The Phenomenon of Creative Heritage in Socio-Humanitarian Discourse

Abstract

The main idea of the article is to address the phenomenon of creative heritage as an independent basic concept of modern socio-humanitarian research. Having analyzed a certain corpus of works in the field of memorial cultural practices, the authors came to the conclusion that there is no instrumental distinction of the concepts “cultural memory”, “artistic heritage”, “creative heritage” in this discursive field. The novelty of the study lies in analyzing the specificity of the concept “creative heritage”, as well as its role in contemporary socio-humanitarianism in general and art history in particular. Since the field of applied interest of the authors lies in the sphere of a specific art form — dance, practical conclusions are drawn in relation to it. It is emphasized that along with the generally accepted methods of research in a given discursive space — typological, structural, functional, biographical — the method of humanitarian blockchain and the concept of “artistic code of the epoch” proposed earlier by one of the co-authors can be used to study the creative heritage of a person (creative group) in the history of art. Emphasis is placed on the relevance of this research policy in connection with the current geopolitical agenda, the practices of “culture of cancellation” being implemented before our eyes, and, accordingly, the need to develop effective projects in the sphere of state cultural policy, forming the working contours of cultural memory and national identity. The problem of identifying, studying and preserving the creative heritage as part of the cultural heritage acquires special relevance in the realities of the modern historical stage — the “early digital era”, accompanied by the rapid development of digital technologies, including destructive ones such as deepfake. The practical potential of the development of this concept is particularly noted, which allows for the consistent preservation of traditions and innovations in artistic activities, to use both the formed array of cultural heritage of different levels and the potential of creative cultural industries.