Emancypacja kobiet w muzyczno-artystycznym środowisku Galicji (na przykładzie Teodozji Papary i Salomei Kruszelnickiej)

Abstrakt

The article presents two silhouettes of women from the music and artistic milieu of Galicia: the first – a Polish woman Theodosia Papara (1797–1873), who dealt with music, literature, history, and philosophy as an amateur, i.e. she represents an image of an enlightened woman from the mid-nineteenth century from the milieu of small-town gentry; the second – a professional artist, a Ukrainian singer Solomiya Krushelnytska (Sas coat of arms, 1872–1952), scoring triumphs on the world stages. Their way of implementing creative ideas was quite different, but in general it concentrated on the character of the emancipation processes in the Galician country. This character was not very visible in the fight for equal rights with men in all areas of professional and social life, but it was present much more in their creativity and pursuing their plans in the spiritual field.

Theodosia Papara belonged to the group of women with high aspirations to develop intellectual and creative abilities during a permanent historical period. Provincial Galicia tried to keep up with the larger centres of European culture, in the nineteenth century – above all from Vienna, where new trends in culture and art emerged. However, for Solomiya Krushelnytska a „code of the personal independence” was very important. We can read about it from her letters, documents, memories, articles and reviews devoted to her artistic achievements. She emphasised these social, professional, but first of all ethical demands, which were a main essence of all practical and professional tasks of the singer.

Described figures of Galician women, acting in the musical culture at the turn of the19th and 20th centuries – are worth being discussed not only from the historical perspective – but also from the view of the contemporary situation, in the context of globalisation and loss of many ideals.