Ukrainian Art Research Articles

Eroticism of postmodern libertinage on the example of work of the contemporary female artists Alice Neel, Hannah Wilke, Judy Chicago

The subject of the article is the erotic genre in work of the American female artists Alice Neel, Hannah Wilke, Judy Chicago. The analysis of their visual imagery from feminist discource perspective is carried out. Methodological point of view represented in the article permits to reveal generalizing constants of analysis of contemporary visual erotica through the prism of main author concepts: “visual libertinage”, “deconstruction of body”, “emotive corporality”. The principle of postmodernist visual libertinage as a methodological technique to formulate a “female” look at corporality in their works is generalized. The influences of their artistic imagery on forming of the bases of three waves of the American feminist movement are considered: accordingly, A. Neel influences the principles of woman body visualization of the first wave, Hanna Wilke — the second, and Judy Chicago — the third one. The principles of self-presentation of the body through actionism and self-expression through nudity characteristic of their work are revealed. We prove that by these methods of work with corporality the artists violated the convention of social norm and puritan morality in relation to naked body, forming aesthetic of visual embodiment of the female body. The problem of comparison of erotic genre in contemporary American art with corresponding works of the Ukrainian artists is also claimed. The feminist principles to present body by the female artists became basic for forming the “Ukrainian body”: this experience had some followers in the 90’s, but as a meaningful and consistent program begins to be implemented in the Ukrainian art context in 2000–2010.

Borys Liatoshynskyi and the artists of Lviv: epistolary notes to the biography of the artist

The article looks into the cultural and artistic relations of the artists of Kyiv and Lviv based on the letters of Borys Lyatoshynskyi. The role of Borys Liatoshinsky in preserving the cultural significance of these artists despite Soviet cultural narratives is studied. The situation in arts was especially tragic after the 1948 decree “On the opera “Great Friendship” by Vano Muradeli”. The characters of Ukrainian artists of the Galytska school of composers — Vasyl Barvinskyi, Adam Soltys, Roman Simovych, Jozef Koffler, and Tadeusz Siegfried Kassern — have been reconstructed based on the correspondence. The epistolary legacy of B. Liatoshynsky testifies that Lviv runs through his creative path as a red thread, bringing into the orbit of our attention both personal relationships with the city (his visits, social life of artistic elite), and some collisions (often dramatic), which relate to the works of the artist. No city in Ukraine attracted the artist as much as Lviv: there he presented his works to a thoughtful listener and communicated with kindred spirits. The tragic pages of rejection and persecution of B. Liatoshynskyi’s largest works — the Second and Third symphonies — have been described and introduced into scientific circulation. The fate of the former appears to be the most tragic one in the history of Ukrainian musical culture during the Soviet times. Having considered the correspondence of the B. Liatoshinsky, we conclude that Lviv musicians always supported the artist in difficult years, appreciating his extraordinary talent. The feeling was mutual — B. Liatoshinsky felt sincere, tender love for Lviv, its profound intellectual atmosphere, its people, and the ability to maintain the true friendship of spiritually kindred hearts.

Interplay Between the Arts in the Works of Ukrainian Artists at the Turn of the 21st Century: Kharkiv School

The paper addresses the interplay between the arts in the art practice of Ukraine at the turn of the 21st century in the context of the changes that occurred in connection with the introduction of Ukrainian artistic culture to the new trends in contemporary art. This phenomenon is analyzed using the example of the activities of the Kharkiv-based artists, asthis large art center in Eastern Ukraine has its deeply-rooted specific art traditionіs: academic art education and art-industrial education were introduced here significantly earlier than in other Ukrainian cities. At present, both of these lines continue to develop in the higher educational system of Kharkiv, in particular, in the Kharkiv State Academy of Design and Arts. The traditions of art education are intertwined with new trends in contemporary arts that is manifested both in the interaction of painting and design culture, and in performances with the original combination of classical traditions and modern forms (body art, digital art, multimedia). The paper also demonstrates the changes in the design of Kharkiv architecture as the local artists turn to new expressive means of contemporary art.

Modern Art Research Institute of National Academy of Arts of Ukraine: The course of institutional activities

The twentieth anniversary of the Modern Art Research Institute of the National Academy of Arts of Ukraine (MARI) is a milestone on a path of research, constant monitoring, and promotion of artistic achievements in various areas of contemporary art. The MARI has trained a significant number of young researchers of culture and theoretically equipped them with the latest knowledge of the art research. Research and processing of the most recent global art achievements is the ultimate goal of the multidisciplinary activity of the Institute. The description of strategic issues in art research, cultural studies, and aesthetics is integrated here with the efforts to analyze the continuity of art processes. From the very start, meeting the cultural needs of the society and providing it with mental mechanisms to comprehend contemporary art was the main aim of the Institute. An ultimate goal of its academic, creative, and educational efforts is to create a multifaceted concept of the achievements of contemporary Ukrainian art and incorporate contemporary Ukrainian art into the global cultural space.

Decolonial discourse and global public art under Ukrainian conditions

In the paper, the author attempts to prove the urgency of rethinking the idea of decolonial identity in contemporary Ukrainian art. Adherents of Western theories of decolonialism and the indigenous movement expose the dark side of unified global public art, which regresses, ignoring the archetypal features of the traditions of mental and spiritual experience of ethnic groups. The conscious identity of the artistic vision associated with the empathic-transcendental worldview of the nation is evolving through aesthetic judgment, whereas, instead, the market art episteme of globalized contemporary experience, as a form of benchmarking borrowed from economics, harms national cultures and civilizational development, provoking substantial degradation and professional deskilling. To overcome the current crisis of cultural creation, artistic consciousness must distinguish regressive paradigms and resist the cultural-industrial strategies of global marketing of Eurocentrism, guaranteeing the diverse flourishing of national / regional cultures in a single family of civilizational polylogue.

Extended biography of Mykola Trokh

The article is dedicated to one of the most characteristic figures of Ukrainian art of the era of independence — the artist Mykola Trokh. It attempts to give a detailed reconstruction of his biography. The research is based on numerous documentary evidence stored in the Luboml Museum of Local History and the Mykola Trokh Charity Foundation archive, as well as on a number of publications made during the artist’s lifetime and after his death.

Pedagogy of modern Ukrainian theater: on the way to artistic synthesis

Statement of the problem. Modern Ukrainian theatre studies, based on the theatre practice of the 20th – 21st centuries, pay considerable attention to the issues of evolution of the directing and acting art, theatre pedagogy, synthesis of traditional and innovative forms of education for creative youth. These explorations acquire special importance in the context of today’s theatre art, marked by the creative and pedagogical searches of Ukrainian theatre masters. The article is about the artistic and cultural situation in modern theatre education in Ukraine, the search for education models for actors and directors, about the role of the theatre school and teachers – heads of creative workshops – in this process. This topic, expressing the unique picture of Ukrainian theatre pedagogy at the beginning of the 21st century, has not yet become the subject of special consideration in theatre studies. At the moment, there are no fundamental studies that would highlight the pedagogical activity of masters of modern Ukrainian theatre, but there are theoretical works of directors and actors that touch on the problems of modern theatre art and the theatre school of Ukraine. The purpose of the proposed study is to summarises the pedagogical experience of theatre artists of Ukraine, directors, and actors who, in the process of forming the professional skills and spiritual culture of theatre students, actively include in the educational cycle of the special disciplines as playing musical instruments, plastic arts, history and theory of music, jazz improvisations, vocal ensemble, etc. Methodology. The basis for the search of expanding the methods for the education of modern theatre students for the article’s author became, first of all, theoretical, practical, and pedagogical achievements of outstanding masters of modern Ukrainian theatre, which are for us the embodiment of professional, aesthetic and methodological searches in the realm of acting and directing art, as well as the author’s own long-term creative experience acquired during acting, directing and teaching work. Working out the mechanisms of universalization of the methodological base of academic art education in the theatre school, the author of the article notes the trends and directions of innovative approaches, which determine the ways of forming a creative personality in the process of reforming theatre education in Ukraine. The scientific novelty of the research is conditioned by the study of the peculiarities of pedagogical ideas, methods and techniques of modern theatrical personalities, actors, directors, and theatre teachers. From the theatre schools and areas of training of Ukrainian artists, those whose searches are aimed at creating conditions for the manifestation and development of versatile talents of the personality of the future master of the stage have been selected. The latter means the development of the future theatrical specialist’s acting, directing, musical, plastic, and intellectual properties under the guidance of theatre teachers giving special disciplines, such as “Directing”, “Acting skills”, “Choreography”, “Vocal”, “Stage movement”, “Plastic education of directors”, “Work of a director with a composer”, “History and Theory of Music”, which are taught with the involvement of the latest pedagogical technologies and demonstrate originality of the teachers’ artistic thinking. Results and conclusions. The tendency to experiment and innovation has always distinguished the best representatives of the Ukrainian theatre school, the creative achievements of many of which are related to the use in pedagogical practice, in addition to professional subjects (directing, acting), a cycle of special disciplines. At the same time, special attention is paid to music (vocals, playing musical instruments, history and theory of music), plastic (choreography, pantomime) and physical education. The multifaceted creative and pedagogical activity of the masters of modern Ukrainian theatre, which unfolded in the 20th and early 21st centuries, became the forerunner of the searches of the last decade and witnessed innovative explorations of Ukrainian theatre pedagogy. Today, the experience of the National University “Ostroh Academy” is of significant importance for improving the learning process, in the methodology of which the principle of organic combination of K. Stanislavsky’s system, a metaphorical approach to creating a stage image according to the “transformation method” of L. Kurbas, with the pedagogical technologies of “play theatre” is laid down. In our opinion, it is the personal method of professional training of Ukrainian actors and directors under the author’s master’s program “Metatheatre” of the director and theatre teacher of the Ostroh Academy O. Liptsyn that gives reasons to assert that various facets of the artistic traditions of the Ukrainian avant-garde theatre, whose leader in Ukraine was Les Kurbas, are clearly manifested in the innovative ideas and searches of his followers, influence the formation of innovative technologies of the modern theatre school, which significantly expands the creative possibilities of acting and directing art, and becomes an integral component of the stage pedagogy in Ukraine.

Spiritual component of the students-vocalists’ work (based on the Ukrainian composers’ repertory)

Statement of the problem. The history of Ukrainian culture is a continuous ascending path of trials, on which the mental level of Ukrainian music – its song melos, from crying and lyrics to heroics and jokes – appears as the quintessence of spirituality. A large layer of the Ukrainian folk song tradition and academic genres of music, in particular chamber and opera, from the past to the present, embodies spirituality as a guiding principle. Through the worldview position of its author, artistic images convey the “spirit of the time”. The creativity of a singerperformer is connected with the knowledge of the inner world of a person, its artistic “reflection”, with reliance on a strong spiritual foundation for realizing higher spiritual priorities in the hierarchy of values of national musical culture. So, the topicality of the topic is due to: a) the need to preserve national Ukrainian art at the current stage of development of higher art education in Ukraine; b) the needs of spiritual and personal education of young singers; c) understanding of the spiritual content of vocal works of various genres and styles, which are included in educational programs for solo singing. The significance of the formation of spiritual values of a creative personality is actualized in the scientific works of I. Bekh (2018), O. Oleksiuk (2017), V. Antoniuk (2007), O. Rudnytska (2001); the question of the spirituality of music is considered by L. Shapovalova (2014), S. Ship (2016). The innovativeness of the study is conditioned by consideration of the spiritual component of the vocal students’ creation based on the national musical background. The purpose of the study is to substantiate the role of external and internal levels of manifestations of spirituality as components of the student’s creative experience in the class of solo singing. The study of the problem of the singer’s spiritual education presupposes the application of general and special scientific approaches and methods, including: comparative typological analysis of the interpretation of vocal works; interpretative and instructive understanding of the performance through the reflection of the mentality of the imaginary hero (Shapovalova, 2014: 30); a personal and creative approach in creating a “spiritual circle” in the “teacherconcertmaster-student” system. The results of the study support the necessity of realizing the spiritual content of vocal works of different genres and styles included in the solo singing curricula. The special significance of Ukrainian song examened in the spiritual and personal dimension in the performing work of vocal students is emphasizes. Vocal pieces based on T. Shevchenko’s poems as the embodiment of a deep national idea are presented. L. Kolodub’s opera “The Poet” is given as an example of the genre of tragic-lyrical phantasmagoria, where the figure of Taras Shevchenko himself is presented. Another dimension of folk spirituality continuing of the traditionally funny images of Ukrainian opera, is considered in the example of the V. Hubarenko’s opera “The Reluctant Matchmaker”. Colorful images created on the stage of M. Lysenko KhNATOB by outstanding singers (E. Chervoniuk, V. Grashchenko) are considered in aspects embodying spiritual components of vocal image. The problem of the spiritual experience of creative communication between a teacher and a student in the solo singing class is considered in the individual context (according H. Rickert). The ways of forming a spiritual model of creative relations in the system “teacher-accompanist-student” are analyzed. Conclusion. It is proved that the professional self-affirmation of a vocal student is impossible without spiritual self-improvement and social orientation of his work, without realization the essence of the “inner feat”: during the performance he is both a spiritual reflection of the author and the personification of an imaginary hero. It was revealed that the precondition to form the spiritual foundations of the creative process is the general uplifting mood of the student and teacher, a feeling of festivity and “holiness” of the creative process. Individual manifestations of interpretive independence in combination with models implementing spiritual components within the creative circle “teacher-accompanist-student” become the basis for the formation of spiritual experience of a future singer.

New Data for the Portrait of the Ukrainian Pianist Alexander Slobodyanik

Relevance of the study. Oleksandr Slobodyanyk is an outstanding world-class concert pianist. The study of his art is necessary for the further development of piano performance. Slobodyanyk came from Ukraine, but lived half his life in Russia and the other half in the United States. Due to this, his art in Ukraine is insufficiently known and not studied at all. Мain objective of the study: identify a number of important theses that will serve as guidelines for the study of this artistic phenomenon. Мethodology. At this stage, the main method is the collection of scattered and inaccessible materials: sound recordings of the artist's performance, memoirs of his contemporaries and friends, international press reviews. The connection of the comparative method and musicological analysis of recorded performance allows us to draw conclusions about the important features of this pianist`s art. Findings and conclusions. The article speaks about the nationality of Slobodyanyk, the sources of formation of his personality; the essential features of his performing style are formulated. The study of the pianist's repertoire policy reveals the principles of his performing aesthetics. Based on the new materials found, it became possible to evaluate the audience perception of Slobodyanyk's art in different countries. The collected memoirs analysis reveals the peculiarity of his creative method: formation of interpretation during his concert performance. Recordings analysis of his Performances reveals the originality of the content in the pianist's interpretation of the classics. The collected materials draw attention to the following important points of the pianist's performance features: lot of his biography moments still need to be clarified; the process of collecting materials for research remains unfinished; to understand the individuality of the artist, it is important to take into account and sincerely highlight his origins and the influence of family, teachers, environment; to avoid one-sided interpretation of his performance style, it is necessary to study different layers of its repertoire and reviews from different countries to its interpretation. The materials reveal the following features of Slobodyanyk's creative method – a tendency to creativity on stage, "artistic" nature, and immersion in expressive, demonic images. Identified features and problems should determine the guiding directions in the further studies of the great pianist`s art.

«24 Children's Pieces for Piano» by Viktor Kosenko in the European Music History for Children

Relevance of research. The long-awaited comprehensive study of the work of the classic of Ukrainian music V. S. Kosenko led to the appeal to "24 children's pieces for the piano" not only as (with the approach still widespread in musicology) to the object of children's, purely oriented on didactic-methodical tasks of musical literature, but as a deeply meaningful work of art. A scientific novelty is the use of comparative intonation analysis of Kosenko's and Chopin's music. The goal is to introduce the piece to the broadest context of European piano music. The research methodology is also based on the application of historical and comparative methods, source analysis, elements of complex musicological analysis, etc.
 The history of how musical literature FOR children of didactic purpose was replenished with the characteristics of musical literature ABOUT children was considered. The library created by I. S. Bach (small preludes, two- and three-part inventions, "Little Books") and sheet music compiled by L. Mozart to teach children (the first stage of their own) profession, were enriched with music about life situations, dreams, and feelings of children of the times of R. Schumann ("Album for Youth") and P. Tchaikovsky ("Children's Album").
 "24 children's pieces for the piano" by V. Kosenko are written for children and about children of a new, modern author's era. The work is dedicated to "young pianists of our flourishing socialist Motherland." The heroes of the plays, like children of all times, have children's fun, toys, fantasies, fairy tales, lullabies in the family circle, and also life in a large team, hiking with pioneer songs, playing their contemporary heroes. Therefore, the dances "Waltz", "Mazurka", "Polka", "Ballet scene" are perceived as imported from another life -small in size, melodious, elegant, elegiac-dreamy pieces, moreover, they are all written in minor keys - dances that did not exist in the everyday life of that era. This music is a memory of one's own childhood, of the lost past.
 Conclusions. The main innovation that distinguishes the work from previous children's literature is the use of 24 tonalities laid out in parallel major and minor on the circle of fifths. The cycle "24 Preludes" by F. Chopin, the favorite composer, the companion of Viktor Kosenko's entire musical life, was written according to the same principle. The comparative analysis of monotone pieces (№№ 4, 6, 8, 11, 15, 19, 20, 22) of the two composers, making impossible the opinion about the external similarity and randomness of the organization of the musical material, proved the depth of the Ukrainian artist's understanding of the "creative spirit" of the Polish genius.
 Kosenko's appeal to Chopin's music is multifaceted. Often this is the appearance in children's plays of Chopin's intonation — the shortest melodic turn or expressive interval that carries the emotional idea of the work and performs this function in Kosenko's plays. Viktor Kosenko re-intonates, transposes, rhythmically changes the intonations of Preludes. They become elements of polyphony, enrich the harmony, the organization of phrases appears to be similar in the works, the metrorhythm, saturation of the texture is the same.

H. Skovoroda in the Works of Ukrainian Artists

This paper analyzes the creative heritage of H. Skovoroda, his literary pronouncements on the role of art in the cultural heritage of the reference period. Along with dialectics of philosophical thought of H. Skovoroda, an important principle of his work, namely symbolism, which was inherent not only in Baroque emblematic poetry, but also in the visual art in general at the time, is revealed. Philosophical reflections and symbols of H. Skovoroda were understandable and highly sought not only in the Baroque period, but also throughout the time. It is thus with good reason that philosophical and ethical views of H. Skovoroda influenced the artistic conceptions of many Ukrainian artists, first and foremost those belonging to M. Boichuk, H. Narbuta, V. Krychevskyi, O. Bogomazov, K. Malevich and others.
 This paper expands the concept of emblematics, symbolism of the Baroque and its quotation in the modern Ukrainian art. It has been brought out that the image symbolism of H. Skovoroda in their creativity expressed the idea of Ukrainian Sacrum, sophistication and cordocentrism. The philosophy of Ukrainian art, based on the idea of Sacrum, as well as on the sacral signatures of the national fine arts, developed its own understanding of both art and artistic concepts that reflected the revolutionary “mythmaking” and transformed the stable Ukrainian archetype into new artistic images.
 Skovoroda’s teachings have always attracted artists by their uniqueness, the significance of opinions, the depth of spiritual understanding of both the world and man, while his mystical symbolism is still quoted in the works of Ukrainian artists. Skovoroda’s figure is embedded in the historical process of understanding both the man and the world around, and his views can be projected not only onto the past, but likewise onto the present. In Ukrainian fine art and iconography, the philosopher’s dream of the harmony of human existence, the greatness of his spirit and self-knowledge is still maintained.
 The expressed allegorical nature of Skovoroda’s philosophical meditations is reflected in the symbolism of both the past and contemporary works of art. The illustration of a conceptual idea in terms of images-symbols is kind of “l'instant épié”, which aims at the most adequate expression of the artist’s point of view, when reality is transformed by flair, and everything that the artist’s brush touches rises above everyday life and becomes poetic.

Методика організації та проведення навчально-виробничої документознавчої практики у державних архівних установах для студентів гуманітарних факультетів (із досвіду ЦДАМЛМ України)

The article presents the generalized experience of the employees of the Central State Archives-Museum of Literature and Arts of Ukraine in organizing and conducting educational-production practice for students in 2017– 2022. The features of the Central State Archives as a base of practice and the specifi cs of the Central State Archives-Museum of Literature and Arts of Ukraine as an institution that combines in its activity the functions of archives, museum and library are analyzed. The purpose of the study is to create methodological recommendations for employees of the CSAMLA of Ukraine and other archives on conducting practice for students of humanitarian faculties, promoting the improvement of the organization and implementation of archival-library practice in archives and the dissemination of these methodological recommendations to other archival institutions. The methodological basis of the research is based on the principles of objectivity, comprehensiveness and a systematic approach to studying the possibilities of the CSAMLA of Ukraine and the structure of archival practices organized on its basis as a complex of interrelated elements. General scientifi c methods are used: analysis and synthesis, classifi cation, comparison, detailing and generalization, methods of structural and functional analysis, methods of historical research (chronological, historical-comparative, methods of historical description). Scientifi c novelty. Based on the analysis of the 12 conducted practices, the optimal methodology for organizing and conducting of documentary practice in the Central State Archives-Museum of Literature and Arts of Ukraine for students of various ages and various humanitarian specialties was proposed. An approximate plan of educational lectures and practical classes for students is also presented, which can be taken as a basis for remote practice in other archival institutions. The conclusions state that as a result of the documentary archival, archival-library and archival-museum practices, future archivists, document experts, historians and other specialists receive the experience that consolidates theoretical knowledge acquired in higher educational institutions in practice, get to know directly the work of one of the largest archives of Ukraine, which contributes to their professional orientation and the acquisition of a number of practical skills. The article will be interesting for teachers and students of humanitarian faculties of higher educational institutions, as well as for archivists and scientists.

РЕПРЕСИВНА ПОЛІТИКА ОРГАНІВ ОДПУ-НКВС 1920–1930-Х РР. СТОСОВНО УКРАЇНСЬКОЇ ІНТЕЛІГЕНЦІЇ НА ПРИКЛАДІ АРХІВНО-СЛІДЧИХ СПРАВ ПРОТИ НИКАНОРА ХАРИТОНОВИЧА ОНАЦЬКОГО

The article examines the repressive policy of the USSR towards the Ukrainian intellectual in the late 1920s and 1930s, using the example of the persecution and investigative actions directed against Nikanor Kharitonovych Onatsky, the founder of the Sumy Museum of History and Local History, an artist, poet and teacher. The article analyzes the materials of the investigative bodies of the ODPU-NKVS, namely the materials of the acts of searches, denunciations and court verdicts regarding N. Kh. Onatskyi. These repressive measures took place entirely in the context of the time, which was concerned with the gradual extermination of representatives of Ukrainian culture. Considerable attention in the article is devoted to the studies of Ukrainian studies by N. Onatsky, regarding his study and coverage of the history of Ukrainian culture, ethnography and museology precisely as the cause of persecution and repression, in relation to the Ukrainian researcher. The article attempts to analyze and periodize the repressive measures against N. Onatsky, namely from their beginning - 1928, when the artist began to be constantly disturbed by the bodies of the ODPU, calling for interrogations and setting up secret surveillance, writing denunciations, and the end of repressive measures against the artist – namely, the court verdict of the NKVD troika in November 1937, and the execution of the artist. The article also attempts to determine the reasons and prerequisites that influenced the beginning and continuation of repressive actions against N. Onatskyi. Among them is his active research on Ukrainian art, culture, ethnography and history. The scientific novelty of the article lies in the fact that, for the first time, an attempt has been made to summarize and highlight information about the entire period of repressive actions against Nikanor Kharytonovych Onatskyi.

INCLUSIVE MUSIC EDUCATION: PERSPECTIVES AND PROBLEMS

If you can fill the unforgiving minute
 With sixty seconds' worth of distance run,
 Yours is the Earth and everything that's in it,
 And – which is more – you'll be a Man, my son!"
 ("If" by Rudyard Kipling)
 The article is devoted to the topic of introducing inclusive education in Ukrainian art institutions. The historical background of the genesis of the phenomenon of inclusion in society is presented, as well as a description of the state of art education during the Soviet totalitarianism. It is noted that inclusion in art is a synthesis of a number of components, among them relevant are: legislation (national and international), historical background, mental features, socio-cultural context. The content of inclusive education in art schools and specialized music schools operating at conservatories is also considered. Attention was drawn to the problems of implementing inclusion in such educational institutions, because just a few years ago, such a model of education with its equal opportunities and barrier-free access was not a priority and was not even considered. It is noted that the new paradigm in general (and, in particular, in art education) is a complex system of knowledge in pedagogy, medicine, psychology, which is necessary for the integration and adaptation of a special contingent of people into society.
 One of the pedagogical art programs for working with children with disabilities in educational institutions, created by direct participants in the educational process – music teachers of one of the regional art schools, was presented. It is noted that the document approves the education system for children with special educational needs as vertical-horizontal (in fact, the usual simple Descartes coordinate system), because the level of the program takes into account the age qualification of the applicant (child) and is directly related to the psychophysical development of the applicant. The main provisions, goals and principles, directions of implementation of the "Concept of inclusive art education" are also outlined, which cover the entire spectrum of this paradigm in education.
 The article highlights the non-institutional form of inclusion in art: festivals, creative competitions. It is noted that this form of entry of a child into society is no less important than the actual education in educational institutions.
 The study uses empirical research methods: observation, synthesis, and analysis.
 The paper concludes that the needs of society (including the humanization of education, Ukraine's attempts to join the European community), which required urgent solutions, created a situation in which professionally high-quality personnel of art educational institutions were psychologically unprepared to work with children with special educational needs. That is why the presented work indicates that the teaching staff prepared for specific working conditions is the primary link, the basis for further successful development of inclusion in art education.

Analysis of musical art trends in Ukraine in the 21st century

Thus, the development of Ukrainian music underwent a gradual evolution until the Russian aggression began in 2022. After the fall of the Soviet Union, Ukrainian-language music was not in favor, but after 2014 and especially after February 24, 2022, it became mainstream. Among Chusach varieties of musical art in Ukraine, the most common are pop, rock, rap, jazz, etc. The new opportunities that the Network has opened up for performers also have many hidden dangers. This is primarily about piracy, which significantly reduces the profits from selling your own. At the same time, thanks to multimedia and high-speed Internet, the exchange of musical novelties became more efficient. In particular, for a long time, Ukrainian music was characterized by the same trends as in the West: song plots, rhythms, popular styles of music, etc. It should be noted that the demand for Ukrainian music increased after Russia's military aggression. The Russian product was banned. So, if similar trends unfold in the same way, Ukraine will continue to see the emergence of new talented collectives. It should be noted that pop and rock are promising directions of music development but rap also looks extremely promising.

THE MATRIX OF A POETIC WORK: PROBLEMS OF TRANSLATION (BASED ON THE MATERIAL OF THE TURKISH TRANSLATION OF "CONTRA SPEM SPERO" BY LESYA UKRAINKA)

The translation of fiction plays an important role in the knowledge of the "other". Today, the news about Ukraine comes from the entire world's mass media because of Russia's full-scale war against Ukraine, because of the pain and grief that the Ukrainian people are experiencing. But do all civilized countries know well the "other" – Ukrainians, their history, traditions, culture, or is cultural material and artistic material – poetry, prose, drama, written by Ukrainian authors well presented in the world languages? Unfortunately, it is not enough, and each new translation of Ukrainian literature into foreign languages brings one step closer to familiarity with Ukrainians, their internal culture, sense of dignity, self-sacrifice, civic position, and patriotism. The Ukrainian art includes many talented names, each of which deserves more than one study.

Діяльність політосвітніх організацій на Поділлі у 1920-ті роки

The purpose of the study is to highlight and analyze the activities of Soviet political and educational organizations (clubs, reading rooms) in Podillia to follow the tasks and evolution of the content of their work. Th e research methodology is based on the principles of a concrete-historical approach or historicism, comprehensiveness, integrity, systematicity, as well as the use of the methods of analysis and synthesis, historical-genetic, historical-comparative, statistical, and problem-chronological. Th e scientifi c novelty lies in the fact that for the first time in historiography, the content and essence of the Soviet political and educational work in Podillia during the period of the policy of “Ukrainization” has been comprehensively ana- lyzed. Conclusions. At the beginning of the 1920s, a wide network of Soviet political and world organizations (clubs, farm buildings, and others) was created in Podillia. Th eir creation was preceded by the closure or reorganization of those cultural associations that operated during the time of the Ukrainian People’s Republic. Th e main goal of Soviet political and educational work was to attract the population to “proletarian culture” to Bolshevize it and to turn it away from the Ukrainian national process. However, during the “Ukrainization” policy, clubs and villages also played a positive role in the elimination of illiteracy among the adult population contributing to the formation of a new rural Ukrainian intelligentsia and spreading the achieve- ments of Ukrainian art among the peasantry. In the course of the 1920s, numerous “cleanings” of the funds of village houses, reading rooms, clubs, and libraries took place periodically. Th ey especially intensifi ed aft er the beginning of “complete collectivization” at the end of 1929. Many employees of political organizations began to be accused of political mistakes, carrying out anti- Soviet nationalist work, but this is a topic for a separate study

TYPOLOGICAL CONTROVERSY BETWEEN H. SKOVORODA’S POETRIES AND CALDERON DE LA BARCA’S DRAMA “LIFE IS A DREAM”

The article traces the typological controversy of H. Skovoroda’s poetries and Calderon de la Barca’s drama “Life is a Dream” in the context of Baroque literature. The closeness of the artists’ searches and discoveries in their worldview, humanitarian and aesthetic concepts, related with the Baroque era, is evident in the works of Calderon de la Barca and H. Skovoroda. In the foreground, the writers put forward the need for man, whose spiritual world is the arena of the duel between good and evil, to determine the place in the Universe and on Earth. It is emphasized that the main discovery of the philosophy of the Ukrainian artist H. Skovoroda is the problem of man, his happiness and ways to achieve it. In the works of the wandering philosopher, man acts as the measure of all that exists, because before knowing the huge and symbolic world, he must know himself. Skovoroda considered happiness to be the most important thing for a person. Happiness must be built on an unshakable foundation, which is invisibility, it does not depend on either earth or heaven. Each person has his own nature, so you can choose an occupation in “controversy” with this nature. The fate of Calderon, as the creator of baroque aesthetics, is a knot of contradictions of his era. The writer combines philosophical reflections on the meaning of human life, on the search for truth, the place in society, a person’s understanding of himself with ardent propaganda of religious fanaticism and self-denial. Despite the fact that the path of Calderon’s heroes to the realization of the meaning of being is difficult and thorny, full of losses, disappointments and doubts, the writer believes that a person is capable of defeating himself and standing in the face of inexorable fate. The aesthetic ideal of a person, built in his works, led readers and viewers to the awakening of the soul, to productive work on the way to the realization of their hidden possibilities, to the disclosure of the secrets of existence, to the search for truth. The world of symbols and allegories as a vivid reflection of baroque aesthetics brings G. Skovoroda and Calderon de la Barca closer together in the idea that the purpose of man as a social being is to wake up to life, make the world around him better, and move towards the highest absolute.

STUDY OF TRADITIONS OF FOLK ART OF UKRAINE IN EXTRACURRICULAR EDUCATION INSTITUTIONS

The article analyzes the process of studying the traditions of folk art of Ukraine in out-of-school education institutions.It is noted that the formation of national identity in the younger generation is of great importance. This can be done in several ways, including by joining students to a national culture whose branches are folk art and its traditions. At the same time, folk art is a historical phenomenon. It is based on prehistoric times, which reflect the diverse needs of people, replenish the material and spiritual treasure of the Ukrainian people. Perhaps the most important folk tradition is oral folk art, language. Thanks to language, oral folk art is passed down from generation to generation and is the basis of national consciousness and culture.It is determined that the most common types of folk art in Ukraine, which are available to teenagers and do not require toocomplex equipment, are embroidery, Easter painting, ceramic toys. The analysis showed that in the lessons of groups studying the traditions of folk art of Ukraine, working with a variety of material, students gradually learn about the achievements of the past, gain practical experience, enrich the soul and heart with positive emotions. Modern products created by the students of the clubs are stylized, latest copies, imitations of ancient household items, things around us, apartments and more. They seem to unite the native and eternal symbols of our people, national and family shrines. It is determined that the purpose of the program is the development of personal abilities through folk art, while the main tasks are the formation of the following competencies: cognitive, which introduces the concepts and knowledge of folk art; practical, which helps to master the skills of creating a variety of products; creative, providing education of creative abilities; social, contributing to the formation of a caring, respectful attitude to folk traditions, national consciousness and the formation of aesthetic taste, the promotion of folk crafts. It was also noted that extracurricular activities create a unique creative educational environment, open to every child, which can not create any institution of general secondary education, as there is no appropriate specialization and specialists to develop special skills and talents of students.

School of Ball Choreography by KNUKiM in Modern Scientific Discourse

The purpose of the article is to identify the main approaches to understanding the activities of the school of ballroom choreography of the Kyiv National University of Culture and Arts (KNUKiM) in modern research. Research methodology. Methods of analysis and synthesis are applied; historical for consideration of scientific publications in chronological order; method of theoretical generalization for formulating conclusions, etc. Scientific novelty. The scientific novelty is to identify the degree of research of the phenomenon of "school of ballroom choreography KNUKiM" and the main approaches to understanding its activities. Conclusions. The analysis of the scientific discourse on the school of ballroom choreography of KNUKiM proved the importance not only of narrow choreographic optics but also the legitimacy of the application of culturological approaches, given the scale of the phenomenon of this school. In fact, only T. Pavliuk and A. Pidlypska consider the "school of ballroom choreography of KNUKiM", and not some aspects of its activities, without calling the phenomenon "school". Most of the authors, resorting to demonstrating the importance of scientific and methodological achievements of ballroom dance teachers KNUKiM, as well as graduates of the Department of Ballroom Choreography, prove the legitimacy of the definition of "scientific and pedagogical school". Despite numerous mentions of the Department of Ballroom Choreography KNUKiM and its representatives, it should be noted that researchers have not paid due attention to the preconditions and characteristics of the formation of art and pedagogical school of ballroom choreography KNUKiM, clarifying the main directions of the Department of Ballroom Choreography its role in the cultural and artistic life of Ukraine, the identification of the personal contribution of school representatives, the development of periodization of school activities, etc. The relevance of such a study is undeniable, and its results can be used in further theoretical developments on the activities of art, pedagogical, scientific schools in the process of cultural creation, choreographic art in Ukraine, etc. Key words: Department of Ballroom Choreography KNUKiM, Ukrainian culture, art school, scientific discourse.