The paper analyzes the body of literature on the blacksmithing art and delineates the main lines ofstudy of the latter as a phenomenon of contemporary culture and art. Reconsideration of the experience of the blacksmiths, both craftsmen and artists, contributes to revealing the national, regional, and local cultural features, asthe culture of blacksmithing art, on the one hand, islinked to the past, and on the other hand it serves as a modern representation and symbol of the nation. The aim of the work is to study Ukrainian blacksmithing art in the sociocultural context of contemporary time. Methodologically, the research was based on generalization, on the systemic-structural, and structural-functional methods that enabled revealing and examining the traditional and innovative basis of Ukrainian blacksmithing art in the cultural and art environment of Ukraine.

The purpose of the article is a comprehensive approach to the study of Ukrainian folk costume in socio-cultural context of modernity. Analysing ethnic-style clothing in the wardrobe of the First Ladies of Ukraine, there is an urgent need to consider it as a combination of national clothing traditions and modern approaches to its interpretation in the society. The methodological basis of the study included general scientific methods, such as generalisation, systemic-structural and structural-functional methods that made it possible to identify and analyse traditional and innovative foundations of the Ukrainian folk costume and its elements in modern designer clothing of Ukraine at the beginning of the 21st century. The scientific novelty of the study consists in the fact that source and factual material on the chosen topic has been collected, analysed and systematised, the prerequisites of "revival” of the Ukrainian costume have been analysed, and the peculiarities of using the individual costume elements have been clarified on the basis of political, economic, and socio-cultural factors. Conclusions. A number of factors influencing the transformation of Ukrainian national costume elements in modern clothing created by Ukrainian designers have been identified. The creative heritage of leading Ukrainian designers of modern period – Oksana Karavanska, Roksolana Bohutska, Oksana Polonets, Lilia Pustovit, Artem Klimchuk, Lilia Litkovska, Lake brand, who created ethnic-style clothing of the First Ladies of Ukraine – Kateryna Yushchenko, Maryna Poroshenko, Olena Zelenska – for their participation in ceremonial events has been analysed. These are dresses, embroidered shirts, suits worn by wives of the Presidents of Ukraine, in particular, to celebrate the Independence Day of Ukraine and the International Vyshyvanka Day. It has been found that leaders of public opinion, in particular the First Ladies of Ukraine, through their own visual image, popularise the national idea, are an example for imitation by different layers of Ukrainian population, contribute to preservation of national identity, influence global trends in the fashion industry. Key words: Ukrainian folk costume, traditions, modernity, design, the first lady of Ukraine.

The article analyzes the peculiarities of conducting contests and festivals in Ukraine in the conditions of a full-scale invasion of Russian troops into Ukraine. Significant security risks, which are still present in many regions of the country, led to the search for new formats of events. It was found that the key tasks of artistic events were: support of the moral spirit of society, accumulation of aid for the Armed Forces, promotion of Ukrainian culture both in Ukraine and abroad. The change in the format of the event itself is due to the specified tasks: the theme of war has become an important part of the theme of the festivals, and the charitable focus of the events has acquired key importance. Territorial changes are associated both with a threatening situation in some regions and with cooperation and support from other events located in safer places. The purpose of the article is to create a comprehensive archive of materials that will allow analyzing the functioning of the competition-festival movement of Ukraine during the time of Russian military aggression, understanding the cultural strategies determined by the tasks of the military today. Methodology of work. The article uses the following general scientific approaches, principles and methods that made it possible to consider the peculiarities of the functioning of the competition and festival movement of Ukraine during the war from different vector positions, thus, with the help of the comparative method, the formats for the task of events are compared, the phenomenological method is applied at the stage of revealing the essence of the phenomenon of competition festival movement of Ukraine and its transformation during the military invasion of Russia.

Digitalization, virtualization, commercialization, loss of integrity, polystylistics, liberation from any norms are the latest trends that determine the development of contemporary art. They influence the functioning of modern communication models that evolve in accordance with the achievements of technology and acquire mobility, variability and interactivity. Interaction between social processes and scientific and technological achievements is increasing, the essence of communication in the space of modern culture is being rethought, particularly, the boundary between the types of art is being levelled. The latter phenomenon leads to the emergence of new instruments and methods of artistic creativity and expands the possibilities of artistic self-expression. One of the promising areas of artistic exploration is the creation of sound interactive installations. This paper proposes a classification of communication models that are based on the analysis of interactive sound installations. The classification is based on determining the degree to which audiences actions influence the final sound result of the creative action. The paper claims that the parameters of the exhibition space are important components of the installation’s structure and form. A dialogue with nature by way of incorporating sounds of nature, their imitations, and interpretations in art objects is found to be a current trend in interactive sound installations.  

"The study of transformational processes in contemporary music art under the influence of the fine arts practices is one of the important problems of musical culturology and aesthetics. The study is topical because of the new efforts aimed at understanding and arrangement of the evolution of established aesthetic systems and experiments in music and fine arts in the 20th century and at the beginning of the 21st century, as well as their influence on modern practices of introduction of meaningful elements of painting, graphics, architecture, and multimedia technologies into music creation processes. The aim of the research was to identify current trends in music visualization through the arrangement and generalization of the experience of artists of the 20th — early 21st centuries, who used expressive arts, synthesizing one art into another in their musical compositions, as well as to identify the background of those synthetic ideas and ways to implement them. The scientific research established that the development of synthetic art has its roots in the disposition towards merging arts and versatility. The fine arts practices applied in music has contributed to the expansion and enrichment of artistic means and techniques and has entailed further complication of sound and visual components in the overall concept of the work. It is concluded that the individual creative and personal traits of the artist, who seeks to fully convey the multidimensional figurativeness of the work determine a significant impact on implementing fine arts practices in music. Prospects for further research of the evolution of fine arts practices and audio-visual media in music involve the development of description techniques in the context of the dominance of the visualization factor over music one in artistic perception, as well as the study of the impact of cultural technologization on contemporary music art. Keywords: music, visualization, fine art, artist, interconnection of the arts, synthesis, intermediality "