Musical Instruments of Ukrainian PeopleSince time immemorial the Ukrainian people were distinguished for musical talent and love for singing. The melodious character of the Ukrainian song and Language gave birth to advanced original musical instruments. Making musical instruments and playing them have always been considered a noble occupation. It is not without reason that our people call a good musical instrument-maker or a musician a sorcerer. People believed musical instruments as well as music could protect them from evil or malicious spirits. Music for this purpose was performed on such instruments as: violin, hudok, sopilka, volynka (bagpipe) and others.
Trumpet, horn, trembita and others were the means of communication between shepherds and hunters, and helped to find the way home in bad weather. Some of these functions are still found today, particularly in the life of the Carpathian dwellers where art has been preserved intact so far.
In Kyivan Rus musical instruments were widely used in the life of Kyivan princes, voivodes and common people. The gusli, horn, tambourines, surmas, and trumpets have been known since those times. The power of an army used to be defined by not only the quantity of soldiers but also by the quantity of trumpets and bubons.
The violin, kolysna lyre, dulcimer, drum, tambourine, reed-pipe, and other instruments were an integral part of various rituals, religion, secular and calendar holidays and ceremonies.
As it is known musical instruments were not used at Orthodox divine services. At the same time, people used kobza, bandura, kolysna lyre, husla, turban to accompany prays outside of church, at home.
Music incessantly accompanied the Ukrainian Cossack’s life. A special place was given to kettle-drums, the sacred symbols of Zaporozhian Sich. Their thunderous blows gathered the Cossacks for meetings; the orders were transmitted to soldiers with the help of conventional signals.
The violins, dulcimers, bagpipes, basolias, pipes, military trumpets, kettle-drums and drums were the basic instruments of Zaporozhian Army orchestra.
The kobza and bandura, the symbols of the national heroic and patriotic epos, have no analogues in world musical culture. They were the instruments of the legendary kobza-players. Maintaining human honour, dignity, and the right to their own art, kobza-players united in kobza-player’s brotherhoods, had a democratic form of government, their own judicial procedure, and even their own language for communicating between themselves. Every kobza-player had his region to serve, and had no right to go to a neighbouring village.
Folk musical instruments developed in close connection with different kinds of art: folk choral, vocal, dancing, and theatrical arts.
Every statum of society had their favourite instruments. Thus, the nobles preffered the table-like gusli and torban; among the Cossack’s chiefs it was considered prestigiouis to play the turban and to accompany on it kobza-player’s repertoire. The famous Cossack’s hetmans Ivan Mazepa and Petro Doroshnko could play the torban.
In the times of Kyivan Rus the collective instrumental performance became widely spread. As of today this tradition has been better preserved in Western Ukrainian regions. The so-called troisti muzyky (orchestra of three musical instruments) are rather popular in Hutsul instrumental ensembles. According to a legend three young musicians fell in love with a beautiful girl who arranged for them a public competition: each of the fellows had to play his own tune. They played so well that it was impossible to select the winner. So she suggested that they should play by turn the same melody. Finally they played together, and their music was so wonderful that neither the girl, nor the public wanted to separate the musicians. The beauty remained alone, and the ensemble of three musicians became the most favourite in Hutsulia. The troisti muzyky, which make different combinations of the violine, sopilka, dulcimer, basolia, tambourine, and some other instruments, is an important factor in creating Hutsul instrumental musical culture.
Ukrainian musicians were often invited to play at Polish royal, and Russian imperial courts. Thus, the names of Ukrainian minstrels were on the list of musicians of the Polish royal choir beginning from 1500. Starting in the early 18th century Ukrainian guslars and bandura players played at Russian imperial court, and at palaces of the nobles. Under the Imperial Ukase of 1838 a musical school was set up in the city of Hlukhov for replenishing the court choir and orchestra.
While researching Russian musical culture of the mid-18th century, the German musicologist Schtelin compared Ukraine with French Province, and noted an exceptional musical talent of the Ukrainians. In the 18th century count and wealthy landlord’s estates had instrumental ensembles and orchestras, which serviced balls and accompanied singers, as well as performed music as such. The nobles such as Polubotko, Potocki, Shyray, and Troschynsky had similar orchestras. Big orchestras belonged to prince Cyril Rozumovsky, and others. In 1789 prince Grigoriy Potiomkin opened musical academy in Yekaterinoslav (today Dnipreoetrovsk), and attached to it an orchestra of 47 musicians. In the latter half of the 18th century municipal orchestras were organized in different cities of Ukraine, which serviced various holidays, celebrations, and ceremonies. The creation of such orchestras was accompanied by the delimitation of professional and amateur music. After abolishing serfdom in Russia in 1861, serf orchestras began to break up, many musicians returned to their native villages, and continued to play folk ensembles in their spare time.
In the 18th-19th century musical guilds, which united musicians and instrument-makers, were created all over the Ukraine. They adopted their own regulations, which protected the interests of their members, regulated service charges, divided the spheres of service, etc.
In the 20th century the growth of musical educational institutions, was accompanied by an intensive process of evolution of folk musical instruments. However paradoxical it is, but the improvement of folk instruments began to threaten with the disappearance of authentic instruments.
In modern Ukraine measures are being taken to revive and preserve the original instruments as a source of national art. In particular, in kobza player’s schools which are being created in Ukraine, young performers study playing the instruments and singing, along with kobza player’s traditions, rites, philosophy, and ethics of their life. The National union of kobza players of Ukraine arranges concerts, competitions, festivals of kobza-players art, jubilee evenings of outstanding kobza players and instrument makers. Ukrainian museums gather and popularize collections of original folk instruments. The biggest one is found at Museum of theatrical, musical, and cinema art of Ukraine in Kyiv.
Today a folk musical instrument is not just an instrument for playing music; it is a memorial of national culture, an object for collecting, which indicates the level of intellect and spirituality of its owner.
Buhay
Let us start the acquaintance with this instrument with a pun: to play this instrument is not serious for serious musician. The point is that everything is ridiculous and unusual in it: its construction, its name, and the way of playing. The buhay, in literal translation “pedigree bull,” has timber, which sounds somewhat like a bull’s roar, hence the name of the instrument.
There is no exact data about the time or place of its origin. It is only known that in the 19th century the buhay, as a ritual instrument, was episodically used as an accompanying ensemble instrument in Hitsulia, where it has a number of synonymous names, depending on the dimension of a barrel of which it is made.
The buhay belongs to cord-friction musical instruments the sound of which is produced by rubbing fingers against a bun of horsehair tied to the center of a leather membrane. The barrel is half a meter or meter high. When playing a big instrument, it is placed on the floor, when a small one – one of the performers holds it, and the other plays, tugging at the horsehair with his hands wetted in kvass, which provides better friction. This instrument became popular in many regions of Ukraine for its exotic kind.
There was a professional band which used to have such a performance when a musician appeared on the stage, holding a small barrel underarm and all of a sudden the other actor came running up to him to tug at the horsehair hanging from the barrel. The first musician continued walking, pretending he didn’t notice that his barrel was playing. The other one, after a masterly performance, to the applause of the audience, disappeared as suddenly as he had appeared.
The buhay is used in many professional bands, filling their performances with folk colouring , humour and jokes.
Kozobas
Many folk instruments are deeply rooted in the hoary past. The kozobas, in contrast, appeared in the late 1960s. The first model of it was made in Hryhoriy Veriovka National Ukrainian Folk Choir. Almost at the same time a similar chimera was contrived in Kyiv orchestra of folk instruments.
The word “kozobas” consists of two words – “goat and “bass”.
There was such a custom in Ivano-frnkivsk province: after musicians left a wedding party, but the guests still wanted to dance, they took a bucket, put a shoulder-yoke in it, fastened a piece of wire to the handle of the bucket and the other end of the yoke, and played it with a stick as a bow. They played such an “instrument” on the 5th-7th day after the wedding party; with this “instrument” they went caroling from door to door on Christmas tide, and led a young bachelor disguised as a dancing goat from house to house on New Year’s Eve. Singing carols was always accompanied with vivid theatrical shows and witty humour. That is how an idea emerged on the Hutsul folklore-ethnographic basis to make an accompanying instrument. The musician plays the kozobas with a short straight bow, or by plucking the strings with the fingers, and striking the plate with a small steel rod.
The kozovas became popular among professional and amateur folk ensembles. The musical workshop in Ternopil region began the production of this instrument, so we became witnesses of the birth of a new kind of folk contrabass.
Ocarina
The name of this instrument is derived from the Italian “ocarina,” which means “gosling”. The Italians, perhaps, saw a similarity in the outward appearance between the ocarina and gosling, or maybe they associated the sound of the ocarina with the cheep of gosling. Anyhow, but the ocarina is known to the whole world under this name. In Ukraine the ocarina also has another, more poetic name – zozulka (young cuckoo), which is obviously called forth by the timber of this instrument – fairy, at times fantastic, which imitates the howl of wild animals and the song of birds so well. By its construction and character of music the ocarina is allied with whistlers. In contrast to whistlers, which are not only musical instruments, but also works of decorative art, the ocarina is a purely musical instrument.
Traditionally ocarinas were made of terra cotta. Technology of making an ocarina is the same as that of whistler. It is shaped like a sweet potato, with finger holes (from 7 to 10) and a mouthpiece.
In the 19th century the ocarina was widely spread throughout the whole Western Europe. In Ukraine it could be acquired at the music shop, together with a manual and note repertoire. These instruments were made of porcelain, decorated with different pictures and floral ornaments, sometimes the finger holes were provided with a system of valves.
Volynka (bagpipe)
The exotic instrument – volynka- was in existence in ancient Greece and Rome; it is rooted in the culture of Ancient China and India, and in the Middle Ages it accompanied folk holidays all over Europe. In Italy the volynka was considered a rural instrument, in Poland it had a derogatory name of koziol (goat). A different attitude to the bagpipe was in Lithuania, where it was a very popular instrument in the early 19th century. The bagpipe is a traditional instrument of Scotland, where big bagpipe ensembles take part in State celebrations. In Britain the bagpipe acquired the image of an original court ceremonial instrument.
It is considered that in Ukraine the volynka appeared in the 16th century in the territory of Volyn (Volhynia), hence the name of the instrument. Later it spread throughout the territory of the former Russian empire. The volynka was used by the Cossacks, and was included in the musical regiment of Zaporoshian Army.
In the 19th – 20th century the volynka was a traditional folk instrument in the Carpathian area.
The volynka is distinguished for its original timber, and ability to combine playing with singing
Horn and Trembita
The horn and trembita are colourful national versions of trumpets, which preserve old traditions. The horn is one of the oldest instruments of mankind. Since the times of Old Testament, made of mountain goat or buffalo horns, it was an indispensable utensil of shepherd and hunter, and only later it turned into a truly musical instrument. In the 14th century wooden, and later copper, instruments often imitated the form of a horn.
The trembita is an old mouthpiece signal instrument of the mountaineers. It looks like a long cone-shaped trumpet. It is from 3 to 4 m long, and its signal can be heard at a distance of 10 km. The trembita performs important functions linked with the everlasting practice of the mountain dwellers, their life and customs.
In old times sentries posted on the Alps could warn the mountain dwellers of an approaching enemy by transmitting conventional signals. By trembita signals the senior shepherd reports shepherd’s boys of the time of milking and watering, in the evening he gathers flocks of sheep scattered in the mountains, helps to find one’s bearings in bad weather. Trembitas announce the spring holiday of the Hutsuls – going out to the mountain meadows. Sometimes trembitas bring bad news, reporting of somebody’s death.
The trembita is made of fir. First the tree is chopped off up to a needed dimension, then it is chopped lengthwise in two, the core being removed, after which both halves are stuck together with resin, pressurized with birch bark, and a wooden mouthpiece is put in the upper opening. The pitch of trembita sound depends on the force of blowing. In Polissia a traditional trembita is shorter; 1 to 2m long, and called lihava.
Now and then the trembita is used in orchestra music. Collapsible metal trembitas participate in modern wedding orchestras. Wooden Architecture
Since the time immemorial, the major part of present-day Ukraine has been covered with impassible woods. Even in the cat steppe expanses of Southern Ukraine, known in the old days as “Dyhke Poleh” (Wild Field), the valleys of winding rivers were green with leafy groves. Wood, as the prevalent material, was used by Ukrainian’s ancestors not only in construction but also in producing furniture, kitchenware, household equipment, agricultural and manufacturing tools as well as different means of transportation. They treat wood with due respect contemplating it as a living and spiritual substance salutary for human beings. As late as until the end of the 18th century, everyone in Ukraine, from a poor peasant to an affluent magnate, was convinced that living in a brick construction was pernicious for human’s health, while a wooden house or palace was the only suitable habitation. Centuries later, the same adamant belief played a mean trick on the nation. Stone mansions, castles and churches were scarce, while wooden constructions, which once had been in abundance, soon deteriorated and collapsed. Thus, Ukraine’s historical and cultural heritage was artificially impoverished. Of how impressive our wooden constructions looked is anyone’s guess. However, their looks can be restored on the grounds of archeological finds, foreign travelers’ rapturous descriptions of Ukrainian wooden architecture and few timber structures, which have miraculously survived through the ages.
Wooden premises construction was put on the mass production in Ukraine. Folk house architecture, which cherished thousand-year-old traditions, was both conservative and open to innovations. Construction techniques applied to folk architecture differed from those of modern building engineering. Unlike their present-day counterparts, which are first carefully designed, accommodation and utility premises were modeled after similar constructions, following the traditions of a particular region or village. These folk construction customs, like folk songs, were passed from generation to generation. Unfortunately, each year more and more samples of folk architecture disappear. Thus, visiting museums of folk architecture and rural life that feature the most accomplished examples of construction art is perhaps the easiest way to get acquainted with this unique phenomenon.
In Ukraine, houses for all-the-year-round habitation were called “khata”, while seasonal or temporary dwellings were known as “kolyba” or “kuren”. Utility premises, which constituted a typical peasant homestead and included a shed for storing valuables, a cellar, a stable, a cart-shed for storing carts and sledges, a cattle-shed, a pig-pen, hen-house, a well with sweep and barn for unhulled wheat, located outside the courtyard, were just as important . A typical farm comprised a so called “clean” and utility yard. An orchard and a kitchen garden were an integral part of each farm. The harsh natural conditions resulted in the development of a unique architectural phenomenon, a walled farm, known in the Carpathians as “hrazhda”. Premises, confining a courtyard, formed a small castle with blank external walls and a gate. The “hrazhda” became a vivid embodiment of the English proverb “My home is my castle”.
A traditional Ukrainian “khata” is an enduring masterpiece of architecture, distinguished by both an efficient construction design and high artistic value. Most “khatas” consisted of one or two living quarters. One-room “khatas” were adjacent to an inner porch and shed, while two-room buildings abutted on various utility premises, and in some cases to workshops. “Khata” was of a rectangular shape covered with a hipped roof. It was easy to put up and maintain such simple and efficiently designed construction, as well as it was easy to warm it up in wintertime. “Khatas” were built of different wooden structural materials, including, logs, timber or blocks. Sometimes a wooden frame was filled up with sawdust, springs or clay mixed up with straw. Linden was considered the best tree for construction purposes. Roofs were covered with thatch, reed or thin wooden planks – shingles or clapboards.
Although elegant and diverse, the interior of Ukrainian wooden constructions was first of all distinguished for its efficient design – only the visible parts of the building were decorated and the method of color, shape, material and style contrast, which allowed achieving the highest artistic effect with the minimum techniques applied, was widely used.
Apart from traditional peasant constructions, the Ukrainian folk architecture is known for some fine examples of public buildings, including churches, schools, village councils, inns and large barns for storing grain. Utility premises – water and wind mills, saw-mills, fulling-mills, oil pressing mills, grits cutters and smithies – constituted an indispensable part of life and economy of a Ukrainian village.
Cheap and environment-friendly constructions that satisfied the needs of a Ukrainian farmer, traditional Ukrainian windmills are among some of the most ingenious inventions of engineering. The earliest mills known in Ukraine were water mills, while wind mills appeared only in the 18th century. All the windmills fall into two main types: pole-like constructions with the whole body of a mill rotated by the wind, and polyhedral or Dutch mills, in which only the upper part of the mill together with the vanes is turned. In the old days, wind and water mills could be found in every village or town, while in larger settlements the amount of mills reached several dozens.
Yes, the highest peak of its development the Ukrainian wooden architecture demonstrated in church constructions. Among the enduring masterpieces of wooden architecture are large cathedrals and small chapels, parish churches and belfries, fences, gates and towers. And it is no wonder why. The church was not only a spiritual sanctuary for worshipping and meditations, but also played a focal part in public life.
First wooden churches had been built long before Christianity was officially introduced on the territory of Ukraine. With time wooden church architecture gained popularity and adopted certain folk features. It was in constructing wooden churches that architects managed to preserve the forms and designs of ancient sacral edifices. Strange as it was, the same cherished old traditions laid foundation for developing new techniques in national architecture.
In building wooden churches, pine-tree, oak, hornbeam squared into four cants was among the most extensively used structural material. Other popular building materials were round logs or logs cut lengthwise. Wooden edifices were erected without a single iron nail or any other iron tools. And what was done not for the lack of iron or our ancestor’s inability to use iron nails. This sophisticated technique was based on the observation that high humidity made iron construction tools, such as nails, rusty. And this very rust deteriorated the wood, thus making the construction rickety and insecure. If need be, iron joining material was substituted with pegs of strong wood (oak or beech).
Churches and belfries were supported by stumps of oak logs vertically dug into the ground under the construction. The tradition of putting up churches on stone or brick foundations originated in the Podillya region and by the end of the 18th century was caught up by the rest of Ukraine.
The durability of any wooden structure depends on the measures taken to protect it from rain and snow. The amount of precipitation in Ukraine and especially in the Carpathians is rather high. Thus, roofs were made high and steep for the rain water and snow to stream down from the hips. Among the most popular roofing material were shingles (thin? Oblong pieces of wood used to cover the roofs and sides of houses, the so-called “wooden tiles”), clapboards and thin planks. The lower parts of the walls were additionally secured from rain or snow by “under-roofs” – a roof circumscribing the building and resting on columns or projecting lower rows of logs, also called corbels or protrusions.
All the architectural masterpieces featured in this album were created with the help of an axe and some other primitive tools. That is why they look more like sculptures, as if retaining the warmth of their creator’s skillful hands.
All the Ukrainian wooden churches fall into two main types: three-compartment and cross-like constructions. The prevailing type is definitely that of a three-compartment construction. Such churches consist of three main chambers – central chamber or nave, eastern chamber or altar and western chamber or narthex. Three-compartment churches are either one-roofed or three-roofed.
Cross-like churches are usually five or nine-compartment structures or have the shape of a Greek cross with arms of equal length. Such constructions are crowned by one, three, five or nine domes.
Whatever the type a wooden church belonged to, the uniting element for all the chambers was the central compartment or nave, which was made one tier higher than the side compartments. The dominating design of three-compartment churches comprised a rectangular or octahedral nave, a polyhedral altar and polyhedral or rectangular narthex. In cross-like churches the central compartment, in most cases, was square with each side equal the width of side compartments. The height of churches differed from region to region.
Among the wide variety of elaborated architectural forms, there are churches of simple outlines, which look more like simple peasant houses or barns. At the same time, there are edifices, among them the famous Trinity church in Novomoskovsk, whose exquisite design and accomplished shapes place them far above the most renowned sacral constructions. Ukrainian wooden church architecture is as diverse as Ukraine’s Landscapes. Tall as popular trees are churches in Boikivschyna region, elegant in the Lemkivchyna region, harmonious in the Podilya region, somewhat heavyset in the Halychyna and Volyn regions, or monuments like lighthouses in eastern regions.
An integral part of a sacral construction complex is a bell tower, which borrowed its architectural outline from ancient watch or fortification towers. One of the remainders of this “kinship” is a corbel gallery on the upper tier of multi-tiered bell towers, which theoretically allowed holding the defense against enemies.
All the wooden bell towers fall into two main types – framed structure constructions and log constructions. The type of the bell tower largely depend on the chiming techniques used, either the whole bell was swung or only its tongue. Swinging the whole bell to chime put additional dynamic load on the construction. Thus, the building had to be stronger, i.e. framed, structure. That is why framed bell towers prevail in western regions (Haluchyna and Volhyn), where bell-swinging is the preferred technique. In other regions, most bell towers are of a log, or log and framed (the lower tier was made of logs, while the upper tier was framed) structure.
Scientists still dispute about the amount of regional wooden church architectural schools in Ukraine. However, a profound study of edifices of multifarious forms and designs made scientists agree that similarities demonstrated by all the crchitectural schools underpin the unity of the Ukrainian nation and the unanimity in architectural and construction approaches.
Wooden constructions are the part of national heritage most susceptible to deterioration. They die of water, fire, bark beetles and shipworms, yet peoples’ carelessness and ignorance remains their most dangerous enemy. Being an acute problem not only for Ukraine but for Europe in general, the issue of preserving wooden architectural monuments of folk architecture became one of the most popular and efficient ways of preserving wooden constructions.
Today, Ukraine boasts several open-museums of folk architecture located in Kyiv, Pereyaslav-Khmelnitsky, Lviv, Chernivtsy, Uzhhorod and the village of Krylos not far from Ivano-Frankivsk. Each museum presents a rich collection of masterpieces, revealing the achievements in folk wooden architecture. These exhibits are valuable “bank deposits”, which cannot be spent but only increased and multiplied.
Yet, no matter how much effort is made to preserve this part of national heritage, the time, and the implacable enemy of art, takes away the best masterpieces. To study, guard and secure them for the following generations is the mission of modern scientists, architects and restorers. Presenting the rigid beauty of Ukraine’s wooden architecture, the authors of this album pursue the same aim.
This fight should go on, until people learn to appreciate beauty, respect works of art and the remains of our once rich heritage.
Ukrainian Cuisine and Folk Traditions
Ukrainian national cuisine, being a part of the European cuisine, it has accommodated some of the culinary traditions of Asian nations. People do not seal themselves off from other nations. Intermingling with neighboring countries, people adopt new dietary habits along with other cultures. In addition to this, similar geographical and climate conditions predetermine similar culinary ingredients. Thus, foods comparable to Ukrainian specialties are found in the cuisines of other nations. Such are Ukrainian varenyky, which are slightly reminiscent of Italian ravioli. Ukrainian ovochevi pecheny (stewed vegetables) might remind one of French sauté. Many similar dishes are cooked in Ukraine and Poland, especially along the frontier regions, where identical festive foods are served on similar occasions. For example, on Christmas Eve the red-beet borsch is served with vushka (“ear” dumplings) etc. Meanwhile, borsch, the masterpiece of Ukrainian culinary traditions, has become part of the world cuisine. Mistakenly, however, the Ukrainian red beet soup is known under other names too – “Russian borsch”, “Moscow borsch” or even “Siberian borsch”.
Each nation boasts original culinary habits. In Ukraine, most of the dishes are either boiled or stewed, while among the diversity of ingredients, vegetables and groats still prevail. Of all the variety of meat, a Ukrainian will definitely choose pork. Yet, culinary traditions amount not only to the ingredients chosen. They include different ways of cooking, spices and seasonings which accompany particular dishes, prohibitions of certain products, preferences and restrictions in food, rules of behavior observed while cooking and consuming food, table etiquette, ritual and customary meals, beliefs and superstitions, etc.
Here is a list of religious holidays celebrated in Ukraine: Christmas Eve, Christmas, New Year, The Epiphany, The Meeting in the Temple, Pancake Week, Great Lent, Forty Martyrs of Sebaste, St. Eudoxia, The Annunciation, Easter, Commemoration of the Dead, The Ascension, Pentecost, St. John the Baptist, Sts Paul and Peter, The Maccabees, The transfiguration, The Blessed Virgin, The Protecting Veil, St. Michael, St. Andrew, St. Nicolas.
In the following articles we will present the Ukrainian dietary customs, which are firmly connected with the folk calendar.
Christmas Eve
Christmas Eve, or “Svjaty Vechir” (Holy Night) in Ukrainian, is a big religious holiday. The last day of Christmas fast is celebrated only with meat-and milk-free food.
The whole family usually woke up at daybreak. The mother would wash non-ground wheat (the wheat what was popular on the Right Bank of Ukraine was substituted for barley on the Left Bank of Ukraine) and set the saucepan with the wheat into the oven. Some families had the tradition of cooking “kutia” (Christmas Eve wheat dish) in a new clay or ceramic pot. Children would crack and chop walnuts and grind poppy seeds in a wooden bowl. The father prepared “syta” (honey dissolved in boiled water). Boiling water, added to honeycombs smashed in a bowl beforehand, melted down the wax, which now floated on the surface. However, if the water was not hot enough, a warmed-up brick was put under the bowl, which brought the water to the boil right in the vessel. Then the liquid was quenched and the wax was skimmed off. The melted honey was added to the kutia.
Christmas
Christmas is one of the greatest religious holidays, which, despite the persecution of the Church during the atheistic Soviet era, has always been celebrated by the majority of Ukrainians. This pious adherence to traditions helped to preserve ancient Christmas rituals, such as carol-singing, in which people praise the born Christ, and perform Nativity scenes or scenes from the life of the Blessed Virgin and the Holy Family.
This day as well as Christmas Eve reflected the people’s idea of well-being, prosperity, welfare and happiness. The head of the family not only made sure that the meal was hearty and sumptuous, but also watched that the atmosphere in the house was festive and peaceful. Even one-day fasts, usually observed on Wednesdays and Fridays, are abated during the Christmas holiday season, which lasts for fourteen days from Christmas (January,7) to Epiphany (January, 19).
New Year
New Year Eve (also known as Schedry Vechir or Lavish Night in Ukrainian) is undoubtedly one of the most popular secular holidays in Ukraine, free from any ecclesiastical influence, except for the fact that on January 1 (13) the Church celebrates the memory of St. Melania and on the next day it commemorates St. Basil the Great.
Great Lent
One of the four fast periods, Great Lent is the longest and lasts for seven weeks. It begins after the Cheese-Fare Week and ends on Easter. The Church year is not all the holidays and feasts. The Orthodox Church has set four fast-periods – the summer fast lasts for about three to six weeks from Whitsunday through St Peter and Paul’s Day (Petrivka), the last two weeks in August are known as Spasivsky Fast or Spasivka, six weeks that precede Christmas are called Pylypivsky Fast or Pylypivka and the longest and strictest of all is Great Lent.
HolidaysOn the national scale, in Ukraine the following days are set apart for observance or commemoration:
New Year’s Day - January 1
Christmas Day - January 7
Unification of Ukraine Day - January 22
Women’s Day - March 8
Velykden’ (Easter) - movable
Labor Day - May 1 and 2
Victory Day - May 9
Triytsia (Pentecost) - movable
Constitution Day - June 28
Independence Day - August 24
Except Easter and Triytsia, which mobility is linked to the religious tradition, all the above holidays are celebrated on a fixed day. Christmas Day and Velykden’ (Easter) are celebrated in accord to the Orthodox Old Calendar.
New Year’s Day is one of the most popular holidays in modern Ukraine. In addition to the traditional celebrations the Old New Year’s Day, a folk symbol of tradition and originality, is marked on January 14.
Religious holidays are distinguished by special traditions and peculiar to exclusively Ukraine coloring combining the Christian Orthodox culture and beliefs rooted deep in the antiquity. Thus, maybe the most full of splendor and beauty is the Christmas celebrations in Ukraine. On the eve of the action, that is, on January 6, the families that keep traditions have their festive supper. In harmony with the old custom twelve fasting dishes are served with sweet kutia, boiled wheat, as the major dish. They sit down at the table when the first star rises and greet each other with the saying “Khrystos rozhdayetsia!” (Christ is being born!). After celebrations within family circle, the festivities reach the streets on January 7 and 8; during these days people exchange visits, share the good news and sing Christmas carols, religious folk songs praising the birth of Christ. On the city and village streets, one may watch verteps, dramatized and fancy-dressed performances dedicated to Christ. On January 8 and 9, the annual vertep contest occurs with amateurish and professional teams of actors participating. Traditional also became the festival of authentic Guzul verteps in the Carpathian town of Kolomyia.
Nowadays, the traditional celebrations of Christmas and New Year’s Day in Ukraine increasingly expand through the Western influence: fur-trees are decorated, street trees and shop windows illuminated, as well as fireworks let off.
Another prominent holiday of the religious cycle in Ukraine is Velykden’ (Easter Holiday). Similar to Christmas, in addition to purely Christian motifs the holiday embraces the traditions associated with the ancient tiller’s calendar combining surprisingly well the celebrations of Christ resurrection with motifs of spring nature awakening. On the holiday eve, that is, Saturday, consecrating of paskha, Easter cake, is held; people bring to the church baskets full with Easter food – special cakes traditionally baked at home, dyed and painted Easter eggs, pysankas, and other eatable attributes of the feast. The priests consecrate this food, and the church heads celebrate holiday service with great many people attending the God’s house. The greeting during the Easter days is “Khrystos voskres!” (Christ has arisen!). The white dress and colorful towels make the atmosphere of the holiday especially pure and elevated. Of special attention deserves such an imperative attribute of the holiday as the sacral art of Ukrainian pysanka that keeps on amazing contemporaries with the beauty and refinement of its symbolism.
Triytsia (Pentacost) is believed to be one of the greatest religious holidays next to Christmas and Easter. In accord with tradition, Ukrainians decorate their homes with branches of basswood, grasses and flowers bringing it another name - Green Holidays.
Victory Day is the major national holiday of Ukrainians that serves a reminder about the great feat of arm and immense losses. It is the day to remember those perished and to honor veterans of the WWII.
Among the holidays connected with the historical past of the Ukrainian people of interest is the Unification Day. On January 22, 1919, a significant event of the Ukrainian history took place in Kyiv’s St. Sophia square – the union of the Ukrainian People and the West Ukrainian People Republics into a single Ukrainian unified state. Historians believe that it was on this day that the existence of Ukraine as a state became a historical fact. Despite the fact that at the start of the 20th century the Ukrainian State failed to assert independence in its struggle with enemy forces, the Union of January 22 remains one of the most ponderable symbolic acts for the national consciousness; it is the reason the date is marked by the Ukrainian nation as a national holiday.
The Decree “On Declaration of Independence of Ukraine” adopted by the Verkhovna Rada of the Ukrainian SSR on August 24, 1991, became the act expressing the will of Ukrainian people and finally establishing the independent Ukrainian state. The day that commemorated the completion of the centuries-old strife of the Ukrainian people for its freedom became the major national holiday – Independence Day.
In addition to the national holidays, traditional holidays of the national minorities are marked locally. In accord to Article 24 of the Law of Ukraine “On the National Minorities” “in their activity the organs of local self-government are to take into the account marking of certain holidays and events of the national minorities on the territories of latter’s compact residence. Additional non-working days may be set to celebrate the traditional national religious holidays.” Traditions, Rites and CeremoniesThe Ukrainian people’s native customs are primarily connected with the traditional way of thought and outlook on life that have been forming throughout the ages, and preserved quite a few features of the pre-Christian beliefs. . Two main types of ceremonies are distinguishable: the domestic (family) and calendar ones. The former were the rites of passage marking a significant transition in a human life, while the latter performed to celebrate achievements or milestones in the lives of individuals or groups of people. Every conventional celebration and every ritual were closely connected with the folk-believes and legends of yore.
The Family Rituals and Rites
Puerperal ceremonies that accompany delivery of a child are part of especially delicate spheres; hence, they are being surrounded by magic actions and charms. While helping deliver babies a midwife was seeking to inculcate and instill in the child the important elements of character. For a child to grow healthy sviachene zillia (consecrated herbs and flowers) were made use of: for girls to be beautiful honey and, sometimes, milk were added to the font or put roots of elecampane there for boys to enjoy good health, or an axe placed to be become proficient in various skills. Everyone who happened to drop in during the ceremony was to drop a lucky penny into the basin holding baptismal water.
Wedding among Ukrainians was indeed a solemn stage play accompanied by music, singing, dancing and games that grew into s folk feast. It all has been starting with wooing and seeking marriage (that is, towel presentation, proposing, towel taking and arrangement) when elders, representatives of the brides-to-be came to an agreement concerning wedding. (Instances happened when the intended bride said no to the marriage seekers. In such cases, she gave back the loaf of bread that seniors brought with them and ‘presented’ the man seeking marriage with either a pumpkin or makohon (a wooden club-shaped, hand-held tool for grinding or mashing poppy seed, cereals, etc. in a mortar).
Soon thereafter, the betrothal was arranged that began with a posad ceremony-the expression of mutual consent by those to be married and consecration of it by both parentages with bread and towel being the symbols of unity. With the betrothed seated at the head of the table, the elders covered the bread with a towel, then placing the girl’s hand there and overlaying it with that of the boy, tied up the both hands with a towel.
This was followed by tying up of the seniors with towels and presentation of all those in attendance with kerchiefs, pieces of cloth or shirts.
In between the betrothing and wedding preparation the celebration continued with a series of rites, of which the principal were the hen and stag parties (or ‘periwinkle’ ceremonies), loaf baking and invitations. The hen and stag nights symbolizing parting with single life were held on the eve of the wedding party separately at places of residence of the affianced. Meanwhile, married and highly honored women were baking the karavai, the principal bread at Ukrainian wedding, as well as varied bridal cookies.
The most dramatic moment of the marriage was the pokryvania (bespreading) ritual that symbolized transfer of the young bride to the category of women and under husband’s authority and after which the general revelry started. The archaic rite is still preserved in Hutsul region. There, close to the end of the dinner party young bride was called to the barn to a sad tune played by musicians. When the groom heard the sound of a violin, he ran into the barn and bit through the ribbon that held metal decorations in the plait of the bride, thus making the entire splendid headdress spread. From this moment on she had to plait two braids, wind them around her head in a circle, and put on ochipok (a kind of a bonnet worm by married women), tying peremitka ( a shawl of fine fabric) or kerchief over it.
An important component of the marriage ceremony is the nuptial service consecrating the marriage by the church.
Funereal Rites and Customs were directed to reversibly transfer the souls of the deceased into the world of ancestors as well as protection of the living from detrimental influence of the spirits of the dead. The rituals comprised the burial and commemoration.
When a person died, all the relations and fellow-villagers were notified. For that purpose white kerchiefs and peremitka were hanged out on the windows of the house where the dead stayed. Among the highlanders it was customary to kindle a big fire before the hut of the deceased or to blow trembita (Hutsul folk music instrument in the form of a long wooden tube without vents).
The soul of the deceased was treated especially delicately. One should not drink water in the room since it was deemed possible to be consumed by the soul of the deceased; those wanting to sit down on a bench had to blow there to avoid crushing the soul of the dead.
The carrying-out of the coffin was marked by special magic since it was connected with protection of the family and the farm from detrimental influence. To bar finding the way back home, the demised was born out feet first predominantly through the back door knocking on the threshold with coffin thrice so that the departed bid farewell to the ancestors and never returned. As soon as the chest was brought out from the room, a new jar was broken over the place it stood on as a symbol of life renovation while the way it was carried out was sprinkled with rye or barley so that nobody else died in the house.
Ukrainians strictly kept the rite of semi-official church ‘sealing’ the grave unknown to other peoples: to a chant, the priest marked a cross over the grave with a spade, and then threw soil crosswise over the coffin.
After the burial ceremony had been over, a meal was arranged for all those present which mandatory dish was kolyvo, a dish of wheat cooked with honey. It was customary immediately after the meal to put a glass of horilka (vodka) and a piece of bread intended for the deceased on the windowsill: in popular belief, he returned home during the following nine days. The next day luncheon was carried to the grave (‘to wake up the deceased’. By this, the funeral ended and commemoration began.
Marking of certain commemoration days are linked with popular ideas about life and death. Hence, the belief was that soul leaved the body on the third day, spirit on the ninth, while on the fortieth day the body ceased its existence.
Calendar Holidays and Ceremonies
A calendar rites are divides into four principal seasonal cycles: winter, spring, summer and autumn with each of them timed on the one hand with the natural phenomena and to the correspondent types of agricultural activity on the other hand.
The winter cycle of popular calendar ritualism of the Ukrainian folk starts with Koliada marked on the eve of Christmas on January 7, ending with Vodokhresch on January 19. In general, the winter cycle includes the following holidays: Koliada (or the Holy Night); the Birth of the Sun Holiday (Christmas); the Old New Year’s Day (Malanka or Saint. Basil’s the Great Day), Vodokhresch (or Epiphany), Stritenia, and Obritenia.
The Christmas night (the Koliada, Holy Night) was also called bahata kutia accompanied by extensive preparations: the stove was kindled with 12 logs that dried for twelve days, 12 ritual dishes were baked and boiled, of which the principal ones were the Christmas kutia (boiled wheat corn with raisins and honey) and uzvar (dried fruits compote). Towards the evening didukh (reaped sheaf) was brought into the house since, in accord with a belief, together with other home objects it acquired miraculous power bringing luck and providing for fruitful toil. In the evening children were sent to relations and kinsfolk with gifts and kutia to commemorate the souls of the dead.
Starting with the Holy Night until the Vodokhresch the ritual wish-singing continued addressed to the hosts of lodgings and habitations, and to all their folks.
Connected with the most vitally important business – laying foundation for the future harvest, the Spring Cycle of the calendar ritualism was of special significance among Ukrainians. For this reason, the people with the help of rituals and magic actions tried with all their might to speed up the coming of spring, warm weather and rain. In addition, the season is also famous for the alchemy of spring and awakening of human feelings. Hence, the spring ritualism was directed at recreation of the youth, telling fortunes and magic signs of supernatural protection. The characteristic colors of the spring rituality in Ukraine were vesnianky, highly poetic folk singing that penetrated more than one holiday and ceremonial actions.
The Velykden (the Great day) was always seen among the people as the principal spring holiday that later was established by the Christian Church as Easter, a Christian festival commemorating Resurrection of Christ. Quite organically it combined pagan rites and canon ceremonies. The Velykden is a complete ritualistic cycle, which comprises the following chief elements: the Maundy-Week that in its turn divided into Palm Sunday and Holy Thursday; Velykden (Easter) and Svitlyi Easter Week including Radunytsia (veneration of ancestors) and Svitlyi Monday. On Palm Sunday, withes of willow were consecrated in church to be used at home for whipping the house folk and domestic animals. On Velykden, paskha (the Easter cakes) and decorated eggs, which were prepared in advance, are also consecrated.
The most diversified is the Summer Ritual Cycle that lasted from the holy day of rusalii at the end of May until the Day of Holovosiky (beheading of St. John the Baptist) and included the following: rusalii, Trinity Sunday (the Green Feast), Kupaila or Ivan Kupala (St. John the Baptist Day), Petriv Den (Saints Peter and Paul Day), Maccabeus, Elijah and Saint Panteleimon the Healer Days, and the Savior Day, as well as quite forgotten today holydays of Thunder and pagan gods Lada, Yarylo, etc.
Within the Summer Ritual Cycle two ideas were prominent: water and plants. Special appeal of romance and magic distinguish The Ivan Kupala Feast. There is a folk-belief that to anyone who is lucky to pick the flower of fern (assumed to bloom at midnight, take fire and fall there and then) the hidden treasures are revealed while the person himself acquires miracle-working powers and knowledge. Hence, during Midsummer Night brave people were looking for fern in the wood, girls were telling fortunes by wreaths, young country folk lighted fires on the water and jumped over them presumably in a belief that Kupala fires and water had curative and purifying properties.
The autumn cycle of the calendar holydays does not present itself as an integral order, but instead incorporates separate customs and omens with their general character defined by the nature going to sleep and preparation for winter. Ceremonial actions move predominantly indoors acquiring the form of evening sessions.
The cycle starts with Simeon feast that formerly coincided with the canon New Year’s Day. The whole cycle comprised of the following holidays and ceremonies: Simeon Day, Pokrova, saints’ days of Dymytriy, Kuzma and Demian, the Feast of Presentation of the Blessed Virgin, Kateryna, Saint George and Saint Andrew Days, as well as Saint Barbara and Saint Nicholas Days. The ceremonies of the autumn cycle were oriented predominantly at domesticity. Weddings started with the Pokrova with other holidays of the season also connected with marriages or divination about those to wed. Engagement in fortune telling was also intensive during the Feast of presentation of the Blessed Virgin, as well as on saints’ days of Kateryna and Andriy with the stock of techniques extremely diverse.
Presently, traditional customs and rites are gradually becoming the thing of the past; however some of the elements still stay in the ceremonies of today to be used during celebrations of the most popular folk holidays.
FolkloreThe folk culture and art of Ukrainians are justly considered a part of the most abundant gains of the European cultural inheritance. Diversified genres and perfection of forms, poetic and exquisite lyricism, profound philosophical thought and irrepressible fieriness are defining the colors of the Ukrainian folklore.
For centuries, the unwritten folk account was almost the sole means to epitomize the Ukrainian lifelong experience and embodiment of popular wisdom, world outlook and high ideals. In addition to the most important events in the Ukrainian history starting from the princedom age, folklore reflected and preserved numerous archaic pagan motifs and symbols often hidden under the cover of Christian tradition. Thanks to the folklore heritage, those living today are able to familiarize themselves with the way of life of the remote and not far off generations, their red- and black-letter days filled with magic and fascinating ceremonial rites.
The Ukrainian folklore tradition one could classify into two blocks: music and poetic (songs, dumy (ballads), folk-tunes, etc.) and prose (fairy tales, legends, anecdotes, and so on) forms.
In addition, the music and poetic art is separated into the basic groups: ceremonial folklore, epic and lyrical folk tradition. The ceremonial folklore includes calendar events and domestic ritual songs; the dumy, historical and epic poetry songs belong to the epic group, while the lyrical one contains social and everyday life poetics.
One of the ancient layers of the Ukrainian folklore is incantation, that is, short oral mythological texts used by our ancestors in looking after the house, to avert misfortune or disease, as well as in the field of romance. Both groups of the ritual songs, that is, calendar (koliadky, schedrivky, vesnianky, rusalni, tsarynni, kupalsky and petrichansky, zhnyvasksy) and domestic ritual songs (the ones for marriage and burial rites, and christening) are rated as the oldest examples of the traditional folklore.
The calendar-ceremonial tradition is divided into four cycles commensurable with the seasons.
The most fully represented and applied at present is the winter cycle of the Ukrainian tradition. Primarily, it is the songs dated for Christmas: koliadky (carols) and scenarios for the Christmas Day activities. The winter cycle also include the so-called schedrivky that are structurally similar to koliadky and meant for singing on Christmas Eve. These are especially rich with wishes of happiness, good health and prosperity to the host of the house of attendance.
The so-called vesnianky or hayivky, numer