DATELINE NEW YORK: A community that plays together

by Helen Smindak


The Ukrainian Festival, for the past 22 years staged by St. George Ukrainian Catholic Church, drew throngs of Ukrainian Americans and hundreds of East Village residents to Seventh Street in mid-May. They were captivated by the sight of youthful bandurists and folk dancers, enthralled by the sound of melodious voices raised in song, tantalized by the enticing aroma of spicy holubtsi and kovbasa.

Ludmilla S. (as she identified herself), a young pediatrician from Ivano-Frankivsk, gasped in amazement: "You have more traditional arts and crafts than we do in Ukraine!"

Manhattan novelist Marlene Shyer, on the lookout for Ukrainian miscellany for her next book, which includes a Ukrainian American character, took note of the Ukrainian national emblem, the trident that formed part of the stage background. She paused to study the ornate pysanky displayed by Easter egg artist Sofia Zielyk, then relished a plateful of tasty varenyky.

Others in the festival throng, whose roots go back to towns and cities like Uzhorod, Lviv, Dnipropetrovsk, Kyiv and Ternopil, represented the second, third and fourth (the most recent) waves of Ukrainian immigration to the United States. They were of different faiths and political beliefs, but for three days they were united by a common, exuberant feeling of joy and pride in the culture of their ancestral land. Embroidered blouses and shirts were de rigueur for many.

Although weekend nights were capped by a singles evening and a Saturday night dance at the Ukrainian National Home, activities centered on Seventh Street. Beginning Friday evening with Daria Genza's Ukrainian dancers from St. George's Academy and continuing through to late Sunday afternoon, when Roma Pryma-Bohachevsky's Syzokryli Dancers excited onlookers with an electrifying rendition of the Hopak, the stage was rarely empty.

Performing groups included bandura ensembles from Manhattan and Astoria directed by Julian Kytasty and Alla Kutsevich; children's dance troupes from Connecticut, New Jersey (Newark and Whippany) and New York (Albany and Manhattan), the product of Ms. Pryma-Bohachevsky's diligence and expertise; the Mriya dance ensemble of Long Island directed by Petro Fil, and the Brooklyn-based Nasha Rodyna songsters led by musicologist Oksana Lykhovyd.

Among soloists who appeared throughout the weekend were soprano Laryssa Magun-Huryn, tenor Bohdan Sikora, baritone George Fedoriw, bandurist Alla Kutsevich, guitarist Jurij Hrab and Andriy Solodenko, who accompanied himself on the keyboard while singing two of his own compositions. Sviatoslav Maksymchuk, a member of Lviv's famed Zankovetska Theater, declaimed recitations in a sonorous voice.

The program was coordinated by Anna Baczynska, and announcers' duties were capably handled in English and Ukrainian by the teams of Ulana Kekish-Solodenko and Ivanna Mazur-Hodowanec, and Ms. Huryn and Taras Mazur.

Visitors to the block-long bazaar found much to admire and buy from street vendors and the popular Surma gift shop - from embroidered goods, amber jewelry, hand-strung gerdany and wood carved items, to a multitude of books and recordings by Ukrainian artists.

Paul Wirhun, a recent arrival to New York from Provincetown, Mass., who learned the art of Ukrainian egg decorating from his mother, showed curious bystanders how he has expanded the traditional wax-resist technique with innovative brush and dyeing processes. Mr. Wirhun's egg talismans, partially filled with beach sand, stand on their own when placed in an upright position.

New additions to the festival were booths and display tables offering services and assistance to Ukraine, such as Western Union (money transfers) and Meest (transfer of goods, food parcels and money). Dr. Bohdan Oryshkevich of New York, who directs USA/USA (Ukrainian Student Association in the U.S.A.), a program dedicated to assisting gifted high-school students from Ukraine in applying for scholarships to leading prep schools and colleges in the United States and Canada, answered questions and explained the need for "a network of world-class educated Ukrainians" who might become influential figures in government, corporate institutions and the cultural sphere.

Meanwhile, Anisa Sawyckyj Mycak mingled with festival-goers, distributing information leaflets and questionnaires for what she promised would be "a fabulous experience": a banquet and ball celebrating the 50th anniversary of the School of Ukrainian Studies in New York, planned for October 2 at the Ukrainian National Home.

Food stands provided coffee, and an array of pastries as well as traditional varenyky, holubtsi and a sauerkraut-kovbasa mélange (bigus); cold refreshments were available at Brewsky's Bar, both indoors and at its outdoor premises, as well as at McSorley's, the century-old Irish ale house that becomes part of the festival scene every May (and is one of the festival's sponsors).

There was actually more to the festival than met the eye, and those who planned their schedules wisely were able to enjoy the benefits of nearby exhibits of pysanky and art, as well as a concert of religious music presented by the Dumka Chorus in St. George's Church after Sunday morning's liturgies.

Beautifully showcased at The Ukrainian Museum were 400 pysanky created by master artisan Tanya Osadca, part of one of the most important and largest pysanky collections outside of Ukraine (over 2,000 eggs) The pysanky were shown with contemporary oils and mixed-media works by Ms. Osadca's sister, Aka Pereyma, who uses pysanka motifs, and folkloristic and ritualistic elements, to marvelous effect in her abstract images. (The exhibit received a very nice write-up in the April 23 edition of Women's Wear Daily.)

The Mayana Gallery, which usually focuses on Ukrainian artwork, presented a show that embraced the work of one Ukrainian artist, Oxana Narozniak of Brazil, and five other artists, among them Dong Kingman, one of the world's best colorists, and Japanese American Amy Kasal, who creates art by incorporating personal flotsam and jetsam, acquired over time, as a medium for her assemblages. Bavarian-born Ms. Narozniak, educated in New York, Detroit and Hawaii, showed the only sculptures in the exhibit, portraying sleek and nubile figures of young women.

Also timed to coincide with the festival was a walking tour that was planned to point out the Ukrainian highlights in the East Village. Dr. Phillip Sohoenberg, who regularly leads tours in Manhattan and Brooklyn for New York Walks and Talks, conducted a two-hour walk on Saturday morning which submerged its half-dozen participants in facts and history, and gave them a peek inside Kurowycky's Meat Market and First Avenue Pierogi and Deli, but did not take members inside any cultural institutions such as The Ukrainian Museum. Dr. Schoenberg, however, did have the presence of mind to wind up the tour on Seventh Street, right in the midst of the Ukrainian Festival.

Noteworthy


Copyright © The Ukrainian Weekly, June 27, 1999, No. 26, Vol. LXVII


| Home Page |