Соломія Крушельницька і жіночий мистецький рух у Галичині наприкінці ХІХ – на початку ХХ століття

Abstract

У статті висвітлено жіночий мистецький рух у Галичині наприкінці ХІХ – на початку ХХ ст., проаналізовано роль жінки в громадському та культурно-мистецькому житті краю. З’ясовано, що учасником процесу емансипації українського жіноцтва в Галичині була Соломія Крушельницька, яка всупереч суспільній думці однією з перших стала на шлях професійної артистичної діяльності. Вона проявляла активну громадянську позицію, пропагувала українську музику, утверджувала власну національну та гендерну ідентичність, рівноправність української нації, українського мистецтва в світі.

В статье освещено женское художественное движение в Галичине в конце ХІХ – начале ХХ в., проанализирована роль женщины в общественной и культурной жизни края. Установлено, что участником процесса эмансипации украинских женщин в Галичине была Соломия Крушельницкая, которая вопреки общественному мнению одной из первых стала на путь профессиональной артистической деятельности. Она проявляла активную гражданскую позицию, пропагандировала украинскую музыку, утверждала собственную национальную и гендерную идентичность, равноправие украинской нации, украинского искусства в мире.

The article reflects the women’s artistic movement in Galicia in the late nineteenth and early twentieth centuries, the role of women in the public, cultural and artistic life of the region is explained. The concept of “women’s artistic movement” is interpreted as the organized social and creative activity of women, the manifestation of their conscious national and civic stance, the form of personal and creative self-realization. The issue of women’s education, as well as the role of women in Galician society, arose for the first time in the second half of the nineteenth century, due to the penetration of European liberal ideas about social and, subsequently, gender equality, as well as the introduction of a new system of education in Austria, in particular the reform of schooling and the implementation of compulsory general education. The Ukrainian women writers were the leaders of the women’s movement in Galicia. It was studied out, that writing, acting, performing and teaching activities were most accessible to active and talented women. The women’s movement was headed by N. Kobrynska, who had the goal to awaken Galician women, campaigning for the expansion of women’s education and women’s electoral rights. At the end of the nineteenth century, in Ukrainian writing women compete with male artists. In the literary environment, such authors as N. Kobrynska, Natalka Poltavka (N. Kybalchych-Symonova), Dniprova Chayka (L. Vasylevska), later O Kobylyanska, Lesya Ukrainka, and others, take a decent place. In their writings, the Ukrainian women writers embodied a new image of a woman, affirmed new thinking, new priorities, new insights on the role of a woman in a society. At the Galician scenes there appear the stars of actress K. Rubchakova, singers E. Zarytska, O. Bandrivska, S. Krushelnytska, pianists O. Okunevska, S. Dnistryanska, D. Shukhevych, V. Bozheyko, L. Kolessa, G. Levytska and others. As a result of the study, it was found that an outstanding Ukrainian singer Solomia Krushelnytska was a significant participant in the process of emancipation of Ukrainian women in Galicia in the late nineteenth and early twentieth centuries. Contrary to Galician patriarchal traditions and public opinion, she became one of the first to enter professional artistic activity. An important testimony to the personality and creativity establishment of the singer is her correspondence with the writer and public figure M. Pavlyk. As a result of the study of the epistolary legacy of S. Krushelnytska, it became clear that throughout her life the singer showed an active civic position, patriotism and love for her people, and the Ukrainian folk song. Being abroad for a long time, the singer kept spiritual ties with her homeland, was interested in the political, cultural and artistic life of Galicia, donated money to civil society organizations and political parties, and actively supported the women’s movement. She tried to understand the essence of socio-political processes in Galicia at the end of the nineteenth and early twentieth centuries, became acquainted with the ideas of the Ukrainian radical party, was in touch with activists of the women’s movement, and participated in the work of the “Rusyn women’s Club”. The article reveals that in the process of communicating with M. Pavlyk S. Krushelnytska developed as a personality, an artist, a patriot. Over the years, there came an understanding of the complex national and socio-cultural processes in Galicia at the turn of the 19th and 20th centuries. The singer actively encouraged young people, in particular girls and young women, to acquire education, took care of the development of the Ukrainian musical culture in the region. S. Krushelnytska became one of the first to start building a professional career and succeeded. Courage, strong character and great love for music helped the singer overcome all difficulties of artistic life, preserve belief in people, in herself, in her talent, in virtue of art. The artist reached the top of vocal performance, recognition of the world art community. However, she had an active civil position. She promoted Ukrainian music, Ukrainian folk songs, established her own national and gender identity, the equilibrium of the Ukrainian nation, and Ukrainian art in the world.