Abstract
The article analyzes in detail the prerequisites for the emergence of the bandura art simulacrum, highlights newly discovered historical evidence of the forced involvement of bandurists in propaganda during Soviet Ukraine. The main questions that the author ponders over are: how to distinguish the true, essential bandura art from its distorted copy, which has become so widely used, and how in modern realities to get rid of inferior narratives implanted in us and ensure the future of the ancient Ukrainian musical instrument – bandura. The definition of simulacrum is based on the position of the French philosopher Jean Baudrillard, as well as on views of contemporary Ukrainian researchers. Presentation of the book by Hryhory Kytasty, unknown to the public yet, which sheds light on the reality of the existence of musical groups and institutions during the Ukrainian culture repressions. Expressing some caveats regarding the presentation of bandura today and charting the way of development for the academic bandura art.
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