CC BY
13
Section 4. Theory and history of art
DOI: http://dx.doi.org/10.20534/EJA-17-1-48-51
Rudenko Yaroslava V., post-graduate student Kyiv National University of Culture and Arts E-mail: 4690324@gmail.com
Raisa Kyrychenko creativity — in the art paradigm of Ukraine
Abstract:
Objective: to analyse the role and the creative impact of Raisa Kyrychenko, an outstanding Ukrainian singer, in the cultural and artistic education and promotion of Ukrainian song culture.
Methods: general scientific (observation, synthesis, historical method) and special scientific (biographical, cultural methods, regional-musicological analysis).
Results: based on the analysis, the author makes such conclusions. The creativity and song legacy of Kyrychenko play an important role in maintaining the authenticity of Ukrainian culture, folk songs in its variety of professional forms of musical life, the functioning of musical and educational centres and institutions, which greatly influence on the establishing of new status of Ukrainian culture and national identity. In addition, at the end of the XX — XXI century the concert, musical and educational activities of the singer and her colleagues contributed to the professionalization of the musical life of the Poltava region and in the state.
Scientific novelty: the author is the first, who analyse the contribution of Kyrychenko in the development and popularization of Ukrainian musical song culture.
Practical significance: the materials and conclusions of the article can be used in scientific and educational work for the researching the issues, related with the development of Ukrainian art culture, including musical singing one.
Keywords: Raisa Kyrychenko; Art; Musical and singing art; Folk song; Ukrainian culture.
Introduction All in all, the analysis of the creative life of Raisa
The scientific paradigm of the research of Kyry- Kyrychenko in the context Ukrainian musical culture
chenko creative life is focused on a wide range of artis- needs to study the influence of the singer on cultural
tic and cultural context. In this perspective, the analy- and art education and her contribution to the forma-
sis of cultural, educational and artistic phenomena, tion of social and cultural reality in Ukraine. However,
events of the educational and museum institutions is we should pay attention to the singer activities, related
actual. It is clear because artistic, social and cultural to cultural and artistic education. First of all, it is her
phenomena have been considered closely related in social and educational-pedagogical work.
the social practice. Naturally, it led to the formation Results of the research
such concept as a «socio-cultural» and the integrated It is well known, that the subjects of the musical
approach to the researching and reconstruction of the aesthetic cycle are an integral part of general human
socio-cultural reality. People constantly change it by education rights. In the context regional context,
their activities, including art and culture. it involves the study of regional art and culture with
maximum using of education potential of the artistic and aesthetic environment and national ethnic artistic values.
Thus, Raisa Kyrychenko had been worked a lecturer in the department of choir singing and vocal class in the high art school — Mykola Lysenko Poltava School of Music since September 1994. This school is one of the oldest in Ukraine. She also worked and remained an Honoured professor of the music and singing chair of the Psycho-Pedagogical faculty of Poltava National V. G. Korolenko Pedagogical University.
In our opinion, the most important achievement of Kyrychenko as a lecturer is cultivating the love to Ukrainian songs among students and showing the importance of folk materials in singing. In addition, the great point in the vocal education is the forming of the vocal personality. This process includes the interaction of factors of the national performing, composing and pedagogical traditions, which we cannot understand out of national cultural heritage. Here we can see the hidden nature of the role of national vocal art as an influential factor of the artistic personality in the ethnonational space.
The greatest achievements of Raisa Kyrychenko educational activities are manifested in the works of her students. Among them we can find the pupils of the music class of Zemlyanky school, where the singer studied and created the choir «Kalinowe grono».
Today, the most famous and talented student of Kyrycnenko is Natalia Shinkarenko, a Ukrainian singer. The girl is a follower of Kyrychenko talent. She won many music festivals such as the program «Step to the Stars», festivals «Bless friends of Raisa Kyrychenko», «Golden Song», «Play Accordion», «Song source»; Prize of Prominvestbank, Prize of D. Lutsenko etc. She is also the winner of the Grand Prix at the National Festival of Creative Teams of MVD Ukraine in 2006, and the winner of the festival «Star of Militia» in 2007.
Various festivals and competitions of Poltava region play significant role in the education of young performers. In memory Raisa Kyrychenko, the Department of Culture of the Executive Committee of the Poltava City Council organized the XIII Open Festival Competition ofVocal and Choral Art «Song
Wings of Churayivna» in autumn 2016. This festival is for the youngest talents. The children at the age of six and older can take part in it. This festival has long lost its regional character. It has already got a status of the International Children's Vocal Competition.
This festival is not only a tribute to Kyrychenko creativity but it is also an important event in the artistic and socio-cultural sphere. It helps enrich the spiritual heritage and cultural diversity of our country [1].
Remarkably, the competition took place at Poltava City School of Arts "Small Academy of Arts", named after Raisa Kyrychenko. The school is one of the largest elementary specialized artistic educational institutions of Ukraine.
The Ukrainian song festival in memory of R. Kyrychenko «Bless friends of Raisa Kyrychenko» has been supported by the President of Ukraine since 2004. This decision is explained by the significant personal contribution of the People's Artist in the development and popularization of Ukrainian songs.
Bilash stressed that Kyrychenko always was faithful to Ukrainian folk songs. Many folk songs, which had been forgotten, got new life due to her hard work. She also sang the songs of modern composers very well. All her songs sounded nobly and truly [2].
The folk song is one of the identifying features of the nation that's why the singer of folk songs play a significant role in the development and preservation of ethnic culture as well as in the development of the state. Therefore, we want to revise the words of D. Lutsenko, devoted to Kyrychenko: «She is a people's artist, not only due to her title, but also by the fact that she had grown by her roots in the soil of our nation and Ukrainian folk song» [3].
There are many various cultural institutions in Poltava region. The ensemble «Churayivna» is the most famous team of the Poltava Regional Philharmonic, where Raisa Kyrychenko had been working after returning from Cherkasy since 1987. The singer was called Churayivna after this Poltava creative team, whereas the ensemble was entitled after Maria Churai, a legendary folk singer of Poltav region.
Today, the grateful audience characterize Kyrychenko by poetic epithets such as «Unforgettable Churayivna». Thus, V. Podryha says: «During her life Raisa Kyrychenko got great popularity. She
became the guardian of the Ukrainian song, and was associated with Maria Churai, a famous singer. Therefore, she is often (It is truly!) called Churay-ivna. This name absolutely describes the singer. She worthily continued the tradition of performance Ukrainian songs, withstood the worst blows of fate, and kept her love to Ukrainians and folk songs. At late XX — early XXI century she was one of the small group of people who managed to resist spiritual impoverishment of people and teach new followers of national spirit» [4, P. 63].
Kyrychenko fellow villagers promote her songs and creativity very much. The artist understood the importance of the village in the preservation of the authenticity and spirituality of Ukrainian culture, including songs. The most part of Ukrainian songs were saved by the peasant traditions. It is not surprising that at the beginning of XX century, Kvitka, a well known Ukrainian folklorist, underlined the aesthetic principles of Ukrainian song culture, emphasized its importance in the spiritual life of Ukraine. He paid great attention to the role of Ukrainian agricultural and rural culture, which had kept artistic treasures of our people [5].
In our opinion, there are many song, devoted to the village, home, a mother, ordinary people in Kyrychenko works. So, wherever the singer stayed, she was organically linked to two things — native Poltava land and native Ukrainian song. «She always saw herself near her own mother, the field with a celestial birds and her fellow villagers» [3].
It is not surprising, when the grateful villagers breathlessly was listening to her amazing beautiful and powerful voice, called her «Bereginya of Ukrainian songs», «Our Churayivna», «Our Cossack Woman» [6, P. 61]. In thankfulness to the singer there are many events, devoted to Raisa Kyrychenko in the houses of culture of Globino district. «Ukraine, I am your Cossack Woman!» is the meeting, which takes place in Velykokrynkivtsi every year [7].
Finally, in 2000 Raisa Kyrychenko and Olexan-der Bilash with the support of the Culture Department of Poltava Regional State Administration and Globino district Council launched a regional cultural arts festival « Song spring», which takes place in the native village of Bilash. Bilash nad Kyrychenkos took
part in it. Thanks to Mykola Mikhailovich, the initiative husband of the singer, in May 2007 the Art Museum of «Svitlytsya of Raisa Kyrychenko» was opened at the Zemlyanki secondary school.
Every year on October 14 Zemlyanki school warmly welcomes fans of Raisa Kyrychenko at singing festival «Voice of the Native Land».
We should focus on the singer promotion of Ukrainian culture and national traditions abroad. In Soviet times, the Cherkassy chorus and the artist traveled all over Ukraine, Belarus, Central Asia. Being a member of the various delegations she toured in Australia, Algeria, America, Bulgaria, Canada, Mongolia, Germany, Poland, Tunisia, the Philippines, gave a speech at the UN headquarters. So much touring abroad, Raisa Kyrychenko never gave up singing by her performing style and kept her approach to the selection of her repertoire.
The singer had also done a lot to bring the Ukrainian song not only to the people of Ukraine, but to other nations. Raisa Kyrychenko understood her work as a special, important mission. Her main goals were to open, say and reproduce on the stage the artistic beauty and spiritual power, strength of the Ukrainian language, poetry, songs. She painfully perceived social problems, connected with Ukrainian language [6, P. 58]. The master of Ukrainian song called herself «Cossack Woman» and often emphasized her commitment to the Ukrainian language and song. She stated the existence of Ukrainian songs meant the existence of Ukraine.
Kyrychenko creativity play great role in the the development of national culture, as well as the formation of national consciousness. Her life demonstrates us her belonging to the best Ukrainian folk traditions, broadcasting Ukrainian identity to new generations. Baladina says that such subliminal effect of her work is achieved by «Kyrychenko song space, which was full of various manifestations of love. They were love for parents, relatives, houses and native land, to song and to the people. The leading emotional core of her songs was deep, concentrated lyricism, full of warmth and sincerity» [8, P. 23]. In addition, the «personality of Raisa Kyrychenko is full of strength from the depths of folk wisdom and morality. She was a self-sufficient bright personality. Her
singing exuded all the grandeur, the beauty, elegance and nobility of Ukrainian song culture» [6, P. 59].
In addition, the phenomenological sense ofnation-al song culture of Ukraine reveals the most important law of cultural development — heredity. It explains the phenomenological paradigm of Ukrainian vocal school in the system of transferring the mental cultural experience. Thus, a folk song has so much energy that it can inspire thousands ofsingers [9, P. 66]. So folk song associated with the spiritual and physical healing the person setting it to a positive emotion [10]. The work of Raisa Kyrychenko determined the development of modern professional performance in the folk tradition, which, unfortunately, is slightly forgotten now.
Understanding all the positive properties of human folk songs, Kyrychenko probably intuitively formed her repertoire of songs, which confined «characteristic-specific words of the Ukrainian national culture (poetic canons, folk-song phrases). They could add expressiveness and awaken genetic memory. «The keys to the heart" of listener are
not only words but also their links and contexts» [8, P. 20-21].
Conclusions
Thus, the works of Raisa Kyrychenko as well as her song heritage have played a significant role in the preservation of the authenticity of Ukrainian culture and understanding of the fundamental principles of the nation, especially in times of strong pressure of the followers of the Soviet idea, who tried to eliminate the ethnic and national diversity.
The significant contribution is made by memorialize of the singer and continuing of her creative endeavors in a variety of forms of professional musical life of musical and educational centres and institutions, which have played and play the most important role in the development of the new status of Ukrainian culture since 1991. We cannot object to the fact that at the end of the XX — XXI century Kyrychenko and her colleagues made great contribution to the professionalization of the musical life of Poltava region and in Ukraine in general.
References:
1. Outdoor festival-contest of vocal and choral art memory Raisa Kirichenko "Song wings Churay-ivny" (Vidkrytyy festyval'-konkurs vokal'no-khorovoho mystetstva pam'yati Rayisy Kyrychenko «Pisenni kryla Churayivny»)/[Electronic resource]. Access: URL: http://www.rada-poltava.gov. ua/news/27896464/( in Ukrainian).
2. Bilash O. Kyrychenko [Electronic resource]. Access: URL: https: // www.youtube.com / watch?v=A0WHbZCO2ok (in Ukrainian).
3. Zolotyi fond ukrainskoi estrady. (Golden fund of Ukrainian pop) [Electronic resource]. Access: URL: http://www.uaestrada.org (in Ukrainian).
4. Podryha V. M. Obraz Raisy Kyrychenko v ukrainskii literaturi (Image of Raisa Kyrychenko in Ukrainian literature)//Tvorchist Raisy Kyrychenko v kulturnomu prostori Ukrainy na pokordonni XX-XXI (Creativity Raisa Kirichenko in the cultural space of Ukraine at the range of XX-XXI centuries): the 70th anniversary of the birth of Ukrainian songs Bereginya: Coll. Science. pr./compilation., ed. Ed. G. Ku-dryashov. Poltava: PNPU name Korolenko, 2013. P. 62-66 (in Ukrainian).
5. Kvitka K. Potreby v spravi doslidzhennya narodnoyi muzyky na Ukrayini)//Needs in the case study folk music in Ukraine/Flower K//Music. - 1925. - No. 2. - P. 67-73 ( in Ukrainian).
6. Osipenko V. Vykonavskyi styl Raisy Kyrychenko v aspekti ukrainskoi mentalnosti. (Performing style of Raisa Kyrychenko in terms of Ukrainian mentality)//Tvorchist Raisy Kyrychenko v kulturnomu prostori Ukrainy na pokordonni XX-XXI (Creativity Raisa Kirichenko in the cultural space of Ukraine at the range of XX-XXI centuries): Coll. Science. pr./ed.: G. Kudryashov; Poltava. nat. ped. University of them. VG Korolenko. - Poltava, - 2013. - P. 54-62 (in Ukrainian).
7. Kirichenko, R. Ya kozachka tvoya Ukrayino. (I am Your Cossack, Ukraine/R. Kirichenko; years. record compilation. A. Mikhailenko. - Poltava, - 2003. - 216 p. (in Ukrainian).
8. Balandina N. Raisa Kyrychenko yak znakova postat ukrainskoi kultury. (Raisa Kyrychenko as a landmark figure of Ukrainian culture)//Tvorchist Raisy Kyrychenko v kulturnomu prostori Ukrainy na pokor-donni XX-XXI (Creativity Raisa Kirichenko in the cultural space of Ukraine at the range of XX-XXI centuries): Coll. Science. pr./ed.: G. Kudryashov; Poltava. nat. ped. University of them. V. G. Korolenko. Poltava, - 2013, - P. 17-24 (in Ukrainian).
9. Kagarlyksky M. F. Naodyntsi z sovistiu: Obrazy diiachiv ukrainskoi kultury. (Alone with the conscience: Images figures of Ukrainian culture), Kyiv: Radyans'kyy pys'mennyk, - 1988, - 487 p. (in Ukrainian).
10. Betsenko T. Pryroda movno-poetychnoyi universal'nosti narodnopisennoyi tvorchosti (The nature of language and poetic creativity universality folk-song)/T. Betsenko [Electronic resource]. Access: URL: http://dspace.uabs.edu.ua/jspui/bitstream/123456789/11156/2/Betsenko.pdf (in Ukrainian).
DOI: http://dx.doi.org/10.20534/EJA-17-1-52-55
Popova Raisa Nikolaevna, Ekaterinburg Academy of Contemporary Art, Assistant of Department of actual cultural practices E-mail: raissa.popova@gmail.com
Mythological codes in the art of Post-Impressionism: new aspects of visualization
Abstract: The article examines a specific character of myth in the historical context, as well as the structure of myth and symbol as a medium for transmission of artistic messages. In particular, the author shows how mythological codes become apparent in the art of Post-Impressionism. Also, the article analyzes connections between the contemporary concept of myth and symbol, and the art on the border of XIX and XX centuries.
Keywords: Post-Impressionism, myth, symbol, semiotics of art, mythological codes, visualization.
Often myth, as well as symbol, becomes a me- relating to myths, for example, the works ofJoseph
diator between perceptible "eye" and the world of Ideas, and, in this sense, myth sometimes remains unnoticed. Nevertheless, myth is perceived (and is comprehended in many works of contemporary researchers) as a prototype, cultural DNA, as a seed of an artistic idea or an artistic origin. The significance of the myth becomes prominent when we begin to investigate something greater then is concealed in the painting. The research on myth assists to uncover deep layers of the message the artist embodied in his work.
The research on myth and symbol as a method of reality structuring again becomes prominent in the XX century. We find such ideas in the works on semiotics by the following researchers, as Yuri Lotman, Eleasar Meletinsky, Umberto Eco. It is also important to mention the philosophical works
Campbell. However, myth as a structure has not examined enough in connection with the fine art. Thus, it remains very important to investigate the development of myth in art not from the position of mythic stories in the figurative art, but the position of mythological perception in the works of Post-Impressionism, in particular, the research on mythological codes in this artistic field.
Myth that hides behind a variety of layers and contexts and is indicated by Claude Levi-Strauss with the absence of any "real limits of analysis" [1, 15], is a language that wonderfully combines visual and textual. The attraction of the myth consists not only in its mystery, but also in the unique ability to tell a story as long as eternity, using one single symbol, to hide the amazing depth of the ocean of unconscious, and to expand a story ad infinitum.
