Every nation has its diseases, and Russia has an incurable one
Today Lina Kostenko, a symbol of Ukrainian literature, celebrates her 94th birthday. She is a sixties poet, writer, and dissident. Laureate of the Shevchenko Prize, the Antonovych Prize, and the Legion of Honor. In 1967, together with Pavlo Tychyna and Ivan Drach, she was nominated for the Nobel Prize in Literature. She never betrayed her beliefs.
The title of this post is her words. I want to share with you some of her popular quotes:
Next site, the Pavlo Tychyna Museum in Kyiv. Its official name is the Literary and Memorial Museum of Pavlo Tychyna. Pavlo Tychyna was a "Ukrainian poet, translator, publicist, public activist, acadamecian, and statesman." The museum is located in the home where he lived from 1944 until his death in 1967. He composed the lyrics of the Anthem of the Ukrainian SSR. That Anthem has been banned in Ukraine since 2015 due to decommunization laws. He's been criticized for praising communism but more "recent scholarship has stressed his subtle distancing and mocking of Communist excesses and brutality through over-the-top suffusive praise." He was nominated for a Nobel Prize, but soviet authorities forced him to write a letter rejecting his candidacy, probably due to his being Ukrainian. He was nominated again in 1967, but passed away later that year.
I find it strange when people say, "Bulgakov hated Ukrainians!!" - have you read "Heart of a Dog"? That man hated literally everyone, especially soviets and their soviet aesthetic. And he hated Ukrainians for trapping under soviets.
Btw, I find it extremely important to explain to children why the authors/artists of soviet or tsarist russia times glorified the regime. It's important to teach about Pavlo Tychyna and his biography. It's important to teach literature together with history.
Deep and resilient,
strange and foreign to native fords
I possess an iridescent span
arching toward the peoples.
It is so powerful in me
and on so many posts it stands!
With lightning-and-thunder you hit the essence
and you hear: another thunder in the mountains…
And this second thunder—roars further, to others
it roars, it wants and rejoices,
that there is a steel bridge between nations,
that international friendship is working.
And here you are, having resounded,
you become clear in your unfolding
as if you had gulped the good health
from a well in the steppe.
So having drunk, and drunk, and wiped your mouth
—without any warning or conditions
—you see the first in the last
as you approach a foreign language.
You touch the language—and it seems
to you softer than soft.
Even when a word is pronounced differently
—its essence remains ours.
At the beginning, like this: as if a woeful horseshoe
is being bent in your hands
and then suddenly—language! language!
A foreign one—sounds to me like my own.
Because it isn’t just a language, not just sounds
not just the coldness of a dictionary
—in these, work, sweat, and sufferings are heard
—that sense of a single family.
In these, a forest murmurs and a flower blossoms,
the joys of the people ripple.
One can hear one common thread that runs through them,
from antiquity through today.
And so you borrow this language,
this beautiful and rich one—into yours
And all this finds its basis
in the power of the proletariat.
Happy 120 birthday to Kateryna Bilokur, famour ukrainian artist and representative of naïve art movement!
Kateryna Bilokur was born in 1900 in village Bogdanivka, Kyivska oblast’, in Ukraine. Despite being born in a well-off family, she didn’t go to school and her family dissaproved of her drawing. In secret from everybody else, she taught herself how to draw, having only canvas and coal. Later, she would make her own artistic tools - brushes and paints - from the things she found growing around.
In 1940 her talent was discovered by another famous ukrainian woman - opera singer Oksana Petrusenko. Oksana introduces Kateryna to prominent people (including Pavlo Tychyna and Volodymyr Hytko) who eventually help her organise her first excibition in the same year.
In 1956 she received the title of People's Artist of Ukraine.
Kateryna’s style has many parrarels with vyshyvanka - traditional ukrainian embroidery. Her typical artistic subjects are flowery compositions, inspired by the ukrainian gardens she grew up in. Her unique painting technique and hand-made pigments create a distinguished “shining” effects to the paintings.
O, nature, don't conceal, don't hide
That you're grieving for summer, you're mourning.
You're dreaming in mists... For some reason the owls
Have begun to weep in the meadow.
Because of sadness, because of sorrow
Your braids are covered with bloodstained gold.
Your heart surely must be gilded by sorrow,
For you are so tender, so.
But once you were like a storm with thunder!
Like the magic of St. John's Eve...
Stillness and sorrow. Stillness and slumber.
Just a shooting star had fallen...
Oh, a star fell somewhere like a recollection.
My heart began to smile in longing.
Again the owls are sobbing... Oh, sob then, and pray:
Autumn is striding through the meadow.
Pavlo Tychyna, “O Nature, Don’t Conceal...” (1915) from Clarinets of the Sun (1918); trans. Michael Naydan
Was darf geschrieben, wo darf ein- und überschrieben werden und wer bestimmt darüber? Die Hauptausstellung der Biennale, „The festivities are cancelled“, thematisiert vor dem Hintergrund dieser Fragen Zensurpraktiken. Es geht nicht nur um die Zeit der Sowjetunion, sondern auch um die Gegenwart.
Am Ende der Ausstellung sehen wir uns einem Video gegenüber, das einen Einbruch in das Visual Culture Research Center dokumentiert. Eine zum diesem Zeitpunkt gezeigte Ausstellung über die „verlorenen Möglichkeiten“ des Majdan war wohl das eine Ziel einer Gruppe nationalistischer Gewaltbereiter. Vasyl Čerepanin vermutet aber, der Anschlag sei auch maßgeblich gegen die Räumlichkeiten selbst gerichtet gewesen. Der in der Ausstellung unternommene Vermessungsversuch der politischen Gegenwart nach den Majdan-Ereignissen sollte unlesbar gemacht, der Kunst- als Aushandlungsraum zerstört werden.
Introduction: Reconnecting Modernisms
IRENA R. MAKARYK
PART ONE KYIV: 'SPECIAL AND BEWILDERING'
Les Kurbas Foreword to Victor Auburtin, Art Is Dying (excerpt)
1 Modernism in Kyiv: Jubilant Experimentation
IRENA R. MAKARYK
Serhy Yefremov 'How beautiful Kyiv is' (diary excerpt)
2 'A Theatrical Mecca': The Stages of Kyiv in 1907
MAYHILL C. FOWLER
Pavlo Tychyna 'Dawn'
3 'Special and Bewildering': A Portrait of Late-Imperial
and Early Soviet Kyiv
MICHAEL F. HAMM
Legend of Sweet Michael and the Golden Gates
4 Three Novels, Three Cities
TARAS KOZNARSKY
Tsar Nicholas II and Lev Trotsky On Film
5 Film in Kyiv, 1910-19160
OLEH SYDOR-HYBELYNDA
PART 2 KYIV THE EPICENTRE
Les Kurbas On Rhythm (diary excerpt)
6 In the Epicentre of Abstraction: Kyiv during the Time of Kurbas
DMYTRO HORBACHOV
Volodymyr Koriak 'To the Isles Electric!' (excerpt)
7 The Yiddish Kultur-Lige
GENNADY ESTRAIKH
Pavlo Tychyna 'You Tell Me'
8 Politics and the Ukrainian Avant-garde
MYROSLAV SHKANDRIJ
Les Kurbas On Art (Diary excerpt)
9 Kyiv's Multicultural Theatrical Life, 1917-19260
HANNA VESELOVSKA
PART 3 'FIRE AND MOTION'
Pavlo Tychyna 'In the Orchestra of the Cosmos' (excerpt)
10 Towards a New Vision of Theatre: Les Kurbas's Work
at the Young Theatre in Kyiv
VIRLANA TKACZ
Taras Shevchenko 'The Sky's Unwashed'
Serge Lifar On Movement (excerpt)
11 The Choreographic Avant-garde in Kyiv, 1916-1921:
Bronislava Nijinska and Her École de Mouvement
MARIA RATANOVA
Pavlo Tychyna 'The Highest Power'
12 Kyiv, the 1920s, and Modernism in Music
DAGMARA TURCHYN-DUVIRAK
Pavlo Tychyna 'Lull' (excerpt)
13 Music in the Theatre of Les Kurbas
YANA LEONENKO
PART 4 THE INVISIBLE MADE VISIBLE
Bronislava Nijinska On the Theatre (notebook excerpt)
14 Les Kurbas's Early Work at the Berezil: From Bodies in Motion
to Performing the Invisible
VIRLANA TKACZ
Vladimir Lenin 'Why worship the new?'
15 Abstraction and Ukrainian Futurist
Literature
OLEH S. ILNYTZKYJ
Kliment Redko 'Arm in arm' (autobiography excerpt)
16 The Graphics Arts: From Page Design to Theatre
MYROSLAVA MUDRAK
Pavlo Tychyna 'Rhythm'
17 Dissecting Time/Space: The Scottish Play and the New
Technology of Film
IRENA R. MAKARYK
Natalka Bilotserkivets 'We'll not die in Paris'
18 On the World Stage: The Berezil in Paris and New York
IRENA R. MAKARYK
PART 5 ELEGIES: REFLECTIONS ON THE FUTURE PAST
Serhiy Zhadan 'The End of Ukrainian Syllabotonic Verse'
19 Vsevolod Meyerhold and Les Kurbas
BÉATRICE PICON-VALLIN WITH VERONIKA GOPKO-
PEREVERZEVA
Pericles 'Funeral Oration over the Athenian Dead' (excerpt)
20 Les Kurbas and the Spiritual Foundations of the Ukrainian
Avant-garde
NELLI KORNIENKO
Les Kurbas 'Premonition'
Appendices
1 Production List
2 Kyiv, Historical Timeline