Organizational aspects in the folk art culture of Yakutia in 1980-1990s

Abstract

The period of transition from the late Soviet period (1980s) to the post-Soviet period of the 1990s is topical in the study of contemporary problems of the folk art of Yakutia. The article considers the organizational aspect in the folk art of Yakutia in the 80-90's, where the folk art was given special attention in the context of the revival of traditional culture. The ways of regulation and the mechanisms of artificial revival of the folk art of Yakutia in the 80s are given. The basis of the research was the conceptual ideas of art historian V.Kh. Ivanov. Having defined and delimited the criteria of national and amateur art, he proposed concrete ways of reviving the Yakut folk art. The mechanism of artificial revival of folk art was defined by two ways: the first way is the study and mastering of the traditional heritage by amateur masters, the restoration of the interrupted thread of continuity; the second is the identification of living bearers of traditional craftsmanship, their return to traditional occupation. In the history of the folk art culture of Yakutia, this was the first experience of timely regulation of the creative process, when the theory and practice merged with folk masters. Such a holistic approach allowed the masters from within to realize the tradition. This work begun in the 1980s and gave definite results already by the 1990s. The quantitative growth of the masters of the 1980s gave definite qualitative results already in the 1990s. Working in this direction and using the method of copying old products, the masters gradually crystallized the basic principle and the system of folk art. Great successes on this path were achieved by those masters who were deeply imbued with the artistic essence of the prototype - things; created images - types. As a result, in the process of "self-determination" of the folk art of the 1990s, two types of folk master are distinguished: traditional and cultivated. The first type of master appeared in the 1990s as a natural result of the process of raising the ethnic self-awareness of the people, associated with the revival of traditional culture and the self-determination of folk art. The second type of master is closely connected with the process of professionalization of culture and with those masters who have been working on the artistic orientation of products on traditionalism, primarily in the urban environment.