‘Restoration of justice’: A Christmas carol defying imperialism

‘Carol of the Bells’ is one of the world’s most iconic Christmas carols; a staple of festive soundtracks, a choir favourite, and, unexpectedly, a hymn of resistance. 

Originally titled ‘Shchedryk’ (‘The little swallow’), it was written in 1914 by Ukrainian composer Mykola Leontovych as a New Year’s song based on a traditional folk chant, ‘Shchedrivka’, dating back to pagan times. Back then, the New Year was celebrated in March. The song centres on swallows rather than bells, like the well-known English version. The lyrics celebrate abundance, prosperity, and family, with references to the birth of lambs, wealth, and a wife ‘fair as a dove’.

‘Shchedryk’ premiered in December 1916 at a Christmas concert held in the Merchant’s Council building, now the National Philharmonic Orchestra of Ukraine. The performance was delivered by the student choir of St. Volodymyr University of Kyiv, later renamed to its current name, Taras Shevchenko National University of Kyiv.

Despite significant restrictions on the Ukrainian language in the early 20th century, Leontovych wrote the lyrics in Ukrainian. The composer was born in 1877 in a village in Vinnytsia Oblast, which was part of the Russian Empire at the time. 

The Ukrainian language was not deemed outright illegal, but Tsarist policies prohibited the public use of the language beyond literature and excluded it from education until 1917, hindering the public use and promotion of Ukrainian cultural expression.

A symbol of resistance

After Mykola Leontovych’s composition gained international recognition, ‘Shchedryk’ became a symbol of Ukrainian national identity and pride. Under Soviet rule, cultural expressions of Ukrainian heritage, from music to folklore, were systematically suppressed or reinterpreted to fit the regime’s ideological framework. Yet, with its deep roots in Ukrainian tradition, ‘Shchedryk’ emerged as a powerful emblem of resilience and resistance.

The song’s connection to the ongoing struggle for Ukrainian independence grew in prominence, particularly after the Russian Revolution in 1917. As the Soviet Union consolidated power, Leontovych’s composition came to represent Ukrainian defiance and played a part in resisting Soviet efforts to stifle Ukrainian culture and autonomy.

The song was performed by Ukrainians outside of Soviet control, which contributed to its prominence in Western media. Over 100 years ago, the Ukrainian National performed around 500 concerts in Europe, South- and North America. They were met with overwhelming praise, with one of their pieces, ‘Shchedryk’, resonating especially well with audiences.

Regarding the role cultural heritage plays in resisting imperialism and preserving national identity, Yaroslava Gres, co-founder of Ukraine WOW quoted Jaroslav Křička, the conductor of Glagol, Europe’s renowned Czech choir, who—after attending a performance by the Ukrainian National Choir—said: “Ukrainians came and triumphed. I think we knew very little about them and deeply wronged them when, unconsciously and without information, we merged them against their will into one whole with the Muscovite people.”

‘Carol of the Bells’

In 1936, American conductor Peter Wilhousky wrote the lyrics and ‘Carol of the Bells’ first appeared. 

Tina Peresunko, author of the research work on the history of ‘Shchedryk’ and founder of the Leontovych Institute, wrote in an article for Ukraïner that Wilhousky is said to have heard the song in a performance by a Ukrainian choir.

“Since the young people would not sing in Ukrainian, I had to write English lyrics. I removed the Ukrainian words about ‘swallows’ and instead focused on the cheerful ringing of bells that I heard in the music”, Wilhousky later wrote in a letter to the Ukrainian musicologist Roman Sawycky. Thus, ‘Shchedryk’ created the iconic Christmas carol ‘Carol of the Bells’.

Since its first performance in the United States at Carnegie Hall in October 1922, ‘Carol of the Bells’ has transcended its Ukrainian origins to become a fixture of Western Christmas celebrations. Introduced to American audiences by the Ukrainian National Chorus, the carol’s infectious melody quickly captured the holiday spirit, cementing its place in the festive canon.

Today, ‘Carol of the Bells’ is a mainstay of Christmas concerts, its distinctive harmonies echoing through countless performances worldwide. The carol has also found a home in popular culture, appearing in films, television shows, and advertisements, further entrenching its status as a Christmas classic.

Killed for promoting Ukrainian culture?

Leontovych couldn’t enjoy the prominence his composition has received. He was assassinated in 1921 in his home in the Ukrainian village of Markivka. He was shot by the Cheka, the Bolshevik secret police, likely due to his association with Ukrainian nationalism and cultural resistance.

According to Peresunko’s research, his death remains a subject of debate. It is widely believed to have been politically motivated, as part of a broader suppression of Ukrainian intellectuals and cultural figures.

To this day, for many Ukrainians, ‘Shchedryk’ is considered a hymn resisting imperialism and the erasure of Ukrainian culture. When Nobel Peace Prize Laureate Oleksandra Matviichuk thinks about ‘Shchedryk’, she thinks about justice.

“For centuries, the Russian Empire tried to destroy the Ukrainian language and culture. That’s why we have many folk songs; it’s an intangible heritage and complicated to eliminate. Russians killed people who wrote and sang Ukrainian songs, like, for example, the author of, ‘Shchedryk’, Mykola Leontovych or the composer Volodymyr Ivasyuk”, she told Euronews Culture. 

“Despite all this, one Ukrainian song became popular worldwide. And for me, this is a restoration of justice”, Matviichuk explained.

“Putin directly says there are no Ukrainian people”

In an essay published in 2021, Russian President Vladimir Putin reiterated his belief that Russians and Ukrainians are a single people, united historically and spiritually. In the essay, it says: “If you are talking about a single large nation, a triune nation, then what difference does it make who people consider themselves to be – Russians, Ukrainians, or Belarusians.” In this context, he argues that the distinction between these groups is artificial, indicating his view that the Ukrainian identity is not separate from Russian identity.

Since 2014, these claims have been part of Russia’s broader cultural suppression, attempting to erase Ukrainian culture through physical destruction of cultural sites and the killing of artists, writes Martha Holder for the Atlantic Council. Targeted attacks have destroyed museums, churches, and monuments, as well as ongoing efforts to suppress the Ukrainian language reflect a long history of imperialist control.

“Putin directly says there are no Ukrainian people, there is no Ukrainian language, there is no Ukrainian culture”, added Matviichuk. “For ten years, we have been documenting how these words turn into a horrible practice. […] As a lawyer, I know how difficult it is to prove genocide. But there is no necessity to be a lawyer to understand a simple thing. If you want partially or completely to liquidate one national group, you do not have to kill all the representatives of this group. You can change their identity, and the entire national group will disappear”, Matviichuk concluded.