NEW YORK – Dispelling chilly rains on the last day of March, Syzokryli Ukrainian Dance Ensemble lit up the stage with a heartwarming program at the Kaye Playhouse, Hunter College in New York City. This concert was a celebration of 40 years of Syzokryli and the Roma Pryma Bohachevsky (RPB) School of Dance. The maximum hall capacity’s 624 tickets had sold out briskly, days before.
“Khustyna” (Syzokryli Dance Ensemble).
Founded in 1976, Syzokryli was the life’s dream of renowned Ukrainian ballerina Roma Pryma Bohachevsky: to create an ensemble of talented students who would showcase all the beauties of traditional Ukrainian dance, recreated through the prism of ballet and modern dance. Over the years, Mme. Bohachevsky taught and inspired thousands of students, imparting her deep love of dance and Ukrainian culture.
Born in 1929, Mme. Bohachevsky was gifted with a precocious talent, securing solo roles at the Lviv Opera and Ballet Theater while still in her teens. After graduating with honors from the Academy of Music and Dramatic Arts in Vienna, she was engaged as soloist in the ballet group of the National Theater in Innsbruck. She was the first professional Ukrainian dancer to appear on the stages of the world’s cultural centers in Paris, London, Munich, Vienna, Geneva, Athens, Toronto and New York.
“Fight for freedom” (Syzokryli Dance Ensemble).
Mme. Bohachevsky also studied with Martha Graham, and began to imagine an alternative synthesis of expressionistic choreography. Eventually, she grafted the elegance of ballet and the expressive power of modern dance onto Ukrainian traditional dance. While other folk dance companies often resort to symmetrical block formations and relentless athleticism, Mme. Bohachevsky emphasized grace and elegance, coupled with the creative imagination of a classical ballerina.
In Ukrainian, “Syzokryli” refers to iridescent dark grey-bluish plumage and is often used as a term of endearment, coupled with an image of a dove, falcon or eagle. The dancers remained true to their name, delighting the audience as they took wing and circled the heights.
Syzokryli and alumni pose for a group photo.
Five selections, all performed by the senior group on this varied program, offered choreography by Mme. Bohachevsky.
The well-known “Pryvit” (Welcome), performed by Syzokryli exhibited the hallmarks of Mme. Bohachevsky’s style. Clad in rich red embroidered costumes, the dancers formed captivating set patterns, notably with interwoven arm positions for the line of ladies, and graceful individual hand and head positions. Conspicuous was the seemingly effortless agility of their busy, yet petite steps throughout. The men did not lack opportunity to display exuberant jumping splits and kicks. Flowing like a kaleidoscope, this opening number culminated with the tableau of a traditional presentation of embroidered ritual cloths and bread, as a gesture of welcome to all.
“Bukovinian Dance” (RPB School of Dance, Level 5).
The Syzokryli ladies were highlighted in two additional set pieces: “Khustyna” (Kerchief) and “Volynianka” (Maid from Volyn). Featuring different costumes, both exhibited inventive steps and charming ensemble patterns.
The dramatic centerpiece of this concert was “Fight For Freedom,” performed by the senior Syzokryli and soloists, with girls of the RPB School of Dance Level 2. In the words of Ania Bohachevsky Lonkevych, “Sadly, ‘Fight for Freedom’ is as thematically accurate today as when my mother choreographed it while Ukraine was struggling under the yoke of the oppressive Soviet communist regime.” (Interestingly, she told me after the concert that when Syzokryli first performed this number in Kharkiv in 1992, it evoked boos from the audience.)
Set to a colorful score by Vadym Homoliaka, this expressionistic piece most closely approached ballet. The oppressive Soviet regime was portrayed by Nick Kobryn as the menacing Head Prosecutor and his male dancers in red and black, advancing in rigid lines to overwhelm and choke off the soloists portraying Ukraine and its virtues of Strength and Hope. This culminated in a dramatic tableau of Ukraine (Larisa Pagan) on a cross encircled by the company.
“Hopak” (Syzokryli Dance Ensemble).
The middle part of this dance-allegory featured the soloists. Set to a violin solo, a lovely and difficult pas de deux was performed by Alex Kopchyk (“Hero”), exquisitely partnered by Tatiana Ozaruk (“Hope”). Their arabesques, lifts and emotive poses were spellbinding. This evolved into a pas de trois, with the added beautiful dancing of Roma Lonkevych (“Strength”).
Also notable on the program was “Boiko Legacy” set to troisty music (that of a rustic highland ensemble) and vividly choreographed by Artistic Director Orlando Pagan, beginning with ominous primeval foot stomps, typical of these proud people from the Carpathian Mountains.
Careful attention was also devoted to the younger groups’ authentic costumes for each corresponding region, providing a feast for the eyes: RPB Schools of Dance Level 1B (“Kozachok”), Level 2 (“Volyn Polka”), Level 3 (“Kozachok”), Level 4 (“Transcarpathian Dance”) and Level 5 (“Flirtatious Games” and “Bukovynian Dance”). These novice ensembles all performed with appropriate energy, charm and humor. Several of these dances were choreographed by Mr. Pagan; the remainder by Ms. Lonkevych, Ms. Pagan, and Dianna Shmerykowsky.
Mme. Bohachevsky’s choreography was seen in the final number of the program, performed by the senior ensemble: a signature piece of Ukrainian folk dance – the athletic “Hopak.” Commencing with a warlike timpani beat, the men electrified the audience with a myriad of squat-kicks, dizzying spins, and spine twisting backbend leaps. Audiences worldwide always respond to the dynamic “Hopak.” (Incidentally, YouTube has a fun video titled “Hip Hop Hopak Montreal” juxtaposing Syzokryli dancers with a local breakdance group.)
Not to be outdone, the “Hopak” ladies flaunted their nimble quick steps and turns. An essential aspect of Mme. Bohachevsky’s approach is the way her choreography balanced male/female characteristics of Ukrainian folk dance. The inherent athletic exuberance of the men juxtaposed with the grace and coquettishness of the women often gives way to the pre-eminence of women doing their own complicated formations and steps, with men in a subsidiary role. The entire ensemble’s ebullient energy was capped by their wave bow to the audience.
Dancers from as far away as Chicago, Pittsburgh, Baltimore, Philadelphia and Canada participated in this concert, with many second- and third-generation Syzokryli members now dancing with this growing company. After the concert, all former members were invited on stage for a group photo with all the day’s participants. Dancer Sofia Tasker told The Ukrainian Weekly: “We’re just one big family!”
The ongoing success of Syzokryli has built a legion of loyal fans. Wherever ensemble members attend community dances, you will see them entertaining crowds with their moves; this excitement bubbles over on the ensemble’s active Facebook page with video clips of dancers at rehearsals in their swag T-shirts and their public concerts.
In addition to Syzokryli’s strong feeder system (RPB School of Dance), camps and workshops are conducted at the Soyuzivka Ukrainian Heritage Center every summer. Continuing its tradition of long-time support, Self Reliance New York Federal Credit Union sponsored this 40th anniversary concert.
The passion and spirit of Syzokryli are infectious. Doubtless Mme. Bohachevsky would have been proud of all their devotion and preparation. Her daughter Ms. Lonkevych told this writer at the conclusion: “It was my mother’s wish for her work to be continued by Orlando and Larisa Pagan, and I‘m sure she was looking down today from heaven, smiling at both of them and at all the performers…”