Kobzar Theme in Maksym Rylskyi’s Creation

Author

LisniakInna

a Ph.D. in Art Studies, a research fellow of the Department of Musicology and Ethnomusicology of M. Rylskyi Institute of Art Studies, Folkloristics and Ethnology of the National Academy of Sciences of Ukraine (Kyiv, Ukraine). ORCID ID: https://orcid.org/0000-0002-9079-0282

Kobzar Theme in Maksym Rylskyi’s Creation

Abstract

The main milestones in the life and works of M. Rylskyi in the context of the socialism-building epoch in the Soviet Ukraine are described in the article. The origins of the poet’s interest in Ukrainian musical folklore are analyzed. It is ascertained that the Kobzar theme, which is reinterpreted organically and deeply in literary and scientific heritages of the artist is an integral aspect of M. Rylskyi’s multifaceted activities. It is emphasized that the scientific treatment of the Duma epics has taken place in a period critical for the life and works of M. Rylskyi. The poet’s contribution to popularizing the Kobzars art in the Soviet period is described.

It is proved that the social and public significance of the Kobzars has been exaggerated, the repertoire value created by the performers of that period is hyperbolized in the context of totalitarian ideology in the works of folklorists of the Soviet time (in particular, the 1950s, 1960–1980s). It is emphasized on the erroneous concept introduced in the scientific opinion of the time, convenient for the occupying Soviet authorities, that the Soviet kobzar, i.e., a performer on the bandura (amateur or professional) is a continuator of the epic tradition, and therefore – an authentic kobzar. The figure of the Soviet kobzar has been interpreted as a spokesman of the artistic demands of the Soviet people, the creator of Ukrainian Soviet epic folklore. The campaigning role of Soviet kobzars is emphasized deliberately. Such an approach is revealed also in the works concerning the Kobzar theme of the Soviet period. M. Rylskyi has pointed out these and other distortions repeatedly. The artist has emphasized the artificiality of the creation of Soviet dumy, those can be attributed to the genre of dumy only conditionally. These works remind a folk song in their poetic form, stanzas and musical structure. The poet’s scientific work in the direction of creating a general picture of Kobzar Studying investigations of the Soviet period is considered. It is found out that in the conditions of the contemporary ideology in the works of M. Rylskyi, the common origin of the fraternal peoples has not gone without exaggeration. The significance of the Folk Art and Ethnology journal of the Institute of Art Studies, Folklore and Ethnography of the Academy of Sciences of the Ukrainian SSR in the 1950s – 1980s in the formation of Kobzar Studying and Bandura Studying is described. M. Rylskyi is noted as an editor-in-chief.

Keywords

Maksym Rylskyi, Ukrainian musical folklore, Kobzars, bandura players, Duma epics.

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