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117
Journal of Music Theory and Transcultural
Music Studies, 2(2), 117-129, December 2024
e-ISSN: 3023-7335
jmttms.com
Genc Bilge Publishing Ltd.
(Young Wise) © 2024
gencbilgeyayincilik.com
Research Article
The Ukrainian Women Artists with Their Weapon project as a transcultural artistic
action in wartime
Asmati Chibalashvili1*, Kira Maidenberg-Todorova2 and Karmella Tsepkolenko3
Modern Art Research Institute of the National Academy of Arts of Ukraine, Kyiv, Ukraine
Article Info
Abstract
Received: 18 September 2024
Accepted: 1 November 2024
Online: 30 December 2024
Keywords
Composer
Music
Ukraine
UWATW project
War
3023-7335 / © 2024 the JMTTMS.
Published by Genc Bilge (Young Wise)
Pub. Ltd. This is an open access article
under the CC BY-NC-ND license
The Ukrainian Women Artists with Their Weapons (UWATW) project, a brainchild of
Karmella Tsepkolenko, is a unique artistic endeavor that brings together female composers
and poets. A direct response to the war in Ukraine, this project fuses a national context
with transculturality, as evidenced by its significant global impact. It comprises five vocal-
instrumental works, all centered around a single thematic idea: reflection during the war.
The main research questions of the article include the impact of the war on transcultural
processes, defining the main aspects of the project that reflect transculturality, and the
interaction of collective authorship with individuality in contemporary artistic trends.
Transculturalism, as a manifestation of globalization and decolonization, plays a crucial
role in forming new cultural identities, rethinking traditions, and supporting cultural
exchanges. This concept emphasizes significant technologies for transcultural
connections, remaining a practical tool for researchers and artists to deepen mutual
understanding in a globalized world. The project UWATW showcases the interaction of
cultures through the collaboration of artists from diverse backgrounds and cultural codes.
The project participants represent regional and national centers, influencing the creative
methodology of working with musical and poetic texts. The works in the project embody
a strong life-affirming impulse, promote intercultural exchange, and draw attention to
transnational issues related to the war. Thus, the UWATW project illuminates significant
issues of identity and artistic expression during wartime. It demonstrates the capacity of
contemporary art to express national ideas, serve as an instrument of cultural resistance,
and provide a platform for intercultural exchange, uniting people and preserving cultural
values in the challenging conditions of war.
To cite this article
Chibalashvili, A., Maidenberg-Todorova, K., and Tsepkolenko, K. (2024). The Ukrainian Women Artists
with Their Weapon project as a transcultural artistic action in wartime. Journal of Music Theory and
Transcultural Music Studies, 2(2), 111-129. DOI: https://doi.org/10.5281/zenodo.
Introduction
One of the consequences of war is the forced displacement and migration of people, resulting in cultural exchange and
interaction between nations, creating conditions for the implementation of transcultural practices. Responding to the
war events and Russiaʼs attempts to destroy cultural institutions and remove artifacts, Ukrainian artists, regardless of
their current location, strive to preserve their identity and reflect their intentions through creativity, conveying them
through artistic expression to the international community. Thus, contemporary Ukrainian compositional creativity is
1
PhD, Deputy Director for Scientific Affairs, Modern Art Research Institute of t he National Academy of Arts of Ukraine, Kyiv, Ukraine. Email: Asmati@ukr.net
ORCID: 0000-0003-1001-4273
2
PhD, Associate Professor at the Department of Music Theory and Composition, Odesa National A. V. Nezhdanova Academy of Music, Odesa, Ukraine. Email:
kiraskorp@gmail.com ORCID: 000-0002-2384-6426
3
Candidate of Pedagogical Sciences, professor, Associate Professor of the Department of Music Theory and Composition, Odesa National A. V. Nezhdanova
Academy of Music, Odesa, Ukraine. Email: karmella@ukr.net ORCID: 0009-0002-8759-4886
Chibalashvili et al. Journal of Music Theory and Transcultural Music Studies 2(2) (2024) 117-129
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experiencing a new stage of development, triggered by the tragic events of early 2022—the outbreak of Russiaʼs full-
scale war against Ukraine. In this context, expressing personal experiences, thoughts, and civic positions has become
necessary to convey a societyʼs primary senses and messages in force majeure circumstances. Moreover, creativity may be
the only way to transmit what cannot be expressed in words and to be heard beyond oneʼs cultural space. This
emphasizes transculturality, which has resulted from forced intercultural interaction and exchange.
Backgrounds
Specific musical projects created after February 24, 2022, have already become iconic and gained widespread recognition
even abroad. Such works, written in 2022 and performed worldwide, include “City of Mary” by Zoltan Almashi, a piece
dedicated to the tragedies of Mariupol, and “Lacrimosa” by Victoria Poleva, dedicated to the events in Bucha (these are
orchestral works). Also notable is Yevhen Orkinʼs cantata, “Daddyʼs Book,” dedicated to the memory of childrenʼs
writer Volodymyr Vakulenko, who was murdered by the occupiers in Izium. Dmytro Radzetskyiʼs performative project
“Ukraine on Fire” (2024) has gained wide dissemination, using multimedia capabilities to unite many world musicians
in various geographical locations, demonstrating their solidarity with Ukrainians and drawing the worldʼs attention to
the war and the need to help Ukraine. Of course, it is essential to mention the work of one of the foremost presenters of
contemporary Ukrainian music, Yevhen Stankovych, who composed a large-scale orchestral-choral piece titled
“Ukraine. Music of War” with a libretto by Vasyl Vovkun.
Within the array of these remarkable works, a special project emerges, titled “Ukrainian Women Artists with Their
Weapons.” The initial concept of this project was to channel personal experiences and emotions into artistic expression.
However, as it evolved, it resonated deeply in the transcultural sphere, and the emotional intensity conveyed by the
musical works of this project remains profoundly relevant today.
Research Questions
“Ukrainian Women Artists with Their Weapons” is an original artistic project with no analogs in Ukrainian wartime
compositional creativity. It conveys meanings that exist at the level of the broader cultural space, as evidenced by the
demand and performances of the project. Therefore, the main research questions are as follows:
How does the war affect transcultural processes?
What are the manifestations of transculturality in the project “Ukrainian Women Artists with Their Weapons”?
How are transcultural processes reflected in contemporary trends in art?
How does collective authorship correlate with individuality in the context of contemporary transcultural trends, and
how is this reflected in the structure and artistic concept of the work?
Method
The study employs a deductive approach, as understanding the entirety of the project sets goals for deepening, studying,
and detailing each component. An inductive approach, compiling the significant substantive-creative, expressive, and
cultural-social elements identified during deductive deepening, transforms the holistic view of the project and expands
its prospects. Additionally, the study uses a comparative method to compare the creative approaches and working
methods of the composers who participated in the project. The cultural analysis allowed for examining the project in
the context of contemporary sociocultural events and processes, which contributed to understanding its place in the
pan-European cultural space and transcultural processes. A key aspect is the analysis of the historical context in which
the project was created, particularly the impact of the war on cultural processes in Ukraine and the role of art in
preserving and disseminating national identity. These methods enabled a comprehensive analysis of the “Ukrainian
Women Artists with Their Weapons” project, revealing its main artistic and conceptual features.
This integrative methodology aligns with modern trends in cultural studies, where there is an increasing blend of
humanities and sciences. Pavel Zgrzebnicki notes that “the traditional division into science and humanities is becoming
blurred... shedding new light on basic problems in cultural studies” (Zgrzebnicki, 2017, p. 64). The combination of
deductive, inductive, and comparative approaches reflects the need for integrative, synthetic research, as emphasized by
Chibalashvili et al. Journal of Music Theory and Transcultural Music Studies 2(2) (2024) 117-129
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Uzakbayeva and Beisembayeva, who argue that cultural studies encompass both cultural and logical dimensions
(Uzakbayeva & Beisembayeva, 2015).
Moreover, the recognition of complementary epistemological and methodological approaches is vital. Fonseca et al.
stress the value of diverse methods to achieve a deeper understanding of cultural elements and their influence (Fonseca
et al., 2017). This comprehensive approach not only contextualizes the “Ukrainian Women Artists with Their Weapons”
project within broader cultural frameworks but also highlights its role in preserving national identity amidst Ukraine's
wartime context.
Introducing Project
“Ukrainian Women Artists with Their Weapons” is a collective project whose authors are exclusively women—
composers and poets. This cycle consists of five vocal-instrumental works of similar scale, written for the same ensemble
and united by a single thematic idea: reflecting on the onset of the war. The project formed gradually but very rapidly.
The decisive factor in the emergence of this creative phenomenon was the position of the projectʼs author, composer
Karmella Tsepkolenko, the creative director of the contemporary art festival “Two Days and Two Nights.” The project
was conceived at the very beginning of the full-scale invasion, performed by the modern music ensemble Senza
Sforzando (comprising Tetiana Muliar—soprano, Yevhen Dovbysh—cello, and Oleksandr Perepelytsia—piano), and
initially planned as a virtual project intended for online video broadcasting. However, it quickly transitioned to live
concert performances and has been presented multiple times in Ukraine and abroad, receiving significant resonance,
underscoring its openness and relevance.
Figure 1. Ensemble Senza Sforzando (Tetiana Muliar—soprano, Evhen Dovbysh—cello and Oleksandr
Perepelytsia—piano, artistic director). Humboldtsaal, Freiburg (from Karmella Tsepkolenkoʼs archive)
Live presentations of the project took place in 2022 in Kyiv at the “Kyiv Music Fest” (URL 1), in Lviv at the
“Contrasts” festival (URL 2), and on Latvian Radio in a program dedicated to Ukraine (URL 3). The project was also
showcased at an international conference at the University of Heidelberg (Germany). In 2023, it was presented live at
the “Two Days and Two Nights of New Music” festival (URL 4) in Odesa. 2024, it was presented at the Gemm scientific
seminar at the Sorbonne University in Paris and in Freiburg, Germany, at the “Sound against the War” event.
The “Ukrainian Women Artists with Their Weapons” project stands out with its unique goal—to use artistic means
to convey the painful meanings that Ukraine currently lives by to a wide, primarily European audience. This cohesive
and artistically balanced project is not just a collection of works, but a single cyclic work with a certain dramaturgical
development, featuring leit-timbres, leitmotifs, climactic zones, and zones of detachment.
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Introducing Authors
The project involved five contemporary female composers located in different cities and indirectly involved five female
poets whose poems these composers turned to. The composers were inspired by a common idea, a particular goal, and
the projectʼs central message—to show our spiritʼs resilience and strength and demonstrate that we continue to live
despite the enormous danger and psychological tension. In artistic form, they also aimed to convey to the listener the
inexpressible pain of the Ukrainian people, which everyone has experienced and continues to experience today while
reinforcing moral resilience and an unwavering will to victory.
Karmella Tsepkolenko, the initiator of the project, is a renowned Ukrainian artist, laureate of the Shevchenko
National Prize, Honored Artist of Ukraine, the author of the idea, founder, and artistic director of the annual
International Festival of Contemporary Art “Two Days and Two Nights of New Music.” She is the initiator, founder,
and Chair of the Board of the International Public Organization “Association New Music”—the Ukrainian section of
the International Society for Contemporary Music (ISCM). She is also a professor and head of the Department of Music
Theory and Composition at the Odesa National A.V. Nezhdanova Academy of Music (2009, composition).
Additionally, she serves as the Secretary of the Board of the National Union of Composers of Ukraine. Tsepkolenko is
the author of numerous works (over 100), including seven symphonies, four operas, and various chamber works. She
has released 12 CDs with her compositions.
Figure 2. Bernhard Wulff (president of the festival Two Days and Two Nights of New Music), Karmella Tsepkolenko
(artistic director of the festival Two Days and Two Nights of New Music) in Humboldtsaal, Freiburg (from Karmella
Tsepkolenkoʼs archive)
Hanna Kopiika is a composer of the younger generation and a member of the Union of Composers. She studied in
Yulia Gomelskayaʼs class and pursued postgraduate studies under Serhiy Shustov. Kopiyka holds two degrees—one in
music and one in mathematics—and successfully combines these two fields simultaneously. As a composer, she has
presented her works at leading Ukrainian festivals and in Poland. She also teaches at the Department of Music Theory
and Composition at the Odesa Music Academy.
Asmati Chibalashvili, a Ukrainian composer of Georgian descent. She received her education in Odesa in the class of
Karmella Tsepkolenko and pursued postgraduate studies at the National Music Academy in Kyiv in the class of Yevhen
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Stankovych. Since then, Asmati Chibalashvili has lived and worked in Kyiv, maintaining strong ties with the Odesa
creative community and developing Ukrainian-Georgian creative relations. Her works are performed both in Ukraine
and abroad, and she has represented Ukraine at the international plenary session of the World New Music Days ISCM
in Vancouver.
Kira Maidenberg-Todorova, a Ukrainian composer and pianist, has made a significant mark in the world of
contemporary classical music. Her talent has been recognized with the prestigious Levko Revutsky National Prize. Her
compositions, spanning chamber, choral, piano, and symphonic music, have been showcased at national events in
Ukraine and across the globe, including in France, Germany, Lithuania, and other countries.
Alla Zagaykevych is a renowned composer known far beyond the borders of Ukraine. She combines work in
academic concert genres (opera, symphonic, chamber, electroacoustic music, chamber opera) with contemporary
multidisciplinary projects (audiovisual installations, performances, music for films, and theatrical productions). Alla
Zagaykevych studied at the Kyiv State Conservatory under Professor Yuri Ishchenko (1985–1990) and later at the
Institute for Research and Coordination in Acoustics/Music (IRCAM) in Paris (1995–1996). She has also received
numerous awards for her film scores.
Parts of the whole
“Reading History” by Karmella Tsepkolenko based on the poetry of Oksana Zabuzhko
The composer chose a poetic text from the well-known and long-written works of the renowned Ukrainian poet and
public figure Oksana Zabuzhko to work on the piece. The composer used this text in its entirety without any
abridgment. Karmella Tsepkolenko wrote cantata “Reading History” in March 2022 in Odesa. It was an agitated and
dreadful time—Russian forces were advancing on all fronts, Odesa was under constant rocket attacks and threat of
occupation, and most of the time had to be spent in bomb shelters. In these conditions, as a reaction to the war, the
composer conceived the idea of creating a concert program featuring works by Ukrainian women composers under the
motto “Ukrainian Women Artists with Their Weapons.”
In Oksana Zabuzhkoʼs poem, two philosophical categories are addressed—eternity and temporality. The first
belongs to the greatness and power, the glory and the name of a great state that has earned it through its achievements.
The second concerns conquerors, who, for a time, become the owners of a certain territory. This is why every invader
tries to engrave their name at any cost, so as not to disappear forever from the pages of history. The poem uses eternal
symbols—such as the Colosseum, Rome, and the Barbarian—to draw significant parallels with contemporary times.
The composer drew a parallel with Ukraine, as Ukraine, like Rome, has been repeatedly subjected to invasions. No
matter how strong and powerful the adversaries were, the state always emerged victorious and defended its name. The
achievements of each country testify to its wealth and history, so no “barbarian” can erase its memories from history.
This connection between the past and the present in the composition is a testament to its timelessness and relevance.
The musical score is written using contemporary compositional techniques, a significant aspect that adds a layer of
intrigue to the piece. In its form, it resembles a mini-mono-opera, as the vocal part is significantly saturated with
psychological and dramatic elements. Solo episodes for the cello and piano are of great importance, emerging at the peaks
of dramatic events and serving as connective material to enhance the dramatic narrative of the cantata. The composer
employs the technique of musical “compression of time,” where events that cannot be sequentially laid out in the
cantataʼs text are reflected in instrumental intermezzos. In other words, the instrumental episodes continue the
unfolding of the plot, expressing the meaning embedded between the lines. One could say that the vocal part narrates
past history, while the role of the instrumentalists is to depict contemporary chronicles.
The composer removes all elements of ornamentation and external effects, focusing her attention on the
development of drama in its psychological and emotional aspects. However, at the beginning of the work, Karmella
Tsepkolenko incorporates a performative effect. The vocalist reads Oksana Zabuzhkoʼs poem without music, literally
reading the history, and then the piece is performed by all the musicians. This combination of the mundane and the
distinctly staged space aims to enhance the meaning embedded in the poem. We emphasized at the beginning that in this
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project, the poetic text is more than just poetry used by the composers for her works; it is a significant component of the
conceptual content.
To emphasize the expressiveness of the psychological drama and the performativity, the piece includes snare drum
strikes in the vocal part. In the piano part, to achieve specific sonorous resonances, the composer uses a metal ruler placed
in the high register of the keyboard at certain moments. Additionally, to highlight the feelings of horror, the vocal part
employs unconventional sound production techniques, and in the instrumental parts, key thematic moments are
accentuated with ostinato verbal recitations. These recitations echo, enhancing the psychological impact on the listener.
The piece also exists in a German translation (the poemʼs text was translated by its author, Oksana Zabuzhko, with
the assistance of Rupert Bergmann). This version was performed on November 9, 2022, at Stadtgalerie Möding (Vienna)
in the staged concert program “War–Peace” by the Austrian ensemble consisting of Rupert Bergmann (bass-baritone),
Tzveta Dimitrova (piano), and Stefan Teufert (cello), where the world premiere of the German version of the cantata
“Geschichte Lesen” / “Reading History” took place (URL 5).
Figure 3. Ensemble Senza Sforzando and Karmella Tsepkolenko, Lviv National Philharmonic (from Karmella
Tsepkolenkoʼs archive)
“Feelings-2022” by Hanna Kopiika based on the poetry of Lina Kostenko
For the textual embodiment, the composer, Hanna Kopiika, demonstrated her profound understanding of the dialectic
of opposing experiences by choosing two poems by the iconic Ukrainian poet Lina Kostenko. Her cantata, therefore,
consists of two parts. The first poem, “And Horror, and Blood, and Death, and Despair,” was written in the early days
of the full-scale invasion of Russia. The second poem, “Wings,” was written back in 1958. Kopiika found a way to
embody the contrasting experiences in a masterful manner. The composer herself notes that the first “musical” part of
the work, “And Horror, and Blood,” was written around the time when photos of the devastated Borodyanka and the
rescued people and animals who survived were circulating on the internet. One of these photos became the impetus for
creating the semantics of contempt and disgust towards the aggressor.
The first part of the composition is saturated with frequent repetitions and deliberately unnatural phrase elongations,
enhancing the effect of repulsion. Glissando and noise instrumental effects, imitating distant explosion sounds, are
actively used. However, the second part of the composition unexpectedly changes both the content and musical sound,
taking the audience on a contrasting emotional journey. The text of the poem carries a very positive and optimistic
message, which in todayʼs conditions feels even more poignant: it glorifies the spiritual aspirations of a person, celebrates
life, and emphasizes the necessity of having goals and desires, without which life loses its meaning. Interestingly, Lina
Kostenko wrote this poem while in Poland, longing for her homeland; the “wings” symbolize the aspiration to achieve
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a cherished goal. Musically, the second part is composed in such a way that its sonority is on a constant path of
enlightenment and relief, which starkly contrasts with the first part of the work.
After the first chord, the soprano immediately enters with a lyrical melisma, complemented by the cello with an
extended, beautiful melody that accompanies the vocal part for a long time. In the piano, we can hear soft chords
interspersed with quiet and gentle cascades of sound. All of this creates an effect of soaring and upliftment, which
gradually acquires bright pathos towards the end. This embodies an indomitable optimism and positive thinking that
withstands any circumstances. This piece can be considered the lyrical culmination of the project.
Figure 4. Tetiana Muliar and Oleksandr Perepelytsia, Lviv National Philharmonic (from Karmella Tsepkolenkoʼs
archive)
“With Faith in Ukraine” by Asmati Chibalashvili based on the poetry of Yulia Dmytrenko-Despotashvili
The composerʼs selection of poems for her work was a deeply personal and emotional journey. The poems, penned by
a Ukrainian poet residing in Georgia, were not specifically crafted for the project but were a reflection of the war events
in April 2022. These poems, resonating with the composerʼs own experiences, infused the music with a unique and
profound emotionality.
This poem depicts and portrays a scene of bombed and abandoned homes whose windows will never be a welcoming
light again. The allegorical and painful lines that describe snow falling as salvation are particularly touching. However,
while the poemʼs first part describes the horrors of war, the second part has a more optimistic tone. It expresses an
unwavering belief that the people of Ukraine will survive all trials, and the country itself, after going through hell, will
undoubtedly flourish and become even better. In the music, the composer also uses additional percussion and percussive
techniques in the piano part. Recitation is actively used during the most poignant lines of the poetic text. In the vocal
melody, we can hear the intonations of a soothing lullaby. The piercing intonations of the cello part are aimed at
conveying two meanings—transmitting emotional experiences and imitating a moan.
Asmati Chibalashvili chooses an attractive artistic solution to conclude the piece. Unlike other parts of the project,
despite the optimistic final lines of the poem, the music does not move towards enlightenment but becomes more
dramatic. The lyrical aspect recedes into the background, and the final lines are filled with determination, activity, and
readiness to fight. The piece ends with strikes on the piano strings, which the composer also uses to imitate the echoes
of explosions. Thanks to this artistic decision at the end of the composition, this piece can be considered the dramatic
culmination of the project.
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“My beloved...” by Kira Maidenberg-Todorova based on the poetry of Valeria Zhigalina
The poetry by Valeria Zhigalina is the only one written explicitly for this project at the composerʼs request. The poem
has no title, and its content can be understood in two directions. The author addresses her “beloved,” sympathizes with
her, and shares her loss and pain. The image of the “beloved one” is very abstract; she could be a daughter, sister,
granddaughter, friend, or simply an unknown girl who has been tormented and mutilated. However, we understand
that this image is allegorical and represents Ukraine, whom the author calls her dear one. Therefore, the phrase “My
beloved” was chosen as the pieceʼs title.
The poemʼs climax is highly expressive, describing the repulsiveness of contemporary Russian military symbols,
which have been branded in everyone who has suffered from the war. Thus, this piece conveys the emotions that
Ukrainians were experiencing at that time—horror, fear, pain, rage, uncertainty about the future, a sense of losing
something significant, and, despite everything, an indomitable hope for a better future. That is why Valeria Zhigalinaʼs
poem also ends with the hope that everything will pass, and just as a new star rises each time, a new peaceful life will
dawn in Ukraine.
Speaking of the musical expressive elements, the structure of the piece is continuous, with the character of the music
fully following the emotional state of the text and having a clear climax. The main protagonist in the ensemble is, of
course, the singer. However, the pianistʼs part can be interpreted as expressing the inner state of the heroine, while the
cellistʼs part echoes the external circumstances. An essential element is the initial rhythmic percussive feature, which the
composer also incorporated but is assigned to the pianist. This is a rather declarative expressive device that reflects the
heartʼs beating. The vocal and cello parts also actively use Glissando intonations and moan imitations.
“Signs of Presence...” by Alla Zagaykevych based on the poetry of Iya Kiva
The composition by Alla Zagaykevych, a unique collaboration with the young and esteemed Ukrainian poet Iya Kiva,
is a part of the compelling project “Ukrainian Women Artists with Their Weapons.” The piece is a musical interpretation
of Kivaʼs poems, carefully selected from her various collections published after 2018.
The poet Iya Kiva was born in Donetsk and was forced to move to Kyiv in 2014 with the onset of the occupation.
Alla Zagaykevychʼs piece “Signs of Presence,” included in the project, is a second version of a previously written work
by the composer. The earlier version was created for a solo performance by vocalist Victoria Vitrenko, who accompanied
her singing with piano playing. For the “Ukrainian Women Artists with Their Weapons” project, a cello part was added
to the piece, and the performative effect initially embedded in the work was diminished. However, this does not make
the piece any less interesting or relevant to wartime events, and it elevates the project to a broader level of significance
and generality. It primarily depicted the sense of anxiety and the foreboding of a military catastrophe, which owes much
to the symbolic meanings embedded in the poetic lines. The text of the poetry does not directly depict war events but
conveys their feelings very accurately.
The text is highly symbolic and vivid, encompassing death, emptiness, abandonment, pain, and suffering. The piece
consists of four parts. In the first part, static elements dominate, depicting a life frozen in ruins, where everything
resembles a terrible dream, with the most unpleasant episode continuously repeating. The second part of the piece
reflects emotions that take oneʼs breath away. This is vividly portrayed in the vocal part. The depiction of the distortion
of everything that was once dear and loved is compared to a dirty duck flapping between the shoulder blades. The vocal
part is rich in specific techniques, such as very soft singing, falsetto, gliding, and wailing. This is an expressive type of
singing that does not attempt to showcase the most beautiful aspects of human nature but instead emphasizes the primal,
wild, and, at first glance, anti-aesthetic qualities of the voice.
In the third part, Alla Zagaykevych employs her favorite vocal technique—turning to the folk open manner of
singing. This radically changes the timbral plane and significantly raises the tone of emotional tension. This is the
climactic part. The text speaks about the metamorphosis of transformation from one state to another. The singing
emphasizes the meaning of this part, which is embedded in its final lines—to learn to seek the roots of life that do not
yet know what to call themselves. It underscores the highly relevant current state of the revival of national roots through
painful resistance.
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The final, fourth part of the piece returns to the initial state of uncertainty and moral exhaustion, which, after the
climactic phase, feels more organic and unified. The composer seemingly dissects the poetic text and becomes secondary.
It is not easy to understand the textʼs pronunciation/articulation during the singing. This indicates that the composer
prioritized the feelings and associations evoked by the poetry over its verbal content. Thus, the piece features many
fragmented phrases, gasps for breath, emotional outbursts, and a sense of being lost. The vocal part becomes a crucial
sonorous component of the composition, a new instrumental timbre.
The national context of the project “Ukrainian Women Artists with Their Weapon”
The contemporary art project is not only the result of an original plan. However, it is also a unique combination of
coordinated actions to achieve specific cultural and aesthetic-artistic goals. Kostiantyn Davydovskyi identifies the
following indicators of a contemporary art project in the national context, the first of which is “The birth of a new
progressive artistic concept that corresponds with the national idea of the Ukrainian people.” (Davydovskyi, 2013, p. 161).
He further notes that there must be a precedent of historical “excess”—the disclosure of a previously unknown but
significant fact capable of engaging the cultural and artistic community or the birth of a fundamentally new, relevant,
and contemporary concept of a cultural event. This is an indisputable situation. Among other things, it is noted that an
art project must have a leader—an extraordinary creative personality capable of generating a new artistic idea and creating
a team of like-minded individuals, spreading and promoting the leading idea of the project over a long period.
Theoretical and Historical Aspects of Transculturalism
Transculturalism as a philosophical and aesthetic thought direction emerged at the turn of the 20th and 21st centuries. It
is associated with globalization processes oriented towards a transnational cultural orientation for the pan -European
markets. Researchers interpret the phenomenon of transculturalism by seeing its origins from the following points of
view. Thus, the first group of studies includes works that link this phenomenon with decolonization processes. Fernando
Ortiz first introduced transculturalism to define a new stage in the relations between decolonized peoples and former
empires. The researcher identified two stages of transculturation: loss or uprooting (deculturation) and the creation of
a new culture (neoculturation), corresponding to destruction and creativity, respectively (Ortiz, 1995, p. 140). Anne
Ring Petersen reinforces this position by examining the impact of migration on the identity of the migrating individual
as well as the community in which the migrant resides and the influence of these processes on the art world on the path
to the contemporary “global art,” which, in turn, changes cultures, institutions, and global geopolitics (Petersen, 2017).
Another perspective is related to the process of unifying the socio-cultural space, focusing on the individual
characteristics and needs of the person. M. Epstein notes that “...transculturalism takes up the torch from
multiculturalism. Multiculturalism paves the way from the dominance of one canon to the diversity of cultures.
Transculturalism moves from the diversity of cultures to the even greater diversity of individuals, transcending their rigid
cultural identities” (Epstein, 2009, p. 349). M. P. Trebin and T. O. Chernyshova deepen this understanding by arguing
that the phenomenon of transculturalism and, accordingly, transculturation in the context of contemporary socio -
cultural reality is “...a new way of social and linguistic thinking, generating new relationships between cultures and
languages, a new understanding of modern communication” (Trebin and Chernyshova, 2014, p. 17).
In the article “Transculturalism and Translation: New Approaches to Cultural Contact Zones,” Hermione Giffard
(Giffard, 2016) explores the definition and application of transcultural in the context of historical and cultural studies.
Giffard highlights transculturalism as a response to globalization, focusing on how cultures interact, blend, and
influence each other. The author emphasizes the metaphor of “translation” as central to understanding transcultural
interactions, suggesting that cultures do not simply mix but also actively transform borrowed elements in a process that
is both creative and destructive. Overall, Giffard sees transculturalism as a valuable framework for studying cultural
interactions but stresses the need for more explicit definitions and practical applications. J. Lewis understands the
concept of “transculturality” as integrating “political aesthetics” with cultural citizenship. The researcher connects the
transcultural vision with a postmodernist approach (Lewis, 2002, p. 17). Continuing the line of J. Lewis, T. Humeniuk
introduces the category of transculturality as “a defining characteristic of the phenomenon of postmodernism,
interpreting postmodernism as a situation in culture that closes the historical circle of the late 20th and early 21st
Chibalashvili et al. Journal of Music Theory and Transcultural Music Studies 2(2) (2024) 117-129
126
centuries.” The researcher interprets postmodernism as a transcultural phenomenon, relying on an interdisciplinary
approach. Thus, we conclude that transculturalism has two main prerequisites: the processes of human migration,
which can occur voluntarily, involuntarily, or by force, resulting in interaction and cultural exchange between different
ethnic groups. Another important factor influencing the process of transculturation is globalization processes and the
widespread dissemination of new technologies, allowing artists from other parts of the world to unite and create joint
projects. This is confirmed by the research of V. N. Sudakova, who states,
“Internet culture forms a universal awareness among representatives of almost all social and cultural
communities on the planet. The unique scale of information accessibility leads to familiarity, adaptation, and
use of a vast array of transcultural achievements: technology, gadgets, etiquette norms, clothing, and items that
are equally significant for all cultural systems on the planet” ... “exclusive and professional vocabulary,
vulgarisms, and jargon. All these are transcultural values and, simultaneously, the field of possible
understanding and cultural mutual recognition” (Sudakova, 2019, p. 24).
Thus, transculturalism, having formed at the intersection of globalization trends and decolonization processes,
occupies a key place in contemporary philosophical and aesthetic thought. It is viewed as a dynamic phenomenon that
fosters the creation of new cultural identities through the creative interpretation and reinterpretation of cultural
traditions. This perspective emphasizes not only migratory movements and sociocultural exchanges but also the
importance of technologies in shaping transcultural connections. Through a comprehensive understanding of artistic
processes that transcend national and ethnic boundaries, transculturalism serves not merely as a theoretical concept but
as a practical tool for researchers, artists, and educational institutions, encouraging deeper mutual understanding and
cultural enrichment in todayʼs globalized world.
Transcultural dimensions of the project“Ukrainian Women Artists with Their Weapon”
The interaction of cultures within the framework of the project “Ukrainian Women Artists with Their Weapons,”
focusing on current events in Ukraine, reflects its transcultural dimension. This happens through the collaboration of
artists from different backgrounds and cultural codes. In this context, it is worth noting that the participants in the
project—representatives of the Ukrainian compositional school—present two branches of professional-regional
national centers: Odesa and Kyiv, which somewhat influences the creative methodology of working with musical and
poetic texts. Moreover, some of the composers have different ethnic roots and, accordingly, various cultural perspectives,
which also contribute to the enrichment of their creative views on events. For instance, Karmella Tsepkolenko has
Armenian roots, Asmati Chibalashvili is of Georgian descent, and Kira Maidenberg-Todorova has a Jewish heritage.
Each national branch carries a corresponding genetic code of memory of events resonant with the current tragedy.
Today, their unification in creativity through the creation of a comprehensive, coherent project reflecting a shared
experience speaks to a cultural fusion spurred by the Russian-Ukrainian war. The collective authorship of the project
emphasizes the importance of collaboration and interaction among artists, enriching creative ideas and artistic concepts.
This aligns with the broader understanding of transcultural collaboration, which is described as "communication
between people with different cultural backgrounds, including the communication between countries, groups, and
individuals... essential to the prosperity of culture and social development" (Zhang, 2021, p.72). Each composer
maintains her individuality while contributing to creating a unified cyclic work. This indicates a harmonious blend of
individual and collective elements, an essential aspect of transculturality.
On the other hand, the project has become an act of creative self-expression and an active form of cultural resistance.
The works included in it contain a robust life-affirming impulse. With a national context relevant to current events, the
project promotes intercultural exchange through its universal artistic language. War is a transnational issue today,
requiring immediate resolution by all available means.
Chibalashvili et al. Journal of Music Theory and Transcultural Music Studies 2(2) (2024) 117-129
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Conclusion
War significantly intensifies transcultural processes as artistic practices developed under its influence often transcend
national boundaries and engage the international community in dialogue. The “Ukrainian Women Artists with Their
Weapons” project is a vivid example of this phenomenon, where national experience is combined with universal artistic
means to express values and ideas familiar to humanity. The projectʼs transculturality is evident not only in the themes
of the works but also in the methods the authors use to create deep symbolic connections between different cultures.
Among the participants in the project are composers of various national origins representing different cultural
traditions. This diversity enriches the musical language and content of the works, reflecting transcultural processes.
Additionally, the use of texts by Ukrainian poets, who also differ in cultural backgrounds, adds an extra layer of meaning
and emotional nuances.
As reflected in the project, contemporary art trends confirm that transculturality is essential to globalized cultural
practice. This is confirmed by the opinion of N. Otreshko, according to which "transcultural exchange and mutual
enrichment, the processes taking place before our eyes, testify to the fact that the cultural, symbolic sphere is the first to
be globalized and entails transformations in politics and the economy" (Otreshko, 2021, p. 128). In this context, art is
used as a means to reinterpret historical events, defend human rights, and express national identity in a global context.
The collective authorship of the project underscores the importance of collaboration and interaction between artists
from different cultures, demonstrating that contemporary art is increasingly moving from individualism to collective
forms of creativity, fostering more profound cultural exchange and the development of transcultural connections. This
project, initiated by Karmella Tsepkolenko, is not only an expression of the individual experiences of each participant
but also a collective artistic manifesto reflecting the shared experience of the Ukrainian people. Thus, war causes
destruction and stimulates cultural exchange and interaction between nations. Despite forced migration, Ukrainian
artists preserve and spread their cultural identity abroad.
Therefore, the project serves as a vivid example of how art can express national identity, an instrument of cultural
resistance, and a platform for intercultural exchange. It demonstrates how, under the challenging conditions of war, art
can unite people, preserve and disseminate cultural values, and fulfill the role of cultural diplomacy on the international
artistic stage.
Acknowledgment
The research supporting this article was partly sponsored by Central European University Foundation of Budapest
(CEUBPF). The theses explain herein represent the ideas of the author, and do not necessarily reflect the views of
CEUBPF.
Biodata of Authors
Asmati Chibalashvili, Composer, researcher, PhD in Art Studies, Deputy Director of Scientific
Affairs, Modern Art Research Institute of the National Academy of Arts of Ukraine, Associate
Professor at the Kyiv National P. I. Tchaikovsky Music Academy, and Ukrainian Composersʼ Union
member. She was born in 1986 in Telavi, Georgia. Since 1994, she has lived in Ukraine. She graduated
from the Odesa State Music Academy A. V. Nezhdanova with Professor K. Tsepkolenko in 2006 and
has completed her postgraduate studies at the Kyiv National P. I. Tchaikovsky Music Academy with
Professor Ye. Stankovych in 2010. She was granted support by the Odesa Department of the All-Ukrainian Cultural
Foundation as a young composer from 1995 to 1998. She was awarded a diploma by the Ambassador of Georgia to
Ukraine for promoting Georgian art in Ukraine and for developing Ukrainian-Georgian relations (Kyiv, 2002). She is
the winner of the International Competition of Young Composers “Gradus ad Parnassum” (1st prize, Kyiv, 2016) and
was awarded a Silver Medal from the National Academy of Arts of Ukraine for creative achievements (2021); An
Acknowledgment from the Presidium of the National Academy of Sciences of Ukraine for prolific creative work,
significant contributions to the development of national contemporary art history, cinematography, and architecture,
and active support in the development of spiritual culture (2022). She is a Virtual Ukraine Institute for Advanced Study
Chibalashvili et al. Journal of Music Theory and Transcultural Music Studies 2(2) (2024) 117-129
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Fellow at the Institute for Advanced Study at Central European University (2023–2024).Her music works have been
performed at international festivals such as Two Days and Two Nights of New Music (Odesa, Ukraine), Kyiv Music
Fest (Kyiv, Ukraine), Music Marine Fest (Odesa, Ukraine), Season Premiere (Kyiv, Ukraine), International Youth
Music Forum (Kyiv, Ukraine), Music Tribune of Kyivʼs Youth (Kyiv, Ukraine), Young Composers of Ukraine (Lviv,
Ukraine), GOGOLFEST (Kyiv, Ukraine), Days of New Music (Kharkiv, Ukraine); Contrasts (Lviv, Ukraine), Nordic
Saxophone Festival (Aarhus, Denmark), World New Music Days ISCM (Vancouver, Canada), etc.
ORCID: 0000-0003-1001-4273
Web: http://asmati.com.ua/
Youtube: https://www.youtube.com/@AsmatiChibalashvili
Kira Maidenberg-Todorova, composer, pianist, PhD in Art Studies, Associate Professor of
the Music Theory and Composition Department at Odesa State A. V. Nezhdanova Music
Academy, member of the Ukrainian Composersʼ Union, Laureate of the Lev Revutsky
National Prize (2018). Winner of municipal, regional, national and international competitions.
Also she is laureate of the Odesa Regional Prize for talented young people for special
achievements in various areas of social life, 1st place in the nomination “For creative
achievement” (2012). Her music works were performed at international festivals Kiev-Music-Fest (Kiev, Ukraine),
Music Marine Fest (Odesa, Ukraine), Premiers of the seasons (Kiev, Ukraine), Two days and two nights of new music
(Odesa, Ukraine), International Youth Music Forum (Kiev, Ukraine), FIDAS (Kito, Equador), International choir
music festivals in Pardubice (Czech Republic), Montreux (Switzerland), Kishinev (Moldova). She made a premier
performance of her concert-symphony for piano and orchestra with conductor Hans Rotman on the Impulsfestival
(Halle, Germany).
ORCID: 0000-0002-2384-6426
Web: https://odma.edu.ua/structure/teor-5/
Youtube: https://www.youtube.com/@kiramaidenberg
Karmella Tsepkolenko, composer, born in 1955 (Odesa, Ukraine), she graduated
from Odesa State Prof. P. S. Stoljarsʼkyj Music School as a pianist (Prof. H. Buchynsʼkyj,
lecturer O. Pannikova) and as a composer (Prof. A. Kogan). She continued her
education at the Odesa State A. V. Nezhdanova Conservatoire (now National Music
Academy) as a composer under Prof. O. Krasotov and as a pianist with Prof. L.
Ginzburg (1979). She got her PhD at the Moscow Pedagogical Institute (with Prof. G.
Tsypin). She visited composersʼ master-courses in Germany (Darmstadt, 1992, 1994; Bayreuth, 1993). She has been
awarded diplomas and prizes at Soviet All-Union and international composersʼ competitions. She got creative
residences, grants and scholarships from the Heinrich Böll Foundation (Germany, 1995), DAAD (Germany,
1996), Brahms-Haus Foundation (Germany, 1996), the ArtsLink scholarship from the International Renaissance
Foundation (Ukraine) and National Endowment for the Arts of the USA (New York, USA, 1996), and resident grants
from the Künstlerhof Schreyahn (Germany, 1998), Worpswede Künstlerhäuser (Germany, 2000), Die
Höge (Germany, 2002, 2003). The International Renaissance Foundation (Ukraine), KulturKontakt Association
(Austria) and Pro Helvetia (Switzerland) granted her creative and cultural projects. She is author of more than 100
music works, most of which have been produced on 12 CDs, and recorded by radios in many countries. She is the
conception author, founder and Artistic Director of the annual International Festival of Modern Art Two Days and
Two Nights of New Music. She is the initiator, a founder and the Head of the Board of the International Public
Organization Association New Music—the Ukrainian Section of International Society of Contemporary
Music/ISCM. She is Professor of composition at Odesa National A. V. Nezhdanova Music Academy, Secretary of the
Board of the National Ukrainian Composersʼ Union (since 2005). She was awarded: Laureate of the Taras Shevchenko
National Prize of Ukraine (2024), Laureate of the the B. Ljatoshynsʼkyj Prize (2001), chevalier of the Chapter Journal
Chibalashvili et al. Journal of Music Theory and Transcultural Music Studies 2(2) (2024) 117-129
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“Ji” (2012), Laureate of “Honorary Distinctions” of a Head of the Odesa Regional State Administration (2014) and
titled the Honoured Arts Worker of Ukraine (2006). Knight of the Order of the Chapter of the Journal “Yi” (2012),
Laureate of the “Honorary Award” of the Head of the Odesa Regional State Administration (2014), Presidential
Scholarship for Cultural Figures 2018–2020, 2021–2023. Municipal Award “Cultural Capital” of the Odesa City
Council (2019), Diploma from the First President of Ukraine L. Kravchuk (July, 2019) and the Order “Guardian of
Ukraine” (2019).
ORCID: 0009-0002-8759-4886
Web: https://odma.edu.ua/structure/profesor-17/
Youtube: https://www.youtube.com/@karmellatsepkolenko8713
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