The narratives contained will continue to be the product of social processes, namely aesthetic preparations and ritualtheatrical transformations; in itself the ground of the origin of drama. The project renders additional tools both conceptually and technically, whereas it introduces contemporary adaptations of traditional expressions. To combine the old with the new is crucial for the survival and resilience of cultural identities. New skill sets will facilitate the production of craft noveau, and extend the type of productions made by local craftsmanship outside of the realm of traditional crafts.
With the emergence of modern archaeology and anthropology providing new kinds of interpretation for the meanings and origins of saintly places on the one hand, and the projects of modernity and religious reform aiming the purification and reinterpretation of rites and sites on the other, saintly places and their origins have become subjects of conflicting interpretations and contested practices.
Modernity here enters the place as disciplinary and exclusionary force in service of a civilising project aiming to either eradicate or to marginalise popular communal and religious traditions that do not seem to fit the project of authoritarian top-down progress. Rather than erasing the sites and landscapes of saint veneration and religious imagination, however, the projects of modernity and reform have initiated a process of profound changes in the ways in which locality in its different levels is being perceived and enacted. In a way, the policing of the modern meaning of local attainments also leads to a restrengthening, re-structuring and re-inventing of venerative practices.
Performing Pictures has spent the last two years working with issues of venerative practices and new forms of venerative artefacts in the village of Sta Ana, Zegache, and in the case study, we wish to continue our examination of issues relating to the historical continuity and transformation of sacred places, the changing configurations of the sacred and social order in the structures of villages and cities and their histories as sites of contestation over cultural and national identity.
The annual conference has been held since 1997 and is one of the key All-Russian activities on promotion of information technologies among museums and other cultural institutions that facilitates the development of museums and exchange of regional experience. The conference was organized by the Kizhi State Open Air Museum, which arranged a day long visit to the museum, which started functioning on the island of Kizhi in 1951 and currently contains about 87 wooden constructions.
The most famous of them is the Kizhi Pogost, which contains two churches and a bell-tower surrounded by a fence. Since 1951, a large number of historical buildings were moved to the island. They include the Church of the Resurrection of Lazarus from Murom Monastery, which is regarded as the oldest remaining wooden church in Russia (second half of 14 century), several bell-towers, more than 20 peasant houses, mills, barns and saunas.
There are about 1000 icons of 16–19 centuries which includes the only in Russia collection of "heavens". There are also church items, such as crosses early manuscript of 17–19 centuries.
Image: The Church of the Resurrection of Lazarus
Tradition says that the church was built by the monk Lazarus in the second half of the 14th century. The church became the first building of the future Murom Monastery located on the eastern shore of Lake Onega. Over time, the church became the main attraction of the monastery as it was reputed to miraculously cure illnesses. The clergy announced the monk Lazarus as a local saint, and every summer, on 23–24 June, the church was attracting pilgrims. The building is 3 meters tall and has a perimeter of 9×3 m. The original two-tier iconostasis of the church is preserved; it consists of 17 icons of 16–18th centuries.