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FOLK ART OF YAKUTIA IN THE POST-SOVIET SPACE: THE TRANSFORMATION OF LOCAL ETHNIC TRADITIONS

Pokatilova I., Alekseeva S.

Abstract

The purpose of this article is to characterize the final stage of the evolution of artistic forms of folk art of the twentieth century Yakutia related to the processes of transformation of contemporary culture in the 1990-ies. The process of autonomization of culture was associated with the sovereignty of the Republic of Sakha (1990) and is expressed in the tendencies of ethnocentrism. However, market relations and the process of revival of traditional culture has intensified the phenomenon of ethnic consolidation and acculturation. As a result of certain ways of regulation of the creativity of craftsmen of Yakutia in the 90-ies revealed two types of masters: "traditional" and "cultured". The first type of the master manifests itself in the countryside because it is associated with the natural environment and reflects the collective values, ideals and experience traditional culture. The second type of master is generated in the urban environment, where the tradition is lost, and creates the necessary conditions and forms of artificial regeneration and the regulation of the masters, focused on artistic traditions. In the process of interaction with professional national culture manifested forms of folklorism, expanding the boundaries of integrated design, modeling, and design. As a result, in the folk art stands a line of "traditional" skills and the line "cultivation", i.e. the variability of folk art. The first type of master most deeply reflected the ethnic identity of the traditional culture, the second is the national character of culture. But on the other hand, in the 1990s came the craftsmen, orientirovannye in skillful imitation of the traditional. Thus, the tendency of folklorism and eclecticism. Secondary forms of folklorism was included in the new urban, industrial, cultural and household system and perform non-traditional functions. In General, the national culture of Yakutia in the XXI century is presented as a holistic system of complementary and interdependent from each other subsystems: 1) a professional type of creativity and 2) the folk art. They form a dialogue of traditional and creative types of cultures, as well as two values in the culture of individual human experience and collective spiritual experience of the people. The whole issue of the integrity of the culture is the problem of the relationship of man with nature, man with man, nation with its own past and present.

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