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Testimonies of Ihor Kostec’kyj’s fate under Nazi rule
Ihor Kostec’kyj was just one example of several hundred thousand individuals who were taken by the Nazi-Army from occupied eastern European territories and had to work as so-called “Ostarbeiter”, slaves in the Nazis service, in the German war industry. Before the war, Kostec’kyj was an intellectual, who - though born in Kyiv, Ukraine - had little consciousness of his “Ukrainiennes” before the fall of Carpatho-Ukraine in 1938 and was involved in several cultural, artistic and creative projects and initiatives. When he was mobilized to the Soviet Red Army with the start of the German invasion on the Soviet Union in 1941, Kostec’kyj was already in the process of changing his Russian sounding name...
Testimonies on the material situation of the culturally active Ukrainian diaspora in Germany, 1946-1951
The Ukrainian DP-journal CHORS was initially planned to be a quarterly. However, the first CHORS edition in 1946 was also the last. These documents provide an insight into the reasons for the non-publishing of further editions but also deliver indicators for the material situation of the Ukrainian diaspora in the American occupation zone of Germany in general. A second and third edition of CHORS were seemingly planned shortly after publishing the first edition. Indicator for this thesis is the handwritten list of planned content for these two editions. On the back of this very document it is visible that it was initially an old document of the German Air-Force from World War Two....
Principles and future aims of the DP-journal CHORS, 1946-1951
The Ukrainian DP-journal CHORS was first and foremost not a political publication. Published by a small team around the dissident Ihor Kostec’kyj, its focus was on arts, culture and film. In its own statutes, CHORS was not only displayed as a journal. Instead, it should be somewhat of a worldwide movement, where people could join or leave if they wish in the future. The overriding principle: to accept the “primacy of the artistic form”, that art should be created to be art and not for economic, political or popular reasons. If one does accept this very principle, this core principle, “every artist is allowed to belong to [CHORS] - regardless of race, nationality, confessional or...
Reviews of film art as an instrument of independence by the Ukrainian DP-journal CHORS, 1946-1951
The Ukrainian DP journal “CHORS” was planned as a quarterly on arts and culture, written by a group of editors around Ihor Kostec’kyj. Even though a second edition was never published, the editors notes and pre-written articles, ready to be published in a long planned second edition, tell a lot about the potential that was within the project. In the statutes of CHORS, the journal as well as the attaching, desired worldwide idea distanced itself heavily from Communism and the Soviet Union. The reason that was provided for this positioning was the Soviet understanding of art and the fact that art had to serve a purpose under Soviet Realism. Such distancing from Soviet...
Perception of European integration and European values, interviews with Euromaidan participants
The quotes from the interview published here are part of the project “The Voices of Euromaidan in Global Protest and Solidarity Studies”. The project focuses on the edited and thematically organized materials from the collection of oral history interviews called “Voices of Resistance and Hope,” that were recorded in two stages, the first in December 2013 and the second in February 2014 (more then 100 interviews). They were gathered in the base “Intimate Chronologies of the Euromaidan”, which is available on Urban Media Archive website. This collection includes 17 themetical categories. The category “Perception of European integration and European values” combines quotes related to the expectations of Euromaidan participants from possible European integration, as...
Motivation of mobilization, interviews with Euromaidan participants
The quotes from the interview published here are part of the project “The Voices of Euromaidan in Global Protest and Solidarity Studies”. The project focuses on the edited and thematically organized materials from the collection of oral history interviews called “Voices of Resistance and Hope,” that were recorded in two stages, the first in December 2013 and the second in February 2014 (more then 100 interviews). They were gathered in the base “Intimate Chronologies of the Euromaidan”, which is available on Urban Media Archive website. This collection includes 17 themetical categories. The category “Motivation of Mobilization” has the quotes describing the motivation of Euromaidan participants that prompted them to join the protests. Answers...
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View on the Monument to the Soviet Constitution, Lviv 1940
The monument to the Soviet constitution, or the Stalin Constitution, was built in Lviv in October 1939. The authors were the sculptor Serhyi Lytvynenko and Kyiv artist Mykhailo Dmytrenko, it’s possible that, the artists adapted the project, originally conceived in Moscow, to the new city conditions. The sculptors Yevhen Dzyndra and Andryi Koverko carried out the project, but the participation of Lytvynenko’s student the young sculptor Yakiv Chaika is also a possibility. The monument was made in the ceramic-sculpture factory, which opened on Muchna St. in 1939. The location for the monument was chosen in the city centre, the “island” on the boundary mark of the Hetman embankments, between Yahellon’ska st. and Holy...
Members of the cinema club in the village of Novooleksandrivka, Ukrainian SSR, during a film shoot, May 1981
In addition to film studios, which predominantly comprised adults, the network of amateur filmmaking also encompassed groups tailored for children and teenagers, typically organized within houses of culture or schools. Oversight of these groups was typically carried out by representatives from People’s Studios and local film clubs. The archival caption of this photograph reads as follows: “Members of the cinema club at the House of Culture in the village of Novoaleksandrovka, Belovodsk district, Voroshilovgrad oblast, during a film shoot. From left to right: students Naydysh A, Petrov P, the club’s leader Kolesnik V. I., student Burian V. — village Novoaleksandrovka, 15 May 1981, by Y. Khromushyn (outdoors against the backdrop of a river).”
Film amateurs of the steam locomotive and car repair plant, photograph dated of 1956
“The initiators of a film studio at the steam locomotive and truck repair plant (from the left to the right) Slutskyn S.S., Art Club Director of Tool and Inventory Shop, Skybalo G.L., Director of Radio Broadcasting Center, and Zirka A.V. are looking through the first shots of the new film about the plant, Lviv December 7th, 1956". This archival record accompanies this photograph in the Central State Audio/Visual and Electronic Archive (until the recent times called Central State G.S. Pshenychnyi Filming Archive) in Kyiv. Despite it is the official representation of film amateurs that was probably created for the purpose of media publications, careful analysis of the details makes it possible to discern...
Wall newspaper of Kostyantynivka’ bottling plant, 1967
This wall newspaper is part of a series of wall newspapers from the Kostiantynivka bottling plant, created in 1967. The series consisted of 13 excerpts dedicated to local participants in the fights against the White Guards after the First World War. Thirteen newspaper issues reveal the plant's history, explain its name "13 Executed Workers Plant", and call for the publication of photographs and memories related to the confrontation with the White Guards. The presented here example tells the story of the family of Bobylov Aleksandr Semenovych and Bobylova-Chumychkina Mariia Semenivna, who were participants in the revolutionary movement. In 1918-1920, Kostiantynivka underwent numerous power changes, seized first by the White Guards and then by...
A worker from the Lviv Confectionery Factory “Bilshovyk,” T.M. Etinger, at work, 1956
The photo is part of the collection of press photos from the State Archives of Lviv Region showing different economic areas: industry, agriculture, culture, and sports. The photo shows a worker of Lviv Confectionery Factory, T.M.Etinger. According to the accompanying inscription, she is “one of the best” workers, a labour veteran). She is captured at making a Kremlin’s Savior Tower. The nature of this photo and of the entire collection implies the genre of press photos that had to accompanied by a text (newspaper publication). The photo was meant to illustrate the message, to make it sound more convincing, to encourage and inspire the reading workers to accomplish more in their labour. In...
Olha Maria Zhydacek and her husband Hryhoriy Bandurka, Lviv, spring 1939
This photo is a testimony to a photographic practice popular in the 1930s. It was about making portraits of passers-by on the city streets. Such photos often recorded people in motion in the middle of a large street, and seemed to emphasize the belonging of those depicted characters to urban culture. In view of this, the genre of such photography can be called street portrait, the street and commercial photography. The photo shows the great-grandmother and great-grandfather of Bozhena Pelenska — Olha-Maria Zhydacek and her husband Hryhoriy Bandurka (b. 1899). Based on the Bozhena's memories, the story was recorded of the photograph and of the people in it. The photo was taken on...
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Bilka, film,12 minutes
A film by amateur filmmaker Roman Buchko, co-directed with Volodymyr Bordiuk and Roman Chyzhyk. The film is named after the Bilka River in Lviv Oblast, a right tributary of the Poltva (Vistula River basin). It was created at the Murator People’s Film Studio of the Lviv House of Culture of Builders. The triple authorship reflects the specifics of amateur filmmaking in the USSR, where any amateur activity had to be collective. The chosen topic and content of the work were characteristic of Roman Buchko, who systematically worked with this theme. Buchko hailed from the area depicted in the film, the village of Hai, near Zvenyhorod. Noteworthy is that Volodymyr Bordiuk, head...
ASUP Can Do More: A 1975 TV Story by Lviv Television
A 1975 news report made for Lviv television describes the use of the ASUP (Avtomatyzovana systema upravlinnya pidpryjemstvom - Automated Enterprise Management System) at the Lviv Electron plant, one of the largest TV manufacturers in the Soviet Union. Developed in cooperation with the Kyiv Institute of Cybernetics between 1964 and 1969, the system employed an electronic computer to perform calculations and record production data, marking the first implementation of its kind in the Soviet Union. The story emerged during a period of technological optimism in Soviet state policy, with the fields of cybernetics and computer engineering having developed over nearly two decades. By 1967, more than 500 institutions and tens of...
The Electronic Eyes of a Traffic Inspector: A 1971 TV Story by Lviv Television
A 1971 television story produced for Lviv Television news describes an experiment using television cameras to regulate traffic at one of the busiest intersections in the center of Lviv. The source does not provide information about the authors or the context of the device’s development. However, it is known that the Electron plant, one of the largest TV manufacturers in the city at the time, operated a special design bureau for television equipment. This suggests the presence of technological expertise and infrastructure capable of developing such devices using the relatively new technology of transmitting images via television signals. This technology was becoming increasingly popular in various fields, including traffic control. The...
Radio Communication: A 1959 TV Story by Lviv television
A 1959 TV story filmed for Lviv Television’s Lvivska Nedilia (Lviv Week) (№19) captures the early years of Lviv television and depicts the Soviet modernization of the city. Although the sound is lost, the visuals effectively narrate the story of public transport operations and how remote communication enabled quick responses to breakdowns, preventing disruptions in the public transport infrastructure. In the context of Lviv at the time, the introduction of the trolleybus was a significant symbol of Soviet modernization. Previously, the city only had a tram network. The new trolleybus routes connected the historic city center with the outskirts, where large enterprises and working-class neighborhoods were located. This report highlights...
“Screen of Pryazovia” (Pryazovskyi Ekran) № 1, 1969
This newsreel is a valuable source on the history of the development of the Mariupol industry. It was produced by the city club of film amateurs. Following the example of the Ukrkinochronika studio in the capital city which published the main newsreels in the republic, the authors of this piece created a short film report with 4 stories that tell about the deputies, the introduction of innovations in blast furnace steelmaking, about the winners of the socialist competition, and about the meeting of workers with a Soviet cosmonaut.
Collective of Communist Labor at Shoe Factory, 1960
Television news of the Lviv Television Studio followed the operators of Ukrkinochronika who chose shoe factory No. 3 as a model enterprise of the city’s light industry. The television camera shows to the audience Kateryna Lysak, an exemplary employee of the enterprise that was granted a status of a “communist labor enterprise”. At such enterprises, the example of the pioneers was to be followed by other workers, and a television clip told the people of Lviv about leaders of production and how the shoe factory was developing.
![Image for The Morality of Mrs. Dulska, 2013 TV Movie [Moralność pani Dulskiej]](https://edu.lvivcenter.org/wp-content/uploads/2022/10/moralnosc-pani-768x508.jpg)
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Roman Buchko on Soviet Film Amateurs: Excerpt from an Interview on November 1, 2012
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“Oh, in the meadow blooms the red viburnum,” a Ukrainian resistance song
This source is an audio recording of the folk version of the one of the most popular Ukrainian resistance songs. It is known by various titles: “The rifleman’s Anthem,” [Cтрілецький гімн] “The song of the viburnum,” [Пісня про калину] or “Oh, in the meadow blooms the red viburnum” [Ой у лузі червона калина]. The song’s worldwide spread was facilitated by the performance of Andriy Khlyvnyuk, the lead singer of the Boombox band, who on February 28, 2022, the fourth day of Russia’s full-scale attack on Ukraine, sang only the first stanza of the song. His performance on St. Sophia Square in Kyiv led to the emergence of remixes. Among the many performers are...
Legend about the “disguised emperor” during the First World War
This source is the audio recording of the legend about the events of the First World War. The storyline describes an “emperor” who was incognito inspecting his army and its provisions. The prototype for the protagonist is Franz Josef I (1830–1916), the emperor of the Austrian Hungarian Empire. This artistic image shows the elements of naive monarchism. The type of “just and kind” ruler is based on his favorable attitude to Galician Ukrainians, who he took as loyal to the Habsburgs. This social myth about the “loyal troops” consisting of Ukrainians was reflected in the prose but also in songs from the late 19th and early 20th centuries. Our emperor is getting old...
Grine kuzine (Green Cousin), song about emigration, 1921
The song, with a debatable authorship, was written for a Jewish theater. It was performed both in Europe and in the United States, and it became one of the most popular migrant works. The word “green” was an ironic definition of new immigrants who did not navigate well in American reality. The song “Green Cousin” raises the issue of disappointment of migrants in America, where hard work exhausts new-comers and does not bring the expected profit. The “Columbian state” appears not as a dream country where dreams come true, but a society of inequalities. Despite the hilarious music and satirical plot, the song shows the anxiety of emigrants due to the lack of...
A brivele der mamen (A Little Letter to Mama), song about emigration, 1907
The song was written by a Belarusian composer and singer, Solomon Smulewitz (1868-1943) in 1907. The author also had experience of migration to the United States. The song became very popular. In particular, it was used as a basis for a theatrical production and a film in Yiddish. The work raises the issue of migration caused separation of families. While the son who went to America has a successful life and a new family, his mother feels abandoned. Before her death, she asks her son not to forget to read Kaddish, a memorial prayer for her. The problem of separated families remained common to all migrants, but in this text the Jewish prayer...
“Goldene land” (Golden land), song about emigration, 1889
The song was written by a Lithuanian Jewish poet, Eliakum Zunser (1840-1913) based on his own experience of emigrating to the United States. The song "Golden Land" touches on the issue of new migrants, whose high expectations fail. The American city turns out to be a space full of dirt, noise, and poverty. Although jobs are available, they are poorly paid and dangerous to health. America is also not a place of social equality, because like in Europe, there is a disproportion in the distribution of wealth. This is an urban experience that was shared by many Jewish migrants who found work in the textile industry, or like Zunser himself, in the printing...
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