Ukrainian opera in the context of national and cultural resistance to the imperium

Abstract

The article is devoted to understanding Ukrainian opera as an important factor in national and cultural resistance to Russian imperial oppression in the 19th century. The main focus is on the analysis of Semen Hulak-Artemovsky’s lyrical-comic opera “Zaporozhets za Dunayem” (1863) in the context of anti-colonial studies and contemporary discussions on the decolo- nisation of culture. The methodology of scientific research is based on an interdisciplinary approach that combines art history, phenomenological, hermeneutic and semiotic methods.The historical and cultural conditions of the emergence of the first large-scale musical and theatrical work on Ukrainian themes and its significance as an artistic form of resistance to Russian assimilation policy have been clarified. It has been established that, according to the author’s intention, the plot and musical language of the opera embody the idea of preserving the national identity of Ukrainians who found themselves between two empires. Depicting the life of the Zaporozhian Cossacks outside their native land, the composer established the motif of nostalgia for Ukraine, freedom-lovingness and spiritual defiance. The opera vividly repre- sents the value orientations and identification markers of Ukrainians: agricultural labour, Cos- sack freedom, family loyalty and piety. The symbolism of the opera’s main character’s name, which points to the virtues of a Ukrainian knight, is revealed. The characteristic intonations of folk songs, witty humour, and colourful imagery of the Zaporozhian Ivan Karas emphasise the work’s closeness to Ukrainian folk tradition and Cossack hertz. In conclusion, Gulak-Ar- temovsky’s opera demonstrated the ability of Ukrainian musical theatre to consolidate the national community and serve as a symbol of cultural resistance to oppressors.