The relevance of the article. This article analyzes archaic syndrome and neomythology in contemporary festival practices in the Budzhak region (southern Odesa region, Ukraine), a multi-ethnic border area with historical cultural ties to Bulgaria, Moldova, and Romania. The focus is on kukeri practices, specifically the Orlivka Moshul ritual and the women’s kukeri show in Bannivka, which demonstrate the transformation of ancient rituals into public festival performances. These practices preserve mythological functions (purification, fertility, and the expulsion of evil) while simultaneously reinterpreting social roles, particularly gender roles. They attest to the emergence of a distinct type of personality whose consciousness takes on a distinctly mythological character, becoming a unique mechanism for adapting to conditions of radical social anomie and a vacuum of values. The purpose of the article is to study the archaic syndrome and the formation of neomythology in contemporary festival practices within the Budzhak macroregion (Ukraine), which borders Romania and Moldova and maintains close cultural ties with Bulgaria due to its largest Bulgarian diaspora. The methodology. The study draws on myth theory, cultural anthropology, anthropology of ritual, performance studies, and approaches from postcolonial and memory studies. The results. In Budzhak and neighboring regions, the revival of the kukeri shows has gained popularity as part of the revival of national traditions and folklore. The revival of archaic rituals is interpreted as a compensatory and identity-forming mechanism in the post-communist context; a response to the collapse of Soviet ideologies and a search for ontological stability; a defensive reaction to constant geopolitical upheavals; a search for stability in a changing world, and a need for effective social mechanisms of cohesion. In the search for a “protective myth”, archaic consciousness has filled the vacuum left by the collapse of ideological narratives. The practical significance. The findings of this study can be used to develop cultural policies for the preservation of the intangible heritage of multi-ethnic border regions, to support the development of cultural tourism in the Budzhak region, and to inform educational courses on cultural anthropology, ethnology, and regional studies. The materials in this article are of interest to festival organizers, local authorities, and civil society organizations working to preserve and promote ethnic identity in the context of cross-border cooperation. The scientific novelty. For the first time, a compre-hensive analysis of the kukeri practices of Budzhak has been conducted within the context of postcolonial and post-communist discourses. An interpretation is proposed of the “festivalization” of archaic rituals as a form of ontological resistance and cultural resilience in conditions of geopolitical instability. Conclusions. Contemporary festival practices in Budzhak demonstrate that archaic symbolism and ritual forms do not disappear in the context of modernization, but rather transform, acquiring new social and psychological functions. The region’s kukeri rituals function simultaneously as a mechanism for preserving collective memory, a tool for constructing identity, and a means of symbolically countering existential uncertainty. Neo-mythological consciousness emerges not as a regression but as an adaptive strategy for communities situated at the intersection of geopolitical, cultural, and value-based divides. The prospects for further research involve a comparative analysis of similar practices in neighbo-ring regions of Romania and Moldova, as well as an examination of the dynamics of their digital representation in the context of globalization.
Y. Vorozheikin. “Ars Mediale” as a platform for comprehension on archival and experimental Cinema // Culture of Ukraine: coll. of scientific papers / Ministry of Culture of Ukraine, Kharkiv State Academy of Culture; under general editorship of А. Shcherban. Kharkiv: KhSAC, 2026. Vol. 93. P. 157–164. Review of the “Ars Mediale” Experimental Film Forum, held December 19–21, 2025, in Kyiv.
The relevance of the research topic stems from the insufficient coverage in Ukrainian musicology of the activities of the general piano department of the Kyiv State Conservatory in the 1950s. This period is important for understanding the processes of formation and development of the music education system in Ukraine, particularly in the context of disciplines aimed at developing general piano skills in students of non-piano specializations. The purpose of the article is to reconstruct the activities of the General Piano Department during the specified period on the basis of archival materials; to identify the teaching staff; to present their pedagogical, methodological and performing work; and to outline the features of the general piano course in the educational process of the Kyiv Conservatory. The methodology of theoretical analysis combines historical-cultural, biographical and systemic approaches. The work uses archival documents, in particular personal files of teachers, transcriptions of meetings, curricula and repertoire collections. Elements of hermeneutic analysis are also used to interpret pedagogical practice in a broader cultural and educational context. The results of the study include identifying the department’s teachers in the 1950s and analyzing the main areas of their activity, in particular methodological, editorial and concert work. Active interdepartmental cooperation has been documented. Particular attention has been paid to the contributions of such educators as I. Berkovich, M. Silvansky, Y. Tolpin and others. The scientific novelty of the article lies in the introduction of obscure archival materials and facts into scientific circulation, as well as in the comprehensive coverage of the activities of the general piano department of the Kyiv Conservatory in the 1950s. The practical significance of the article lies in the possibility of using the collected material for further research into the history of music education in Ukraine, as well as for preserving and popularizing the pedagogical heritage of representatives of the Ukrainian piano school. The concluding remarks attempt to reflect on the role of general piano in the system of higher music education in the post-war period and to reconstruct a comprehensive picture of the development of this discipline within the activities of a specific department based on authentic sources.
The article examines the artistic features of civilians’ depiction in war cinema, focusing on their survival and adaptation strategies during armed conflicts. The relevance of the research topic is driven by transformations such as wars in the XX–XXI centuries, in which civilians are increasingly participating on one side of the conflict. Changes in warfare necessitate changes in survival strategies, and overall civilizational development influences the reinterpretation of the concept of war trauma and its consequences. The purpose of the article is to identify the artistic and documentary means used in war cinema (1918–2025) to represent civilians’ survival and adaptation strategies in the context of prolonged armed conflicts or temporary hostilities. The methodology. The stated aim necessitated the use of a comparative methodology, which allows for the identification and comparison of research on the artistic features of depicting civilians in war cinema from the first half of the XX century to the first quarter of the XXI century. During the work, methods of figurative-stylistic analysis, comparative analysis, content analysis, and systematization were applied. The source base consists of English-language foreign works concerning film theory and war-themed research. The results presented in the article allow for the identification of key types of civilian portrayals. These can range from a silent majority that does not take up arms to individuals who attempt to influence the military-political situation around them by choosing one side of the conflict as an ally or benefactor. The scientific novelty and relevance of the work lies in the need to highlight the connections between artistic images, socio-cultural conditions, and psychological mechanisms of adaptation that enables a realistic perspective on the images of armed conflicts, where non-combatants are not only victims but often are the participants in complex and deliberate survival strategy. The practical significance of the research involves the possibility of applying its results in film studies and comparative studies, in particular when considering the issues of demonstrating the survival of civilians in combat situations from the point of view of providing the potential viewer with the most useful information to ensure their own and collective security, as well as possessing basic knowledge about behavior in emergency situations.
The purpose of the article is devoted to the analysis of contemporary experience in organizing theatrical initiatives outside Ukraine during the period of escalating military conflict. An analytical review of initiatives to represent Ukrainian theatrical culture in Polish and Czech theatrical discourse has been conducted. Based on illustrative materials, brochures, periodicals, interviews, and conference materials, the dynamics of the development of the main thematic directions of theatrical practices and the proclamation of ideological narratives in Ukrainian performances implemented during the period of full-scale war are revealed. The methodology of the theoretical analysis in this article is based on comprehensive, interdisciplinary scientific approaches. The issue of cultural heritage preservation is examined through the prism of scientific discourse on international cooperation in the field of theatre arts. The research is based on general scientific approaches — empirical, descriptive, structural-functional. Important in the context of this study is S. Ulyash’s theory of the “Ukrainian-Polish cultural borderland”. The results. Based on the results of a review of Ukrainian theatre initiatives in Poland and the Czech Republic, important ideological narratives have been identified in contemporary Ukrainian theatre dramaturgy organized with the participation of displaced artists. The theme of war can be traced in almost all theatrical productions, even in stagings of K. Čapek’s 1937 play. Given the nature of the organization, these performances can be called rapid response cultural initiatives, born out of the urgent need of Ukrainians to create a cultural discourse outside Ukraine. At the same time, the ideological definitions of Polish and Czech drama also often echo Ukrainian narratives (the Czech play “White Plague”, the Polish play “Life in Case of War”, etc.), which indicates the ideological kinship of the cultures of these countries. An overview of contemporary experiences in representing Ukrainian theatre abroad allows us to identify forms of implementation of relevant cultural initiatives. First, there are amateur attempts to create theatrical productions. Secondly, a significant part of the initiatives involves the participation of Ukrainian theatre figures in the work of Polish and Czech cultural institutions (the Ukrainian Stage in Wrocław, Invaze / Invasion / Вторгнення in Prague, the play Bila poshest in Ostrava, the work of director S. Oleshko at the Polish Theatre). Thirdly, international projects are organized in the context of Ukrainian cultural diplomacy operating in the territories of the republics under consideration (Polish projects “We Support Ukraine” and “Transmission.UA: Drama on the Move”, Czech Ukrainian Theatre Months and Film Weeks). The scientific novelty of the research lies in defining the geography of the spread of performances with Ukrainian themes outside Ukraine as a manifestation of the phenomenon of cultural synthesis. An analysis of scientific publications and information from official state sources confirms the strong international support for initiatives by Ukrainian groups in the implementation of cultural and artistic projects aimed at preserving Ukrainian culture. The practical significance of the article lies in the fact that, for the first time, the main challenges associated with the military situation have been identified and the prospects for further integration of interethnic relations in the context of the European educational space have been determined.
