Admitting that you don't have your culture is much more difficult than inventing it. Folklore gives an understanding of some basic things in a person, in his psychology

Participant name: Irina Bogatyreva

Age (birthday): 16.10.1984

Moscow city

Family: single

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Irina Bogatyreva was born on October 16, 1984 in Moscow. Irina grew up in full family. There is a twin sister named Milana. Together the sisters decided to follow the same path and began famous people in the world Russian show business. Many fashionistas follow their words, because the girls have become known as fashion stylists.

Irina notes that her parents and, of course, the support of her sister helped her achieve such success, because they always believed in her and showed care in difficult times. Ira loves and respects her parents, and is not shy about sharing them photos together V in social networks Instagram.

Irina does not have a single participation in popular projects. For example, quite recently the show “Reloaded” was released, where Bogatyreva helped the “white crows” become beautiful ladies and gentlemen.

Irina knows very well how clothes affect people’s confidence, and therefore she tries to make the world even more beautiful with her advice.

In 2017, Irina was invited as an expert to the “New Star Factory”. Thanks to her amazing taste, project participants appear in fashionable and stylish looks on live broadcasts.

Irina tries not to talk about her personal life to the press, although she often pleases her subscribers on social networks with new photos and videos.

Ira loves to travel and discover new countries. She has traveled to Portugal, Spain, and Miami. This list can be continued for quite a long time. She is a very cheerful person and is ready to face all difficulties with a smile on her lips!

He works at the Star Factory together with his sister Milana.

Irina Bogatyreva - Stop! or Moving without stopping. Magazine version

Bogatyreva I. Formula of freedom: novel // Friendship of Peoples. - 2017. - No. 6. - P. 6-94.
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They felt with their skin that this summer would be their last, and they lived so that it would be remembered forever." They are a company of 116. The last school year. The search for ideas and people whom you want to follow recklessly, and life throws more fuel into this fire of the soul. What does it consist of, the formula of freedom? From the main thing!

The novel "Formula of Freedom" (previous title "Ganin") - about first love, last school days and the complex search for one’s own freedom was included in the long list of the Russian Booker Prize 2017. You can read it in in electronic format in the magazine "Friendship of Peoples". This is the shortened magazine version. Full version will be published as a book this fall.

A book that has not yet been published and is called “The Formula of Freedom” is also devoted to the topic of freedom. This is a teenage text, I’ve wanted to write it for a very long time, but I just couldn’t get around to it. I rethought my youthful impressions, because the idea arose back then. I guess I just took a long time to grow up. This is a book about sects, and it was difficult for me to abstract myself and look at all the feelings from the outside. But everything is happening there in New Town, in school 20, it is very recognizable.

Review:

This “school” novel about the difficulties of growing up was included in long list"Russian Booker". Recent similar texts about difficult teenagers are “The Trumpeter at the Gates of Dawn” by Roman Bogoslovsky” and “F20” by Anna Kozlova. I wrote about them. In all three novels, the authors sound the alarm: growing up in itself is dramatic, and our children are abandoned by us to the mercy of fate - or the first “catcher of souls.” “Formula of Freedom” is a linear narrative in a realistic spirit, organized by the movement school year. The action takes place in an unnamed city (more like a town) on the Volga. Young heroes study in graduating class. The school is full of chaos and angry, hysterical teachers. There is complete alienation in families. The main character Ganin’s father died and his mother drinks heavily. His classmate Svetka seems to have no parents. Towards the end of the novel, suddenly - bang: she told him cousin, and her father is her uncle. Lekha's friend has scandals with a certain Hedgehog. Towards the end - bang again: this is his father and he even has a name. The same is true in the families of other teenagers. The children don’t have any convictions; they don’t know what to do with themselves, why they bother going to school, and what will happen next. They want love, freedom, meaningfulness, but where and how to find all this is unclear to them. This is where the “soul catcher” Danya, Lekha’s older brother, appears. He is handsome and athletic, he arrived from the ashram and, having gathered a group of teenagers, begins to preach to them a certain doctrine. The text is suddenly skewed. The reader learns that evil ashrams have entangled our entire country, evil gurus preach everywhere and lure children and adults to themselves. A lot of supporters of all ages have already gathered around Dani. The guru also appears: “The world lies in evil. We have forgotten love. “Humanity is doomed,” he said. “Our adherents have been receiving information about the impending catastrophe for a long time... But the light arharts took the punishing rod away from the Earth for a long time. Only it costs a lot of effort, and people don’t justify such protection. And now they have come last times. We are all waiting for the transition to new race. - Here Ganin could not stand it and snorted. The people sitting in front glanced at him with disapproval. “Not everyone can transmute.” Everything will depend on the level of personal strength. And whether there is love in you.” The main character's mother goes to the ashram, leaving her son completely alone. Lech’s friend, almost driven to suicide by a cruel teacher, also goes to the ashram, but runs back in horror: “All these ashrams of yours are bullshit! Here we think that they will make you free there. Why the hell did we surrender to them free? This is absolutely a brainwasher. I understood their whole system. This is a system. Sect". In general, passion. If main enemy Our “spiritual security” is the ashram, then what is opposed to it? It turns out that great Russian literature. Among the inhuman teachers there is one humane one: the new literature teacher. He introduces children to treasures Silver Age and gives the main character a “formula of freedom”: “let the other be different.” But school system throws out such a teacher: he is forced to resign. And in the novel there is first love, a little sex and the death of a young lover, who first cheated on the hero with Danya, and then they were both hit and killed by a car. I don’t know, friends, what to advise. Ordinary school romance with a bias to the ashram. It is unknown when the action takes place: nothing from the sphere of politics and government events is communicated to teenagers. It ends up being young hero coped with his tragedies and went to work at a construction site with the help of that same Hedgehog.

Irina Bogatyreva born in 1982, grew up in Ulyanovsk, lives in Moscow, is studying for a master's degree at the Russian State University for the Humanities in folklore studies and is a member of the Russian Pen Club. Her novel “Formula for Freedom” was longlisted for the Russian Booker in 2017.

The novel is addressed to teenagers, was nominated for the Book Award and received a special prize at the Krapivin Award. The previous novel “Kadyn” was included in the long list of the “Russian Booker” in 2016 and received the student “Booker”. Irina also retold Altai stories for children folk tales(collection of fairy tales “Red Dog”, publishing house “Marjani Foundation”, 2012).

“Why do you think your neighbor was a witch?”

Now folk songs There is practically no singing in the villages. But this year I was lucky in a remote village in the Arkhangelsk region to meet a 91-year-old grandmother who sang songs of her youth, not pop songs, but completely authentic texts, some of which had not yet been recorded by collectors. This is great luck, but you almost never find something like this anymore.

My experience is that the village is now being washed away; there are a lot of city people there. Local residents who run the farm are becoming smaller and smaller. But when you come to Altai, you see that traditions are still preserved there, people there still keep cattle, unlike in the north, where this is already disappearing.

Some phenomena go away and never return, because at some point they became unnecessary. For example, musical instruments completely disappeared from the village. The maximum is some kind of accordion, you won’t find a balalaika anymore. Apparently, people no longer need it.

The folklore laboratory from the Russian State University for the Humanities, with which I went on an expedition this year, has been traveling to the same region, the Arkhangelsk region, for more than 15 years. Systematically travels through all the villages and collects folklore in in a broad sense: we're talking about not only about songs or ditties, the survey program is large, they talk to people about everything - how to care for livestock, how to treat children.

It’s easier with grandmothers; relatives don’t communicate with them much, and they are terribly happy to have the opportunity to talk. Difficulties begin with middle-aged people who are trying to show that they are actually educated and not ignorant: they start talking from books or about the “Battle of Psychics,” but if you switch the person in the conversation, you can learn a lot of interesting things.

You try to bring them out, you say key phrases: “What did your grandmother do? Tell me, how did your mother take care of the cattle?” This year, when we worked in one village, based on an interview, we restored an entire local family tree"witchcraft". Residents told who “adopted” witchcraft abilities from whom. They start slandering each other: “This one took it from this one, and this one took it from that one over there.” This marks an extremely closed environment. That is, people live in such relationships that such stories grow out of some social failures and troubles. Perhaps the reason is the closed nature of society; they don’t have good roads, they live there with virtually no communications.

Folklore speaks to what is in basic psychology. In life you distance yourself from such moments, but in folklore you see them as if in a mirror. And you don’t know what to do about it - it turns out that humanity does not change. It is interesting that the folklorist gives the speaker the opportunity to reflect on his experience.

They live it without thinking at all, it’s part of them personal experience, part of their life. And when they start telling all this, they suddenly begin to realize it themselves. They say: “This neighbor was a witch.” You ask: “Why do you think she’s a witch?” The person thinks and begins to describe. Before this, I didn’t think about it, I was just a witch, and that’s all.

Internet texts also become folklore

There are a lot of such amazing moments in folklore. In our expedition, in the Russian North, there were interesting motives with the search for people and missing livestock. There people believe that there is a certain witchcraft herb, and if you put it in certain place where are you at last time saw a missing thing or person, then the missing thing will appear. They told stories about how people got lost in the forest and found themselves with the help of this grass. Naturally, no one has ever seen this grass, it is reported in the newspaper, and the last grass burned in a fire 10 years ago. All this sounds naive, but it has its own rustic poetry.

It’s not that they believe or don’t believe in all this, for them it is part of reality. Witch's grass, the shepherd who received "vacation"- a magical object or a spell that helps herd cattle, a neighbor is a witch, all this for them is part of the world order. At the same time, they talk about other things quite sensibly.

By the way, this is also the case in the city. It’s just that you and I most likely don’t track it. Modern researchers work with memes from the Internet, urban folklore, rumors, legends about scary places in the city, missing people, bad areas, abandoned houses. All this is also part of our culture, which we come into contact with every day, but do not even think about it.

Modern folklore includes Internet texts, small poetic forms “pies”, “powders” that have become popular among the people, and so on. A text becomes folklore when it goes into the environment and when it loses its authorship, and most importantly, when it still acquires variants. For example, my classmate is writing a master’s thesis on scary pictures that are distributed on VKontakte. Current research on folklore is in great demand.

My heroes are trying to find their way

For me, Altai is an important place; a lot is connected with it, including my first interest in folklore. I felt the living existence of epic motifs in Altai. Epic motifs, it seems to me, are very important for literature, because it emerged from the spoken word.

I spent several years studying Pazyryk culture in libraries. The result is the novel “Kadyn” – about a girl who becomes a king. She has to take on power for which she is completely unprepared. I was interested in describing the moment of temptation by power; I was curious how the character’s character changes during the writing process.

I started writing a novel in the first person, but at some point I realized that I had to leave him, because he was completely different from the character with whom it all began, and his changes could only be shown from the outside. The last part is written in third person. It happened this way because main question in the text - power that changes a person, a person becomes tough, he has to make decisions that have no return.

“The Formula for Freedom” is a book about how a person tries to decide what to believe. At 17, you must understand exactly what is important to you. Firstly, I want not to be like my parents, and secondly, I want to be someone specific. A teenager tries to form a person out of his indefinite mass, people appear on his way who influence him, he just needs to choose between them or look for his own, some other path. This is probably what the book is about. My heroes are trying to find their way.

Initially, I had the idea to write a teenage text, but I realized that modern teenagers are deeply “violet” about what happened to us in the 90s, and I moved the action to the present time. I kept the whole story, but changed what was connected with time, tried to update, firstly, the language, and secondly, the aspirations of the heroes.

I don’t have my own children, but I communicate with teenagers quite a lot. They are different than we were at their age. It seems to me that they are freer than us. In this book, the heroes end up in a sect. This story is a reworking of personal experience in overcoming some kind of authoritarian influence.

The teacher who became the prototype for Cap (Konstantin Pavlovich, the teacher from this novel) was a churchgoer. And although he did not impose his views on us, he had a very strong influence on our entire class. big influence. But I deliberately removed this motif from the novel, because it would not have turned out what I wanted; it would have turned out to be a simple opposition: here is a church, there is a sect, white is black. The world is subtler, and the question of faith is one of the most difficult. I myself am probably not yet ready for such a conversation, and even less so my heroes, who are 17 years old.

Admitting that you don't have your culture is much more difficult than inventing one.

Folklore is the basis of culture, as is genealogy, which is the basis of yourself. People have a hard time with the absence of roots; when they don’t find them, they go into an illusory reality that gives them a feeling of support. Because admitting that you don’t have your culture is much more difficult for many than inventing it.

For example, neo-paganism also looks completely unnatural; it came from the minds of people, and not from the depths of history. I would rather understand a grandmother who says about her neighbor that she is a witch than a person who cremates his own placenta, explaining this with ancient pagan beliefs.

I have confidence that without a sense of history, not only social history and the history of society, but also the history of culture, there is no understanding historical process as such. And folklore is the basis of culture. If the child is not immersed in this in time, then he will not have a feeling of integrity.

I have experience communicating with children in folklore ensemble"Ogorodnaya Sloboda", its director, studied folklore for 20 years before creating the ensemble. Children as young as one and a half years old come to this ensemble; classes are not structured like traditional ones. musical education, but as a game, children master Russian folk instruments, teach each other.

These are amazing children, they are very different from their peers. They approach music differently, they all sing and play beautifully, but that’s not even the point: they have some kind of cultural inoculation. Of course, if you simply give a child fairy tales to read, this is not enough, this is not enough, there must be immersion in the culture, immersion in the environment.

Folklore gives an understanding of some basic things in a person, in his psychology. It is interesting to understand where certain motives come from. Of course, you also encounter very unpleasant things, but you understand that, apparently, this is exactly what a person is like. There is a lot of cruelty in folklore; there is always someone offending someone, killing someone, eating someone.

Cruelty is not motivated by anything, it is simply present, laid down as a base. And you just understand that in the world in which you have to function, these are evil, cruel things. The nobility and kindness that we encounter in fairy tales is always a sign that folklore has been considerably reworked.

Raw folklore is angular, often illogical, because many elements travel in tradition, the connection between them is lost, but something bright remains. When a fairy tale ends up back in literature, in the author’s treatment, then these gaps have to be restored. If you see that everything is so smooth and neat, most likely it is - literary version. But, of course, the author can also stylize himself as folklore.

Folklore doesn’t teach us anything, of course. Folklore shows us ourselves; it is a mirror into which we look and understand what we are like. And then you can either do something about it or do nothing. That is, you don’t learn, but realize how to live with what you learned from folklore.

Soviet-era pop music did everything to prevent people from liking folklore. In the 30s of the last century or even earlier, the so-called falselor appeared. Folk performers were taken into ensembles and choirs, and from there came the folklore that we see on the stage. When everything is structured, when everything is too smooth, coherent and sung in chorus, then it is not folklore. An element of folklore - he will always be unkempt.