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КУЛЬТУРА И ЦИВИЛИЗАЦИЯ / CULTURE AND CIVILIZATION
УДК 78+304.2
DOI: 10.5281/zenodo. 12177648
EXPERIENCE OF INTERACTION BETWEEN THE MARI MUSICAL CULTURE AND THE PARTY-GOVERNMENT BODIES IN 1917-1985
Yulia Yu. TSYKINA,
Kazan State Institute of Culture (Kazan, Russia);
PhG (Dr.Sc.) in History, Associate Professor; e-mail: [email protected]
Abstract. The article deals with the experience of the functioning of Mari music in the Soviet period (1917-1985). The relevance of the topic is determined by the lack of comprehensive studies on the problem of formation and development of musical culture of the Mari ASSR in the context of interaction with power structures. The study of the processes of development of ethnic cultures is important for the critical understanding and creative use of the experience gained in the Soviet period for the further improvement of the interaction between national cultural centres and state bodies. Understanding of the stages of origin, development and integration of the cultures of different peoples of the country will help to raise their status in society, further integration into the cultural space of Russia. Aim of the work: to understand the experience of interaction of different branches of the Mari musical culture and party-government bodies and to identify the lessons. The object of the study is the process of formation and development of Mari musical culture in the period 1917-1985. Empirical basis of the research was the Mari musical culture in connection with the activities of Soviet and party bodies, educational and cultural institutions and organisations in the Soviet period from 1917 to 1985. Systemic, complex and axiological approaches were applied, as well as comparative-historical and problem-chronological methods. The analysis allowed us to identify the factors contributing to the formation of professional Mari musical culture in the period 1917-1985. As a result of the understanding of the experience of interaction between musical, state and public institutions, a number of lessons have been learned in relation to the issues of further development of culture in the Republic of Mari El. The study of the historical processes of the above-mentioned period allows us to conclude that the authorities, organisations and institutions, famous creative and political leaders had a favourable influence on the development of Mari culture in the Soviet period, despite the ideological constants.
Keywords: The Republic of Mari El, musical culture, the Soviet era, power structures, cultural policy
For citation: Tsykina, Yu.Yu. (2024). Experience of interaction between the Mari musical culture and the party-government bodies in 1917-1985. Service plus, 18(2), 76-82. DOI: 10.5281/zenodo.12177648.
Submitted: 2024/03/10.
Accepted: 2024/05/16.
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ОПЫТ ВЗАИМОДЕИСТВИЯ МАРИИСКОИ МУЗЫКАЛЬНОЙ КУЛЬТУРЫ И ПАРТИЙНО-ПРАВИТЕЛЬСТВЕННЫХ ОРГАНОВ
В 1917-1985 ГГ.
ЦЫКИНА Юлия Юрьевна,
Казанский государственный институт культуры (Казань, РФ); Доктор исторических наук, доцент; e-mail: [email protected]
Аннотация. В статье рассматривается опыт функционирования марийской музыки в советскую эпоху (19171985 гг.). Актуальность темы определяется отсутствием комплексных исследований по проблеме становления и развития музыкальной культуры Марийской АССР в контексте взаимодействия с властными структурами. Изучение процессов эволюции этнических культур приобретает важное значение для критического осмысления и творческого использования накопленного в советский период опыта для дальнейшего совершенствования взаимодействия национальных культурных центров с государственными органами. Осмысление этапов зарождения, развития, интеграции культур разных народов страны поможет повышению их статуса в обществе, дальнейшей инкорпорации в культурное пространство России. Цель работы: осмысление опыта взаимодействия различных отраслей марийской музыкальной культуры и партийно-правительственных органов и выявление уроков. Объект исследования - процесс становления и развития марийской музыкальной культуры в период 1917-1985 гг. Эмпирической базой исследования явилась марийская музыкальная культура в контексте деятельности советских и партийных органов, образовательных и культурных учреждений, организаций в советский период с 1917 по 1985 гг. В работе применялись системный, комплексный и аксиологический подходы, а также сравнительно-исторический и проблемно-хронологический методы. Проведенный анализ позволил выявить факторы, способствующие формированию профессиональной марийской музыкальной культуры в период 1917-1985 гг. В результате осмысления опыта взаимодействия музыкальных, государственных и общественных институтов отмечен ряд уроков применительно к вопросам дальнейшего развития культуры Республики Марий Эл. Исследование исторических процессов вышеуказанного периода позволяет сделать вывод, что органы власти, организации и учреждения, известные творческие и политические лидеры оказали благоприятное воздействие на процесс развития марийской культуры в советский период, несмотря на идеологические константы.
Ключевые слова: Республика Марий Эл, музыкальная культура, советская эпоха, властные структуры, культурная политика
Для цитирования: Цыкина Ю.Ю. Опыт взаимодействия марийской музыкальной культуры и партийно-правительственных органов в 1917-1985 гг. // Сервис plus. 2024. Т.18. №2. С.76-82. DOI: 10.5281/zenodo.12177648.
Статья поступила в редакцию: 10.03.2024.
Статья принята к публикации: 16.05.2024.
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Introduction
Cardinal changes in the economic and political life of Russia at the end of the twentieth century caused a number of negative trends in the development of Russian culture. The change of ideology, spiritual, moral and cultural values, the increasing flow of negative information from the media, the growing commercialisation of art and the replication of dubious «extra-national» simulacra in the post-Soviet space, as well as globalisation, have been factors contributing to the gradual assimilation and acculturation of nationalities, their loss of national roots and the sense of a unified "field of union". The loss of the genetic memory of whole generations, of the mother tongue and folk wisdom has led to the disappearance of whole strata of folk art.
In this regard, one of the important tasks of our time is the revival and development of Russian national cultures. The renaissance of self-consciousness and "self-awareness" of peoples in the XXI century has aroused the interest of their representatives in the reconstruction of some insufficiently studied historical facts, lost forms of the cultural past, the desire to create the cultural space of their small homeland.
The aim of the study is to identify the peculiarities of the historical experience of the development of the Mari musical culture, the use of which will help to draw the necessary lessons for its further dynamic development.
Literature review
All-Russian historiography pays limited attention to the analysis of the problems of formation and development of regional musical culture [11]. In the historical science of the Mari El Republic the questions of national music occupy a sufficient place [4, 7, 9, 12, 17]. Among the studies, it is worth mentioning the work of L.V. Kazanskaya [5], which for the first time considers the origin and development of musical genres of Mari national professional music from the beginning of the twentieth century to the beginning of the eighties of the last century, the musical ties of the Mari people, analyses the conditions for the emergence of professional musical culture in the republic. The publication presents a detailed musicological analysis of the composer's works, traces the interrelations between the creative heritage of Mari composers and the national
musical folklore. It should be noted that the above publication fully complies with the requirements of Soviet ideology, does not contain any critical digressions and is somewhat pompous. The selection of material for musicological analysis is biased, which is particularly noticeable in the author's consideration of the song genre. At the same time, the analytical sections are well structured and logical, and the author's conclusions about the musical language of the works are quite convincing.
The most important work, which made a great contribution to the development of scientific knowledge about the musical cultures of the Volga region, was the monograph by A.L. Maklygin [8]. The author deals with the theory and history of the formation of musical professionalism of the European type on the example of Tatar, Mari and Chuvash music. The monograph shows the socio-cultural, confessional and stylistic conditions for the formation and functioning of a new musical practice in the first half of the twentieth century. A.L. Maklygin examines general and individual trends in the development of the professional cultures of the peoples of the Volga region. In addition to the detailed art-historical analysis presented in the monograph, the author reveals the peculiarities of the socio-political situation in the republics during the period under consideration, and also highlights the process of creation of some compositional works (symphony by K.A. Smirnov, opera "Miron Mumarin" by Y.A. Eshpai). It should be noted that the above work considers the musical culture of the peoples of the Volga region only up to the middle of the twentieth century, so the questions of the formation of some genres of Mari music (in particular, the national opera) have not received a logical conclusion.
The author's analysis of the literature on this problem revealed that the available studies mainly emphasise the musicological aspect of the problems. The works devoted to the questions of the formation and development of national cultures in the Soviet period are limited to certain chronological frameworks and associated with certain personalities. Monographs devoted to the work of individual composers, as well as reference books, do not provide a complete historical picture of the development of professional Mari music.
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It should be noted that there are still no fundamental works that comprehensively study the issues of Mari professional music in its historical development over a significant period of time (from 1917 to 1985) in the context of all-Russian and all-Union socio-cultural processes. The works of the author of this article on the above problems are an attempt to fill this gap [13, 14, 15, 16].
Materials and Methods
Material of the research was the Mari professional music culture of 1917-1985 in the context of interaction with the authorities.
Among the theoretical methods, the most relevant for this study were the methods from abstract to concrete and vice versa, analysis and synthesis, problem-chronological, synchronic and diachronic, and others. In particular, the comparative-historical method made it possible to identify quantitative and qualitative characteristics of the Mari musical culture.
The application of the synchronic method made it possible to reveal the relationship between the Mari musical culture and the power structures, to clarify the explanation of the events that took place in the cultural life of the Mari region, to trace the influence of economic, social and general cultural factors on the degree of development of Mari music in a given historical period.
The diachronic method was used for the peri-odisation of the Mari musical culture, which allowed us to trace the dynamics of changes in the relationship between the Mari musical culture and the Soviet authorities in the identified periods. This method made it possible to compare the dynamics and logic of interaction between these entities at the beginning and at the end of the historical period under consideration, from 1917 to 1985.
Critical and specific historical methods were used to examine and verify a number of sources (especially archival materials). It should be borne in mind that misrepresentation of facts (e.g. the number of cultural events held, works created, etc.) was not uncommon in the presentation of a number of events during the Soviet period. Careful verification of the reliability of a number of facts and quantitative indicators given in archival documents made it possible to make the content of the article more objective.
The method of study and generalisation of experience was used in the analysis of the interaction of representatives of Mari musical culture with party-government bodies, in the consideration of the issues of the creation of musical genres, in the functioning of performing groups and educational institutions. This made it possible to draw conclusions about the present work and to make some recommendations for the development of Mari music at the present stage.
Among the empirical methods, the most relevant was the method of description combined with analysis, which was used in the consideration of trends in the development of Mari music culture. The application of this method made it possible to present clearly and logically the events, phenomena and processes that took place in national music in the context of the socio-political events that took place in the Soviet state in the period 1917-1985.
The method of observation was used to study the phenomena of musical culture from the 1970s to 1985. During this period, the author of the article was a direct participant in the processes of Mari musical culture (participation in concert life, communication with performers, composers and musicologists, coverage of a number of events in the periodical press). This method brought to light a number of events that are not reflected in the sources and literature.
The methods considered by the author and applied in this article allowed to optimally build its structure, objectively reflect the experiences and lessons of the Mari musical culture in the Soviet period from 1917 to 1985.
Results
The study of the process of formation of the Mari musical culture allows to speak about positive tendencies in its development and culmination in the Soviet period (1917-1985). It should be noted that there were certain conditions for its formation in the pre-revolutionary period, when musical art developed in several directions: folk music, church singing and everyday music-making. All these factors played an important role in the formation and development of the Mari musical culture. It should also be noted that the role of the most important cultural and educational centre for the Mari region was played by Kazan1,
1 Gosudarstvenny'j arxiv Respubliki Mari] E'l (GA RME'). F.R. - 425. Op.1. D. 398. P. 121 (In Russ.).
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where representatives of the lower classes had the opportunity to study in secondary and higher educational institutions.
During the Soviet period, the Mari region was able to truly professionalise the art of music. This process, which had common features for all the national republics, was characterised by its own peculiarities of development. The cultural policy pursued by the authorities generally contributed to the improvement of the general cultural level of the population, the development of special education, the creative rise and professional achievements of the national musical art. A number of key factors (objective and subjective) contributed to the creative rise of Mari music as an important part of the general national culture of the Republic of Mari.
The opening of the first specialised educational institution - the School of Music and Theatre - contributed to the professionalisation of music, training national musical personnel, promoting the formation of highly qualified performing ensembles, as well as trained listeners. These years saw the creation of organisations (the Mari State Philharmonic Society) and collectives (the Mari Choral Chapel, the symphonic and wind orchestras of the Mari Technical School of Arts, then the Song and Dance Ensemble), which both improved the quality of musical life in the republic and became a creative laboratory for Mari authors.
During this chronological period, professional works of various genres were created: songs, choruses, chamber instrumental and symphonic works of small forms. The creation of the Organising Committee of the SSC of the Mari ASSR (since 1953 - the Union of Composers of the Mari ASSR)2 [3, L. 33] later allowed to raise the level of the created works and also contributed to a more careful control of the ideological side of the created works.
The process of shaping all aspects of the cultural life of the republic depended largely on the policies of the Soviet state and local party and government bodies. The progressive development of the musical culture of the Mari Republic was hindered by the ideological attitudes that determined the repertoire of the collectives, the content of the works created, and the
moral character of the representatives of the cultural elite. Significant damage to the art of the Mari ASSR was caused by repressions, as a result of which the best representatives of the national intelligentsia were destroyed, and the slowdown in the development of Mari art continued for some time after the "purges" [4, p. 115].
At the same time, the Mari party and the government bodies, which turned to the Centre for help in critical situations, provided financial support for Mari music in various fields as far as possible. And if in the 1920s the role of external sources of support was more important (in particular the Mari section of the Kazan national committee of the RCP (b), the Mari representation in Moscow), in the 1930s the importance of local party and Soviet bodies increased. Thanks to their joint efforts, illiteracy was eradicated and the general cultural level of the population increased significantly, which was facilitated by their active participation in amateur art. The educational institutions, public organisations and performing groups created during this period significantly raised the level of development of Mari musical culture and created an educated audience.
The development of musical genres in different historical periods was uneven and depended on a number of objective factors: the availability of performing ensembles and the necessary experience of Mari composers, the influence of ideological attitudes. Until the mid-1980s, the national musical culture was enriched with all existing genre structures - operas, ballets, symphonic, chamber and choral works. The works of Mari musical art were in line with socialist realism, which determined the content and themes of the works created. At the same time, it should be noted that Mari composers had a deep connection with national folklore, which contributed to the creation of deeply rooted works with a distinctive musical language and their incorporation into the all-Russian cultural space.
Among the subjective factors, the activities of individual composers and representatives of party and government bodies should be mentioned. "The founders of the Mari musical culture were I.S. Klyuchnikov-
2 Gosudarstvenny'j arxiv Respubliki Marij E'l (GA RME'). F.R.-1012. Op.1. D.6. P. 33. (In Russ.).
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Palantai and Y.A. Eshpai, who set the course for the professionalisation of Mari music. The high level of skill of the composers E.N. Sapaev and A.B. Luppov allowed them to become the creators of the first finished examples of opera and ballet. Thanks to the efforts of P.M. Dvoirin and A.B. Luppov, a national school of composers was established in the Mari ASSR, which determined the further progressive development of Mari music.
Individual representatives of the party and government apparatus of the Mari ASSR contributed to the implementation of a number of projects and thus helped to increase the professional constant of Mari music. For example, the assistance of P.A. Almakaev, who was chairman of the Supreme Soviet of the Mari ASSR in 1968-1979, was a decisive factor in the realisation of the staging of the first Mari opera "Akpatyr" by E.N. Sapaev [7, p. 424]. Comprehension of the experience of interaction between different branches of Mari musical culture and party-governmental bodies allowed us to draw a number of lessons from it in relation to modern issues of further development of culture in modern Russia and the Republic of Mari El.
The following lessons can be drawn from the lessons:
First, the experience of the functioning of the Mari musical art in the Soviet period (1917-1985) provides a key to solving the problems of relations between the state and culture in modern Russia. The joint efforts of the authorities and institutions of Mari musical art contributed to the progressive development of amateur and professional performances, the activation of public organisations (for example, the Union of Composers of the Mari ASSR), the collection and study of Mari musical folklore, the development of a network of specialised educational institutions, the creation and reproduction of composers' works. In this respect, the example of the Republican Scientific and Methodical Centre for Folk Art and Cultural and Leisure Activities, which since its establishment in 1945 to the present day has made a significant contribution to the preservation of the monuments of Mari musical culture, promotes the development of folk art, the implementation of artistic projects reflecting the results of the state cultural policy in this area, and the development of amateur art. The cooperation between the Union of Composers of the Republic of Mari El and the
Ministry of Culture, Press and Nationalities of the Republic, which began in the years of Soviet power, is positive and enables the organisation of competitions, festivals and creative evenings.
Secondly, the process of further integration of the peoples of Russia, which began in the Soviet era, contributes to increased attention to national spiritual values, enrichment of multicultural knowledge. That is why at present it is necessary to take into account the peculiarities of the development of the Mari musical culture in 1917-1985, which allowed the active circulation of sheet music editions and special literature on the problems of the Mari musical culture, to carry out successful concert activities. An example of the reproduction of such experience is the touring policy of the Mari State Academic Opera and Ballet Theatre named after Erik Sapaev, which covers Russia and countries near and far abroad.
Thirdly, the reliance on the methodology of creating musical works in 1917-1985 makes it possible to continue creating truly national works that are based on the regularities of Mari musical folklore, but reflect the requirements of modern musical vocabulary. The first Mari spiritual cantata "Kysoto" ("Sacred Grove") by S.N. Makov (2008), symphonic vocal-choral plastic and light action by E.A. Arkhipova "Chumbylat kudyratle" ("Chumbylat the Mighty") (2020), embodying the features of Mari musical folklore in modern musical language, are vivid examples of such compositions at present.
Conclusion
A comprehensive study of the history of the formation and development of Mari musical culture allowed us to conclude that during the years of Soviet power Mari music became an important part of the general national culture of Mari El. An important role in the process of development of Mari musical art was played by party-government bodies, public and political organisations (the Union of Artists (RABIS), the Representation of the Mari People in Moscow, the Mari Section at the Kazan Guberkom of the RCP(b) and the Mari Student Compatriots' Union, the Department of Arts at the Sovnarkom of the Republic, the Union of Composers of the Mari ASSR), cultural and artistic institutions. Despite the ideological pressure and obstruction of individual cultural figures, these organisations and institutions, famous creative and political
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leaders had a positive influence on the development of Mari culture in the Soviet period.
An important stimulus for the development of professional music was the process of formation of the system of music education in the republic, in which the opening of the Mari Music College and the network of music schools played an important role.
By the end of the period under study in the Mari ASSR, thanks to the efforts of individual representatives (P.M. Dvoirin, A.B. Luppov), a national school of composers was created, which made a significant contribution to the creation of virtually all musical genres. It is necessary to emphasize the role of individual authors, whose appearance was due to the increasing general cultural and
educational level of the population of the region: the founders of professional music I.S. Klyuchnikov-Palantai, Y.A. Eshpai, the creators of the first examples of national opera and ballet E.N. Sapaev and A.B. Luppov.
The ideological constant and the genres of Mari music were determined by the authorities, but the musical language and the image and content component were a reflection of the national origin, which constituted the originality and the soil of Mari music.
The study of the difficult but productive experience of interaction between musical art and state structures can become an important starting point for choosing the ways of further development of Mari musical culture.
References
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