E-mail: mlurie@inbox.ru
Tel.: +7 (812) 386-76-36
3a, Gagarinskaya str., St. Petersburg, 191187, Russian Federation
PhD (Art history), associate professor of the Department of Anthropology, European University
at St. Petersburg
During the first decades of the 20th century in Russia, due to the growing level of literacy among the broad strata of society, the general population began to be actively engaged in new cultural roles and practices previously unknown or inaccessible. One of those practices for villagers and citizens, along with the “naive” literature, was recording of folklore of their own cultural environment. A collector’s role demanded cultural distance from familiar texts and forms of behavior, yet did not exclude a possibility for a collector to remain a tradition bearer himself. The article analyses a collection of chastushka ditties (Russian short folk songs) “New Songs of the Village” (1927), a noteworthy example of the time amateur folklore research. This typewritten collection was assembled by A. Kamenev, an enthusiast who had recorded his materials from a number of Russian provinces. Kamenev was eager to publish his collection. He developed his own personal taxonomy, which was, although an amateur one, in fact historically the first classification of chastushka ditties’ types. In the introduction named “What is chastushka?” Kamenev attempted also to contribute to phenomenology of chastushka: in his opinion, a long lyrical song “introduces us into the mental world of the folk”, while chastushka ditty is “a door to the folk’s intellect”. Thus, the dilettante folklorist belatedly joined a longtime discussion on the nature, purpose and value of the chastushka genre, which didn’t remain relevant by that point.
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