Samara Branch of the Union of Artists of Russia in 1985–1998: adaptation ways in the context of reforms

Abstract

This article examines the ways and means of adaptation of the Samara (Kuibyshev) regional organisation of the All-Russian creative public organisation «Union of Artists of Russia» to social transformations in 1985–1998. It is noted that in the years of «perestroika» artists positively perceived democratic changes in the country, which they understood as freedom of creativity and new opportunities for self-presentation. Such problems of the regional organisation of artists as insufficient funding and poor material and technical support are revealed. Relations with the authorities at this stage were ambivalent. Criticism of passivity of party and Soviet authorities in providing the needs of the branch was accompanied by requests for material support. The termination of the Union of Artists of the USSR, centralised funding and state regulation of culture in the early 1990s caused the transformation of regional creative unions. The uncertain status and unstable economic situation of the creative organisation during the period of market reforms in Russia had a negative impact on its image. It is noted that both individual artists and the organisation as a whole used various social practices to adapt to the realities of the market economy. It is proved that, despite financial and organisational difficulties, the Samara Branch of the Union of Artists of Russia managed to overcome «disorder and vacillation», to preserve its unity and restore its role in the artistic life of the Samara Region.