The internationally known Ukrainian accordionist Ihor Zavadsky says that his music has a beneficial effect on health. Thanks to his tour of eastern Ukraine, he rid state officials of their insomnia (those who became enemies of culture either of their own free will or as a result of circumstances), and produced a sea change among his audiences in terms of their perceptions of the arts, particularly music.
Zavadsky is once again planning to stir up our country’s cultural space or, rather, the space beyond culture. Right now he is overwhelmed by his impressions of his recent tour of eastern Ukraine. He was in this state of mild shock when his old friend, our regular contributor and political scientist Kostiantyn Matviienko, ran into him in one of Kyiv’s cafes. He was convinced that The Day ’s readers should know how this renowned accordionist broke through to his audience in his native country. A close friendship has sprung up between Zavadsky and our newspaper. “No other newspaper takes such an analytical approach to my concerts,” the accordionist says.
Larysa IVSHYNA: It does not happen often in our country that a musician takes the initiative to engage in non-profit activities. You decided to do a tour of regions that are usually off the beaten track. Hardly anyone but Russian pop singers ever performs there. How did you come up with the idea to arrange this tour?
Ihor ZAVADSKY:
“There were three reasons that made me go on tour to eastern Ukraine. The first one is that five years ago I performed in mixed concerts in the cities of Luhansk oblast. People liked me, and I promised that I would come back with solo concerts, and I always keep my word. I also like the audiences there very much. Another reason is that I have been thinking for a long time about doing a tour in an economically depressed region. And Mykolaiv and Luhansk are considered to be the most depressed cities, and Luhansk oblast - the poorest one. So I decided to conduct an experimental tour on the eve of the elections, which had no connection to them, and to observe the reactions of government officials and audiences. These days, people are spoiled by concerts, which are free. First of all, this was cultural research for me. The idea was to hold concerts not in special venues, like music or art schools, but shows for ordinary audiences in big palaces of culture. I contacted eight cities and I was discouraged everywhere: I was told that nobody would come to my concerts. They also discouraged me because of mistrust: ‘Why have you decided to come before, not after the elections? We don’t believe there will be no propaganda.’ Finally, I had to cancel my concert in Severodonetsk, which was even billed on posters. To me, Luhansk oblast is a shrunken version of Ukraine: it’s a big market, where culture occupies the last place not only in the news but in other spheres too. But I managed to come to an agreement with officials because the First National television channel recently broadcast one of my concerts.”
L.I.: Doesn’t it seem strange to you that musicians have to overcome such resistance in order to come to the people, who need culture?
I.Z.: “It doesn’t seem strange to me anymore because I face this every time I offer to do one of my concerts. And 95 percent of my Ukrainian performances are charity concerts. I organize them on my own.”
L.I.: In our country there is often an insurmountable wall between the audience and the artist. It’s a miracle that you end up reaching an audience during a concert, people who are eager to listen to accordion music. On top of it, you’re putting your own money into this. What did you feel from the audiences at your concerts?
I.Z.: “As soon as I overcame the obstacles placed in my way by state officials, my communication with the audience, which is happiness for any artist, began. I played in a 1,200-seat hall in Rubizhne. People from different places - Lysychiansk, Severodonetsk - organized themselves and came to the concert. It was a full house. Incidentally, the only mayor who showed any desire to attend my concert was the mayor of Rubizhne. The first three rows in the hall were reserved for him. At the last minute he didn’t show up, and those three rows were filled by ordinary spectators. One of my observations on the specifics of Ukrainian regions is this: people’s attitudes to officials resemble worshiping. It is different in Kyiv, but the deeper you go into the regions, the greater the fear. When I was going to the city of Antratsyt, Yanukovych’s motorcade was moving in the opposite direction. It was humiliating for us to have our car stopped and told that we have to move to the side of the road and wait until nearly 20 Yanukovych cars passed. I almost missed the start of the show.”
L.I.: Have you ever heard about Ukraine’s Ministry of Culture organizing similar tours of eastern Ukraine or the country as a whole?
I.Z.: “No. I dealt with the Ministry of Culture only once, when I tried to get into the minister’s reception to talk to them about my charity concert at the National Philharmonic. I was hoping they would help me with the high rent of the hall (13,000 hryvnias). I was not permitted to enter. The minister’s assistants told me that they didn’t know who I was and sent me to the deputy minister. To make a long story short, I did not see the minister. Later, the head of the concert department at the Ministry of Culture gave me a brilliant piece of advice. ‘Mention on your posters that the concert is being held with assistance from the Ministry of Culture. We won’t give you money, but the prestige of the event will increase.’”
Kostiantyn MATVIENKO: Who were the people attending your concerts?
I.Z.: “The audience was diverse; there were a lot of young people. While I was there, I found out that there was a powerful movement against the elections in Luhansk. Criminal cases were launched against members of this movement, which consisted of the creative intelligentsia and young people who were only calling for a boycott of the elections. This was a sensation. Attending my concert was a kind of protest for them too.”
Masha TOMAK: I have read about your and Tomenko’s joint idea to hold a festival of accordionists in May 2008. Is this idea still on the table?
I.Z.: “After Tomenko left the prime minister’s office, he changed all his phone numbers, so we aren’t in touch anymore. He was the one who gave me money to go Canada, where I made it into the Guinness Book of Records. Afterwards he appealed to the Ministry of Culture on behalf of the Cabinet of Ministers concerning the possibility to carry out some of my projects: to organize a festival and found an accordion school. We were refused on both points.”
M.T.: Do you play only classical compositions or create your own?
I.Z.: “All the compositions that I perform can be called ‘music for health.’ This is music that restores all the natural processes of the body and creates a positive mood. Everything I play is my own adaptations. I add my own touch to each composition and contribute something of my own to a piece of music. “
