Commemorative Practices in the Projection of Bayan-Accordion Performance

The article aims to investigate commemorative practices in culture within the context of bayan-accordion performance. The analysis focuses on the performance aspects of these instruments within cultural memory and identification, as well as extrapolates how they shape and maintain historical-cultural memory. The research methodology is based on an interdisciplinary approach, combining concepts of cultural studies and memory culture to study the impact of bayan-accordion performance on commemorative practices, contributing to a better understanding of identity formation and cultural heritage preservation through the lens of festival-competition movements. The scientific novelty of this research lies in analysing the interaction of bayan-accordion performance with commemorative practices in the context of contemporary cultural dynamics, reflecting their role in identity formation and cultural heritage preservation. The study opens up new perspectives for understanding the interrelationship between art, memory, and identity during periods of socio-cultural change. Conclusions. This study has established that an essential condition for the existence of a nation's identity as a form of state is the presence of unified political, economic, informational, educational, religious, and other institutions specific to that nation. Cultural memory formation policies are utilised by state institutions as a tool for shaping communication between various bearers of specific political beliefs and preferences. The research direction of memory studies is gaining popularity, highlighting the value of a comprehensive analysis of mechanisms shaping collective memory and its impact on the development of societal, particularly cultural policies, cultural-artistic processes, and values. These measures are intended to reflect a specific historical narrative that holds significant importance for a substantial portion of the community. It has been identified that a crucial element of commemorative practices in the cultural-artistic sphere is bayan-accordion performance. The expansion of repertoire and the increase in legitimacy of the bayan and accordion are inseparably linked to the professional growth of performers. It has been noted that in the 1990s, amid the need for the development of commemorative practices in Ukraine, significant growth in the festival-competition movement is observed. The roots of national music for the bayan and accordion lie in household mass music-making, where the prerequisites for development have their origins in the history of the creation and dissemination of instruments. These factors underscore the value of these instruments as significant levers in the implementation of cultural policies regarding national memory in the musical arts of Ukraine.