Songs, round dances, ditties, riddles and poems - such was the Friday evening at TsNTiPK. The hall of the Center for Folk Art and Advanced Training became the site of the concert event "There are villages in Sysol: Kuratovo", which took place today within the framework of the Days of Culture of the Sysolsky District.
In 2021, Kuratovo celebrates its 435th anniversary. “The village has a glorious history and, I am sure, has a great future,” Andrei Batishchev, acting head of the administration of the Sysolsky municipal district, said in his welcoming speech. He also congratulated Galina Stodolskaya, Honored Worker of Komi, Honorary Worker of Culture of Komi, on the anniversary, noting that the region and the republic are based on such highly qualified specialists.
Syktyvkar residents, guests of the event, plunged into the life of the outback, going on a virtual trip: they made a video tour of the village of Kuratovo, looked into the Museum of literary heroes of Ivan Alekseevich Kuratov. The mood was set by wonderful artists: the folklore group “Söstöm Yol”, the vocal group “Ezys kodzuv” and the young talent of Sysola - the reader Viktoria Parnacheva. Participants of creative teams and a literary hero - a strong man and a daring fellow Ölösh German played games with the audience: "Korösas" ("With a broom") and "Litigation on a stick".
The main wealth of the area, of course, is its inhabitants. There are many among them who glorify their native villages. The fact that the village of Kuratovo is a literary land was told in a separate thematic block. Here, in the village of Kibra, which years later was renamed the village of Kuratovo, was born the founder of Komi literature, researcher of the Komi language, linguist and translator Ivan Alekseevich Kuratov. The first professional Komi writer Nina Nikitichna Kuratova - People's Writer of the Komi Republic, Honored Worker of Culture of Russia and Komi - was also born and now lives in the village of Kuratovo. The village is also glorified by other famous personalities: journalist Vitaly Kuratov, Honored Scientist of the Komi ASSR Alexander Kichigin, the first Komi geological engineer Ivan Popov, artist - creator of a cycle of paintings on birch bark Yuri Chikarin, Honored Artist of Russia and Komi Alexandra Kulikova.
At the end of the program, Natalya Durneva, Head of the Department of Culture of the Administration of the Sysolsky Municipal District, made a speech and thanked the hospitable hosts - the Center for Folk Art and Advanced Training - for the welcome and assistance in organizing and conducting the evening. In response, and. ... Elena Gracheva, director of the Center for Folk Art and Advanced Training, thanked the artists of Sysola and the entire creative delegation of the Sysolsky District for their bright participation in the festival "Days of Culture of Municipalities of the Komi Republic in the city of Syktyvkar."
Operator of the festival "Days of culture of municipalities of the Komi Republic in the city of Syktyvkar" - the Center for Folk Art and Advanced Training. The festival is implemented with the support of the Ministry of Culture, Tourism and Archival Affairs of the Komi Republic.
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Until now, many Komi craftswomen from the families of Izhma reindeer herders are fluent in the art of processing skins and decorating fur products. With extraordinary speed and dexterity, they manually make fur mosaic patterns complex in composition, only occasionally using templates (fur blanks, cardboard samples or drawn pattern patterns) to decorate modern short fur shoes (burok). In the manufacture and decoration of fur products, the Komi, Nenets and Ob Ugrians use the same techniques according to the technological tradition. However, the Izhma Komi, as a rule, decorate only fur shoes, traditional women's handbags, and, less often, children's malitsa, with complex applique work. Ethnodifferentiating features in traditional technology include, in particular, the process of making threads from reindeer veins for sewing fur products: the Khanty twist them on the cheek, and the Nenets, like the Izhma craftswomen, on the knee. Deer fur varies depending on the age of the deer and the season of slaughter. Children's malitsa are sewn from "neblyuy" - the skin of a one-year-old deer that has faded in July, with an overgrown pile. The pile should not exceed the thickness of a finger. The reindeer herders are watching, passing the pile through their fingers. If flush with your fingers, you can hammer. The skin goes to the base of the malitsa and the edge of the hood - "vomdor". "Pandas Vol" - the skin of a one-year-old deer that has just faded with a smooth pile. Necessarily dark in color. Reindeer breeders are looking to not miss the moment and slaughter a reindeer specifically for making the hem of a malitsa (iz. Panda). "Pyzhik" (izh. Pezhgu) - thin shiny skins of newborn deer, slaughtered in May, immediately after birth, is used for the back of the hood of a malitsa (izh. Syum). Deer slaughtered in the fall (iz. non-spitting) gives a thick skin with dense smooth wool, from which malitsa, parkas, lipty (fur stockings, repeating the shape of pims) are made. A double-layer hem of the malits and its decorations are sewn from it - fur stripes of a contrasting color. Elegant parkas are usually sewn from white non-biting (iz. Nyarov, don nyarov), while the decoration of the parks on the hem is horizontal stripes of fur (iz. Sod). The larger and thinner the stripes on the hem of a malitsa or parka, the more elegant fur clothing is considered. Sometimes the number of bands is up to twelve. For the manufacture of shoes and bags, skins from the legs of deer of autumn and winter slaughter are used - kamus (izh. Kys). Fur bags are made from the skin from the head of a deer (iz. Lӧb) in combination with kamus - a cloud and a patko. Camus of various colors was also used to decorate shoes and bags with fur mosaic patterns. Elegant pimas for men are sewn from black fur or from black with white stripes on the sides along the full length of the pims. In the lobe seams of the pim, red and yellow stripes of cloth (iz.noy) are skipped, they also create a pattern in the front part, which is a geometric abstraction with a predominance of lobe stripes, which above and below the knees are interrupted by patterned strips consisting of transverse stripes of fur with alternating jagged stripes of colored cloth. This pattern continues to the toe and flows down the sides to the heel. The two front stripes, tapering downward, are called in Izhemsk "mug ser" (from Russian - face pattern, mask), and the two subsequent stripes on the sides are called "mug side". Pieces of fur in the form of oblique wedges, sewn between the face and the front of the pim, bear the Nenets name - hartyuda / hartyodo. Women's pimas differ from men's only in that they are more often sewn from white fur with a dark "slipper", i. With a "head" and dark stripes along the entire length of the pim, as well as more subtly and gracefully decorated. A distinctive feature of the decoration of female pimas is a triangle or "corner" (Izh. Wodz piek, literally "son"), which ends the front ornamental strip, tapering towards the bottom. The female pimas are characterized by more varied geometric patterns, composed of both multi-colored pieces and strips of fur, and horizontal stripes of bright multi-colored cloth, carved with cloves. On the female pimas, the patterned horizontal stripes of colored cloth are slightly lower than on the male pimas, "so that you can see better from under the hem of the malitsa." At present, short fur cloaks with felt soles have become widespread in the life of the Izhma reindeer breeders. Burka is decorated relatively richer: in addition to the usual vertical and horizontal stripes that emphasize the cut of the pim, an ornamented square or triangle is sewn into the front stripe of the burka. The ornament consists of simple elements in the form of corners, zigzags, triangles in various combinations or individual figures. There are figures of "deer", "deer head", "deer antlers" both in a realistic interpretation and stylized into ornamental compositions. For an adult, the Izhma reindeer breeders consider the most beautiful cloaks made of black fur, “if the color is brown, then the owners have a very bad deal with the reindeer”. The most valuable among the Izhma reindeer breeders is considered to be black fur (izh. Sӧd) fur. The traditional high pimas of the Izhma Komi are somewhat different in cut from the Nenets ones - they are slightly narrowed at the calves and in the feet, their decor is stricter and more laconic. Izhma and Nenets reindeer breeders easily distinguish footwear, like other fur clothes, not only of different ethnic groups, but also their local variants. As a rule, Nenets pimas are distinguished by a multitude of small decorative stripes that emphasize the cut of the pimas, which are richly ornamented with a ribbon ornament. In reindeer herding villages in the NAO and YNAO, where the Komi and Nenets live together from the 20-30s. XX century, there is a noticeable process of unification in the cut and decoration features of everyday fur clothing. So, for example, “today in reindeer herding brigades on the river. Pur Nenets never wear traditional yagushki, and just like men, everyone walks in Komimalitsy ”(recorded in the village of Amburg on the ur river, Yamalo-Nenets Autonomous Okrug, Tyumen Region, August 2016). Indeed, comparing working malitsa among modern Nenets and Komi reindeer herders, it is quite difficult to visually notice any significant differences, since they have a common not only cut, but also ornamental decor. It is curious that in the Samburgskiy tundra there is a process of “secondary” or indirect borrowing of fur clothing by the Nenets from the Komi, who themselves had previously adopted the tradition of sewing malitsa and decorating fur shoes from the Nenets of the Bolshezemelskaya and Malozemelskaya tundras, making certain changes / improvements in the cut of these products. According to modern residents from the village. That is, before the arrival of the Izhma Komi to the Kaninskaya tundra, the local Nenets population was not characterized by dressing: in particular, there was no tradition of ornamentation with strips of multicolored cloth for fur clothes and shoes of reindeer breeders. The Nesinsky Nenets say that their ancestors "adopted all the best in the cut and decoration of fur clothing in the manner of the" Izhma fashion "(Izh." Izva modӧs ")". (written in p. es, Zapolyarny District of the NAO, Arkhangelsk Region, September 2019). From an aesthetic point of view, traditional bags of reindeer breeders, ornamented using the technique of fur applique, which were used in nomadic life to store clothes and women's handicrafts, are of great interest. Bags differ in size and decorative trim, but they are all the same in cut, starting from a small bag - a cloud and ending with large fur trunks - patko (iz. Kӧmkot patko - bag for shoes; paskӧm patko - bag for clothes). A traditional bag is sewn from two pieces of semi-oval fur that make up its lateral sides. They are connected using a wide strip of plain or dyed suede or leather. The width of the bag depends on the size of the pieces of fur, the thickness depends on the width of the suede strip. The cloud is sewn from two deer "foreheads" connected by a wide strip of leather. According to L. Gribova, with their "design" the cloud in many respects repeats the birch bark back bodies of the Vychegda and Sysolsk Komi with the only difference that the first ones are made of soft material. One or two needles are usually sewn to the upper lateral part of the cloud (iz. Em vidzan) - elongated pieces of fur folded in half (from the deer's forehead) on a cloth lining or a cloth “eyelet” (izhnaya pel). Also, a koposhka, a thimble and other bone tools for women's needlework, less often metal objects, are tied to the top of the bag with leather laces. According to L. Gribova used much less ornamental motifs in decorating fur bags among the Izhma Komi than in the fur mosaic of the Nenets and Ob Ugrians. In addition to simple elements in the form of checkers (squares), "triangles", "rhombuses", "zigzag" and "herringbone", mainly three motives were used: "simple head", "antlers" and "duck's foot" in various variations. Stylized motifs of "birds" and "birch bush" are less common. Large fur bags (iz. Patco) are most often decorated on one side with a large mosaic pattern made using the technique of fur applique from pieces of fur in contrasting colors. The fur mosaic of the Izhma Komi is characterized by a combination of two main shades of fur - dark brown (izh. Nedey) and white (izh. Nyarevei). The ornamented side of large fur bags is trimmed along the entire semi-oval with a patterned border with a clear graphic pattern of a ribbon ornament. This ornament is an ornamented border made in the following technique: two long strips of fur (kamus) of two contrasting colors (dark and white) are folded together with the pile inward, after which a geometric pattern is cut out along the entire length of the fur with a sharp knife. The result is two ornamental stripes of white and two of a dark one. Then a dark fur ornament is inserted into the neckline of the light fur, and vice versa - a pattern of the light one is inserted into the neckline of the dark fur. Between the seams along the contour of the pattern, one or two strips of multi-colored cloth or suede are often skipped. The result is a ribbon consisting of two stripes of the same type of ornament, sewn into one stripe in such a way that the same ornamental motifs of different colors are to each other in relation to antipodal symmetry. According to L. Ribbon, a distinctive feature of the ribbon ornament of the Izhma Komi is the predominance of symmetrical geometric figures in it, while asymmetric compositions are characteristic of the ornamental compositions of the Nenets and Ob-Ugrians. As a rule, small fur bags (cloud), which are sewn from two frontal parts of deer skins (izh. Kӧr lӧb), are more exquisitely decorated by Izhma Komi craftswomen. The size of a cloud is usually about 18–32 cm vertically and 12–17 cm horizontally, which corresponds approximately to the size of a deer's forehead skin. The wider frontal part of the hide is trimmed in a semicircle, the nose is trimmed straight. In an inverted form, such a skin makes up the “front” (iz. Lӧb surӧma) side of the bag. The "nasal" part of the deer's frontal skin in the decorative composition on the cloud is called "heart" (izh. Sӧlӧm). Often bags are made of “foreheads” of different colors, decorated with ornaments in contrasting colors. Natural cut of the eyes - the eye sockets are sewn up with the inclusion of strips of a contrasting color in relation to the skin or ornamental ribbons with a simple toothed pattern. The upper part of the bag is decorated with one or two ornamental borders. Sometimes an elongated oval or a semicircle of the "forehead" is framed by a strip of small ribbon ornament with a "tooth" or "simple head" motif. Between the strips of fur in the seams, multi-colored edges of cloth of bright colors - red, green, yellow - are skipped. Along the main structural seams of the bag, a leather or suede fringe (il. Sticky) is sewn in - natural (beige) or red; at the ends of the fringe, evenly trimmed hooves from the skins of newborn deer (il. waving a specific sound. The above-described group of clouds and patko of the Izhemsk Komi is in many ways similar in cut and decor to the Nenets fur bags. However, up to the present time, craftswomen from families of reindeer herders in the NAO and YNAO easily distinguish between the specifics in the ornamental tradition and the sewing technique characteristic of the Izhma Komi and Nenets. So, according to the Nenets craftswomen from the village. amburg on the r. ur: “For Zyryans, the ornament on fur products is smaller, while for the Nenets, various elements of fur applique are much larger and the ornament itself is larger. At the same time, in Zyryans, the seams on the fur applique are sewn more carefully, with smaller and more frequent stitches. Nenki sew with looser stitches. " It is interesting that similar features are noted by the Izhma Komi themselves in the Bolshezemelskaya tundra: “the Nenets have more complex patterns on fur clothes and shoes, but very rough, careless seams, and a Komi woman on the inside of a seam on fur clothes can always easily identify - a hardworking craftswoman / the daughter-in-law has come to the house or not ”(recorded in the village of Aratayka on the Yangarei River, NAO of the Arkhangelsk Region, August 2015). Nenets craftswomen call the "Komi ornament" (Nenets. "Nysma madava") - the decor of fur shoes, made with thin inserts of multi-colored cloth at the seams on fur shoes, as well as alternating lines of fur of a contrasting color on the hem of the malits (Izh. "Gray pandas malich "). Even the Komi craftswomen themselves note that: “the Zyryans do not have such a complex fur ornament as the Nenets, only stripes of colored cloth” (recorded in the village of Amburg on the ur river, Yamalo-Nenets Autonomous Okrug, Tyumen Region, August 2016). Therefore, the Nenets of Malaya Zemlya say this: "... there is absolutely no ornament at the Izhma Komi - only colored stripes on shoes, but lines on the hem of the malits." According to the testimony of modern Komi craftswomen, in contrast to the Nenets, in decorating fur bags (cloud, patko), in families of Komi reindeer herders, women, as a rule, did not use patterns - patterns for ornament. “Living in a chum, each woman tried to invent a pattern herself so that it would not look like fur products of women from other families. It was considered indecent to repeat the ornament exactly by the neighbors ”. In cases where Komi craftswomen still use stencils for a very complex fur applique, they, as a rule, easily share and exchange similar patterns for application with relatives, neighbors and acquaintances (probably, being confident in the creative, individual style of sewing of any Komi craftswoman) ... On the contrary, in the tradition of Nenets craftswomen until now it is believed that it is forbidden to give someone outside not only the tools for sewing, but their ornamental patterns, since a negligent craftswoman can damage: “the skill can be lost and then you will sew a malitsa with a crooked head and pimy "(recorded in the village of es, Zapolyarny district of the NAO of the Arkhangelsk region, September 2019). Unlike Nenets craftswomen, Komi women are more inclined to make certain changes in the traditional technology of cutting and decorating fur clothing. So, for example: children's malitsa along the hem from the inside are insulated not with reindeer fur, but with cuts from old plush fur coats; they can put on over a children's malitsa an owl made of the fur of a one-year-old deer - a "calf", the skin of which - "bed" - is traditionally used for making suede, etc., which, at times, causes bewilderment and even ridicule from the Nenets craftswomen. Only in the design of modern short fur shoes - cloaks, which are made for sale, do Komi craftswomen everywhere use stencils to make more complex fur applique, exactly repeating the motifs of some Nenets ornaments, or stylized images of a deer. Using some elements of geometric ornament typical for the Nenets in the design of fur products, Izhma craftswomen call such patterns specific names in the Nenets language, or, in general, “yaran madava” (Nenets pattern). On the Usa River, the Izhemsk Komi call the ornamental fur compositions "Ustyak ser" borrowed from the Khanty. But since any geometric composition in a fur applique, Komi women, as a rule, reproduce from memory, even when repeating a fur pattern, the original pictorial motif inevitably changes, loses some details. In the village of Haruta, a decorative fur panel was recorded, sewn by a Komi craftswoman in the 60s. XX century. in the traditional technique for the tundra Nenets. This fur applique is called in Nenets "syanertsyalakha madava" - "chess ornament". According to the craftswoman, this "not complicated ornament" is sewn by both the Komi and the Nenets. At the same time, the craftswoman emphasizes that the ornaments on the fur bags (the cloud and the patco, which she sewed back in the 40s of the XX century), were invented by herself, on the basis of the products that she saw at her mother and grandmother, living in the tundra (recorded in the village of aruta on the Adzva river, NAO of the Arkhangelsk region, March 2016). A similar commentary on the ornament on their fur products is given by Komi craftswomen who constantly live in a reindeer herding tent on the river. Akharyin in the Zapolyarny region of the NAO: “The cloud was sewn by me at the age of 20 using patterns that I saw on my mother's fur bags. Only our family has such a pattern. This is our generic pattern. The Nenets do not have this (the village of Izhnyaya Pesha, NAO of the Arkhangelsk region, June 2014). We are talking about compositions of fur applique on a cloud and patco, made in the form of stylized zoomorphic and large geometric figures. It is interesting that compositions similar in image were recorded in the early 1990s. on fur bags from the Izhma Komi reindeer breeders living in the basin of the river. Usa. Modern field materials confirm some of the observations made by the famous art critic N. Oroleva in publications of the 60s. XX century: the originality and artistic expressiveness of the Komi fur mosaic in the design of household fur items is due to the "desire for some generalization, laconic ornamental motifs", in contrast to the Nenets tradition of careful study of each element, a rigidly defined and more complex stenciled in composition ...
In the course of field ethnographic research in the second half of XX - early XXI centuries. in the middle and upper reaches of the river. It was found that (Kortkeros and Ust-Kulomsky regions of the Komi Republic) the existence of a unique artistic tradition in decorating wooden utensils with geometric ornaments and subject compositions made in the technique of contour and trihedral-notched plane carving was recorded. Spinning wheels, sewing machines, blocks of the weaving mill and ruffles were traditionally decorated by Vychegda craftsmen-carvers with contour geometric patterns, often over the entire surface of wooden products: in the form of parallel stripes, wavy lines, teeth and Christmas trees, forming geometric patterns in various combinations - a square, oblique cross, circle, radial rosette, etc. (Belitzer, 1957: 143). In Srednaya Vychegda, the tradition of decoration in the technique of contour and notched carving of baby cradles was recorded, as well as the manufacture of spindles decorated with notched carvings - transverse notches or zigzags, with a cross motif (Gribova 1980: 58-60). Often, in artistic compositions on the plane of a wooden object, a combination of various types of thread is presented: contour (deepened lines / grooves-grooves of various widths), triangular-notched (notches of various sizes, each of which has three edges) and nail / staple (in the form deepened holes / semicircular notches). In the decoration of wooden products in the Vychegda Komi, the triangular-notched carving with serrated borders is organically combined with the ribbon ornament of contour carving, which makes it possible to include this decoration technique in the transboundary area of mutual influence of the North Russian (Pomors) and Finno-Ugric (Karelians, northern Khanty) artistic traditions wood processing. It is noteworthy that for the Russian population of the Lower Vychegda basin, the trihedral-notched carving in the 19th - early 20th centuries. was not typical (Sheleg, 2017: 52-65). During a joint expedition of the Estonian National Museum (Artu) and the Komi Republican Museum of Local Lore (Yktyvkar) in 1989 on the river. It was possible to record the names of the Komi masters who were engaged in artistic woodcarving: Fedor Ivanovich Ignatov, 1885. from d. yylgort near the village. Pomozdino; Nikifor Ilyich Karmanov (1896-1934) from the village. Don, Vasily Osipovich Popov and Nikolai Kondratyevich Popov from the village of Sordyiv on the river. Pomos. The Komi chronologically preceded the appearance of geometrized artistic painting, which became widespread in the Komi villages on Vychegda only in the second half of the 19th century. Moreover, the traditional Vychegda painting was carried out according to carved geometric compositions previously indicated on the plane of wooden products. The originality and artistic expressiveness in the artistic carving of the Vychegda Komi is especially clearly manifested in the plot compositions, as well as in the use of signs similar to traditional patrimonial passes, as well as Christian symbols, as ornamental decorative elements. The most archaic geometric and subject compositions of Vychegda woodcarving are presented in a unique private collection of spinning wheels collected by local historians A. Milingis and L. queen in Komi villages and villages on the river. Ishera (right tributary of the Ychegda River) is an area that can probably be defined as the “ethnolocal center” of an original artistic tradition. At present, the “Visher collection” of ornamental carved compositions includes more than 200 photographs and graphic sketches, as well as about 50 decorated objects of the second half of the 19th - first quarter of the 20th centuries. At the same time, one can hardly talk about the formation of a certain “school of Vychegda woodcarving masters”, since each carver introduced something individual into the decorative carved composition, without adhering to a certain pictorial canon. The products of Vychegda craftsmen are united only by a single traditional technique of making carved ornaments on the plane of various weaving and spinning tools. Noteworthy are not only the carved products themselves, decorated with traditional ornamental compositions, but also family legends and traditions associated with each product. One of such texts about the history of a carved composition on a spinning wheel made in 1886 was recorded in the 1990s in the village of Lun on the river. Ishera: “My father was a strong and hardworking man. He served in the tsarist army for six years. Then it was necessary to serve for five years, but due to the small number of recruits, father was left to serve for another year. Once there was a fire in the general's house. The fire was already blazing, but the general remained in the house. No one dared to enter the blazing building. The soldiers cordoned off the site of the fire. But then my father rushed into the house on fire and found the general unconscious on the doorstep. Fire and smoke are everywhere. He grabbed him by the belt and threw him through the window onto the street. And then he jumped over. This is the strength my father possessed. For the salvation of the general and awarded him. For the feat of the Komi, the soldier was awarded the rank of non-commissioned officer and awarded the St.George Cross. Having returned from the army, my father made a spinning wheel that preserves the memory of his feat. On the blade of a spinning wheel, a house is visible, illuminated by flashes of fire. On the leg there is an image of the St. George's Cross and the year when this event took place ”(Recorded by L. Koroleva from the words of G. Mikushev, 1919, in the village of Lun on the Vishera River). An interesting family legend about a carved spinning wheel, presumably made in 1928, was recorded from a resident of the village of Roitsk on the river. Ishera: “My uncle Nikolai Vasilyevich Gabov sailed to Solovki in the 1920s to visit the Solovetsky Kremlin, its cathedrals and temples, and to venerate the holy relics. And he portrayed this pilgrimage on a spinning wheel. On the spinning wheel's leg there is a sign that resembles a Pomor ship - koch. Also, on the lower part of the spade there is a compass (in Komi - womb). Interestingly, on the compass, north is below and south is above, although it should be the other way around. It is possible that while traveling to Solovki, he saw the captain's compass mirrored. The teeth at the top of the spinning wheel above the compass can symbolize the northern lights, which Nikolai Vasilyevich could see while sailing to the Solovetsky Islands, or perhaps this is part of some kind of calendar. The letters "GNV" are the initials of Nikolai Vasilyevich Gabov. The date carved on the spinning wheel - "1928" can mean two events: the year of travel to Solovki or the year of manufacture of the spinning wheel "(Recorded in 2002 by L. Oroleva from the words of I. Gabova, 1925, in the village of Troitsk on the Vishera river). On the carved compositions made by Vychegda craftsmen in the traditional ornamental decoration technique in the 1920s, you can often see silhouettes and schematic portraits of revolutionary leaders, as well as Soviet symbols - five-pointed stars, a sickle and a hammer. At present, the traditional technologies of artistic woodcarving of the Vychegda Komi are preserved by local craftsmen, and are also taught in the centers of folk art and school workshops in the villages of Nivshera and Kortkeros.
In rural settlements they are preserved in the form of fishing practices using traditional hunting and fishing equipment, housing, costume, knowledge of nature, and the desire to comply with the norms of fishing morals. Ritual actions are carried out on an individual level and in fragments.
There are serious threats to the preservation of traditions in connection with the destruction of the traditional way of life and management of the indigenous population, the industrial development of the North, and an increase in the number of migrants. The disruption of continuity is facilitated by the movement of young people to cities and the natural decline of representatives of the older generation - the bearers of the tradition.
Cost - from 2 863 rubles.
June is a really cool time for targeted fishing on small rivers. Surely each of us has at least one such reservoir, with impassable shores, overgrown with vine and grass, in the dark waters of which large chubs, ides and daces live. However, it is not so easy to approach these fish - and there is certainly nothing to do with a feeder in such places. A lapdog, a light float tackle designed for fishing on the current, is capable of helping out the fisherman. We will talk about the choice of this one today, and as a budget we will limit ourselves to the sum of 50 “evergreen” presidents. Cheap and cheerful!
Which lapdog to buy? Choosing the best option
Everyone who has come across float fishing in one way or another knows the "princess" in our Belarus. It is used both for fishing in the line and as a universal float rod for fishing with reel tackle. According to the fishermen, this model has an excellent price-quality ratio - a light, clear and fast form, perfectly knitting fish, sold for reasonable money - about 23 US dollars.
The model has seven access rings, all of them are marked with SiC and are installed on classic match legs. Two of them are free and carry out an unloading function.
The design of the blank assumes 6 knees, in the transport position the length of the rod is 105 centimeters. The blank test is 5-25 grams, which allows the angler to cover almost all conditions of river fishing, up to a sufficiently strong current. The reel seat is clip-on, it reliably fixes a reel of almost any size.
Bolonki produced under this brand are not very popular. Unlike flywheels - among budget rods of this class, "new hunter" is, if not the leader, then it occupies a position close to it. It is a light, sonorous and delicate blank with fast action and a weight of over 300 grams. All thanks to the material - the blank is based on carbon with the IM7 marking.
The guides for this model are also SiC, and thanks to the high legs, it is possible to avoid sticking of the line to the blank when fishing in wet weather. For use as a classic lapdog, you should pay attention to models in a five- or six-meter version with a test of 5-20 and 10-30 grams, depending on the strength of the current. The cost of such rods does not exceed $ 25.
Another fishing rod from Mikado, this time - a real one (they say that "Princess" is the creation of the hands of Chinese friends, and not Mikado at all). Lightweight, sonorous and very pleasant fishing rod, the weight of which in the five-meter design is 282 grams.
Fishing with the method involves the use of a special open feeder, on which thick sticky groundbait is stuck, only one hook is placed. For pressing the bait, the method uses special molds that compact the bait so that the bait does not fall out of the trough when it falls into the water. For more details about fishing by method, rigging and bait, read on.
The “Method” feeder design is based on a lattice or frame with a specific weighting agent. A special bait mixture is placed between the ribs, which serves as bait. Directly inside the trough or next to it there is a short leash, to the end of which a hook with bait is tied.
Feeders of this type are used primarily in sport fishing for carp, as well as in feeder fishing for white fish.
The presence of self-chopping feeders allows you to comfortably fish with several rods at the same time. When using "method" feeders, there is no need for abundant feeding of fish, since both the bait and the hook with the bait will be delivered to the right place at the same time. Naturally, additional groundbait is necessary, but it will be required less than with conventional feeder fishing.
The displacement of the center of gravity of this type of feeder ensures their fall with the heavy side to the bottom, and the bait mixture together with the bait will in any case be from above, that is, accessible to the fish. Note also that "method" feeders are used mainly on reservoirs with a weak current or without it at all.
If you watch the video on feeder fishing in Europe, you will notice that the “method” feeder is very popular among western anglers.
This is explained by the fact that Europeans catch on well-groomed reservoirs, lakes and reservoirs, where fish are either fed and bred on purpose, or are treated with care, which is why its population and size are very high. And it is in such conditions that the feeder method has a number of advantages over a closed mesh feeder. Let's see why.
First, there is always a layer of silt on water bodies with no current. It can reach a thickness of 10-20cm. The wide, unloaded bottom of this type of feeder stops perfectly on the surface of the silt and does not sink in it. Moreover, you can even use fifteen-gram feeders, in combination with a bait ball, their weight can reach up to one hundred grams. And this allows you to make a long cast.
Secondly, this bait is delivered in "open" form. The bait layer can be made in such a way that it scatters when it hits the surface of the water (used for fishing at shallow depths of 1-3 meters), or it can be made denser and more sticky so that it reaches the bottom. In any case, the bait spot is formed almost immediately after casting.
Thirdly, fishing with boilies using hair trimming has become widespread. The feeder method is excellent for this type of fishing. A short leash is used, and the hook with the boilie is practically next to the bait or even hidden in it.
Fourth, one of the most suitable bait components for the method is pellets. And its composition is similar to the high-protein feed, to which fish in fish breeding reservoirs are accustomed. Let's not forget about the widespread addiction of European (and in some reservoirs and domestic) carp to boilie. The bottom line is that adding boilies and pellets to the bait gives a great catching effect.
A regional festival-competition of choirs and vocal groups "I sing you - my native Komi land" took place in the Izhma region. This year it was dedicated to the 100th anniversary of the Komi Republic and took place in an online format, according to the Department of Culture of the Administration of the Izhma region.
13 choirs and vocal ensembles presented songs about their native land, about the beauty of northern nature, about the villages and villages of our republic. Songs of amateur and professional composers of the Izhma region and the Komi Republic were performed.
Competitive performances were evaluated by a competent jury.
According to the results of the competition program, the folklore group "Adzyslömyas" was awarded with the Diploma of Laureate, d. ertep, head Olga Vladimirovna Hozyainova.
The Rechenka choir, p. Yeli'yur, was awarded a diploma of the 1st degree, directed by Taisiya Valerievna Chaplygina.
Two choral groups were awarded a diploma of the II degree: the choir of the Izhemsky folk song and dance ensemble - leader Elena Stepanovna Yartseva, choirmaster Lidia Alekseevna Terentyeva and the Voyvyv Dzoridz folk choir, d. Akur, director Semyashkin Alexander Mikhailovich.
The vocal ensemble "Zorenka" d. Kar was awarded the III degree diploma