Production of folklore from a scientific point of view

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National academy of managerial staff of culture and arts

Production of folklore from a scientific point of view

O. Afonina, Dr in Art Studies, Professor

Національна академія керівних кадрів культури і мистецтв

Кафедра академічного та естрадного вокалу та звукорежисури

Афоніна О.С., д-р мистецтвознавства

м. Київ, Україна

Today requires activity in production activities. And what can be presented to the public for learning and receiving positive feedback - folklore. How to present it? As information that was transmitted from generation to generation in oral, verbal or non-verbal form in the genres of fairy tales, songs, dances - in folklore codes.

Folk codes are formed by a set of verbal or verbal-non-verbal structures that function in everyday life, communication, and various types of art. Each communicative group has its own content of folk codes. For example, performers- dancers in various genres of folk stage dance (round dance, lyrical, folklore, folk- jazz) transmit movement codes-elements (legs, hands, body), by which the audience learns about the genre and national affiliation of the type of dance. We open the choreographer's terminology dictionary and see a list of movements- codes of Ukrainian, Caucasian, Russian, Spanish, Gypsy dances. Such a set serves to decode choreographic information in the creation of artistic images.

Let's stop at Ukrainian folk choreography. For example, the image of a Cossack is presented in a dance of the same name. The Cossack kicks the ground a little so that it hums, cuts pigeons, jumps up with his tentacle, sings and shouts loudly. Therefore, his movements are codes and help to understand the national features of the dance, to decode the artistic image of the Cossack.

Therefore, the Ukrainian dance, like other folk dances, is built according to certain code standards-movements: side move, tilting, golubets with a jump, cabriole, jumps with leg extensions, air scissors, etc. The researcher V. Verkhovynets also recorded other names of the movements (track, squats, semisquats, see how he swam, he turned, he raked). It is through these elements and music, which is also an informational and communicative cipher, that we can learn about the name of the dance: hopak, kozachok, arkan, sage. For example, cheberyachka is an ancient Ukrainian dance that has many figures and performers arranged in a circle. Men with their hands behind their shoulders took turns picking up a glass from the floor and drinking it, and then threw it over their shoulder in one fell swoop. All the other dancers clapped their hands and sang along. Then they spread the fire and jumped over it (according to Antony Yaksa-Martsinkivskyi).

Another Ukrainian folk dance close to it is pleskach. In it, the main element is rhythmic clapping in 2/4 time. According to researcher Andrii Humenyuk, the majority of Ukrainian dances include the same movements that arose as a result of national temperament and local flavor, traditions of folk and local clothing. He divides Ukrainian folk dances by music and code movements into butterfly, hopak, cossack; kolomyki, hutsulki, tops; polkas and quadrilles.

Round dances contain audio (music, singing), verbal (movements), and visual codes. The persistence of codes combines this type of folk art into a syncretic action with music, play, dance, and dramatic action. Certain nations have their own code varieties of dances, which have the following names: circle - Yugoslavia (Croatia, Serbia); Horo - Bulgaria; oro - Macedonia; Freckle - Ukraine; khorumi - Georgia, etc. For example, khorumi is an ancient Georgian folk male dance with a short two-beat melodic line (by the way, its short structure resembles the Ukrainian «Dudarik» and «Schedryk»), but with a very complex metrorhythm - a five-part beat with different accents, i.e. with a melodic and rhythmic code.

All folk dances have code signs depending on their functions: ritual, nonritual, circular, non-circular, with instrumental or choral accompaniment. Georgian khorums accompany chibons or chonguri along with doli. Ukrainian freckles, on the contrary, are sung in unison or with antiphonal overtones. The method of performance is also a certain cipher of this type of folk art.

The folklore code is very often reproduced in a dialogic form - questions and answers. As the researcher of the Ukrainian folk song Oleksiy Dey writes, the alternation of questions and answers is the most common form of presentation in the old layer of ritual poetry, in dance folk dances («Bridges», «Ogorodonko», «Tsarenko»).

In songs of this structural type, the organization of the content of the message is subject to the principle of sequential growth of action, lyrical excitement. So, the musical component of the song «Sparrow» is divided between two choirs. One part of the women's choir asks and the other part answers. At the same time, one girl in the center of the circle shows with movements the actions taking place in the text. The music and structural component of this song-action are unchanged, but future variability is embedded in them, because while the text and music remain unchanged, the movements will change from one performer to another, creating space for creative improvisation.

The folklore tradition as a code includes the function of preserving information. And its assimilation and reproduction, even in texts of minimal volume, create conditions for transformation, improvisation and creative rethinking. folklore semantic code guide producer

Informativeness is a feature of a song structure that conveys a sequence, or work processes, or a household or love story, which coincides with the study of the code, even in modern anthropocultural linguistics, where in the terminological sense the code is used, as in computer science and cybernetics, also for the presentation of information.

For example, the humorous folk song «Oh, there are two oak trees on the mountain» contains images of a girl and a boy. The poetic symbol of the oak is inseparable from the theme of life and the codes of human longevity, integrity, and health. Appearing in this song as a psychological parallelism, the symbolism of oaks performs an associative and chain function, when the song combines images of human and nature and there is an associative allusion to the relationships that enable two oaks to stand on a mountain against the wind.

Two oaks have gathered in a bunch to resist the wind, and the associative chain sends our thinking further: «So must men gather in pairs to withstand the challenges of fate». So, the song is humorous, but it has a deep meaning. The first two lines of the song are repeated twice, which creates an additional psychological burden.

The first two verses are a picture of nature, on which human relationships are projected in the following verses. The boy says that he is the only son of the father, the girl is the only daughter of the mother. You immediately get the impression of an unexpected transition from one topic to another, but when you delve into the content of the first two verses, you feel an organic thematic connection between them. To do this, you decipher a detailed comparison from the standpoint of folk song aesthetics. So, the set of symbols-images of this song contains its code.

A set of signs-rhythms, their combination, which is contained in characteristic melodic and rhythmic turns-«labels», is also characteristic of kolomyiks. Kolomiyki have been known since the 17th century (researcher V. Goshovskyi), their fixed constructions-codes are characterized by a clear poetic placement of fourteen syllables in each line.

Such brevity resembles the concise information of the code and its economy and accuracy in conveying the message. For example, in the Kolomyia poem «Oh, a star flew from the sky, and a golden ribbon, and on that little yard, and that beautiful girl. And a star flew from the sky and a golden cup, and in that little yard, where a nice guy» is a two-level structure that is characteristic of this song genre. One plan is the image of «starry» fate, the other is the image of a girl (or a young man, by analogy), which reveals the meaning of the song: who did fate find? Regardless of the words, kolomyka has a clear structure, which is also a code.

For example, the fairy tale «The Goat-Dereza» contains coded grandfather and grandmother, both positive and negative heroes, who engage in a contradictory communicative process. The moral categories of good and evil are revealed with the help of codes-symbols of fairy tales. In general, the fairy tale «The Goat-Dereza» tells about real things. But along with people (Grandpa, Grandma, sons) in the fairy tale there are animals (a goat, a bunny, a wolf, a bear, a fox, a crab), and the events described in it are fabulous.

Folklore codes, embodied in folk art, can go back to mythological or historical events and heroes. Folklore codes as archetype codes transmit information on a semantic level. Based on the analysis of folk and artistic works, in which folklore is the primary source, the duality of models in symbolism, genres, plots, which resonate with the understanding of code and double coding, which is revealed through word and object, was revealed; signified - signified; text is reality. It is the codes of culture that become conductors in the activity of the producer.

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