756:, but knew nothing about the questionable financial state in which it had left its shareholders, and Avramenko. Appealing unabashedly to patriotic Ukrainian sentiment, Avramenko sold rights to screen the new film province by province. Rumours circulated that he was using these funds to pay off old debts. Dr. Mykyta Mandryka, the secretary-treasurer of the new company seemed to be the only one to fully appreciate the situation, and wrote a letter to Avramenko. "We really do not understand each other, and this is why: you think it is necessary, above all, to start producing the film with or without money, and you believe things will somehow turn out well. You live on high hopes and faith in an imminent miracle. But that is not enough to handle people's money wisely." Avramenko ignored all advice and continued to ask for donations, borrow money, and sell rights, fundraising the way he had always done.
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636:, saw the performance as a well-attended artistic failure. In a venue like the Met, where the great operas of the world were performed by the finest singers, the Ukrainian press had expected those values to be reflected in the premiere of a comparable Ukrainian operetta or musical. Instead, they found themselves seeing more of what they, unlike the larger English community, were already familiar with from Avramenko. His debts increased, and in order to address his finances, he turned to film.
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730:. Ulmer said of Avramenko: "Nothing was impossible for Avramenko… The man was so enthusiastic. I couldn't say no to him…. He was the spark of everything." Without a Hollywood distributor, the film company rented theatres at high cost to show the film. In the end, though an artistic success, the film left Avramenko in further debt. Koshyts was particularly critical of the film, finding it offensive and tasteless. Not surprisingly, his review appeared in
555:. Their base of support was a strong Ukrainian-Canadian community. For example, some 20 Ukrainian public school teachers attended his Edmonton classes, and Avramenko gave them instructions on how to teach dance when they returned to their schools. Avramenko traveled from town to town, teaching the same dances. When he was finished teaching in a town, he would assign a leader to continue teaching to the residents. One of these leaders was
348:. Koshyts remarked: "I was invited to attend a ballet performance by Avramenko's school. The ballet was marvellous: it was simply impossible to believe that such an exacting and artistic work could be created out of our dance!" Avramenko soon became so successful and popular that he set out on tour with a group of his students through
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648:. Along the way to the west coast, he obtained loans and donations from Ukrainian immigrants in these far-flung communities, only aware of who he was through what they had read, unaware as yet of his inability to handle finances. Avramenko always claimed to have been offered a lucrative contract to dance in the film
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The remaining years of his life, Avramenko spent hauling around film canisters, showing his films or outright selling them wherever he disembarked. In 1954 he released the documentary film "The
Triumph of Ukrainian Dance", consisting primarily of excerpts from documentaries and feature films produced
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Filming began the first week of May 1938. It ended
November 27 and the director Ulmer was pleased with the final product. His cheerful mood though turned when he saw advertising for the movie, identifying Avramenko as the "director" or "general production director". He stormed into the film company's
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did not even notice that it was a
Canadian production, stating that it was "highly agreeable both to the eye and the ear." Koshyts did not publish any review of it, but privately was very critical. With no American or international distributor the film fell victim, like the previous, to being shown
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Towards the very end of his life, Avramenko created tribute events, for example "Ukrainian
Tribute to Australia", and celebrations of some of his personal triumphs and milestones, and rallied the Ukrainian community around them. He had many of his former pupils across North America, and around the
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In
February 1921, Avramenko established a school of Ukrainian folk dancing in the Kalisz camp, the first of more than 100 schools over the next 20 years across Europe and North America. He impressed on his pupils that Ukrainian folk dancing could be an art form. He began with 100 students
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gave it a rave review, "…excited over the kaleidoscopic ardors of the dance, the richness of the chorus, the congeniality of the audience and the fairly inspiring naturalness of what really amounted to a brilliant
Ukrainian folk festival." The Ukrainian newspapers, like
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with a
Ukrainian enclave to the east. Able to dispense with live music with the arrival of the phonograph and vinyl records, it became easier for him in the 1930s to offer these lessons. Within a few months he had over 500 pupils attending.
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spoke glowingly about
Ukrainian folk dancing. Avaramenko's name now became coupled with that of Koshyts in the Ukrainian-Canadian press. Articles about him appeared in every major Ukrainian-Canadian newspaper, as well as the English ones.
294:, would inspire Avramenko to live the life of an artist. During this time, Avramenko took copious notes compiling a vocabulary of Ukrainian dances and dance steps, which he would later develop into his life's work. In his book,
290:, its choreography and stage performance, including theory and practical demonstrations. Verkhovynets' theories of Ukrainian dance, which he based on his theatrical training and his extensive research of the village dances of
333:. When UNR forces retreated west in 1919–20, he remained in Soviet occupied territory and worked with Ukrainian itinerant troupes of actors that continued to tour the region. He was arrested at this time and interned in
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On the road most of the time, leaving behind his wife with their newly born daughter, with little if anything to live on, so that his wife depended on friends to survive, by 1934, his marriage began to fall apart. The
621:. His successes up to now had been solely in the Ukrainian community. His first attempt to reach beyond it was at the Star Casino, and was disrupted by a summer storm that hit the city. His second attempt was at the
784:, nineteen at the time. By the mid-1960s folk dance ensembles were reinventing themselves: Rusalka in Winnipeg, Yevshan in Saskatoon, Shumka in Edmonton, as well as the touring ensembles from the Soviet Union,
792:. They were interested in preserving the spirit of the folk dance rather than preserving traditional dance steps. Avramenko's concerts juxtaposed against these dances were simply a bit of nostalgia.
574:. With a network of dance schools across Canada, Avramenko now turned his sites to the United States. Lacking business acumen, he had debts in excess of three thousand dollars upon leaving Canada.
699:, convinced that it would bring fame and glory to the Ukrainian cause. He rallied wealthy widows and convinced them that people in their community needed a place to apprentice in film. The
341:(everyone from the guards to small children), teaching them the basic steps of Ukrainian dance, eventually teaching whole dances, and finally putting on a celebrated performance May 24.
203:; such worldly exposure encouraged in him a greater love of learning, and he returned to study with his brother whenever possible, eventually earning the qualifications to become a
455:(CNE) August 30 through September 11 to grandstands filled with up to twenty-five thousand spectators. When the dancers gave a special performance at the women's pavilion,
352:, often presenting demonstrations and workshops in the towns he visited, encouraging others to perform his dances and pass them on to still others. The tour passed through
707:, a real Hollywood film director appeared on the scene. Ulmer had lost favour in Hollywood after running off with the wife of the nephew of Carl Laemmle Sr., who owned
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270:, where he visited some of its theaters and became active in a troupe of military actors led by Yasha Vavrak, who grasped that Avramenko had a flair for the stage.
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world, help him with these events, pupils who had been children when first encountering dance lessons with him. In the end, even the
Ukrainian language newspaper
617:, as well as for rental spaces for his schools, perpetuated his financial woes. To clear up these troubles, Avramenko turned to the idea of staging his work on
313:, a member of Yosyf Standnyk's theatre before joining Mykola Sadovsky's troupe. During this time, he was able to apply some of the lessons he had learned in the
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made it hard to earn a living running dance schools. Avramenko made plans to produce a feature film based on the oldest and most popular
Ukrainian operetta,
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Again, with Ulmer having directed it, the film received great reviews. In Winnipeg, filled with civic pride, the critics were unashamedly enthusiastic.
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building. For fees from five to thirty dollars, he offered a set of lessons for pre-schoolers to grown-ups. The school inculcated its pupils with
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Unable to raise money in New York due to the financial setback of his last film, he turned to Canada to raise the funds for his next feature film
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In postwar Canada between 1945 and 1947, Avramenko offered Ukrainian folk dancing courses. One of his students in Winnipeg at this time was
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and he reconciled, as he lived out his old age in New York City, and whenever he entered their offices on his birthday, everyone would sing
965:, Swyripa, Frances and Thompson, John Herd, editors. Canadian Institute of Ukrainian Studies, University of Alberta, Edmonton, 1983, p. 70.
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Wasyl Avramenko and the Rebirth of Ukrainian National Dancing, Part 1 (Василь Авраменко та Відродження Українського Танку, Частина Перша)
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On June 16, 1928, Avramenko married one of his star dance pupils, Pauline Garbolinsky, from Winnipeg, and soon the couple was living in
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was established in New York City in 1936. Having raised enough money, twenty-five thousand dollars, to begin production, fortuitously
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in Vladivostok in 1912, which Avramenko later recounted as having been the first experience of viewing his fellow Ukrainians on stage.
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During the 1960s Avramenko spent time in Australia, teaching dance at a number of Ukrainian schools, particularly around Melbourne.
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Subtelny, Orest. Ukrainians in North America, An Illustrated History. University of Toronto Press, Toronto 1991, page 172.
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with dancers, singers, and instrumentalists to bring attention to the Ukrainian people and their fight for independence.
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had just opened a school of contemporary dance. Vasile and Pauline Avramenko lived in rented rooms on 8th Avenue in
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Martynowych, Orest T. The showman and the Ukrainian cause. University of Manitoba Press, Winnipeg, Manitoba, 2014.
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Ulmer put together a film crew and rewrote the screenplay. The musical score was recorded ahead of time at
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Film still, from "Natalka Poltavka." Vasile Avramenko, in costume, doffs his hat during a dance sequence.
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zeal and his love of Ukrainian culture, he is considered by many to be the "Father of Ukrainian Dance".
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Ukrainian National Dances, Music, and Costumes (Українські Національні Танки, Музика, і Cтрій)
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in January 1927. His troupe gave their first performance at the Canadian-Ukrainian Institute
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across the world. Colourful, energetic, imaginative, and, quite often exasperating, he was an
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748:. On September 22, 1937, Avramenko returned to Winnipeg, and announced the creation of the
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Martynowych, Orest T. "'All That Jazz!' The Avramenko Phenomenon in Canada, 1925-1929" in
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and he claimed a victory for the Ukrainian cause and published postcards with photos of
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of 1933, and borrowed a thousand dollars from his father-in-law to do so. In 1935, his
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city by city at a high cost for theatre rental wherever theatres could be obtained.
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Avramenko and his disciples began to set up schools quickly across the prairies, in
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Bogdanovich, Peter. "Edgar G. Ulmer: An Interview." Film Culture p. 58-60, 1974.
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Immigration History Research Center Archives, University of Minnesota Libraries
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Avramenko with dancing school with the great Ukrainian artist Mykola Sadovsky.
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teacher. It was during this time that Vasyl Avramenko saw a production of
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Nahachewsky, Andriy. "Avramenko and the Paradigm of National Culture" in
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office, clearly having failed to appreciate the size of Avramenko's ego.
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the State Folk Dance Ensemble of the Ukrainian Soviet Socialist Republic
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New York at this time was a creative center for drama, song, and dance.
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and assigned to the 4th Heavy Artillery Regiment. After two months'
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men's gymnasium in 1915, the Russian Empire having already entered
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945:"Lysenko Music and Drama School– Internet Encyclopedia of Ukraine"
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Eighty-five percent of Ukrainians in Canada at the time lived on
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Loyalties in Conflict, Ukrainians in Canada During The Great War
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in New York City. The set was located on a farm northwest of
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Paying dance instructors over widely dispersed areas across
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several times between 1922 and 1924, while also visiting
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Avramenko's "Gonta" Solo Dance, from a 1922 publication
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Ukrainian Shumka Dancers : tradition in motion =
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By spring of 1919, Avramenko was for a short time in
282:, in the summer of 1917, Avramenko attended three of
931:"Mykola Sadovsky – Internet Encyclopedia of Ukraine"
479:, a venue usually reserved for hockey and politics.
1233:Swyripa, Frances and Thompson, John Herd, editors.
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Ukrainians in North America, An Illustrated History
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Journal of Ukrainian Studies 28, No.2 (Winter 2003)
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Journal of Ukrainian Studies 28, No.2 (Winter 2003)
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987:Winnipeg Amphitheatre, Manitoba Historical Society
262:. Here he was wounded and hospitalized, first in
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917:"Folk dance – Internet Encyclopedia of Ukraine"
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104:) (March 22, 1895 – May 6, 1981) was a
1230:. University of Toronto Press, Toronto 1991.
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1016:. Gordey, Gordon. Edmonton: Reidmore Books.
810:Avramenko died on May 6, 1981, in New York.
1200:. Canadian Institute of Ukrainian Studies.
1178:. Canadian Institute of Ukrainian Studies.
976:The Canadian Ukrainian Institute 'Prosvita'
959:Ukrainian Canadians and the Wartime Economy
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511:Avramenko’s ‘Dovbush’ Solo Dance
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344:In the fall of that year he met
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904:Encyclopedia of Modern Ukraine
659:He staged performances at the
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1291:Zoloto's Tribute to Avramenko
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1162:Edgar G. Ulmer: An Interview
1012:Major, Alice, 1949- (1991).
453:Canadian National Exhibition
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350:Polish-ruled western Ukraine
321:. In the fight between the
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1379:People from Cherkasy Oblast
1324:Library and Archives Canada
1276:Vasyl Avramenko. Solo Dance
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1103:. Ayer Publishing. p.
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1240:Zerebecky, Bohdan (1985).
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750:Ukrainian Film Corporation
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90:Vasyl Kyrylovych Avramenko
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1254:Avramenko, Vasyl (1947).
1211:Shatulsky, Myron (1980).
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1261:Pihuliak, Ivan (1979).
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477:Winnipeg's amphitheatre
457:Florence Randal Livesay
136:. For his unparalleled
132:greatly reminiscent of
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1281:Vasyl Avramenko papers
1189:Martynowych, Orest T.
1097:Halich, Wasyl (1970).
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1389:1981 deaths
1384:1895 births
669:White House
557:Chester Kuc
390:Stanyslaviv
311:Stanyslaviv
258:and to the
228:World War I
224:Vladivostok
186:Vladivostok
63:May 6, 1981
1333:Categories
1155:In English
1023:1895073014
814:References
772:Later life
194:naval base
174:adolescent
144:Early days
138:missionary
130:impresario
1306:Short bio
1206:0228-1635
1184:0228-1635
1040:cite book
665:Baltimore
652:starring
646:Hollywood
567:in 1969.
545:Saskatoon
410:Drohobych
374:Mezhirich
366:Kremenets
323:Bolshevik
268:Petrograd
106:Ukrainian
94:Ukrainian
1139:Archived
1032:24217050
619:Broadway
613:and the
591:Brooklyn
553:Edmonton
469:Prosvita
465:Winnipeg
406:Ternopil
402:Deliatyn
398:Przemyśl
394:Kolomyia
212:operetta
180:towards
170:homeless
166:Orphaned
118:director
1283:at the
1134:YouTube
801:Svoboda
732:Svoboda
633:Svoboda
549:Yorkton
441:Toronto
426:Halifax
266:, then
256:Bryansk
252:Irkutsk
240:Irkutsk
201:vessels
182:Siberia
154:townlet
150:Stebliv
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248:Tyumen
172:as an
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102:Vasile
386:Stryi
378:Chełm
362:Lutsk
358:Rivne
264:Minsk
1315:IMDb
1217:ISBN
1202:ISSN
1180:ISSN
1109:ISBN
1050:link
1046:link
1028:OCLC
1018:ISBN
354:Lviv
325:and
319:Kyiv
280:Kyiv
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158:Ros'
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