Rock 'n' roll may not have toppled the USSR, but it definitely rumbled through its foundations. Unlike the often-saccharine pop music sanctioned by the Soviet state, Ukrainian punk musicians of the 1980s Kyiv underground adapted ideologies of rock to roast the absurdities of late Soviet life, to articulate new ways of being Ukrainian, and to celebrate the cathartic pleasures of collective gatherings organized around musical performances. This book tells the story of Tantsi (Dances) a 1989 semi-official cassette release by the now-legendary Ukrainian punk band Vopli Vidopliassova, known to fans simply as VV (pronounced “Ve-Ve”). Their disruptive musical sounds, ironic lyrics, use of language, and propulsive performances toyed with the distinctions between official and unofficial Soviet culture. VV's Tantsi exemplifies how Soviet musical cultures existed within an ecosystem of contradictions as entrenched state infrastructures collided with emergent youth subcultures on the quicksand of late Soviet life. Today, Tantsi continues to invite us to dance while we laugh (or cry) at the absurdities of everyday life.
Recipient of the 2020 Lewis Lockwood Award from the American Musicological Society What are the uses of musical exoticism? In Wild Music, Maria Sonevytsky tracks vernacular Ukrainian discourses of "wildness" as they manifested in popular music during a volatile decade of Ukrainian political history bracketed by two revolutions. From the Eurovision Song Contest to reality TV, from Indigenous radio to the revolution stage, Sonevytsky assesses how these practices exhibit and re-imagine Ukrainian tradition and culture. As the rise of global populism forces us to confront the category of state sovereignty anew, Sonevytsky proposes innovative paradigms for thinking through the creative practices that constitute sovereignty, citizenship, and nationalism.
Rock 'n' roll may not have toppled the USSR, but it definitely rumbled through its foundations. Unlike the often-saccharine pop music sanctioned by the Soviet state, Ukrainian punk musicians of the 1980s Kyiv underground adapted ideologies of rock to roast the absurdities of late Soviet life, to articulate new ways of being Ukrainian, and to celebrate the cathartic pleasures of collective gatherings organized around musical performances. This book tells the story of Tantsi (Dances) a 1989 semi-official cassette release by the now-legendary Ukrainian punk band Vopli Vidopliassova, known to fans simply as VV (pronounced “Ve-Ve”). Their disruptive musical sounds, ironic lyrics, use of language, and propulsive performances toyed with the distinctions between official and unofficial Soviet culture. VV's Tantsi exemplifies how Soviet musical cultures existed within an ecosystem of contradictions as entrenched state infrastructures collided with emergent youth subcultures on the quicksand of late Soviet life. Today, Tantsi continues to invite us to dance while we laugh (or cry) at the absurdities of everyday life.
Recipient of the 2020 Lewis Lockwood Award from the American Musicological Society What are the uses of musical exoticism? In Wild Music, Maria Sonevytsky tracks vernacular Ukrainian discourses of "wildness" as they manifested in popular music during a volatile decade of Ukrainian political history bracketed by two revolutions. From the Eurovision Song Contest to reality TV, from Indigenous radio to the revolution stage, Sonevytsky assesses how these practices exhibit and re-imagine Ukrainian tradition and culture. As the rise of global populism forces us to confront the category of state sovereignty anew, Sonevytsky proposes innovative paradigms for thinking through the creative practices that constitute sovereignty, citizenship, and nationalism.
The concept of a 'return to Europe' has been integral to the movement for Ukrainian national rebirth since the nineteenth century. While the goal of a more fully reformed politics remains elusive, numerous expressions of Ukrainian culture continue to develop in the European spirit. This wide-ranging book explores Ukraine's European cultural connection, especially as it has been reestablished since the country achieved independence in 1991. The contributors discusses many aspects of Ukraine's contemporary culture - history, politics, and religion in Part I; literary culture in Part II; and language, popular culture, and the arts in Part III. What emerges is a fascinating picture of a young country grappling with its divided past and its colonial heritage, yet asserting its voice and preferences amid the diverse and at times conflicting realities of the contemporary political scene. Europe becomes a powerful point of reference, a measure against which the situation in post-independence Ukraine is gouged and debated. This framework allows for a better understanding of the complexities deeply ingrained in the social fabric of Ukrainian society.
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