Ukraine's leading English-language newspaper since 1995

Integrating into a foreign environment as a teenager is not an easy task, especially if one comes from a newly independent state often labeled as “part of Russia,” “a borderland” or “the home of Chornobyl.”

My life in rural parts of the United States uncovered deeply ingrained Cold War images of Ukraine that still dominate the American public’s consciousness. As a reaction, I found myself educating neighbors, friends and even teachers on the realities of modern Ukraine and our complicated history. Such informal educational sessions instigated personal questions on the identity of the nation that I was so proudly representing. The range and complexity of these questions only elevated after moving to New York City – the heart of American capitalism and a magnet for global artistic talent. Supposedly worldly and better informed, most New Yorkers made no distinction amongst Ukrainians, Lithuanians, Poles or Russians. Frustrated, puzzled and determined to find my own answers to what set us apart from the rest of the “Eastern Bloc,” I developed a set of views that I refer to as a theory of cultural authenticity.

A Ukrainian saying - the soul of the nation resides in its songs – found its second life in New York City, where I have witnessed a renaissance of the Ukrainian folklore. When most of my countrymen are forced to consume ephemerally empty Russian, American, and Ukrainian “popsa,” I uncovered a powerful enclave of high-quality cultural products, both vocal and instrumental. New York City allowed me to partner with an ethnically diverse group of amateur singers, all of whom share deep passion for Ukrainian folk traditions. Recorded in the deepest villages from Polissya to native Poltavshuna, these melodies carry a supernatural power to appeal to the masses, despite the language barrier. The same amount of appeal and enthusiasm is observed at the Ukrainian village-style parties, vechornytsi, which have become an integral part of the cultural scene of the East Village. Combining life folk music, dance and singing, vechornytsi evenings attract a mixed crowd of Americans, Europeans, Asians and Ukrainians, most of whom are discovering the wealth of their cultural heritage for the first time.

Such rejuvenation of the Ukrainian folklore in New York City can be attributed to several factors, ranging from high concentration of global musical talent to a solely American business trait - the ability to “repackage” ancient traditions turning them into marketable goods (Indian yoga and Chinese acupuncture provide just a few examples). Regardless of the reason, such folk renaissance carries a number of important lessons for Ukrainians who, in the absence of effective leadership, have failed to define their national identity. My theory of cultural authenticity is built on the premise that our folk music is uniquely Ukrainian because it is a direct outcome of our past. Furthermore, folk songs lie at the core of the Ukrainian collective character and, as such, our national identity.

Some would argue that the majority of Slavic nations possess similar cultural characteristics. While a number of similarities exist, the diversity of the Ukrainian musical tradition and the impact that it continues to have on its people place it into a different category. I have never seen a more singing nation then Ukrainians, and the answer to this phenomenon lies in the country’s turbulent and tragic history. Similar to Spanish flamenco, which developed as a reaction to Spanish Inquisition, Ukrainian singing has emerged as a coping mechanism against prolonged periods of cultural and economic suppression from the neighboring empires and more distant enemies. Accumulated national pain and struggle for independence resonate in many folk tunes that are now being revisited. A review of Mychailo Gryshevskyi’s Short History of Ukraine reveals multiple excerpts from folk ballads. In fact, the author uses song lyrics to support the accuracy of his historical account as well as comments on events and historical figures. Indirectly, Gryshevsky attributes the ability of Ukrainians to self preserve to folk singing, which became an effective transmitter of the Ukrainian language in the aftermath of decrees of 1863 and 1876. Defining the Ukrainian national identity with the help of its cultural heritage is not only natural, but rather necessary because of its obvious merits.

Ukrainian songs represent easily accessible cultural products with an appeal to ethnically heterogeneous groups. At the vechornytsi, I often observe how the Ukrainian folklore transcends across cultures, religions and ethnic backgrounds, enabling each visitor to recognize elements of his/her native culture. It is hardly surprising since the Ukrainian folklore reflects the wealth of its geographical birthplace that stands at cultural crossroads.

Besides being easily understood, music has a unique ability to unite, instead of highlighting existing differences. I often observe this phenomenon amongst Russian and Ukrainian Jews, many of whom fled Odesa just to settle in “little Odesa” or the Brighton Beach. Their heightened interest and participation in such events can be explained by desire to reconnect with a familiar culture. They attend such events in unison with the fourth wave of Ukrainian immigrants, the majority of whom left their eastern and western Ukrainian homes searching for economic stability. This melting pot is spiced up by Ukrainian students and young professionals who eagerly embrace their cultural heritage. It is not only entertaining to see foreigners and Ukrainians of different generations and socio-economic backgrounds sing and dance to life folk; it sends a strong message to the entire population in the homeland – let us understand who we are and embrace our numerous similarities.

Songs are similar to intangible assets whose value is realized in the long-term: they can define the national identity for Ukrainians, while rebuilding the country’s damaged image abroad. The contribution of two Ukrainian musicians from different genres and time periods, Oleksand Koshyc and Slavko Vakarchyk, proved more valuable to Ukraine’s external image then the combined impact of its dysfunctional politicians. As a founder and a conductor of the First National Choir of the Ukrainian People’s Republic, Koshyc introduced the world to unique harmonies of the Ukrainian folk singing. One of his choir’s performances in 1922 gathered 32,600 attendees in Mexico City, where the former president of Mexico Álvaro Obregón eventually proclaimed, “For the first time in my life I regret not having a second hand, which I would use to applaud to you.” Similar feelings prevailed eighty five years later during the NYC performance of the Ukrainian rock bank Okean Elzy. Waiting in line for several hours was justified by a phenomenal show delivered by Vakarchyk and his team. The performance did not end inside NYC’s Webster Hall, but was quickly “transported” to the city’s streets by singing enthusiasts of the Russian and Belorussian origin. I felt an enormous sense of national pride when a group of our eastern and northern neighbors jointly embraced our most valuable Ukrainian cultural asset, the songs, highlighting their esthetic appeal and unifying nature.

Culture, similar to economy, education or infrastructure, demands proper financial support to flourish and to impact the people in a positive way. The belief that Ukraine’s integration into the European Union will create miracles, turning us into a respectful European nation that produces quality products, is simply a myth. Cultural penetration of the European market has been launched by many artists of the Ukrainian origin, such as Marianna Sadowska, Dakha Brakha and others who adhere to folk as a foundation of their modern creations. Ironically, this process is bypassing its country of origin. Public awareness campaigns combined with sufficient media coverage, public and private finance are necessary to encourage and sustain these unique developments. Ukrainian folklore and general creativity represent our innate national qualities. Hopefully, it is only a matter of time that the Ukrainian people recognize them as integral parts of our national identity and use them to become more tolerant, first of all, toward each other.