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University of Alberta Hutsul Dance Steps by Paul Christopher Olijnyk A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in Ukrainian Folklore Department of Modern Languages and Cultural Studies ©Paul Christopher Olijnyk Fall 2013 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. Dedication This thesis is dedicated to Kelsey, Christine, Ray and Tanya Olijnyk. A special thank you to all my friends, professors and colleagues who provided wisdom and encouragement throughout my studies. Thank you to Vincent Rees for you friendship and mentorship. A very special thank you to Andriy Nahachewsky without whom this thesis would not be possible. The knowledge you shared and guidance you provided made my experience as a graduate student one that will be cherished throughout my life. Abstract This thesis explores recontextualization of four motifs from the Ukrainian dance Hutsulka. The goal of this thesis is to critically evaluate the assumption that motifs from a staged performance of a Hutsulka have strong continuity with the village participatory dance tradition. Four common motifs, which appear in both the vival and reflective contexts, have been selected for analysis in this study. Much of the thesis text will involve a comparison of these motifs as they are performed in their respective contexts. Table of Contents List of Figures .................................................................................................................. Chapter 1 - An Introduction .................................................................................... 1 Meaning, Context and Recontextualization ............................................................... 4 Structure and Structural Analysis ................................................................................. 8 Motifs ...................................................................................................................................... 9 Methods and Fieldwork .................................................................................................. 11 Chapter 2 - Hutsulka and Hutsul’shchyna ........................................................ 18 Ukraine ................................................................................................................................. 18 Ukrainian Dance ................................................................................................................ 20 Hutsuls - A Brief Ethnography ...................................................................................... 24 Hutsul Music ....................................................................................................................... 26 Hutsul Folk Dress .............................................................................................................. 27 Hutsulka - A Dance ............................................................................................................ 30 Motifs in Hutsulka ............................................................................................................. 32 Brief Survey of Existing Research ................................................................................ 33 Chapter 3 - Vival Hutsulka ..................................................................................... 35 Motifs of Hutsulka in Vival Contexts ........................................................................... 35 Motif Selection ................................................................................................................... 39 Formations .......................................................................................................................... 40 Motif Prescriptions ........................................................................................................... 42 Rivna ................................................................................................................................................... 42 Krutytysia .......................................................................................................................................... 46 Krutytysia nyz’ko ............................................................................................................................ 47 Krutytysia Dribna ........................................................................................................................... 48 Vysoka & Krutytysia Vysoko ....................................................................................................... 48 Haiduk ................................................................................................................................................ 51 Tropot ................................................................................................................................................. 55 Case Study #1 ..................................................................................................................... 58 Case Study #2 ..................................................................................................................... 62 Chapter 4 - Reflective Hutsulka ........................................................................... 69 Hutsulka Motifs in a Reflective Context ..................................................................... 69 Case Study #1 ..................................................................................................................... 79 Case Study #2 ..................................................................................................................... 85 Chapter Five - Analysis and Conclusions .......................................................... 96 Comparison of Motifs in Diverse Contexts ............................................................... 97 Rivna ................................................................................................................................................... 97 Krutytysia .......................................................................................................................................... 99 Tropot .............................................................................................................................................. 100 Haiduk ............................................................................................................................................. 101 Theatricalization ............................................................................................................ 104 Coda .................................................................................................................................... 107 Overall Interview Questions List ...................................................................... 109 Videography ............................................................................................................ 111 Bibliography ............................................................................................................ 112 2 List of Figures Figure 1-1: Picture of vival hutsulka, performed for recreation at a wedding in the village of Kryvorivnia, Ivano-Frankivsk oblast’. The dancers are all dressed differently and scattered in small groups throughout the dance space doing different steps. Photograph by P. Olijnyk, 2009. ............................................... Figure 1-2: Picture of a reflective hutsulka performed on a stage by the Iliuk Family Dance Ensemble in the village of Vipche, Ivano-Frankivs’k oblast’. The performers are dressed in costumes and are all doing the dance step in a pre-set circle composed of couples. Photograph by P. Olijnyk, 2009. .............. Figure 1-3: Dance structure terminology as established by the International Folk Music Council Study Group of Folk Dance Terminology, 1974. (Nahachewsky 2011, 171). ............................................................................ 10 Figure 2-1: Ethnographic map of Ukraine. Researched and drawn by Serhij Koroliuk, 2010. .............................................................................................. 19 Figure 2-2: Ethnographic map of Hutsul’shchyna. Translated and adapted from Hutsuly ukrains’kykh karpat (Lavruk, 2005, 104). ........................................ 25 Figure 2-3: Wedding party in Zamahora. Clothing worn on Sunday for church and reception. Photo by P. Olijnyk, 2009. ............................................................ 29 Figure 2-4: Footwear of a Bride and Groom at wedding in Zamahora. Hachi, kapchuri, postoly, choboty (boots). Photo by P. Olijnyk, 2009. .................... 30 Figure 2-5: Motifs from four documented Hutsulka dances (Harasymchuk, 2008). Legend: (m) indicates male only motif, (f) indicated female