Становлення професійної бандурної освіти в контексті її фемінізації

Abstract

У статті висвітлено шлях входження жінок-виконавиць до сфери бандурного мистецтва загалом та до академічної системи освіти бандуристів зокрема. Розглянуто етапи становлення професійної бандурної освіти в контексті її фемінізації, визначено періоди та охарактеризовано складові зазначеного процесу.

Статья освещает пути вхождения женщин-исполнительниц в сферу бандурного искусства и в систему академического образования бандуристов. Рассматриваются этапы формирования профессионального бандурного образования в контексте его феминизации, определены периоды и описаны слагаемые указанного процесса.

This article describes the path of women performers entering the sphere of bandura in general and academic education system in particular. The stages of the formation of the professional bandura’s education in the context of its feminization are considered, and periods and the components of a specified process are defined and described. Until the end of the nineteenth century the rules of kobza-players implied that kobza and bandura were instruments for men only. Stereotypes and prejudicial opinions about female bandura performers were historically formed and related to the system of values common for kobza-players’ culture and they were a product of the protracted cultural and historical development of kobzaplayers’ art. At the turn of the nineteenth and twentieth centuries the first names of women banduraplayers emerged accomplishing a ponderable contribution to kobza art development starting a new tradition-women bandura performance. The emergence of women bandura-players at the beginning of last century coincided with the beginning of the feminization trends in Ukrainian society. An important mission in popularization and academization of bandura was accomplished by a prominent musician, a theorist and a teacher G. Khotkevych (1877–1938), who was the founder of professional writing method of teaching the bandura players and the progenitor of the principles of concerto type bandura performance. The next steps in academization of bandura art and attracting adherents of both genders to it were the opening of bandura classes at the beginning of ХХ century and founding of the first kobza-player schools in Ukraine and abroad, creation of theoretical and practical courses of playing the bandura and also a gradual perfection of the instrument itself. A real breakthrough in bandura performance art and professionalization of bandura education was the opening of bandura class in the Kharkiv Music and Drama institute in 1926 that was headed by G. Khotkevych. The process of academization of kobza playing that had begun helped this art to develop and popularise and assisted in education of new generation of culture-educated specialists that were distinguished by a profound knowledge. This event became significant too since the sex of the entrants had no bearing on their admission. The beginning of Soviet Union’s control over Ukraine was marked by cruel pursuits of the representatives of bandura art in the 1930th but along with that the ideologicaly adjusted government encouraged the appearance of women-bandura-players to some extent. The absence of the women’s names among the bandura-players during World War II and German occupation is quite obvious. However a post-war stage opens a new period in bandura art marked by a creation of a ramified state education system since the bandura classes were opened in all sections of the music education system of Ukraine. An important factor in establishing and strengthening the bandura professional education was the perfection and unification of word tools, creation of new methodical literature for mastering the bandura. Festivals and competitions became an important factor of popularization of bandura in a mid and second half of ХХ century. Therefore, the structural changes mentioned above have influenced the development of bandura art of ХХ century dramatically and turned out to be defining factors in final feminisation of bandura performance art.