Krasnodar Regional Organization of the All-Russian Creative Public Organization "Union of Artists of Russia"
Address: 350063, Krasnodar, Oktyabrskaya St., 51
phone: 268-58-04
Chairman: Odintsov Konstantin Stanislavovich

In 1938, the Krasnodar Regional Office of the Union of Artists of the RSFSR, which united in one creative team of the city was created at the 1st regional conference of artists of the Krasnodar Territory for the further development of artists, united in one creative team of the city: Krasnodar, Maykop, Novorossiysk, Sochi, Armavir and Anapa . The first chairman of the regional branch was elected inspector from the department of arts in the executive committee of the regional council of workers' deputies Anatoly Petrovich Ladonkin. Artists included in the composition of the first board: V. Kozlov, V. Zelenov, L. Zigoev, M. Bogoyavlensky. In the same year, the regional union opened his first exhibition. In 1940, such works were presented at the exhibition as the "Red Tar in the rear of the leaning" A. Ladonkin, "the defeat of Kornilov under Krasnodar" K. Matsheva, "The retreat of white from Ekaterinodar" T. Ruzheynikova. These and other works were the first attempt to create the art chronicles of the Civil War in Kuban. The works were reflected in the construction of socialism in Kuban, marked by achievements in the field of industry and agriculture.

N. Maricheva, A. Tretyakov, M. Radin, N. Mironov, D. Biryukov become active participants in post-war exhibitions.

In the 50s, the works of sculptors appear at exhibitions: I. Maksimova, K. Sidashenko, V. Ermakova, I. Schmaguna, O. Kolomocev.

By the end of the 50s, the work of Kuban artists began to regularly appear on the zonal, republican, all-union, and then international exhibitions. In solving the task of the active inclusion of artists in the constructive life of the country, the organization of creative brigades was played a major role. In creative groups, painters, graphics, sculptors of the regional organization of the Union of Artists were actively working on the theme of modernity. The work of the participants of the creative brigades was exhibited at the traditional exhibitions "Earth and People" at the time. The first such the thematic exhibition was organized in 1971.

Since 1976, the organizationally took shape to the "Youth Association of the Union of Artists" beginner Kuban artists.

The work of Kuban artists has repeatedly noted high awards. Evidence of the recognition of their creative and social merits is the award of honorary titles. The title "Honored Artist of the RSFSR" was awarded: Bulgakov, P. Kalyagin, V. Kuzmenko, O. Kolomoisians, A. Kalugin, G. Shahbazyan, High title "People's Artist of the RSFSR" V. Mordovin.

All the great and multifaceted activities of Kuban artists are sent and coordinated by the Board of the Regional Organization, in different periods of which A. Ladonkin, M. Bogoyavlensky, A. Glukhovev, P. Kalyagin, V. Ptashinsky, A. Kalugin and many others.

Significantly grateful and numerically increased creative organization of Kuban artists currently has about 260 masters in their ranks and is one of the leading in the Russian Federation: 20 artists have honorary titles "Honored Artist of the Russian Federation"; 1 Honored Artist of the Russian Federation (Demkin S.N.); 1 Honored Worker of Culture of the Russian Federation (Konovalov I.P.); 14 Honored Arts Kuban artists; 6 winners of the Prize of the Administration of the Krasnodar Territory; 4 laureate of the youth prize of the administration of the Krasnodar Territory; 7 artists were awarded medals "For the contribution to the development of Kuban - 60 years of Krasnodar Territory"; 5 laureates of the Prize Prize of the Komsomol. Ostrovsky in the field of literature and art; 1 Laureate of the Awardness of the Administration of the Municipal Education of the city of Krasnodar (Dudko L.S.).

The joint tasks and objectives formulated in the Charters of the All-Russian Creative Public Organization "Union of Artists of Russia" and the Krasnodar Territory of the WTO "Union of Artists of Russia", directs its activities to create high professional artistic works in all areas of fine art and modern border areas of art. We try to educate our works and maintain the moral courts of society. Bright names that glorified the organization: Kopetsky, M. Bogoyavlensky, N. Mironov, I. Schmagun, G. Arakelyan, A. Glukhovets, P. Kalyagin, O. Kolomoisians, V. Soskov, V. Ptashinsky, N. Essa, V. Zhdanov, V. Pepko, A. Apollonov, S. Vevzhev, V. Monastery, Bulgakov, S. Demkina, A. Melnikov, A. Karnayev, V. Sidorov, A. Parshkov, V. Korobeynikov, G. Walnits, Kravchenko and many others.

Currently, the Krasnodar regional organization, having a high creative potential, is one of the largest organizations in the Union of Artists of Russia. Many artists - participants of large Russian, regional, regional, youth, foreign exhibitions.

Already 5 times the regional exhibition "South of Russia" takes place in Krasnodar. Thus, Krasnodar became the spiritual and cultural center of the North Caucasus. There are also festivals of modern art of Kuban, personal exhibitions of artists, and every 2 years there are contests for the best work (every genre), organized by the Krasnodar Culture Department of Krasnodar, together with the Krasnodar Regional Organization of the WEO "Union of Artists of Russia". Much attention is paid to the youth of Kuban. Every year youth exhibitions are held in the exhibition hall of the visual arts.

The relevance of the research problem is determined by global changes in all spheres of human life, including spiritual. In the context of updating and democratization of society, a large scientific and theoretical and practical importance acquires the study of the basic patterns and features of the formation of art in the sociocultural space of a particular region.

In modern conditions, interest in the phenomenon of culture significantly increased, which is due to the search for the value humanitarian content and the meaning of life. Modern science found that the man of the end of the XX century is subject to the laws of cultural communication. The understanding and reconstruction of the past helps a person find a support in those cultural values \u200b\u200bthat underlie the future development and cultural improvement.

Culture is understood as by us as a cumulative method and product of human activity, implemented in the processes of defining and distribution, and brings these items that are binding, and the visual arts as a special type of development of the world by the world, a figurative model of the universe and self-consciousness of culture.

The study of art in the context of culture is carried out by us from the standpoint of the influence of the type of culture on the overall development of art. The general theoretical concept of the typological development of culture in relation to Kuban culture and art makes it possible to allocate the characteristic predominance of canonical culture at the end of the XVIII century of the XIX century, and the dynamic in the second half of the XIX early XX century. Hence, in each of these periods, a certain type of artistic activity dominated: at the beginning of folk art, and then professional.

XIX - early XX century

The traditional folk culture of Kuban was distinguished by a variety and wealth of the second half of the XIX - early XX century. Its originality was manifested in the device of settlements and housing, family and public houses, songs and legends, calendar holidays and rites and in many ways.

Spiritual heritage of the Kuban Cossacks
it was original and original. It combined the South Russian and Ukrainian traditions. Characterizing the Kuban Cossacks, the pre-revolutionary sources reported: "differ in hard work, honesty, sociable, but the best feature of them - they are pleased with the adoption of strange"; "The character is predominantly quiet and kind, prone more than courage in hostilities and Djigitovka."

All notable events of the spiritual life of the Kuban Cossacks were somehow connected with the Orthodox faith. Byproof prayer Kubans were confined to service and thank — met. Returning from service, the Cossacks were and necessarily bought a gift for the church. Ekaterinodar temples were full of such gifts. Orthodoxy shared calendar time for labor and festive-ritual, thus determining the rhythm of life. "They know [Cossacks] on the origin of religion from Jesus Christ, said in one of the old documents. - Some know about the universal cathedrals. Many understand and know the meaning of evening, morning and liturgies. Perfectly and with attention read prayers not only elderly, but also youngsters, like, for example: the king of Heavenly, our father, believed and merry, God, and others. "

The keepers of customs performed old men. Without official posts, they always played a huge role in the formation of public opinion. Even Ataman was not satisfied without the permission of the old people, with them the Cossacks of the crashed ages were standing at the Rack of "Smirno", uniform ages and without a form -What caps. Almost "On You" applied to the elders. Thanks to the oral tradition of the transfer of information from his grandfather to his father, from the father to the son of Kubans retained their culture. The Cossacks also did when they wanted to keep the memory of some significant event of their history. The military festivals, gatherings and other important events held in Ekaterinodar, certainly invited smart boys from all the Cossack settlements of the region, two to three people from everyone so that these events would be captured in their children's consciousness. Over time, these boys became fathers and passed everything seen by their children. They subsequently toned heard to their children. So this live chain of Cossack history and culture was caught.

Veliko was the meaning and amateur dramatic theaters. In February 1876, the Kuban Regional Vedomosti reported on performances that have passed in the location of the Ekaterinodar regiment headquarters in Art. Hadyzhenskaya: "Instead of the" tactics "of the Levitsky and" military game "of SCROrorevsky, still focused on their attention and the interest of the society of the regiment officers, there was no less interesting game, but only no longer on tactical plans, but on stage - GG. Kotlyarov, Lagunova, Ms. Cophale and other lovers; In short, we had amateur performances ... Malorosiyskiy performances were especially successful. The lower china-Chernomorets, of which the regiment mainly consists, these plays, as more understandable, delivered great pleasure. "Outcays our brother VSI hinks inflate ..." - Survived from the rear rows during the presentation ... Further, they say, the performances will benefit Bosnikov and Herzegovintsev; Fortunately, for which it is impossible not to express their appreciation to persons who participated in our performances. "

From 1894 in Ekaterinodar, Eisk, Armavir opens "synatographers".

The musical culture of Kuban was a holistic artistic phenomenon. In the second half of the XIX - early XX century. There was a process of reducing the role and importance of folk music in the life of Kubans (especially urban residents) and expanding the influence of professional music. But in the press, articles that have encouraging the Songs embodying the People's Spirit, originality and historical memory of the Cossacks appeared in print. In the 1870s, L.I. was engaged in collecting folk songs. Karmalina, spouse chief of the Kuban region, famous chamber singer, student M.I. Glinka and A.S. Dargomyzhsky. In December 1873, she at the request of M.P. Mussorgsky sent a few songs recorded from Cossacks from the Cossacks from Ekaterinodar. The publication of folk songs was implemented by Akim Dmitrievich Bigdai, the world judge and a musician amateur. The work for which Bigdai took up, was published for a purely cultural framework and acquired social importance: in the conditions of a rapid increase in the number of non-resident population in the Kuban region, an acute desire for the Cossacks was shown to protect and maintain their self-consciousness, including with the help of a distinctive song culture. Fourteen issues of "songs of Kuban Cossacks" A.D. Bigday caused the live response of the public and the press.

For more than a century, the distribution center of church singing art was a military singing choir. The greatest contribution to the development of the choir introduced Reget M.I. Lebedev, F.M. Dunin, M.S. Gorodetsky, G.M. Kontesech, Ya.M. Tara Nenko. In terms of number, composition, exemplary organization, a rare selection of votes and a highly developed technique of singing the choir was considered the first in the Caucasus, neither the bishop choir, nor urban singing associations could be competed. For the first time, hitting the military cathedral in 1860 by a decade boy, F.A. Scherbina later described his impressions from heard: "Three songs were greatly struck me - the Kheruvim Triple" Lord, Pommühi "and the concert ... When the choir Slunno and smoothly felt" Izh Kheruvima "and the transitions and alternations of votes began, when the Clean Votes of the Motkers and Votes were alternately heard Alto ... rushing the voices of tenors or suddenly the powerful singing of the bass of "Yako before the king we will do it". I unconsciously smiled, as smiling sometimes from unexpected, but pleasant impressions ... Chords of sounds for at least half an hour filled, it seemed, the whole cathedral, then rod and spill, like a thunder, then falling the soul of the shower. " Singers in the military choir were Cossacks from different villages of the Kuban region. Knowledge and experience gained over the years of service in the choir gave them the opportunity to make money on the work of the rest of the local church or the teacher of singing at school.

At the turn of the XIX - XX centuries. "Spiritual concerts" are popular from the works of modern Russian composers on church texts. Military Choir introduced Kubans with the writings of P.I. Tchaikovsky, A.D. Castal, A.A. Arkhangelsky, A.T. Grechaninov and other authors. Such concerts were formed in the audience interest in the new style of Russian spiritual music, inspired to create choirs in the villages and cities of the region. Cathedral choir satisfied the aesthetic needs of the population, contributed to the understanding of the music, and was also a music and educational center that prepared hundreds of regents and singing teachers.

After education in 1860, the Kuban Cossack troops in Ekaterinodar from Stavropol was translated by the "Musician Cavalry Choir" - the former orchestra of the Caucasus linear Cossack troops. It consisted exclusively from performers on copper brass instruments and served as a purely military orchestra with a corresponding repertoire. The military musician choir of the former Black Sea troops turned into almost the ballroom orchestra who fulfilled the secular music of Russian and western composers. The presence of two orchestrals has significantly expanded the forms of their participation in the musical and in general cultural life of the villages and cities. In 1888, following the example of other Cossack troops, one orchestra remained in Kuban - a musician choir of 36 musicians and 18 students. By this time, the military and brass bands began to be created in the shelves and battalions of the Kuban Cossack troops, so the military musician choir maintained a concert-ball character. By the end of the XIX century. With an increase in the string group of the orchestra, it was transformed into a symphony.

In the second half of the XIX century, the foundations of musical professionalism in the Kuban were laid by domestic private lessons, music in educational institutions and musical circles. At this time, loves and professionalism existed in relationships, and the differences between them were often conditional. From November 1, 1906, classes began in the music classes of the Ekaterinodar branch of the Imperial Russian Music Society, where graduates of the St. Petersburg and Moscow Conservatory were taught. Three years later, the music classes were transformed into a school.

The Masters of Fine Art made an important contribution to the development of the artistic culture of Kuban. The original realist artist was Peter Sysoevich Kosolap (1834 - 1910). He graduated from the Pavlovsky Cadet Corps, during the Crimean War commanded Plastuna, and in 1861 he entered the Imperial Academy of Arts, in the class of gypsum figures. In 1863, an academic exhibition was exhibited by the picture of the closer "Madness", which was awarded with a small silver medal. An image of a poor crazy musician playing the imaginary attic at the body of the old woman, among the horrors of poverty and deprivation, literally shocked the audience. Next year PS Kosolap put the picture "Return from the reference". Only in twenty years, this topic was brilliantly developed by I.E. Repin in the picture "did not expect". For the unfinished cloth "The last minutes of Shamil in Guniba" at the academic exhibition of 1867, the jury awards P.S. Cosolapa gold medal. The successes of the Kuban artist gave him the right to participate in the competition for a large gold medal, but Kosolap "Behind the cessation of scholarships from the troops" was forced to leave in Ekaterinodar, where he continued military service and creative activities.

Regularly visited the Black Sea coast of the Caucasus, the painter-landscape of the realistic direction and active worker of the partnership of mobile art exhibitions A.A. Kiselev. Several of his canvases - "Mountain Road" (1909), "Quiet Water" (1900), "Night at the Sea" (1909), "Kadosh Rocks" (1902) - Curriculated Tuapse.

Centers of fine art in the Kuban region at the beginning of the XX century. Steel drawing school E.I. Compolatory and Ekaterinodar art gallery. The Pizapolitak School was the first private educational institution in Kuban, where they studied not only drawing, but also craft. Moreover, part of the pupils trained at the expense of the founder of the school. The basis of the Yekaterinodar art gallery was a collection of a local fan of Painting Fyodor Akimovich Kovalenko (1866 - 1919). He was called "Kuban Tretyakov", he was a famous person in Russia, consisted of correspondence with L.N. Tolstoy, I.E. Repino, N.I. Roerich.

In 1889, the main department of Cossack troops reported to the famous sculptor Mikhail Osipovich Mikishin "The cherished heart desire of all Kubans see the Monument to Empress Catherine II in his hometown of Ekaterinodar, who is the name of its August founder." Stressful work on the monument continued until the death of Mikeshin, and only in 1907 a colossal statue of the empress was established (together with the statues of a smaller size: General Field Marshal G.A. Potemkin-Tavrichesky, Kosheyanov Si-Dora White, Zechariah Cheping, Anton Hearted, as well as a cobbar with a render). Mikeshin's masterpiece stood until 1920 and was dismantled due to the approaching anniversary of the October Revolution.

The architectural appearance of the Kuban cities has changed in the pore-formed period. If in 1870 - 1890, eclecticism was the main stylist direction, then by the beginning of the 20th century he lost to the modern one. A notable contribution to the architecture of Ekaterinodravnes Ivan Klementevich Malgerb. As an urban architect, he led the construction of the buildings of the male gymnasium (now the regional center for aesthetic education and humanitarian education), the diocesan female school (medical academy), the commercial school (the Academy of Physical Culture). The holy Catherine Cathedral and the Holy Trinity Cathedral and the project of the Holy Trinity Church were invaluable creations.

An outstanding Kuban architect was Alexander Petrovich Kosyakin (1875 - 1919). The son of Assistant Ataman Kuban Cossack troops, he neglected a brilliant military career, which opened in front of him, and entered the St. Petersburg Institute of Civil Engineers. After graduating from him and returned to Kuban, Kosyakin was soon appointed to the responsible position of the military architect. One of its first significant works was the project of the three-story building of the Kuban Mariinsky Institute. It is still decorating the city to this day (now the Krasnodar Military Institute). In September 1906, the Church of Introduction to the Temple of the Most Holy Virgin was laid in the village of Pashkovskaya for his project. In their openwork, elegant architecture, this God's temple did not have equal in Kuban. According to projects A.P. Kosyakina was erected by churches in the villages of Kazan and Slavic. The wonderful work of the architect was the building of the post office. Creation A.P. Kosyakina created the urban "stone landscape" and were not lost among other buildings of Ekaterinodar.

The powerful spiritual potential accumulated on the Kuban, not always, unfortunately, was implemented due to the remoteness of the region, the underdevelopment of the educational sphere, sussuing the restriction of provincial life.

Ekaterinodar was the cultural center of Kuban, but do not forget that more than half of its population were immigrants from rural areas and retained traces of traditional peasant mentality. The mass consciousness and spiritual culture of the population of the Kuban capital was the inseparable integer.

There were several theaters in the city, one of the olders was the Summer Theater, which was located in the city garden. In his walls, he took many metropolitan celebrities. The troupe of the Small Theater showed on his stage the play "Hamlet" V. Shakespeare, "Thunderstorm", "Mad Money", "Last Sacrificment" by A. Ostrovsky and others. In 1905, a famous drama artist Mammont Dalsky (with a tragedy Schiller "Don Carlos"). Five years later, the famous bass F. Shalyapin sang on the stage of the theater. The name of the native of Kuban V. Damaeva was known not only in Russia, but also abroad. "For such a tenor in our best-nestime, you need to grasp by both hands, - responded about Damaev F. Shalyapin. - This is a real dramatic tenor with excellent diction and undoubted giving. "

In 1913, the Ballerina of Imperial Theaters E. Gelzer was performed in the summer theater.

At the scenery of the summer theater, it was quite often possible to see the military music symphony orchestra, as well as the choir under the control of E.D. Esposito. The works of P. Tchaikovsky, D. Verdi, M. Glinka, who were performed by them, collected numerous listeners. But visiting performances was available mainly to the wealthy public.

In 1909, two new theater appeared in Ekaterinodar. The first theater season was opened in the Winter Theater: Ms. Schörling's opera troupe put Opera D. Verdi "Aida". Then followed the production of the operas "Faust", "Peak Lady", "Dubrovsky", "Life for the king" IDR. In 1912 Concerts of the famous tenor L. Sobinov, a famous violinist B. Guberman, and others, the Northern Theater was opened after the winter theater, the Northern Theater was opened after the Winter Theater, C. Dumchev, Tragik M. Dalsky, Malorosi Trupper S. Glasenenko, were opened on his scene .

Quite often, the famous guests were played in the walls of the second community assembly: the pop singers A. Vyaltseva, N. Plevitskaya, composers-pianists A. Skryabin, S. Rakhmaninov, etc.

In Ekaterinodar, there were no professional theatrical troupe, therefore amateur associations that arose with charitable societies and educational institutions of the city were greatly developed. Presentations most often timed to some holiday or an important event. If the performances did not wear a charity, then watching them for everyone was free. In the repertoire of amateur circles there were such works as "inexpensive" D. Fonvizin, "marriage" and "Auditor" N. Gogol, "Poverty is not a vice" and "revenge place" A. Ostrovsky. Sometimes amateur actors put the lungs, having dreamed water.

Summing up, it can be stated that the development of Kuban culture at the end of the XIX - early XX century. It took place in specific conditions characteristic of the multinational "young" outskirts of the Russian Empire. The rich traditional culture of the peoples of Kuban is gaining development in gaining vocational culture, the works of Kuban artists, writers, musicians replenish the fund of domestic culture.

2. Cuban's second half of the twentieth century

Significant positive shifts occurred in the 1970s in the cultural life of the region. During these years, 5 theaters, 3 philharmonic systems, 180 musical and art schools, 6 secondary special educational institutions of culture, 1745 mass libraries, 1879 club facilities were worked in Kuban. Economy and enterprises at the expense of budgetary funds and their own profits were built in these years 177 cultural institutions, including clubs and houses of culture, cinemas, libraries. In enterprises, in farms, institutions and organizations, dozens of music schools, amateur teams, circus studios, ensembles, choirs have been created.

The musical culture of Kuban was actively developed. Composers compositions, especially G. Ponomarenko, N. Cherkova, Cherdnichenko, were widely known and outside our region. An invaluable contribution to the development of musical culture and the study of folk creativity was made by the Kuban Cossack choir under the leadership of V.G. Zakharchenko, who were collected and processed thousands of folk songs, published unique musical literature, created talented original works.

The seventies became the time of creative take-off of a number of theatrical teams of Kuban.

Krasnodar Dramatic Theater. M. Gorky put the domestic and foreign classics, without leaving the work of modern playwrights. Inordinate stage decisions, the original interpretation of the plays created the Krasnodar "Drama" reputation of the innovative theater. For the formulation of the performances "Faust", "Kochubey" and "Old Man", the main director of the theater M. Kulikovsky was awarded the state award. Stanislavsky, and later the title of People's Artist of the USSR.

The artistic director of the Krasnodar Theater Operetta Y. Khmelnitsky significantly updated the repertoire. An indicator of the success of creative teams of theaters of drama and operetta became the increased popularity of their performances and the metropolitan tour, which caused the interested response in the theater press.

Fame during these years, the Krasnodar People's Theater of the Young Spectator, headed by S. Troysky, and the Krasnodar Puppet Theater under the leadership of A. Tuchkov.

They sought fruitful work and creative unions. The works of writers of Kuban and Adygea received wide fame and high assessment. The State Prize of Russia V. Likhonosov was awarded (for the novel "Unpassed memories"), A. Znamensky (for the Roman-Chronicle "Red Days"). I. Masha-Basha (for the novel "Raskat Far Thunder") was awarded the USSR State Prize.

The Krasnodar Writer Organization united about thirty members of the Union of Writers of the USSR. Among them are talented poets V. Bakaldin, I. Varav-VA, Yu. Grechko, V. Lotting, S. Khokhlov, famous Proseiki I. Boyko, I. Zubenko, V. L. L. Pastenyuk and others.

The regional organization of the Union of Artists included more than one hundred and twenty people. V. Mordovin, Bulgakov, A. Kalugina, I. Konovalova, V. Maschen and others were demonstrated on the zonal and all-union artistic exhibitions with special success.

However, the development of art, as well as the entire sociocultural sphere, was restrained by the tough pressing of party-state control, ideological bias from the relevant territories of the region and the country as a whole.

3. Island of modern Kuban

Since 1992 (February - March) in the Cuban on the initiative of the Song of the city of Russia established in December 1991, the Festival "Stars of Russia" began to be held. In Armavir, from December 1992, the International Festival "Culture Rates Peoples" began his way. Since June 1993, the festival of symphonic and chamber music "Eolia Strings" is held in Kuban, in which leading teams of the country take part.

In September 1991, in the Krasnodar theater, the Operetta took place the eighth All-Russian pop song contest. In November 1992, another contest was held here. Later, the theater of the operetta was repeatedly a venue for the All-Russian Operetta Artists Competition, many of whose laureates were joined in the theater's troupe.

October 1993 was the birth time of the rock festival "Southern Wave", in which, in addition to local groups, performers and teams that are used by love and respect in Russia took part. Since 1993 (September - October), the International Festival of Organ Music has been held in the Municipal Concert Hall of Chamber and Organ Music with the participation of artists from Russia, Moldova, Latvia, Germany. In October 1996, the first Kuban ballet festival took place.

Kuban performers and teams participated in many competitions and festivals in Russia and abroad were marked by various prizes. So, the Kuban Cossack Choir received the State Prize of Ukraine named after T. Shevchenko. In February 1993, the days of Kuban were held in the Moscow "Council". In 1994, the Krasnodar Puppet Theater (artistic director A. Tuchkov) ranked first at the Kazan Theater Festival. Actresses of the Krasnodar Dramatic Theater I. Makarevich and A. Kuznetsova became laureates of the Festival "Acting Stars of Russia" in Belgorod. Gelendzhik Theater Tor-Ricos received a premium in Spain for the performance of Done Perlemplin's performance. The native of Kuban S. Generic was noted by the theater award "Golden Mask" for the director.

A lot for the popularization of theatrical art was made by the organizers of the theater festival, which took place in Krasnodar. Sometimes not only Kuban theaters (Drama Theater, theater Operetta, Torrikos, theaters of Armavir and Maykop, etc.), but also theatrical teams from Moscow and St. Petersburg.

Since 1991, the Film Festival "Kinotavr" began in Sochi. At first he had the status of Russian open. Since 1994, Kinotavr has become an international festival. Here the premieres of many paintings took place, subsequently received numerous international awards.

In September 1992, the Russian Film Festival "Ki-Noshok" was held in Anapa. Since 1994, he became the festival of the CIS and Baltic countries. All former republics of the USSR were able not only to demonstrate their achievements, but also to conduct seminars in the festival and scientific and practical meetings on cinema and film rolling. If you first attended the films, "shocking" public and specialists, then with the time of Anapa, became the place of genuine works of cinema of the countries of the former USSR. The film festival has opened the possibility of exchanging the experience of survival in the commercialization of cinema and finding ways to the viewer in the situation of a deep crisis of film distribution.

From one and a half dozen festivals, regularly conducted in the CIS and Baltic States, only the "Kinotavr" and "Film Schools" managed to maintain a high level of selection of filmmaking and organizing work with cinematographic publicity and movie lovers. This is also connected with the fact that both festivals use noticeable support for the administration of the Krasnodar Territory.

In addition, festivals were held in Adler (entertainment cinema) and in Gelendzhik (detective film). The regional center also did not stay away from the festival cinematic life. In October 1993, the first Krasnodar International Film Festival-filmonok of comedy and musical genres films was held. The second festival was held in 1996.

Film festivals were not limited to competitive and non-competitive programs. Participants in festivals, among whom were well-known actors, including Kubans in origin (N. Mordyukova, L. Malevanna), young "stars" met with the audience, acquainted them with novelties of the national cinema. Thus, domestic cinema supported communication with the public in a crisis.

In the 1990s, the folklore festival of the Folklore Kuban "Golden Apple" was acquired. From February 1993 in the hall of the Krasnodar Higher Music College Music. ON THE. Roman Corsakov began to be held the festival "Ekaterinodar Music Meetings", and from May of the same year - "Kuban Music Spring". In May 1994, the Municipal Concert Hall of Krasnodar entered the Association of the Best Concert Conditions of Russia.

All this contributed to the growth of Kuban's interest in art, increased the number of visitors to concert and theatrical halls.

In the 90s, the writers of V. Likhonosov and A. Znamensky known outside Kuban for works written during this period were noted by the literary premium. M. Sholokhova.

In 1993, the Veskuban Cossack Army was established by the Award named after the Ya. Kukhaenko in the field of literature and art.

In the late 1980s, the Kubani Literary Museum was solemnly opened in Krasnodar (in the house of Ya Kuishchenko, the famous public figure of the XIX century). Museum workers have become not only the keepers of the traditions of the past, but also popularizers of the modern literary potential of Kuban. Meetings occur here, during which creative plans and new works are discussed.

Kuban theaters worked hard. All this time in Gelendzhik, the Torrikos Theater, demonstrating its performances at various festivals in the country and abroad, where his performances accompanied unchangeable success. The main dramatic theater of Kuban in 1996 received the title of academic. His team built his repertoire on the basis of works by N. Gogol, F. Dostoevsky, A. Chekhov, M. Gorky, M. Bulgakov, L. Leonova, Kuban Poet I. Varavva. The Music Theater put the incendiary operetta F. Lehar, I. Salman, I. Strauss, as well as operas. Specially for Kuban theaters were created by plays, the leading director of the country came here.

Already in the late 1980s, a chamber choir under the leadership of V. Yakovlev was organized at the end of the 1980s at the Krasnodar region. The choir, the basis of the repertoire of which was Russian classical and spiritual music, the compositions of modern composers and processing folk songs, quickly achieved a high professional level and became a philharmonic team. Since 1992, this is the Krasnodar State Chamber Choir.

Acquired wide fame in the country and abroad State Kuban Cossack Choir under the leadership of the People's Artist of Russia and Ukraine V. Zakharchenko. At its base, the Center for People's Culture of Kuban was created, in which the children's experimental school of folk art was organized.

In the 1990s, the titles "Honored Artist of the Arts of the Kuban", "Honored Worker of Culture of the Kuban", "Honored Artist Kuban", "Honored Movie Cuban Worker" were introduced.

From June 1992, the Krasnodar Center for National Cultures was actively worked. He was designed to "promote the formation of national self-consciousness, more complete and deep development and mutual enrichment of traditional cultures of different peoples, combining their efforts to protect universal values, solving humanitarian and cultural problems."

In the early 1990s, new television companies began to appear. Along with GTRK "Kuban", "Pioneer", "Photon", "ABC", "Contact" and others were published on the air. They created original programs dedicated to the cultural life of the region. Since 1996, the festival of television programs of the South of Russia is held. In 1997, the festival of advertising South of Russia was held in Krasnodar.

In 1990, the Krasnodar creative association "Premier" was created, initially existed as a tour of the musical theater. Gradually, the composition of the association, whose head of People's Artist of Russia L. Gutov was significantly expanded. It includes the Kuban Symphony Orchestra, organ hall, youth theater, a new dolls and other teams.

Since the early 1990s, the flourishing art is observed. The predominance of color above the shape, bright decorativeness and monumentality, poetry and festibility are those features that distinguish the works of Kuban painters. The community of the territory replete with sunlight, the presence in the Krasnodar of the Art School and the Art-Graphic Faculty of Kuban State University (most of the Kuban painters and graphs - their graduates) identified the proximity of the aesthetic principles that are the basis of the original Kuban school of visual art.

Art Museum, Exhibition Hall, Commercial Galleries allowed Kuban artists to introduce their creativity of countrymen and guests of Kuban. Almost all the masters participated in the exhibitions of the local branch of the Union of Artists of Russia. Of great interest among specialists and the public caused the works of artists: O. and L. Blokhina, A. Parshova, E. Kazitsyn, works of sculptors A. Apolloov, A. Karnayev, etc.

Turnstanding moments of history are often regarded as not the best time for the development of culture. But this is the case if the "development" is understood as the ascent of the stages of progress. However, in art historian studies a different understanding of the term "development", returning to the original meaning of the word: development as a change. With this approach, any turning point can be considered as a period of a burst of interest in culture in all its manifestations. On the one hand, the lack of large material means capable of supporting, as a rule, always unprofitable cultural space, with the other-present desire to create and create nonentive values \u200b\u200bfor people who do not deny the past, but complementing it.

In the early 1990s, the orientation was gradually focused on a single ideological substantiation of cultural processes. However, the lack of common ideological gaps caused a confusion at first among the subjects of the cultural space itself, and then those who form cultural policies. This was expressed in search of new basic self-identification basics. Their support was the return to the traditions associated with patriotism, love for homeland, with historical values.

Pluralism in the approaches to cultural development was reflected in the diversity of forms of cultural life associated with national, confessional, demographic and generally with sociocultural originality of the region. All this caused sharp discussions about the fate of culture. Networks on the deep spiritual crisis are opposed to optimism associated with the emergence of new opportunities for the attachment of people to cultural values. It is not always an adequate reaction that causes both official circles and among representatives of other groups of the population the phenomenon of the mass culture, the problem of protecting and preserving the cultural heritage of the past remains very acute.

However, in general, it can be noted that, thanks to the change, the cultural life of Kuban became richer and more diverse.

Conclusion

The Krasnodar region stands out by a special Cossack culture, in Krasnodar there are a state Cossack choir (by the way, known worldwide) and the center of People's Culture of Kuban. Drama theaters work, operetta, dolls, philharmonic, circus, museums, university. In Novorossiysk there is a planetarium. Possessing a rich history and beautiful nature, the region has a huge number of a wide variety of historical and cultural, archaeological and natural attractions, especially in the Black Sea coast.

BIBLIOGRAPHY

Branch. Art and philosophy. Kaliningrad, 1999.


1. Gorlova I.I. Cultural policy in modern Russia: a regional aspect. Krasnodar, 1998.
   System of institutions of socio-cultural sphere The phenomenon of artistic culture and factors affecting its development

   2014-12-06

A. A. Apollonov Honored Artist R. F. Born in 1947. In the capital of Kyrgyzstan, the city of Frunze in 1974 - the Moscow State Art Institute of Surikov's Moscow State Institute in the interior of the Krasnodar House of the book was recognized as the best work in Russia in the artistic foundation.

M.V.Arhangelsky was born in Krasnodar in 1937. He graduated from the Krasnodar Art School in 1963. Participated in many zonal exhibitions "Soviet South" in 1969, 1974, 1990 and 1998, 1982. It opens its first personal exhibition.

S.V. Dudko was born on August 12, 1948. In the city of Krasnoyarsk in an officer family. The main theme of creativity is a romantic landscape of highlands, full-length portraits of the highest peaks. For more than 20 years, it works as part of the rule of the regional organization of the Union of Artists of Russia, in the Exhibition Committee and the Exposition Commission.

Merit S.V. Dudko Master of Sports of the USSR Honorary Alpanist Kabardino-Balkaria. Honored Traveler of Russia Actual member of the Russian Geographical Society and a Permanent Member of Mountaineering Expeditions in the Caucasus, Altai, Tien Shan, Pamir, Alps, Tibet, Himalayas.

If you express the path in numbers passed by Viktor Ivanovich, then there will be a solid "mathematics". Some results of his work have long been measured by three-digit numbers. This applies to the number of student and scientific publications created by him, issued by students and prepared scientific publications.

Since the late 60s of the last century, the artist's life is inextricably linked with the Kuban State University, where he is now working as a professor at the department of painting of the artistic graphic faculty. He also held many dozens of exhibitions, master classes and creative meetings. Knowing this, it is difficult to even imagine that his life could be completely different.

Could become an architect

Victor Denisenko was born in Stavropol, in a small bitter, whose spin, who is not even on the map of Russia. The family was big - six boys and one girl, but by virtue of the circumstances once they all gave them to orphanages. While studying at school, the future artist made friends with one of the teachers who attracted him the love of drawing. Although thinking about this hobby as a profession, Viktor Ivanovich was not going.

The partnership of mobile art exhibitions was formed in 1870 in St. Petersburg on the initiative of Kramsky's artists, Perov, Ga and Myasoedov. The leading genre and the portrait of the movement in the art of the movement, which allowed the most fully to show the life of the people. For half a century of its existence, the partnership held 47 mobile exhibitions. In addition to annual, parallel exhibitions for cities were arranged, where the main expositions did not reach.

"I really wanted to be an architect and decided to go to learn from the Rostov Engineering and Construction Institute," says Viktor Denisenko. - It seemed to me that it was enough to draw enough for this, and the rest would apply. But it turned out that I still need to know the mathematics well. I had problems with her, and therefore I did not do. And then my teacher, Valentin Vasilyevich Parshutin said: "Go to Krasnodar, it seems to me that you will work out there." He himself studied here - already in a mature age, he entered the correspondence department of the art and graphic faculty of our university. I followed him to the Council and in 1967 I also became a student of Khiggraf. "

In the third year, he was elected chairman of the University Student Union Committee, he worked for ten years. In 1980, Viktor Denisenko entered the graduate school, and at its end he himself began to learn students. Then she successfully defended his thesis, he prepared six graduate students for protection, wrote about a hundred articles and twenty tutorials. And in parallel with study and work at the University, Viktor Ivanovich in practice is engaged in landscape painting.

Master of Russian realism

We talked with Viktor Denisenko in his University Cabinet. On the walls - some of his new works, all - landscapes.

The entire office of the artist was forced by his works, most of which he created this year. Photo: AIF / Alexander Vlasenko

"I love to write landscapes very much, because this work makes it possible to communicate with nature, feel communication with her," the artist explains. - In his free time, I definitely try to leave somewhere. Basically, of course, it happens on vacation and during the holidays. I am a categorical opponent of painting with photos. Nature needs to see with their own eyes, feel. When you stand at the canvas, and in front of you, for example, the turbulent tube is, it is very encouraging. "

Most of his landscapes are written from nature to the Kuban and in the neighboring regions of the North Caucasus. The names of the paintings speak for themselves: "Adler. Peak season "," Evening beach. The archup "," in the Gum's Gorge "," in the village of Mirny "," the great silk path was held here, "" Elbrusie. Autumn, "White Clay", "November in the hot key", "winter in a secret border". Less often he writes portraits and still lifes.

Victor Denisenko - an opponent of painting by photographs: the artist must write from nature. Photo: AIF / Alexander Vlasenko

"His painting continues the deep traditions of domestic realistic art. It can be attributed to artists who are customary to call "traditional" implying the proximity of the works to Russian, and behind it and the Soviet school of painting, "art historians review the masters.

The outgoing year became for the artist one of the most efficient creativity. During the summer, he wrote a lot of work, each of which can be told for a very long time. Viktor Denisenko himself makes it difficult to allocate some of his paintings. He says that they are all like children and every person in their own way and is valuable. But if we take into account the geography of his work, it is impossible not to note the Crimean landscapes, fulfilled by a special meaning of at least the events of recent years. By the way, on one of these paintings, the artist captured the construction of the bridge, which connects the peninsula with mainland Russia.

In this picture, written by last summer, the artist showed the course of construction of a bridge in Crimea. Photo: AIF / Alexander Vlasenko

"We went to the Crimea with the wife of Tatiana," says Viktor Denisenko. - She was there and a guide, and the driver, and the organizer, and I only wrote and rejoiced my life. The spouse is my chief assistant, and I owe it to many. "

Russia is my homeland ...

Over the past four years, Viktor Denisenko gives a lot of strength to the project "Russia - My Homeland ...", which unites his creative and pedagogical work. This idea was born quite by chance. It all started with the exhibition of paintings by the artist in the walls of the Legislative Assembly of the Krasnodar Territory, which had a great success. Deputy and Comrade Viktor Denisenko in university work Vladimir Gromov advised him to show his creations to all residents of Kuban. So there was an idea of \u200b\u200bholding mobile exhibitions in cities and regions of the region.

The first one of them was held in the fall of 2012 in Krymsk. The choice of this city was unuschaued. Those in the summer there was a terrible flood, and the artist wanted to help the locals to survive this tragedy somehow to help the local residents. Novorossiysk, Tuapse, Novomikhaylovka and many other settlements of Kuban followed the Crimean. And after some time, Viktor Denisenko began to carry his paintings in neighboring regions. They were seen in the Crimea, shortly after the reunification of the peninsula with Russia, in Adygea, in Karachay-Circassia.

According to art historians, Painting Viktor Denisenko continues the deep traditions of domestic realistic art. Photo: AIF / Alexander Vlasenko

In parallel with the exhibitions within the framework of the same project, Viktor Denisenko began to give master classes for teachers artists, students of children's art schools, art schools, teachers of secondary schools, and everyone who is interesting.

"Unfortunately, there are little knowledge in art schools in art schools, so training it has become the main theme of my master classes," says Viktor Denisenko. - Also I convey to educational institutions your books written in collaboration with talented students, visual benefits on theory and methods of learning painting and flowers. I especially want to note that the project "Russia - My Motherland ..." would be impossible without support from the leadership of our University and the Ministry of Culture of the Region. "

Viktor Denisenko is not limited to seminars for students, but also as part of a charity event gives master classes around the edge. Photo: AIF / Alexander Vlasenko

In the new year, its mobile exhibitions and master classes will continue. Viktor Ivanovich says that will be engaged in this work as long as has such an opportunity. Moreover, according to his recognition, the artist himself will benefit from communicating with people who are not indifferent to painting, and considers this charitable activity with its humble contribution to the improvement of art education and the spiritual development of young people of our region.