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Section 4. Theory and history of culture
Abdoulline Ilias, Lecturer at Department of Fine Arts Education.
Near East University. Nicosia. Northen Cyprus E-mail: [email protected]
MUSIC OF THE TURKISH CYPRIOTS: YESTERDAY, TODAY AND TOMORROW
Abstract: This article deals with the formation and development of musical culture of the Turkish Cypriots as an essential component of ethnos of Cyprus.
Keywords: Island of Cyprus, ethnic cultural traditions of Cyprus, music of the Turkish Cypriots.
The origins of musical culture of the peoples from the Near and Middle East allow to speak of existence of the Middle Eastern Mediterranean musical tradition as a uniform system of artistic means, figurative themes, genres and etc., which originate from the ancient depths of history.
The timeframe of this process can be determined just approximately, but it becomes clear that the modern musical art of Cyprus, which is now perceived as traditional, was formed already in "historical" time, in connection with spread of the national Turkish culture on the Cypriot land.
Despite negative attitude of Muslim orthodoxy to musical art as a phenomenon that distracts believers from their religious convictions, Islam required the approval of its ideas through certain artistic images due to its nature perhaps even more than any other religion. This fact also affected the peculiarities of formation of the Turkish Cypriots musical culture.
A special study devoted to the Turkish Cypriots music has not been carried out yet. But the presence of foreign historiography forms prerequisites for such art-historical and musicological analysis.
It should be noted that the studies devoted to the folk music and dance traditions of various ethnic groups in Cyprus began at the end of XIX century. However, folklorists paid more attention in their studies to lyrics rather than to musical content.
Thus, researcher Panicos Giorgoudes states that "systematic studies of the Turkish Cypriots traditional music developed poorly, notwithstanding several articles about Cypriot music published by musicologists and Theodulos Kallinikos' collection of Cypriot songs in 1951. Besides, many researchers focused their attention on lyrics and seldom on music" [7, P. 35].
The importance of studies of the Turkish Cypriots original authentic music came into the spotlight only after Cyprus gained independence in 2004. Thus, the Cypriot researcher Kani Kanol denotes in his report that the Turkish Cypriot motifs, melodies, rhythmic organizations are not only complex, but also poorly separable from Greek Cypriots authentic music. And this requires careful study" [5, P. 59].
Today, the collection "Music in Cyprus" by Samson Jim and Demetriou Nicoletta is one of the fundamental works devoted to the study of the Cyprus
musical culture, in particular to the musical traditions of Turkish Cypriots as ethnic component of the island's population [7].
"Cypriot folk popular music" — the work of the outstanding Greek composer and musicologist, founder of the first Greek conservatory Solon Michaelides is worth mentioning too [6].
The research of the said Kani Kanol devoted to the study and analysis of the Turkish Cypriots dancing culture, which is inextricably linked with the music of this ethnos, is interesting and quite informative
[5].
Also we may mention the study of Cypriot scientist Beratli Nazim that deeply examines the Turkish Cypriots national identity in general and gives a sufficiently detailed account of the identity in the aspect of musical culture [3].
The mentioned subject is practically not represented in our country's musicology, which determines its relevance. As the conservation of ethno-cultural traditions, in particular the conservation of musical culture, is of tremendous significance, because this affect not only the fate of ethnic culture, but much more - inherent value of ethnos, stability of society and state.
Before examining the peculiarities of formation and development of the Turkish Cypriots musical culture, we will give a brief background of the island itself, as exactly the formation of Cyprus as an independent island state had a significant impact on the formation of culture in general, as well as on the formation of musical culture of individual ethnic groups on the island.
So, the main population of Cyprus consists of two ethnic communities: Greek Cypriots (southern, eastern and central part of the island) and Turkish Cypriots (northern part of the island).
Diagrammatically, the cultural-historical formation of Cyprus and Cypriot culture can be divided into pre-Ottoman period, Ottoman period and the period of formation of the island's independence.
Pre-Ottoman period. The name of this period in the history of Cyprus culture is fairly conventional, as this period includes other several significant development stages of the Cypriot culture:
• Classic period (480 BC - 310 AD);
• Byzantine period (XI - XII centuries);
• Frankish period (XII - XV centuries);
• Venetian period (XV - XVI centuries).
The end of XVI — the beginning of XVII centuries is called the Greek Renaissance epoch, during which the Byzantine cultural traditions (including musical ones) gained new momentum.
Many folk songs that were composed in the so-called pre-Ottoman period have survived till now. Cypriot folk songs are thematically divided as follows: songs about Akritai (independent peasant-warriors of the Byzantine Empire); historical; lyrical, satirical, military, religious, daily life, ritual songs, etc. Songs about Akritai were composed during the Byzantine period, when frontier warriors (Akritai) defended the Byzantine Empire frontiers from Saracens raids (Arabs). They glorified feats of the most famous knights -Digenes Akritas, Andronicus, Pusirkas and others.
Many lyrical songs were created during the ruling of the Franks in Cyprus (1192-1489). One of them is "Arodafnusa" - song about love between one of the representatives of the feudal family Lu-signan and a rich lady Joan l'Aleman, named due to the exceptional beauty as Arodafnusa (beautiful and fragrant flower in Cyprus).
Among dance genres that were formed in the Cypriot culture of the presented period we may mention sousta, syrtos, ballos, zeibekiko, karotseris, etc.
Church music also needs to be separately mentioned. Investigation of numerous Byzantine musical manuscripts that survived on the island suggests that in Kykkos, Machairas, Saint Neophytos monasteries and other cloisters founded in XI-XII centuries there were special workshops, where handwritten musical anthologies were composed.
Ottoman period. Cyprus's ethno-cultural composition changed significantly after the island was
conquered by the Ottoman Empire in 1571. Thus, Turks, who brought their religion and culture to the island's coasts, assimilated into the purely Greek population of the island.
According to the decree of the Ottoman Empire's Sultan Selim II, more than 5 000 thousand of Turks were resettled to Cyprus. The majority of the resettled population was presented by craftsmen, jewelers, tailors, shoemakers, etc.
Figure 1. Ancient musical collection of Machairas Monastery
Figure 2. The specimen of recording the chants of Easter service
The conquest of Northern Cyprus by Turks- (It is important to specify that the history of Is-
Muslims resulted in the existence of two national lam in Cyprus dates back to the Arab invasion in
and religious communities on the island - Turks the middle of VII century, when the first mosques
(Islam) and Cypriots (Orthodox Christianity) were established in Paphos. After the defeat of
the Arabs (963-964), Islam reemerged in Cyprus with the appearance of Ottoman Turks in 1571) (Historical evidence suggests that Turkish Cypriot community was formed by two branches: on the one hand, by descendants of Ottoman conquerors and settlers from Anatolia, on the other - by Greeks and other Christians converted to Islam. Also there were Linovamvaki (literally "linen cotton") - believers who adhered to Islam in public, but practiced Christianity in private life).
During the following centuries these two national communities of Cyprus lived side-by-side on the territory of the whole island, and despite such proximity each of the communities had its own culture that did not mix with another (for example, interethnic marriages were regarded as taboo for a long time).
All above-mentioned factors became fundamental for the formation of the Turkish Cypriots musical culture.
So, the Turkish Cypriots traditional music absorbed both Byzantine musical traditions of ancient Cyprus and traditions of Turkish (Ottoman) music.
The main characteristic feature of the Turkish Cypriots music is modality. A great part of the Turkish Cypriots folk music is based on such modes as Dorian and Hypodorin, Lydian and Hypolydian, Phrygian and Hypophrygian, Mixolydian and Hy-pomixolydian, Aeolian.
As an example for the abovementioned, let's cite the song "Arapiko" that is written in binary form A + B. Aeolian mode is used in the first part, and Dorian mode in a simple duple meter - in the second part.
Figure 3. Song of the Turkish Cypriots "Arapiko"
It should be noted that romantic element is pre- who follow two opposite religions. For example, a vailing in the Turkish Cypriots poetry and music. love song-poem "Piitariki Foni": Songs often illustrate love between young people Oh, Gods, hear what I have to say...
Invite the whole world of Christians and Turks... Greek goddess Aphrodite, born in Cyprus, brought love to the island.
Love is nothing like food that may appease your hunger.
It is like fire in the heart that can not be extinguished.
This happened to Christofis and Stillou. This song was presented as Theme with variations. The first three variations were written in a-moll, in a fairly traditional meter 9/8.
Variation IV is composed in e-moll, with a complex meter-rhythmic pattern 9/8 (3 + 2 + 2 + 2).
Figure 4. The song "Piitariki Foni"
The given examples show us that we can find apparent influence of the Turkish melodies in the melodic texture of the Turkish Cypriot songs. Just the same as in Turkish melodies, we may distinguish long melodies with a wide range and uneven rhythm, with improvised structure. And this is not accidental, as "Uzun hava" is more typical for lyrical and love songs with a range of more than octave. Various techniques of melodic lead in tones of I, IV and V stages are often used in such songs.
Another stylistic basis of the melody is "Kyzyn hava" (short melody with a small range and even rhythm), which is more typical for dance melodies, plain songs or instrumental folk tunes.
In general, not only the principle of melodic line formation, but the entire modal basis of the Turkish
Cypriots music is very close to Turkish music, which is based on maqams (small modal formations that differ in relief). Interestingly, maqams are named after geographical places from where they originated (lefkosia, amorpha, etc.).
The ancient origin of maqam and its originally ritual function are evidenced by the fact that maqams were performed at the fixed time of the day. The musical ritual was associated with the strictly fixed position of the sun. For example, maqam "rehavi" had to be performed before sunrise; "ushshak" -after sunset; "rast" - before noon; "irak"- at noon; "zangule" - before sunset, and etc. This tradition dates back, perhaps, even to the pre-Islamic pagan worshiping of heavenly bodies.
Figure 5. The example of traditional maqam in the Turkish music
Figure 5. The example of traditional maqam, written in the form of dujek
The notion "maqam" has several semantic levels: 2. Meter-rhythmic organization: in song (solo)
1. The development principle, which includes such music it is characterized by fairly free rhythm, ab-
aspects as modal (tone row) organization. In modal- sence of strict rhythmic pulsation; in ensemble mu-
ity, in contrast to tonality, a certain arrangement is not sic - by the use of certain rhythmic patterns, which
necessary under a strictly sustained tone row; are most often based on the meter 3/8, 8/8, 9/8;
3. Figurative-emotional modus of melody. So, maqam is some kind of improvisation on modal modus and it may be clearly seen in the Turkish Cypriots music, as a single modus is not typical for the forms of the Turkish Cypriot monody. This is connected with the fact that their modality (both pitch and rhythmic) is based on ancient teachings about ethos of each mode and connected with a cyclic interpretation of time, human biorhythms and emotions.
Dance develops in parallel with the musical culture. The Turkish Cypriots performed folk repertoire at various festivities, festivals and weddings, etc.
As a musical accompaniment they used percussion instruments that were popular in the North African and Eastern traditions. Both bowed string instruments and wind instruments were used: • violin or lute;
• tambourine (in Cyprus it was called pandura -bowed three-stringed instrument);
• pidkavli (wind instrument that resembles a flute);
• zurna.
Traditional dance genres include sousta, syr-tos, ballos, zeibekiko, karotseris, etc. There is also a genre that is especially popular among the Turkish Cypriots, which is called Karsilamas - a suite consisting of four dances (for men and women). There are also varieties of Karsilamas in North Cyprus. For example, a variety of the dance during which dancers hold each others' wrists and form a circle. There are twelve basic steps, and one major dancer leads other dancers, with separate dances performed by both men and women. The main attributes of such dances are swords that are flung into the air and caught by men, while women dance with clay pots.
Figure 4. Karsilamas dance accompanied by violin and laouto. Nicosia
The tempo of Karsilamas varies depending on
In contrast to other dance genres, this one has non-standard rhythmic basis - 9/8 (2 + 2 + 2 + 3 = 9).
The following distribution of tempo-rhythm is often found in Karsilamas as a four-part suite:
• First Karsilamas - 9/8;
• Second Karsilamas - 7/8;
• Third Karsilamas - 2/4;
• Fourth Karsilamas - 9/8.
the mood of dancers. It is interesting to note that this dance was originally called "Antikristos", which involved two dancers, looking at each other. This dance is literally translated as "face to face". Later the number of dancers increased, and mixed pairs were involved in this dance.
Among the most popular folk dance music of the Turkish Cypriots, which can be heard today, we can mention Chifteteli, Dolama dolamayi, Ay§em Turkusu, Al beni beni, Munusem, Susta, Mevsimi qeldi artik and others.
It is interesting that folklorists, who studied and cataloged the Turkish Cypriots folk music, often describe such music as primitive, old-fashioned, barbaric and "too folk". Perhaps such perception is conditioned by practically lacking harmonization of songs and melodies.
Figure 5. Variety of Karsilamas dance
The Turkish Cypriots were unfamiliar with polyphonic and orchestral music until the second half of XX century. However, by the end of XX century, when urban elite emerged, not only orchestrated music, but also music of the western classical tradition gradually began to sound in cultural societies of that time. The presented trend is
also connected with the period of British ruling on the island (1878-1960).
The first Turkish-Cypriot cultural community was Dar'ul Elhan (Abode of Sounds). Founded in 1925, it cultivated Ottoman classical music and monophonic tradition. By the end of 1942 after a long break, the community began to add more polyphonic compositions to its repertoire.
Figure 6. Performance of Sama in Mawlawlyah Tekkes. Nicosia. Cyprus
Along with folk music, the Turkish Cypriots made a huge contribution to the development of sacred music on the island.
In XIX century there were two main musical directions of sacred music on the island: music of Christian Cypriots in churches and Sufi ritual music performed by Muslims in Tekke (Sufi order of the Mawlawlyah). The first direction (music of Christian Cypriots) was based on Byzantine traditions that suggested the absence of instrumental accompaniment and monophonic singing.
Sufi music was connected first of all with dhikr (Meditation on the name of God). Sufi teachers stated that dhikr is the first step on the way of love: when someone loves somebody else, he/she likes to repeat the name of his/her beloved and constantly keep it in mind. Thus, meditation on Allah's name revealed His spiritual image to mystics.
This direction was also marked by the practice of collective singing-glorification of the Almighty, which was called Sama. This practice was accompanied by ecstatic dances. Sufis believed that musical prayers help to bring the love for God to life. It is not accidental that the outstanding Persian Sufi poet Jalaluddin Rumi stated: "The house of divine love is built of music, poems and songs. Heavenly Beloved is circling around this house, playing the rebab (Bowed stringed instrument of Arab origin) and singing dizzying melodies." [1, P. 179].
Turkish researchers N. Ayaz and A. Sultanova think that "Sufi traditions of Turkish Cypriots had a huge impact on formation of the Turkish Cypriots musical culture in general, connected with the period of heyday of Ottoman traditions on the island and further development of music" [2, P. 122].
Let us note that since secular nationalism emerged among the Turkish Cypriots in the late 1920 s, the development of sacral music sharply stopped. Although Tekkes continued to function in Cyprus even after Sufi lodges were banned by Turkey in 1925, their popularity was gradually undermined by the influence of Kemalist nationalists (Kemalism is the ide-
ology of Turkish nationalism that was suggested by Mustafa Kemal Ataturk. It is considered to be the official ideology in the Turkish Republic up to this day). And though certain communities of the Turkish Cypriot elite made efforts to preserve this "exotic" tradition, the Sufi Tekkes ceased functioning by the end of the 1950 s. Consequently, their musical practices also became rare on the island.
Period of formation of the Island's independence. The Turkish Cypriots resigned from the Cyprus government in 1963 and established the illegal "Provisional Turkish Cypriot government". It led to the conflict in 1964 between the Turkish and Greek communities of the island, as a result of which the UN Security Council adopted the decision to bring peacekeeping forces to the island.
After 1974, significant social forces in Cyprus, especially the Turkish and Greek Cypriot lefts, greatly influenced the formation of the nationalism model, which proposed to clearly distinguish ethnic groups on the basis of territorial affiliation, rather than ethno-cultural one.
However, M. Hatay and Y. Papadakis think that the Greek Cypriots developed a model of historiography after 1974, in which they emphasized conditional "peaceful coexistence" of two ethnic communities [4, P. 34]. According to this model, Greeks and Turkish Cypriots lived together for a long time, and therefore would be able to do it again in the future; in other words, the island should be reunited. As proof of this, researchers give an example of common traditions of everyday life, festivals, folk songs, etc.
From the 1980s onwards, despite the unstable political and territorial situation of Northern Cyprus, the island faced an acute problem of keeping the traditions of ethnic groups alive. Gradually "neo-folklorization" of musical culture began. Significantly exactly this process gradually led to the fact that traditional music of ethnic groups began to be perceived as "sacred".
In the early 1990 s, new groups of traditional musicians and singers, performing Turkish Cypriots
ethnic folk music, reappeared in the course of stabilization of socio-political situation on the island. This was caused by a number of social and cultural events. The main event was the creation of the first private radio stations in Northern Cyprus. Later this new interest in traditional music was backed by financing provided by sponsors and state. Numerous festivals and concerts of traditional music of the island's ethnic groups were held on the island.
A big role in this was played by the Council of Turkish Cypriot Associations (CTCA UK) or Konsey. By holding various events, it allows
guests and participants of festivals to enjoy the tastes, sounds, dances and atmosphere of Turkish Cyprus.
So, the abovementioned indicates that music has always been the most universal cultural tool, which allows not only to keep different ethnic groups in a single cultural space, but also to preserve their authentic national culture. Exactly thanks to culture, especially musical one, Cypriots could preserve the unique authenticity of the Turkish Cypriots music and carry it through the storm of cultural-historical transformations.
References:
1. Айтджанова А. К. Ислам и Веды. Опыт сравнительного изучения суфийской и вайшнавской религиозных традиций / А. К. Айтджанова. - Москва: Литагент «ИП Крупчанский», - 2015. -192 с.
2. Ayaz N., Sultanova A. Mevleviligin ve Bekta§iligin Simgesi Olan Ayin ve Ayin Muziginin Kar§ilikli Tahlili (The Analysis of Ritual and Musical Themes of Mevlevi and Bektashi Sects). - 2013. - IDIL 2/7. -P. 118-134.
3. Beratli Nazim. Kibrisli Turklerin Tarihi. Galeri Kultur Yayinlari. - Cyprus. - Kitap. 4. - 1993. - 254 s.
4. Hatay Mete and Y. Papadakis. A Critical Comparison of Greek Cypriot and Turkish Cypriot Historiographies (1940 s to the Present)', in R. Bryant and Y. Papadakis (eds), Cyprus and the Politics of Memory: History, Community and Conflict. London and New York: I. B. Tauris. - 2012. - P. 27-51.
5. Karol Kani. Kibris Halk Danslarinin Yakin Gegmi§i (The Recent Past of Cypriot Folk Dances). Nicosia: Hasder Yayinlari. - 2006. - Р. 56-62.
6. Michaelides Solon. Kypriaki Laiki Mousiki (Cypriot Popular Music). Kypriaka Grammata 0' [9], -1944. - Р. 115-126.
7. Samson Jim, Demetriou Nicoletta. Music in Cyprus. Farnham, Surrey, Eng.: Ashgate, - 2015. - 196 p.
Korzhenko Olga Mikhailovna, Ph. D, Assistant Professor für LIC GBOUIN BGIIK
Shulika Maria Vladimirovna, Dozent in der TEC GBOU IN BGIIK E-mail: [email protected]
NATIONALFEIERTAG IN DER RUSSISCHEN KULTUR: VERGANGENHEIT UND GEGENWART
Zusammenfassung: Der Artikel ist in der Kultur Russlands zu nationalen Feiertagen gewidmet. In der Analyse dieser Frage auf „Fest" führt das Konzept, als seine Transformation, sowie das Wesen des Ferien Ivana Kupala in der Folk-Tradition der slawischen Völker. Der Autor gibt die Interpretation der Ergebnisse der Umfrage unter den Studenten im Institut für Kunst und Kultur eingeschrieben. Stichworte: Folk Festival, Folklore, der christliche Feiertag, Massenereignis. Russische nationale Feiertage und Zeremonien - blick der Sehenswürdigkeiten Dämon konzipiert"
eine der markantesten und ursprünglichen Komponenten der traditionellen Kunst und Kultur zugleich eine der komplexen und vielschichtigen Phänomene der frühesten ihrer Art - Folklore.
Urlaub akkumuliert die wichtigsten Ereignisse, Sitten, Rituale, Zeremonien und Rituale spiegeln die wirtschaftliche, soziale, religiöse und geistige Entwicklung bestimmter Nationen, sind ein Hinweis auf ihre Weltsicht. Urlaub Wert ist vielfältig: es ist eine feierliche Erneuerung des Lebens, spielt eine regulierende Rolle und kommunikativ, emotional und führt psychologische, ideologische und moralische und pädagogische Funktion.
Die Feier zum Leben erwecken Ereignisse der nationalen Geschichte, die das Schicksal der Nation bestimmt, daher sind die Menschen durch gemeinsame Erinnerungen unsichtbar verbunden. In diesem Sinne sind die Feiertage benachbarten Gedenktage über alle Ereignisse, die kollektiven Stolz und Trauer, Freude und Leid verursachen. Es geistige Struktur eine äußerst wichtige Rolle in der zentralen Matrix Menschen Weltanschauung einnimmt.
Das Konzept der „Urlaub" ist der Mönch Chronist, der, dass viele Menschen während der Ferien glaubt sich einig, dass „nahe beieinander beim An-
und wird als dämonische Wirkung angesehen.
Eine interessante Interpretation des Festivals ist im Wörterbuch Dahl, die einen Urlaub „Tag versteht gewidmet zur Ruhe, kein Geschäft, nicht Arbeitshaus; Tag gefeiert, nach der Vorschrift der Kirche, oder anlässlich der Ereignisse in Erinnerung an den zivilen, staatlichen oder lokalen Brauch, gelegentlich in den Bereich, nicht aber auf Personen" [1, P. 55].
Seit den Tagen des Begriffs „Urlaubs" wird oft verwendet, emotionale Zustände (Fest für die Sinne, Gefühle, Seele, Herz) zu beschreiben. Wir gratulieren assoziiert Gefühl angenehmer, freudig, „die Sache beenden - nehmen kühn geht" [2, P. 56]. Im Verständnis der modernen jungen Mann verstanden als Feiertag Freizeit, in denen sie nichts tun und entspannen können.
Die Analyse der Meinungen von Folkloristen, Historiker, wir, dass in der Stellungnahme eines großen Teils des Herrschers von Russland und Russland angeben kann, wird der Urlaub zu einer wichtigen staatlichen Angelegenheit betrachtet. Der erste, der ein „Dekret" speziell ausgestellt große Feste zu halten war der russische Kaiser Peter I.
Es sei darauf hingewiesen, dass M. Zabylin stellte fest, dass: „In Russland, die jeweils von einem Volks-
fest Ritualen begleitet und die Lehren aus Gesang und Gesang" [2, P. 36].
In der populären Kultur Geschichten gibt es einige Perioden, die in grundlegenden Veränderungen in der Festkultur der Slawen führen.
Die erste Phase wird mit der Annahme des Christentums in Russland verbunden sind, in Folge dessen gibt es neue Feste — religiöse (Christen, orthodoxe, religiöse). Sie wurden zu den bedeutendsten Ereignisse der Heilsgeschichte gewidmet, besonders verehrten christlichen Heiligen, die wundersame Ikone. Die meisten von ihnen fiel am selben Tag (oder nahe daran), und dass die alten russischen Kalender feiern.
So fusionierte Ostern mit mehrtägigen Frühlingsfest des alten Slawen, die mit Hilfe von Opfern und verschiedenen magischer Riten waren reiche Ernten und Nachkomme Vieh, Wohlstand in Familien zu gewährleisten. Weihnachtsferien in der Zeit mit dem alten slawischen Fest gewidmet den Wintersonnenwende verbünden. Nativity Ioan-na Predtechi — die alte Urlaub von Kupala, der Trinity — ein Semikov, markierte das Ende des Frühlings Feldarbeit (Pflügen und Säen). Der Kult des Propheten Elias (und Feiertag) wurde mit dem Kult der alten slawischen Perun kombiniert — der Gott des Donners (Donner), dem höchsten Gott im Pantheon der Kiewer Rus. Annahme, dass am Ende der Zeit der Ernte kommt, absorbierte eine Reihe von vorchristlichen Ritualen und slawischen mit dem Abschluss der Ernte zu Zoll und dergleichen.
Eines der wichtigsten Sommerferien ist Johannistag, genannt umgangssprachlich Ivan Kupala. In den Worten der alten Lieder wie durch den Wert des Urlaubs bestimmt.Wie wir im Jahr drei Festivals haben: Zuerst wird ein Feiertag -Semik ehrlich, Ein weiterer Feiertag - Pfingsten, Ein dritter - Globe.
In der slawischen Welt, in allen Nationen, ohne Ausnahme, ist Kupala Urlaub seine ursprüngliche Bedeutung nicht verloren, trotz des Jahrhunderte alten Christian. Aus dem Reich der landläufigen
Meinung, sie in den Kreis der vulgären abergläubischen von Bräuchen und Ritualen bewegten, die meisten Mitarbeiter für die ländliche Jugend Spaß, ganz unbewusst Auferstehung in ihren Lustbarkeiten verblassten Bilder unwiederbringlich in den Fluss des Vergessens versunken.
Mittsommer gefeiert russische Bauern im XIX — das ersten Viertel des zwanzigsten Jahrhunderts war ein Echo des alten slawischen Festes zu Ehren der Sonne. Teil des Bildes dieser Feier ist in den Denkmälern der Literatur XVI erhalten — XVII Jahrhundert [3, P. 84].
Gesammelte vom Vorabend Kupala Kräutertränke genießt besonderen Respekt kupalenka (zhelto-golov) und Blumen Ivan da Marja. Neben Kräutern, in einer Nacht Ivana Kupalu Volk Aberglauben rät solche „wilde Wurzeln" und „bösen byliya", wie Liebstöckel, Gras, Gras-Hop, Break-Gras zu suchen. Bevor die Leistung der letzteren kann nicht überleben, kein Schloss, wie es war nicht stark.
Midsummer in alten Zeiten zu Ehren des Feuergottes, der Sonnengott, zündete der Gott des Donners während der Sommersonnenwende Urlaub leuchtet. Mitten im Sommer Fest und jetzt die hellste Farbe ist der Brauch einmal mit Abgötterei auf dem Niveau zu verurteilen „Sonnwendfeuer entzündet".
In Smolensk, Brjansk am Vorabend der Agra-fena-Trollblumen (6. Juli) Dorfmädchen gingen zu reden und Gerste schlug in einem Mörser, diese einfachen Arbeitslieder begleiten. Am Morgen auf Agrafena dieses Ritual Gerste gekocht Brei und isst es am Abend, wenn in dem Fest alle Beteiligten an den Fluss liefen — zum ersten Mal zu schwimmen.
In Vladimir, Lipezk und Rjasan Regionen vor der Zündung von Bränden Mädchen stiegen im Bad mit frischen Zweigen, gebunden zusammen mit duftenden Wildkräutern. Insgesamt Schwimmen mit Liedern gehalten weit aus ganz Russland, aber das Wasser (Bad) und Feuer (Reinigung) sind nach wie vor untrennbar mitten im Sommer Festivi-
täten verbunden, wie am Anfang des XIII Jahrhunderts, [3, P. 325].
In der Belgorod Region hat ihre eigenen regionalen Besonderheiten Ivana Kupala, und sie sind aufgrund der Tatsache, dass die Region der Heimat des russisch-ukrainischer Bevölkerung ist - Gießen von Wasser, Kommissionierung Kräuter, Vergrößerung zeremonielle Puppen - Marynki, kum-lenie Ritual und Festessen.
Die zweite Stufe, die bestimmten Veränderungen in der Volksfestkultur gemacht - Peter I. Reformen, die eine feierliche Kultur in der Folk und säkularen teilt.
Die letzte Etappe, die ihre Wirkung gehabt hat, mit der Revolution und dem Sturz des zaristischen Regimes verbunden - 20 Jahre des zwanzigsten Jahrhunderts.
Vor kurzem ist die Frage der Wiederbelebung der Volksfestkultur auf der Ebene des Gouverneurs der Region Belgorod gesehen. langfristiges Programm im Bereich der Volkskultur hat in den letzten zehn Jahren entwickelt über.
Für uns war es interessant, die Haltung der Volksfestkultur unter den Studenten am Institut für Kunst und Kultur in Richtung der Vorbereitung zu offenbare „Volkskunst und Kultur".
Das Problem unserer Meinungsumfrage ist zwischen dem, was die nationalen Feiertagen in der heutigen globalisierten Welt ist nötig, die das kulturelle Erbe, Werte und Traditionen zu erkunden, aber es dauert nicht immer berücksichtigt Vorfahren Volkstraditionen und nicht genug Profis Veranstaltungen zu organisieren.
Für den Zweck unserer Umfrage geliefert wurden, werden Ziele und Hypothesen entwickelt. So war das Ziel die Identifikation der Haltung der Schüler 1 bis 4 Kurse an nationalen Feiertagen, die Regie und Inszenierung. Die Ziele: die Ansichten der Schüler zu diesem Thema zu studieren; die Entwicklung von Vorschlägen zur Verbesserung der Lage ausgerichtet.
Hypothese - im Verlauf der Studie kann davon ausgegangen wird, dass das Verhältnis von Studenten zu nationalen Feiertagen sein kann:
• positiv, da die Schüler in den Wiederaufbau der Festkultur teilnehmen möchten, können Sie eine Menge lernen, haben eine gute Erholung;
• negativ, weil die Studenten nicht verstehen, warum Überreste aus der Vergangenheit wieder zu beleben;
• neutral und Rühr mich nicht an mir egal, wo und was geht.
Als Konsequenz aus der Umfrage sind folgende Schlussfolgerungen von Studenten gemacht werden sollte.
So Beantwortung der Fragen zur Verfügung gestellt Meinungen 30 Studenten der Fragebogen wie folgt verteilt:
• 10 Studenten an nationalen Feiertagen im Gegensatz zu glauben, dass sie in Lieder, Spielzeit nicht reich genug sind;
• 15 Befragten glauben, dass nationale Feiertage erlauben, mit den Elementen der Kultur ihrer Heimat zu Ihrem Lieblingsvolkslieder, bekommen kennen zu entspannen, hören;
• die verbleibenden fünf Studenten glauben, dass die nationalen Feiertage nicht so schlecht sind, aber besser noch lieber zu Hause zu sein, als sie zu besuchen.
Bei der Analyse der Fragebögen auf dem Kurs, auf deren Basis wir ausgebildet sind, identifiziert Befragten die folgenden Muster. Der ältere Kurs, desto weniger Studenten fühlen festlich Volkskultur Relikt der Vergangenheit; In Anbetracht der Notwendigkeit, die nationalen Feiertagen oder deren Elemente in öffentlichen Veranstaltungen, Bildungsprozess der Vorschule und sekundären Bildungseinrichtungen zu ermöglichen.
So haben wir die folgenden entwickelt:
• Volksfest Kultur ist notwendig, in den Bil-dungsprozess vorschulischer Einrichtungen ab einzuführen, die in entspannter Atmosphäre mit den
Merkmalen einer authentischen Kultur durch Gesang und Spiel Folklore kennen erlauben sollten;
• bei den Studenten zur Vorbereitung der „Nationalen Kunst-Kultur", um mehr Zeit zu widmen,
nicht nur auf theoretisches Wissen, sondern auch über die praktische Anwendung von Wissen der traditionellen Festkultur.
Referenez:
1. Dahl V. Sprüche der russischen Backgammon / Dal. - M. - 1957. - 102 s.
2. Zabylin M. russisches Volk: ihre Bräuche, Rituale, Legenden, Aberglaube und Poesie, coll. M. Zabylin / M. Zabylin. - M. - 1990. - 284 s.
3. Kotovich O. Goldene Regeln der populären Kultur / O. Kotovich. - 8. Aufl. - Minsk, - 2013. - 592 s.
