municipal budget institution

additional education

"Children's Art School No. 9"

city ​​district of Samara

Abstract on the topic:

« Characteristics of the processes of influence and mutual influence in the field of folk choreography»

Compiled by: Nesterova Marina Aleksandrovna

additional education teacher

Samara 2017

Folk choreography is constantly under the influence of various factors, due to which it changes and transforms. Changes are caused by external and internal factors. External areconditions that arise independently of something and have a significant impact on folk choreography. The impact exerted on any object and leading to a change in its properties, position - this is the influence. And mutual influence is characterized by the impact on each other of persons, phenomena, and objects causing any mutual changes.There are several processes of influence on folk choreography: the influence of geographical location and climate

The influence of religious and socio - cultural factors (religion, craft and labor process, wars)- influence of national music- influence of the national costume Climate influence Geographical location, natural resources, climate, landscape, human settlement in habitats are factors that affect people's livelihoods, especially their way of life, character and culture. The geographic environment includes the following:1. Territory - the space where a certain community lives. The concept of territory includes the following components:- geographical location - remoteness of the area from the poles and the equator, being on an island or mainland, etc.;- organization of the surface, its relief - the presence of ridges, mountain heights, their height, lowlands, the presence of plains, the type and nature of the coastline;

The nature of the soil - swampy, podzolic, black earth, sands, etc.; - bowels of the earth - features of its geological structure, minerals. 2. Climatic conditions: - air temperature, - air humidity, amount and type of precipitation, - solar energy, - snow line and its height, - presence of permafrost in the soil, - degree of cloudiness, - direction, wind, - cyclical and repeatability of weather etc.

3. Water resources - seas, lakes, rivers, swamps, groundwater. The hydrographic regime of seas, rivers, lakes has a great influence on many aspects of human life: temperature, salinity, current, depth, freezing, direction and speed of river flow, the amount of water in them, the presence of waterfalls, the quantity and quality of mineral springs, the type of swamps, etc. .

4. Animal and plant world:

Microorganisms, - plants, - birds, - animals

Therefore, the geographic environment means the totality of the geographical location, the structure of the soil cover and surface, fossil resources, climate, water resources, flora and fauna in a certain area where a person lives. Geographic features reflect the uniqueness of each habitat, differences from other areas, explain the reasons for its favorable or difficult development. The natural environment affects not only the material, but also the spiritual spheres of culture and life. For example, the characteristics of clothing and housing, cultivated crops, and means of transport depend on the climate. The flora of the area affects the selection of materials for housing, clothing and footwear. Features of flora and fauna are reflected in the specifics Everyday life and cultural and economic development of peoples. Modern studies of the animal world reveal that the origins of dancing are partly manifested in the life of birds and animals. The movements that individuals perform in rivalry resemble a dance. Signs of the geographical environment (climate, soil, relief, flora, fauna, etc.) influence the formation of the spiritual culture of the ethnic group, its character, which is expressed in habits, rituals, customs, and holidays. So, for many nations, holidays, festivities and games were made in nature. Fascinated by the beauty of landscapes, the people conveyed images of picturesque nature through choreography. Dances were performed in wide spaces, which influenced the variety of movements and mobility of the dance. The influence of the geographical environment is manifested at all stages of human history and affects the entire versatility of life. It also affects the temperament, mentality and character of the people. The geographical environment can not only unite, but also divide peoples. Due to geographical factors, the emergence of a dialect can be observed, despite the close location of the place of residence. A large number of Russian historians, political scientists and sociologists argue that the natural environment significantly affects peoples. Russian historian I.A. Ilyin believes that the nature of Russia had a huge impact on the character, temperament, patience and stamina of the Russian people, that it tempered it and strengthened its spirit. Wide spaces, cold winters and hot dry summers, unpredictable spring and cloudy autumn brought a unique shade to the Russian national character - the immensity of the soul. A sharp change in the rhythms of nature, intense changes affect the soul of the people, which, according to Ilyin, becomes deep and windbreak, overflowing and bottomless. Thus, geographical features have a natural influence on the formation of the culture and character of the people, on their views and on their perception of the world. Each geographical feature makes its mark on the characteristics of the people living in a certain territory, and its activities, economic, political and cultural. Russian philosopher and publicist Chaadaev P.Ya. was the first to admit the idea that natural and geographical conditions and features influence the life and fate of a people: “Every nation carries in itself that special beginning that leaves its mark on its social life, which directs its path over the centuries and determines it. a place among mankind, this formative principle with us - a geographical element, that's what they don't want to understand; our whole history is a product of the nature of that vast land that we have inherited.

During the development of mankind, geographical factors had a significant impact on everyday life, work and life, since it is on their basis that folk customs and traditions, culture and mentality of peoples appear and are created. Despite the fact that different peoples were forced to move or change voluntarily the territory of residence, the influence of natural factors still remained significant. Some features and characteristics remained unchanged, some disappeared. And instead of them, new features appeared that arose with a new habitat, climate, and interaction with other peoples. Traditions, material and spiritual cultures, way of life and everyday activities were changing. Russian historian Sergei Mikhailovich Solovyov said: “Three conditions have a special impact on the life of the people: the nature of the country where he lives; the nature of the tribe to which it belongs; the course of external events, the influences coming from the peoples that surround it. We can say that the factor of nature is of great importance in everyday life, the mentality of the people and affects the prospects for the development of the entire state. At the same time, the interaction of the natural environment, the people and their culture can change in the course of history, because. other factors may also influence it. For example, relocation to a new place, a change in the political regime, changes in interaction with neighboring countries, etc. But the basis for the formation of folk culture and character is still the geographical factor. According to the German historian of culture I. G. Herder, the main factors influencing the formation of the character of the people, the features of their mentality are the way of life, the political system and ethnic history. Historian-ethnologist L.N. Gumilyov also believed that the nature of peoples is very connected and intertwined with geographical features: climate, landscape of the territory. When peoples adapt to new geographical conditions, they develop in themselves precisely those qualities of character that in the best way suitable for living in a given place, in a specific natural environment. And, accordingly, under this influence, both the material and spiritual culture of the people is formed. It is it that clearly reflects all the features of the national mentality, the history of the people, their worldview. One example is folk choreography. Religious and socio-cultural factors Traditions and customs, which in turn are associated with religion, play an important role. In Islamic countries, women wear headscarves, veils. Therefore, the correct handling of shawls, scarves, covering the head and face with a shawl is of particular importance. For many years, Christianity actively supplanted the rites of paganism, but it was still not possible to completely get rid of this. In any culture, traces of paganism are visible, such as dancing with fire, circular lines of round dances, personifying the sun. The ritual culture of traditional societies practiced mystery performances, performances of religious significance, reproducing the most important myths of the peoples. In ancient times, with the help of dances, a person showed respect for nature, and even tried to influence it. In a person's life, dances occupied an important place and were part of the rituals. In primitive society, there were various types of dances: hunting, military, ritual. They were created as a necessity, since the very conditions of life predetermined them. The dance was so closely connected with the life of the tribes that, for example, among the Mexican Tarahumara Indians, the concepts of “labor” and “dance” are denoted by the same word. The main condition was the mass character of the dances. People danced together, feeling a huge surge of strength and energy, dances united them. Dance has always meant connecting a person with powerful energies, and this interaction was necessary for experiencing important events in life: the birth of a child, hunting, crop failure, war, death. The main form of execution was a circle. It was both the most convenient and carried a symbolic, magical meaning, denoting the Sun and the Moon. The circle dance could carry different meaning: sometimes it meant the conclusion of a marital union, sometimes a prayer for fertility and well-being, a cure for diseases, sometimes it prepared for military or hunting operations.

The most common and well-known movement was the stomp. This movement, simple in execution and natural in nature, made the earth tremble, which symbolically meant its subjugation to man. Also in primitive societies, squatting, jumping and whirling became widespread. Dancing often brought people to a state of euphoria and sometimes ended in loss of consciousness. The dance was part of the performances at festivals and fairs. Since there were many customs and rituals, a huge number of ritual dances and round dances arose. For example, the Ceylon fire dance, the Norwegian torch dance, Slavic dances associated with the rites of birch curling, wreath weaving, and fire lighting. It can be seen that the round dance is a traditional form of leisure. It affects the rest of consciousness, the growth of mental strength, the development of a sense of support and unity of the people. An outsider had no right to participate in the round dance. The experience of our ancestors shows that round dances and other social activities begin quite ordinary, but are perceived as a touch on the sacred world of being. The development of dance culture is a consequence of the emergence of various shamanistic rites, otherwise called magical dances. They are aimed at using emotions in motion. At the heart of movements and various actions are facial expressions and gestures that fill the dance and ritual. The language of movements and gestures in dances is so peculiar that only representatives of this people can perceive it. Ritual is the oldest social and artistic event, an important component of which is a physical phenomenon. Ancient rituals reflected the first beliefs, and more specifically totemism. It is the belief that humans and certain types of animals and birds have a supernatural relationship. This is the basis of a respectful attitude towards totem animals and birds, therefore we see characteristic movements in ritual dances. People believed that in this way they establish a connection with the Gods, and dances, like various donations, will appease the gods and, in turn, help them cope with illnesses and everyday difficulties. Gradually, people began to move away from rituals, and their choreography began to be filled with new content, reflecting the peculiarities of everyday life. Among the peoples who lived on fertile lands and, accordingly, they had a very developed agriculture, there were dances on the themes of rural labor. For example, the Latvian dance of the reapers, the Uzbek dance of the silkworm, the Hutsul dance of the woodcutters, etc. Folk dances arise under the influence of the environment and the needs of peoples. For example, healer dances were designed to drive out evil spirits and heal people. They were especially common in regions where people very often encountered life-threatening animals and insects. An example is the tarantella dance. It got its name from the tarantula, whose poison could only be expelled later, and for this the person bitten by it had to spin in a frantic dance. The Russian dance researcher of the 19th century, S. N. Khudekov, said that dance appeared together with mankind, and firstly for entertainment and only then as a way of worshiping the gods. Also, he argued that dance symbolism helped determine the ways in which human speech was formed. There are other statements that dance is subject to the general laws of the universe. The formation of folk dance is influenced not only by internal factors, but also by external ones, such as the impact of other national cultures. It exists at various conditions, from a simple neighborhood of cultures, to the mutual influence of peoples through trade relations. All this contributes to the interpenetration of cultures, mutual influence on folk choreography. Thus, it is possible to reveal the relationship of choreography with the history of the country. In regions where there were tense relations between peoples, armed confrontations often arose. This is also reflected in folk choreography. In dances, they tried to convey valor and heroism, to tell about significant battles (“pyrrhic” dances of the ancient Greeks, which combined dance and fencing techniques, Georgian horumi, berikaoba, Scottish dance with swords, Cossack folk dances, etc.).

The peoples living near forests inhabited by various animals and birds were engaged in hunting and animal husbandry. In their dances, they expressed their observations of the animal world. The character and habits of animals, birds, domestic animals were vividly conveyed. Examples are such dances as the bison dance among the North American Indians, the Yakut bear dance, the Indonesian penchak (tiger), the Pamir - eagle, Chinese, Indian - peacock, Finnish - bull, Russian crane, gander, Norwegian cockfight and others .. When they started handicraft and factory work began to develop actively, new dances began to appear: the Ukrainian cooper, the German dance of glassblowers, the Karelian “How cloth is woven”, etc. The Russian writer N.V. Gogol wrote in “Petersburg Notes of 1836”: are in different parts of the world: a Spaniard dances differently than a Swiss ... a Russian does not dance like a Frenchman, like an Asian. Even in the provinces of the same state, the dance changes. The northern Russian does not dance like the Little Russian, like the southern Slav, like the Pole, like the Finn: one has a speaking dance, the other is insensitive; one is mad, rampant, the other is calm; one is tense, heavy, the other is light, airy. Where did such a variety of dances come from? It was born from the character of the people, their life, their way of doing things. The people, who have led a proud and abusive life, express the same pride in their dance; among a carefree and free people, the same boundless will and poetic self-forgetfulness is reflected in dances. Influence of national music Folk dances are performed to various accompaniments. It could be folk musical instruments, also reflecting the mentality of peoples. For example, Spanish rhythmic castanets, African drums, Russian balalaika, etc. Women's dances are often performed to the sound of rings, bells that are attached to the arms and legs, for example, Indian dances. Sometimes dances are performed with everyday accessories - scarves, shawls, dishes, bowls, etc. Russian musical and dance folklore can be divided into several style zones. Each of them has its own geographical, climatic and everyday features, a special style, manner of implementing songs, round dances and individual movements. For example, the peoples of the Far North have developed an original dance art for many centuries. He was greatly influenced by the peculiarities of life and the geographical conditions of this region. Imitative movements of animals and birds of this region are widespread in them. The Chukchi had very common dances depicting deer. The Eskimos had a "Whale Festival": all the hunters circled the whale in the course of the sun. And then he was met by all the inhabitants of the village with songs and dances, in which they depicted the process of hunting and butchering the animal. The dancers jumped, turning their heads to the right and left, rejoicing in the prey and safe return home.

The influence of the national costume The influence of clothing and accessories is perhaps the most significant process, since a person's social, national and regional affiliation can be determined by the costume. Reveal the climate of residence, occupation, religion, mentality, character and much more. The national costume is a kind of encyclopedia. Russia is a multinational country, it is home to a large number of nationalities. Each has its own distinctive features of culture in general and dance in particular. They were formed under the influence of the peculiarities of the national costume. The dances of the mountain peoples, the peoples of the Far North, the peoples living in the taiga forests, they all have their own history and characteristics. Among the peoples of the Caucasus, in folk dances and horse riding, their hot temper, dashing character, characteristic of many mountain dwellers, is transmitted. The most famous Caucasian dance is the legzinka. But it also differs in different regions. So, for example, in the more mountainous Chechnya, the dance is performed very emotionally, richly, and in North Ossetia - calmly, moderately. For example, Russian and Georgian women's dances are distinguished by their smoothness, which is facilitated by long dresses and sundresses that cover the feet. The presence of hard boots in men helps to beat off the top in Russian and Hungarian dances. Since these regions often experience cool weather, the presence of this kind of clothing is very conditional. The costume has a great influence on the performance of the dance. The features of the costume come from: - the natural and climatic environment in which the people live; - kind of activity, life and craft; - the social status of a person; - Religious worldviews Costumes, objects used in dance, musical instruments are a significant source for the study of material and spiritual culture. It makes it possible to better understand ethnic processes, interactions with neighboring peoples, the characteristics of the natural environment, which, in turn, has a direct impact on the development of dances in any region. Without taking into account the influence of the national costume, everyday clothes that were constantly worn by our ancestors, it will not be possible to understand and explain our past, our spiritual wealth, penetrate into the mystery of the spiritual world, trace the process of internal development of culture, its identity, due to the influence of the environment and specific conditions for the development of the people.

In order to identify the processes of influence of the costume on folk choreography, we need to carry outsemiotic costume analysis different peoples. The analysis considers the costume as: - a potential text; - figurative and sign system- material, cut and silhouette,

coloring,

Ornament;

Ways to wear and complete costume details;

The manner of wearing a suit, social and marital status, spoke of age and place of residenceowner , but also about the religious, aesthetic and ethical ideas of Russian peasants.

The costume in different regions of our country has become the creator of a variety of dance movements. For example, in the northern regions of the country they danced calmly and measuredly, since a brocade sundress and a high headdress embroidered with pearl stones did not allow them to move quickly. In different areas in the south, on the contrary, they wore lightweight clothes, which did not interfere with fast and provocative dances at all. The way of life, the character of people was also completely different. Such features could not but affect the various forms and features of Russian folk dance.

In a certain region, distinctive features in the performance of various movements were noticeable. Cold weather conditions in the north forced people to dress very warmly, hence the characteristic sedate, calm dances. A distinctive feature was the emphasis in the manner of performing round dances and dances of self-esteem. The movements of the dancers were made without tearing off the soles, they were “creeping” and “sticking”. The body worked together with the head. Under long songs, slow round dances were performed, called "khodachi" or "hodyugs". In the dance compositions, the girls practically did not react to their partners, they only cast a brief glance from under their eyelashes, showing interest.

The Central Russian regions had widely known round dances "with reasoning", that is, using special gestures that were performed in strict sequence. In the South Russian region, a certain style was formed, under the influence of natural features, rituals and customs, and working conditions characteristic of the people. The hands of the dancers could move in any direction, the hands performed any circular movements. It was not uncommon for the snapping of fingers to be accompanied by a dance. The pace was regulated and set by gestures, combined with sonorous exclamations. The peculiarity of the movements of the legs was that they connected two different rhythms, the so-called crossed. As a rule, there were not many such intersections, the imposition of the second rhythm was carried out only occasionally. The blows were made completely with the feet. The definition of the identity of local traditions have been developed over several centuries. Each locality revealed its own techniques, which were associated with the dance performance of specific varieties and forms, with an explanation of the images in the dance. Each area had its own traditional means of expression, betraying the local flavor of folk dance. Northern quadrilles are monotonous, oversaturated with long notes. And in the middle regions of Russia, such as Moscow, Tver, they were distinguished by various dance techniques. The performers created interesting dance compositions while preserving various drawings. Quadrille in the Urals and Siberia was characterized by the elegance of the composition, the peculiar pairing of hands, and special plasticity. Considering the Ural folk art, it should be noted that it absorbed not only the result of the activities of Russians, but also of other nationalities. Dance culture has acquired originality and originality. Other nationalities also lived in the Urals: Bashkirs, Komi-Permyaks, Mari, Tatars. Later, Ukrainians also moved, fleeing from the tsarist oppression, peasants from the center of Russia.

Elements of Tatar, Mari and other nationalities were already clearly visible in certain quadrilles and dances. Dances in the Urals were divided into the following groups: Cossack dances, Russian dances, national and factory dances. Certain details could be told about the life of the people. So, for example, the girls' hands were in fists, the guys held them with their palms out, and the girls' hands were covered by the edges of the skirt. This was determined by the fact that women performed hard physical work like men, which influenced the nature of the dance performance. In Siberia, dance and song culture was formed for many decades. It was based on the transformation of ancient dances and round dances, games and amusements brought by the resettling peoples of different regions of Russia. There have been significant changes in the rich dance culture of the resettled peoples. Warm clothes and heavy felt shoes became the creators of a peculiar step from the heel, a weighted gait, a varied number of small fractions. Squat firecrackers were rare, and jumps were practically non-existent. The harsh Siberian climate influenced both the manner of performance and the composition of the dance. The prolonged winter and short summer did not contribute to finding and spending leisure time in nature. From here, small round dances were formed, which could be danced in the huts. The small number of Siberian households in the villages contributed to the spread of single and couple dances, group dances and dances with a small number of dancers. Later, polka and square dance began to appear. In each village, dances - penetrations differed in their own way, figure, manner of performance. Their feature was the use of dance fractions and movements in rhythmic walking, of an improvisational nature. Game actions were also used: “kiss”, “walk”, “bow”. The region of Siberia was characterized by the use of dances of various types: triple step, padebasque, "falling", "picking", various fractions, improvisation. In the Siberian dance, figures are more characteristic: “cross”, “collar”, “snake”, “comb”, “chain” and rotations in pairs. In the position of the hands, you can identify the "collar", "pretzel", "window", "collar", "candle". At the end of the dance, a stomp with a bow was used. Dances were performed with the help of movements with bent knees. In certain dances of different areas, the distinguishing feature was prowess, breadth of movement, poetry, simplicity and modesty, breadth of movement. Consider the influence of the national costume on the development of folk choreography on the example of the dance art of Mordva, Tatarstan and Bashkortostan. The folk Mordovian dance was in close relationship with the national costume of the Mordovians-Erzi and Mordovians-Moksha. An important place in the creation of plasticity in the Mordovian dance is occupied by the cut of the costume, which determines the manner of wearing clothes.All the important elements of folk choreography, statistics of hands, non-reversible legs, various steps, blows, drawings, figurative and imitative elements are associated with the national costume.The peculiarity of women's clothing was reflected in the nature of movements, the manner of performance and plastic expressiveness in general (small or wide step, a sense of pleasure and dignity). And the manner, dynamics, temperament, male character manifested itself through assertiveness, ardor and enthusiasm in performance manifested itself with the help of sweeping sharp hands that showed strength and prowess, a characteristic posture and physiological capabilities of the dancer. Male plasticity in the Mordovian dance did not carry such a powerful ethnic load as female, so there are more borrowed elements in the male vocabulary. It includes: various steps, clapping, squatting, small jumps, hitting and tapping in a turn. Erzyanka in the plasticity of the dance act with restraint and not quickly, emphasizing a calm, balanced character. Their distinguishing feature is a graceful gait, sedateness, a strong, even, measured step, the head is directed straight. The movements are slow due to the long parts of the body, and as a result, smooth and wide movements of the arms and legs. Power choreography with a strict ethnic character. Mokshankas in dance are characterized by heavy plasticity both in gestures and in gait, reflecting a dynamic, impulsive character. The following features of the execution of movements are distinguished: slowness and static character - a straight powerful body, thrown back; mobility and small movements - "seeding" of the legs, static movement of the hands; performance temperament - movements (knees, stomping) are done quickly, almost running. Dynamic plastic thinking, allowing for variety in movements. Thus, women's movements depend on the structure and weight of the costume, a heavy set of jewelry, and gait on heavy shoes. A unique sound during the dance is created by a large number of necklaces, Erzi has a pulai hip decoration decorated with shells, metal coins and buttons, moksha has pendants decorated with bells and bells. The sound palette of Moksha women is rough, sonorous and screaming, while that of Erzya women is rustling, quiet, soft. Due to the specifics of shoes, the following facts are noted: the width of the step for Erzi and the smallness of the step for Moksha. Thanks to the merging of different systems (plasticity of the costume, sound effects, jewelry, household items), artistic means Mordovian dance. With the help of the symbolism of the dance of the Mordovian people, two areas of information transmission through dance arise: imitative and pictorial with the help of hands, head, legs and body. The focus is on dance patterns associated with the cult of vegetation, earth, water and other natural phenomena. In ancient times, such dances were ritually magical in nature. Each element carried its own semantic load. The movements were based on embroidery and signs, on floral, geometric and animal ornaments. After some time, the images of animals become a character in dances. With the interaction of schematic lines and natural rhythm in the image of a circle, a rhythmic picture of the dance was formed. There is a simple sign of the most elementary rhythm - movement and repetition. On its basis, drawings are created in linear and circular round dances, in dances and dance combinations. Genre, rhythmic symmetry, plastic drawing, movements are interconnected with each other.Tatar folk dances emphasized the courage and pride of this people, their military and labor activities. Most often, in the folk choreography of Tatarstan, the idea is kind and bright. First of all, this is due to the fact that dances were created primarily for holidays: the arrival of guests, weddings and others. Many Tatar dances were small theatrical performances. They were dedicated to victories tragic love, folk heroes.The national costume acted as a mandatory attribute and had to comply with the dance vocabulary. For all dances, a certain costume was selected. For the holidays, costumes were created in colorful, bright, rich colors to create an atmosphere of fun and joy. Women's dances are characterized by grace, sophistication and sophistication. Headdresses, decorated with a rich and unique ornament, determine the social position of the owner, which in turn is reflected in the manner of performing the Tatar dance. Due to the lightness and comfort of the costume, the female choreography has always been light, swift, airy. On the hands of the girls there was a large number of bracelets of various shapes, rings and rings. That is why in the dance all hand movements are aimed at emphasizing jewelry. The dancers made rotational movements with their brushes, while giving the viewer the opportunity to admire and observe. Hands in the dance came from an apron and a scarf. While the girl was dancing, she held on to the handkerchief with her hands, in a way, protected herself from entering the “forbidden zone”. After all, a torn scarf from the head meant shame. Also, the girl could hide behind embarrassment, which in turn emphasizes the modesty, shyness, and chastity of the girl. Thus, the headscarf has always taken part in the dance. The position of the hands has always varied.

Men in the Tatar dance often competed with each other in strength and dexterity, dancing with masculinity, arrogance and pride. The hands of men were diverse and free, sometimes arbitrary. They were behind the back, lay on the belt, could hold the skullcap or be open to the sides with palms. The dance is characterized by courage and activity.Thanks to the organic use of drawings, the brightness of national characteristics is expressed. The movements of the dancers are filled with accentuated stomps, light jumps.In the Bashkir choreography, there were everyday and ritual dances. Also, there were female and male, reflecting labor processes. Any movement in folk choreography characterized the look that was performed in everyday life. Here we see the participation of the costume in the development of folk choreography in the early stages of its creation. Hand movements imitate the process of women's work: processing wool, winding a thread on a ball, spinning yarn. To depict such actions, women performed finger snaps. Each movement in the dance is separated from the next by circular moves. In women's Bashkir dances, a combination of a smooth, easy move with clear, loud fractions in the center of the site is traced. An additional accompaniment was created with the help of footsteps on hard flooring - wooden, metal; the sound of coins and pendants. The rhythm of the dance was supported by clapping hands, encouraging exclamations. For older women, a feature of the costume on holidays was a woolen or cashmere shawl with tassels. She was put on over a scarf, and so that she did not fall off her head during the dance, the ends of the shawl were held by the woman with her hands. This is the reason for the stiffness of the body and a small set of hand movements in the dances of old women.

The relationship between nature (nature) and culture is one of the key topics of cultural studies.

From the very beginning of his appearance, a person experiences the influence of the natural environment and at the same time influences it himself. The activity of adapting to nature and mastering it in relation to one's needs leads to the formation of a transformed, cultivated nature. Man stood out from the natural environment, but continued and continues to be part of it to a certain extent.

Very often, culture is defined as second nature (nature). We find such an approach even in Democritus, and then in the thinkers of the New Age. But in this case, the question arises: does nature oppose culture or are they in harmony?

On the one side, man, as a result of his purposeful activity to transform the world around him, creates an artificial world of objects and phenomena, which we call culture. In this case, we oppose culture to nature, emphasizing that only those natural elements that are processed by man become culture.

On the other hand, supporters of sociobiology are not so categorical in answering the question about the relationship between culture and nature. They argue that there are no clear boundaries between the social behavior of animals and people, they see the difference only in the level of complexity of their life technologies. In this case, culture is seen as a special stage in the overall evolution of nature:

Plants adapt to the environment through changes in their species morphology;

Animals adapt through a combination of processes of species variability with a change in behavioral stereotypes;

A person adapts only by changing and complicating the forms of his life activity, which resulted in the formation of an artificial habitat.

In any case, the line between nature and culture is very thin and unsteady, and includes many aspects.

A certain geographical location, a specific locality, its specific natural features have always been and are now the factors determining national character, traditions, customs, language, consciousness of any community of people. Since ancient times, man has adapted to his environment in order to survive. From ready-made natural materials, he created tools and household items, built dwellings, tamed wild animals, worked the soil and cultivated cultivated plants on it. In this activity, he simultaneously adapted nature to his needs, and as a result of the transformation of the natural environment, man created an artificial environment (“second nature”) of his habitat.

The “second”, man-made nature is a natural form of the existence of culture. This means that the products of the transformed nature, while remaining material, material, are simultaneously included in the process of human life and perform a social function in it. At first glance, it may seem that nature and culture are opposed to each other, since culture is an extra-natural phenomenon created by man. In fact, they are closely related, since culture arises from nature, it is born from the interaction of man with nature. All cultural objects are made from a natural substance.

Thus, in this regard, culture, on the one hand, opposes nature as cultivated nature, and on the other hand, it forms a unity with it, since it is based on a natural component, and nature acts as a prerequisite and condition for the existence of culture.

Thus, culture is an act of overcoming nature, going beyond the boundaries of instinct. It arises because a person has managed to overcome the organic predetermination of his species.

As a result of human activity, nature changes and is completed, and human life becomes more convenient and comfortable. But the development of nature also includes the mastery of the inner nature of the person himself, which is associated with the emergence of certain norms and prohibitions that regulate human life, the creation of morality, religion, art - in a word, with the birth of spiritual culture.

Careful analysis of the issue relationship between nature and culture shows that they are in a complex relationship. Man came out of nature, and therefore nature controls and determines many aspects of human life. The obviousness of this fact requires a more detailed explanation and description of the impact of natural and geographical factors on the life of people and their culture.

Firstly, nature determines the needs of people, and their awareness serves as a stimulus for activity and the development of thinking. In order to live, a person must eat, drink, have a dwelling, clothes. Man finds all the necessary materials to meet the needs of physical existence in nature. The use of "nature" to meet material and biological needs, in turn, requires a person to have the appropriate abilities, activity, and creativity. Using the resources of nature, a person reveals his own natural potential. Information obtained from nature is used to organize optimal material and spiritual activity.

Secondly, the natural environment directly affects the type of economy and the content of people's occupations, their way of life and spiritual world. The way of life of a person, the fate of countries, peoples and cultures largely depend on natural conditions and wealth. A different natural environment makes individual peoples and their cultures different from each other, forms a specific national character, moral norms and rules of behavior for each people. In addition, primitive peoples created a pantheon of their gods, taking into account the geographical features of their place of residence. The inhabitants of the steppe and desert regions do not have such characters of religion as the waterman, the goblin, the owner of the forest and its other inhabitants.

Thirdly, nature affects the occupation and division of labor. For example, the harsh climatic conditions of the North gave rise to a specific division of labor between men and women. The first were engaged in the manufacture of weapons, hunting, fishing, leaving women such activities as dressing leather, making clothes, and cooking.

Fourthly, nature has been and remains an important factor in satisfying the moral and aesthetic needs of man. Various natural phenomena can beneficial effect on the human intellect, to promote a good mood, a surge of vivacity, creative inspiration. This kind of emotional state forms an intimate and trusting attitude towards nature in the form of a rich range of experiences.

Fifth, the natural environment affects the process artistic creativity. Nature not only suggests images of artistic creativity, but also provides raw materials for the creation of certain objects of art. Numerous masterpieces of architecture, painting, music, literature are created on the basis of the impressions received by their creators from communication with nature. The artistic perception of nature is largely shaped by culture, which determines how people see the world and how they act in it. Already on the plots and natural material one can guess about the representative of which ethnic culture a particular work of art was created.

Sixth, nature has a very strong impact on the traditional folk culture. This is reflected in the specific habits, customs, rituals, in which the peculiarities of the way of life of peoples are manifested. Rites make natural objects elements of spiritual culture. In the forms of everyday spiritual life of people, the cyclicity characteristic of the natural environment is clearly manifested. Thus, in accordance with the change of day and night, of the seasons, many cycles of production activity take place, which are reflected in a peculiar way in holidays and rituals. Their connection with the seasons, enshrined in traditional culture, leads to the emergence of a ritual natural calendar, which not only normalizes the daily routine, but also determines the periods of functioning of spiritual culture, setting aside for it the most favorable time stages from a natural point of view.

The influence of nature on culture is obvious and therefore almost unobjectionable. But this is only one side of the relationship between nature and culture. The reverse side of this relationship is impact of culture on nature, the result was a cultural landscape that includes the agrosphere and the technosphere.

Agrosphere is the result of human impact on soil, vegetation, animals, etc. The consequences of this impact turned out to be extremely great, since a person in the course of his life selected from the plant and animal world those specimens or properties of plants and animals that most fully reflected his needs. It was this selective approach that led to the purposeful creation of new plant varieties. Also, in the process of cultural impact on nature, new breeds of animals were created, which are distinguished by special endurance, fertility, speed of movement, etc. It can be confidently asserted that the vast majority of the "natural nature" that surrounds us today is cultivated nature, and all domestic animals and our food products are its products.

Currently, we are witnesses and contemporaries of the active development of the agricultural sector. For example, cloning and genetic engineering make it possible to develop plants and animals with completely new properties, which have no analogues in nature. In addition, new varieties and types of trees, flowers, and domestic animals organically fit into the human environment, giving it more perfect features of beauty and harmony.

The second part of the cultural landscape is technosphere, which is a collection of objects of material culture included by man in inanimate nature. Its content consists of bridges, roads, mechanisms, buildings, structures and other man-made products. Many of them harmoniously fit into the natural landscape, while remaining convenient and useful for people's lives. Many items of material culture have been created in the world, which emphasize the beauty of nature, contrast with it in the most advantageous aspects. So, for example, in Russian culture, the most picturesque places were traditionally chosen for the construction of churches. Most often, they emphasized the specifics of the landscape, the beauty of nature, distracted people from thoughts of earthly suffering, warmed and cleansed the soul.

However, human impact on nature also has negative aspects. The technosphere has already covered about 30% of the land and has led to irreversible changes in many natural regions of the planet. So, under the influence of man, the direction of the flow of rivers changes, new reservoirs appear, mountains are destroyed. More than 100 billion tons of raw materials are annually extracted from the bowels of the earth, that is, more than 25 million tons for every inhabitant of the planet. The amount of energy per capita in industrialized countries is 100 times greater than the biological requirements for sustaining human life. The ever-increasing needs of mankind give rise to a barbaric attitude towards nature. We are increasingly reminded of this by natural disasters (fires, floods, earthquakes, climate change, etc.) and the impending ecological catastrophe, the first signs of which we are already facing today.

Realizing the threat of its death, humanity is trying to form ecological culture population, restore energy resources, clean the atmosphere, etc. Large world organizations are involved in solving these problems, which develop programs for restoring ecological balance, preserving endangered species of plants and animals, as well as the survival of man himself.

The past century has convincingly shown that over time, the mutual dependence of nature and culture is constantly increasing. This is not about the quantitative diversity of connections, but about a fundamentally new qualitative level of interaction between culture and nature, based on a more harmonious and refined nature of their relationship.

- this is the second nature, the result of human activity, and therefore culture is very often opposed to nature. But culture and nature are closely interconnected. Nature is a necessary condition for the emergence and existence of culture. culture is a mediator between man and nature, the result of their interaction. There is an exchange of matter and energy between nature and human society. There are two forms of this exchange:

• direct appropriation by man of objects of nature;
• appropriation of objects of nature mediated by human activity.

Marx and Engels singled out two stages in the history of mankind according to the nature of the interaction between man and nature:

• appropriating the type of economy based on natural tools of labor;
• producing, based on the tools of labor created by civilization.

If the first stage is characterized by gathering, fishing, hunting, then the second stage is agriculture and cattle breeding. The transition from the first stage to the second was called the "Neolithic revolution".

The modern stage is characterized by a huge expansion of the scale of human interaction with nature, which is associated with scientific and technological revolution.

The influence of nature on culture

The impact of nature on cultures has always been and will always be, since man is a part of nature, whose activity is aimed at satisfying physiological and biological needs.

Nature influences material culture:

• the state of flora and fauna influences the type of farm appropriation;
• the state of natural resources determines the nature of tools;
• minerals and energy resources determine the development of society;
• climate determines the type of clothing, transport, housing.

Nature affects the spiritual culture, as it determines the customs and rituals of the people, traditions, mentality.

nature influences artistic culture, so it provides material for creativity, determines the images, plots, themes of works.

That set of natural and climatic conditions in which culture exists is called "place development" in Russian literature.

The influence of culture on nature

The influence of culture on nature is enormous. The result of this influence is a cultural landscape, i.e. man-made nature. There are two types of cultural landscape:

• Agrosphere - a set of natural objects created by man himself (gardens, vegetable gardens, pastures).
• Technosphere - a set material objects introduced by man into nature ( railways, highways, bridges).

At the beginning of the 20th century, the term “noosphere” appeared in philosophical literature. The noosphere is the transformation of the mind into the greatest biological and cosmic force.

Reasons for the formation of the noosphere:

• the expansion of the mind to all corners of the universe; - unification of mankind; - development of science.

Ecological crisis

Today, the relationship between culture and nature is acquiring a conflict character. From the point of view of philosophers, cultural causes became the cause of the ecological crisis. Such a reason is the installation on the anthropological exclusivity of a person, the main postulates of which are:

• Man is the highest value in this world. Everything else is valuable only because it is useful for a person. Nature is the property of man, over which he has unlimited power.
• Hierarchical picture of the world. The world of people is opposed to the world of nature.
• The purpose of human interaction with nature is to satisfy his needs.
• The nature of interaction with nature is determined by the pragmatic imperative: everything that is useful for humanity is right and allowed.
• Ethical norms and rules apply only to relationships with people, but not to relationships with nature.
• Nature protection activities are also subject to the imperative: nature must be preserved for the next generation.

Such installations lead to the destruction of nature, to an ecological crisis.

The geographical environment, certain natural conditions influence what is called ethnic or national character.

The long, centuries-old stay of a people in a certain area is reflected, of course, not only in its economy, material and spiritual culture, but also in customs, mental makeup, and mentality.

For example, the highlanders in everyday life, by all accounts, are more withdrawn and silent than the inhabitants of the plains (although there are also very talkative highlanders). This is quite understandable and understandable: in the mountains, people usually have to unwittingly live in small closed groups, and the possibility of communication between them is limited here.

Differences in behavior between southerners and northerners seemed noticeable even in ancient times (even exaggerated importance was attached to such differences). In our time, such differences are clearly manifested among the inhabitants of our country. For example, the ardor and ardor of the inhabitants of the Caucasus are clearly evident if we compare, say, a Circassian and a Murmansk or Arkhangelsk resident.

It should be noted that it is sometimes difficult to determine to what extent the psychological characteristics of behavior are associated with the traditional way of life, which is decisively determined by social conditions, and what comes from geographical conditions that also affect the national way of life.

There is an opinion that the southern peoples are lazy- hot climate relaxes their energy. Of course, in the southern extremely hot countries, their own characteristics of labor activity have developed. In many countries, work is carried out in the morning and evening hours. During the day, at the hottest time, people hide in the shade, rest or sleep. In general, it cannot be denied that the working rhythm of the northerners differs from the rhythm and intensity of the work of the southerners. But this does not indicate the laziness of the southern peoples.

Not only specialists, but also many other people noticed the connection between the national character and native nature. The world turns to each of us by his native land. Images of native nature become not only a part of our life, our thoughts and feelings are built on them, not directly connected with nature. Here, for example, for northerners, the sight of an autumn crane wedge is associated with a nagging feeling of sadness. And what great significance the Russian birch has for the Russian soul! How sung "cute birch groves» poets!

And for Japan, cherry - sakura has become a symbol of the country. They say that in order to understand the soul of Japan, you need to see it in the spring when it blooms, because sakura petals are a poetic figurative embodiment of the Japanese national character.

The symbols of England are oak, yew and thorn. And the companion of an Englishman going to live "overseas", to America, Africa or Australia, was certainly a primrose - she was planted by a settler in front of the house.

The symbol of Spain is the laurel.

Gardening is the national passion of the British, the key to understanding many aspects of their character and attitude to life. Thanks to the temperate humid climate in England, the grass is green all the year round and almost always something blooms, so that the gardener can work in the fresh air for a long time and admire the fruits of his labor. Physical labor in the garden, practical skills in this matter are equally revered in all sectors of British society. In nature, the Englishman casts aside his reserve. His tastes, behavior in the garden speak much more truthfully about his personality and character than any autobiography.

Japan is a country of green, often fire-breathing mountains and bays, a country of the most picturesque panoramas. Unlike the bright colors of the Mediterranean, which lies at the same latitudes, the landscapes of Japan are composed of soft tones, muted by the humidity of the air. This restrained color scheme of nature, only occasionally disturbed by any seasonal colors, has developed a characteristic feature among the Japanese people - dislike for brilliant, bright, contrasting. At the sight of shiny objects, the Japanese experience some kind of restless state. They prefer what has a deep shadow.

Control questions and tasks

1. Expand the theoretical foundations of the interaction between nature and ethnicity.
2. How does the geographical environment influence ethnogenesis?
3. What is the impact of the geographical environment on ethnic
processes?
4. Show the influence of natural conditions on the course of ethnic history.
5. How did geographic conditions influence the formation of the Russian ethnos?
6. Analyze the influence of the geographical environment on the national character.
7. Try to determine how a cold climate affects the psychological and behavioral characteristics of ethnic groups?
8. What can you tell us about ethnic ecology?
9. What characteristics of Russian people are directly related to geographical factors?
10. Are Russians living in Siberia and the North different from Russians living in Central European and Southern parts
Russia?

Literature

1. Berg A.E. climate and life. - M., 1947.
2. Vernadsky G.V. The outline of Russian history. - Prague, 1927.
3. V. Gumilyov L.N. Ethnosphere. The history of people and the history of nature. - M., 1993.
4. Kolesnik S.V. Man and geographic environment. - L., 1949.
5. Lurie S.V. Historical ethnology. - M., 1997.
6. Nature and society. - M., 1968.
7. Tavadov G.T. Ethnology. Dictionary reference. - M., 1998.
8. Tokarev S.A. History of foreign geography. - M., 1978.
9. Cheboksarov N.N., Cheboksarova I.A. Peoples, races, cultures. - M., 1985.
10. Ethnology. - M., 1994.
11. Yatsunsky V.K. Historical geography. - M., 1955.