Promotion of Bandura Art Abroad at the Turn of the 1980s and 1990s

Abstract

The purpose of the research is to determine the genre and thematic directions of the creative activity of bandura players of the Ukrainian diaspora and Ukraine in the context of the Ukrainian Free University (Munich, Germany) in the period of the 80s and 90s of the twentieth century. In particular, audio recordings from the collection of the UFU archive and reports on the activities of the educational institution from 1985-1990 were used. Research methodology. The researcher used the source, historical, axiological, musicological, and cultural approaches. The source study method was used to analyze new archival sources (textual, documentary, and audio-media) to research Ukrainian bandura art in its mainland and diaspora dimensions. Other approaches and methods made it possible to consider the areas of activity of bandura players in a foreign environment (historical and typological and historical and chronological methods), the value of their achievements for the promotion of bandura art in the world in the period of the 80s and 90s of the twentieth century (axiological approach), and to analyze the contribution of bandura players from North America, Europe, and Ukraine at the compositional, performing, and pedagogical levels to the world Ukrainian culture (musicological and culturological approaches). Scientific novelty of the research. For the first time, the materials of the audio archive of the Ukrainian Free University concerning bandura art are introduced into scientific circulation. Conclusions. The main principles and manifestations of the popularization of bandura art abroad in the 80-the 90s of the twentieth century are revealed. The personalities of soloists and groups of bandura players from the diaspora and Ukraine, lecturers and instructors of bandura training held at the Ukrainian Vulnerable University, whose creative activity was presented at public concerts in Munich, interviews and presentations on the air of Radio Svoboda, are highlighted. The article analyzes the period that marked not just the intensification of the concert and pedagogical activities of bandura players from other foreign countries but also the expansion of their cooperation with bandura players from Ukraine on the eve and at the beginning of independence. These factors remain relevant in the context of the need to generalize and analyze the achievements of bandura art abroad as a component of Ukrainian musical culture and its development in different historical and temporal periods.