Notes on Art Criticism
ISSN 2226-2180
Article Vol. 25, No. 1, 2025

The role of national folk dances in shaping the cultural identity of the Ukrainian people

Oleksandr Plakhotnyuk, Oleh Kuzyk, Andrii Yatselenko
Received 20.02.2025 Revised 05.06.2025 Accepted 30.06.2025 Pages 43–55 725 Views

Abstract

The relevance of this study is driven by the need to preserve and promote national folk dances as a means of sustaining the cultural identity of Ukrainians, particularly in the face of external threats from the Russian Federation. This research aimed to thoroughly examine the role of national folk dances in shaping the cultural identity of the Ukrainian people. The following methods were employed: a literature review for a comprehensive analysis of various sources, a comparative method to identify the interconnections and unique features of Ukrainian folk dances in the context of world cultures, and a historical method to study the evolution and role of dances in shaping cultural identity. The article revealed how national dances contributed to the formation and preservation of cultural identity, transmitting traditions, values, and shared characteristics of the Ukrainian nation from generation to generation. The research analysed the main national dance styles, such as the hopak, arkan, kolomyika, kozachok, and others. It also analysed the influence of folk dances on contemporary Ukrainian cultural trends and national self-consciousness. The revival of interest in traditional dances in contemporary society had led to the emergence of numerous dance ensembles and schools that promoted Ukrainian dances both within Ukraine and abroad. These initiatives contributed to the preservation and promotion of Ukraine’s cultural heritage, as well as strengthening national identity. Particular attention was given to the role of folk dances in reinforcing ties between the diaspora and the historical homeland, as Ukrainians living abroad maintain a connection to their roots, history, and culture through national dances. This study also examined the dance traditions of Greece, Georgia, and Hungary, allowing for a comparison and analysis of the role of folk dances in shaping the cultural identity of each of these countries. The practical significance of this study lies in its application to cultural and educational programs, both in Ukraine and among the diaspora. Schools, cultural centres, and dance groups can utilise the obtained data to develop educational courses and promote Ukrainian culture

Show full abstract

Keywords

hopak; arkan; kolomyika; traditional dances; national dance styles; folk rituals; culture; choreography; dance ensemble

Suggested citation

Copy citation
Plakhotnyuk, O., Kuzyk, O., & Yatselenko, A. (2025). The role of national folk dances in shaping the cultural identity of the Ukrainian people. Notes on Art Criticism, 25(1), 43-55. https://doi.org/10.63009/noac/1.2025.43

References

Show all references
  1. “Barvinok” dance school is celebrating its 50th anniversary. (2019). Ucu. Building сommunity. Retrieved from https://ucu-building-community.blogspot.com/2019/10/50.html.   
  2. “Vyshyvanka” dance school in Chicago is Ukraine beyond Ukraine. (2023). Ukrainian people. Retrieved from https://ukrainianpeople.us/%D1%88%D0%BA%D0%BE%D0%BB%D0%B0-%D1%82%D0%B0%D0%BD%D1%86%D1%8E-%D0%B2%D0%B8%D1%88%D0%B8%D0%B2%D0%B0%D0%BD%D0%BA%D0%B0-%D0%B2-%D1%87%D0%B8%D0%BA%D0%B0%D0%B3%D0%BE-%D1%86-2/. 
  3. Aristidou, A., Chalmers, A., Chrysanthou, Y., Loscos, C., Multon, F., Parkins, J.E., Sarupuri, B., & Stavrakis, E. (2022). Safeguarding our dance cultural heritage. In Eurographics 2022 – 43nd annual conference of the European Association for Computer Graphics (pp. 1-6). Reims, France. doi: 10.2312/egt.20221055.
  4. Barvinok Ukrainian dance school. (2017). Retrieved from https://diasporiana.org.ua/wp-content/uploads/books/16166/file.pdf.
  5. Bobesky, C.M., & Mulvaney, M. (2019). Ethnic identity among Ukrainians in the United States: Intergenerational and community influences. Ethnic and Racial Studies, 43(12), 2255-2274. doi: 10.1080/01419870.2019.1671597.  
  6. Boiko, O. (2020). Image of Ukrainian dance in mass media space of Ukraine on period of independence. Ukrainian Culture: Past, Present, Ways of Development, 34, 217-221. doi: 10.35619/ucpmk.v34i34.345.
  7. Brosius, С., & Polit, К.М. (Eds.). (2011). Ritual, heritage and identity: The politics of culture and performance in a globalised world. New Delhi: Routledge.  
  8. Chappell, K., Redding, E., Crickmay, U., Stancliffe, R., Jobbins, V., & Smith, S. (2021). The aesthetic, artistic and creative contributions of dance for health and wellbeing across the lifecourse: A systematic review. International Journal of Qualitative Studies on Health and Well-Being, 16(1), article number 1950891. doi: 10.1080/17482631.2021.1950891.
  9. Church, school, and creativity: The UGCC parish in Mississauga shares how they nurture Ukrainian identity. (2020). Ukrinform. Retrieved from https://www.ukrinform.ua/rubric-diaspora/2906172-hram-skola-i-tvorcist-v-parafii-ugkc-v-misisazi-rozpovili-pro-te-ak-plekaut-ukrainske.html.  
  10. Dance school “Vyshyvanka” in Chicago – Ukraine beyond Ukraine. (2019). Snip. Retrieved from https://snip.net.ua/20190706/shkola-tantsyu-vyshyvanka-v-chykago-tse-ukrayina-za-mezhamy-ukrayiny/.
  11. Degtyar, D. (2021). Problems of modern folk and stage choreography: Artistic language and motivations. Intellectual Archive, 10(4), 36-43. doi: 10.32370/IA_2021_12_6.
  12. Drach, T., & Pogrebnyak, M. (2022). Western Ukrainian choreographers – representatives of today’s modern dance. International Journal of Arts and Social Science, 5(6), 68-72.  
  13. Edensor, Т. (2020). National identity, popular culture and everyday life. London: Routledge. doi: 10.4324/9781003086178.
  14. Eltifi, L. (2023). Ukrainian folk dances: A reflection of culture, history, and diversity. In Dialogue of cultures in the Europeane educational space: Proceedings of the 8th International conference (pp. 206-208). Kyiv: KNUTD.
  15. Filippidou, E. (2022). Acculturation strategies and dance: Identity construction through the example of “Zonaradikos or Omouslamas” dance of the Gagauz of Thrace, Greece. Journal of Ethnic and Cultural Studies, 9(2), 216-233. doi: 10.29333/ejecs/1164.
  16. Hong, S. (2022). Ukrainian symbols in Ukrainian Canadian weddings. Asia-Pacific Journal of Canadian Studies, 28(2), 109-123. doi: 10.22691/kacs280201. 
  17. Jackson, D.J. (2020). Polish American festivals and ethnic identity. Journal of Heritage Tourism, 15(6), 648-665. doi: 10.1080/1743873X.2020.1740235.      
  18. Karlytska, S., & Kopievsky, O. (2020). Classical exercise in a folk dance ensemble: methodological principles and structure. Notes on Art Criticism, 38, 85-90. doi: 10.32461/2226-2180.38.2020.222091.
  19. Karpenko, D. (2022). Theoretical understanding of “choregraphic culture” concept in scientific discourse. National Academy of Managerial Staff of Culture and Arts Herald, 4, 30-34. doi: 10.32461/2226-3209.4.2022.269427.
  20. Pavlicová, M. (2021). The image of staged folk culture: From the presentation of traditions to a staged genre. Journal of Ethnology, 5, 21-32.
  21. Payne, H., & Costas, B. (2020). Creative dance as experiential learning in state primary education: The potential benefits for children. Journal of Experiential Education, 44(3), 277-292. doi: 10.1177/1053825920968587.   
  22. Petkovski, F. (2021). From community to humanity: Dance as intangible cultural heritage. (Doctoral dissertation, University of California, Los Angeles, USA).
  23. Petkovski, F. (2024). Dance, moving identities, and the political economy of intangible cultural heritage. In The Routledge International handbook of heritage and politics (pp. 534-551). London: Routledge. doi: 10.4324/9781003300984-45.
  24. Pletsan, К. (2022). Historical and cultural heritage and preservation of traditions during ethno-festivals in the space of creative industries. Scientific Notes of NaUKMA. History and Theory of Culture, 5, 70-80. doi: 10.18523/2617-8907.2022.5.70-80.
  25. Samsonadze, А. (2021). Modernity and folk choreography (on the example of Georgian folk choreography). International Journal of Arts and Media Researchers, 11(1), 326-330.
  26. Shay, А. (2023). Folk dance and the creation of national identities: Staging the folk. Berlin: Springer Nature.
  27. Synieok, V., & Kaliievskyi, K. (2023). Ukrainian folk dance as a founder of national identity. Current Issues of Humanities, 2(64), 104-108. doi: 10.24919/2308-4863/64-2-17.  
  28. The Virsky Ensemble will perform in Uzhhorod as part of an all-Ukrainian tour. (2015). Zaholovok.com.ua. Retrieved from https://zaholovok.com.ua/ansambl-virskogo-vistupit-v-uzhgorodi-u-ramkakh-vseukrajinskogo-turu.    
  29. Ukrainian San Antonio. (2024). Retrieved from https://global-ukraine.gbhs.fr/communities/ukrainian-san-antonio.  
  30. Van Camp, J.C. (2019). Identity in dance: What happened? Midwest Studies in Philosophy, 44(1), 81-91. doi: 10.1111/misp.12121.
  31. Volchukova, V., & Tishchenko, О. (2023). Intercultural interaction of folk-stage dance of Ukraine and European countries. The Modern Higher Education Review, 8, 33-42. doi: 10.28925/2617-5266.2023.81.
  32. Zhang, J. (2020). The folkloric identity is the thing. Western Folklore, 79(2/3), 215-250.