Діяльність волинських бандуристів як фактор розвитку української культури в межах польської держави (20–30 роки ХХ століття)

Abstract

У статті висвітлено аспекти діяльності громадських об’єднань культурно- мистецького спрямування у 20–30-х рр. ХХ ст. Досліджено концертно-просвітницьку діяльність волинських бандуристів, вивчено їх репертуар. Наведено факти конструювання та уніфікації інструментів, навчання учнів, функціонування перших ансамблів бандуристів.

В статье освещены аспекты деятельности общественных объединений культурно- художественного направления в 20–30-х гг. ХХ ст. Исследовано концертно-просветительскую деятельность волынских бандуристов, выучен их репертуар. Наведены факты конструирования и унификации инструментов, учения учеников, функционирования первых ансамблей бандуристов.

The study of regional bandore performance in the particular history period is one of the conditions for learning cultural processes in the Volyn region. It is commonly known that West Volyn became a part of the new Polish state from 1921 to 1939. During these Inter-War twenty years the Polish authorities carried out the anti-Ukrainian occupational policy in Volyn aiming at the fast integration of the region into the structure of Poland and it caused a hostile attitude of the Ukrainian community and a rise in the national liberty movement. Due to the active work of cultural and art associations the formation of regional musical culture took place in the 1920’s–1930’s and it found expression in musical, drama and publishing activities, in setting up the art education, in holding musical contests. Besides concerts of choirs, instrumental groups and famous performers the Volyn music life was highlighted with bandore concerts performed by D. Scherbyna, K. Misevych, D. Gonta, G. Bilogub and others. The above mentioned performers were deeply involved in the formation of bandore art in the Volyn region. The first Volyn bandore players were Cossacks of so-called “Synia Division” such as Danylo Scherbyna, Konstiantyn Misevych, Dmytro Gonta. At the beginning of the 1920’s rare solo and group performances were gradually transformed into concert and educational steady activity, making bandores, teaching etc. The repertoire included Cossacks’ ballads, folk songs and dances. The considerable contribution to the bandore art popularization was made by Ukrainian writer and public figure Modest Levytskyi (1866–1932). At the end of 1920’s M. Levytskyi established the first bandore players’ group on the basis of the Lutsk Ukrainian Gymnasia as well as he made drawings of a bandore which were used to make some instruments. G. Bilogub was their follower and she gained the peak of perfection in playing the bandore those days. The evidence of her creative potential and finesse was her performances as a soloist, a quartet master and later as a leader of bandore players’ group as well as an active public figure. Her repertoire consisted of ballads by O. Koshyts, M. Telezhynskyi; folk songs (Cossacks and lyrical), music pieces by M. Levytskyi, as well as her own compositions to the lyrics by T. Shevchenko. The group repertoire included mainly patriotic folk songs (Striltsi, Cossacks), instrumental compositions. As a lecturer G. Bilogub raised the public awareness in history of bandore and work of prominent bandore players. To sum up, the 1920’s–1930’s Volyn bandore art as well as the choir was a driving force in forming cultural and musical life in the Volyn region within the period of being a part of Poland. The activity of such bandore players as G. Bilogub, M. Levytskyi, D. Scherbyna, K. Misevych, D. Gonta became apparent in the educational work, in concerts and teaching, in making instruments, in establishing bandore groups. The studies of their activity give grounds to claim that the bandore art and its promotion were means of self-enrichment for the Volyn inhabitants within the period of the Polish expansion. The 1920’s–1930’s Volyn bandore art became a follow-up of kobza playing traditions of East Ukraine and Kyiv.