Hostname: page-component-586b7cd67f-vdxz6 Total loading time: 0 Render date: 2024-11-25T05:09:54.111Z Has data issue: false hasContentIssue false
  • English
  • Français

“Drive-Ethno-Dance” and “Hutzul Punk“: Ukrainian-Associated Popular Music and (GEO)Politics in a Post-Soviet Context

Published online by Cambridge University Press:  07 March 2019

David-Emil Wickström
Get access Rights & Permissions [Opens in a new window]

Extract

The style [of Ruslana's song “Wild Dances“] can be called “drive-ethno-dance,” a combination of ethnic sounds of the mountain people of the Hutsuls with modern rock, pop and dance elements. (Ruslana n.d.a)

Ruslana's winning performance of “Dyki Tantsi” (Wild Dances) at the Eurovision Song Contest 2004 opened with trembity (plural; sing. trembita), alpine horns linked to, inter alia, the Hutsuls (a Ukrainian ethnic minority). However, trembity are not only used by Ruslana, but also incorporated into songs by other Ukrainian groups like Mad Heads XL's “Smereka” (2005) and Haydamaky's “Tini zabutykh predkiv” (2002). The use of local instruments and melodies in the music which Ruslana in the opening quote labels “drive-ethno-dance” is a way in which some groups from Ukraine anchor themselves. According to Armin Siebert, one of the directors of the Berlin Label Eastblok Music, which specializes in music from Eastern Europe, it is also an exciting element of Russian and Ukrainian popular music:

A lot of Russian and—even stronger in Ukraine—Ukrainian groups try to use the profoundness of their culture [e.g., folklore] in their modem rock music … And yeah, that's of course something which we especially think is very exciting, because we think that the Slavic culture, roughly speaking, is very profound and that one should not negate that, because it is really something special, which does not exist in the West. (interview, 19 July 2006; my translation)

Type
Articles
Information
Yearbook for Traditional Music , Volume 40 , 2008 , pp. 60 - 88
Copyright
Copyright © 2008 By The International Council for Traditional Music

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References Cited

Andryczyk, Mark 2005 “Three Posts in the Center of Europe: Postmodern Characteristics in Yuri Andukhovych's Post-colonial Prose.” In Ukraine at a Crossroads, ed. Nicolas Hayoz and Andrej N. Lushnycky, 233–52. Bern: Peter Lang.Google Scholar
ARTE 2008 “Haydamaky.” http://www.arte.tv/de/kunst-musik/tracks/Diese-Woche/navigation/2026100.html (accessed 19 May 2008).Google Scholar
Bahry, Romana 1994 “Rock Culture and Rock Music in Ukraine.” In Rocking the State: Rock Music and Politics in Eastern Europe and Russia, ed. Sabrina Petra Ramet, 243–96. Boulder: Westview Press.Google Scholar
Bhabha, Homi K. 1990 “The Third Space.” In Identity: Community, Culture, Difference, ed. Jonathan Rutherford, 207–21. London: Lawrence and Wishart.Google Scholar
1994 The Location of Culture. London: Routledge.Google Scholar
Brusila, Johannes 2003 Local Music, Not from Here: The Discourse of World Music Examined through Three Zimbabwean Case Studies: The Bhundu Boys, Virginia Mukwesha and Sunduza. Helsinki: Finnish Society for Ethnomusicology Publications.Google Scholar
Comp Music 2006 “Informatsiia ob EMI.” http://compmusic.kiev.ua/index.php?lang=en&option=com_content&task=view&id=5&Itemid=6 (accessed 18 October 2007).Google Scholar
Cook, Nicholas 2000 Analysing Musical Multimedia. Oxford: Oxford University Press. Reprint.Google Scholar
Eastblok Music n.d.a. “Haydamaky Lyrics.” http://eastblok.de/ebm/index.php?option=com_content&task=view&id=18 (accessed 18 October 2007).Google Scholar
n.d.b “Haydamaky Artist Page.” http://eastblok.de/ebm/index.php?option=com_content&task=view&id=6 (accessed 2 November 2007).Google Scholar
Erlmann, Veit 1999 Music, Modernity, and the Global Imagination: South Africa and the West. Oxford: Oxford University Press.Google Scholar
Fawkes, Helen 2004 “Ukraine Drive to Keep Russian Off Buses.” BBC News, online version, (18 June). http://news.bbc.co.uk/go/pr/fr/-/2/hi/europe/3783353.stm (accessed 4 September 2007).Google Scholar
Feld, Steven 1994 “From Schizophonia to Schismogenesis: On the Discourses and Commodification Practices of ‘World Music’ and ‘World Beat'.” In Music Grooves: Essays And Dialogues, ed. Steven Feld and Charles Keil, 257–89. Chicago: University of Chicago Press.Google Scholar
2000a “A Sweet Lullaby for World Music.” Public Culture 12/1: 145–71.Google Scholar
2000b “The Poetics and Politics of Pygmy Pop.” In Western Music and its Others: Difference, Representation and Appropriation in Music, ed. Georgina Born and David Hesmondhalgh, 280–304. Berkeley: University of California Press.Google Scholar
Gazmanov, Oleg n.d. “Prosmotr Video-Rolika ‘Sdelan v SSSR'.” Video clip. http://www.gazmanov.ru/media/clips/clips_17.html (accessed 26 September 2008).Google Scholar
Gemba, Holger 2007 “Ruslana—Interkulturelles Marketing aus den Karpaten.” Osteuropa 57/5: 137–49.Google Scholar
Gogol, Nikolai, and Kent, Leonard J. 1985 Ed. The Complete Tales of Nikolai Gogol. Volume 1. Chicago: University of Chicago Press.Google Scholar
Goodwin, Andrew 1993 Dancing in the Distraction Factory: Music Television and Popular Culture. London: Routledge.Google Scholar
Haydamaky, 2007 “Haydamaky - Kohania.” Video clip. http://www.youtube.com/watch?v=UXWMFspdKZk (added by eastblok, 24 January 2007; accessed 9 October 2007).Google Scholar
n.d.a “Concerts.” http://www.haydamaky.com/eng/concerts/index.html (accessed 11 September 2007).Google Scholar
n.d.b “History.” http://www.haydamaky.com/eng/history/index.htm (accessed 14 June 2007).Google Scholar
Helbig, Adriana 2006 “The Cyberpolitics of Music in Ukraine's 2004 Orange Revolution.” Current Musicology 82: 81–101.Google Scholar
Hill, Juniper 2007 “'Global Folk Music’ Fusions: The Reification of Transnational Relationships and the Ethics of Cross-Cultural Appropriations in Finnish Contemporary Folk Music.” Yearbook for Traditional Music 39: 50–83.Google Scholar
Hrytsa, Sophia n.d. “Ukraine, §II: Traditional Music, 3. Music of the Carpathians.” In Grove Music Online, ed. L. Macy. http://www.grovemusic.com/shared/views/article.html?section=music.40470.2.3 (accessed 10 September 2007).Google Scholar
Hungarian Culture and History n.d. “Hungarian Mythology: The Turul.” http://www.hunmagyar.org/mondak/turul.html (accessed 9 October 2007).Google Scholar
Kappeler, Andreas 1994 Kleine Geschichte der Ukraine. München: Verlag C. H. Beck. 2003 Der schwierige Weg zur Nation: Beiträge zur neueren Geschichte der Ukraine. Wien: Böhlau Verlag.Google Scholar
Khinkulova, Kateryna 2006 “Ukraine rock battles Russian pop.” BBC News, online version (8 May). http://news.bbc.co.uk/go/pr/fr/-/2/hi/europe/4984184.stm (accessed 3 September 2007).Google Scholar
Klid, Bohdan 2007 “Rock, Pop and Politics in Ukraine's 2004 Presidential Campaign and Orange Revolution.” Journal of Communist Studies and Transition Politics 23/1: 118–37.Google Scholar
Library of Congress 1997 “ALA-LC Romanization Tables: Transliteration Schemes for Non-Roman Scripts.” http://www.loc.gov/catdir/cpso/roman.html (accessed 29 April 2008).Google Scholar
Lipsitz, George 1994 Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place. Verso Publishing: London.Google Scholar
Loomba, Ania 2002 Colonialism/Postcolonialism. e-Library version. London: Routledge.CrossRefGoogle Scholar
Mitchell, Tony 1996 Popular Music and Local Identity: Rock, Pop and Rap in Europe and Oceania. London: Leicester University Press.Google Scholar
Moore, David Chioni 2001 “Is the Post- in Postcolonial the Post- in Post-Soviet? Toward a Global Postcolonial Critique.” PMLA 116/1: 111–28.Google Scholar
Moszyński, Kazimierz 1967 Kultura ludowa Słowian. Warszawa.Google Scholar
Noll, William 2000 “Ukraine.” In The Garland Encyclopedia of World Music, Volume 8: Europe. ed. Timothy Rice, James Porter, and Chris Goertzen, 806–25. New York: Garland Publishing.Google Scholar
Ofitsial'nyi sait Nestora Ivanovicha Makhno 2007 “Grustnyi Prazdnik Den’ Rozhdeniia…” http://www.makhno.ru/forum/show-thread.php?p=3671 (accessed 6 December 2007).Google Scholar
Ost Klub n.d. “Lokal.” http://www.ost-klub.at/lokal.php (accessed 22 October 2007).CrossRefGoogle Scholar
Perkalaba, 2007a “Perkalaba: Perkalaba.” English version, http://perkalaba.com.ua/en/index. html (accessed 31 October 2007).Google Scholar
2007b “Perkalaba: Perkalaba.” Russian version, http://www.perkalaba.com.ua/ru/index.html (accessed 31 October 2007).Google Scholar
2007c “Perkalaba: Perkalaba.” Ukrainian version, http://perkalaba.com.ua/ua/index. html (accessed 31 October 2007).Google Scholar
Ruslana, 2006 “Kolomyjka - Ruslana.” Video clip. http://www.youtube.com/watch?v=c3sTkRHziKI (added by natalyaa, 6 April 2006; accessed 20 June 2007).Google Scholar
2007 “Ruslana - Dance with the Wolves.” Video clip. http://youtube.com/watch?v=C93I4FvP2Ig (added by Constantinus, 13 March 2007; accessed 18 October 2007).Google Scholar
n.d.a “Hutsulian Project: In the Rhythm of Mountains—to Reach the Summit. The Carpathians. The Hutsulia.” http://www.ruslana.com.ua/main_eng.html (accessed 12 June 2007).Google Scholar
n.d.b “Kolomiyka.” http://www.ruslana.com.ua/pages/clipeng_kolomyika.html (accessed 21 September 2007).Google Scholar
Said, Edward W. 1991 Orientalism: Western Conceptions of the Orient. London: Vintage Books.Google Scholar
Shmeleva, Elena, and Shmelev, Aleksei 2002 Russkii anekdot: Tekst i rechevoi zhanr. Moscow: Iazyki Slavianskoi Kul'tury.Google Scholar
Shumady, N. S., and Vasylenko, Z. Y. 1969 Kolomyiky. Kiev: Naukova Dumka.Google Scholar
Slobin, Mark 1993 Subcultural Sounds: Micromusics of the West. Hanover: Wesleyan University Press.Google Scholar
Solomon, Thomas 2006 “Whose Hybridity? Whose Diaspora? Agency and Identity in Transnational Musics.” Paper presented at the ICTM colloquium “Emerging Musical Identities,” Middletown, Wesleyan University.Google Scholar
Sonevytsky, Maria 2006 “Leather, Metal, Wild Dances: Ukrainian Pop's Victory at the 2004 Eurovision Song Contest and the Politics of Auto-Exoticism.” Paper presented at the US Branch of the International Association for the Study of Popular Music, Nashville.Google Scholar
Stokes, Martin 1994 “Introduction: Ethnicity, Identity and Music.” In Ethnicity, Identity and Music: The Musical Construction of Place, ed. Martin Stokes, 1–27. Oxford: Berg.Google Scholar
2004 “Music and the Global Order.” Annual Review of Anthropology 33: 47–72.CrossRefGoogle Scholar
Taylor, Timothy 1997 Global Pop: World Music, World Markets. New York: Routledge.Google Scholar
Tolstoi, Nikita Il'ich 2003 Ocherki slavianskogo iazychestva. Moskva.Google Scholar
Vernallis, Carol 2004 Experiencing Music Video: Aesthetics and Cultural Context. New York: Columbia University Press.Google Scholar
Wanner, Catherine 1996 “Nationalism on Stage: Music and Change in Soviet Ukraine.” In Retuning Culture: Musical Changes in Central and Eastern Europe. ed. Mark Slobin, 136–55. Durham: Duke University Press.Google Scholar
Wayback Machine n.d. “Internet Archive: Wayback Machine.” http://www.archive.org/web/web.php (accessed 3 December 2007).Google Scholar
Yekelchyk, Serhy 2004 “Uniate Church.” In Encyclopedia of Russian History. ed. James R. Millar, 1605–6. New York: Macmillan Reference.Google Scholar
Zoda, n.d. “Zaporiz'ka oblasna derzhavna administratsiia.” http://www.zoda.gov.ua/en (accessed 13 December 2007).Google Scholar

Discography

Clash, The 1979 London Calling. CBS Records. LP.Google Scholar
Div 2004 Pomaranchevi pisni. Comp Music Ltd. Compact disc.Google Scholar
2005 Ukraina: Songs of the Orange Revolution. Eastblok Music. Compact disc.Google Scholar
Gazmanov, Oleg 2005 Sdelan v SSSR. Grand Rekords. Compact disc.Google Scholar
Haydamaky (or Haidamaky)Google Scholar
2002 Haidamaky. Comp Music Ltd. Compact disc.Google Scholar
2004 Bohuslav. Comp Music Ltd. Compact disc.Google Scholar
2005 Perverziia. Comp Music Ltd. Compact disc.Google Scholar
2006 Ukraine Calling. Eastblok Music. Compact disc.Google Scholar
Mad Heads XL 2005 Nadiia E. Comp Music Ltd. Compact disc.Google Scholar
Ruslana, 2003 Dyki Tantsi. Comp Music Ltd. Compact disc.Google Scholar
Springsteen, Bruce 1984 Born in the U.S.A. Columbia records. Compact disc.Google Scholar