27:
611:
205:. The first stage of training consisted of how to physically live and survive in the world being blind. Next, the apprentice would learn songs to be performed, and the etiquette of begging. The normal time for an apprenticeship was three years. Training for girls ended with singing; only males were allowed to learn to play instruments and learn to sing epic songs. Because apprentices could not see, they had to be taught to play instruments by touch.
824:
87:
838:
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in need of money than women in order to support dependents, and as a result prohibited girls and women from performances with instruments or of epic poetry or historic songs (which earned performers more money). Women were considered to have better voices, which compensated for being restricted in what they were allowed to learn and perform.
590:, and Avram Hrebin. These performers were often blind and although some actually had contact with the authentic kobzari of the previous generation, they were mostly self-taught, without apprenticeships, and worked from officially approved written texts. Their successors were likely not aware that oral transmission was possible.
613:
617:
616:
612:
185:"The restrictions placed on traditional minstrelsy, the restrictions that permitted only blind people to become minstrels and kept ordinary folk from performing a certain set of songs, did not inhibit the profession. Rather, they contributed to its artistic power and especially to its spiritual effectiveness."
618:
560:
Despite this effort and other efforts to eliminate kobzari through execution, kobzari were found difficult to eliminate. Other tactics used to end kobzardom included required registration of musical instruments, prohibition of begging, restrictions on musical performance, destruction of instruments,
411:
While boys, girls, men, and women could all be blind, only boys and men were allowed to learn and play instruments, and to sing epic poetry or other historical songs with relatively higher professional status. Though girls and women could be taught and allowed to sing, guilds believed men were more
194:
In rural life, everyone was expected to contribute to survival, with farm labor being the most important. The blind, unable to help with these tasks aside from rope work, developed an alternate source of income as performers. To learn the necessary skills, blind children could be apprenticed to a
151:
of Kozak style. Various items often surround Kozak Mamai including a horse, a tree, a rifle, a sword, and a gunpowder horn, and sometimes a bottle and cup. Sometimes other individuals such as a woman or other kozaks surround Kozak Mamai, who is deep in thought and reflection. While the historical
212:
took time and effort, and apprentice needs varied. Apprentices' intelligence and aptitude would affect the length of the apprenticeship. Older students might have a shorter apprenticeship because they'd already learned needed skills for survival while blind. Some apprentices with less aptitude
593:
Some received formal training in conservatories. Bandura performers during this era often performed in ensembles, different from the kobzari solo tradition. Their repertoire was primarily made up of censored versions of traditional kobzar repertoire and focused on stylized works that praised the
415:
Though poorly documented, there is evidence that women also learned epic poetry, historical song, and also learned to play the instruments, though they had to do so outside of guilds, and could only perform in the privacy of their homes. This privately-held knowledge by women contributed to
310:
were generally itinerant, tending to have a "circuit" of villages that would be visited regularly, going house to house until finding company that had something to share and welcomed the visit. They would not beg in their own village, and when traveling, would stay in the home of a fellow
170:
While prior to the 1800s, there is evidence of performers able to see, blindness was a requirement to become a kobzar in the 1800s, as the social role of kobzar was both profession and social welfare for those who were unable to contribute to farm work. Only men could become kobzari.
615:
472:
These guilds were thought to have been modelled on the
Orthodox Church brotherhoods as each guild was associated with a specific church. These guilds then would take care of one church icon or purchase new religious ornaments for their affiliated church (Kononenko, p. 568–9).
579:
conforming to
Marxist-Leninist ideology. Rather than learning songs through oral tradition as had the kobzari, only officially approved written texts could be used to learn songs, which were carefully censored and modified to become approved content such as "Duma about Lenin."
1992:Довгалюк Ірина. Причинки до історії проекту фонографування дум // Етномузика: збірка статей та матеріалів / упорядники Ірина Довгалюк, Юрій Рибак. – Львів, 2008. – Ч.5. – С.9-26. – (Наукові збірки Львівської національної музичної академії ім.М.Лисенка. – Вип.22)
2042:Довгалюк Ірина. "Фонографічні валики в архіві Філарета Колесси" // Етномузика: збірка статей та матеріалів / упорядник Богдан Луканюк. – Львів, 2011. – Ч.7. – С. 101-115. – (Наукові збірки Львівської національної академії ім.М.Лисенка. – Вип. 26
298:
and related historical events and epic stories of
Cossack heroes which were important on a personal or national level. The satirical songs were not performed by all minstrels, and always outside serious performance.
1679:
614:
219:. Others might seek an additional apprenticeship for additional skills. Upon completing an apprenticeship, apprentices were given the status of minstrel during a secret and closed initiation rite called a
701:, which used wax-coated cylinders). However, the suggestion was not accepted due to lack of money. Other people came with the same suggestion, both during the preparation and the sessions of the congress.
263:
were begging songs often highlighting the fleeting nature of life, a description of life with the disability of blindness, an apology for seeking alms, and a cultural or religious reference to cloth (
174:
In the 1800s, infant mortality was around 30%, with 40% of children dying before age two. Of those that survived, an unusually high number were blind due to the effects of poor health and disease.
1680:‘Remember the peasantry’: A study of genocide, famine, and the Stalinist Holodomor in Soviet Ukraine, 1932-33, as it was remembered by post-war immigrants in Western Australia who experienced it
586:
were stylised performers on the bandura created to replace the traditional authentic kobzari who had been wiped out in the 1930s. Early Soviet minstrels included Ehor
Movchan, Fedir Kushneryk,
1684:"During the mid-1930s, the were invited to the First All-Ukrainian Congress of Lirniki and Banduristy (folk singers, minstrels) where they were arrested and, in most cases shot".
2006:
280:
also often repeated the theme of the brevity of life, in addition to the afterlife, and hope and help in the form of the women (Mary and Mary
Magdalene) and Saint Nicholas (
557:. Those that arrived were taken outside the city and were all put to death. This event was not covered in the Soviet press which complicates precise documentary evidence.
640:
were blind, those reviving the tradition tend to be young, able to see, and with a focus on
Ukrainian independence, seeking to celebrate Ukraine's history and nationhood.
357:
own children might serve as guide while still too young to provide farm labor, though would not usually follow their father into the minstrelry. The children of a
461:). They developed a system of rigorous apprenticeships (usually three years in length) before undergoing the first set of open examinations in order to become a
1961:
720:(artist and ethnographer), have eventually taken the job. Borodai bought several phonographs in America for his own money. The first records were taken for
1933:
341:). These children were often orphans or disabled themselves so that they likewise could not contribute to farm labor. The guide would often assist the
434:
1417:
2026:
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the phonograph playback. With the breakthroughs in non-destructive reading of wax cylinders, there were renewed attempts. In 2013, a member of the
1164:
1279:
730:. However due to the conflict between Borodai and Khotkevych their work stopped in 1904. The work was restarted by the initiative Kvitka family,
396:. The plot features a boy whose father is executed by Stalin's secret police and who is subsequently saved by a blind Ukrainian folk minstrel, a
764:
In 1910 and 1913 Kolessa published two books of music deciphered from the collected phonograms. They were re-issued in 1969 as a book
465:. Among the marks of professional competence necessary to gain entry to a guild was mastery of a secret guild language known as the
1323:"U.S. Theaters From Regal To Indies Will Play 2014 Ukrainian Film 'The Guide' Starting Friday With Proceeds Going To Relief Effort"
1297:
361:
would often try to convince their father to stay home as soon as they were able themselves to earn enough money for them to do so.
143:: Козак Мамай) is a popular and iconic image that has many variants, but usually features a man sitting cross-legged and playing a
1686:
In the notes: "Although noted by a few different authors there is no mention of where this occurred." Accessed 8 February 2021
629:
In recent times, there has been an interest in reviving of authentic kobzar traditions which is marked by re-establishing the
1968:, Visnyk Lviv. Univ. Ser. Art Studies. 2011. № 10. Р. 3–20; contains extensive bibliography of the sound recording of kobzars
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family, and more broadly — a performer of the musical material associated with the kobzar tradition. Kobzari also played the
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certainty of this image cannot be established, it represents the assumption that the original composers and singers of
992:
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1165:"PNW Kobzar Project in concert - "Solace on Rainy Days" | Stage 7 Pianos, Kirkland, WA | December 2, 2023"
753:
team Yuri Bulka and folklorist Irina
Dovgalyuk (who did research on Kolessa's collection) used a Wikimedia grant to
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until old enough to learn a skill or trade, which was often making musical instruments due to their experience from
1769:
1715:
Volkov
Solomon, ed. Testimony: The Memoirs of Dmitri Shostakovich (New York: Faber & Faber,1979), pp.214-15.
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1958:
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traveled from town to town, sharing news from village to village, functioning as an early form of social media.
1704:
1735:
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1255:
897:
649:
666:
553:, on the order of Stalin, the Soviet authorities called on all Ukrainian Kobzars to attend a congress in
496:
181:
writes, blindness was both a qualification for traditional kobzari, and also part of their effectiveness:
337:
would often require assistance in their travel, and would often hire a boy or girl to serve as a guide (
882:
1866:. Folklores and folk cultures of Eastern Europe. Armonk, N.Y. London: M.E. Sharpe. pp. 114–117.
575:
Kobzar performance was replaced with stylized performances of folk and classical music utilising the
1551:. Folklores and folk cultures of Eastern Europe. Armonk, N.Y. London: M.E. Sharpe. pp. 86–107.
2151:
1629:. Folklores and folk cultures of Eastern Europe. Armonk, N.Y. London: M.E. Sharpe. pp. 74–75.
1604:. Folklores and folk cultures of Eastern Europe. Armonk, N.Y. London: M.E. Sharpe. pp. 72–74.
1526:. Folklores and folk cultures of Eastern Europe. Armonk, N.Y. London: M.E. Sharpe. pp. 66–85.
1476:. Folklores and folk cultures of Eastern Europe. Armonk, N.Y. London: M.E. Sharpe. pp. 63–64.
1233:. Folklores and folk cultures of Eastern Europe. Armonk, N.Y. London: M.E. Sharpe. pp. 10–15.
1140:. Folklores and folk cultures of Eastern Europe. Armonk, N.Y. London: M.E. Sharpe. pp. 16–26.
1027:. Folklores and folk cultures of Eastern Europe. Armonk, N.Y. London: M.E. Sharpe. pp. 45–48.
1199:. Folklores and folk cultures of Eastern Europe. Armonk, N.Y. London: M.E. Sharpe. pp. 9–15.
949:
86:
1891:. Folklores and folk cultures of Eastern Europe. Armonk, N.Y. London: M.E. Sharpe. pp. 5–9.
1798:. Folklores and folk cultures of Eastern Europe. Armonk, N.Y. London: M.E. Sharpe. p. 116.
1052:. Folklores and folk cultures of Eastern Europe. Armonk, N.Y. London: M.E. Sharpe. p. 198.
1736:"How an American expat pulled the Ukrainian art of Kobzaring back from the brink of extinction"
1579:. Folklores and folk cultures of Eastern Europe. Armonk, N.Y. London: M.E. Sharpe. p. 67.
527:
were considered the same category of minstrel, belonging to the same guilds and sharing songs.
1659:. Folklores and folk cultures of Eastern Europe. Armonk, N.Y. London: M.E. Sharpe. p. 9.
1402:
1696:
694:
546:
536:
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were religious songs, not necessarily psalms, on the subject of the Bible or religion. Like
545:
in the mid 1930s during Stalin's radical transformation of rural society which included the
682:
454:
8:
727:
408:
Many kobzari were married, and a kobzar with a wife and children was considered normal.
1418:"Banduras for the Blind: Minstrels, Epic Song, and the Ukrainian Culture of Resistance"
587:
140:
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59:
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685:. During its preparation, the committee discussed a letter from Russian ethnographer
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95:
2052:Колесса Ф. М. Мелодiї Українських народних дум (1969) /pdf, djvu/ Оцифровано Гуртом
1346:
738:, who put their money into the project. In 1908 they invited Ukrainian ethnographer
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912:
907:
805:
786:
758:
630:
377:
1298:"Oscars: Ukraine Nominates Oles Sanin's 'The Guide' for Foreign-Language Category"
2051:
1965:
1934:"War isn't dampening artists' determination to revive Indigenous Ukrainian music"
877:
739:
735:
717:
705:
686:
659:
2085:
Kononenko, Natalie O. “The
Influence of the Orthodox Church on Ukrainian Dumy.”
633:
as a centre for the dissemination of historical authentic performance practice.
429:
At the turn of the nineteenth century there were three regional kobzar schools:
26:
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829:
746:
731:
678:
583:
570:
393:
2063:
321:. They would sometimes perform at fairs, religious festivals, and weddings. K
2135:
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781:
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131:
20:
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1959:"ОПАНАС СЛАСТЬОН В ІСТОРІЇ ФОНОГРАФУВАННЯ КОБЗАРСЬКО-ЛІРНИЦЬКОЇ ТРАДИЦІЇ"
797:
690:
500:
289:
255:
215:
153:
136:
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in Soviet
Ukraine. This film was nominated for a best foreign-language
1834:. Toronto Buffalo London: University of Toronto Press. pp. 90–92.
1501:. Toronto Buffalo London: University of Toronto Press. pp. 67–68.
1106:. Toronto Buffalo London: University of Toronto Press. pp. 56–72.
902:
872:
745:
In later times there were attempts to recast the phonograph records by
698:
373:
102:. Kobzari were often blind and became predominantly so by the 1800s.
1980:
Borodai was expected to sponsor Khotkevych's textbook on kobza playing
213:
might set out on their own without learning difficult songs including
1373:"An interview with Oles Sanin about THE GUIDE, Ukraine's OSCAR Entry"
862:
709:
550:
389:
453:
organized themselves into regional guilds or brotherhoods, known as
1448:. Toronto Buffalo London: University of Toronto Press. p. 67.
754:
159:
30:
Slobozhan kobzar P. Drevchenko and Poltava kobzar M. Kravchenko in
1682:
Lesa Melnyczuk Morgan, 2010, University of Notre Dame Australia
801:
790:
674:
670:
623:
576:
554:
264:
115:
75:
31:
887:
809:
492:
317:
229:
201:
53:
2007:"Ученые оцифровали кобзарские песни, записанные 100 лет назад"
804:(where the hurdy-gurdy is often referred to as a "kobza", and
284:). Sometimes these para-liturgical songs are called "kanty."
2125:
2009:("Scientist Digitized Kobzar Songs Recorder 100 Years Ago"),
972:
Volodymyr Kushpet "Startsivstvo", 500pp, Kyiv "Tempora" 2007
867:
857:
441:, which were differentiated by repertoire and playing style.
144:
119:
107:
94:
The professional kobzar tradition was established during the
71:
70:
who sang to his own accompaniment, played on a multistringed
598:
system and Soviet heroes, including pressure to compose new
852:
722:
111:
67:
812:
where the bagpipe is referred to as a "kobza" or "koza").
541:
The institution of the kobzardom essentially ended in the
487:
Traditional minstrels from this time period also included
1699:. Soviet Collectivization and the Terror-Famine., p.266.
2128:, a portrait of OSTAP KINDRACHUK, a film by Vincent Moon
2118:
1253:
981:
Rainer Maria Rilke, Susan Ranson, Ben Hutchinson(2008),
511:
were likely disabled, and in general to be considered a
1832:
Ukrainian epic and historical song: folklore in context
1499:
Ukrainian epic and historical song: folklore in context
1446:
Ukrainian epic and historical song: folklore in context
1104:
Ukrainian epic and historical song: folklore in context
757:
56 cylinders and make the records available under the
19:
For the collection of poems by Taras Shevchenko, see
819:
605:
118:, an instrument which was likely developed from the
16:
Ukrainian minstrel and historical social institution
549:of Ukraine. In the 1930s during the period of the
416:documentation and preservation of the tradition.
2133:
2027:"Леся Українка оплатила записи дум від кобзарів"
1988:
1986:
796:The term "kobzar" has on occasion been used for
223:following which they were allowed to perform as
125:
110:player', a Ukrainian stringed instrument of the
689:with the suggestion to using recently invented
643:
2064:"Book of the Week: Kobzar by Taras Shevchenko"
1983:
1889:Ukrainian minstrels: and the blind shall sing
1864:Ukrainian minstrels: and the blind shall sing
1796:Ukrainian minstrels: and the blind shall sing
1657:Ukrainian minstrels: and the blind shall sing
1627:Ukrainian minstrels: and the blind shall sing
1602:Ukrainian minstrels: and the blind shall sing
1577:Ukrainian minstrels: and the blind shall sing
1549:Ukrainian minstrels: and the blind shall sing
1524:Ukrainian minstrels: and the blind shall sing
1474:Ukrainian minstrels: and the blind shall sing
1371:Editors, World Cinema Reports' (2014-12-04).
1231:Ukrainian minstrels: and the blind shall sing
1197:Ukrainian minstrels: and the blind shall sing
1138:Ukrainian minstrels: and the blind shall sing
1050:Ukrainian minstrels: and the blind shall sing
1025:Ukrainian minstrels: and the blind shall sing
1347:"The Guide (Поводир) 2014 in English Online"
772:), now available in "crowd-digitized" form.
241:Songs sang by kobzari can be categorized as
158:were military musicians associated with the
1770:"The destruction of Ukraine's folk singers"
1278:: CS1 maint: numeric names: authors list (
1295:
622:A modern-day kobzar playing a tune on the
1886:
1861:
1829:
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1654:
1624:
1599:
1574:
1546:
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1351:Eastern European Movies on English Online
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1047:
1022:
302:
775:
609:
561:and imprisonment without food or water.
403:
294:are historical songs of form similar to
85:
25:
2119:National Union of the Ukrainian Kobzars
2002:
2000:
1998:
1913:"Кобзарський Цех | Музей Івана Гончара"
1370:
564:
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2020:
1825:
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1254:Kay2014-12-04T04:24:00+00:00, Jeremy.
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984:Rainer Maria Rilke's The book of hours
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1995:
1416:Punzi, Ludovica Punzi (2022-03-22).
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388:during the 1930s period of Stalin's
1812:
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13:
2017:magazine), no. 34, August 29, 2014
1848:
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1565:
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1066:
503:. While some sources suggest that
364:
14:
2168:
2111:"Kobzar" book by Taras Shevchenko
2095:
1120:
997:
931:
893:Persecuted kobzars and bandurists
770:Tunes of the Ukrainian Folk Dumas
606:Re-establishment of the tradition
328:
189:
836:
822:
766:Мелодії українських народних дум
98:around the sixteenth century in
2056:
2045:
2036:
1971:
1951:
1925:
1905:
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1709:
1689:
1673:
1618:
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1540:
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1490:
1409:
1364:
1339:
1314:
1296:Holdsworth, Nick (2014-09-09).
1247:
785:is a seminal book of poetry by
712:, engineer, and ethnographer),
419:
1932:Hayda, Julian (June 1, 2022).
1887:Kononenko, Natalie O. (1998).
1862:Kononenko, Natalie O. (1998).
1830:Kononenko, Natalie O. (2019).
1794:Kononenko, Natalie O. (1998).
1655:Kononenko, Natalie O. (1998).
1625:Kononenko, Natalie O. (1998).
1600:Kononenko, Natalie O. (1998).
1575:Kononenko, Natalie O. (1998).
1547:Kononenko, Natalie O. (1998).
1522:Kononenko, Natalie O. (1998).
1497:Kononenko, Natalie O. (2019).
1472:Kononenko, Natalie O. (1998).
1444:Kononenko, Natalie O. (2019).
1321:Goldsmith, Jill (2022-03-14).
1229:Kononenko, Natalie O. (1998).
1195:Kononenko, Natalie O. (1998).
1136:Kononenko, Natalie O. (1998).
1102:Kononenko, Natalie O. (2019).
1048:Kononenko, Natalie O. (1998).
1041:
1023:Kononenko, Natalie O. (1998).
975:
966:
716:(engineer and bandurist), and
195:professional beggar, either a
1:
950:"The Kobzar-Lirnyk Tradition"
924:
789:, the great national poet of
236:
126:Kozak Mamai and early origins
66:) was an itinerant Ukrainian
2122:official site (in Ukrainian)
898:Preservation of kobzar music
656:preservation of kobzar music
650:Preservation of kobzar music
644:Preservation of kobzar music
208:Learning the skills to be a
165:
147:. The hairstyle is often a
81:
7:
815:
667:12th Archeological Congress
495:, musicians who played the
90:Kozak Mamai playing a kobza
10:
2173:
2114:at Encyclopedia of Ukraine
2106:at Encyclopedia of Ukraine
883:Dziady (wandering beggars)
647:
568:
547:liquidation of the kobzars
534:
519:, the minstrel was blind.
424:
129:
18:
444:
63:
49:
987:, Camden House. p. 215.
602:about Lenin and Stalin.
259:, and satirical songs.
1256:"Oles Sanin, The Guide"
662:originated in 1901–02.
507:were not always blind,
384:) about the guide of a
376:released a film called
2157:Ukrainian blind people
1377:Cinema Without Borders
1302:The Hollywood Reporter
681:. It was dedicated to
626:
303:Social role and travel
187:
91:
35:
1697:The Harvest of Sorrow
776:Other use of the term
648:Further information:
621:
569:Further information:
537:Persecuted bandurists
535:Further information:
404:Contribution of women
183:
130:Further information:
89:
29:
2147:Occupations in music
726:of the noted kobzar
683:Ukrainian folk music
565:Soviet appropriation
1422:Early Music Seattle
728:Mykhailo Kravchenko
677:, then part of the
2091:50 (1991): 566–75.
1964:2014-09-06 at the
1401:has generic name (
636:While traditional
627:
372:In 2014, director
92:
36:
1957:Irina Dovgalyuk,
1898:978-0-7656-0144-5
1873:978-0-7656-0144-5
1841:978-1-4875-0263-8
1805:978-0-7656-0144-5
1695:Robert Conquest,
1666:978-0-7656-0145-2
1636:978-0-7656-0145-2
1611:978-0-7656-0145-2
1586:978-0-7656-0145-2
1558:978-0-7656-0145-2
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808:players in
800:players in
798:hurdy-gurdy
691:graphophone
501:hurdy-gurdy
137:Kozak Mamai
2136:Categories
2073:2023-11-27
1918:2023-11-27
1780:2023-11-27
1746:2023-11-27
1705:0195051807
1427:2024-01-24
1382:2024-01-21
1357:2024-01-21
1332:2024-01-21
1307:2024-01-21
1265:2024-01-21
1174:2023-11-27
959:2023-11-27
925:References
903:Kobzarstvo
873:Troubadour
704:A team of
699:phonograph
374:Oles Sanin
275:zhebranka,
237:Repertoire
2031:gazeta.ua
863:Minstrels
761:license.
734:and poet
710:bandurist
673:, now in
551:Holodomor
439:Slobozhan
431:Chernihiv
390:holodomor
378:The Guide
261:Zhebranka
243:zhebranka
221:vyzvilka,
166:Blindness
141:Ukrainian
82:Tradition
60:Ukrainian
46:Ukrainian
1962:Archived
1391:cite web
1327:Deadline
1274:cite web
816:See also
755:digitize
266:rushnyky
149:chupryna
2142:Kobzars
2103:Kobzars
806:bagpipe
802:Belarus
791:Ukraine
675:Ukraine
671:Kharkiv
638:kobzari
624:bandura
577:bandura
555:Kharkiv
525:lirnyki
521:Kobzari
509:lirnyky
505:kobzari
493:lirnyks
489:lirnyky
482:lirnyky
478:Kobzari
451:kobzars
435:Poltava
425:Schools
382:Povodyr
368:in film
366:Povodyr
347:kobzari
339:povodyr
335:kobzari
308:Kobzari
296:psalmy,
282:Mykolai
116:bandura
100:Ukraine
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64:кобзарі
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