From the Archives
The Changing Faces and Connections Of Doukhobor Culture
Larry A. Ewashen
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Such films mark an important development, that of the Doukhobors emerging as interpreters of their own culture, whereas previously they had been written about and interpreted for the general public often inaccurately by other writers such as Gabrielle Roy, Mavis Gallant or Hugh Greig. Some of these works were stimulated by sensational portrayals which did not present a true picture of the Doukhobor story, such as the early portrayal of the Doukhobors by the Theatre Passe Muraille in Toronto, or a current fanciful theatrical production in Saskatchewan. The pioneering work of Koozma Tarasoff's Pictorial History Of The Doukhobors come to mind which began to accurately reflect the Doukhobor presence by Doukhobor scholars as well as the writings and recordings of Doukhobor history by indigenous writers such as Eli Popoff.

As we observe the contemporary scene in reference to Doukhobor culture, it is satisfying to note that the Doukhobors are now assuming a role in interpreting and contributing to their own culture in equal amounts to those of other scholars, that artists such as Bill Perehudoff receive the Order of Canada, artists such as George Koochin and Jan Kabatoff find an appreciative audience within the Doukhobor community and without, and that other Doukhobor artists, authors, actors, stage managers, journalists, academics and directors continue to find a successful place within the multicultural fabric of Canada, making their contributions to Canadian culture, reflecting their Doukhobor heritage as well as the prevailing Canadian culture, or in some cases, counter culture. This is the final stage of evolution where the emerging Doukhobor cultural worker meets acceptance and at times demonstrates superiority within the new society.

The present Doukhobor culture has embraced modern expression, while not forgetting its roots and not ignoring its origins. As well, original psalms, hymns, stories and tales of the oral tradition still exist, but now are dispersed throughout a wider audience through the most contemporary means available, including the world wide Internet facilities.

Larry A. Ewashen

Author's Note:


The Changing Faces and Connections Of Doukhobor Culture
Larry A. Ewashen
Page 1 2 3 4 5 6 7 8

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From the Archives