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WINTER HOLIDAY TRADITIONS – CHRISTMAS, CAROLING and MORE… by Lubow Wolynetz, Curator in the Pre-Christian Days in and Singers

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WINTER HOLIDAY TRADITIONS – CHRISTMAS, CAROLING and MORE… by Lubow Wolynetz, Curator in the Pre-Christian Days in and Singers TThhee UUkkrraaiinniiaann MMuusseeuumm aanndd LLiibbrraarryy ooff SSttaammffoorrdd WINTER HOLIDAY TRADITIONS – CHRISTMAS, CAROLING AND MORE… by Lubow Wolynetz, Curator In the Pre-Christian days in and singers. They wander from home after home large degree, they concentrated on the education ian milieu of those days, the wandering min- Ukraine, rituals denoting the Winter Sol- not only to proclaim the Birth of Christ, but also of the younger generation. Magazines, books, strel with his hurdy-gurdy and boy guide. We stice were quite extensive, elaborate, and to express well-wishes for all and to entertain each toys, and songs for children and juveniles ap- have the farmer, the village peddler, a factory became an important part of our cultural household with their performance. peared in abundance, all focusing their attention worker all walking toward the Infant Jesus. tradition. Man felt that the time of the Win- The folk Vertep performed by the vil- on the many aspects of Ukrainian culture, history, Some are bearing gifts; others are walking in ter Solstice was an auspicious moment to lage populace consisted of many personages. and traditions. prayerful humility. A shepherd boy is carry- bring about and ensure good for- ing the Star. There is a depiction of a tune for the coming year through girl from Eastern Ukraine, the area the enacting of specific rituals. which at that time was occupied by the Among these rituals were the fol- Soviets where religion was outlawed lowing: the singing of winter as well as all display of tradition, and well-wishing songs with specific where expressions of national patriot- dance-like movements and ges- ism were severely punished. The de- tures, magical incantations, per- piction of the three eras of our glorious formance of theatrical skits historic past are included in the fol- depicting the death of winter and lowing manner: Archangel Michael the rebirth of spring, the partaking is shown as warrior knight of Kievan- of specific foods, the paying of Rus; a Cossack with his horse repre- homage to ancestral spirits; etc. sents the second era, and a war-time With the coming of Christianity invalid on crutches represents the to Ukraine, many of these ancient World War I days of the Sichovi Striltsi rituals were adapted by the Chris- fight for independence. This same tian church and united with publisher also printed sheets upon Christmas holidays. Some of the sheets of colorful ornamental designs more pagan elements of these rit- which youngsters could use in deco- uals were Christianized or under- rating the carton in which the Vertep went an overlaying of Christian symbolic There were, of course the traditional Holy Mother Our Museum and Library has many of figures could be placed or for any other dec- elements, but some remained in their orig- and Child, Joseph, the three kings, angels, shep- these publications. But in addition to this, we were orative use. inal form. For example, the carols which herds, and a star of Bethlehem. But in addition to fortunate recently to receive a paper toy for chil- The Vertepperformances were so we sing consist of those announcing and these, various local and ethnic characters were in- dren which was created in Lviv in 1937 by a pro- important to Ukrainian people that they soon rejoicing in the Birth of Christ, and the cluded like the gypsy, the innkeeper, a soldier, d u c t i o n more ancient ones, the well-wishing songs King Herod, and the ubiquitous goat whose en- company called Vertep performance, (shchedrivky), which deal with the glorifi- actment of dying and resurrection was an essen- TEMA. The toy Lviv, 1991 cation of natural powers such as the sun, tial ritual to ensure the cyclical dying of winter consists of paper the moon, and the stars and their beneficial and the birth of the new sun, and thus the revival cut-outs depict- powers for man, especially for the tiller of of spring. Each village might have not only one, ing a Nativity land. They praise the master and mistress of but several Vertep groups trying to outdo each scene, a Vertep. the household for their hard work, through other in the originality of their versified play script, The cut-outs can which the farmstead has prospered, for creative costumes, artistic performance, harmo- be attached to a their generosity, and for their well-brought- nious singing, etc. Going along with a Vertep at cardboard and up children; for this the carolers wish them Christmas time took place in all parts of Ukraine, folded at the bot- even more good fortune at this opportune and was adhered to and preserved mostly in the tom, so as to holiday time. This duality or unification of villages until modern times. prop them up Pre-Christian rituals and beliefs with Chris- In the aftermath of World War I, in and thus be able tian Holidays has greatly enriched our cul- Western Ukraine, the city, but not the village pop- to arrange them tural heritage, and has always played an ulace, partially abandoned some of the ancient into a Vertep important role as an expression of our reli- traditions associated with specific holidays. This scene, a Ukrain- gious and national identity. was caused by such things as the following; rapid ian style Christmas Creche or Shopka. The item became tantamount to making a political One interesting aspect of urbanization; poverty brought on by economic was given to us by a family from California statement, a means for maintaining their na- Ukrainian Christmas ritual is the theatrical hardships; modernization which led to about whose parents had lived in the Far East where tional identity. It is interesting to note that dur- performance of the Nativity scene (Vertep) changes in the traditional way of life; political re- there had been an active Ukrainian emigre com- ing the Soviet occupation of Ukraine, one of with the addition of secular themes and folk straints made by foreign occupiers; etc. In time, munity. They tried not to lose touch with Ukraine the signs of rebellion exhibited by the young elements. It is usually performed by a various Ukrainian political, social, civic, and had kept abreast with all the news by sub- generation of Ukrainians was to organize group of selected young people knowl- women’s, and youth societies, primarily in West- scribing to many Ukrainian newspapers and pe- Vertep groups and then wander from house edgeable in the subject matter, good actors, ern Ukraine, began to work towards educating riodicals published in Western Ukraine; they even to house, down city streets, on buses, and sing and enlight- purchased books and all sorts of memorabilia and carols and perform skits. Some of this was Vertep performance, Lviv, 1991 ening the ephemera, including the aforementioned paper done in the 1970s, but was quickly put down populace as toy for children. by the authorities. Nevertheless, at the end of to their na- By studying the individual depictions the 1980s and with Ukrainian independence tional iden- of these cut-outs we can clearly see the educa- in 1991 the Vertep was seen in all its glory. tity, historic tional intent of the creator -- the artist who is iden- City street were filled withVertepgroup per- past, cul- tified only by his initials Yu. K. We see the beauty formances, rejoicing in finally acquiring re- tural her- and variety of folk costumes. For example Our ligious, national, and cultural freedom. itage, and Lady is wearing an embroidered shirt and the In- thus to de- fant Jesus lies in a painted wooden cradle deco- velop pride rated with traditional Ukrainian floral motifs. in their folk Other figures are shown in the garments of their art and an- particular region. The Hutsul is playing on the cient tradi- trembita as if announcing the birth of Christ, Hut- tions. To a sul style. There is the ever-present, in the Ukrain- EExpploorree aand EExxppeerriieenncce OOuurr PPaastt SOWER DECEMBER 28,, 2014.
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