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From the Editor

Zengin S.S.

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Title

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Contens

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Russian Diaspora in Latin America: To the Question of Intercultural Dialogue

The article, from the standpoint of intercultural communication theory, examines the issues of the genesis of the Russian diaspora in Latin American countries, the problems of preserving its ethnocultural identity, as well as the impact on the socio-cultural life of local communities. The issue of the cultural aspect of the diaspora policy of the Russian Federation in relation to the Russian diaspora is touched upon. The authors come to the conclusion that the Russian diaspora in the Ibero-American region was formed “in waves” throughout the 19th-21st centuries. Its historically conditioned problem is disunity caused by differences in the ideological attitudes of migrants of different waves. The isolation of individual groups of Russian emigrants often led to their complete assimilation with local communities. Based on the material of a number of Latin American countries, in particular the Republic of Paraguay, it is shown that Russian emigrants of different waves had a significant impact on various aspects of the political, social and cultural life of the host countries and steadily formed a positive image of Russia. Today, the established forms of self-organization of the diaspora – communities, cultural centers, Orthodox parishes and public organizations – are becoming an instrument of “soft power” capable of ensuring the implementation of Russia’s strategic objectives in foreign policy.

Keywords: “Russian world”, Latin America, Republic of Paraguay, Russian diaspora, migration, intercultural dialogue, “soft power”.

Gangur D.I., Benitez A.A.G.

pp. 18-31

The role of the Mentoring Institute in the Implementation of the Russian Model of Creative Industries

The relevance of the study of the role of the mentoring institution in the implementation of the Russian model of creative industries lies in the fact that these areas, related to the increase of human capital and the development of the creative potential of the nation, represent strategic priorities for the development of Russia at the present stage, in the context of challenges and threats to its national security. The scientific novelty of the article lies in the cultural perspective of the study of the role of the mentoring institution in the implementation of the Russian model of creative industries. The article defines the role of the mentoring institution as a conceptually significant tool for the sustainable development of creative industries in Russia. The work characterizes the content of the mentoring institution in the Russian Federation at the present stage of its development, outlines the specifics of the Russian model of creative industries; defines the role and functions of the mentoring institution in the development of creative industries in Russia; outlines the role of cultural institutions with a multi-level education system in the formation and development of the creative potential of the nation; The project activities of the Federal State Budgetary Educational Institution of Higher Education “Krasnodar State Institute of Culture” are considered from the point of view of the implementation of mentoring principles in the field of developing the human resources potential of creative industries.

Keywords: strategic development, creative industries, prototyping centers, mentoring institute, Krasnodar State Institute of Culture.

Pavlova O.A., Vicelyarova K.N., Dmitrieva A.V.

pp. 31-37

Modern Fashion as a Socio-Cultural Phenomenon: Formation and Transformations

The article examines modern fashion as a sociocultural phenomenon in the context of historical and cultural development. Initially, the sphere of fashion had limited influence, covering only the elite segments of society. While other social strata remained committed to traditional clothing canons, changes in their appearance occurred at an extremely slow rate. A key element of traditional costume was its harmony, allowing for a high degree of accuracy in identifying an individual’s social status, gender, professional affiliation, and geographical place of residence. In the process of evolutionary development of the fashion industry, radical transformations occurred, as a result of which the principle of self-expression through clothing style came to the fore, displacing the previously dominant principle of conformism. This phenomenon indicates a transition from strict social determinism in fashion to more individualized and expressive forms. Fashion is a phenomenological construct with a complex of unique attributes, among which its exponential manifestation stands out. This aspect manifests its inseparable connection with the recipient and indicates that fashion serves as a means of individual self-presentation, as well as a tool for social categorization, used to differentiate “us” and “them”. Another important characteristic of fashion is its изменчивость (variability). Fashion is relevant only “here and now”, making it extremely temporary and transient. This property of fashion reflects its dependence on current sociocultural and historical contexts. Conclusions are drawn about fashion as a form of public consciousness and as a permanent form of art, acting simultaneously as a socio-integrator and ethnoidentifier. The phenomenology of fashion reflects economic, social, cultural-aesthetic, and technological unity, acts as a visual moderator of socio-cultural transformations and a navigator of change over time and space, and carries an international peacekeeping mission.

Keywords: fashion, clothing, costume, fashion phenomenon, culturology, communication, sociocultural space, transformation.

Denisov N.G., Saifieva Yu.S.

pp. 37-46

Theoretical Approaches to the study of Christian Religious Images in Contemporary Art

The subject of research in this article is the theoretical approaches applied by the authors to the study of religious images in contemporary art. The aim of the article is to analyze and systematize existing scientific approaches and methods for the analysis of Christian religious images in contemporary art, which is important for bridging the gap between traditional iconography and its modern interpretations. The authors of the article consider methodological gaps in the study of Christian religious images in contemporary secular art. They draw attention to the insufficient systematization of approaches and the lack of a unified theoretical framework for analyzing the transformation of sacred images in postmodern conditions. The authors of the article reviewed the existing approaches, they considered the systemic, semiotic and structural-functional approaches, with the help of which they substantiated the theoretical and methodological basis for the study of Christian religious images in contemporary art. In addition to the characterized scientific approaches, the authors also consider a number of scientific methods such as: analysis and synthesis, semiotic, hermeneutic, cultural-historical, synergetic methods, which help them to carry out a comprehensive study of how Christian religious images are represented and perceived in conceptual art. The novelty of this study is expressed in the fact that for the first time a scientific theoretical analysis of approaches and methods to the process of studying Christian religious images in contemporary secular art is made. The article clearly demonstrates how religious symbols, losing their original sacred meaning, become objects of artistic deconstruction and commercialization. The authors refer to multiculturalism, digitalization, and secularization, which transform the perception of religion in art, using the work of artists such as Maurizio Cattelan, Demian Hirst, and Herman Nitsch as examples.

Keywords: religious images, contemporary art, systems approach, semiotic approach, structural-functional approach.

Griva O.A., Puzdrovskaya M.A.

pp. 47-53

The State Catalog of the Museum Fund of the Russian Federation as one of the Ways of Museum Documentation

With the advent of information and communication technologies, a new direction of the automated museum documentation system has been rapidly developing. The placement of museum collection items in an open information field makes them more accessible to Internet users. The State Catalog of the Museum Fund of the Russian Federation plays a huge role in this direction, which acts not only as a tool for national accounting, but also serves as an open source of data for research and educational purposes. One of the important and urgent problems in the field of modern museum business is the formation of a single digital space, the functions of which are the centralized accounting of museum objects and museum collections, their legal protection, as well as the identification of the difficulties that researchers face in the process of working with the data contained in the State Catalog. Since the beginning of the formation of the State Catalog, a significant number of scientific papers have been published that consider this phenomenon as an open information resource. The authors of the article draw attention to the fact that the primary function of the State Registry is centralized state accounting. The purpose of the study is to study the State Catalog as a symbiosis of museum documentation and a database open to a wide range of researchers. The object of the research is the digital database of the State Catalog of the Museum Fund of the Russian Federation. The subject of the research is museum objects and museum collections included in the Museum Fund of the Russian Federation and published on the website of the State Catalog. In the research, the authors used both general scientific methods (analysis, analogy, comparison, generalization) and methods used in the attribution of museum objects (the use of typological classifications and comparative procedures). The source base is the official website of the State Catalog of the Russian Federation, sources of official origin and materials of the periodical press. In the course of the research, it was found that the State Catalog of the Museum Fund of the Russian Federation can be considered one of the ways to document museum objects and collections. As a result of the analysis, problems that cause difficulties for both museum specialists and third-party researchers working with the state catalog were identified and ways to solve them were outlined.

Keywords: Museum fund, digitization, automated system, museum objects, database, digital catalog, State catalog, museum accounting.

Antoshkina M.V., Akoeva N.B.

pp. 53-64

Collecting and Private Museums of Krasnodar Region: Towards the Statement of the Problem

The article describes the phenomenon of private collecting as one of the ways to preserve historical and cultural heritage. Private collecting has a long historical tradition. It is private collections of objects with a certain material, artistic, and historical value that have formed the core of the collections of the vast majority of museums operating today. Collecting and the topic of creating private museums in various aspects are actively being developed in modern Russian historiography. However, as for the Krasnodar Territory and Krasnodar in particular, such studies are minimized. There are practically no works related to the comprehensive description, systematization, and analytical base of existing private museums and collections in Krasnodar, which actualizes the problem of a comprehensive and in-depth study of the phenomenon of private collecting in the post-Soviet period at the regional level. The article provides a brief historical overview of this phenomenon, examines the legal and socio-cultural foundations of the functioning of private museums, gives a general description of the museums of Krasnodar and Krasnodar Krai, created on the basis of private collections, selectively describes the work experience and the most characteristic problems of some of them. The purpose of our work is to give a general idea of the currently existing private museums in the Krasnodar Territory, and to lay the foundation for future research that will address both the legal and methodological aspects of the emergence and functioning of private museums in the Kuban.

Keywords: collecting, private museum, museums of Krasnodar, exhibition, art gallery, museum and exhibition complex, museum network.

Nezhigay E.N.

pp. 65-73

Musical and Educational Activities of Metropolitan Hilarion (Alfeyev) in collaboration with the Moscow State Conservatory named after P.I. Tchaikovsky.

Metropolitan Hilarion (in the world Grigory Valerievich Alfeyev) is one of the key figures in Orthodoxy and the modern cultural and religious life of Russia, today he is one of the young bishops of the Russian Orthodox Church. Despite his relative youth, Hilarion has made a name for himself in many religious, scientific and cultural spheres of modern life: he is a famous theologian, scientist, patrologist, church historian and philosopher, teacher of various theological disciplines, activist in the field of church policy, educator and public figure, translator, writer and composer. One of the indicative factors of Metropolitan Hilarion’s influence on the musical culture of Russia is his collaboration with the Moscow State Conservatory, one of the leading domestic universities that determines the main directions of development of musical art in our country. The premieres of many of Alfeyev’s works took place on the stage of the Moscow Conservatory. The consecration of the Great Hall of the Conservatory on June 10, 2011, with the blessing of His Holiness Patriarch Kirill of Moscow and All Rus’, was performed by Metropolitan Hilarion. During the years of cooperation between the Metropolitan and the Moscow Conservatory, large joint creative projects were implemented both within the framework of grants and with the support of various foundations and organizations. This is the Lenten Choir Festival, held since 2018, together with scientific and practical conferences. Metropolitan Hilarion was one of the organizers of the Christmas Festival of Sacred Music, which is held annually at the Moscow International House of Music with the purpose of performing works of sacred music. Since 2010, on behalf of the Church, Metropolitan Hilarion has taken part in Easter festivals, the artistic director of which is conductor V.A. Gergiev. Musical education is one of the priority areas of activity of Metropolitan Hilarion, who sees his high mission in raising the level of education in the church environment and establishing social interaction between the Church and society.

Keywords: Metropolitan Hilarion (Alfeyev), musical and educational activities, festivals, Moscow State Conservatory named after P.I. Tchaikovsky

Panteleeva A.A.

pp. 73-84

Song Collections of the 19th – early 20th Century as a Source of Studying the Musical Folklore of the Black Sea Villages of Kuban

This article examines the first collections of folk songs from Kuban, which reflect the musical folklore traditions of the Black Sea stanitsas (Cossack settlements) in the region. The abundance of musical-poetic texts and the stylistic diversity of the region’s musical folklore present significant challenges for its systematic folkloristic study. The folk singing tradition exhibits considerable dynamism, having taken shape during a later historical period – the 19th century. A comparative analysis of musical-poetic texts published in the pre-revolutionary period and contemporary examples will allow for a deeper study of the Kuban singing tradition in both past and present. The core of the article is devoted to analyzing articles from 19th-century periodicals and collections of folk songs compiled by A.D. Bigday and G.M. Kontsevich, who made significant contributions to preserving, studying, and popularizing Kuban’s musical folklore. The folk song collections are examined in terms of their thematic content, structure, and the nature of their folk song arrangements. Special attention is given to the efforts of V.G. Zakharchenko, artistic director of the Kuban Cossack Choir, in republishing the works of prerevolutionary researchers. In the Conclusion part the collections are compared, highlighting their role in the development of folkloristics in Kuban.These publications remain relevant today in the context of applying comparative methods in scholarly research.

Keywords: folklore, traditional folk culture, Black Sea Cossacks of Kuban, songs, collection.

Likhovitskaya K.V., Zhiganova S.A.

pp. 84-92

Semantics of Musical Images of Field in Domestic Choral Music

Cultural memory contains a significant educational resource that helps establish connections between generations and their continuity. People’s memories of agriculture are a key element in preserving this memory. Along with many other images, the image of the field is a symbol of Russian national history and culture. People remember the most important and necessary aspect of their lives – the field – which has nurtured and nourished more than one generation of people. The image of the field is deeply rooted in the Russian literary tradition, as evidenced by the research of philologists and linguists. The examination of the symbolism of the image of the “Russian field” became an important stage of the study, revealing the fact of the image’s integration into national identity and preservation in collective memory. The analysis of this symbol in Russian linguistics and literature created a solid theoretical basis for the subsequent analysis of its musical interpretations. A field is a symbol of nature and freedom, a symbol of the Motherland and national identity; a field (polyushko) is a friend, a field is a source of strength and love. The unifying property of the different meanings of the field image is its connection with Russian national history and traditions. The semantics of the image of the field in the music of composers, in Russian folk songs and their arrangements is different. In choral works, the diversity of interpretations of the image of the field is emphasized by a whole series of musical and expressive means. Among them: diatonic types of major and minor as a source of bright folk-national coloring, variable sizes, parallel-variable mode, subvoice-polyphonic texture. Musical-theoretical and vocal-choral analysis of the works presented in the study demonstrated the richness and diversity of composers’ approaches to the depiction of the field. Particularly noteworthy are the discoveries that reveal original interpretations and methods of conveying this image in choral works, which contributes to a deeper understanding of their ideological and artistic content. The conducted research demonstrated the multifaceted nature of the image of the field in cultural and musical traditions, showed its place in the formation of the ethnosocial memory of the Russian people, the national identity of Russians and emphasized its role as a connecting element between generations.

Keywords: images of choral scores, field, composer’s reading, interpretation, arrangements of Russian folk songs, national identity.

Malatsay L.V.

pp. 92-99

The Fairy Tales op. 51 by N. K. Medtner: Author’s Perusal and Interpretations of the 21st Century

The article is devoted to fairy tales op. 51 by N.K. Metner. Analyzing the musical text of fairy tales, the author revealed thematic connections between fairy tales. The article examines the author’s recordings of fairy tales ор. 51 № 1 d-moll (1947), № 2 a-moll, № 3 A-dur (1936), № 5 fis-moll (1947). Also the article analyzes the performances of the British pianist H. Milne (2006) and the young Russian musician D. Shishkin (2021). Both pianists presented the opus in its entirety. During the life of N.K. Metner, his music was not very successful with critics and listeners. Being recognized as a Metner pianist, the Metner composer for a long time remained in the shadow of his contemporaries – S.V. Rachmaninov and A.N. Scriabin. However, in recent decades, interest in the music of Nikolai Karlovich has been growing among both performers and the public. In the 21st century, she is addressed by both avid “metnerists” – Boris Berezovsky, Hamish Milne, Marc-Andre Hamelin, and young musicians – Luca Debarg, Daniil Trifonov, Dmitry Shishkin. In 2016, the International Competition in Memory of N.K. Metner was held for the first time. The composer turned to the genre of fairy tales throughout his career. For the first time, the idea of creating plays with this title came to him in the winter of 1906. The last opus of fairy tales, written by the composer in 1928, includes six plays dedicated to Cinderella and Ivanushka the Fool. The opus was published two years later by Zimmerman’s publishing house. The premiere of the tale G-dur or. 51 No. 6 took place in England in the year of writing. The entire opus was presented to the public during a tour of the United States and Canada in the fall of 1929. N.K. Metner recorded fairy tales at different times, but not all of them were released on records. So, for example, the recording of the fairy tale or. 51 № 4, created in 1936, was not released. It should be noted that the thematic connections between the pieces of this cycle are much more intense than in other opuses of the composer. They concentrate the manifestations of the composer’s national nature. The first tales of the opus is the largest. It contains the main images and principles of development that will appear in other fairy tales. For example, it contains a texture resembling a simple, inept accompaniment of harmonica, a similar effect will be found in other fairy tales (№ 3, 4). Themes reminiscent of the folk tune will also appear in fairy tales № 2, 6. The composer in his performance strictly follows the musical text. His performance is characterized by extreme rhythmic organization.

Hamish Milne’s interpretation is notable for its objectivity. The pianist emphasizes an ironic source in the themes of the folk tune. Culminations acquire a large scope in his performance. Lyrical themes are weightless and elusive. Dmitry Shishkin sharpens the contrasts between images not only with the help of dynamics, but also by changing the pace in various themes. In his performance, the precipitancy of cheerful themes is replaced by deliberately slowed down, “pronounced” the folk tune. In lyrical melodies, the pianist “freezes” on the peaks in order to quickly return to festive jubilation after. This opus became the pinnacle of the composer’s work in the miniature genre. Despite the extreme detail of the author’s text, full of remarks, pianists find facets in this music that allow them to fully show their performing individuality

Keywords: N.K. Medtner, fairy tales op. 51, author’s interpretation, H. Miln, D. Shishkin.

Gerasimova S.N.

pp. 92-111

The Embodiment of Fantastic Characters in the Opera “Madame White Snake” by Zhou Long

The article focuses on the ontology of fantastic characters in the opera “Madame White Snake” by Zhou Long. The subject of the study is a set of authorial means and techniques used in creating the figurative and artistic world of the opera. Methods and approaches: historical and stylistic, complex; methods of hermeneutics, comparative studies, musicological analysis. As a result of the study, it is shown that to display fantastic characters, the composer uses the technique of intonation masking and characterization through an image-role expressing a particular affect. It is noteworthy that the functionality of this technique is not fixed for the character, but is mobile and associated with the display of a psychological state. The state changes and the mask-role changes – the style of expression and the musical language of the hero. The embodiment of the images of fantastic characters is dual. Thus, the main character, the White Snake, is represented by a complex of expressionistic means, including the sprechstimme technique, conveying her other existence in the image of a demon, and the bel canto vocal style, illustrating her earthly embodiment in the image of Madame White, experiencing love and betrayal. The same principles are used to convey other images – the Green Snake, Xiong Xian. In the presentation of his image, traditional Chinese music is replaced by the bel canto style, and then, in the denouement of the drama, expressionistic means of expression are added. The antagonist of the couple in love, Abbot Fahai (expressionistic style and sprechstimme technique) and the choir of souls of dead children (impressionistic style) have constant characteristics. The interweaving of various stylistic layers (the style of the era, the style of the creative direction, the national and individual style of the composer, stylistic performance techniques) creates a polyphony of meanings – one of the best compositional solutions for the embodiment of the timeless plot of the myth of the White Snake and the disclosure of its mystical component in music. Thinking in styles as the basis of Zhou Long’s creative method actualizes the action of N. Bohr’s principle of complementarity, creating a semantic multiplicity and openness of the opera’s images in search of solutions for their interpretation. The novelty of the study lies in the analytical study of the individual style and creative method of a modern Chinese composer, reflecting the current philosophical themes that the composer reflects on in the opera.

Keywords: Zhou Long, opera “Madame White Snake”, myth, techniques of stylistic allusion and stylistic synthesis, symbolic and dramatic functions, fantastic characters in music.

Su Yalin, Mozgot S.A.

pp. 111-120

On the Problem of Individual Style and Creative Method of Tan Dun on the Example of the Opera “Marco Polo”

The article focuses on the opera Marco Polo by the American composer of Chinese origin Tan Dun (born in 1957). The subject of the study is the genesis of the opera’s content, which influences the organization of the structure, dramaturgy, and figurative and artistic world of the opera. Methods and approaches: historical and stylistic, complex; methods of hermeneutics, comparative studies, and musicological analysis. As the composer himself said, in the opera he describes three forms of travel - spiritual, physical, musical, which creates a polyphony of meanings embodied in visual, auditory, and intertextual intersections, contrasts, and complementarities. The basis of the creative method is the challenge that the composer throws down to everything established, which determines his search for a new interaction of expressive means in composition, dramaturgy, the structure of the figurative and artistic world, and the interpretation of the opera’s heroes. The basis of the creative method is the technique of stylistic synthesis, represented through the methods of quotation, stylization, stylistic allusion, in the application of which the composer shows himself as a virtuoso designer-illusionist, modeling polysemantic multiplicity in the opera. Despite the complexity of the structure and musical language of the opera “Marco Polo”, the composer speaks about the problems that worry him through various forms of musical art, understandable to a European. One of such problems for Tan Dun is the problem of dualism and the relationship of “everything with everything” – the East and the West, the traditional and the ultra-modern, musical and noise, organic and inorganic, rational and irrational and many other phenomena. The methods of dual comparison and search for interrelation, demonstrated, among other things, in the opera “Marco Polo”, refer the interested listener of Tan Dun’s works to Chinese philosophy and culture, which formed the author of the opera as a person, including, among other things, the period of the Cultural Revolution (1966-1976). From here, another theme arises, relevant for the composer’s understanding in the opera – the theme of freedom and relationships with power. Perhaps it is not associated by the composer with real power, but rather expresses the idea of obligation, realized in the opera by the figures of Kublai Khan and his wife. The novelty of the study lies in the study of the themes of the opera, as a representative of ideas relevant to the composer’s work.

Keywords: Tan Dun, opera “Marco Polo”, stylistic synthesis, plot, montage and meditative dramaturgy.

Se Linlin

pp. 121-133

The Formation of the Chorus as a “Collective Individuality” in the Operas of G. Rossini

In the 1810s and 1820s, important changes began to take place in the concept of Italian opera, which were reflected, first of all, in the dramatic interpretation of the choir. If in the early operas of G. Rossini, the choirs performed an auxiliary function and, being stylistically neutral, were easily transferred from one work to another, then in the operas “Mosи in Egitto” (1818) and “Maometto II” (1820), the choir became the main dramatic means in representing the national conflict and religious confrontation between two groups: the oppressors and the oppressed. The composer resorted to the effective resources of timbre dramaturgy: he depicted the Israeli people in “Mosи in Egitto” and the Venetians in “Maometto II” in mixed and female choirs, respectively, and the Egyptians and Turks in male choirs. At the same time, the enslavers are characterized by Rossini as a faceless mass of people who show only fighting spirit, military discipline and obedience to their leader, and the oppressed people fighting for liberation are presented in the fullness of their cultural, religious, moral and emotional manifestations. If the first group is often depicted by means of marches, military fanfares, choral unisons and lapidary melodies, then the second is characterized by a wide and varied range of musical expressiveness: from touching prayers with a flexible bel canto cantilena and developed choral writing to participation in acutely dramatic situations involving the entire spectrum of dynamic and timbre resources. Such an interpretation of the choir allowed the composer and librettist to direct the sympathy and empathy of the audience to the side of the oppressed, but not broken people, with whom the Italian viewers, seized by freedom-loving, tyrant-fighting sentiments, could associate themselves. The presented analysis of choral scenes in Rossini’s operas led to the conclusion that the composer already in the 1820s and even earlier interpreted the choir as a “collective individuality” expressing the “independent, original essence” of the people. The composer demonstrated the foresight characteristic of geniuses by setting for himself and fulfilling those key requirements for an opera choir that Giuseppe Mazzini formulated only in 1836.

Keywords: G. Rossini, choir, Italian opera, French opera, conflict, people, Risorgimento, collective individuality

Dong Yanjun

pp. 134-143

Lexical and Textural clichés of Traditional Chinese Performance on the Classical Six-String Guitar

This article explores the influence of traditional Chinese musical vocabulary and texture on the formation of Chinese classical guitar schools. Combined with specific works, it focuses on revealing the origins of national charm in music from three aspects: scale, harmony and polyphonic texture. The author points out that the traditional pentatonic scale is the cornerstone and inner core of the Chinese guitar school. In addition, the mature application of playing techniques of traditional Chinese plucked instruments such as pipa, liuqin and yueqin on the classical guitar also gives the music a national flavor. Thus, the formation of the Chinese classical guitar style is based on the use of iconic elements of traditional musical poetics – its modal features, “projected” also onto harmony. Priority attention to melody inevitably leads to a weakening of the role of harmony, which makes chord progressions in works relatively simple. This, in turn, naturally determines the frequent choice of homophonic texture, emphasizing the main melody. Together, these factors give guitar works in the Chinese style “national charm”. And borrowing sound production techniques on the pipa, liutsin, yueqin, santsin, guzheng, zhuan and others, stylization in the performance of the timbres of this instrumentation, gives an ethnic coloring to the sound. The use of traditional Chinese performance vocabulary and texture added elements of folk music to the classical guitar, an instrument of Western origin. This has broadened the horizons of world guitar art in terms of aesthetic habits, performance techniques and creative thinking, and has promoted the development of modern guitar art and strengthened the cultural exchange between China and the West.

Keywords: traditional vocabulary, texture, Chinese genre, scale, harmony, polyphonic texture, traditional plucked string instruments.

Duan Shinan

pp. 143-155

Оbject-Oriented Ontology in the Contemporary Dance of Martin Sponberg

This article analyzes the phenomenon of traditional dance object displacement by scenographic solutions in Mеrten Spеngberg’s work. It examines the conceptual reconsideration of dance and choreography’s role within contemporary sociocultural conditions characterized by the commodification of art and corporeality. Using the productions “Natten” and “La Substance, but in English” as examples, the study explores the transformation of space-time relations and the dramaturgy of interaction between performers and spectators. The analysis of Spеngberg’s creative method demonstrates that the dominance of scenographic elements is not merely a stylistic choice but a conscious critical strategy directed against the transformation of dance into a commodity. The key mechanisms of this strategy are identified: deliberate dysfunctionality of performance, suspension of the conventional flow of stage time, creation of special forms of collective presence, and blurring of boundaries between various performance elements. Concludes that Spеngberg creates a new type of dance art where, through the reconsideration of physical movement, spatio-temporal organization, sensory layers, dramaturgy, and contextual codes, an alternative mode of dance existence is formed – as a space of autonomy and freedom in conditions of total cultural commercialization. M. Sponberg presents a radical view of the relationship between dance and choreography in contemporary art. He sees dance as a potentially subversive force capable of resisting the commodification of art. In his understanding, dance is the opposite of choreography: if choreography strives for order, then dance is by its nature unorganized and strives to overcome any structural limitations. In the works of M. Sponberg it is not just an artistic device, but a political gesture aimed at creating new forms of resistance to the commercialization of art and opening up space for experimentation with alternative forms of existence in the modern world.

Keywords: dance object, commoditization, scenography, contemporary dance, corporeality, choreography, scenographic deconstruction.

Padyan Yu.Yu.

pp. 155-160

Shen Yuan and the Formation of Organ Culture in China

This article tells the story of Chinese organist and composer Shen Yuan and the development of Chinese organ culture. After the organ was introduced to China from the West, Chinese organ music developed rapidly, and today China has produced numerous outstanding organists and composers. The organ was initially brought to China by Christian missionaries for liturgical activities, accompanying the musical portions of Mass. However, the organ has long since broken free from its religious “shackles” and has become a symbol of high-end musical and cultural life in cities across the country. This article will introduce Shen Yuan’s journey in learning the organ and her contributions to the development of Chinese organ music. In recent years, she has been dedicated to the development and promotion of Chinese organ music, organizing organ concerts across China. She integrates the organ with global history, art history, and literature, allowing people to experience organ music while gaining insights into historical and cultural contexts. At the 2024 “Knowledge Concert”, Shen Yuan performed her own arrangement of Eight Songs from the Silk Road, a highly distinctive set of works. These eight songs were created by selecting characteristic elements from different regions along the Silk Road route, showcasing the local musical styles, cultural features, and historical charm. In terms of musical composition, it combines Eastern and Western musical elements, or innovatively fuses the musical characteristics of different ethnic groups, creating a distinct musical style. This approach reflects the theme of cultural exchange and integration along the Silk Road.

Keywords: organ in China, Chinese organist, cultural exchange, Silk Road, Christian missionaries.

Xiong Yaolu

pp. 160-170

Prospects for the Development of Corporate Culture in Russia: Integration of Cultural Approaches from the Formation Stage to Innovative Management Practices

The subject of the research is the cultural foundations of the corporate culture of the Russian Federation. The purpose of the research is to identify the cultural foundations of the corporate culture of organizations and business structures of the Russian Federation and trends in corporate culture at the present stage. The methodology of the presented scientific work is based on an interdisciplinary approach implemented in a combination of cultural analysis of theory and a set of documentary and comparative methods used to analyze the current situation of business and its activity during the initial formation of corporate culture in the 1990s-early 2000s. The twentieth century. To achieve this goal, the conceptual foundations of value theories were investigated, which consistently enriched the theory of corporate culture. The considered theories developed in line with cultural science and then organically complemented the spiritual and moral components of corporate culture. The second stage of the study is related to the analysis of corporate ethics codes. The comparative method is used to compare the corporate culture at the initial stage of its formation in Russia and at the present time. The result of the article is the conclusion that the modern corporate culture of entrepreneurship in Russia has undergone significant changes, having implemented the principles of fairness and social responsibility. Cultural studies plays a key role in shaping corporate culture models that are in harmony with national and social values, contribute to effective management and the achievement of organizational goals.

Keywords: corporate culture; cultural approach; Russian business; theory of E. Shane; J. Cotter; J. Heskett; values.

Davidenko E.A.

pp. 170-177

Cultural Institutions: A Historical Analysis of Experiences in Countering Destructive Ideologies

This article examines the significant role of cultural institutions – museums, libraries, theaters, educational establishments, and other organizations that shape the cultural space – in ensuring societal security. Amid increasing global instability and the spread of destructive ideologies that undermine social order and threaten cultural identity, studying culture’s potential as a tool for protecting society becomes increasingly relevant. The research aims to identify and systematize historical strategies for using cultural institutions to counter various forms of destructive influence at different stages of civilization’s development. The analysis considers how societies have used culture as a means of shaping value orientations, strengthening social cohesion, promoting critical thinking, and defending against ideological threats, both external and internal. The research encompasses a broad range of historical examples, demonstrating both successful and unsuccessful attempts to use cultural institutions as “soft power” to maintain stability and protect against subversive influences. Based on the analysis, the study identifies effective strategies that enable cultural institutions to act as active agents of societal security. However, the article also addresses potential risks and limitations associated with using culture for political purposes, including the possibility of ideologization, censorship, and manipulation of public opinion. The presented results have practical significance for developing effective cultural policies aimed at strengthening societal security and preserving cultural heritage.

Keywords: societal security, destructive ideologies, cultural policy, media literacy.

Shvedov I.Y.