Socialist modernism – a way of disseminating a new ideology in the architecture of entertainment buildings

During the years 1955–1991, the attempts and searches meant to impose qualities corresponding to the fundamental principles of socialism on the architecture led to the realization of buildings with distinctive features, qualified today as modernist-socialist. Over a period of more than three decades, Soviet architecture turned to a synthesis of Western paradigms and its own avant-garde, largely unbuilt heritage. Theater, cinema and music, considered to be fields of culture accessible to the masses at large, are the genres of art placed at the center of the cultural policy of the Soviet state. In addition to the old buildings readapted for cultural activities, new buildings are designed based on a rigorous transposition of functional requirements. Representative for this time period are the cinemas designed to meet the requirements of a growing audience and to be expressive architectural pieces in the new micro-districts. The large number of houses of culture built in the district centers on the basis of standard projects is significant. At the same time, unique architectural programs appear functionally reflecting the social superstructure.

Priority areas for public administration in the field of culture and leisure

Culture is one of the most important spheres of human society, reflecting its level of development. Spiritual and material values that constitute the national wealth of a country are produced, accumulated, and preserved there. The spiritual wealth of culture is not subject to the influence of time and the processes of inflation and is a real means of accumulation. Culture enriches people with knowledge, helps them to evolve, and transmits cultural heritage from generation to generation, accumulated over many years. By understanding culture as a particular sphere of human activity, we have the prospect of purposeful management of it. Culture in this context is understood as a result of accumulated, transmitted, and produced cultural practices of people. Such practices are concentrated in museums, exhibition halls, theatres, houses of culture, art schools, libraries, creative workshops, etc.

Formation of the Budget of the Komsomol Organizations in the 1960s

In the 1960s the state funding of the Komsomol ended, and the formation of the budget of the Central Committee of the Komsomol and regional committees became an issue of great interest. This issue can be better explored by complex financial documents of the Komsomol committees, which are introduced into circulation here for the first time. They show that the main source of income was membership fees, which explains the intensification of work to attract young people to the Komsomol and strict control over the timely payment of membership fees. The second means of replenishing the budget were funds raised by collecting scrap metal and waste paper, holding amateur concerts, and similar projects. However, this did not provide enough funding, and so the Komsomol Central Committee introduced austerity measures and began additional fundraising through various lotteries, selling literature, holding subbotniks and voskresniks, and the like. An analysis of archival documents shows that countryside committees found themselves in a more difficult situation than those in cities, which had more opportunities to earn money; and rural committees’ expenses were much higher. This explains the absence of “houses of culture” and stadiums in villages, which were built mainly by the Komsomol. The party leadership stopped subsidizing the Komsomol, but still actively used young people to solve important economic problems (e. g. construction of large facilities in urban and rural settings, maintaining student construction teams, etc.), the implementation of which also fell on the Komsomol budget. Thus, financial documents allows us not only to trace the formation of revenues and expenditures, but also the working conditions of Komsomol organizations in cities and the countryside.

Establishment and activity of culture centers and people`s universities in northeastern Bosnia in the first years of “New Yugoslavia”

Cultural and educational work after the Second World War in northeastern Bosnia, in addition to cultural, educational and artistic societies, took place in various cultural institutions, where cultural centers and public universities stand out. The houses of culture, in cooperation with societies, universities and various cultural and educational sections, organized events, lectures and various cultural and educational contents. Their importance was especially pronounced in the smaller rural areas of northeastern Bosnia, where they were the center of cultural and educational work. People's universities, as cultural and educational institutions, were supposed to nurture scientific and lecturing work, and to politically enlighten the population of urban and rural areas of northeastern Bosnia through various lectures. In essence, public universities were public schools in which ideologically appropriate lectures with various topics were mostly held and they played a significant role in the creation of a socialist society. Therefore, the aim of this paper is to point out the role and importance of the establishment of these cultural and educational institutions in northeastern Bosnia, and their overall contribution to the cultural and educational awareness of the population of northeastern Bosnia.

IMPROVING FINANCIAL LITERACY OF THE POPULATION: THE YUGRA CASE

In the context of the implementation of the “Strategy for improving financial literacy in the Russian Federation for 2017-2023”, the study of the working experience of a separate and significant region is relevant and potentially useful for practical purposes. The presented study identifies promising practices in the work aimed at changing the level of financial literacy of the population on the example of the Khanty-Mansi Autonomous Area — Yugra. The scientific novelty of the presented work consists of: 1) the author’s approach to understanding financial literacy as social skills acquired during the financial socialization of a person; 2) the use of Yugra’s material as an informational database; 3) a critical analysis of the classification groups used in the implementation of these programs; 4) the assessment of the prospects of the organization of work on increase of financial literacy of the population through the involvement of cultural institutions (museums, libraries, houses of culture) and ways of thinking about financial culture through Museum projects. The authors employ traditional methods at the intersection of economics and sociology, involving an analysis of regulatory documents and a secondary analysis of the data from the All-Russian sociological study. The use of this methodology allowed demonstrating the existing bias in the regulation of financial behavior of Russians in favor of educational programs. With this method of organizing work, valuable results of sociological research and initiatives of other stakeholders, such as cultural organizations, remain outside the framework. The results show that the use of standard classifications of socio-demographic groups in organizing the work of financial literacy of the population at the level of an individual subject can lead to the “loss” of important social groups for the region. For the Yugra, such a group is representatives of the indigenous small-numbered peoples of the North. The recommendations of the study can be used to revise programs to improve financial literacy on the territory of the Khanty-Mansi Autonomous Area and other regions, traditionally inhabited by indigenous small-numbered peoples of the North.

The peculiarities of Rivne region tourism infrastructure functioning

In the article, the current state and peculiarities of Rivne region tourism infrastructure functioning have been analysed; the perspective directions of development have been defined. The main elements of tourism infrastructure are as follows: hotel restaurant businesses, trade establishments, tourism enterprises, transport connection, gas and petrol stations, means of communication, culture and entertainment establishments, bank system etc. Among the places of accomodations, children summer health and leisure enterprises dominate – 126, hotels and analogous means of accomodations comprise 15, other enterprises -3. The summary number of places is 1858. The restaurant sphere of the region is rather developed. In Rivnenschina, cafеs prevail – 798, cafeterias comprise 245, bars – 172, restaurants – 64, other enterprises – 241. 116 tourism enterprises conduct tourism activity. Among them 3 tour operators, 104 tour agents and 9 participants conducting excursion activity. The highest concentration of the tourism activity participants is observed in Rivne, Varash, Dubno, and in Rivne region. The network of cultural educational institutions comprises 2 regional theaters – Academic Ukrainian Music and Drama Theatre and Puppet Theatre, Regional Philharmonia, 590 public and public school libraries, 671 clubs and houses of culture, 5 cinemas, 14 state museums and historic cultural reserves, the Reginal Folk Art Center, the Culture and Rest Park and the Zoo. Economic complex and the country's population transport service are conducted by the three means of transportation: automobile, railway and air. The best tourism infrastructure provision is in Rivne, Dubno, Varash, Ostroh, and also in Rivne, Volodymyrets, Sarny, Bereznivs'k regions. The important directions of development are existant TI element improvement and creation of new ones, investation involvement, the Rivne Region international tourism market entrance.

General pedagogical foundations of D. V. Andrusenko’s work with children musical collectives

Background. The relevance of the topic of this article is determined by the trends of modern musicology to thorough studying the achievements of ensemble bandura performing, in order to use the practical experience of talented teachers-bandurists. As a result of the radical changes that took place in the cultural realm during the 1990s, the folk vocal-instrumental performing was a subject to stagnation. The mass character that had distinguished this area had been lost. However, the needs of contemporary (early 21st century) socio-cultural practices in the realities of existence of folk vocal-instrumental musical culture are increasingly being linked to the rethinking of former forms of collective music playing. After all, the folk vocal-instrumental performing is a form of manifestation of national consciousness, and therefore it functions as an important factor in restoring the Ukrainian national tradition. To bandura vocal-instrumental performing field a talented teacher, choirmaster, bandurist, master of making these musical instruments – Dmytro Vasyliovych Andrusenko (1895–1965) belongs, whose figure draws attention due to his contribution to pedagogical, cultural-educational, artistic space of some regions of Ukraine (Poltava, Sumy). Objectives. The article analyzes D. V. Andrusenko’s artistic-pedagogical activity. The peculiarities of work of the bandurist and conductor as an organizer and leader of children’s music collectives, capellas of bandurists and choirs, are highlighted. The results of the study. The pedagogical principles, techniques and methods of work of the teacher with the pupils in terms of mastering performing skills, development of vocal skills, civic and patriotic education are clarified. It should be emphasized that D. V. Andrusenko fruitfully worked not only as a musician, teacher, but also as a propagandist, popularizer of national culture. His pupils received musical, national-patriotic education, grew spiritually, enriched culturally. This is evidenced by their repertoire, which included a lot of songs in T. G. Shevchenko’s words, Ukrainian folk songs, classical works, as well as songs of different peoples – the members of the collectives got a spirit of respectful attitude towards musical cultures of other countries. As the organizer and leader of the collectives, D. V. Andrusenko taught his pupils vocal skills and playing bandura. He used the principles of music didactics to solve these problems. D. V. Andrusenko used such a system to work with bandurists of his capella, which was based on the leader methods of music pedagogy. His system included learning the techniques of playing the instrument, step by step, formation of pupils’ technical skills, systematic exercises. As a highly skilled choirmaster, D. V. Andrusenko used in his pedagogical arsenal the necessary basic methods of work for the formation of the voice apparatus of his pupils. The important task of the choir teacher is correct, vocally competent distribution of the pupils’ voices. This part of work was not difficult for D. V. Andrusenko, since he was a choirmaster of the high level, had absolute pitch. Musical-pedagogical activity of D. V. Andrusenko was connected with institutions of education and culture. On the basis of education institutions and houses of culture he organized large creative collectives: capellas of bandurists, choirs, instrumental ensembles. According to the memoirs of witnesses and participants of the collectives, their head, while selecting future pupils among the schoolchildren, carefully listened to each person. The selection was serious, the best pupils came to the collectives. It should be mentioned that D. V. Andrusenko – a teacher, musician, master – was an example for his pupils. They all mention him with respect, emphasizing his exceptional professionalism, intelligence, education and high moral qualities. Conclusions. Thus, the conducted research proves the presence of general pedagogical foundations in D. V. Andrusenko’s work with children’s musical collectives, the use of the leading principles of music teaching, such as: systematicity and graduality; availability of knowledge; retention of learning (by the methods of repetition, exercises); individual approach to the learning process; student and teacher activity; ostensiveness, visibility, clarity (by methods of showing and explanation); communication of learning with life practices; formation of a situations of creative competition and encouragement to success. The principles and methods used by D. V. Andrusenko as a teacher in his work with amateur musical teams have not lost their relevance today.

Enacting Culture in a Romanian Village

“Local culture” has been the focus of anthropological endeavour since the discipline’s beginnings, and the concept has a long history of re-defining and re-framing on all levels (spatial, political, and so on). One particularly useful definition of “culture” put forward by Bourdieu is that which is “taken for granted”—what people do without necessarily being aware of it. Culture is, therefore, similar to ideology, and not unlike Foucault’s notion of discourse, in that its workings are not explicit and visible to those who form part of that culture. Yet, is it really possible to distinguish the notion of “local culture” as practice from discourses around that particular “culture”? Houses of culture—institutions built in eastern Europe and the USSR during the socialist period used to host, represent, and change “local culture”—can raise questions around the practice and performance of culture more generally.

The determinants of local public spending on culture

Municipalities in Poland are important makers of local cultural life. Municipalities organise and fund public cultural entities: libraries, houses of culture and so on. They decide on 70% of public spending on culture. The local spending on culture was grown in the past years. But the level of this spending varies between municipalities. The aim of this study is to find determinants of these differences. Public spending on culture is important in less-developed or peripheral regions where citizens do not have access to private cultural institutions. That is why this study focuses on rural municipalities. In econometric panel model, 1,565 units and their operational spending on culture in the years 2002–2014 is analysed. Four groups of potential determinants of spending are analysed: characteristics of local society, the financial condition of local government, characteristics of local politicians and the factors that influence the costs of cultural services. Such an approach has roots in the median voter model and is widely used in the analysis of decentralised spending, but the studies related to cultural spending are rare. To my knowledge, there is no such analysis for Poland or other East European countries. This study proved that an expenditure demand model is good for the analysis of local spending. This kind of analysis can help to understand local spending’s variation. It also helps to design the proper revenues equalisation system.