Résumés
Abstract
We focus on the Ivan Honchar Museum National Centre of Folk Culture and three of its projects aimed at collecting, safeguarding, restoring, and promoting ICH (“Night of Traditional Dance,” “Kobzar Pentecost Festival” and “Oreli”). Having assembled one of the best collections of folk art and traditional material culture in Ukraine, the Ivan Honchar Museum has become a solid hub not only of tangible, but also intangible heritage, including oral traditions, arts, games, crafts, feasts, song, music, dance, and rituals. The article describes the circumstances in which folk singing, folk dance, and folk instrumental music can generate projects for successful folk festivals. In our times, the safeguarding of ICH means not only collection and archiving, but also support and promotion of its carriers, ensuring reproduction and transmission, developing consumers for this segment of culture, and involving children and youth.
Résumé
Nous nous concentrons sur le Centre national de culture populaire du Musée Ivan Honchar et sur trois de ses projets visant à collecter, sauvegarder, restaurer et promouvoir le PCI (« La nuit de la danse traditionnelle », le festival « Kobzar de Pentecôte » et « Oreli »). Ayant constitué l’une des meilleures collections d’art populaire et de culture matérielle traditionnelle d’Ukraine, le musée Ivan Honchar est devenu un pôle important centralisant non seulement le patrimoine matériel, mais aussi immatériel, comprenant les traditions orales, les arts, les jeux, l’artisanat, les fêtes, les chants, la musique, la danse et les rituels. L’article décrit les circonstances dans lesquelles le chant folklorique, la danse folklorique et la musique instrumentale folklorique peuvent générer des projets de festivals folkloriques réussis. À notre époque, la sauvegarde du PCI signifie non seulement la collecte et l’archivage, mais aussi le soutien et la promotion de ses porteurs, en assurant la reproduction et la transmission, en développant un public pour ce secteur de la culture et en impliquant les enfants et les jeunes.
Parties annexes
References
- Arizpe, Lourdes. 2004. “Intangible Cultural Heritage, Diversity and Coherence.” Museum International. Intangible Heritage 56 (1–2): 130–135. https://unesdoc.unesco.org/ark:/48223/pf0000135852 (accessed 17 July 2023).
- Berezutska, Maryna. 2020. “The Development of Bandura Music Art Between the 1920s and 1940s.” Journal of Ethnology and Folkloristics 14 (2): 44-66.
- Bilokin’, Serhii. 1993. “Hryhorii Liubystok.” Rodovid 6: 10–15.
- Blake, Janet. 2018. “Museums and Safeguarding Intangible Cultural Heritage: Facilitating Participation and Strengthening their Function in Society.” International Journal of Intangible Heritage 13: 18–32.
- Bozhyns’kyi, Nazar. 2022. “Usia tradytsiia iak pisok kriz’ pal’tsi vysypaiet’sia: Interv’iu Ianiny Murdzy z muzykantom Nazarom Bozhyns’kym” (All tradition pours out like sand between our fingers: An interview by Ianina Murdza with musician Nazar Bozhyns’kyi). Transcribed interview. Zmist. https://zmist.pl.ua/publications/usya-tradycziya-yak-pisok-kriz-palczi-vysypayetsya-intervyu-z-muzykantom-nazarom-bozhynskym-yakyj-vidrodzhuye-narodnyj-styl-zhyttya-ukrayincziv (accessed 8 July 2023).
- Bozhyns’kyi, Nazar. 2023. Interview by Maryna Hrymych with Nazar Bozhyns’kyi (Chornoshlychnyk). 04 May 2023.
- Cadaval, Olivia. 2017. “A Lesson of Presenting: The Smithsonian Folklife Festival Model.” Journal of American Folklore 130(516): 193–203.
- Central State CinePhotoPhono Archives of Ukraine named after H. Pshenychnyi (TsKFFA of Ukraine). 1955. Ukrains’ki narodni tantsi (Ukrainian folk dances). Kinosiuzhet part 14, item 6070.
- Central State CinePhotoPhono Archives of Ukraine named after H. Pshenychnyi (TsKFFA of Ukraine). 1942. Nimets’kyi tyzhnevyi ohliad (German weekly review). Kinozhurnal 2, item 3264.
- Central State CinePhotoPhono Archives of Ukraine named after H. Pshenychnyi (TsKFFA of Ukraine). 1955. Ukrains’ki narodni tantsi (Ukrainian folk dances). Kinosiuzhet part 14, item 6070.
- Cherems’kyi, Kost’. 1999. Povernennia tradytsii: Z istorii nyshchennia kobzarstva (The return of tradition: On the destruction of the kobzar tradition). Kharkiv: Tsentr Lesia Kurbasa.
- Cherems’kyi, Kost’. 2002. Shliakh zvychaiu (The way of the tradition). Kharkiv: Hlas.
- Cherems’kyi, Petro and Semerens’kyi, Viktor. 1999. Dzyga: Ukrains’ki dytiachi molodechi narodni ihry ta rozvahy (Dzhyga: Ukrainian children’s folk games and entertainments). Kharkiv: Druk.
- Demian, Valentyna and Eivind Falk. 2021. “Tracing the Traditional Bandura Making.” In Eivind Falk and Seong-Yong Park (eds.), Traditional Musical Instruments: Sharing Experience from the Field. UNESCO ICHCAP, Heritage Alive: 69–78.
- Horbach, Oleksa. 1957. “Argo ukrains’kykh lirnykiv” (The argot of Ukrainian lira players). Naukovi zapysky Ukrains’koho vil’noho universytetu (Scholarly notes of the Ukrainian Free University) 1: 7–44.
- Hrymych, Maryna. 1992. “Vykonavtsi ukrains’kykh dum” (Performers of Ukrainian dumy). Rodovid 3: 14–21.
- Hrymych, Maryna (ed.). 2009. Narodnakul’turaukraintsiv: Zhyttievyitsyklliudyny (Ukrainian folk culture: Life cycle 1). Dity, Dytynstvо, Dytiachasubkul’tura (Children, childhood, children’s subculture). Kyiv: Duliby.
- Hrymych, Maryna (ed.). 2010. Narodnakul’turaukraintsiv: Zhyttievyjtsyklliudyny (Ukrainian folk culture: Life cycle 2) Molod’, Molodist’, Molodizhnasubkul’tura (Youth, youth subculture). Kyiv: Duliby.
- Humeniuk, Andrii. 1969. Ukrainskinarodnitantsi (Ukrainian folk dances). Kyiv: Naukova dumka.
- Kaperush: Tradytsiina muzyka sela Novosilky (Ternopil’schyna) (Kaperush: Traditional music of the village of Novosilky [Ternopil oblast]). 1997. Audiocassette. Kyiv: UELF.
- Khai, Mykhailo and Skrypnyk, Halyna (eds.). 2019. Rehionalno-zhanrova antolohiia ukrainskoho muzychnoho folkloru 2 (A regional and genre-based anthology of Ukrainian musical folklore). Narodna instrumentalna muzyka Serednoi Naddniprianshchyny (Folk instrumental music of the central Dnipro region). Kyiv: IMFE
- Kirshenblatt-Gimblett, Barbara. 2004. “Intangible Heritage as Metacultural Production.” Museum International 56(1–2 / 221–222): 52–65.
- Kocherzhyns’kyi, Yurii. 2023a. Interview by Maryna Hrymych with Yurii (Yurko) Kocherzhyns’kyi. 21 March 2023.
- Kocherzhyns’kyi, Yurii. 2023b. Interview by Maryna Hrymych with Yurii (Yurko) Kocherzhyns’kyi. 23 March 2023.
- Kocherzhyns’kyi, Yurii. 2023c. Interview by Maryna Hrymych with Yurii (Yurko) Kocherzhyns’kyi. 05 April 2023.
- Kosmyna, Ruslan. 2023. Interview by Maryna Hrymych with Rusalim (Ruslan) Kosmyna (Kozlenko). 28 March 2023.
- Kushpet, Volodymyr. 1997. Samovchytel’ hry na starosvits’kykh muzychnykh instrumentakh: Kobza O. Veresaia, bandura H. Tkachenka, torban F. Vidorta (Self-teaching handbook for play on old world musical instruments: The kobza of O. Veresai, the bandura of H. Tkachenko, and the torban of F. Vidorta). Kyiv: LitSoft.
- Kushpet, Volodymyr. 2007. Startsivstvo: Mandrivni spivtsi-muzykanty v Ukraini (XIX – poch. XX st.) (Wandering minstrelsy: Itinerant singers-musicians in Ukraine [19th to the beginning of the 20th centuries]). Kyiv: Tempora.
- Kyrdan, Borys and Omel’chenko, Andrii. 1980. Narodni spivtsi-muzykanty na Ukraini (Folk singers-musicians in Ukraine). Kyiv: Muzychna Ukraina.
- La Rue, Hélène. 2007. “‘Hello, Here’s Music, How Did That Get Here?’ Presenting Music to the Unsuspecting Museum.” Journal of Museum Ethnography 19: 43–56.
- Laforet, Andrea. 2014. “Good Intentions and the Public Good: Intangible Cultural Heritage in a Canadian National Museum.” Ethnologies 36(1–2): 235–257. https://www.erudit.org/en/journals/ethno/2014-v36-n1-2-ethno02680/1037608ar/
- Lavrov, Fedir. 1980. Kobzari: Narysy z istorii kobzarstva Ukrainy (Kobzari: An outline of the history of the kobzar tradition of Ukraine). Kyiv: Mystetstvo.
- Markovych, Halyna. 2015. “Dydaktychna ta vykhovna spriamovanist’ zbyrats’ko-doslidnyts’koi ta pedahohichnoi diial’nosti Mykhaila Khaia” (The didactic and educational orientation of Mykhailo Khai’s field research and pedagogical work.” Studii mystetstvoznavchi (Researches of the Fine Arts) 1 (49): 102–117.
- Mishalov, Viktor. 1985. “Ostannii kobzar: Narys pro H. Tkachenka” (The last kobzar: A sketch about H. Tkachenko). Bandura 13-14 (7): 49–52.
- Mishalov, Viktor. 2013. Kharkivs’ka bandura: kul’turolohichno-mystets’ki aspekty genezy i rozvytku vykonavstva na ukrains’komu narodnomu instrumenti (The Kharkiv bandura: Culturological and aesthetic aspects of the genesis and development of playing on a Ukrainian folk instrument). Kharkiv: Savchuk O.
- Nadobryden’: Tradytsiia s. Zelen’kiv (Naddniprianschyna) (Good day!: The tradition of the village of Zelenkiv [Dnipro river region]). 1997. Audiocassette. Kyiv: UELF.
- Nahachewsky, Andriy. 2012. Ukrainian Dance: A Cross-Cultural Approach. McFarland: Jefferson, North Carolina.
- Pocius, Gerald L. 2014. “The Government of Canada and Intangible Cultural Heritage: An Excursion into Federal Domestic Policies and the UNESCO Intangible Cultural Heritage Convention.” Ethnologies 36(1–2): 63–92. https://www.erudit.org/en/journals/ethno/2014-v36-n1-2-ethno02680/1037600ar/
- Poulot, Dominique. 2014. “Intangible Heritage in France: Between Museographical Renewal and ‘Project Territory’.” Ethnologies 36(1–2): 177–206. https://www.erudit.org/en/journals/ethno/2014-v36-n1-2-ethno02680/1037606ar/
- Rylsky Institute of Art Studies, Folklore and Ethnology of the National Academy of Sciences of Ukraine Archive (IMFE Archive). Archive documents. Fond 14-10, item 84, 109.
- Seitel, Peter (ed.). 2001. Safeguarding Traditional Cultures: A Global Assessment of the 1989 UNESCO Recommendation on the Safeguarding of Traditional Culture and Heritage. Proceedings of the conference held at the Smithsonian Institution in Washington, D.C., from 27 to 30 June 1999, organized by UNESCO, Division of Cultural Heritage, and the Smithsonian Institution, Center for Folklife and Cultural Heritage. Washington, D.C., Center for Folklife and Cultural Heritage Smithsonian Institution. http://www.folklife.si.edu/unesco/, 2001 (accessed 8 July 2023).
- Shelton, Anthony Alan. 2014. “Re-totalizing Culture: Breathing the Intangible into Museum Practice?” Ethnologies 36(1–2): 207–234. https://www.erudit.org/en/journals/ethno/2014-v36-n1-2-ethno02680/1037607ar/
- Turgeon, Laurier and Elise Dubuc (eds). 2002. Museums/Musées. Ethnologies 24 (2). https://www.erudit.org/en/journals/ethno/2002-v24-n2-ethno530/
- Ukrainian Center for Cultural Research (Український центр культурних досліджень). 2022. “Kobzarstvo.” https://uccs.org.ua/novyny/kobzarstvo/ (accessed 10 July 2023).
- Ukrains’ka Troista Muzyka (Ukrainian trio of musicians). 1974. Set of 4 LP records. SM 03427–34. Melodyia.
- van Zanten, Wim. 2004. “Constructing New Terminology for Intangible Cultural Heritage.” Museum International 56(1–2): 36–43.
- Vpustit’ shchastia v khatu (Let good fortune come in to the house). 2014. Dytiachi koliadky ta schedrivky (Children’s Christmas and New Year’s carols). “Vesnianka,” “Raihorodok,” “Ladosvity,” “Budymyr,” “Oreli,” “Vesnianochka,” “Volodar.” Audiodisc. Kyiv: Tretiakov Production, Muzei Ivana Honchara.
- Yarmola, Victoria. 2014. Skrypkova tradytsiia Rivnensko-Volyns’koho Polissia (The violin tradition of the Rivne-Volyn’ area of Polissia). Lviv: Spolom.
- Yoshida, Kenji. 2004. “The Museum and Intangible Heritage.” Museum International 56(1–2): 108–112.
- Z-pid karpats’koho khrebta:Tradytsiina instrumental’na muzyka turkivs’koi Lybokhory (Boikivschyna) (From near the ridge of the Carpathians: Traditional instrumental music of the village of Lybokhora near Turka [Boiko region]). 1997. Audiocassette. Kyiv: UELF.