NEW YORK – The Koliadnyky from Kryvorivnia toured America in December 2015, bringing the traditional Koliada. Presented by director Virlana Tkacz and the Yara Arts Group, they gave close to a dozen performances on both the East and West coasts.
Ivan Zelenchuk, the “bereza” (the lead singer), led this group of men from the Carpathian Mountains in western Ukraine. With him were Mykola Zelenchuk on trembita and bubon, master fiddler Mykola Ilyuk, tsymbaly player Vasyl Tymchuk, and Ostap Kostyuk, who plays the drymba, duda, trembita and various flutes.
They opened on December 2, 2015, to a sold-out audience in Memorial Chapel at Wesleyan University in Middletown, Conn. Here, they were joined by world-renowned bandurist Julian Kytasty; the highly acclaimed Yevshan Ukrainian Vocal Ensemble of Hartford, Conn., directed by Alex Kuzma; and Wesleyan’s own a cappella group Slavei. The concert was arranged with the generous assistance of Katja Kolcio, professor of dance and environmental studies at Wesleyan.
On December 5 and 6, 2015, there were two sold-out performances at The Ukrainian Museum in New York City, where the Koliadnyky were joined by Mr. Kytasty and violinist Sana Shepko of the Korinya folk band.
The group then left for the West Coast. On December 9, 2015, they appeared at the University of California Berkeley in the “Rizdvo: A Ukrainian Christmas” concert directed by Marika Kuzma, and on December 10, they held a workshop. On December 11 they appeared with her at St. Dominic’s Church in San Francisco. On December 12 they performed in Silicon Valley and on December 13 in Sacramento. They then returned to New York City for several additional events in the “Velyke Yabluko.”
In the Carpathian Mountains, Koliada is a winter ritual. Now coincident with Christmas, it is much older in origin and symbolism. It is a mighty and mystical event.
At The Ukrainian Museum, the Koliada took place in the upper gallery, a space that Ms. Tkacz used to full effect. The vivid projections by Volodymyr Klyuzko provided a purposeful background that transported the attendees deep within this mystical event.
As they walked up the steps of the gallery, the Koliadnyky announced their presence by ringing hand bells, sounding their trembity, and singing “Plies – My Slavni Gazdy,” in which they proclaim that they are the famed Koliadnyky from the Carpathian Mountains who have come to sing at this home.
This was followed by “Tsy Doma, Doma, Tsey Pan Hospodar?” – inquiring if the master of the house was in. While Mr. Kostyuk played a Hutsul melody on the duda, they took off their “serdaky” (Hutsul jackets) and then performed the “Trypotinnia,” a lively dance in which they stamp their feet to shake off the snow, while singing that the master of the house will treat them finely and richly.
To the master of the house (hospodar), they sang “V Nashoho Pana.” This koliada, as many of them are, is sung to a specific person whose name is invoked throughout the song. An esteemed gentleman in the audience was deemed the hospodar and they sang to him of the riches of the household, that it be blessed, and that God may walk through its fields. They ended with a “vinshuvannia” in which they extended wishes to the hospodar for health, wealth and happiness in the coming year.
As they crossed the room, Mr. Kostyuk played a lively mountain melody on his floyara. Turning to the mistress of the house, Maria Shust, the director of the museum, they sang “V Nedilu Rano,” invoking her by name, praising her and her household, comparing her to the rising sun. One of the verses tells of the “gazdynya” carrying the golden keys to the house, which Ms. Shust, as director of the museum, does.
Following a Hutsul melody by the troista group (Mr. Zelenchuk on bubon, Mr. Ilyuk on violin, Mr. Tymchuk on tsymbaly and Mr. Kostyuk on floyara), the audience heard the opening melody of “Verkhovyno” played by Sana Shepko on violin as she entered the gallery. As she traded phrases with the fiddler, the other musicians joined in on this spirited melody. In gratitude for her playing, the koliadnyky danced the “Plies z Dzvinkamy” for her.
They then sang “Tymy Horamy,” telling of the graciousness and generosity of this young woman, ending with a vinshuvannia, with which they wished her a charmed life and true love. Mr. Ilyuk then led the group into a fast “Arkan” mountaineers dance.
Julian Kytasty entered the stage. Ms. Shepko joined him to sing the tender “Pavochka,” her enticing voice enhanced by Mr. Kytasty’s evocative bandura playing. In a counterpoint to her singing, Mr. Kytasty sang the bold koliada “Hospodarskiy Dvir,” while Ms. Shepko responded on her violin. This led to them performing an instrumental piece from the “Paris to Kiev” suite of works by Mr. Kytasty.
The audience joined the ensemble on a hearty “Dobriy Vechir Tobi, Pane Hospodaryu” which was followed by a contemplative fiddle solo by Mykola Ilyuk.
Mr. Kytasty sang “Oy Krasenyu Yasniy,” a koliada from the Sumy region of Ukraine, which he segued into “Ishly Molodsti.” The group joined him to add impact to this song about the rewards due young men who have shown their bravery. Tsymbaly player Mr. Tymchuk followed with a Hutsul dance tune that showed off his virtuosity. Mr. Klyuzko trained one of his cameras on the tsymbaly, giving the viewers a close-up view of Mr. Tymchuk’s fingers as they flashed over the strings.
With Mr. Kytasty playing an overblown sopilka, he and Ms. Shepko sang “Stone Age Carol,” a work developed by Mr. Kytasty and Alexis Kochan. The festivities concluded with a lively “Hutsulka” that included a drymba solo by Mr. Kostyuk.
The Koliadnyky ended the Koliada with the “Kruhliak,” a round dance for the bees that expresses the wish that they may have strong hives and pollinate many flowers. That was followed by the “Plies” and “Na Vidkhodi,” which wishes everyone much goodness through the coming year. Their trembity blown in farewell, they sang “Teche Richka” as they departed. The ensemble returned to sing “Nova Radist” with the audience joining on an emotional rendition.
To be present when the Koliada is sung is a profound and emotion filled experience. These koliady are incantations that carry with them the magical power of the words “what is said, so will be.” The words are a re-affirmation of all that is noble and precious – family, well being, health, prosperity, a long life. More important are the expressions that life must continue, that the fertility of the land must continue, with the belief that the rebirth of life in spring, the summer, and a bountiful harvest will not happen unless these songs are sung in every household, to every thing that breathes.