MULTI-VECTOR APPROACH IN CULTURAL AND ARTISTIC ACTIVITY OF THE UKRAINIAN DIASPORA REPRESENTATIVES

: The purpose of the section is to clarify the phenomenon of cultural and artistic activity of the Ukrainian Western diaspora representatives of the XXth century, among which a worthy place is occupied by the figure of Vasyl Prokopovych Zavitnevych (1899 – 1983). The research methodology consists in applying the culturological approach when considering the multi-vector cultural and artistic activity of artists of the North American continent, its combination with the moral-ethical and aesthetic approach to determine the spiritual dimensions of individual representatives. On the multi-vectority of cultural and artistic universalism of the Ukrainian Western diaspora artists – A. Hornyatkevych, R. Hurko, V. Yemets, H. Kytasty, O. Koshyts, P. Matsenko, V. Mishalow, A. Rudnytsky, R. Savytsky and I. Sonevytsky – evidenced by the directions presented by them: music-performing, compositional, musicological, educational-pedagogical, as well as active cultural and public life, which not only enriched Ukrainian culture, but also allowed it to take a worthy place in the world socio-cultural environment. Vasyl Zavitnevych affirms an honorable place among the popularizers of Ukrainian musical culture of the XXth century in the West. The artist’s cultural and artistic activity was to popularize Ukrainian culture in general and Ukrainian choral work in particular, which prompted him to engage in conducting, regent, educational, pedagogical, publishing, church and public practices. The passion of V. Zavitnevych’s talent emphasizes the phenomenon of the Ukrainian diaspora in the ethnogenesis of the Ukrainian people.

The question of the universality of the creative personality has been repeatedly raised in musicological research. In particular, O. Komenda considers a personality being «universal», when it is characterized by a combination of several types of «leading» creative activity and when it has a creative potential that can change the «profile» of creativity 2 . According to the research of O. Bobechko and N. Syniovska, the artistic universality of the musician in modern cultural processes is manifested in a combination of various artistic skills, complemented by other activities (scientific, educational, organizational, etc.) 3 .
The study of cultural and artistic activities of well-known Ukrainian diaspora representatives of the musical culture requires an understanding of the «creative universalism» concept through the definition of universality as a philosophical category. Therefore, the separation of the categorical concepts of «spirituality» and «activity» will not only determine the multi-vectoral nature of creative areas, but also to understand the dimensions of creative life in exile.
In the lens of philosophy, spirituality, as a potential ability of man to create and improve, appears as an integral category of being, «which expresses the theoretical-cognitive, artistic-creative and moral-axiological activity of man» 4 . In Christian anthropology, spirituality is an expression of a higher moral orientation toward God. Modern Ukrainian philosophy (O. Shynkaruk, A. Krymsky) interprets this concept through the prism of existential (faith, hope, love) as an ontological «core» of man. O. Losev understands spirituality as mythmaking. For N. Berdyaev, the main attribute of spirituality is freedom as a related element of the human and the divine, which is manifested in the creation not only of cultural objects, but also of one's own life 5 . The ability of man not only to reflect the world around him, but also to create it, presupposes the existence of creative possibilities, which, interacting with volitional processes, contribute to cultural formation. In this dimension, spirituality, as Chapter X; Multi-vector approach in cultural and artistic activity of the ukrainian diaspora representatives noted by the modern Ukrainian philosopher S. Datsiuk, is «an ability for positive transformations of the fundamental level», and spiritual people are «people who take a spiritual position in their lives and are able to offer and defend spiritual guidelines in different spheres of life» 6 . According to the study of K. Olas, «… the sphere of spiritual values includes the highest ideals of mankind (well-fair, beauty, truth, justice, freedom, holiness) and cultural objects in which they were objectified (works of art, religious, moral and legal systems, scientific theories)» 7 .
Spirituality as a culturological concept reveals the presence of each person's spiritual feelings, the depth of moral and aesthetic experiences, intellectual and creative abilities. The spiritual essence of the individual is manifested in its relationship to the environment, nature, art -all that determines its existence. Hence, «spiritual culture -part of the culture, which includes art, religion, philosophy» 8 . These three components as a means of influencing the development of human spiritual potential have a direct impact on human activity.
For philosophical reasons (according to S. Krymsky), activity is defined as «a form of activity that characterizes the ability of man or related systems to be the cause of changes in existence» 9 . Varieties of life are work and creativity 10 .
Since activity is understood as any conscious human activity, it is thoughtprovoking that all human actions, to which it gives a certain meaning, depend on the degree of its spirituality, and this, in turn, determines the level of its spiritual culture.
From an ethical point of view, activity (according to M. Toftul) is a special sphere of a person's moral life, in which the unity of his moral consciousness and practical actions is being realized, has subject-specific certainty, specificity 6 9 Ibid, p. 163. 10 Ibid,p. 178. and is manifested through actions. As a result, a person enters into certain social ties 11 . The process of integration of individual national cultures into a single world culture, which, according to modern Ukrainian philosophers, has led to the globalization of human culture, has revealed both universal values (cultural universals) and certain differences in inter-civilizational interactions. General cultural globalization invariably assimilates cultural diversity 12 , and therefore the preservation of historical identity is so necessary for every nation. This challenge is best realized during emigration, which is a direct consequence of globalization. Therefore, almost the only way for national identification is the socio-cultural activities of emigrants, an important component of which is art.
N. Igoshkina considered activity as a means of human existence and as a human means of relation to the world in the context of social and cultural life. As a consequence of her research, the activity approach becomes a methodological basis for understanding the process of the globalization era cognition, the actualization of theoretical and practical problems, the essence of artistic creativity 13 .
In musicology, the definition of cultural and artistic activity through the prism of personality psychology was substantiated by L. Kurbanova, who proposes to understand this concept as a creative process, which is the fundamental basis of human activity as a subject -the creator of his own life 14 .
The universality of diaspora musicians was expressed in their coverage of various directions.
Musical performance occupies a prominent place in the cultural and artistic field of Ukrainian diaspora during all time periods. V. Yemets, A. Hornyatkevych, H. Kytasty, and V. Mishalow became popularizers of bandura art. In particular, the creative biography of H. Kytasty as a bandura singer, conductor and artistic director was inextricably linked with the famous bandura collectives -the The 11 16 and V. Mishalow (also known as a conductor, artistic director and active concert soloist-instrumentalist, who offered the audience his performance on different bandura types) 17 . A. Horniatkevych in his performing activity belonged to the bandura players-traditionalists, i.e. in his repertoire there was exclusively traditional kobza repertoire -dumas, songs, instrumental works «with folk roots» 18 . O. Koshyts and P. Matsenko are considered the most prominent masters of choral work in the early XXth century. Thus, in her monograph H. Karas draws attention to the musical life revival of Ukrainians throughout America in the 30s of the XXth century thank to the creative activity of O. Koshyts as a choral conductor 19 . The Ukrainian National Choir under his leadership successfully performed on the North American continent and aroused genuine interest in Ukrainian choral art. P. Matsenko was also a well-known conductor in Canada, which allowed him to supervise choral work for several decades 20 . In the second half of the XXth century, I. Sonevytsky (whose performance was associated with the most famous choirs in America 21 ), A. Rudnytsky (as a choral and orchestral conductor who performed Ukrainian music 22 ); also known as a talented pianist-accompanist, who collaborated with many singers, including his wife Maria Sokil 23 ) and R. Hurko (who has a very 15 16 Ibid, p. 142, 158, 295. 17 Ibid, p. 148. 18 24 . A worthy representative of the Lviv piano school in America was the pianist-virtuoso R. Savytsky 25 , whose playing was distinguished by a bright individual style. It should be noted that during his artistic career R. Savytsky actively promoted the works of Ukrainian composers, participated and accompanied in ensemble music. As H. Karas notes, «musicologists define the type of pianist as an expressive-intellectual virtuoso, which was characterized by academic-romantic style» 26 . For many years, I. Sonevytsky was a pianist-accompanist in New York, whose accompanying art was highly appreciated by critics and fellow pianists 27 . Numerous scientific and journalistic works of these artists have made a significant musicological work on Ukrainian music history, medieval studies, analysis of famous Ukrainian musicians, music-theoretical and music-aesthetic studios. In particular, O. Koshyts, P. Matsenko, I. Sonevytsky worked on the history of church music and medieval studies; in the field of Ukrainian music historiography -A. Rudnytsky; musical-biographical essays and monographs were published by P. Matsenko and I. Sonevytsky; educational and methodical, and performing material was arranged by A. Hornyatkevych, V. Yemets, I. Sonevytsky; A. Hornyatkevych, R. Hurko 28 , V. Yemets, O. Koshyts, V. Mishalow, R. Savytsky, I. Sonevytsky were known as music critics and publicists; V. Yemets was considered as an ethnomusicologist and bandura master, who owns a textbook on making a musical instrument 29 . So, the range of their scientific interests is quite diverse. Analyzing their achievements during the twentieth century, H. Karas found a number of unfavorable factors for 24 26 Ibid, p. 419. 27 Ibid, p. 446. 28 Obukh L. musicological work, in particular: lack of own scientific infrastructure, access to sources, dispersion of scientists, lack of communication with Ukrainian colleagues, material and spiritual support from the community. Nevertheless, the value of their research was "the presence of the names, which were silenced during the Soviet period and unknown or little-known in Ukraine, facts unknown in Ukraine about the life and work of musicians who emigrated from Ukraine; alternative views of the authors on national music history (compared to the views established from Soviet times)» 30 .
The work of the above-mentioned music professionals in the pedagogical field was an integral part of their cultural and artistic activity in exile as active participants and organizers of the musical and educational process. The most significant trace on the American continent was left by the legendary master of choral O. Koshyts. His methodological and pedagogical principles became a further guide for all participants in the choral process with whom he has worked in the United States and Canada. In particular, working as a teacher of conducting courses in Winnipeg and Toronto, the artist was involved in the process of preparing large annual concert programs, which he considered a way to convey his artistic experience. As H. Karas remarks, «O. Koshyts, as a bright representative of the Kyiv choral school, creates his own choral school on the basis of two branches of tradition: church and secular» 31 . An admirer of the great conductor was the organizer of the choral movement in the diaspora P. Matsenko, who as a teacher also became famous for his work in educational institutions in Canada. First of all, it was him who initiated the creation of Higher Education Courses (HEC) in Winnipeg and Toronto at UNO, which he led and taught (as the initiator of the courses, he also involved O. Koshyts in teaching, who gave lectures on Ukrainian music to students and joined the work with the choir). P. Matsenko also taught at the «Ridna Shkola», participated in seminars for choral conductors and taught in theological schools of various denominations (deacon schools, colleges: St. Andrew in Winnipeg, St. Volodymyr in Roblin, St. John's Institute in Edmonton , St. Andrew's Theological Academy in Winnipeg, Redemptorist Theological Seminary in Yorkton), where he taught church singing, music theory and history of Ukrainian culture 32 . The 30 Ibid, p. 792. 31  Institute of America («non-profit educational institution») for seven years was R. Savytsky, who managed to build the educational process at UMIA on the principle of the Mykola Lysenko Higher Music Institute in Lviv. Among the teachers and subsequent leaders of UMIA was also I. Sonevytsky 33 . According to the same principles, A. Rudnytsky organized work at Ukrainian music courses in Philadelphia with branches in other US cities 34 . With the active participation of H. Kytasty, annual kobzar camps, courses and seminars for young people 35 were organized in various centers of the United States and Canada, and A. Horniatkevych is also invited to teach there. It is worth noting that, in addition to learning practical bandura playing and lecturing at seminars and courses of kobza art, A. Horniatkevych also joined the process of constructing banduras 36 . In addition, as a scientist interested in Slavic folklore and literature, he also worked as a professor of Slavic studies at the University of Alberta and as part of the Canadian Institute for Ukrainian Studies. V. Mishalow also taught bandura playing in music schools in Canada and lectured at festivals. V. Yemets also continued his educational and methodical work in the USA 37 .
The compositional activity of the above-mentioned artists of the diaspora are of various genres and styles, but united by a common charisma of national Music Culture of the 20th Century] (Phd Thesis), Ivano-Frankivsk: DVNZ «PNU im. V. Stefanyka», p. 9. (in Ukrainian) 33  affiliation, identification of Ukrainians in themselves. In general, all the abovementioned ar tists worked in the vocal-choral and instrumental directions, but A. Rudnytsky as a universal composer also proved himself as an author of vocal-symphonic works (cantatas, symphonic-choral poems), operas and ballet. Characterizing the composer's work, H. Karas emphasizes its stylistic diversity with the influences of Impressionism, Neoclassicism and Neofolklore 38 . Along with A. Rudnytsky's compositions, the works of other artists are also noted for their highly artistic professional level. Prominent representatives of the vocal and choral direction were R. Hurko (modern author of five major liturgical parts 39 , who perceives the creation of spiritual music as a personal need of the soul and a kind of prayer) 40 , H. Kytasty (master of expanded choral compositions accompanied by banduras 41 , paraliturgical music, vocalinstrumental works 42 , arranging of Ukrainian folk and religious songs 43 ), O. Koshyts (author of numerous choral arrangements, a powerful layer of sacred music works) 44 , P. Matsenko (creator of liturgical and paraliturgical music) 45 , V. Mishalow (author of works for voice accompanied by a bandura) 46 , I. Sonevytsky (master of solo songs, cantatas, choral miniatures, spiritual works) 47 . The instrumental direction was complemented by virtuoso 38 41 Ibid, p. 523. 42 44 Ibid, p. 533-536, 566-567. 45 Ibid, p. 570. 46 51 . V. Mishalow is also known for his numerous works for bandura (instrumental arrangements and translations) 52 . H. Kytasty, O. Koshyts and A. Rudnytsky worked in the field of filmmaking 53 , and I. Sonevytsky created scores for theatrical performances 54 .
All artists as responsible and conscious participants or organizers were involved in cultural and social life. In particular, A. Horniatkevych (membership in Ukrainian public organizations and unions «Plast», the Ukrainian Free Academy of Sciences, The Shevchenko Scientific Society, the National Union of Composers of Ukraine) was noted for active public participation 55 . P. Matsenko, in addition to conducting, actively involved some of the best figures of Ukrainian culture and education for several decades in the cultural process of the diaspora, being a major musical and public figure, which contributed to the preservation of national and cultural identity 56 . One of the types of sociocultural activities of R. Hurko is his work in the organizing committee of the annual conference, which aims to improve the quality of church singing in the Ukrainian Greek Catholic Church of the English-speaking world, and as a 48 51 Ibid, p. 637. 52  producer he actively promotes concert performance, recording and distribution project «Ukrainian art songs» together with the British singer of Ukrainian origin Pavlo Hunka 57 .
Thanks to the multi-vector cultural and artistic activity of the abovementioned universal artists, the Ukrainian diaspora was able to identify itself in the globalizing cultural processes of the world. The directions presented by them -music-performing, compositional, musicological, educationalpedagogical, as well as active cultural and public life not only enriched Ukrainian culture, but also allowed it to take a worthy place in the world social and cultural environments.

MULTI-VECTORAL CULTURAL AND ARTISTIC ACTIVITY OF V. ZAVITNEVYCH
The figure of Vasyl Zavitnevych in Ukrainian musicology is still little popularized and impresses with its passion. In fact, one of the first musicological investigations were L. Obukh's attempts to investigate the educational activities of V. Zavitnevych in the context of the existence of Ukrainian spiritual institutions of the Western diaspora and their significance for the formation of music education 58 . The next work devoted to this 57  of a teacher of Ukrainian language and literature while studying at the Ukrainian gymnasium in Pryluky, Chernihiv province, Kyiv Institute of Public Education, People's Commissariat of Education in literature and language, which later allowed him to teach at the labor school of Pashkovets village and Pryluky city, the club of the Kyiv Convoy Regiment, the M. Lysenko Music School, to teach at the Kyiv Evening University, the Research Institute of Economics, the Cooperative Pedagogical Institute, the Research Institute of Consumer Cooperation, the Kyiv Institute of the Red Professorship, and also at the Kyiv Teachers' Training Institute. Formed from a young age in the spirit of ukrainization, V. Zavitnevych proved to be a nationally conscious and proactive teacher. According to T. Myronyuk, he developed various educational materials without instilling communist stereotypes, with the involvement of classical models in the fields of literature and art, taking into account worldwide experience and theoretical principles of the humanities and classical pedagogy. Taking the opportunity to teach in Ukrainian, V. Zavitnevych provided students with knowledge not only of language and literature, but also of various arts (including music and choral singing), proving himself as a teacher of a broad cultural profile 63 . Such educational principles were useful to the figure in emigration: first -during a short work in the newly established postwar Theological and Pedagogical Academy of the UAOC in Munich (1946)(1947)(1948) 64 , and later in his pedagogical work on Ukrainian studies courses, as well as popular science, literary studies and musicological activity in the United States.
As an academic scholar, V. Zavitnevych diligently popularized Ukrainian culture. From 1930 to 1933 he studied at the graduate school of the Research Institute of Labor and Personnel of Soviet Trade (Kyiv) 65 . At the beginning of 1941, the Kyiv State Pedagogical Institute recommended that V. Zavitnevych should be allowed to defend his PhD paper, «The Life and Works of Arkhyp Teslenko», for the PhD degree in Philological Sciences. In June of the same year, the figure was admitted to the defense, but due to the outbreak of World War II, the defense of the dissertation did not take place 66 . As T. Myronyuk noted, Vasyl Zavitnevych's desire to obtain a scientific degree stemmed from his determination to serve the Ukrainian people by vocation, which is why the theme of the dissertation was the work of the classical figure in Ukrainian literature of the late XIX -early XXth centuries 67 .
Vasyl Prokopovych was the author of a number of musicological articles, prefaces, reviews, reference materials published in emigrant periodicals in the United States and Canada («Freedom», «Faith and Culture», «Ukrainian Orthodox Calendar» and «New Days»), as well as sheet collections. and commemorative books 68 . For example, musical and journalistic investigations contained a 67 Ibid, pp. 37-38. The surveys were written in the accessible Ukrainian literary language, as they were intended to perform an educational function with a view to a wide diaspora audience 69 . As T. Myronyuk notes, «his language is not overloaded with special terminology, the articles are easy to read, although they have a few dialects common in the Chernihiv region, which Zavitnevych probably remembered from childhood and adolescence» 70  V. Zavitnevych's organizational skills acquired in the course of his pedagogical work in Ukraine came in handy in the diaspora. Teaching in educational institutions before emigration, he held the positions of head of the 7th branch of Ukrainization state courses, legal adviser of the Krasnoznamensky factory and the All-Ukrainian Academy of Sciences, dean of the Faculty of Literature and Art of Kyiv University of Culture, director of Kyiv Pedagogical Institute and headed the commission of creating new, far from Soviet ideology, textbooks for Ukrainian primary and secondary schools 84 . His experience allowed him to lead the UOC Scientific and Theological Institute in New York for many years in exile, until his death, and his task was to fill a gap in liturgical books. Under the auspices of the institution, new or outdated translations of texts in Ukrainian were translated or improved; liturgical chants were created and arranged. This institute was to consist of several members, but V. Zavitnevych did most of the work himself. In fact, the music department of the institution existed formally and was reflected on the cover of music publications. In addition, from the time of his arrival in America, the artist was a member of the parish government and served as secretary of the UOC Metropolitan Council in the United States, which enabled him to take care of library funds 85 .
While in New York, V. Zavitnevych collected, arranged, edited, and published thirteen volumes of liturgical books (presented in chronological order) 86 during 1953-1979, where the choral cycles of daily service and paraliturgical works: «Almanac of Liturgical Works», «Singing from the Lent Triodion», «Holy Saturday and Easter», «Singing at the Funeral of Priests», «Dirge and Funeral», «Watch Night» in two parts, a Christmas collection, as well as «Liturgy of the Funeral» by Archpriest Grygoriy Pavlovsky. Some editions were republished by him, due to certain corrections and additions. According to H. Karas, these publications «constitute the golden fund of Ukrainian sacred music» 87 . Thanks to V. Zavitnevych's efforts in emigration, the UOC was not only filled with such necessary repertoire material for the liturgical process. It was invaluable that thousands of people overseas at that time were able to get acquainted with the cultural achievements of the Ukrainian people: to hear Ukrainian church singing in the best examples of its part-song music with «vosmyglasie», Kyiv melody and chants of the Kyiv-Pechersk Lavra As a patron, V. Zavitnevych was also famous in New York for helping many Ukrainians, acquaintances and strangers, to come to America by sending them proxy documents at his own expense. It is worth noting that the Zavitnevychs were not so financially secure. Vasyl Prokopovych himself, despite his active church and public and artistic activities, earned meager funds as a deaconconductor. His wife, Galina Timofiivna, worked as a cleaner in the children's ward of a New York hospital. However, almost all of the couple's money was spent on public affairs: "So immediately after arriving in New York, the Zavitnevychs began to transport refugees from Europe to the United States. With the support of the rector of the parish Fr. Lev Veselovsky, where Vasyl Prokopovych was the conductor, he became a sponsor of forty-four families, most of which, when they arrived in New York, often lived with the Zavitnevychs» 89 .
Summing up, we note that Vasyl Zavitnevych affirms an honorable place among the popularizers of Ukrainian musical culture of the XXth century in the West. Working as a long-term regent of the Ukrainian Orthodox Cathedral in New York, V. Zavitnevych managed to put the liturgical singing to a high professional level, reviving the traditions of polyphonic part singing, popular in Ukraine in the XVIII century. However, he was not limited to the regency, but also conducted several choirs, toured with them in many US cities, participated in celebrations and events, led the combined choirs, arranged music. The artist's cultural and artistic activity consisted not only in the unification of church and choral singing, but also in liturgical texts (as a professional writer, he translated and published various acts of worship). The artist's publishing activity included 10 volumes of choral cycles of the daily service and paraliturgical works. As a scientific adviser to Metropolitan Mstyslav Skrypnyk, secretary of the UOC Metropolitan Council in the United States and a member of the parish government, he assembled an exemplary music library in the 88

SPIRITUAL DIMENSIONS OF CULTURAL AND ARTISTIC ACTIVITY OF V. ZAVITNEVYCH
It is interesting to consider the cultural and artistic activity of well-known representatives of the Ukrainian diaspora, among whose galaxy Vasyl Zavitnevych also occupies an honorable place, through the prism of personal spiritual dimensions, which are directly related to the norms of morality and worldview.
Understanding the spiritual dimensions of cultural and artistic activity of V. Zavitnevych requires the application of moral and ethical, aesthetic and culturological approaches. Such approaches will allow to more thoroughly identify not only the importance of cultural and artistic activities of an individual representative of Ukrainian abroad, but also to better understand the phenomenon of the diaspora for national socio-cultural development.
Internal existential aspects of morality in the modern conditions of world globalization transformations are becoming increasingly important. Morality as a social phenomenon, a cultural phenomenon and a form of relationship often becomes a manifestation of national identity. The moral issues of human consciousness and activity in the lens of national and universal values belong to the current scientific issues that provoke the dynamics of socio-cultural change.
V. Zavtnevych's spiritual dimensions in the lens of morality are considered on the basis of the ethical approach of the modern Ukrainian philosopher V. Malakhov 90 , according to the concept of which the system of human morality embodies a triad containing moral consciousness (with its basic norms, principles, motives and values; categories of good and evil, duty and responsibility, justice and the meaning of life), moral relations (the essence of communication between people, openness, tolerance, respect, love) and moral activity (freedom of choice, action; deed as an elementary form of moral activity; purpose and means of activity, motive and result of moral action) 91 .
From the point of view of ethics, moral consciousness is a person's comprehension of certain life problems and circumstances through the prism of his own moral values. «Our understanding of values directly determines our behavior,» say contemporary Western philosophers, Oxford professors D. Gooding and D. Lennox 92 . Conscience, kindness, dignity and honor, duty and responsibility -these are the moral concepts and values that usually embody a person's constant desire for spiritual development. V. Malakhov identifies the concept of moral consciousness with human self-consciousness as an attempt to understand the justice and validity of the very moral principles and decent behavior: «… if a person did not have moral self-consciousness, <…> human judgments and assessments would become extremely dogmatic, soulless» 93 . Similarly, the spiritual potential of human nature, acquired in the process of self-improvement, determines the confession of certain moral concepts and values. Morality, as a rule, arises or exists in the context of certain human relations -not only relations between people, but also relations with nature, man's attitude to culture and its values, and so on. According to V. Malakhov, there is no morality outside the relationship. The third component of morality is a characteristic of human actions (deeds, behaviors, activities) that are presently representing human nature. In other words, «...no matter what specific type of spiritual activity a person engages in, it is realized by the same consciousness, which thus testifies to its inner essence...» 94 .
Aesthetic feeling, as the source and nature of moral law, is extremely valuable because it allows a person to perceive beauty while enjoying it and, according to Oxford scholars 95 , is as innate as «the ability to understand that some actions and 91  ideas are moral and others -immoral» 96 . The degree of development of aesthetic sense, according to research by a group of teachers of Taras Shevchenko Kyiv National University and Karpenko-Kary National University, is also a measure of socialization of the individual. Its low level indicates the low spirituality of man, his inability to rise to a truly social form of any act of life. Aesthetic development has a significant impact on the nature and quality of human social activity. This is most pronounced in the pursuit of beauty, perfection, harmony. Aesthetic feeling, as an essential characteristic of a person, is manifested in the spiritual activity of man. It not only ensures the harmonization of the external world through activity, but also enriches, diversifies the inner world of man, his spiritual manifestations 97 . Hence, aesthetics helps to identify the creative potential of man, the disclosure of its moral and ethical potential. That is why the aesthetic component of V. Zavitnevych's worldview played such an important role in his cultural and artistic activity. In this context, the life and creative path of V. Zavitnevych, who, not having a thorough musical education, due to the desire for music as a beautiful and unique union with God managed to become a choral conductor, musicologist and music and public figure, represents particular interest. Researcher T. Myronyuk notes that Vasyl received his musical education on his own, studied church services, needs, holiday troparions, played two musical instruments (piano and violin). Acquaintance in Kyiv with O. Koshyts and L. Revutsky, work as a teacher of the Ukrainian language at the Lysenko Music School helped Zavitnevych not only to enter the circle of professional musicians and musicologists, but also strengthened his desire to engage in musical activities 98 .
Confessional objective moral values (purposefulness, duty, responsibility, decency, kindness, sensitivity, love, faith, optimism, desire for beauty, etc.) became factors of spiritual development of the figure, which, in turn, was reflected in his musical and professional growth. and allowed to be realized in the cultural and artistic field.
The culturological approach involves the study of general patterns of development of personality culture in society and its interaction with it. This approach allows us to analyze the impact of the external environment on the professional development of V. Zavitnevych as a figure of musical culture, to 96  identify the artist's ability to live and work in the context of world culture, to perceive universal values, while comparing them with national values and values of life. Consideration of cultural and artistic activity in the lens of culturology is the understanding of the process of action as a certain cultural and historical whole, a kind of direction from the individual to culture, taking into account mental identities.
The culturological approach is based on a set of system-forming principles, including historical, social, communicative, axiological. As related to culturology, the anthropological principle in the system of formations is considered from the point of view of philosophy of culture (according to M. Kagan) as the ratio «culture / man», i.e. man creates culture, and cultureman 99 , so modern methodology of humanities is impossible to think without philosophy of values .
As the archpriest of the modern Orthodox Church of Ukraine, Doctor of Theology V. Vepruk, noted, «we could never understand the aspect of the spirituality of any life if we did not take into account the dogmatic teachings that underlie it.» 100 . V. Zavitnevych's worldview was formed as a believing Christian and a believer of the Ukrainian Autocephalous Orthodox Church (UAOC), which determined the purpose and path of spiritual life, directing the figure in a certain direction.
The traditional notion of separating the religious aspect of life from the secular has been reconsidered during the XXth century in the process of sacralization, which required the inclusion in the religious sphere of various activities, human behavior, social relations, institutions 101 . From the beginning of the formation of «Kyiv-centric» traditions of Ukrainian Orthodoxy, based on the UAOC and the PCU in the diaspora, the pastorate professed a «theology of earthly realities», which testified to the sacralization of secular affairs as the promotion of conscious faith. This became a kind of socio-political construct, which singled out the individual religiosity of the Ukrainian Orthodox Christian, distinguished him by Ukrainian-centric worldviews, the absence of chauvinism. From G. Kulagina-Stadnichenko's research it becomes clear that «the patriotism of Kyivan Christianity consists in the observance by Ukrainians of the duty to take care of the comprehensive well-being of their people and the requirements of their independence in governing the Church, which resulted from personal responsibility to God» 102 . The pro-Ukrainian position of the Orthodox clergy and the desire to switch to the native language in worship services were the reasons for the formation of the UAOC in 1921. V. Zavitnevych, as an educated and conscious nationalist, became an ardent supporter of this transition 103 , in the future criticizing the features of the Moscow Orthodoxy planted in Ukraine in his 1941 dissertation on Arkhyp Teslenko 104 , which was never defended. He was close in spirit to the principles of «building the Christian life on the principles of the Gospel, social justice, charitable benevolence, respect for charity, and God's help in difficult circumstances» 105 which he adhered to throughout his life. The path of «spirituality» that the artist took was one of the ways to experience his daily life as a Christian. No wonder the German theologian of the XXth century Carl Raner considered this method to be the most optimal and in demand, because «the world should not be an obstacle for a believer, earthly affairs are not bad, they can be experienced in a Christian way, and therefore daily life is potentially full of God's grace» 106 V. Zavitnevych's cultural and artistic activity can be said to be intertwined with church and public life both in Ukraine and in exile on a daily basis. He regularly attended services while still a young teacher in Kyiv, listening to the pro-Ukrainian sermons of Bishop V. Lypkivsky and other bishops and priests of the Ukrainian Autocephalous Orthodox Church; joined the liturgical process as a linguist (editing liturgical texts 107 ), chorister and regent; he took part in an underground episcopal ordination (May 1942, the chapel of Kyrylo and Methodius near St. Andrew's Church in Kyiv 108 ), where the future Orthodox Patriarch of Ukraine Mstyslav Skrypnyk, nephew of Symon Petliura, was ordained. Participation in the episcopal ordinations in Ukraine, which in the following years led the Ukrainian Orthodox communities in Western democracies, was significant for the artist. During his postwar travels to the west, he also organized liturgical accompaniment, leading temporarily assembled amateur church choirs 109 . V. Zavitnevych's active involvement in the church and public life of the Ukrainian diaspora at the age of 43 (membership in the parish government, management of church choirs, teaching in Ukrainian studies courses, duties of the secretary of the UOC Metropolitan Council, assistance to emigrants) took place immediately after his arrival in the USA and lasted until the end of life.
Thus, the spiritual dimensions of cultural and artistic activity of V. Zavitnevych are considered in connection with general cultural principles as the ratio «artist = culture = man» and ideological principles (aesthetic component, moral concepts, Christian values).
Confessed worldview principles became factors of spiritual development of the figure, which, in turn, was reflected in his musical and professional growth and allowed to be realized in the cultural and artistic field.

CONCLUSIONS
Cultural and artistic activity has always been an integral part of the existence of Ukrainians in exile, which is usually multi-vector. Among the most notable artists-universals of the diaspora are: Andriy Horniatkevych, Roman Hurko, Vasyl Yemets, Hryhory Kytasty, Oleksandr Koshyts, Pavel Matsenko, Viktor Mishalov, Antin Rudnytsky, Roman Savitsky and Igor Sonevytsky, who also worked in music-performing, education-pedagogical. musicological and compositional directions.
Among the cohort of bright figures of Ukrainian culture abroad we single out the little-known figure of Vasyl Zavitnevych as a scientist, musicologist, teacher, conductor-regent, popularizer of choral work, manager, initiator of culturaleducational and publishing business, church-public figure, patron.
The cultural and artistic activity of the artist is being considered through the prism of his spiritual dimensions -moral concepts and Christian values (purposefulness, duty, responsibility, decency, kindness, sensitivity, desire for beauty, sacrifice, optimism, etc.), which led to selfless companionship for preservation and acceptance of Ukrainian cultural heritage. V. Zavitnevych's life and creative path were closely intertwined with church duty: singing of the Liturgy and regent's service; collecting, arranging and publishing liturgical works; work in the metropolis of the Ukrainian Orthodox Church (UOC) in the United States.
A comprehensive description of the multi-vector cultural and artistic activities of the Ukrainian diaspora allows to note that the figure of V. Zavitnevych without exaggeration occupies an honorable place among the constellation of outstanding creators of Ukrainian musical culture.

SUMMARY
The achievements of the Ukrainian diaspora in the field of music culture are rightly included in the national cultural heritage of Ukraine, which contributes to its integration into the world cultural space. Such a significant role of the diaspora in socio-cultural processes was made possible by the universality of its representatives -musicians and artists, who, in foreign cultural environment, not only tried to preserve the best national heritage, but also multiplied them by various cultural and artistic activities. The study of multi-vector and spiritual dimensions of this phenomenon allows to expand the idea of the history of foreign Ukrainians and its mission in the cultural identification of Ukraine in the world civilization arena.