University of Alberta Polkas on the Prairies: Ukrainian Music and the Construction of Identity Brian A. Cherwick 0C A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Ukrainian Folklore and Ethnornusicology Department of Modern Languages and Cultural Studies and Department of Music Edmonton, Alberta Spring 1999 National Library 8ibliothGque nationale 1+1 of,,, du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON KIA ON4 Ottawa ON K1A ON4 Canada Canada your & Votre reference Our fi& Norre refer- The author has granted a Don- L'auteur a accorde me licence non exclusive licence allowing the exclusive pennettant a la National Library of Canada to Bibliotheque nationale du Canada de reproduce, loan, distribute or sell reproduire, prster, distribuer ou copies of this thesis in microfom, vendre des copies de cette these sous paper or electronic formats. la forme de microfiche/% de reproduction sur papier ou sur format Bectronique. The author retains ownership of the L'auteur conserve la propriPte du copyright in this thesis. Neither the droit d'auteur qui protege cette these. thesis nor substantial extracts &om it Ni Ia these ni des edtssubstantiels may be printed or othewise de celIe-ci ne doivent &e imprimes reproduced without the author's ou autrement reproduits sans son permission. autorisation. To Beth and Maria, and to all the musicians who inspired this journey Abstract This study looks at the a-ty of Ukrainian polka bands performing in the Canadian prairie provinces, with a specific concenaadon on one of these groups. These musicians often focus on the construction of their own identities as contemporary musicians and on the roles they play in mating successful dance events. However, through public exposure, the performances of such musicians have come to be viewed by many as fitting representations of Ubhian music and culture. As links to a cultural past and as catalysts for new ideas and practices, musicians therefore play an active role m forming and re-forming the ethnic identity of contemporary Ukrainian Canadians. The cunent state of Uhinian music has been Hected by a number of significant nodes along the historical continuum. These nodes correspond with changes in content, context or medium, at times addressing one, two or all three variables, and tend to coincide with significant processes in Ukrainian Canadian society in general. This smdy will present an overview of the activity that occurred at each of these musical nodes: the emergence of commercial recordings of Uhainian music in the late 1920s; the development of a unique hybrid of Ubrainian country and western music in the 1960s; an increase in ethnic awareness and the development of consciously ethnic music in the 1970s; the rise in popularity in the 1980s of IJkrabian music that incorporated western Canadian ruml repatoires with eastern Canadian urban sensibilities and the main context for this cype of music, the zabma; the continued flourishing of local music rnaldng traditions featuring bands that consisted of neighbours or family members; and the influence of the mainstream marketplace of the 1990s on the activities of Ulcrainian bands. At the same time, it will consider the current activity of the Edmonton band "Charka," discussing the way that the historical past shapes their ethnographic present Acknowledgments This work could not be possible without the help of many individuals. While their assistance was invaluable, any errors in fact or interpretation presented here are solely my own. I would like to say thank you to: -the many musicians and audiences who endured my intrusions into their weddings and parties, and for answering many questions. Among them were: Albert BiUey, Tommy Buick, Cliff Hadway, Peter HnatiW, Ken Huculak, Don Koshman, Peter Lamb+, BiIl Malayko+, Bob Mason, Nick Mischi, Boris Nowosad, Marvin Procyshyn, Nestor Sandul, Nestor S hydlowsky, Jody Wacko, Joe WozlowsLy, Bill Yacey. -Joe Tkachyk for introducing me to the music of Pavlo Hurneniuk. - Bohdvl Tymyc of Yevshan Productions and to Ron Cahute of Burya for providing insights into developments in Manmusic in Quebec and Ontario. - Sylvia, Randy and Shelley Kupka of the Polka Ramblers for graciously sharing their ideas. -Mike Klym and Dave Romanyshyn of the D-Drifters. It is largely due to them that this work even exists. They were my first and greatest musical influences. Mike's personal encouragement at various stages of my career have helped me move on to new and more exciting levels. Dave generously provided me with many photographs and news clippings documenting the band's history. - the members of Charka: George Paleniuk, Orest Pohoreski, Victor Ruduke, Barry Sliwkanich, Wade Wasylciw, for answering questions, allowing me to document their performances, and occasionally letting me sit in. A very special thank you to George Paleniuk It was often his enthusiasm that led me to new discoveries. Frequently, days after a discussion, George would get an idea or recall the answer to a question and call me. - the members of my examining cornmittee; W. Berg, A. Homjatkevyc, N. Rosenberg and F. Swyripa for their helpful theoretical and editorial comments and suggestions. -Andriy Nahachewsky for his continued support, and for hiring me as a fieldworker. I am sure that the information and experiences gathered while working with him, while not always directly related to this topic, were more valuable in informing this work than could be imagined. -my co-supervisors: Dr. Regula Qureshi for helping me shape my rough ideas and strive for a higher goal; and h. Bohdan Medwidsky for his personal interest and fiequent (and greatly appreciated) encouragement, often above and beyond the call of duty. -the Uhainian Canadian Foundation of Taras Shevchenko for financial support for some of the fieldwork. - the Province of Alberta, the Universiq of Alberta, the Department of Modern Languages and Cultural Studies, and the Huculak Chair of Uhhian Culture and Ethnography for financial support. -to my parents and family for their encouragement and support throughout - and finally, to Beth and Maria for their love and understanding through many =tic hours and sleepless nights. Chah, Importing and Repackaging ........................................................... 126 Packaging .......................................................................................... 127 Burya, "The best damn dance band in the country" ........................................... 128 Western Roots ..................................................................................... 130 Emward migration of Prrdrie Ukrainians................................................... 130 Transplanted western dance bands ........................................................... 131 Recordings re-create comm~~z~~ty............................................................. 131 Eastern Branches .................................................................................. 132 Eustemdaizce bandr ........................................................................... 132 Polish sound .................................................................................... 133 Questions of class (Aesthetic and economic) .............-......... ...........**....133 Recordings Stretch the Community ............................................................. 134 Rise of the Zabava Event ......................................................................... 137 Storm Sweeps the West .......................................................................... 137 A New Canon ................................................................................. 137 Chapter 8. Peace in the Family. Ukrainian Rural Roots ................... 142 Charka, Part of the Waainian "Family"........................................................ 142 Music and Business ............................................................................... 144 Music and Leisure ................................................................................. 146 The Polka Ramblers, A Family Band ........................................................... 147 Motiva~~0n.sFor Perfomring .................................................................. 149 Rural Connections ............................................................................... 149 Fan Base ........................................................................................... 150 Ukrainian Identity ................................................................................. 150 Chapter 9. Meet The Ukrainian Beatles ... Again ... And Again ...... 156 . Charka. Marketing Uhaxuan Music............................................................ 156 1995 .............................. ..., ........................................................... 156 Beatles Anthology................................................................................. 157 D-Drifters4 in the 1960s.............. ... ....... .. .... .. ................................... 158 UIcrainian Beatles. ................................................................................. 158 Meet tbe Ukr;uruan B eatles, Again .............................................................. 160 The Other Ulrrainian Beaks ..................................................................... 162 Conclusion ............ .. .......................................................................