Without consciously doing so, all of these early recordings also fulfilled another important function, that of preservation of these sung materials for future references as a record and a guide for generations to come. In 1970, Kenneth Peacock said: ‘The contemporary hymn has documented the psychological climate of the Doukhobor social evolution in Canada better than any sociological study could hope to do.’ (Iskra, No. 1848, p.36)

Furniture and spoon and dish making led to sculpture. Coming out of such a tradition of woodworking and carving, sculptors such as William Koochin were developing innovative works which clearly showed their early utilitarian purposes.

The final evolution of Doukhobor culture took place in harmony with the development of Canadian culture as a whole - as theatres developed in the major centres opening up the possibilities of participation by native born Canadians instead of solely English immigrants, and as universities in Canada developed film and theatre courses, a theatre and film reality began to take place within our country. Doukhobor adherents soon found a place within this new culture, first as workers within these mediums in the general Canadian and American-influenced culture, then using these mediums to reflect the Doukhobor culture, past and present. The ground-breaking documentary film In Search Of Utopia - The Doukhobors by Larry Ewashen was the first of several such productions, the most significant recent one being Soul Communion, produced by Sharon McGowan.

Such films bear a direct relationship and even dependance on the early photographers of the ethnic group; just as in the oral culture, the most prolific recording performers came from those families who had strong roots in the oral culture of the group for previous generations. Here we also encounter a strong quality of firsts on various fronts, something which an emerging culture always presents.

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