COMPETITION-FESTIVAL PRACTICE IN VINNICHCHINA UNDER THE CONDITIONS OF MARITAL STATE (2022-2024)

Abstract

The purpose оf the article is to analyze and study the peculiarities of holding festivals and competitions in the Vinnytsia region under martial law, to identify their impact on the cultural development of the region, the preservation of cultural heritage and the support of the moral spirit of society, as well as the adaptation of cultural activities to new extreme conditions. The research methodology is based on a systematic approach, as well as on the application of analytical, cultural, and comparative methods, which helped to comprehensively highlight the outlined issues and obtain relevant intelligence results. The research is conducted under martial law, which is a new social and political context for the cultural activities of the region. The novelty is contained in the analysis of the mechanisms of adaptation of cultural and artistic events, formats and methods of their implementation in the conditions of war, including the use of online formats, hybrid models and new methods of ensuring the safety of participants. Attention is paid to how festival-competition events contribute to the maintenance of the moral spirit of society, contribute to cohesion and the preservation of national identity in times of crisis. In the time of danger, which was the war started by Moscow against Ukraine, cultural and artistic events became a kind of symbol and example of the strength and indomitability of the people, faith in victory. One of the effective cultural tools was the festival-competition movement, which was actively used in Vinnytsia region. Despite the difficulties of an objective nature, the pre-war tradition of organizing events of various levels and statuses, from international to district, was continued here. At the same time, events at the international and All-Ukrainian levels prevailed quantitatively thanks to the support of state institutions, public organizations, and foreign partners. It was found out that in Vinnytsia they supported the tradition of organizing musical, choreographic, folklore, theatrical, literary and artistic, film festivals, festivals of national cultures, and visual arts. In view of the danger, the organizers changed the format of the events: they offered remote forms of participati

on, mixed formats or offline in new safe locations. The program of events underwent adjustments: from a reduction of events within the project to an excess of proposals compared to pre-war times. All events, without exception, had national and patriotic features: in slogans, names of events, content of programs, performances of participants. Often the events were declared charitable, the funds were directed to support the army. The statistics of visits to cultural and artistic events and reviews eloquently testified to the importance and expediency of their holding.