The urgency of the problem. In the era of globalization, cultural symbols and forms of behavior are rapidly moving from one society to another. Electronization of communication means allows transmission of visual information over long distances, contributing to the formation of cultural stereotypes on a global scale. Expansion of the sphere of cross-border interactions of people, enterprises, markets leads to the leveling of ethnic cultures. Feeling the threat to its cultural identity, humanity is increasingly experiencing the need to preserve national and regional specificity. In this regard, the problems of the local history of culture, its evolution and traditions are especially actualized.

In modern conditions, the most noticeable is the contradiction, which is expressed, on the one hand, in the assertion of certain common cultural norms and values \u200b\u200bin the public consciousness, and on the other, in people's awareness of their ethnic and cultural identity. This tendency was revealed by the 2002 All-Russian Population Census: the idea of \u200b\u200bcreating a single nation “Soviet people” was untenable. The poll showed that there is a strong craving for national identity and identity in society. There appeared such variants of self-determination as "Cossack", "Pomor", "Pecheneg", "Polovtsian". The unity and spiritual enrichment of Russians is seen in the achievement of cultural diversity. Under these conditions, the study and dissemination of historical and cultural experience in its spiritual sphere takes on a special meaning, but at the same time, it should be recognized that negative sentiments are strong in society. The loss of socio-cultural reference points, the mismatch of value systems and living standards create a feeling of catastrophic life, cause a feeling of inferiority and aggression. All this inevitably leads to social, religious and ethnic tensions. Lack of scientifically based cultural policy hinders the solution of the problem. It is clear that the formulation of such a policy should be based on the lessons of the past.

The possibilities for the formation of a new ideological paradigm in Russian society directly depend on how national roots are preserved. In this regard, it is necessary to create conditions for the self-development of traditional ethnic cultures that can serve as a moral guideline for new generations. The expansion of the sphere of cultural life can and should take place through the inclusion of various strata of the population in socio-cultural creativity, enrichment of interests and development of initiatives. That is why, studies of the original traditions of folk culture and its evolution are of particular relevance.

The dynamics of ethnocultural processes in regions largely depends on how certain channels that transmit cultural information function. Traditions that allow preserving the spiritual heritage for a sufficiently long time act as a mechanism for broadcasting sociocultural experience. Scientific conclusions and recommendations based on the study of folk culture, aimed at substantiating ways to optimize ethnocultural processes in Russian regions, can play a large role in solving this problem. The absence of large-scale historical works in this area predetermined the choice of the topic, which we formulated as the history of the formation and development of the spiritual life of the Slavic population of the Kuban (using the example of the folk culture of the region in the unity of its content and dynamic sides).

Spiritual life, folk culture and its manifestations are studied by various scientific disciplines of the humanitarian profile - historical science, philosophy, cultural studies, social anthropology, art history, folklore studies, ethnography, aesthetics, etc. Each of them strives to form its own subject of research. A specific feature of the study of this object is that folklore is one of the main sources for identifying the transformation of spiritual life in its basic component. That is why, as an object of research, we chose the spiritual life of the Slavic population of the Kuban in the process of its historical development, starting from the end of the 18th century and over the next two centuries.

Subject of research: the relationship between social traditions and the dynamics of folk culture as an integral part of the spiritual world of the Kuban Slavs.

The geographical boundaries of the Kuban region began to take shape after the victory of Russia in the war with Turkey in 1768 - 1774. In order to defend against attacks from belligerent neighbors led by A.B. Suvorov in 1777, the Caucasian line of fortifications was erected, stretching from Azov to Mozdok. Regular troops were stationed along it. Since 1783, the Kuban River became the border of the Russian state. To ensure the political and economic superiority of Russia in the North Caucasus, it was decided to settle the vacant lands. According to the charter granted by Catherine II, vast territories from the Taman Peninsula along the right bank of the Kuban River to the confluence of the Laba were assigned to the Black Sea Cossack army, which consisted of a part of the former Zaporozhye army and representatives of various segments of the population of Ukraine.

On August 25, 1792, the Black Sea naval forces landed on the Taman Peninsula. Following the flotilla, two foot regiments with their families arrived by dry route through the Crimea and set up an observation post at the old Temryuk. The cavalry, infantry and military train under the command of the koshevoy ataman Chepi-gi, having crossed the Bug, Dnieper and Don, approached Taman from the north. Having overwintered on the Yeisk spit, the Black Sea residents in early spring moved into the interior. The main combat units were located in the Karasunsky kut at the confluence of the old channel into the Kuban River, where the military residence of the city of Yekaterinodar was later founded. In the spring and summer of 1793, the mass, organized resettlement of the Black Sea residents continued. The population was accommodated in kurens by lot. Eight kurens - Vasyurinsky, Korsunsky, Plastunovsky, Dinskoy, Pashkovsky, Velichkovsky, Timoshevsky and Rogovskaya were left at the Kuban. In the northern part of Chernomoria, near the Don region along the river Ee, Shcherbinovskaya, Derevyankovskiy, Konelovskiy, Shkurinskiy, Kislyakovskiy, Ekaterinovskiy, Nezamayevskiy and Kalnibolotskiy kurens were founded, at the tributary of the same river Kugoeyi - Kushchevskiy, at another tributary of the Sasyk - Minsk, Pereyaslavskiy and Umanskiy. Irklievsky and Bryukhovetsky are located in the upper reaches of the Albashi river, on the Tikhenskaya river - Krylovsky and on Chelbasi - Leushkovsky kuren. Berezansky, Baturinsky, Korenovsky, Dyadkovsky, Platnirovsky and Sergievsky kurens were distant from the Kuban River and the Circassians. Ten kurens were placed in a triangle between the Sea of \u200b\u200bAzov and the Kuban River: Popovichesky, Myshastovsky, Ivanovsky, Nizhesteb-Lieevsky, Vyshesteblievsky, Poltavsky, Dzherelievsky, Kanevskoy, Medvedovsky, Gitarovsky kureni (1).

The old Caucasian line and the eastern regions were settled by the Don Cossacks and settlers from the southern Russian provinces. They were located in the fortifications, later renamed into the villages of Ust-Labinskaya, Kavkazskaya, Prochnokopskaya, Grigoropolisskaya, Temnolesskaya, Vorovskoleskaya (2). In 1802, the Cossacks of the Yekaterinoslav army (from Ukraine) were resettled to the Staraya Line, who founded Temizhbekskaya, Kazan, Tiflis, Ladoga, and two years later Voronezhskaya stanitsa. In 1825, the Khopersk and Volga Cossacks in the upper reaches of the Kuban and Kuma rivers equipped Nevinnomyssk, Belomechetskaya, Batalpashinskaya, Bekeshevskaya, Suvorovskaya, Borgustanskaya, Essentukskaya stanitsa (Z).

Zakuban lands were located south of the confluence of the Kuban and Laba rivers to the Terek region. The colonization of Trans-Kuban began in the 1840s due to the influx of Cossacks from the linear and Black Sea villages of the Kuban, settlers from the central provinces and soldiers who remained after the end of military service.

In Soviet times, the administrative-territorial division was characterized by extreme instability ^). In the first post-revolutionary years, the region was called the Kuban-Black Sea region. By the decision of the Presidium of the All-Russian Central Executive Committee of the RSFSR, in 1922, at the expense of a part of the Krasnodar Territory and the Maikop Department, the Circassian (Adyghe) Autonomous Region was created, which became part of the Kuban-Black Sea Region. Most of the Batalpashinsky department was transferred to the Terek region and the Karachay-Cherkess autonomous region.

In 1924, the Don, Kuban, Tersk and Stavropol provinces, the city of Grozny, which was part of the district, Kabardino-Balkarian, Karachay-Cherkess, Adyghe and Chechen autonomous regions united into the South-Eastern Territory with the center in Rostov-on-Don. In the same year, the region was renamed the North Caucasian. In 1934 the region was downsized. The Azov-Black Sea region with the center in Rostov-on-Don included some districts of the Kuban and the Adyghe Autonomous Region. The city of Pyatigorsk became the center of the North Caucasian Territory. In September 1937, the Azov-Black Sea Territory was divided into the Krasnodar Territory and the Rostov Region. In 1991, the Adyghe Autonomous Republic became an independent subject of the Russian Federation. It is customary to call Kuban the territory of the former Kuban region and the present Krasnodar Territory, with the exception of a part of the eastern regions, which became part of the Stavropol Territory in Soviet times, and a part of the southern regions that are part of Karachay-Cherkessia.

The chronological framework of the dissertation covers more than two hundred years: from the end of the 18th to the end of the 20th century. The choice of these time parameters is due to the fact that over two centuries in the spiritual life of the Slavs of the Kuban, as well as in Russia in general, there have been qualitative changes. A once distinctive national culture based on the Orthodox faith formed the foundation of the Russian state. The ideals of the Russian people were the church, family, and traditional values. The rejection of the primordial spiritual traditions in favor of supranational, universal ones, the atheization of education and upbringing in the XX century led society to devastation and decline. The denial of the religious foundations of culture and folklore traditions of the past during the years of Soviet power, the imposition of liberal ideas of the West on the people in the post-Soviet period is an example of how the spiritual basis of society is depersonalized and artificially destroyed. The future of the country, its security, socio-economic development and position in the world should be viewed in inseparable connection with the restoration of the historical memory of Russian civilization, the revival "and strengthening of the national-conservative worldview and cultural experience.

Methodological basis of the dissertation. The complexity of the object of research and the nature of the tasks set made it necessary to use a set of methods. One of them was a systematic approach, which made it possible to consider the spiritual culture of the Kuban Slavs as an open dynamic system with many subsystems closely related to each other, mutually influencing and complementing each other. A systematic consideration of the internal structure and functioning of spiritual production has three dimensions: human, procedural and objective, which involves identifying the necessary components of each link.

The genetic method created the conditions for understanding the etymology of the content and meaning of folk views, poetic images, genres, the evolution of cultural phenomena in time and space.

The functional and retrospective methods made it possible to identify the changes that occurred in certain cultural objects, to comprehend them as specifically significant units. The fact that, in the course of historical development, cultural objects have performed and perform many functions required an analysis of their nature and purpose. The spiritual culture of the Slavic population of the Kuban was conceived of as an original, integrated system, parts and layers of which perform mutually agreed functions. To understand the dynamics of spiritual production, it was necessary to analytically divide this process into a number of aspects - a system of knowledge, beliefs, morality, various ways of creative self-expression, etc.

For the most complete coverage of the selected problem, the author considered it necessary to use a comparative historical method based on comparing similar data in order to study historical ties and the environment that formed and modified the spiritual world of the Slavs-Kuban. The research carried out in this perspective made it possible to reveal more fully the true meaning and value of cultural heritage, its relationship with historical reality, place and role in the spiritual life of society.

Interpretation of folk culture as a basic element of spirituality from a historical point of view involves the description of a chronological series of individual phenomena, showing how the elements of culture have become different in the process of their development. The method makes it possible to better understand and explain the events of spiritual everyday life that influenced the course of the cultural history of the Kuban.

Historical anthropology, which has developed rapidly since the 30s of the XX century, has armed us with the methods of an interdisciplinary approach, which made it possible to put into circulation sources that are non-traditional for historical science. Among them are folklore monuments that give an idea of \u200b\u200bthe evolution of mentality, of the socio-psychological characteristics of the carriers of cultural values. In this regard, it seems appropriate to us to use the tools of linguistics and semiotics.

Using the linguistic method, the language of folklore texts and their role in the functioning of the mechanism for the exchange of cultural information were studied.

Textual analysis helped to establish trends in the interaction of dialects and literary vocabulary. The semiotic method required the consideration of works of folk art as a result of symbolic activity: coding, storage, dissemination, reproduction of knowledge and cultural experience, the impact on consciousness by symbolic means. The combination of verbal, musical and pictorial sign systems created the prerequisites for a more complete understanding of the meaning and purpose of folklore works.

Comprehension of the logic of the dynamic shifts that took place in the spiritual everyday life of the Slavs of the Kuban over two centuries helped to formulate the general laws of the transformation of old and the emergence of new cultural formations in the course of the historical process.

The historiography of the research is determined, firstly, by the author's ideas about the interdisciplinary space for studying the spiritual life of the people, secondly, by the historical context of this space, and finally, thirdly, by the locality of the community, whose spiritual culture is subjected to historical analysis. Based on this, the literature we studied includes a wide area of \u200b\u200bhumanitarian research, both in time and in problem space.

All Russian scientific literature can be divided into several chronological periods: late 18th - 30s of the 19th century .; 40s of the XIX -20s of the XX centuries; 30s - 50s of the XX century .; 60s - 80s of the XX century; 90s of XX - beginning of XXI century. Within the framework of these periods, the author examines the history of the study of spiritual culture, first of all, by historical science. However, the problem of the correlation between folklore and the historical process was methodologically investigated by linguists, folklorists proper, art historians, sociologists, and culturologists. Their works contain valuable observations for the historian, so they cannot be ignored in this historiographical review. For our research, the reflections of philosophers, and humanitarians in general, about the essence of human culture, about the concept of spirituality, including in relation to Russian history, are fundamentally significant in methodological terms. Finally, a significant section of the historiography of this dissertation problem includes local studies of both a general historical and local history character, and regional folklorists.

As you know, European literature in the second half of the 18th century was going through the era of classicism. Russian writers, using plots taken from ancient history and Greco-Roman mythology, still turned their eyes to legendary heroes from the past of their people. But the rules of classicism did not provide for such heroes to be taken from the "muzhik" epic, therefore they were found in ancient Russian and Moscow historical works (legendary Kiy, Khorev, Slaven, Rus and others). The criterion that determined the study of history was "common sense", "rationalism", "reason". Scholars of the Enlightenment persisted in creating scientific concepts that opposed the metaphysical passions of their predecessors. “GT Education, in short, was an era that devoted itself (at least in terms of its dominant tendencies) to simplification and standardization of thought,” wrote Arthur Lovejoy (5). Criticizing this historian, V.N. Already in the first half of the 18th century, Tatishchev noted that "extraordinary deeds will tell and many fables and superstitious miracles fill history" (6).

According to the testimony of our contemporary, scientist-historian S.I. Malovich-ko, from the end of the 80s of the 18th century, Empress Catherine II and the Russian writer, freemason I.P. Elagin, who saw the possibility of using folk tales and epics as sources for their historical works (7). In particular I.P. Elagin pointed out that the "songs" reported by buffoons in the markets "undoubtedly meant the mores and customs and the very character of the people" (8).

In the late 60s of the 18th century, the famous Russian writer M.D. Chulkov, despite the "rules" of classicism, begins collecting folk tales, superstitions, epics, songs, etc. (9). However, such an appeal to folk culture among some Russian writers was not yet systematic. It was perceived either as a national flavor in the historical work of Catherine II and I.P. Elagin, or as an appeal to the delights of the conventional "rural" life, opposed to the city by M.D. Chulkov.

Since the end of the 18th century, the discourse of literary sentimentalism has increasingly included folk themes (N. Karamzin, P. Shalikov, P. Makarov, V. Izmailov). Russian writers sentimentalists to a certain extent anticipated the tradition of searching for spiritual values \u200b\u200boutside the city - in the conditions of nature and rural reality 10). Popular themes raised by sentimentalists of the early 19th century influenced European historiography of the Romantic period. Benedetto Croce remarked about this historiographic paradigm as follows: "With the inevitability of a stream returning to a natural channel, sweeping away all artificial barriers, now, after a long rationalistic asceticism, eyes have turned to the old religion, to the old national and local customs" (11). It was under the influence of this historiographic paradigm, as opposed to the “History of the Russian State” by N.M. Karamzin, writer and historian H.A. Polevoy wrote a five-volume History of the Russian People (12). The nascent Russian archeology was also influenced by the new scientific fashion. In the 20s of the XIX century D.Z. Khodakovsky presented a plan for studying the settlements scattered throughout Eastern Europe, and in numerous subsequent articles he pointed to the settlements as the places of the former pagan ka-pish (13). The researcher came to the conclusion about the "holy trenches" not as a result of excavations and observation of monuments, but by attracting an element of spiritual culture - folk legends as a historical source ^). Discussion around the researcher's hypothesis revealed both its opponents (15) and few supporters (16). However, arguing with the archaeologist, some famous Russian scientists, such as I.I. Sreznevsky, were forced to turn to the study of Russian spiritual culture in order to understand how folk legends can serve as a source for historical constructions ^?).

Interest in the history of culture in Russian historiography was directly related to the growth of national self-awareness in Russian society in the 1840s. It was at this time that serious studies appeared on folk life and folklore in general.

Within the framework of the romantic paradigm in the humanitarian sphere of knowledge, the process of active collection of folklore legends, epics, songs, proverbs, etc. begins. On the one hand, this movement was due to the close attention of European science to historical and literary topics and to folk literature in particular, and on the other hand, to the formation of Russian philology as a science and the Slavophil trend in Russian social thought. Professional historiography, which turned into a scientific branch in the 40s, paid more attention to the search for the deep meaning of history, actively followed the development of institutions of state power and the evolution of the Russian legal system (18). The dissertation of the young romantic N.I., which was of a protest against the state trend established in science. Kostomarova "On the Historical Significance of Russian Folk Poetry" (1844), at that time could not have a significant impact on historical thought. At the same time, in the dissertation and historical monographs of the scientist, his interest in topics that required an appeal to folklore sources and ethnography was determined (19).

Slavophilism itself, which followed both some ideas of the German Romantics-Schellingians, who were looking for their own German way in history (sonderweg), as well as West Slavic Slavophilic historians who found among the Slavs the "primordial" beginning - communality (20), as well as their own constructions, appealed to the people, not as a bearer of certain historical knowledge, but as an ethnographic element and an ideological “piggy bank”. Proceeding from the antithesis, the Westernizers, to a greater extent, representing the state (legal) direction in Russian historiography, domestic Slavophiles tried to substantiate the difference between national "ideas" that existed in Western Europe and in Russia (I.V. Kireevsky, KS Aksakov et al. .). Operating with the concept of "people", they denied a legal, formal relationship in relation to "land", "community" and looked for "inner truth" among the people. But at the same time they used only hypothetical historiosophical constructions and official historical sources, not paying attention to the history of Russian spiritual culture (21). At the same time, their influence on Russian humanities and, in particular, philology, turned out to be quite strong.

At the same time, it was philology, working at the interface with historical research, that began to pay attention to the historical significance of the Russian epic. For example, L.N. Maikov put forward the idea that the Russian epic is a true echo of Russian historical life (22). The famous historian of Russian literature O.F. Miller was strongly influenced by the collections of Russian folk songs published at that time by Kireevsky and Rybnikov; everything of the people became sacred to him. Studying Russian epics, the scientist strove to show the moralizing side of the epic epic. The mythological interpretation of the epic allowed Miller to postpone the genesis of epics to the time of prehistoric antiquity and to give the epic an everyday interpretation, to recognize it as an exponent of Russian folk ideals. Through the use of a historical approach to the study of epics, Miller, who sympathized with the Slavophiles, saw in Ancient Russia the dominance of the communal spirit, the "council of the people" and the triumph of true Christian beginnings (23). Also influenced by the Slavophiles F.I. Buslaev, expanded the range of sources of folk literature at the expense of not only Slavic, but also Germanic legends, which led him to the conclusion: ancient mythological images are common to the German-Slavic world, "the era of worship of the elements" (24).

The positivist historiographic paradigm, which had been established in Russian historical science since the 1960s, did not allow professional historians to turn to sources that were “non-traditional” for disciplinary history. This led to the fact that those who felt the need to return to a concrete study of Russian antiquity, St. Petersburg professor K.D. Bestuzhev-Ryumin, Moscow professor V.O. Klyuchevsky and others, could indicate the significance of the historical knowledge of folk culture, but such knowledge was secondary in relation to the official archival documents, which contained information about historical facts (25).

Positivist, analyst and literary historian A.N. When studying folk songs and spiritual poetry, Veselovsky discarded all a priori constructions and previously accepted categories, removed definitions built by Miller and Buslaev on the basis of abstract signs, and adhered only to a strict sequence of facts. Grouping spiritual culture in historical continuity and evolution, the scientist did not hesitate to take facts from various sources, clarifying the gaps of the past by observing the present, bringing together phenomena at the lower and higher levels of creativity, if they were caused by similar mental conditions (26).

Despite the outlined expansion of the source base of historical science, monuments of spiritual culture were considered a secondary type of sources, since they did not contain irrefutable facts in the views of professional historians. However, by the end of the 19th century, questions of spiritual culture had already begun to be considered within the framework of the history of Russian culture. This was evidenced by the publication of the generalizing works of P.N. Milyukov (27), who continued the traditions of the state-historical school, which also affected the coverage of the spiritual foundations of Russian culture. In domestic science "Essays on the history of Russian culture" P.N. Milyukov were the first experience of popular science description of the socio-cultural process. Each of the problems, such as: population, economic life, state and class system, faith, creativity, education, the author explored in the process of historical development. Like many positivists, Milyukov looked for an explanation of social processes in human nature, bringing them under the laws of biology and psychology. At the same time, he opposed the monistic view of history.

Milyukov considered the church and school to be the main factor in the formation of the spirituality of the Russian people. The results of the analysis allowed him to give an answer to the central question of the second part of the work - about the origin and the most characteristic features of the spiritual discord between the intelligentsia and the people. In the context of the problems of this dissertation, Milyukov's conclusion that pagan antiquity remained inviolable for a long time and for centuries coexisted peacefully alongside the official forms of the new religion. Dual faith was one of the features of Russian cultural history.

The materialistic concept of the history of culture, based on the Marxist point of view, was reflected in the works of G.V. Plekhanov. In Letters Without an Address, he wrote that he looks “at art, as at all social phenomena, from the point of view of a materialistic understanding of history” (28). Plekhanov believed that the material conditions of society's life are the source of the spiritual needs of the people. Therefore, the origins of folk culture lie in the utilitarian approach of people of a classless society to the world around them. In his works, Plekhanov put forward the thesis about the Asian nature of the Russian historical process, which, in the author's opinion, could not but affect the spiritual life of the Russian people.

The main plots of the work of M.N. Pokrovsky, written in line with the above ideas, are economic life as the basis of the cultural process in historical development. He established such a tradition of Soviet historiography as the study of the history of culture in the form of a set of its individual areas. At the same time, folklore stood out as an independent block within the history of the formation of the ancient Russian state (29).

Since the late 1920s, when, through the efforts of the new government, the concept of "spirituality" is replaced by the concept of "ideological", a different methodological attitude towards the study of Russian culture has been developed. The fundamental thesis was, according to the class principle, V.I. Lenin's position on two cultures in each national culture: the culture of the working people and the culture of the exploiting classes. Folklore, both in Soviet historical science and in other areas of national humanities of that time, began to be identified with oral folk poetry, where nationality was also interpreted from the standpoint of Soviet ideology, when only selected social groups - the "working people" had the right to "nationality" ... The bearers of folklore began to be exclusively the working masses, that is, the peasantry and the proletariat. Ultimately, all other social groups in society were denied the right to their oral tradition. Folklore was viewed as a simple reflection of the real folk socio-economic reality, without taking into account the methodological achievements of historical anthropology. Therefore, in the early 30s, the tradition of historical and cultural analysis of folklore in the context of spiritual and everyday life was seriously weakened, and the folklore of various eras was practically not perceived by Soviet historians as a historical source of the spiritual sphere of national existence. In particular, B.D. Grekov proposed to solve the difficult research task “to penetrate into the heart and brain of a Slav so far from us”, using folklore. When analyzing the inner world of our distant ancestors, along with archaeological materials and testimonies of ancient and Byzantine writers, the historian paid attention to the “remnants ,. those who remained to exist in fairy tales, songs, epics, customs ”(30). Unfortunately, Grekov himself did not turn to such an analysis, limiting himself to materials from foreign witnesses. As a successor of the state historical school in the Soviet version, the researcher preferred to use all the historical sources at his disposal for the typification and synchronization of all historical processes in Russia to the Western European vector (31).

As noted above, the majority of Soviet cultural historians considered folklore within the framework of a specific area of \u200b\u200bculture - literature, thereby, ignoring large layers of non-verbal folk culture. This approach is typical for a series of essays on the history of Russian culture (32). At the same time, these publications contain a number of valuable comments on the relationship between folklore and history. So in the book on the history of Russian culture of the Middle Ages in the essay by O.V. Orlova's "Literature" emphasizes that folklore has retained high popular ideals that are of enduring importance. For the proposed historical research, a comment about the broad typification of the historical process in the epic epic, about its abstraction from specific historical events (ЗЗ) is valuable.

Certain issues of folk art were touched upon in the works of Soviet researchers on the history of culture of different eras (34). A lot of interesting material about folk culture is contained in the talented works of A.M. Panchenko (35). However, a comprehensive study of folk art as a reflection of the spiritual life of the Russian people for a long historical time in the regional aspect has not been carried out.

Folklore of a later time, and especially Soviet folklore, for well-known ideological reasons, generally dropped out of sight, both of historians and folklorists. So in works on the history of Soviet culture, the problems of folklore in the USSR were replaced by a story about amateur performances, which was identified with folk art (Zb). As you know, in the XX century in our country the phenomenon of folklorism was finally formed, which fits into the requirements of the official ideology, as stated in the dissertation. To a large extent, the amateur performance of the Soviet period, which originated from amateurism in the popular environment of the 19th century, was placed under the control of the state, which was controlled and regulated. For well-known reasons, this problem was not raised in the studies of Soviet historians.

It should be noted that in Soviet historiography there were works devoted to questions of folk culture as an element of spiritual existence in different periods of Russian history. However, these studies dealt with individual historical periods and did not reflect the entire palette of the inner world of the people (37). In some cases, these studies had an ethnographic bias (38).

The historical study of folklore as an element of Russian spiritual culture was seriously influenced by the state of national folklore studies in the 1920s - 40s of the XX century. On the one hand, for her, as well as for Soviet humanities as a whole, dogmatism was characteristic of that period, when the study of the history and theory of folklore was certainly linked with the works of V. I. Lenin, K. Marx, F. Engels. In folklore, first of all, the class instinct of the masses, the mood of protest against the oppressors, was sought out. One of the prominent researchers of folklore Yu.M. Sokolov considered the main tendency of its development in the 40s as a line of “gradual mastering of the principles and methods of Marxism-Leninism.” (39). In this regard, pre-revolutionary scientists - F.I.Buslaev, A.N. Veselovsky, as well as researchers, whose work was an alternative to the vulgar sociological approach.

On the other hand, in those years preparatory work was carried out to generalize the history of Russian folklore and the history of folklore. These efforts were realized in a number of works published in the 50s (40). The Soviet period was also marked by a great collecting and publishing activity of folklorists (41). Along with this, pre-revolutionary collections of Russian folklore were republished - collections of A.N. Afanasyev, V.I. Dahl and others. The painstaking work on the collection of local folklore was carried out by researchers of the southern regions of Russia, which will be discussed below. All this folklore wealth, scientifically processed and systematized, is a valuable source base for historians who turn to the methods of historical anthropology, new cultural history, microhistory.

A significant contribution to the development of the history of folklore was made by Soviet linguistic scientists who worked at different times (42). In their works, we find valuable remarks about the nature of folklore, which, in turn, allows us to reconstruct the spiritual life of the people through a “linguistic turn” on the basis of a complex of historical sources, among which is folklore.

For example, in our opinion, Yu.M. Sokolov rightly noted that folklore cannot be reduced only to the concept of verbal poetry, since it does not cover the entire range of phenomena. It is impossible to distinguish between the facts of verbal creativity and other ways of artistic expression (gesture, facial expressions, dance, chant, etc.). The share of a cultural historian seems significant, as does the thesis that folk art is inextricably linked with a variety of manifestations of mental activity (43).

In the works of a later researcher V.E. Gusev, we find important for historical analysis considerations on the boundaries of the concept of "folklore" and the objective features of this cultural phenomenon (44). For us, it seems essential to him to divide the entire complex of practical and spiritual activities in the field of culture into two groups: aesthetically designed objects made of natural materials and products of spiritual production.

However, the most interesting for the historical study of the spiritual development of Russian society are the works of V. Ya. Propp and his followers. This interest is due to a number of circumstances. First of all, it is connected with the fact that, despite the accusations of “opposing the methods of Marxism-Leninism,” V.Ya. Propp managed to preserve his own vision of folklore, including as a historical phenomenon. He laid the foundations for a structural-typological analysis of monuments of folk art, which is extremely important for modern cultural history. In the 70s - 80s of the XX century, structural and semiotic folklore studies took shape, which allows the historian to understand the folklore source as the text of a certain sign system, as well as the historical and typological method, when folklore works are considered in the context of history and ethnography (45).

The book of the historian V.Ya. Propp and his associates are attractive also due to the fact that their understanding of the historicity of folklore came into conflict with the opinion of the venerable Soviet historians of medieval Russia. In particular, in order to understand the spiritual history of the Russian people through the prism of folklore, it is important to discuss V.Ya. Propp with academician B.A. Rybakov (46). The historian Rybakov, who devoted many years to the history of Russian culture, considered the epic epic "the most valuable source of native history." At the same time, he put a sign of identity between the chronicle and the epic and, thus, presented the information of the epics as concrete historical facts (47). In support of his theory, Rybakov carried out a factual comparison of the data of the chronicles and the epic, often resorting to stretching. Analyzing Rybakov's methodology, Propp reproaches the historian for the fact that, as a follower of the historical school, he is looking in folklore for a reflection of specific historical events and historical figures, current political history. Propp recognizes that the epic arises on a historical basis, but its historicity consists in establishing the era when the idea of \u200b\u200bthe epic was born, how it developed in other eras, was forgotten and revived again. The popular idea reflected not specific historical events, but age-old ideals. Thus, according to Propp, the epics reflect not a “one-act act of creation”, but a “long process” that reflects the historical will of the people.

It should be noted that this discussion was continued already within the historical community in the 80s. Opponents of B.A. Rybakov, this time I. Ya. Froyanov and Yu.I. Yudin (48). They object to the academician, who saw epic historicism in the reflection of ready-made historical facts, and consider the position of V.Ya. Proppa. Examining the Novgorod life, the drama of a medieval Russian family, Leningrad historians argue that historical phenomena and processes are reflected in folklore, and not specific events.

The historical context of folklore is also presented in the works of D.S. Likhachev. He introduces the concept of epic time of epics, as a designation of the conditional past, speaks about the main characteristics of folklore, among which is anonymity as a poetic feature of a folklore work, one-line character in the development of its action (49). These observations of the outstanding scientist help the historian to understand the state of spiritual life in the context of the folklore of the era under study.

In the first half of the 20th century, Russian scientists have repeatedly turned to questions about the general nature of culture. Their views make it possible to more accurately determine the methodological and theoretical principles of covering the history of the spiritual life of the people of the chosen region. First of all, it is necessary to turn to the legacy of M.M. Bakhtin, who offered the experience of phenomenological analysis of the personal and historical in culture (50). The subject of culture, according to M.M. Bakhtin, there is the only active formative energy, given not in a psychologically concentrated consciousness, but in a stably significant cultural product, and its active reaction is due to the structure of the image, the rhythm of detection, the choice of semantic moments. In creativity, the subject appears as a whole through the form of relationship to the event, through the form of its experience. The philosophy of culture was viewed by the followers of the phenomenological school as the basis on which the humanistic values \u200b\u200band principles of historicism are able to organically fit into the new worldview paradigm.

The new approach to the problem of the evolution of culture, which was formulated by P. Sorokin, boiled down to the fact that culture, like a living organism, arises, develops and dies. This philosophical concept allows you to look at world culture as a system consisting of a number of cultures, each of which develops at its own pace. The scientist distinguished systems of sociocultural phenomena of different levels. The highest of them forms systems, the scope of which extends to many societies (supersystems) ^ 1). These sociological constructions help the author of this dissertation to understand the social aspects of cultural development in the historical process.

A different understanding of the phenomenon of culture is based on the pulsating nature of the cultural process, where each era, being unique and peculiar, is included in the general course of evolution. This idea seems to be especially fruitful for the study of the history of the spiritual life of the people in general and for understanding the historical changes in the everyday layer of the folk culture of a particular local community in particular. No less important in the historical context is the view of the unevenness of the cultural process, in which rhythmic fluctuations are observed. At the same time, the stages of cultural dynamics are considered not as successively replacing each other, but as simultaneously existing in culture. At one time or another of its state, one of the potential opportunities is realized, the rest are in a latent form (52). The pluralistic image of culture is reduced to the denial of the completeness of the evolutionary process. Its course covers all cultural phenomena in all periods of history in limited areas of space. In this flow, each element acts on others, and those, in turn, act on it. The resulting combinations and syntheses of cultural elements represent a complex configuration. If there is a conflict with other parts of the culture, then the pattern can be rejected and removed from the general flow, as having no high cultural value. "If this does not happen, and other patterns of culture will contribute to its growth., Then this sample usually develops cumulatively in the direction in which it initially began to differentiate due to inertia" (53). These ideas allow us to consider one of the elements of spiritual culture - folklore - as an element of the system, experiencing the influence of the rest of the components of this system in the historical space.

In modern conditions, historians are increasingly turning to understanding not so much the processes as the subjects of these processes. Such an “understanding” history pays great attention to the actions, intentions, and semantic images of people who lived in a particular era. It is folklore that contains the mystery of human ideals and actions in relation to these ideals. Successful decoding of folklore texts in this context requires knowledge of both the achievements of social psychology and the psychology of culture and art. That is why we turned to the work of L.S. Vygotsky (54). The scientist clearly saw that the development of the human community is closely related to the restructuring of thinking and activity, therefore one of the fundamental issues in the study of the dynamics of cultural processes is the relationship between the biological and the social. Comparing mental functions, Vygotsky came to the conclusion that thinking owes its formation and development to cultural factors. The sociocultural environment forms and adds up all the higher forms of behavior, everything that in the development of a personality is built over elementary functions. The typology of cognitive ability and verbal thinking he developed serves as a key to the study of historical change and intercultural differences in thinking. In the course of mutations and selection, cognitive structures adapt to the realities of life. The evolution of the body follows typological shifts in the forms of culture. The “scissors” between the rate of cultural evolution and the rate of biological evolution indicate the formation of cognitive abilities in a culture-shaped lifestyle. The harmony of the biological, social and cultural nature of a person develops at the point of their joint development (55).

Research of the semiotic school is fruitful for the analysis of problems. Semiotic methods in analyzing the texts of folklore works, both verbal and otherwise, allow one to penetrate deeper into the thickness of folk culture, hear the folk voices of different eras, better understand their world picture, stereotypes of behavior, horizons of expectations. These views are reflected in the works of F. de Saussure, R. Barthes, K. Levi-Strauss and others (56). For example, Levi-Strauss, studying social and cultural structures, presented rituals, totems, myths as sign systems and revealed a plurality of cultural forms. The idea of \u200b\u200ba "new humanism" put forward by scientists, which does not know class and racial restrictions, created the conditions for the transition from the symbolic theory of myth to the structural one.

A special place in determining the methodology of the proposed research is occupied by the works of the head of the Tartu school of semiotics Yu.M. Lotman (57). For us, both its general provisions on the semiotics of culture and theoretical ideas about the development of culture in its various types are valuable, as well as individual ideas that directly relate to the methodology of specific issues of the proposed historical research. In particular, in the context of the cultural borderland of the Kuban population, his reflections on the border in the space of the semiosphere are of great interest (58). In addition, his works such as Oral Speech and Historical and Cultural Perspective, On the Function of Oral Speech in the Cultural Life of the Pushkin Era (59) help to choose a more accurate toolkit for analyzing folklore as a form of oral speech.

The author of the thesis studied a large layer of works of foreign humanities of the XX century, which investigate the phenomenon of culture (BO). This literature made it possible to clarify some methodological approaches to the history of the spiritual life of the Slavic population of the Kuban from the point of view of its folklore. Thus, in the works of L. White, attention is drawn to his concept of the evolution of culture and the ethnological and linguistic analysis of the culture of one of the Indian peoples (61). When identifying the place of culture in the historical process, the author of the dissertation also turned to the works of the American anthropologist A.L. Kroeber (62).

In the 70-90s of the XX century, the philosophical aspects of the theory and history of culture were actively and fruitfully studied by domestic scientists. With all the variety of concepts, philosophers are united in one thing: culture is a complex system that is a subsystem of being. The formulated priority directions in the study of the history of culture serve as a guideline in modern scientific research (63).

Contemporary Russian historiography is represented by a considerable number of works on the history of Russian culture (64). In addition to scientific interest and new methodological opportunities, this is due to the introduction of the discipline "Culturology" into the curricula of Russian universities. It is also worth highlighting the works of E. Yu. Zubkova (65), in which the author widely uses Soviet folklore as a source to analyze the spiritual atmosphere of those years.

However, among this diversity of historical and culturological studies, there is not a single one where the evolution of spiritual culture over several eras was considered on the example of the dynamics of folklore.

A significant section of the historiography of dissertation research is local literature. The history of collecting ethnographic material in the Kuban about the life, worldview and artistic work of the Cossacks began in the first decades of the 19th century. The administration of the Kuban Cossack army, the local intelligentsia, and the clergy were involved in the work, which was led by the Caucasian Department of the Imperial Russian Geographical Society. The first historical and ethnographic description of social and family relations, upbringing, household items was made by I.D. Popko in the book "Black Sea Cossacks in Civil and Military Life" (66).

A large group is made up of historical and ethnographic materials dating back to the 70s of the XIX - early XX centuries, in which almost all genres and types of folk art of the Kuban are presented. A variety of themes, artistic images, poetic techniques, a bright colorful language characterize this layer of folk art culture. On the basis of a comprehensive program of statistical and ethnographic description of the populated areas of the Kuban region, a richest collection of information on the cultural history of the region was collected (67).

The first attempts at an analytical approach to songwriting are found in the publication by E. Peredelsky, published in 1883 (68). Striving for the most accurate description of the song heritage, the author described the local manner of performance and folk instruments, developed a classification of everyday and ritual songs. The collector managed to record more than a hundred verbal and musical texts, many of which are unique.

The historiography of the spiritual life of the Kuban people includes "placers" of F.A. Shcherbins in a two-volume essay "History of the Kuban Cossack Host", containing extensive information about the customs and interethnic interaction of the Kuban people (69). In general, the pre-October historiography created a positive image of the Cossack, in which traits of passionarity, piety, loyalty to the Fatherland and the throne are seen.

If before the revolution and in the 1920s, individual enthusiasts from among amateurs, scientists and representatives of creative professions were engaged in the collection and systematization of folk art, then in the 30-50s the collection and generalization of the monuments of the traditional culture of the Kuban became centralized and managed (70) ... The result of ethnographic collecting work was the creation of complex works. For example, following the results of an ethnographic expedition undertaken by employees of the Institute of Ethnography of the USSR Academy of Sciences and Moscow State University in 1952-1954, a collective monograph “Kuban Cossacks. Ethnic and cultural processes in the Kuban "(71). The study revealed a pronounced dynamics of the traditional culture of the Slavs of the Kuban: the share of authentic cultural forms decreased, they were replaced by organized leisure.

In the 60s and 70s, a revival of local history began in the country. There were historical studies about the Kuban. At the same time, gathering and research activities in the region became noticeably more active. The richest traditions of choral performance are discussed in the monograph by S.I. Eremenko "Choral Art of the Kuban" (72). The chronological range of the study spans nearly two centuries and contains valuable information about the peculiarities of home ensemble singing, regimental song traditions, concert and performing activities of the Army Singing Choir and the choral movement of amateurs.

A significant contribution to the development of historical and musicological problems of the folk song art of the Kuban was made by I.A. Petrusenko, A.A. Slepov, V.G. Komissinsky, I.N. Boyko (73). The research of folk and stage choreography is the subject of the works of L.G. Nagaytseva especially those sections in which the transition of authentic dance into forms of stage choreography is recorded ^).

Since the late 1980s, and especially since the official rehabilitation of the Cossacks, the attention of historians, ethnographers, philologists, folklorists, art critics to the history and modern state of the traditional culture of the Kuban has increased.

Trends in the development and renewal of folklore are being successfully studied by the staff of the Center for Folk Culture at the Kuban Academic Cossack Choir. The research strategy is based on the methodological principle of the unity of all stages of the process (collection - archival processing - study - publishing). Along with the Kuban theme, problems of the ethnic and cultural history of the Don, Terek, Ural, Siberian and Far Eastern Cossacks are being developed (75).

Comprehensive coverage of the problems of authentic culture is presented at regional and international conferences. In recent years, a number of candidate and doctoral dissertations of a general theoretical and applied nature have been defended, monographs have been published on the customs and traditions of the Kuban and the ethnic history of the Cossacks (76).

At the same time, the issues of interaction of traditional culture with stage, secondary forms have not been sufficiently studied yet. As a rule, scientists are limited by standard time frames: the end of the XVIII - the beginning of the XX century. However, the history of the folk culture of the Kuban did not end with the revolution and civil war. In the 20th century, the historical and cultural process experienced a powerful influence of ideological, economic and integration factors. Secondary forms of folk art developed at a rapid pace, and many genres of authentic folklore were transformed. Comprehension of the dynamics and interaction of these two layers of culture makes it possible to identify their content aspects, the course of cultural evolution, the stability and adaptability of cultural forms to new realities.

The specificity of the dissertation's work is that the two ranges of analysis - the history of folk culture and folklorism as a secondary form of artistic production are not divorced, but are considered in aggregate and mutual influence. Turning to traditional culture as an integral part of the spiritual world from the standpoint of history is an objective social need. It is caused by the ever-increasing disintegration of the spiritual and cultural climate of Russian society under the onslaught of Americanized globalism, ousting traditional indigenous values, aggressively imposing a style of behavior and thinking that is unusual for Russians. All this requires the improvement of modern cultural policy, the effectiveness of which directly depends on the use of scientifically based ideas. In addition, the study of folk culture as a basic element of the spiritual life of the Slavic population of the Kuban over the past two centuries is still at the stage of its formation. This phenomenon is practically poorly studied, and there is clearly not enough special work.

To exclude ambiguity in the interpretation of the basic concepts that we will operate in the dissertation, we will express our position on this matter. The key ones are, first of all, “spiritual culture” and “spiritual life”. The first concept, and this should be emphasized, includes the connection between spiritual and material production, their mutual influence and interpenetration; the process of creation, transmission, consumption and functioning of spiritual values. Based on this, spiritual culture can be defined as a historically conditioned set of material and spiritual values \u200b\u200bcreated and created by mankind in the course of its life.

The main elements of spiritual culture include:

The system of philosophical, political, economic, aesthetic moral, pedagogical, religious views of people;

Education as a spiritual influence;

Enlightenment and education as a way to spread knowledge;

Artistic culture (literature, professional art and folklore);

Language and speech as a means of communication between people;

Thinking;

Code of Conduct;

Lifestyle and everyday life.

Spiritual life manifests itself in the following basic forms:

In cognitive activity aimed at understanding nature and human society;

Value orientation (choice, preference, assessment);

In practical activities;

In the communication of people in everyday life, in the process of production and leisure.

The spiritual life of a true Christian is based on love, justice, mercy, and faith. The Orthodox faith is the basis of the spiritual culture of all East Slavic peoples - Russians, Ukrainians, Belarusians, a historical form of spirituality, in which the highest artistic, ethical and aesthetic values \u200b\u200bare accumulated. Combining elements of pagan and Christian culture, folk culture to this day ensures the spiritual continuity of successive generations in all spheres of their lives. Spiritual life requires inner efforts and labor from a person.

The basic categories include the concept of "ritual", in which we see a certain stereotype, a form of human behavior that has a sacred and mythological meaning. Behavioral ritual is characteristic of animals, but for animals it is an instinctively given motor skills, while the ritual performed by a person is filled with ideas, images and fantasies. The evolutionary meaning of ritual behavior is determined by repeated actions, rhythm and accentuation of movements. For ritual behavior, symbolism and communication are required.

A simpler type of cultural regulation can be considered customs, which are formed on the basis of holistic and habitual patterns of behavior performed on a set occasion at a certain time and in a certain place. The concept of custom includes behavior that all members of the community adhere to under all circumstances. Violation of a custom can lead to sanctions ranging from disapproval to various forms of punishment. A custom fulfills the function of a mandatory pattern of behavior and can be both positive and negative.

The customs performed in a certain place and at the right time for one reason or another are usually denoted by the concept of "rites". Rituals are more formalized than customs and are associated with the performance of certain magical actions.

The purpose of the study is to analyze the traditions and dynamics of the folk culture of the Slavic population of the Kuban as a basic element of spiritual everyday life, and secondary forms of cultural practice that are in interaction and mutual influence. This approach involves the study of value-normative ideas, representations, methods of symbolic and substantive-material embodiment that took place in different periods of the cultural history of the region. These essential components of spiritual culture allowed the ethno-cultural community to recognize itself as an integral organism and maintain its identity for a long time. For science, technologies of practical handling of values, symbols, meanings, forms of their maintenance, renewal and transmission from generation to generation are also important. In this context, bearers of spiritual traditions acquire their methodological status. The organic connection between the value-normative system, forms of functioning and social transmission within the framework of a specific ethnocultural organization makes it possible to see the transformation of spiritual culture as a constantly flowing and unfinished process, accompanied by a change in cultural paradigms and the technology of their implementation.

Research objectives: 1. To reveal the role of the Russian Orthodox Church in the organization of the spiritual life of the Slavic population of the Kuban.

2. Describe the multifunctional nature of traditional culture and the mechanisms for the transfer of cultural experience.

3. Determine the historical boundaries of the existence of Kuban folklore and folklorism, analyze the reasons for the transformation of regional traditions of folk culture in connection with the evolution of society.

4. Study cultural forms, social base and trends in their preservation and improvement.

5. To comprehend the qualitative changes that have taken place in the spiritual culture of the Slavic population of the Kuban over the past two centuries.

6. Formulate ways to preserve the cultural specificity of the region in the context of integration and globalization.

Source base of the study. In the course of the work, a huge number of documents were found, which were selected and classified by us according to the degree of adequacy, reliability, reliability and accuracy of information. They included:

1. Materials of general office work: circular decrees, reports, memos, reports, petitions, instructions, reports of clergy and local authorities. We used documents extracted from the funds of the Russian State Historical Archives (RGIA), the State Archives of the Krasnodar Territory (GAKK), the State Archives of the Stavropol Territory (GASK) (77). These include materials on the establishment of the Russian Orthodox Church in the Kuban: legislative and administrative acts of the Holy Synod and the diocesan authorities on the main stages and features of church administration in the region. Of particular interest to researchers are the reports of clergymen on the state of religious and moral education of the civilian population and in the army, on the number of Orthodox Christians and schismatics among the civilian population, on the protection of ancient monuments, and statistical information on the diocese. A wide layer of the history of spiritual culture is presented in acts and materials on the establishment, construction and management of monasteries, the participation of pastors in enlightenment, missionary activity, social care and the health of parishioners.

2. Documents from the archives of the Krasnodar State Historical and Archaeological Museum-Reserve named after E. D. Felitsin (AKGIAM): diaries of ethnographic expeditions, inventories, catalogs, reports on the history of the material and spiritual culture of the Slavic population of the Kuban (78).

3. Archival documents of local cultural bodies of the Soviet period: copies of circulars, information on the work of folklore groups, methodological developments (79).

4. Folklore texts contained in handwritten and published collections of folklore collectors (80).

5. Historical and ethnographic materials collected in the Krasnodar Territory by employees of the Institute of Anthropology and Ethnography of the Academy of Sciences of the USSR (30s), Institute of Ethnography. N. Miklukho-Maclay (50-60s), Moscow and local workers of literature and arts (81).

6. To obtain an exhaustive description and recreate an objective picture of the past and present state of folk culture, we turned to living people - bearers of folklore traditions. Field material was recorded by a dissertation candidate in various territorial zones of the Krasnodar Territory (82).

7. Personal documents: diaries and memoirs, reproducing events and facts of the history and culture of the region (83).

8. Periodicals with correspondence on the cultural heritage of the Kuban. First of all, it should be noted, publications in "Kuban regional vedomosti" and "Kuban Cossack Bulletin" for the period from 1868 to 1917, central and local publications and abroad.

9. Phonetic sources (tape and video recordings), iconographic materials (drawings, reproductions, photographs).

The scientific novelty of the research is as follows:

1. For the first time on the basis of an interdisciplinary integrated approach, a special study of folk culture and its secondary forms as part of the spiritual life of the Kuban Slavs has been undertaken.

2. The chronological framework of the study has been expanded (late 18th - 20th centuries), due to the specificity of the formation of the cultural space on the territory of the Kuban. The author's concept of the stage-by-stage transformation of folk culture allows for a new interpretation of the history of the origin and development of authentic and secondary forms of spiritual production.

3. The reasons for the dynamic shifts in folk culture, typical for certain periods of the region's cultural past, have been determined. It has been proved that changes in the structure of traditional folklore and its interaction with folklorism are associated with the influence of the external environment and processes occurring within the system.

4. The dissertation for the first time formulated a systemic idea of \u200b\u200bthe originality of the Slavic branch of regional folklore as a basic component of the spiritual life of the Cossacks. The use of scientific data obtained by the author made it possible to critically rethink a number of fundamental issues related to the worldview context of folk culture, the classification of genres and types of folklore of the Kuban Slavs, which does not exist in such a full volume.

5. Theoretical foundations have been developed for qualifying the traditional culture of the Kuban as a subculture of the East Slavic peoples - Russians, Ukrainians and Belarusians.

6. The main stages of the formation, formation and development of folk art over the past two centuries have been reconstructed.

7. Shows the mechanisms of transfer of cultural experience, social base and trends in the preservation and improvement of cultural forms in certain historical periods.

8. Numerous archival data, folklore sources and field materials of the author were studied and introduced into scientific circulation for the first time. With their help, the facts of the cultural history of the region, especially of the Soviet and post-Soviet periods, were clarified and interpreted.

This is the first generalizing work that has no analogues in Russian history.

The author sees the practical significance of the dissertation in the possibility of using the ideas and conclusions obtained during the study, when modeling the strategy for the development of the culture of the region, in improving the activities of centers of national cultures, departments and scientific and methodological centers of culture and art.

The materials of the dissertation are the basis of the basic training course "Folk Artistic Culture" and special courses "Folklore of the Slavs of the Kuban",

Modern festive and ceremonial culture of the region "," Folklore theater ". These subjects are included in the federal and regional components of the curricula of the faculties of traditional culture and socio-cultural activities of the Krasnodar State University of Culture and Arts and are used in the training of leisure managers and creative specialists - leaders of amateur choirs, ensembles of folk instruments, and folk arts and crafts studios. New archival documents, first introduced into circulation, and the author's field material will help scientists, graduate students, students, local historians, ethnographers, museum workers to better understand the specifics of the historical and cultural past of the region.

The main provisions for defense: 1. The spiritual life of the Kuban Slavs in its origins was determined by Orthodox beliefs and traditions of folk culture, in particular, by authentic ritual and extra-ritual folklore.

2. The specificity of the Kuban Slavic folklore, the basis of which was the cultural traditions of the Cossacks, was formed under the influence of the military-territorial structure, class affiliation, historical experience, geographical and natural conditions. Authentic folklore, reflecting the deep processes in the individual and collective consciousness, ensured the integration of the subjects of cultural life, created the preconditions for the perception of the past, present and future, and acted as a means of universalizing ideas.

3. With the formation and historical existence of local communities within the territorial, intercultural and polyethnic space, qualitative changes took place in authentic folklore. This process was of a phased nature.

The beginning of cultural genesis was determined by the needs of the population in preserving and maintaining the traditions of the metropolises. In the type of personality of the Cossack, the inherited religious and cultural forms of ancestors-warriors and farmers were organically combined. The energy of preserving the cultural heritage was concentrated in traditional beliefs, customs and ceremonies, musical, choreographic, verbal, game genres, in folk arts and crafts. The completion of the first stage coincided with the end of hostilities in Trans-Kuban region and meant the onset of the limit in the qualitative restructuring of the nature of authentic folklore.

4. The second half of the 19th century was a time of active dynamic development of the subculture, constantly in need of innovation. The dominating feature of the Kuban Slavs was liminality - the need and ability to go beyond the limits of cultural traditions. The traditional folklore formed within the boundaries of the Cossack class actively absorbed the spiritual values \u200b\u200bof other ethnic and social groups. The decisive role in this process was played by new "countercultures" - youth, women, Cossack foremen, and the intelligentsia. This stage was marked by the expansion of the genre-specific composition due to the parameter "area" and "quality". Embracing various forms of cultural creativity, folklore was a self-organizing and developing system in the historical process, each element of which took its definite place and was in interaction with other elements. A stimulating role in this was played by primary education, books and newspapers, the breaking of class barriers, the introduction of new methods of management, changes in the structure and content of national leisure and everyday life. In the depths of authentic folklore, stage forms of folk art first formed and then emerged from it. The basis of folklorism was school institutions, holiday fairs, public and officer meetings, clubs. Folk theater, choral and instrumental performance have turned into mass forms of leisure. The replication of handicrafts, the expansion of urban fashion and the culture of neighboring ethnic groups hastened the process of transformation of folk traditions. New genres and forms of creativity have appeared: songs of literary origin, everyday dances with elements of secular and mountain dances, theatrical mass performances. At the same time, the genres of historical and round dance songs, calendar and family folklore began to fade away.

5. The third stage in the development of regional folklore began with the establishment of the power of the Bolsheviks in Russia. Already in the first decades, the artistic creativity of the masses was purposefully given an organized character. The performing arts were viewed by the ideologists of socialism as an effective way to control the mass consciousness. The development of amateurism and professional forms of art focused on folklore hindered the intervention of government agencies and the approval of uniform criteria for assessing the activities of amateurs and professionals.

6. At the fourth stage (60-80s), the evolutionary possibilities of the festive-ritual culture were exhausted, the sphere of existence of non-ritual folklore was reduced. The transformation was accompanied by further destruction of the semantic core, weakening of the functions of recreation, reproduction and translation of authentic folklore.

At the same time, the modernization of the rural and urban socio-cultural environment, the shift in the transmission mechanism of folklore traditions towards indirect contacts (printed matter, radio, television) have intensified the search for and introduction into everyday life of the lost forms of folk art. Original handicraft products, collecting, stage forms of creative embodiment, which allowed to show individuality, were in demand.

7. The last, fifth stage in the dynamics of the system came in the 90s of the XX century. Catalysts on the border of interaction between traditional folklore and

RUSSIAN STATE LIBRARY The external environment was caused by the processes of globalization, urbanization, the influx of migrants and, as a result, the violation of the ethnic balance in the territory of the region.

8. The system of authentic folklore strives for maximum sustainability. The ability to self-restructure is possible on condition of non-interference in the mechanisms of its functioning, as well as providing the bearers of folklore traditions with complete creative freedom.

Approbation of work. The main provisions of the dissertation were discussed at regional and university conferences, published in central and local publications, as well as outside Russia - in Ukraine and the USA. The results of the research are reflected in the monographs "Folklore of the Kuban Slavs: a historical and cultural analysis", "Folk culture of the Kuban Slavs (late 18th - early 20th centuries)," The history of the formation and development of the spiritual culture of the East Slavic population of the Kuban. Scientific and methodological materials are presented in the book "Scenic forms of Kuban folklore", tested in the work of amateur and professional groups of the region.

Structure and scope of work. The dissertation consists of an introduction, four chapters, 14 paragraphs and a conclusion, provided with notes, a list of references and sources of 505 titles and an appendix.