Evolution of Rules and Refereeing in the Kyrgyz National Sports Competitions on Wrestling Kuresh

Research relevance: article discusses problems in evolution of rules and refereeing of sports competitions in Kyrgyz national wrestling kuresh in connection with the Kyrgyz people folk physical culture, in which the Kyrgyz richest folk art should be mentioned. Research objectives: to determine functions and problems in evolution of rules and refereeing at sports competitions in the Kyrgyz national sports wrestling kuresh. Research materials and methods: analysis of rules, circumstances and recommendations from organizations during sports competitions in national wrestling kuresh. Research results: physical exercises have become a necessary and more effective preparation of student youth for social activities (protection of territories and population from foreigners, physical labor associated with the extraction of food, preparing the younger generation for work and protection in difficult climatic and geographical conditions, change of residence, etc.). Conclusions: competitive process and objective refereeing of sports competitions opened the way to sports glory, violating objective and subjective obstacles.

TEMBANG SANDUR BOJONEGORO: KEKERASAN BUDAYA DAN ARKEOLOGI-GENEALOGI PENGETAHUAN/ TEMBANG SANDUR BOJONEGORO: CULTURAL VIOLENCE AND ARCHEOLOGY-GENEALOGY OF KNOWLEDGE

AbstrakPenelitian sandur, kesenian rakyat berupa drama tari di Desa Ledok Kulon, Kecamatan Bojonegoro, Kabupaten Bojonegoro sudah banyak, tetapi yang membicarakan tentang kekerasan budaya dan tembang sandur dalam kerangka arkeologi dan genealogi pengetahuan belum ditemukan. Hal itu karena kekerasan budaya menimpa seni tersebut karena imbas stigmatisasi sepihak pascatahun 1965—1966 yang menganggap sebagai kesenian rakyat yang berafiliasi ke PKI, dan pada masa puritanisme Islam menguat pada tahun 1990-an yang menganggap sandur tidak sesuai dengan nilai-nilai Islam, padahal isi tembang-tembang sandur kontradiksi dengan stigma tersebut. Oleh karena itu, penelitian ini menguak aspek kekerasan budaya dengan menelusuri tembang sandur dari perspektif genealogi dan arkeologi pengetahuan dalam bingkai cultural studies. Teori yang digunakan adalah triangulasi teori, yaitu folklor, arkeo-genealogi pengetahuan, dan kesejarahan. Hasil penelitian ini menunjukkan bahwa (1) tembang-tembang sandur memiliki metrum puitika Jawa yang mengarah pada nyanyian anak-anak, dengan media bahasa Jawa lokal, dan menyimpan jejak kearifan lokal, etika, dan spiritual, (2) nilai-nilai Islam-Jawa menjadi ruh tembang-tembang sandur. Di dalamnya terdapat sinkretisme nilai-nilai Jawa dan Islam, (3) stigmatisasi sepihak pada Sandur Bojonegoro, baik oleh kalangan anti-komunis maupun puritanisme Islam, hanya melihat pada konteks kesejarahan Indonesia pada Orde Lama ketika politik menjadi panglima dan hanya melihat penampang permukaan semata tanpa mendalami unsur-unsur pembentuknya, ideologi, ajaran luhur, dan tradisi yang melahirkan seni sandur. Kata kunci:Sandur Bojonegoro, kekerasan budaya, arkeologi, genealogi pengetahuan AbstractThere are many researches on sandur, folk art in the form of dance dramas in Ledok Kulon Village, Bojonegoro District, Bojonegoro Regency, but those that talk about cultural violence and tembang sandurin the archaeological framework and genealogy of knowledge have not been found. This is because cultural violence befell the art because of the impact of unilateral stigmatization after 1965-1966 which considered it a folk art affiliated to the PKI, and during the period of strong Islamic puritanism in the 1990s, which considered sandur not in accordance with Islamic values, even though the contents tembang sandurcontradict this stigma. Therefore, this study uncovers aspects of cultural violence by tracing tembang sandurfrom the perspective of genealogy and knowledge archeology within the framework of cultural studies. The theory used is triangulation of folklore theory, archeology-genealogy of knowledge, and history. As a result, (1) the sandursongs have a Javanese poetic metre that leads to children's singing, with local Javanese language media, and keeps traces of local wisdom, ethics, and spirituality, (2) Javanese-Islamic values become the spirit of the tembang sandur. In it there is a syncretism of Javanese and Islamic values, (3) the unilateral stigmatization of SandurBojonegoro, both by anti-communists and Islamic puritans, only looks at the historical context of Indonesia in the Orde Lamawhen politics was the commander and only sees the surface without explore its constituent elements, ideology, noble teachings, and traditions that gave birth to the art of sandur. Keywords:SandurBojonegoro, cultural violence, archeology, genealogy of knowledge

The travel motif of a nimngakan hero as a reflection of the Tungus early history processes

Целью исследования является выявление исторических свойств устного народного творчества на примере типологии сюжетно-мотивного состава эпоса эвенков. Актуальная проблема фольклорного историзма рассматривается с позиции междисциплинарного подхода, в котором привлекаются материалы смежных научных дисциплин. Для достижения цели исследования используются методологические основы фольклорного историзма на материале эпоса восточных эвенков. Проблемы ранней истории тунгусо-маньчжурских народов исследуются на основе анализа популярного мотива путешествия эпического героя эвенков с привлечением материалов устного народного творчества и мировоззренческих традиций этносов дальневосточного региона. Мотив путешествия героя нимнгакана является наиболее распространенным в эпических традициях восточных эвенков, составляя композиционную и содержательную основу текста – основное содержание сказаний восточных эвенков описывает странствия и подвиги эвенкийского богатыря в далеких землях, расположенных к востоку от места его рождения. В своём странствии в страну восходящего солнца герой сражается с враждебными богатырями Нижнего мира, обретает взаимобрачные и родственные связи с аборигенами восточных земель. Характеристики и этнографические детали культурных традиций дружественных племен существенно отличаются. Кроме носителей скотоводческих и оленеводческих традиций, можно выделить две основные этно-племенные группы, с которыми контактирует герой эвенкийского эпоса: носители культуры рыболовства и морской охоты, а также «древние свиноводы». В результате исследования, выдвигается предположение о том, что мотив путешествия эпического героя эвенков представляет собой отражение исторических процессов, сопровождавших развитие этнографического комплекса эвенков и родственных народов тунгусо-маньчжурской группы в Приамурье, Маньчжурии и на побережье Охотского моря. В число групп, с которыми формировались прочные исторические связи тунгусов, следует отнести предков нивхов и этно-племенные формации Приамурья, объединяемые этнонимами сушень и мохэ. Работа представляет интерес для специалистов по фольклору, истории и этнографии, в круг научных интересов которых входят традиции устного народного творчества и история тунгусо-маньчжурских народов. The aim of the study was to identify the historical properties of oral folk art on the example of the typology of the plot-motif composition of the Evenki epic. The actual problem of folk historicism is considered from the position of an interdisciplinary approach, which draws on materials from related scholarly disciplines. To achieve the goal of the research, the methodological foundations of folklore historicism were used based on the material of the epic of Eastern Evenks. The problems of the early history of the Tungus-Manchu peoples were investigated on the basis of the analysis of the popular travel motif of the Evenki epic hero with the use of materials of oral folk art and ideological traditions of the ethnic groups of the Far Eastern region. The motif of the Nimngakan hero’s travel is the most widespread in the epic traditions of Eastern Evenks. The motif constitutes the compositional and substantive basis of the text – the main content of Eastern Evenks’ legends describes the travels and deeds of the Evenki hero in distant lands located to the east of the place of his birth. In his travel to the land of the rising sun, the hero fights against the hostile bogatyrs of the Under World, forms mutual and kinship ties with the natives of the eastern lands. The characteristics and ethnographic details of the cultural traditions of friendly tribes differ significantly. In addition to the carriers of cattle-breeding and reindeer-breeding traditions, the hero of the Evenki epic contacts with two main ethno-tribal groups: carriers of the fishing culture and sea hunting, as well as “ancient pig breeders”. As a result of the research, it is suggested that the motif of the Evenki epic hero’s travel is a reflection of the historical processes that accompanied the development of the ethnographic complex of Evenks and related peoples of the Tungus-Manchu group in the Amur region, Manchuria and on the coast of the Sea of Okhotsk. The Tungus formed strong historical ties with the groups, which should include the ancestors of the Nivkhs and the ethno-tribal formations of the Amur region, united by the ethnonyms Sushen’ and Mohe. This research is of interest to specialists in folklore, history and ethnography, whose scholarly interests include the traditions of folklore and the history of the Tungus-Manchu peoples.

Theatrical and dramatic work of Oleg Ulyashev

Introduction. The work is devoted to the study of the theatrical and dramatic work of O. Ulyashev. It reveals the originality of his dramatic handwriting and some aspects of the movement of national culture in the 1990s. Materials and Methods. The material of the study was the plays by O. Ulyashev. The method of study is comparative. Results and Discussion. O. Ulyashev’s plays are an important milestone in the history of the development of the Komi Theater. His plays, like many other ones of the turn of the XX–XXI centuries, are inherent in the desire for renewal. The artistic originality of his texts, however, determines the actualization of folklore material. The writer’s worldview is close to the high artistic, aesthetic and moral and philosophical potential of oral folk art. It is folklore origins that contribute to his creative quest and the development of his creative aspirations. O. Ulyashev’s works, like many other works of Komi literature of the late XX century about the historical past of the Zyryans, serve to increase and strengthen national identity. Conclusion. The work of the writer O. Ulyashev played an important role in the development of theatrical and dramatic art of the Komi Republic. His plays largely update the Komi drama, saturating it with folklore material, romanticizing the past of the Zyryans.

Chronotope of Ukrainian folk art culture as a dialectical unity of traditional and innovative models of life in the space and time of the XXI century

The purpose of the article is the conceptualization and rethinking of the meaning of Ukrainian children's folklore as an integral part of the structure of Ukrainian folk art culture and carefully crafted magic rituals. Updating the concept «Ukrainian children's folklore» in the context of cultural knowledge, defining the essence of this phenomenon in the chronotope of the 21st century and evaluating temporal and spatial unity, which contributes to the preservation of the national cultural heritage, the dialogue of different cultures and human unity, is also the goal of the work. The delineation of the essence of this phenomenon in the chronotope of the XXI century and the assessment of temporal-spatial unity, which contributes to the preservation of the national cultural heritage and dialogue of different cultures, is also the goal and object of analysis. The methodology consists in applying comparative and concrete-historical methods for conceptualization of Ukrainian children's folklore in the context of national folk art culture, use of formal method, as well as hermeneutic interpretation method for analysis of the concept of «children's folklore» and its functions in today's chronotope. The scientific novelty lies in the actualization and conceptualization in the context of culturological knowledge of Ukrainian folklore, including children's (riddles), as a complex phenomenon and an integral part of the morphology and typology of national folk art culture in the chronotope of the XXI century. Scientific novelty also consists in revealing on the basis of delineation and comprehension of essence, dynamics of laws of development and an estimation of internal structure and space-time unity of functions of the Ukrainian national art culture, consideration of interaction of oral folk art of the childhood and dialogue of various cultures. Conclusions. In modern socio-cultural reality the question of understanding the chronotope of Ukrainian folk art culture as a dialectical unity of traditional and innovative models of life in space and time and conceptualization of Ukrainian children's folklore (riddles) in the context of culturological knowledge as an integral part of morphology and typology of national folk art culture. Ukrainian children's folklore in its diversity of forms, types, functions, purposes is an attractive phenomenon that requires further conceptualization and continuation of thorough research. Defining the essence of this phenomenon in the chronotope of national folk culture contributes to the preservation of national cultural heritage and dialogue of different cultures in the XXI century. Keywords: Ukrainian folk art culture, folklore, children’s folklore, riddles, musical folklore, dialogue of cultures, oral folk art, national culture, chronotope, space-time interrelations.

“Oh, My Thoughts, My Thoughts…”: Olena Pchilka’s and Lesia Ukrainka’s Contributions to Epigraphic Embroidery

The article focuses on the role of Olena Pchilka1 and Lesia Ukrainka in epigraphic embroidery development. Undoubtedly, Olena Pchilka was an ardent proponent of folk art purity. Following from this, there is a tendency to think that she was against all novelty in Ukrainian embroidery. Many researchers and antiquity enthusiasts refer to her authority when arguing against inscriptions on textile as a phenomenon resulting largely from printed cross-stitch on paper. However, not all embroidered verbal texts have been of print origin. Most of them were folkloric (or folklorized) texts. What is more, Olena Pchilka to some extent provided her own comment on epigraphic embroidery in approving Lesia Ukrainka’s rushnyk (embroidered runner) containing the inscription “Oh, my thoughts, my thoughts, woe is with you! Love one another, brethren, love Ukraine” (devoted to Taras Shevchenko). In modern embroidery, embroideresses reproduce the citation with new connotations of these words, thereby continuing the epigraphic embroidery tradition. The author illustrates the folklorization of oft-cited lines from Taras Shevchenko’s poetry with examples of epigraphic embroidery from her own Interactive Index of Folklore Formulas (Epigraphic Embroidery).

Петриківка – давній осередок витинанки в Україні

While studying the Ukrainian folk art, it is important to explore artistic traditions of individual centres. The article considers traditional motifs and compositions of folk paper cutting art pieces, common in the village of Petrykivka (Dnipropetrovsk Region), an ancient core of paper cutting art. Such home paper decorations have become widespread in the centre since the late XIXth to early XXth centuries. Among the well-known masters – fellow villagers who created paper cutting art pieces were Vasyl Vovk, Pelaheya Hlushchenko, Hanna Hrechanova, Antonina Avdieyenko, Nataliya Avdieyenko and other masters. The auctorial paper cutting art pieces under study demonstrates the combination of deep traditions of folk art and personal aesthetic tastes of each of the artists, which determined each time a distinct unique style. It is important that they have been passing on their experience to next generations. It is important that modern masters continue to pass on their experience to next generations.

Vepsian Literature as an Aspiration to the Revival of the People (“Up the Stairs Leading Down”?)

The article is devoted to the development of the literature of the Vepsians of the early written people of Russia, whose language is included in the Red Book of the Languages of the Peoples of Russia (the number of people in 2010 was 5936 people). Despite the negative forecasts, the Vepsianlanguage literature is currently successfully developing. The most popular is poetry, represented by the poems of the national writer of Karelia Nikolai Abramov, known in the Finno-Ugric world and beyond. The first generation of authors developed the forms of Vepsian poetry, its rhyme and style, and young authors, first of all Olga Zhukova, Galina Baburova, proved that in urban conditions it is possible to find opportunities for poetry in their native language. The article shows the connection with oral folk art, mythology, philosophy of Vepsian life, which manifested itself in the Vepsian epic Virantanaz by Nina Zaitseva, in the verses of Alevtina Andreeva, reminiscent of a kind of conspiracies or prayers, and in the prose of Valentina Lebedeva. Creating in close collaboration with scientists who claim that the Vepsian language has perfectly preserved both its grammar and vocabulary, which is easily replenished thanks to the rich word-formation system of the Vepsian language, they strive, without discouragement, to go up the stairs leading down.