Vasyl Kyrylovych Avramenko (; sometimes transcribed as Vasile) (March 22, 1895 – May 6, 1981) was a Ukrainian actor, dancer, choreographer, balletmaster, director, and film producer, credited with spreading Ukrainian folk dance across the world. Colourful, energetic, imaginative, and, quite often exasperating, he was an impresario greatly reminiscent of The Music Man.Subtelny, Orest. Ukrainians in North America, An Illustrated History. University of Toronto Press, Toronto 1991, page 172. For his unparalleled missionary zeal and his love of Ukrainian culture, he is considered by many to be the "Father of Ukrainian Dance".Martynowych, Orest T. The showman and the Ukrainian cause. University of Manitoba Press, Winnipeg, Manitoba, 2014.
Early days Vasyl Avramenko was born on March 22, 1895, in Stebliv, a townlet located on the Ros' river approximately 100 km south of Kyiv. Orphaned at a young age, he was forced to wander homeless as an adolescent, until he eventually headed east, crossing the vast expanse of Imperial Russia towards Siberia, and reunited with his older brothers in Vladivostok, on the coast of the Sea of Japan. There, Vasyl's eldest brother taught him how to read and write, which enabled Vasyl to gain employment at the naval base. This position allowed Avramenko to visit several major Asian ports as a crewman aboard Russian naval vessels; 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 primary school teacher. It was during this time that Vasyl Avramenko saw a production of Ivan Kotlyarevsky's operetta Natalka Poltavka in Vladivostok in 1912, which Avramenko later recounted as having been the first experience of viewing his fellow Ukrainians on stage.
After passing his teacher's exams at Vladivostok men's gymnasium in 1915, the Russian Empire having already entered World War I, Avramenko was drafted into the Russian Imperial Army and assigned to the 4th Heavy Artillery Regiment. After two months' basic training, he was reassigned to the Irkutsk military school for ensigns, then onto the 35th Siberian Infantry Regiment in Tyumen which advanced from Irkutsk to Bryansk and to the Russian front. Here he was wounded and hospitalized, first in Minsk, then Petrograd, 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.
Formative years In Kyiv, in the summer of 1917, Avramenko attended three of Vasyl Verkhovynets' rare and irregularly scheduled lectures on Ukrainian folk dance, 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 Central Ukraine, 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, Ukrainian National Dances, Music, and Costumes, Avramenko acknowledged the work of Verkhovynets' and the Ukrainian theater in preserving and elevating the legacy of dance in Ukraine.
By spring of 1919, Avramenko was for a short time in Stanyslaviv, 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 Lysenko Music and Drama School in Kyiv. In the fight between the Bolshevik and White Russian Armies, Avramenko served in the Central Telegraph Administration of the Ukrainian People's Republic. 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 Kalisz.
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 (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.
In the fall of that year he met Oleksandr Koshyts. 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 Polish-ruled western Ukraine, 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 Lviv several times between 1922 and 1924, while also visiting Rivne, Lutsk, Kremenets, Oleksandriia, Mezhirich, Chełm, Brest-Litovsk, Stryi, Stanyslaviv, Kolomyia, Przemyśl, Deliatyn, Ternopil, and Drohobych.
North America December 1925, Avramenko arrived in Canada in Halifax, as a man with a mission; it being his determination to tour North America with dancers, singers, and instrumentalists to bring attention to the Ukrainian people and their fight for independence.
Eighty-five percent of Ukrainians in Canada at the time lived on the prairies.Makuch, Andrij, Ukrainian Canadians and the Wartime Economy, in Loyalties in Conflict, Ukrainians in Canada During The Great War, Swyripa, Frances and Thompson, John Herd, editors. Canadian Institute of Ukrainian Studies, University of Alberta, Edmonton, 1983, p. 70. Avramenko decided to stay in Toronto, and opened his first dance school in North America in St. Mary's Roman Catholic hall, today the Factory Theatre 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 Ukrainian pride and identity. His troupe first performed, the year after his arrival, at the Canadian National Exhibition (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, Florence Randal Livesay 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.
Avramenko arrived in Winnipeg in January 1927. His troupe gave their first performance at the Canadian-Ukrainian Institute Prosvita hall at the corner of Pritchard and Arlington in Winnipeg's North-End.Martynowych, Orest T., The Canadian Ukrainian Institute 'Prosvita' This publicized his arrival, and he opened a school shortly thereafter. By April 30, Avramenko and 275 of his pupils performed at Winnipeg's amphitheatre, a venue usually reserved for hockey and politics.Winnipeg Amphitheatre, Manitoba Historical Society
Avramenko and his disciples began to set up schools quickly across the prairies, in Saskatoon, Yorkton, and Edmonton. 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 Chester Kuc, who founded the Ukrainian Shumka Dancers in 1959, and Cheremosh Ukrainian Dance Company in 1969.
On June 16, 1928, Avramenko married one of his star dance pupils, Pauline Garbolinsky, from Winnipeg, and soon the couple was living in New York City. 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.
New York at this time was a creative center for drama, song, and dance. Eugene O'Neill was having his plays produced. George Gershwin was writing musicals here. Martha Graham had just opened a school of contemporary dance. Vasile and Pauline Avramenko lived in rented rooms on 8th Avenue in Brooklyn. Avramenko set up his school in Little Ukraine in Manhattan, Greenwich Village to the west of it, and the Lower East Side 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.
Paying dance instructors over widely dispersed areas across Canada and the United States, 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 Broadway. 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 Metropolitan Opera, with 500 dancers, a chorus of 100 singers, and a folk orchestra, all dressed in Ukrainian costume. The New York Evening Post 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 Svoboda, 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.
Film producer By October 1933, Avramenko was in Hollywood. 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 Catherine the Great starring Marlene Dietrich, but had refused on the grounds that the dances would be billed as 'Russian' dances.
He staged performances at the Chicago World's Fair of 1933, and borrowed a thousand dollars from his father-in-law to do so. In 1935, his Baltimore pupils participated in the White House Easter Egg Roll and he claimed a victory for the Ukrainian cause and published postcards with photos of Eleanor Roosevelt at the event.
Natalka Poltavka