For generations, Carol of the Bells has been a well-loved musical staple of the Christmas season. [4] It has been adapted into countless different musical styles performed by choirs and carolers all over the world and has made its way into popular culture in Christmas films such as Home Alone. However, there’s a profound lack of awareness of its true roots as a Ukrainian folk song.

The shchedryk carol was one of many shchedrivkas, a category of folk music sung during winter holidays in Ukraine. [1][4] It originates from a centuries-old Ukrainian pagan tradition to welcome the new year, which was then celebrated in March, describing the return of the swallows. [5] Shchedryk comes from the word shchedryi, often translated as generosity, and the song itself as bountiful evening. [1] It was only after the Ukraine converted to Christianity in the late 10th century, and the new year was moved from March to January, that the meaning of the word shifted to refer to a Christmas hymn.

Until the end of the 19th century, Ukrainian culture was suppressed under the rule of tsarist russia, and Ukrainians were not allowed to print copies of their folk songs or perform traditional Ukrainian music publicly. [5] After the fall of the monarchy, the Ukrainian people experienced a flourishing cultural revival and Shchedryk took on a new life. [2] In 1916, composer Mykola Leontovych transformed it into an a capella piece, and its first official performance took place that same year in Kyiv with Oleksandr Koshyts as its conductor.

“I sing, therefore I exist.”

During this time, Europe was in the midst of the first World War. [3] Near its end, Ukraine declared its independence from russia and created the Ukrainian People’s Republic (UPR) in 1918 under the leadership of Symon Petliura. [1] The upcoming Paris Peace Conference, which ran from January 1919 to January 1920, was projected to decide on the reconfiguration of national borders and the recognition of Ukraine’s independence. [5] As an unrecognized nation, the UPR was not invited to take part in these important peace talks. [2] However, the head of the UPR, Symon Petliura, conceived a means to make western countries pay attention to them politically by capturing the attention of western audiences through art. [2] Petliura was on a mission of cultural diplomacy, in hopes that getting participating government bodies to recognize the unique cultural heritage of Ukraine would translate to the recognition of Ukraine as a unique nation separate from russia. [5] One critic succinctly captured this campaign to use art as a political tool in a few simple words: “I sing, therefore I exist.”

In 1919, they launched a state-sponsored cappella tour concurrent with the timeframe of the peace talks and operated behind the scenes to lobby for their right to national self-determination. [1][2] They toured many different cities across Europe during this time, and their impressive concerts were incredibly well-received. [1] Performances of Shchedryk were almost always followed by the standing ovations of a moved crowd, and the cappella group was lauded in hundreds of positive reviews. [5] In fact, many critics began to voice their support for an independent Ukraine, and some even wrote to political figures on their behalf.

While the tour was underway, Ukraine was still battling russia’s encroachment. [3][5] After the military takeover of the capital in February 1919, thousands of Ukrainians were killed and terrorized under martial law. Behind the curtains, so to speak, artists and other cultural leaders were facing persecution. [5] Performers had to walk hundreds of miles to make it to the western border and avoid capture. Shchedryk’s composer Leontovych was forced into hiding by this regime terror, before he was ultimately killed by soviet agents in 1921.

By the time the choir reached France in November of 1919, the political situation in Ukraine had become dire. While the choir succeeded in capturing the world’s hearts and minds, Petliura’s mission was ultimately unsuccessful in translating any pro-Ukraine sentiments into political action. [5] By the end of the peace talks in January 1920, Ukrainian territories were divided among its neighboring countries. However, Ukrainians kept up the fight against the russian army. [5] They experienced a short period of success a few months later, but without the support of Western governments, their fight for independence was ultimately crushed.

The russian oppression of Ukraine’s national individualism went hand-in-hand with attempts at the erasure of cultural individualism to which Shchedryk unfortunately fell prey. [5] This became apparent when Shchedryk made its appearance in the U.S., but was falsely credited as a russian folk song, not Ukrainian. [1] In 1933, the first English version of the song, “The Bluebirds,” appeared after American composer Max Thomas Krone translated the song into English. [5] However, the score had said that the original lyrics were russian, rather than Ukrainian. [3] Three years later, it was adapted by Peter Wilhousky, an American conductor of Ukrainian descent. [3] He replaced the swallow metaphor with Christmas bells that we know today to further its appeal to American audiences. [1] This development further removed it from Ukrainian hands, and it became associated with American holiday songs with russian influences, as cited on its tracks.

Just a year after the premiere of Wilhousky’s adaptation, the Great Terror, which resulted in the mass arrests, deportations, and executions of thousands of Ukrainians, began in russian-occupied Ukraine, all the while western audiences enjoyed their music. The Ukrainian artists who had been lauded on the international stage were largely forgotten. [5] When Ukraine finally became an independent nation in 1991, archival evidence was released that revealed the story and history of Shchedryk as a uniquely Ukrainian creation connected to their historical fight for recognition and national self-determination.

Audiences all over the world continue to appreciate the beauty of Shchedryk and the atmospheric quality its performances provide. When you hear this world-famous 4-note song this Christmas, educate others about its history and unique cultural heritage, and honor those who have fought and those who are still fighting for Ukraine’s national and cultural autonomy after centuries of russian occupation and control.