to the church. The letter was placed on a specially prepared table, and the banners were installed at the right kliros. After a memorial service for the late Empress Catherine II and the deceased chieftains of the Black Sea Cossack army, a thanksgiving service was performed for the health and long life of the Sovereign, Empress and the Emperor's Heirs. Then the chief of the military headquarters read out the Highest Diploma granted to the Black Sea Army on June 30, 1792, after which the units went through a ceremonial march. (5)

calendar tradition

In order to avoid ambiguity and not complicate the subject of research, let's define scientific concepts, which we will refer to repeatedly below. The fundamental culturological category, born in the depths of the ontological concept of culture, is a cult, representing, according to the representative of the teaching of religious metaphysics P. A. Florensky, a certain first act of life. The cult predetermines and directs the whole set of practical and theoretical actions of a person, acts as the beginning and core of culture. The process of the genesis of culture first takes the form of a cult, then a myth that verbally explains the action and necessity of a cult in the form of concepts, formulas, terms. (254, p.390)

Another basic category - ritual - is a stereotyped form of human behavior, colored with sacred mythological meaning. The behavioral ritual is also characteristic of animals, but for animals it is instinctively given motor skills, while the ritual performed by a person is imbued with spiritual ideas, images, and fantasies. The evolutionary meaning of ritual human behavior is determined by repeated actions, strict rhythm, acceptance of movements, communicative load, symbolism.

A simpler type of cultural regulation is the custom, which is formed on the basis of integral and habitual patterns of behavior performed for a certain reason at a certain time and in a certain place. (132, p.328-329) The concept of custom includes such behavior that all members of the community adhere to under any circumstances. Violation of a custom may result in sanctions, 120 ranging from disapproval to various forms of punishment. The custom performs the function of a mandatory pattern of behavior and can be both positive and negative.

Customs performed in a certain place and at the right time for one reason or another are called rites. Rites are more formalized than customs and are associated with the performance of certain magical actions. The rite, according to V.Ya. Propp, there is "an imitation of reality, which should bring the depicted reality to life." (201, p.39)

Ethnographic materials of the 19th century indicate that the East Slavic population of the Kuban preserved and supported the calendar customs and rituals that had developed in the metropolises. The year was divided into two periods - summer and winter. The solstices served as the critical points of the year. The time of the winter solstice and the beginning of the year was considered the holiday of Kolyada, which coincided with the Christian Christmas. The holiday of Ivan Kupala was considered the summer frontier. The middle of the solar path in the spring fell on the Annunciation, the winter - on the Exaltation. The boundaries in the diurnal change were morning and evening dawn, noon and midnight. (245, pp. 17-27)

The ideas of the people of the traditional society about the Universe and the natural elements were contained in folk tales. From the point of view of mythological consciousness, the world moves in endless circles of time from one critical point to another. These points correspond with the solstice, the most dangerous time of the year - chaos, fraught with catastrophes for people. Every moment in the daily, yearly or epochal dimension has sacredness and value. From this comes the idea of ​​bad and good days and hours. The folk tales contained a description of each day and a list of rules necessary for fulfillment: when to start and finish business, when to indulge in rest and entertainment. At critical points of the daily cycle, conspiracies and spells were read, at midnight and before sunrise they risked meeting with evil spirit. The idea of ​​cyclicity and the inevitable cessation of the flow of time (the end of the world) was adopted by Christianity. Eschatological views carried a deep ethical and educational charge.

The system of traditional family folklore

The Zaporozhye Sich were a brotherhood free from family ties. The familyless "orphan" was in the lower layer of the community, and in the top command. There were many of them among the settlers who rushed to the Kuban. Military prowess, democracy, commitment to the freemen were considered the priority values ​​of "chivalry".

In the first decades of colonization of the region, the number of men in the mass of immigrants prevailed. To ensure population growth, the military administration was forced to take drastic measures: it was forbidden to give brides and widows "to the side." There were also economic incentives. Thus, the size of land allotments directly depended on the number of men in the family.

Relations in Cossack families were determined by the specifics of the border region and class traditions. In addition to military service, the main occupations of the male population were agriculture and cattle breeding. Only a few farms worked part-time by seasonal fishing. A characteristic manifestation of the isolation of the Cossack life is marriages, concluded mainly in their own environment. It was considered shameful to enter into kinship with non-residents. Mixed marriages with representatives of other social and ethnic groups became common only in the Soviet years.

Patriarchal families, for the most part, consisted of 3-4 generations. Such a picture was observed, first of all, in the linear villages. The impetus for the formation of a large family was the unwillingness to split up possessions and property. The undivided family, which consisted of parents, married sons and their children, retained the specific features of the age-old way of life: a common economy, collective property, a common cash desk, collective labor and consumption. The older man supervised the household work, represented the interests of the family at the meeting, managed the family budget. The survival of the family depended entirely on him. The younger members of the family meekly obeyed the elders.

According to the provision on military service, men from 20 to 45 years old were required to serve “in a hundred” for one year, and to be on benefits for another. The establishment had its pros and cons. The Cossacks who left for the service, who did not have a father and brothers, left the household in the care of their wife. Without a man, the economy fell into decay. The current situation was beneficial for those who lived in a large family. The two brothers were never commissioned at the same time. While one was in the service, the other worked for the benefit of all.

In the 70s of the XIX century, this order was abolished. Now the Cossack, who had reached the age of twenty, was obliged to serve five years in the border service, in order to then go on benefits. In this situation, there was no holding power in preserving the family. After the service, and sometimes even before it, the brothers began to divide the property. The power of the father was also shaken. If earlier he could punish his son by not allocating anything from the common household, now the sons, relying on the force of law, shared with their father on an equal footing. After the division, the youngest son remained in the father's house. Older brothers chose new estates for themselves or divided their father's yard. All this gradually led to a violation of the way of life. (179, pp. 37-82)

Events of family significance - weddings, homelands, christenings, funeral and memorial rites, "entrances" (housewarming), seeing off for service, took place in accordance with established customs, brought revival to the monotonous rhythm of working life. In the wedding ceremonies of Russian and Ukrainian groups living in the surveyed area, as well as in many other elements of folk culture, much in common is found. This is explained by the fact that in the Kuban tradition many features that are characteristic of all Eastern Slavs have been preserved.

Marriage ties tied the spouses throughout their lives, divorces were practically not known. For girls, the age of marriage began at sixteen and ended at twenty-two or twenty-three. The guys got married from the age of seventeen - eighteen. During this period, young people were called brides and grooms. When choosing a couple, the financial situation, physical health, and only then the appearance were decisive. The unwillingness to create a family was perceived by the community as an attack on the foundations of life and was condemned by public opinion.

For the traditional wedding ritual, the unrecognizability of liminal beings is obligatory - the transition of newlyweds from one social group to another. The idea of ​​the newlyweds as chthonic beings and their "impurity" at the turning points of life was expressed in dressing up in new clothes, and for the bride also in isolation from others. By the beginning of the 20th century, the moment of isolation acted in the form of hiding the face, which can be considered as protection from hostile forces and, at the same time, as a temporary stay in the other world.

There are episodes in the Kuban wedding ceremony that require a special talent for improvisation. One of them is matchmaking, the results of which were not always known in advance. Going to the bride's house, the matchmakers were not sure that they would receive the consent of the girl and her parents. To achieve a favorable outcome of the case, it was necessary to be able to manage an impromptu performance, set the pace for the action, correct the mistakes of the performers, and introduce the collective game into the mainstream of tradition. The art of wishful thinking gave rise, in all likelihood, to the saying - "breshet like a matchmaker." The dialogue was descriptive. Retreated only after the third refusal. The return of the brought bread served as a sign (in the Black Sea villages there is also a pumpkin). Mutual consent was sealed with a handshake.

The relevance of the research problem is determined by global changes in all spheres of human life, including the spiritual. Under the conditions of renewal and democratization of society, the study of the main patterns and features of the formation of art in the sociocultural space of a particular region acquires great scientific, theoretical and practical importance.

In modern conditions, interest in the phenomenon of culture has grown significantly, which is due to the search for a valuable humanitarian content and the meaning of life. Modern science has established that a person at the end of the 20th century is subject to the laws of cultural communication. Comprehending and reconstructing the past helps a person find support in those cultural values ​​that underlie the future development and improvement of culture.

Culture is understood by us as a cumulative way and product human activity, which is realized in the processes of objectification and deobjectification, and appears in a form that binds these objects, and fine art as a special type of human exploration of the world, a figurative model of the universe and self-awareness of culture.

The study of art in the context of culture is carried out by us from the standpoint of the influence of the type of culture on general development art. The general theoretical concept of the typological development of culture in relation to the Kuban culture and art makes it possible to single out the characteristic predominance of canonical culture at the end of the 18th century. mid-nineteenth in., and dynamic in the second half XIX early 20th century Hence, in each of these periods, a certain type of artistic activity dominated: at the beginning, folk art, and then professional.

XIX - EARLY XX CENTURIES

The traditional folk culture of the Kuban in the second half of the 19th - early 20th centuries was distinguished by diversity and richness. Its originality was manifested in the arrangement of settlements and dwellings, family and social life, songs and legends, calendar holidays and rituals, and much more.

Spiritual heritage of the Kuban Cossacks
was unique and original. It combined South Russian and Ukrainian traditions. Describing the Kuban Cossacks, pre-revolutionary sources reported: “They are distinguished by diligence, honesty, sociability, but their best feature is cordiality in accepting strangers”; "character mostly quiet and kind, more prone to courage in military operations and horse riding."

All notable events in the spiritual life of the Kuban Cossacks were in one way or another connected with the Orthodox faith. With a parting prayer, the Kuban people were escorted to the service and thankful — met. Returning from the service, the Cossacks folded and be sure to buy a gift for the church. Ekaterinodar churches were full of such gifts. Orthodoxy divided the calendar time into labor and festive-ritual, thereby determining the rhythm of life. “Know [the Cossacks] about the origin of religion from Jesus Christ,” said one of the old documents. – Some people know about the Ecumenical Councils. Many understand and know the meaning of Vespers, Matins and Liturgy. Prayers are read beautifully and with attention not only by the elderly, but also by youngsters, such as: King of heaven, Our Father, I believe and have mercy on me, God, and others.

Old people acted as keepers of customs. Without occupying any official positions, they have always played a huge role in shaping public opinion. Without the permission of the old men, even the ataman did not sit down, with them the Cossacks of combatant ages stood at attention, non-combatant ages and without a uniform, taking off their hats. The elders were addressed only “on you”. Thanks to the oral tradition of transmitting information from grandfather to father, from father to son, the Kuban people preserved their culture. The Cossacks did the same when they wanted to preserve the memory of some significant event in their history. Smart boys from all the Cossack settlements of the region, two or three people from each, were certainly invited to military festivals, gatherings and other important events that took place in Yekaterinodar, so that these events were imprinted in their children's minds. Over time, these boys became fathers and passed on everything they saw to their children. They subsequently conveyed what they heard to their children. And so this living chain of Cossack history and culture was forged.

The importance of amateur drama theaters was also great. In February 1876, the Kuban Regional Gazette reported on performances that took place at the headquarters of the Yekaterinodar regiment in st. Khadyzhenskaya: “Instead of Levitsky’s “Tactics” and Skurorevsky’s “War Game”, which until now have focused the attention and interest of the society of regiment officers, an equally interesting game has appeared, but not on tactical plans, but on the stage - Messrs. Kotlyarova, Lagunov, Ms. Kopaleva and other amateurs; in a word, amateur performances were staged here... Little Russian performances were especially successful. The lower ranks of the Chernomorians, of whom the regiment mainly consists, these plays, as more understandable, gave great pleasure. “That’s why all the women are cheating our brother…” was heard from the back rows during the performance… Further, they say, the performances will benefit Bosniaks and Herzegovinians; a blessing for which it is impossible not to express gratitude to the people who took part in our performances.

Since 1894, cinematographs have been opened in Ekaterinodar, Yeisk, Armavir.

The musical culture of the Kuban was a holistic artistic phenomenon. In the second half of the 19th - early 20th century. there was a process of reducing the role and importance folk music in the life of Kuban people (especially city dwellers) and expanding the influence of professional music. But articles appeared in the press more and more often, calling for the preservation of songs that embody the national spirit, originality and historical memory of the Cossacks. In the 1870s, L.I. Karmalina, wife of the head of the Kuban region, famous chamber singer, student of M.I. Glinka and A.S. Dargomyzhsky. In December 1873, at the request of M.P. Mussorgsky sent him from Ekaterinodar several songs recorded from the Cossacks-Old Believers. The publication of folk songs was carried out by Akim Dmitrievich Bigdai, a justice of the peace and an amateur musician. The work that Bigday undertook went beyond purely cultural boundaries and acquired social significance: in the context of a rapid increase in the number of nonresident population in the Kuban region, a heightened desire of the Cossacks to protect and preserve their self-consciousness was manifested, including with the help of original song culture. Fourteen issues of "Songs of the Kuban Cossacks" by A.D. Bigdaya caused a lively response from the public and the press.

For more than a century, the military singing choir has been the center for the dissemination of church singing art. The greatest contribution to the development of the choir was made by the regents M.I. Lebedev, F.M. Dunin, M.S. Gorodetsky, G.M. Kontsevich, Ya.M. Tara-nenko. In terms of numbers, composition, exemplary organization, rare selection of voices and highly developed singing technique, the choir was considered the first in the Caucasus; neither the bishops' choir nor the city singing associations could compete with it. Having first entered the Military Cathedral in 1860 as a ten-year-old boy, F.A. Shcherbina later described his impressions of what he heard: “I was especially struck by three songs - the cherubic triple “Lord, have mercy” and the concert ... when the choir harmoniously and smoothly sang “Like Cherubim” and transitions and alternations of voices began, when pure voices of trebles and altos ... the voices of tenors were carried, or powerful singing of the basses was suddenly heard, “For we will raise up to the King of all.” I unconsciously smiled, as one sometimes smiles from unexpected, but pleasant impressions ... chords of sounds for at least half an hour seemed to fill the entire cathedral, now rattling and sparkling like thunder, then falling down with a soul-purifying downpour. The singers in the military choir were Cossacks from different villages of the Kuban region. The knowledge and experience gained during the years of service in the choir gave them the opportunity, upon returning home, to earn a living by working as a choir director of the local church or singing teacher at school.

At the turn of the XIX - XX centuries. popular are "spiritual concerts" from the works of contemporary Russian composers on church texts. The military choir introduced the Kuban people to the works of P.I. Tchaikovsky, A.D. Kastalsky, A.A. Arkhangelsky, A.T. Grechaninov and other authors. Such concerts formed the audience's interest in the new stylistic direction of Russian sacred music, inspired the creation of choirs in the villages and cities of the region. The cathedral choir satisfied the aesthetic needs of the population, contributed to the understanding of music, and was also a musical and educational center that trained hundreds of choir directors and singing teachers.

After the formation of the Kuban Cossack army in 1860, the "musician cavalry choir" - the former orchestra of the Caucasian Line Cossack army - was transferred to Ekaterinodar from Stavropol. It consisted exclusively of brass players and served as a purely military band with the appropriate repertoire. The military musical choir of the former Black Sea army turned into practically a ballroom orchestra, performing mainly secular music by Russian and Western composers. The presence of two orchestras in the army significantly expanded the forms of their participation in the musical and cultural life of villages and cities in general. In 1888, following the example of other Cossack troops, only one orchestra remained in the Kuban - a musical choir of 36 musicians and 18 students. By this time, military and brass bands began to be created in the regiments and battalions of the Kuban Cossack army, so the military musical choir retained a concert-ball character. By the end of the XIX century. with the increase in the string group of the orchestra, it was transformed into a symphony.

In the second half of the 19th century, the foundations of musical professionalism in the Kuban were laid by private home lessons, music lessons in educational institutions and music circles. At this time, amateurism and professionalism existed in interrelation, and the differences between them were often conditional. On November 1, 1906, classes began in the music classes of the Yekaterinodar branch of the Imperial Russian Musical Society, where graduates of the St. Petersburg and Moscow conservatories taught. Three years later, music classes were transformed into a school.

Masters of fine arts made an important contribution to the development of the artistic culture of the Kuban. An original realist artist was Pyotr Sysoevich Kosolap (1834 - 1910). He graduated from the Pavlovsk Cadet Corps, during the Crimean War he commanded scouts, and in 1861 he entered the Imperial Academy of Arts, in the class of plaster figures. In 1863, Kosolap's painting "Madness" was exhibited at the academic exhibition, which was awarded a small silver medal. The image of a poor crazy musician playing in a rotten attic near the body of an old mother, amidst the horrors of poverty and deprivation, literally shocked the audience. The next year, P.S. Kosolap exhibited the painting "Return from exile". Only twenty years later this theme was brilliantly developed by I.E. Repin in the film "They Didn't Wait". For the unfinished painting “The Last Minutes of Shamil in Gunib” at the academic exhibition of 1867, the jury awards P.S. Kosolapu gold medal. The successes of the Kuban artist gave him the right to participate in the competition for a large gold medal, but Kosolap "because of the termination of the scholarship from the troops" was forced to leave for Yekaterinodar, where he continued military service and creative activity.

A landscape painter of a realistic direction and an active figure in the Association of Traveling Art Exhibitions A.A. regularly visited the Black Sea coast of the Caucasus. Kiselev. Several of his paintings - "Mountain Road" (1909), "Quiet Water" (1900), "Night at the Sea" (1909), "Kadosh Rocks" (1902) - are dedicated to Tuapse.

On the advice of the historian of the Zaporizhzhya Cossacks D.I. Yavornitsky, Ilya Efimovich Repin arrived in the Kuban to meet with the descendants of the Cossacks in 1888. In the village of Pashkovskaya, he made several dozen portrait sketches of the Cossacks - participants in the Crimean War. After returning from the Kuban, Repin completed his epic painting "The Cossacks write a letter to the Turkish Sultan."

Fine art centers in the Kuban region at the beginning of the 20th century. became the school of drawing E.I. Pospolitaki and Yekaterinodar Art Gallery. The Pospolitaki School was the first private educational institution in the Kuban, where they studied not only drawing, but also crafts. Moreover, part of the pupils studied at the expense of the founder of the school. The basis of the Yekaterinodar art gallery made up the collection of a local art lover Fyodor Akimovich Kovalenko (1866 - 1919). He was called the "Kuban Tretyakov", he was famous person in Russia, was in correspondence with L.N. Tolstoy, I.E. Repin, N.I. Roerich.

In 1889, the Main Directorate of the Cossack troops informed the famous sculptor Mikhail Osipovich Mikeshin "the cherished heartfelt desire of all Kuban residents to see a monument to Empress Catherine II in their hometown of Yekaterinodar, bearing the name of its august founder." Hard work on the monument continued until Mikeshin's death, and only in 1907 was a colossal statue of the empress erected (together with smaller statues: Field Marshal G.A. Golovaty, as well as a kobzar with a guide). Mikeshin's masterpiece stood until 1920 and was dismantled in connection with the approaching anniversary of the October Revolution.

The architectural appearance of the Kuban cities changed in the post-reform period. If in 1870 - 1890 the main stylistic trend was eclecticism, then by the beginning of the 20th century it had given way to modernity. A notable contribution to the architecture of Ekaterinoravnes Ivan Klementievich Malgerb. As a city architect, he supervised the construction of the buildings of the male gymnasium (now the regional center for aesthetic education and liberal education), diocesan women's school (medical academy), commercial school (academy of physical culture). The priceless creations of Malgerb were St. Catherine's Cathedral and the project of the Holy Trinity Church.

Alexander Petrovich Kosyakin (1875 - 1919) was an outstanding Kuban architect. The son of an assistant ataman of the Kuban Cossack army, he neglected the brilliant military career, which opened before him, and entered the St. Petersburg Institute of Civil Engineers. After graduating from it and returning to the Kuban, Kosyakin was soon appointed to the responsible position of a military architect. One of his first significant works was the project of a three-story building of the Kuban Mariinsky Institute. It adorns the city to this day (now the Krasnodar Military Institute). In September 1906, in the village of Pashkovskaya, according to his project, the Church of the Entry into the Temple was laid. Holy Mother of God. In its openwork, graceful architecture, this temple of God had no equal in the Kuban. According to the projects of A.P. Kosyakin, churches were erected in the villages of Kazanskaya and Slavyanskaya. The building of the post office was also a remarkable work of the architect. Creations of A.P. Kosyakina created the urban "stone landscape" and did not get lost among other buildings of Yekaterinodar.

The powerful spiritual potential that accumulated in the Kuban was not always, unfortunately, realized due to the remoteness of the region, the underdevelopment of the educational sphere, and the sucking routine of provincial life.

Yekaterinodar was the cultural center of the Kuban, but do not forget that more than half of its population came from the countryside and retained traces of the traditional peasant mentality. Mass consciousness and spiritual culture of the population of the Kuban capital were an inseparable whole.

There were several theaters in the city, one of the oldest was the Summer Theater, located on the territory of the city garden. Within its walls, he received many metropolitan celebrities. The troupe of the Maly Theater showed on its stage the plays "Hamlet" by W. Shakespeare, "Thunderstorm", "Mad Money", "The Last Victim" by A. Ostrovsky and others. Schiller "Don Carlos"). Five years later, the famous bass F. Chaliapin sang on the stage of the theater. The name of V. Damaev, a native of the Kuban, was known not only in Russia, but also abroad. “For such a tenor in our tenorless time, one must grasp with both hands,” F. Chaliapin spoke of Damaev. “He is a real dramatic tenor with excellent diction and undoubted talent.”

In 1913, the ballerina of the imperial theaters E. Geltser performed at the Summer Theater.

On the stage of the Summer Theater, one could often see a military musical symphony orchestra, as well as a choir conducted by E.D. Esposito. The works of P. Tchaikovsky, D. Verdi, M. Glinka, performed by them, gathered numerous listeners. But visiting performances was available mainly to the wealthy public.

In 1909, two new theaters appeared in Yekaterinodar. The first theatrical season was opened at the Winter Theater: Mrs. Shperling's opera troupe staged D. Verdi's opera Aida. This was followed by performances of the operas Faust, The Queen of Spades, Dubrovsky, A Life for the Tsar, etc. In 1912 concerts of the famous tenor L. Sobinov, the famous violinist B. Guberman and others were held in the premises of the Winter Theater. The Northern Theater was opened after the Winter Theater, the violinist K. Dumchev, the tragedian M. Dalsky, the Little Russian troupe S. Glazunenko and others performed on its stage .

Quite often, famous guest performers performed within the walls of the Second Public Meeting: pop singers A. Vyaltseva, N. Plevitskaya, pianist composers A. Skryabin, S. Rachmaninov and others.

There were no professional theater troupes in Yekaterinodar, so amateur associations that arose at charitable societies and educational institutions of the city were greatly developed. Performances were most often timed to coincide with some kind of holiday or important event. If the performances were not of a charitable nature, then viewing them for everyone was free. The repertoire of amateur circles included such works as "Undergrowth" by D. Fonvizin, "Marriage" and "Inspector General" by N. Gogol, "Poverty is not a vice" and "Profitable Place" by A. Ostrovsky. Sometimes amateur actors put on light, empty vaudeville.

Summing up, we can state that the development of the Kuban culture in the late XIX - early XX century. took place in specific conditions characteristic of the multinational "young" outskirts of the Russian Empire. The rich traditional culture of the peoples of the Kuban is developing in a growing professional culture, the works of Kuban artists, writers, musicians replenish the fund of national culture.

2. ART OF THE KUBAN IN THE SECOND HALF OF THE XX CENTURY

Significant positive changes took place in the 1970s in the cultural life of the region. During these years, 5 theaters, 3 philharmonic societies, 180 music and art schools, 6 secondary specialized educational institutions of culture, 1745 public libraries, 1879 club institutions worked in the Kuban. Farms and enterprises at the expense of budget funds and their own profits built 177 cultural institutions, including clubs and houses of culture, cinemas, libraries during these years. Dozens of music schools, amateur groups, circus studios, ensembles, choirs.

The musical culture of the Kuban actively developed. The compositions of composers, especially G. Ponomarenko, N. Khlopkov, G. Plotnichenko, gained wide popularity outside our region. An invaluable contribution to the development of musical culture and the study of folk art was made by the Kuban Cossack Choir under the direction of V.G. Zakharchenko, who collected and processed thousands of folk songs, published a unique musical literature created talented original works.

The seventies became the time of the creative take-off of a number of theatrical groups of the Kuban.

Krasnodar drama theatre them. M. Gorky staged domestic and foreign classics, not disregarding the works of contemporary playwrights. Extraordinary stage solutions, the original interpretation of the plays created the reputation of the Krasnodar "drama" as an innovative theater. For the staging of the performances "Faust", "Kochubey" and "The Old Man", the main director of the theater M. A. Kulikovsky was awarded the State Prize. Stanislavsky, and later the title of People's Artist of the USSR.

Artistic Director of the Krasnodar Operetta Theater Y. Khmelnitsky has significantly updated the repertoire. An indicator of the success of the creative teams of the theaters of drama and operetta was the increased popularity of their performances and the capital's tours, which aroused an interested response in the theatrical press.

The Krasnodar People's Theater for Young Spectators, headed by S. Troisky, and the Krasnodar Puppet Theater under the direction of A. Tuchkov, gained fame in these years.

Strived for fruitful work and creative unions. The works of the writers of Kuban and Adygea were widely known and highly appreciated. V. Likhonosov (for the novel "Unwritten Memories") and A. Znamensky (for the chronicle novel "Red Days") were awarded the State Prize of Russia. I. Mash-bash (for the novel "Rings of Distant Thunder") was awarded the State Prize of the USSR.

The Krasnodar Writers' Organization united about thirty members of the Writers' Union of the USSR. Among them are talented poets V. Bakaldin, I. Varavva, Yu. Grechko, V. Nepodoba, S. Khokhlov, well-known prose writers I. Boyko, I. Zubenko, V. Loginov, L. Paseniuk and others.

The regional organization of the Union of Artists included more than one hundred and twenty people. Works by V. Mordovin, G. Bulgakov, A. Kalugin, I. Konovalov, V. Mskhed and others were displayed with particular success at regional and all-Union art exhibitions.

However, the development of art, as well as the entire socio-cultural sphere, was held back by the harsh pressure of party and state control, ideological bias on the part of the relevant services of the region and the country as a whole.

3. ART OF MODERN KUBAN

Since 1992 (February - March), on the initiative of the Song Center of the composer G. Ponomarenko, created in December 1991, the Stars of Russia festival began to be held in the Kuban. Since December 1992, the international festival "Culture Brings Peoples Together" began its journey in Armavir. Since June 1993, the festival of symphonic and chamber music "Eolian Strings" has been held in the Kuban, in which the country's leading bands take part.

In September 1991, the eighth All-Russian Pop Song Contest took place at the Krasnodar Operetta Theater. In November 1992, another competition was held here. Later, the Operetta Theater was repeatedly the venue for the All-Russian Competition of Operetta Artists, many of the winners of which joined the theater troupe.

October 1993 was the time of the birth of the Southern Wave rock festival, in which, in addition to local groups, performers and groups that are loved and respected in Russia took part. Since 1993 (September - October), the International Festival of Organ Music with the participation of performers from Russia, Moldova, Latvia, and Germany has been held in the municipal concert hall of chamber and organ music. In October 1996, the First Kuban Ballet Festival took place.

Kuban performers and groups participated in many competitions and festivals in Russia and abroad, were awarded various prizes. Thus, the Kuban Cossack Choir received the Taras Shevchenko State Prize of Ukraine. In February 1993, the Days of Kuban were held in Moscow's Sovincentre. In 1994, the Krasnodar Puppet Theater (artistic director A. Tuchkov) won first place at the Kazan Theater Festival. Actresses of the Krasnodar Drama Theater I. Makarevich and A. Kuznetsova became laureates of the festival "Acting Stars of Russia" in Belgorod. The Gelendzhik theater "Torricos" received an award in Spain for the performance "The Love of Don Perlemplin". A native of Kuban, S. Zhenovach was awarded the Golden Mask theater award for directing.

The organizers of the theater festival held in Krasnodar did a lot to popularize theatrical art. Sometimes it was attended not only by Kuban theaters (drama theater, operetta theater, Torricos, Armavir and Maykop theaters, etc.), but also theater groups from Moscow and St. Petersburg.

Since 1991, the Kinotavr film festival has been held in Sochi. At first it had the status of a Russian open one. Since 1994, Kinotavr has become international festival. It hosted the premieres of many films that subsequently received numerous international awards.

In September 1992, the Russian film festival "Ki-noshok" was held for the first time in Anapa. Since 1994 it has become a festival of the CIS and Baltic countries. All former republics of the USSR got the opportunity not only to demonstrate their achievements, but also to hold seminars and scientific and practical meetings on cinema art and film distribution within the framework of the festival. If at first there were films that “shocked” the public and specialists, then over time Anapa became a place for viewing genuine works of cinema art from the countries of the former USSR. The film festival opened up an opportunity to exchange experiences of survival in the conditions of the commercialization of film art and to find ways to reach the audience in a situation of a deep crisis in film distribution.

Out of a dozen and a half festivals regularly held in the CIS and the Baltics, only Kinotavr and Kinoshock managed to maintain a high level of film selection and organization of work with the cinematographic community and film lovers. This is also due to the fact that both festivals enjoy significant support from the administration of the Krasnodar Territory.

In addition, there were festivals in Adler (entertainment cinema) and in Gelendzhik (detective film). The regional center also did not remain aloof from the festival cinematic life. In October 1993, the First Krasnodar International Film Festival and Film Market of comedy and musical films took place. The second festival was held in 1996.

Film festivals were not limited to competitive and out-of-competition programs. Participants of the festivals, among whom were well-known actors, including Kuban by origin (N. Mordyukova, L. Malevannaya), young "stars", met with the audience, introduced them to the latest domestic cinema. Thus, the domestic cinema kept in touch with the public in times of crisis.

In the 1990s, the Kuban Folklore Festival "Golden Apple" gained popularity. Since February 1993 in the hall of the Krasnodar Higher Musical College-College. ON THE. Rimsky-Korsakov, the festival "Ekaterinodar Musical Meetings" began to be held, and since May of the same year - "Kuban Musical Spring". In May 1994, the municipal concert hall of Krasnodar entered the association of the best concert halls Russia.

All this contributed to the growing interest of the Kuban people in art, increased the number of visitors to concert and theater halls.

In the 1990s, writers V. Likhonosov and A. Znamensky, well-known outside the Kuban, were awarded the Likhonov Literary Prize for their works written during this period. M. Sholokhov.

In 1993, the All-Kuban Cossack Army established the Y. Kukharenko Prize in the field of literature and art.

In the late 1980s in Krasnodar was inaugurated Literary Museum Kuban (in the house of Y. Kukharenko, a well-known public figure of the 19th century). Museum workers have become not only the keepers of the traditions of the past, but also popularizers of the modern literary potential of the Kuban. Meetings take place here, during which creative plans and new works are discussed.

Kuban theaters worked hard. All this time, the Torricos Theater existed in Gelendzhik, which showed its performances at various festivals in the country and abroad, where its performances were accompanied by continued success. The main drama theater of the Kuban in 1996 received the title of academic. His team built its repertoire on the basis of the works of N. Gogol, F. Dostoevsky, A. Chekhov, M. Gorky, M. Bulgakov, L. Leonov, the Kuban poet I. Varavva. The musical theater staged incendiary operettas by F. Lehar, I. Kalman, I. Strauss, as well as operas. Especially for the Kuban theaters, plays were created, leading directors of the country came here.

Already in the late 1980s, a chamber choir was organized at the Krasnodar regional branch of the Union of Composers of Russia under the direction of V. Yakovlev. The choir, whose repertoire was based on Russian classical and sacred music, works by contemporary composers and arrangements of folk songs, quickly reached a high professional level and became a philharmonic group. Since 1992 it has been the Krasnodar State Chamber Choir.

The State Kuban Cossack Choir under the direction of the People's Artist of Russia and Ukraine V. Zakharchenko gained wide popularity in the country and abroad. On its basis, the Kuban Folk Culture Center was created, at which a children's experimental school of folk art was organized.

In the 1990s, the titles of Honored Artist of the Kuban, Honored Worker of Culture of the Kuban, Honored Artist of the Kuban, Honored Worker of the Cinema of the Kuban were introduced.

Since June 1992, the Krasnodar Center of National Cultures has been actively working. It was intended to "promote the formation of national identity, a more complete and deep development and mutual enrichment of traditional cultures different peoples, to unite their efforts to protect universal values, to solve humanitarian and cultural problems”.

In the early 1990s, new television companies began to emerge. Along with the Kuban State Television and Radio Broadcasting Company, Pioneer, Foton, AVS, Kontakt and others were broadcast. They created original programs dedicated to the cultural life of the region. Since 1996, a festival of television programs from the South of Russia has been held. In 1997 Krasnodar hosted an advertising festival for the South of Russia.

In 1990, the Krasnodar creative association "Premiere" was created, which at first existed as a touring musical theater. Gradually, the composition of the association, headed by the People's Artist of Russia L. Gatov, expanded significantly. It included the Kuban Symphony Orchestra, the Organ Hall, the Youth Theatre, the New Puppet Theater and other groups.

Since the early 1990s, there has been a flourishing of fine arts. The predominance of color over form, bright decorativeness and monumentality, poetry and festivity are the features that distinguish the works of Kuban painters. The commonality of the territory abounding in sunlight, the presence in Krasnodar of an art school and the art and graphic faculty of the Kuban State University (most of the Kuban painters and graphic artists are their graduates) determined the closeness of the aesthetic principles that are the basis of the original Kuban school of fine arts.

An art museum, an exhibition hall, commercial galleries allowed Kuban artists to acquaint fellow countrymen and guests of Kuban with their work. Almost all masters took part in exhibitions of the local branch of the Union of Artists of Russia. The works of artists O. and L. Blokhin, A. Parshkov, E. Kazitsyn, the works of sculptors A. Apollonov, A. Karnaev and others aroused great interest among specialists and the public.

Tipping points in history are often regarded as the best time for the development of culture. But this takes place if "development" is understood as climbing the steps of progress. However, in art history, a different understanding of the term "development" has been established, returning to the original meaning of the word: development as change. With this approach, any critical era can be considered as a period of a surge of interest in culture in all its manifestations. On the one hand, there is a lack of large material resources capable of supporting, as a rule, always unprofitable cultural space, on the other hand, an unshakable desire to create and create imperishable values ​​for people that do not negate the past, but supplement it.

At the beginning of the 1990s, the orientation toward a single ideological justification for cultural processes was gradually becoming a thing of the past. However, the lack of common ideological messages caused confusion, first among the subjects of the cultural space themselves, and then among those who form cultural policy. This was expressed in the search for new foundations of collective self-identification. Their support was the return to the traditions associated with patriotism, love for the Motherland, with historical values.

Pluralism in approaches to cultural development is reflected in the variety of forms of cultural life associated with the national, confessional, demographic and, in general, with the socio-cultural identity of the region. All this caused heated discussions about the fate of culture. Complaints about a deep spiritual crisis are opposed by optimism associated with the emergence of new opportunities for introducing people to cultural values. The phenomenon of mass culture does not always evoke an adequate reaction both in official circles and among representatives of other groups of the population; the problem of protecting and preserving cultural heritage of the past.

However, in general, it can be noted that thanks to the changes that have taken place, the cultural life of the Kuban has become richer and more diverse.

CONCLUSION

The Krasnodar Territory stands out for its special Cossack culture, in Krasnodar there is the State Cossack Choir (by the way, known all over the world) and the Kuban Folk Culture Center. There are theaters of drama, operetta, puppets, a philharmonic society, a circus, museums, and a university. There is a planetarium in Novorossiysk. Possessing a rich history and beautiful nature, the region has on its territory a huge number of the most diverse historical, cultural, archaeological and natural attractions, especially on the Black Sea coast.

BIBLIOGRAPHY

Bransky. Art and Philosophy. Kaliningrad, 1999.


1. Gorlova I.I. Cultural policy in modern Russia: regional aspect. Krasnodar, 1998.
   The system of institutions of the socio-cultural sphere PHENOMENON OF ARTISTIC CULTURE AND FACTORS AFFECTING ITS DEVELOPMENT

   2014-12-06

In 2016-2017 at the end of the academic year in the classes of schools in the Krasnodar Territory from 1 to 11 a new section of the subject "Kuban studies" - "Spiritual origins of the Kuban" is introduced. They will allocate four hours in May, according to the Guidelines for educational organizations of the Krasnodar Territory on teaching the subject "Kuban studies" in the 2016-2017 academic year.

“The implementation of the section involves the involvement of parents, active interaction with representatives of the Russian Orthodox Church and other social institutions,” the document explains.

The program "Spiritual origins of the Kuban" was created in close cooperation with the Russian Orthodox Church, Tatyana Sinyugina, Minister of Education and Science of the Kuban, told RBC South.

“We developed these lessons together with our diocese, institutes, teachers of history and Kuban studies. The choice of topics was seriously discussed with the archpriest, head of religious education and catechesis of the Yekaterinodar diocese, Alexander Ignatov. As a result, we selected topics that, on the one hand, are quite interesting and rich from a historical point of view, and, on the other hand, convey spiritual and moral traditions. For example, children will be told about the first temples in the Kuban or Orthodox traditions Kuban family,” she explained.

Within one academic year, each of the four hours will be allocated to a separate topic. For example, in the first grade, it is proposed to talk about obedience to parents, the traditions of the Cossack family, Sunday school and the spiritual shrines of the small Motherland. Second-graders will learn about worship crosses, "spiritual springs of life", red corners in huts and the sacred duty to protect the Motherland. Students of the third grade will be told about the holy springs of the Kuban, the peculiarities of the architecture of Orthodox churches, patron saints and the maternal feat of the Most Holy Theotokos. Then the topics will become more complex and deep - for example, with high school students they will discuss the "meaning of life in the understanding of a Christian" and the foundations of the social concept of the ROC.

Veronika Grebennikova, Dean of the Faculty of Pedagogy, Psychology and Communication Studies of Kuban State University, considers the introduction of the course of spiritual origins useful. “Such sections and subjects are needed. Another question is how they will be implemented in practice. When drawing up a program, in particular, it is required to take into account the age of children,” she shared.

The appearance of the course "Spiritual origins of the Kuban" in the school is a positive trend, believes the Orthodox activist Roman Plyuta.

“I evaluate this innovation only positively. What could be wrong with our children becoming cleaner and spiritually richer? Recent studies have shown that schoolchildren now do not know Russian well classic literature. In Soviet times, there was a whole block, within which not only read, but studied the moral problems that the authors laid down. And now they are in an abbreviated program, they just run through the works. Maybe, at least in this way, schoolchildren will receive additional knowledge,” he says.

According to the historian and local historian Vitaliy Bondar, there is no need for an additional section.

“I see ideological underpinnings in this project. We already have history, geography and literature, within which you can study the Kuban from all angles. There are some double standards here. Now Russia is a secular state, and religious education is possible outside of school. And this subject is included in the main program and is not an elective. On the other hand, the Krasnodar Territory is positioned as a multinational and multi-confessional region. And such subjects do not take into account the views of representatives of other religions or atheists,” he commented.

“I don't think the name is correct either. What does "Spiritual origins of Kuban" mean? The Black Sea coast has long distanced itself from the Kuban and is separated even geographically. There is a different mentality, a different economic structure, despite the fact that we belong to the same region. If we talk about the spiritual history of the region, then we have the richest layer that existed before Christianity. In particular, the indigenous population is the Circassians, originally pagans, who later converted to Islam. From a historical point of view, it is incorrect to ignore this,” notes Vitaliy Bondar.

As a reminder, at the beginning of August 2016. Governor of Kuban Veniamin Kondratyev announced that Cossack classes would be created in all educational institutions of the region. At that time, more than 1,700 Cossack classes had already been created in the Krasnodar Territory, in which about 40 thousand children study.