Американська історія і політика (Mar 2018)
The artistic achievements of Ukrainian expat community bandura players in the USA
Abstract
The article deals with historical and scientific intersection of the Ukrainian bandura functioning in the USA in the XXth – early XXIst centuries. The periodization of the bandura art’s evolution in the USA has been investigated, the activity of its best representatives within the context of preserving the national identity has been outlined. The article analyzes the artistic impact of the solo bandura players (i.e. Vasyl Jemez, Andrii Kist’, Hryhorii Kytasty, Hryhorii Nazarenko, Leonid Haydamaka, Stephan Hanushevskyi, Volodymyr Yurkevych, Petro Potapenko, Zinoviy Shtokalko, Yulian Kytasty, Yuriy Fedynskyi etc.) in developing the Cobzar traditions, as well as that of female bandura players (Olga Herasymenko-Oliynyk, Alina Ilchuk and others) within the framework of the feministic context in the US. The bandura groups of different line-up had played an important role in popularising the bandura art in the USA since the middle of the XXth century. Therefore special attention has been paid to the Detroit Taras Shevchenko bandura quire’s impact thereto. The performing, recording, pedagogical and publishing elements of the quire’s activity have been underlined. The contribution of Mykola Dosinchuk-Chornyi to the popularization of the Ukrainian national art of music through organizing the educational institutions and creating the “Bandura” magazine has been emphasized. The generalization of bandura masters’ (Petro Honcharenko and Olexandr Honcharenko) priorities in the sphere of preserving the Kharkiv type of bandura performance resulting in the rebirth of the respective repertoire has been made. Generally, the bandura art in the USA has been defined as a practical artistic segment of Ukrainian culture in the expat community throughout its history of preservation and development in the United States.
