Ukrainian Folk Research Articles

Rebranding of Ukrainian Folk Choral Art in the 21st Century

Purpose of the work. The study analyses the rebranding policy of folk choral art in the 21st century and identifies new approaches to its preservation and popularisation in the context of globalisation and the rapid development of information technologies. Research methodology involves the combination of empirical methods (observation, data collection, interviewing), systematic and analytical methods, which allowed for identifying the leading trends in updating approaches to promoting Ukrainian folk choral art in the 21st century. Scientific novelty. For the first time in Ukrainian musicology, rebranding is being explored as a new approach to the preservation and popularisation of folk choral art in the conditions of globalisation and the development of information technologies. Rebranding policy acts as a key tool for revitalising the folk music tradition, increasing interest in traditional culture, and integrating folk choral art into the modern cultural space. Conclusions. Rebranding of folk choral art is essential for its functioning in modern conditions and for attracting new audiences, especially young people. The creation of multimedia projects and the use of social networks make folk choral art more accessible and appealing. The integration of elements from other cultures into folk choral performances contributes to updating its format and cultural integration while preserving the authenticity of Ukrainian art. The theatricalisation of performances, the use of traditional Ukrainian costumes, scenography, and choreography enhance the emotional impact on the audience, shaping a modern image of the Ukrainian folk song. Rebranding helps folk choral groups not only make folklore one of the leading musical trends in Ukraine but also reach an international level, fostering intercultural communication and promoting Ukrainian art abroad.

THEORETICAL PRINCIPLES OF THE FORMATION OF SPIRITUAL CULTURE IN FUTURE TEACHERS OF ARTISTS

The problem of spirituality, spiritual culture and their role in the formation of the creative personality of student youth is quite relevant. The process of forming spirituality is an important aspect of the modern humane educational paradigm. According to the scientific community, it is spirituality that expresses the degree of "humanization" of the pedagogical process. Questions of spirituality have interested humanity at all times and have been studied by many sciences: philosophy, pedagogy, psychology, sociology, ethics, aesthetics, etc. In the New Ukrainian School Program in the Progress to Values, it is stated that now it is important to intensify efforts to raise the spiritual level of Ukrainian youth, to form a stable system of deep moral and spiritual values in them. The purpose of the article is to describe the concept of spiritual culture and the formation of artistic ideas in future teachers during the study of Ukrainian folk art. Analysis, synthesis and modeling methods were used to study the state of research. The results of our research was carried out with the help of empirical methods: pedagogical observation, questionnaires, interviews, testing, the method of experimental evaluations. Mathematical statistics methods were used to process the research results. In the research, we used a complex of general scientific and pedagogical methods. To ensure an objective and comprehensive study of the researched phenomenon, an analysis of scientific, scientific-methodical, and art sources was carried out; the state of development of the problem and prospects for further research were determined; generalization of pedagogical experience in teaching art in a higher education institution. The formation of a spiritual personality takes place in the interconnected process of education and training. An important role in the formation of the spiritual sphere of the individual belongs to education. Its tasks are classified according to the following directions: formation of a scientific outlook; education of a conscious attitude to learning, development of cognitive activity and culture of mental work; education of political consciousness and development of civic activity; education of a creative attitude to work, preparation for a conscious choice of profession; education of morality and culture of behavior; formation of legal awareness and education of civil responsibility; education of aesthetic culture and development of artistic abilities, etc.

PSYCHOANALYTIC SYMBOLISM OF THE UKRAINIAN FOLK TALE (FROM THE THEORY OF K. G. JUNG TO THE PRACTICE OF SOCIAL WORK)

The fairy tale, despite the antiquity of its origin, or precisely because of it, remains relevant at all times, in particular in connection with the ways and means of solving difficult life circumstances clearly outlined in it, which have currently acquired a total scale in Ukraine, immersed in the rf border situation of war. After all, the Ukrainian folk tale is a container of both symbols that require philosophical reflection and concrete solutions to urgent social problems, the minimization/overcoming of which is aimed at the professional activity of social work specialists. A fairy tale is a repository of archetypes of the collective unconscious, the symbolism of which needs its own awareness. In this regard, the object of this study is a Ukrainian folk tale, and the goal is to analyze the specifics of the image of the Old Man (Grandfather) and his activities, which are always directly related to overcoming difficult life circumstances of the main character. The research is carried out at the intersection of two aspects - psychoanalysis and social work. It is noted that the Swiss psychiatrist emphasizes the actualization in difficult life circumstances of the potential internally hidden in each person, which directly contains the archetypes of the collective unconscious, in particular the archetype of the Spirit (Animus), or «old sage». During the research, the following important points were clarified. First, according to the views of K. G. Jung, at the moment when the fairy-tale hero is experiencing the «peak» of a difficult life circumstance, advice and help comes from the Old Man-Magician, which is a form of personified thought, since the ability for self-reflection and acceptance of wise words is inherent in human nature decisions, in particular those made taking into account moral principles. Secondly, in the case when the hero is not capable of self-reflection and has not yet acquired wisdom, in particular due to clouding of the mind caused by illness, short years, lack of life experience, etc., advice and help is provided by specialists in social work, the functions of which, in my opinion, are performed by the fabulous Elders, who are always Wizards for the needy. In the future, this article will serve as a psychoanalytic basis for the study of Ukrainian folk tales from the standpoint of K. G. Jung’s teachings on the phenomenology of the spirit in fairy tales and will contribute to the formation of a positive the image of a specialist in social work.

Preservation of the Traditional Ukrainian Clothing and Its Popularization in the Activities of Folklore and Ethnographic Groups of the Kharkiv Region at the Turn of the 20th – 21st Centuries

It is extremely important for Ukrainians to be aware of their national identity and internal unity in modern conditions. The revival of Ukrainian traditional culture, including interest in traditional Ukrainian clothing, is a sign of this process. Ukrainian vyshyvanka has become an important marker for Ukrainians both in Ukraine and also abroad. Slobidska Ukraine, Kharkivshchyna in particular, is not an exception. Ukrainian traditions are being revived here. A powerful ethnological school, founded by the academician Mykola Sumtsov, has existed in Kharkiv from the late nineteenth century until the early 1930s. The scientific activities of Vira Biletska are of a great importance in the study of Ukrainian traditional clothing of Slobozhanshchyna. Unfortunately, this scientific school has been destroyed by the pro-Stalinist totalitarian regime in the 1930s and the heritage of the scientists has been put in a so-called special storage department. The studies of the traditional culture of Slobozhanshchyna are resumed only after Ukraine has gained independence. The creative activity of folklore and ethnographic groups in the Kharkiv region is of a great importance in promoting the traditional culture of Sloboda Ukraine, including Ukrainian folk clothing, in the late twentieth and early twenty-first centuries. Muravskyi Shliakh (Kharkiv) and Verbychenka (Nova Vodolaha) take a prominent place among these groups, considered as an example in terms of performance skills and the authenticity of the reproduction of Slobozhanshchyna folklore and research activities as well as in the terms of the accuracy of stage costumes. These facts are also facilitated by the organization and regular holding of the Krokoveie Kolo traditional folk culture festival for children and youth by the Union of Folklorists and Ethnologists of Kharkiv. The interest in folk traditions of the Kharkiv region at the turn of the twentieth and twenty-first centuries has influenced the emergence of craftswomen, both reproducing traditional Ukrainian women’s, men’s and children’s clothing, but also educating new generations of craftswomen. The activities of the Ukrainian traditional culture masters contribute to the formation of the Ukrainian national identity in the Kharkiv region. A wider circle of Kharkiv residents is becoming aware of the historical origins of Ukrainians in Slobozhanshchyna owing to the fruitful long-term creative activity of these groups involving youth and children.

Emigrant Songs of Ukrainians in the Context of Scientific Research of Robert Klymasz (Canada)

The purpose of the research is to analyse the genre and thematic, musical component and peculiarities of the transformation of emigrant songs from the collections of folk songs Introduction to the Ukrainian-Canadian Immigrant Folklore Cycle and Ukrainian Folk Songs from the Prairies by R. Klimasz (Canada). The research methodology is based on the principles of objectivity, systematicity and historicism, which is supported by the historical and cultural approach. The musicological, textual, stylistic, and contextual analyses are applied, which reveal the musical, literary, historical and cultural dimensions of the evolution of emigrant songs, and also allow us to identify the transformation of emigrant songs in new socio-cultural conditions. The scientific novelty of the research lies in the introduction into scientific circulation of the collections of sheet music of the Canadian-Ukrainian folklorist R. Klymasz, which contain samples of emigrant songs of Ukrainians in Canada as authentic musical folklore of Ukrainian immigrants in the context of studying the transformation of the musical folklore tradition of Ukrainians in the North American diaspora. Conclusions. The emigrant songs collected and published by R. Klymash, created among overseas emigrants, are part of the cultural heritage of the Ukrainian diaspora in North America, which consists of epic stories, song lyrics, and humorous and satirical dance songs. The folk song materials clearly demonstrate the current themes, melodic, rhythmic and harmonic aspects of the musical component, and the contexts of performance. The musical and poetic style of the songs expresses the peculiarities of the music of the western region of Ukraine with its respective linguistic dialects. Examples of emigrant folklore reflect the diachronic development of the song culture of Ukrainians in the diaspora from the creation of emigrant songs as authentic examples of immigrant folklore with gradual modification to complete assimilation into another cultural environment, which is expressed in the change of content of the works, the use of macaronic elements in the texts, and later – melodic borrowings.

STUDY OF ARTISTIC FOLK EDUCATION AS A CONDITION FOR THE MANAGEMENT OF PEDAGOGICAL TEACHING

The article is devoted to the problem of inconsistencies in the implementation of art education in the State Standard of General Secondary Education of Ukraine. To achieve this goal, the task was set to demonstrate the importance of public art education as the basis for the education of young people. The study was conducted using the methods of theoretical, empirical research and general methods of scientific research.The article analyzes the forms of non-formal art education introduced by cultural and artistic figures in 2004. Restoring the experience of ethnic festivals and preserving the traditions of artistic families becomes the basis for the implementation of the state standard of general secondary education. The comparative analysis demonstrates the importance of combining different approaches in the formation of public education in the country, preserving the spiritual, moral and ideological positions of young people. The experience of leading artistic families in popularizing art education in the region is analyzed. The influence of prominent artists on the formation of interest in Ukrainian culture among international partners is studied. An example of the assimilation of individual experience of artists to the challenges of life is given.The conclusions summarize the importance of combining art and public education for the formation of key competencies, harmonious personal development, and the reproduction of the sacred meaning of art education. It has been shown that the art education sector has a number of gaps in its implementation and future development. The task of the teacher is to develop the spiritual and psychological spheres of the individual; actualization of historical, cultural, artistic or ethnographic influence; formation of skills to look for hidden meaning in the language of art: understanding the non-verbal dialogue with the author, learning to decipher the composition code and learning to understand the principle of the universe, the laws of the world continuum through art; creating parallels during lessons, trying to fill the entire educational space with art (musical minutes during breaks, musical accompaniment during intellectual tasks, the use of stimulating visual content in the space of the educational institution, visiting the workshops of artists and sculptors, holding master classes in museums), which enhances informal education.It is assumed that the creation of an artistic educational product should have a gender aspect in the popularization of influence, the economic background that always surrounds the student and determines his or her artistic and aesthetic preferences. A successful combination of didactic tools of influence and the achievements of Ukrainian folk art can become a source for implementing a comprehensive process of psychotherapy for young people in the context of war and postwar.

Ukrainian Folk Traditions of Hospitality in the Context of Modern Diplomatic Etiquette

Ukrainian Folk Traditions of Hospitality in the Context of Modern Diplomatic Etiquette

Між минулим і майбутнім: рефлексії навколо нового тлумачення просвітницьких ідей Бориса Грінченка (кін. ХІХ – поч. ХХ ст.)

The research dives into similarities between historical events in the early twentieth and twenty-first centuries, drawing connections to Borys Hrinchenko’s inspirations which resonate with contemporary efforts in resisting russian occupation, emphasizing the struggle for Ukrainian independence, identity, and freedom through primarily ideological, cultural, national, and linguistic means. The article highlights the leading pedagogical ideas of the scientific and journalistic heritage of Borys Hrinchenko, a prominent Ukrainian linguist, writer, poet, playwright, publicist, critic, ethnographer, educator, and public figure of the late nineteenth – early twentieth centuries. The author focuses on various aspects of the scientist’s contributions, including ethnographic research and methodological systematization of Ukrainian folk art, social endeavors aimed at common societal objectives, educational perspectives, and pedagogical intentions. Additionally, the emphasis is on humanizing personal and social interactions among individuals through the promotion of universal moral ideals and spiritual values, among other aspects. The article provides characteristics of educational concepts related to the national upbringing of Ukrainian youth within Borys Hrinchenko’s scientific and journalistic heritage. It outlines the pedagogical discussions on intergenerational transmission in the realm of Ukrainian studies during the specified period. The author attempts to reinterpret the eminent thinker’s persona in intrinsic harmony with well-known figures from the intellectual elite of that era. Significant attention is devoted to the alignment of creative concepts between Borys Hrinchenko and Ivan Franko. The article highlights Kamenyar’s extensive praise for Hrinchenko, mentioning his resilience challenging criticism, often hostile, and his consistent profound love for Ukraine and “sincere democracy” in all his writings. Specific examples are presented to illustrate Hrinchenko’s aimed critique of Khrystyna Alchevska’s idleness, particularly in the context of russifying Ukrainian schools and publishing her books in russian. The research offers an entirely different interpretation of the critical perspective on certain intellectuals’ scientific and literary works from the relevant period. This perspective was aimed at the promotion of Ukrainian studies and national education. The article explores certain aspects of Hrinchenko’s role as a teacher in a rural school, drawing from historical and scholarly references. It emphasizes the strong connection between two generations of the Ukrainian national movement – Borys Hrinchenko and Dmytro Doroshenko – by analyzing their common efforts. The author highlights their effective collaboration in developing the Ukrainian independent press, public engagement, educational initiatives, and shaping the Ukrainian people’s national consciousness and identity.

Музей народного мистецтва в Отрембусах. Значення діяльності Маріана Покропка для вивчення українського мистецтва в Польщі

Activities of the Polish researcher, Doctor habilitatus Marian Pokropek (1932–2023), professor of the University of Warsaw, are well known in European countries and even more widely in the world, in particular, in Asia and the USA. The scientist gained the fame as a professional ethnographer and a tireless collector of folk art already in the 20th century. The heritage of Ukrainian folk craftsmen is preserved in his private Museum of Folk Art in Otrębusy, which was founded in 1996. The museum exhibits include icons on glass, Hutsul tiles, woven and embroidered carpets and rushnyky, etc. among many works. These displays have been presented repeatedly at numerous exhibitions in Poland. The professor organized the exhibition "Ukrainian Folk Art in the Collection of the Museum in Otrębusy. Ukraińska sztuka ludowa w zbiorach Muzeum Sztuki Ludowej w Otrębusach" (22 May 2022) in the first months of the war, after the invasion of Russian troops in Ukraine in February 2022. The scientist also greatly contributed to the study of Ukrainian art in his collection. During the war, this collection located in the territory of Poland is an extremely valuable material for the study of folk art of Ukraine.

НАРОДОЗНАВСТВО ТА МОВНИЙ КОЛОРИТ У ТВОРАХ СТЕПАНА НОСА ТА ДАНИЛА МОРДОВЦЯ: КОМПАРАТИВНИЙ ДИСКУРС

Based on textual and linguistic analysis of the works of Stepan Nos and Danylo Mordovets, the article examines the issue of ethnic history and culture, traditions and life, characters and worldview of the inhabitants of different regions of Ukraine. The article highlights the peculiarities of the formation of ethnographers interests, analyses the intellectual environment, leading factors and prerequisites that influenced their formation as artists of their time. Their priority issues, plot fabric, key areas of journalistic practices, stylistic features and other characteristic features of literary narratives are highlighted. A comparative analysis of the ethnographic texts of the writers is carried out, and their dominant feature is determined. The attention is focused on the means of linguistic expressiveness of S. Nos and D. Mordovets works, their interpretation of certain periods of our history and the role of the individual in their development. It’s noted that both artists collected, recorded and published materials of their own ethnographic research, including songs, poems, fairy tales, proverbs, sayings, which best reflect the mental traits of Ukrainians, their traditional culture and rituals. Based on a comparison of the selected works by S. Nos and D. Mordovets, the author identifies their common features in the description and interpretation of traditional rituals, outlines the semantic and linguistic content of their works, which contributes to the construction of the artists’ image in the time range. It’s summarised that the «linguistic decoration» of the writers texts acts as a self-presentation of the authors’ personalities, and psychologism contributes to the understanding of the nationality of Ukrainians. It’s proved that Ukrainian folk art has been and remains the main identifier of Ukrainian national culture.

Mykola Stetsiun’s creativity for bandura in the anniversary context

Statement of the problem. Recent research and publications. A significant event for the bandura community was the 80th anniversary of the Honored Artist of Ukraine Mykola Hryhorovych Stetsiun (b. 1942), whose composer’s work represents a new stage in the development of the bandura art. The artist’s professional development began in the urbanized Eastern region of Ukraine, where the folk instrumental performance was represented exclusively by the domra, balalaika, and accordion arts. The composer’s practical acquaintance with the bandura took place in his mature years in Kharkiv, which prompted him to expand the original bandura repertoire and include the timbre of the instrument in orchestral compositions. M. Stetsiun’s composer work has been covered in the number of scientific studies. His life and creative path is described by A. Vynohradova (2019), S. Bilousova (2016), and L. Shekita (2013) who characterized M. Stetsiun’s work in the context of the development of folk instrumental art. The performing interpretation some of the composer’s works is characterized in the studies of M. Tushchenko (2019) and A. Aulova (2021). I. Lisniak (2014) offered the genre style review of the composer’s work for the bandura. The relevance of the proposed study determines by insufficient research of M. Stetsiun’s bandura works. Objectives, methods, and novelty of the study. The purpose of the study is to characterize the development of M. Stetsiun’s bandura creativity in the context of the enriching the modern bandura repertoire. For the first time, the evolution of M. Stetsiun’s interest in bandura sound was traced in the context of significant for folk instrumental art the events and creative communications. Ways of formation and creative transformation of M. Stetsiun’s composer style in the field of bandura music have not yet been the object of research. A panoramic overview of the composer’s genre and style searches, aimed at expanding the performance repertoire for bandura, was carried out. The following methods was used in the research: 1) biographical to characterize significant events in M. Stetsiun’s life and work; 2) genre and stylistic to reveal the characteristic peculiarities of his music works; 3) interpretive to analyse performance tasks in the works for bandura. Research results. Thanks to the activities of V. Andrieiev and H. Khotkevich, bands of bandurists appeared in Kharkiv alongside the domra and balalaika orchestras. In 1921, the first orchestra of Ukrainian folk instruments was created. The cultural and musical environment of the Ukrainian Donbas in the middle of the 20th century was influenced the Soviet narratives. The bandura did not sound there. Therefore, since childhood, M. Stetsiun showed himself as the domra performer and talented arranger. During his studies at the Kharkiv State Conservatory (in the domra class of V. I. Mikhelis, in the composition class of I. K. Kovach), bandura performance declined. M. Stetsiun’s close acquaintance with the bandura took place at the turn of the 1980--90s, when the bandura class was renewed at the Kharkiv State Institute of Arts. There are several genre and style models to which the composer turns to in his work for this instrument: 1) vocal-instrumental compositions, 2) orchestral works with the inclusion of the bandura part, 3) arrangements for bandura solo, 4) original works for bandura, 5) compositions for the ensemble of bandurists. M. Stetsiun’s arrangements for bandura – “Elegy in Memory of Hnat Hotkevych” and “Etude-Impromtu” are very popular among the performers. The “Dance in the Form of a Rondo” stands out among his original works for bandura. Conclusion. M. Stetsiun continues the traditions of the Kharkiv school of composers, as evidenced by the bright individual stylistic appearance of most of his opuses. Conscious reception of the bandura as a national musical instrument by the composer took place in adulthood, when, thanks to the high level of compositional skill, he was able to embody organically the specifics of orchestral thinking in the solo and ensemble sound of the bandura using the traditional and the modern melodic-harmonic, textural and articulation means. The perspective of the research consists in the musicological understanding of the resent opuses of Ukrainian composers for the bandura as a complete artistic phenomenon and the important component of folk-instrumental Ukrainian art.

ІСТОРИКО-ЛІТЕРАТУРНІ ПРАЦІ ЛЕОНІДА БІЛЕЦЬКОГО: РІЗНОВЕКТОРНІСТЬ НАУКОВИХ ЗАЦІКАВЛЕНЬ УЧЕНОГО

The article analyses the historical and literary works of the famous Ukrainian liter-ary critic Leonid Biletskyi (1882-1955), written by him in the diaspora. They are both of various genres (textbook, literary portrait of a writer or scientist, preface), and colourful thematically: Ukrainian folk art, individual writers or characteristics of the achieve-ments of Ukrainian scientists. This work is addressed to diff erent audiences – school, academic, and the general public with the aim of popularizing Ukrainian literature and its best assets. L. Biletsky constantly emphasizes the idea of the inclusion of native writing in the world context, uses a set of methodologies that complement each other – biographical, cultural-historical, comparative. However, the philological one is funda-mental for him, which allows to characterize literary phenomena as self-suffi cient aes-thetic phenomena. Also, the scientist successfully combines historical and literary mate-rial with theoretical, considering the genre nature of the work, the specifi cs of literary trends, in particular, modernism. He, like his predecessors, begins the author’s course of the history of Ukrainian literature with folk poetry, involving a large mass of informa-tion about the anthropological, ethnographic, and national features of Ukrainians. In various genre texts about Ukrainian writers, L. Biletskyi explores the origins of their talent, place and role in the history of Ukrainian literature, peculiarities of style, genre system. In the portraits of famous Ukrainian fi gures, he emphasises their service to the Ukrainian idea, the originality of their contribution to science.

Archetypes in Ukrainian Choreographic Culture and Folk-Stage Dances

The purpose of the article is to analyse archetypes in the choreographic works of Ukrainian folk stage dance as elements of choreographic culture. The research methodology is based on the use of a combination of the source method, which is applied to the study of scientific literature and periodicals regarding archetypes; cultural analysis to reveal the peculiarities of archetypes in P. Virskyi's choreographic works, in particular “Hopak”, “What the Willow Weeps about”, “Hops” and the national ballet “Forest Song” by S. Sergeev); as well as generalising method to update and specify basic information about archetypes and Ukrainian choreographic culture. The scientific novelty of the study lies in the understanding of the archetypes of Ukrainian folk choreographic culture and folk stage dances in the specified performances. Conclusions. The relevance of the study of scientific literature and periodicals related to archetypes is determined: the meaning of the concepts “collective unconscious” and “archetypes” (K. G. Jung); definition of national archetypes such as “Home”, “Field”, “Temple”, “Mother”, “Light”, “Time” (S. Krymskyi) and “philosophy of the heart” (P. Yurkevych, G. Skovoroda, T. Shevchenko); introduction into scientific circulation of the concept of “archetype of national culture” and their varieties (N. Khamitov); generalisation and systematisation of the main archetypes of the Ukrainian mentality (O. Bychkoviak). The embodiment of archetypes: in the folk choreographic culture and their analysis in the ballet master heritage of Pavlo Virsky, “Dolls”, “Oh, under the cherry”, “Zaporozhtsi”, “Chumatsky joys” (L. Kozynko). The embodiment of archetypes has already been analysed in other choreographic productions by P. Virsky, such as “Hopak”, “What the Willow Weeps about”, “Hops” and the national ballet “Forest Song” by S. Sergeev. We can consider “hopak” not only as a dance with the illumination of archetypes in it, but also as an independent archetype: a kind of code of Old Slavic culture (S. Krymskyi), ethnocode (V. Shkorinenko), identification of hopak with a symbol and personification with the whole Ukrainian folk choreographic culture (A. Pidlypska).
 Keywords: archetype; dance; Ukrainian folk stage dance; Ukrainian choreographic culture; ballet; ballet master heritage.

PROFESSOR HRYHORII LEVCHENKO’S PERSONALITY PHENOMENON

The article reveals Professor Hryhorii Levchenko’s (1933-2022) personality phenomenon, who was a teacher, choirmaster, composer, researcher of national musical folklore, public figure, founder and artistic director of the Ukrainian folk choir “Kalyna” of the Poltava V. G. Korolenko National Pedagogical University (1979-2022). The author has shared her own memories of the pedagogue-artist, summarized the forty-year experience of her cooperation with H. Levchenko, and convincingly proved the unique integrity of his bright personality. The phenomenon of the artist’s personality is based on three defining values: Ukrainian folk song, mother tongue, and Ukraine. It is also characterized by his unique personal qualities. It is emphasized that the artist saw his mission in the preservation, development, and popularization of the national song culture, which he successfully implemented in his multifaceted activities: organizational, educational, upbringing, methodical, artistic, and scientific. In each of them, the professor vividly demonstrated a creative approach. The result of the implementation of the creative approach is the author’s educational manuals and musical works, arrangements, and processing of Ukrainian folk songs, original pedagogical, artistic, and managerial methods, techniques, and tools, as well as a unique system of educating the future teacher. They are waiting for further understanding, generalization, and theoretical analysis.

THE IMPLEMENTATION OF HRYHORII LEVCHENKO’S CREATIVE WORK IN FUTURE TEACHERS’ NON-FORMAL EDUCATION

The article is devoted to the significance of the creative work of the outstanding Ukrainian conductor, composer, arranger, and teacher Hryhorii Levchenko in the process of its implementation in the field of future teachers’ non-formal education. It is emphasized that non-formal, in particular, art education is a source of improvement of general and professional competencies of future specialists obtained in the process of formal education. The prominent teacher's life and creative activity motivates gifted youth to realize their artistic and pedagogical potential, and to develop their own artistic talents.
 Acquaintance with the artist’s life and professional path proves exceptional dedication to the chosen profession and is an example to follow.
 An important aspect of scientific, pedagogical, and artistic activity is the focus on the realization of the national, aesthetic, educational, and educational potential of the Ukrainian folk song, which has become dominant in the artist's work. It can be traced in his scientific works, research, compositional work, and activities as artistic director, and conductor of the Ukrainian folk choir “Kalyna” of Poltava V. G. Korolenko National Pedagogical University.
 H. Levchenko’s long-term systematic work on the organization and implementation of informal art education in a pedagogical institution of higher education contributes to the preparation of future teachers for educational work in secondary general and extracurricular education institutions.

Ukrainian Folk Games and Toys: Levels of Integration Into Modern Visual Culture

Summary The study deals with the possibilities of integrating the folk experience of creating Ukrainian games and toys into modern visual culture. An ethno-cultural pattern that synthesizes the artistic image, national form, natural materials, and game principles of interaction into an integral structure based on the analysis of folklore materials and artistic folk products from the territory of Western Polissia in Ukraine has been formed. The result of the study is the classification of Ukrainian folk toys and games of the population of Western Polissia organized as a holistic multifaceted visual and communicative system of interaction between folk games and toys. It has been proved that integration of ethno-cultural patterns into modern visual culture is carried out on three levels: subject, environmental, and socio-cultural. The study presents the theoretical basis for designing a modern visual and communicative environment for life, learning and rest, which is able to attract a child to the deep traditions of national culture in a natural way. The outlined levels of integration are closely related with modern practices of eco-design, ethno-design, and art-therapy, which act as a strategic basis for the formation of modern visual culture and are aimed at the sustainable development of society.

«I AM UKRAINE. I AM THE ETERNAL DREAM OF UNITY» PROJECT IMPLEMENTATION (in honor of the 80th birthday of the famous singer Raisa Kyrychenko)

The article reveals the influence of the People’s Artist of Ukraine Raisa Opanasivna Kyrychenko’s song creativity on the development of children’s vocal and choral skills, in particular, students of Poltava City School of Arts «Raisa Kyrychenko Small Academy of Arts» within «I am Ukraine. I am the Unity of the Eternal Dream» project implementation. The following methods have been used: source studies (studying scientific research onR. O. Kyrychenko’s song creativity); analytical (understanding the role of the development of students’ vocal and choral skills in the process of preserving the cultural heritage of the Ukrainian singer), as well as the method of theoretical generalization. The scientific novelty of the research consists in determining the innovative nature of the project «I am Ukraine. I am the Unity of the Eternal Dream», presented in honor of the 80th anniversary of the birth of the famous singer Raisa Kyrychenko. Its purpose is to support and develop the Ukrainian vocal art of student youth, enrich the cultural achievements of Ukraine, and realize the creative potential of the younger generation.
 The main objectives of the project have been solved. They are the following: the development of spiritual enrichment and creative growth of young talents and their teachers; the exchange of pedagogical and performance experience through master classes, lectures-concerts, and thematic lessons; and raising the professional level of performers and creative teams of the art school.
 The project «I am Ukraine. I am the Unity of the Eternal Dream» is one of the significant results of Poltava City School of Arts «Raisa Kyrychenko Small Academy of Arts». In the same context, the authors note the relevance and expediency of its implementation in the educational process of the educational institution, as well as emphasize the consistent study of Ukrainian folk song creativity as a necessary condition for the formation of students’ sense of national dignity and ethnic belonging to their people.

Dynamics of Figurative-Stylistic Evolution of Solo Arrangement of the Folk Song (From «Zharty, kokhannya, lyubov ta zhenykhannya» / «Jokes, Love and Marriage» to «A my nashu slavnu Ukrayinu rozveselymo!» / «We Will Cheer Up Our Glorious Ukraine!»)

The article highlights the dynamics of the movement of artistic thought of the Ukrainian community in 1900–1918 on its way to the first attempt to form its own independent state. The data is provided on the settlement and number of Ukrainians in the specified period is intended to show a large-scale panorama of the development of the most common genres of music making in everyday life, because the universally recognized feature of the Ukrainian mentality as cordocentric already conditioned the desire for artistic self-expression, music and singing. The author’s attention is focused on the genre of arrangement Ukrainian folk songs for voice with instrumental accompaniment, which created a powerful folklore wave associated with the trends of increased national self-determination and democratization of the aesthetic foundations of Ukrainian art. The policy of the russian tsarist culturists of that time was aimed at spreading the so-called «Little russian surrogate» – encouraged the publication of artistically inferior songs that had humorous, entertaining, love-sentimental, burlesque or frankly vulgar content. However, the purposeful patriotic activity of such artists as M. Lysenko, K. Kvitka, K. Stetsenko, O. Koshyts, B. Yanovsky, Yа. Stepovy, F. Kolessa, O. Nyzhankivskyi, D. Sichynskyi, S. Charnetskyi caused a significant evolution of the genre of solo arrangement and raising it to the high level of a vocal miniature / romance, defined by the purely Ukrainian musical term «solospiv» ≈ «solosиng». The evolutionary growth significantly affected the topic of the genre, when songs of civic pathos, full of pride for the heroic past and the desire for national self-determination and statehood, began to gain national popularity.

Role of Elements of Ukrainian Folk Costume in Cossack Folklore Heritage

The purpose of the article is to study the diversity of elements of traditional Ukrainian clothing and their symbolic content in the folklore of the Cossack period; to conduct a substantive analysis of folk art samples in terms of their classification and references to the component parts of the costume. The research methodology is based on an interdisciplinary approach. To solve the tasks set, a number of scientific methods were used, namely: historical and chronological, method of comparison and generalisation, art historical analysis, using the principles of systematicity and historicism. The source base was the heritage of Cossack folklore – lyrical, epic, and lyric-epic works. Scientific novelty. The folklore heritage of the Cossack era – the works of the Cossacks themselves and oral folklore about the Cossacks – was studied in view of the presence in their numerous samples of references to elements of traditional costume as the personification of the material and spiritual culture of Ukrainians, where each part of the integral set of clothing performs utilitarian, aesthetic, ritual, ethno-patriotic, and other functions. This applies to such common costume components as shirt, hat, belt, outerwear, and shoes. They were not only everyday items but also symbols of individual events in Cossack life. Conclusions. The analysis of the national folklore heritage of the Cossack era – the works of the Cossacks themselves and oral folklore about the Cossacks – has testified to the presence in their numerous samples of references to elements of traditional costume as the personification of the material and spiritual culture of Ukrainians, where each part of the complete set of clothing plays utilitarian, aesthetic, ritual, ethnopatriotic, and other functions. It has been found that references to such elements of traditional clothing as headwear, underwear and outerwear, jewellery and footwear were used by the people in songs, dumas, legends, fairy tales, proverbs, and sayings to emphasise social status, romanticize, and heroise characters and events.
 Key words: folk costume, traditional clothing, ritual, Cossacks, Cossack folklore, oral folk art.

Tradition of Beaded Decoration in the Ukrainian Folk Costume: Reconstruction of the Second Stage (Based on the Materials of Western Regions of Ukraine)

The article continues the previously started reconstruction of ethnic artistic tradition of beaded decoration in the Ukrainian folk costume. The authors’ vision of the second stage of development of this tradition (the end of the 19th– the middle of the 20th centuries) is presented. It was found that at the second stage of its development, the tradition of beaded decoration in the Ukrainian folk costume went through the phase of creative uplift. Ukrainian folk craftsmen considerably expanded the arsenal of technical as well as artistic and stylistic means of their creative works. The following techniques were used: typesetting, sewing “v prykrip“, stringing, weaving, embroidery, etc. The typology of beaded components of the folk costume expanded significantly. Alongside with overhead jewelry and headdresses, the beaded decoration emerged in the structure of several old and new components of clothes and accessories. By virtue of the implementation of the techniques of weaving and embroidery, artistic stylistics developed further. In the compositions of beaded components of the costume, apart from the motifs of geometric shapes, the motifs of geometrised shapes appeared, as well as the national symbols. The colouring of beaded artworks was significantly enriched. Successful development of all-Ukrainian and local features of folk art continued. The knowledge, accumulated by the authors, will be of a great interest to ethnologists, art historians as well as modern folk craftsmen of beaded artworks.