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In the post WWII years, the isolated Ukrainian Diaspora population in Australia preserved a type of Ukrainian folk instrument known as the Kharkiv bandura, the method of playing, its repertoire and technique well into the late 1980’s. During this period the style underwent some transformation and innovation that shed light onto the history of the bandura and demonstrates the process of transformation that ethnic musical culture undergoes when isolated. It also demonstrates the process of innovation. The aim of the study is to focus on bandura tradition, transformations and innovations in the performance practice of bandurists in the Ukrainian Diaspora living in Australia; to observe those aspects of the tradition that were retained, and those performance practices that changed, and the differentiation of this phenomena in comparison to its original counterpart in Ukraine. The methodology of the study is grounded in historic, systemic, sociological and cultural approach and related methods of scientific study, in particular, a historic-chronological analysis of bandura playing techniques in Ukraine, in particular, the method of systematic classification and complex analysis that performance practice that has taken place in Ukrainian culture. The study and analysis is directed toward the Kharkiv bandura, the technique and repertoire of Hnat Khotkevych, his students and the followers of his philosophy toward the bandura, focusing particularly on H. Bazhul and his student P. Deriashny. The materials used in the preparation of this study include books and articles focusing on the bandura, and specifically about H. Bazhul and the Kharkiv-style bandura in Australia. Separate conclusions and generalizations were made on the basis of personal interaction with the informants. The scientific novelty of the work is the introduction into scientific circulation of an organological and ergological analysis of the bandura players activities of the Kharkiv technique in Australia, the tradition, systematization of the various adaptations, and the development of independent innovations in the performance practice on this traditional Ukrainian folk instruments.

Tradition, Transformation and Innovation in Bandura Playing in the Ukrainian Diaspora of Australia