FOLK DANCES AS EMBODIMENTS OF ARCHETYPAL IMAGES IN INSTRUMENTAL MUSIC BY UKRAINIAN COMPOSERS

Abstract

The article offers an approach to folk dances from the perspective of archetype theory. The theoretical base is based on the classic work of K. G. Jung “Archetypes and the Collective Unconscious”, the provisions of which are supplemented by the ideas of the modern researcher M. Severynova (archetype as co-existence). The purpose of the article is to problematize the archetypal meaning of folk dance in the system of professional creativity of Ukrainian composers of the 19th century. The novelty consists in expanding the interpretation of the semantic space of Ukrainian folklorism of the 19th century by establishing a semantic correlation between the folk dance and the archetype as the content of the collective unconscious. Analytical-typological, historical-cultural, systematic research methods are used in the article to achieve the formulated goal. The conclusions emphasize that the archetypes of a certain culture are embodied in fairy tales, myths, folklore, and find their expression in professional art. They have various forms of manifestation as a result of transformation into archetypal images. Most simply, they are revealed through words and visual images, but folk dances, as an accumulation of collective experience, can also appear as archetypal images (having physical and sensory features in the form of typological genre features). The reproduction (or citation) of folk dance in the works of Ukrainian composers of the 19th century was of great importance in the context of national revival, performing the functions of existence and “eternal return” on the axis of time to the root — the genetic matrix of culture, which ensures the existence of the people and the endurance of the cultural tradition in changing historical and social context. Such a view of the appeal to folklore significantly expands the horizons of folklorism as a sign of professional musical creativity of the 19th century.