The history of the folk song “Luchinushka” (“Luchina, luchina berezovaya) in the 19th and 20th centuries is, in fact, a history of its actualization. In folk tradition the song is restricted women’s repertoire, with all the changes occurring due to the realities of the new times. On popular scene the song transfers from women’s repertoire to men’s and becomes a meditative lyrical piece (a genre unknown to folk songs) instead of a family everyday one. In the same time, song texts are formed that compensate this transfer (e.g., the song “Noch’ temna-temnyokhon’ka”). This demonstrates how it is nearly impossible to keep the folk worldview intact while actualizing folk cultural heritage, therefore any actualization of cultural heritage is, in essence, a kitch reaction to a contemporary demand. The processes exemplified by the history of the song “Luchina, luchinushka berezovaya” are easily seen in history of actualization of any other phenomena of traditional culture, including applied ones. Being aware of this process does not imply that one should stop in one’s attempt to incorporate and promote folk heritage. Yet it is also unadvisable to believe that forms of such incorporation and propaganda are relevant to the folk culture itself. The only way to achieve productive actualization is to understand clearly and fully that any incorporation of folk culture is, in essence, an unintentional distortion of it.