The Development of Bandura Music Art Between the 1920s and 1940s

Bibliographic Data

ID18950146
AuthorsMaryna Berezutska (0000-0002-5511-2195, Associate professor, Department of Folk Instruments , M. Glinka Dnipropetrovsk Academy of Music , Lyvarna street 10, 49044 Dnipro , Ukraine, corresponding author)
Year2020
Volume14
Issue2
Pages44-66
Publication date2020-12-01
Open AccessYes
TypeARTICLE
VenueJournal of Ethnology and Folkloristics (JOURNAL)
Journal identifiersISSN: 1736-6518 • E-ISSN: 2228-0987
PublisherWalter de Gruyter GmbH (PUBLISHER • DE)
DOI10.2478/jef-2020-0015
OpenAlexW3113706896
LanguageEN
Citations received2
References cited8

Bandura art is a unique phenomenon of Ukrainian culture, inextricably linked with the history of the Ukrainian people. The study is dedicated to one of the most tragic periods in the history of bandura art, that of the 1920s–1940s, during which the Bolsheviks were creating, expanding and strengthening the Soviet Union. Art in a multinational state at this time was supposed to be national by form and socialist by content in accordance with the concept of Bolshevik cultural policy; it also had to serve Soviet propaganda. Bandura art has always been national by its content, and professional by its form, so conflict was inevitable. The Bolsheviks embodied their cultural policy through administrative and power methods: they created numerous bandurist ensembles and imposed a repertoire that glorified the Communist Party and the Soviet system. As a result, the development of bandura art stagnated significantly, although it did not die completely. At the same time, in the post-war years this policy provoked the emigration of many professional bandurists to the USA and Canada, thus promoting the active spread of bandura art in the Ukrainian Diaspora

Communism · Emigration · Political science · Sociology · Ukrainian · Digital Media and Visual Art · Environmental Engineering and Cultural Studies · International Science and Diplomacy · Law

Tools

Open DOIOpen Access