and Fedir Dibrova, Vasil Lyashenko, Dokia Darnopykh, Petro Buhay, and the son of the otaman of the Okhtiskaya stanitsa Mykhailo Teliha (who was shot by the Nazis in 1942 in Kyiv in Babiy Yar), composer of the renowned Cossack March. Bandura making Many of the banduras used in the Kuban were made by Kyiv bandura maker Antin Paplynsky, however, the Kuban also had its own bandura makers such as M. Veres (Saratovskaya stanitsa) G. Huzar (Kanevskaya stanitsa) P. Kikot' (Gelendzhik), Kuzma Nimchenko (Pashkovskaya stanitsa) D. Dykun (Yekaterinodar) S. Tuchinsky (Azovskaya stanitsa). Antin Chorny continued making banduras in Argentina. Initially instruments were diatonically tuned, having some 32 strings. In the mid-1920s chromatic instruments became popular. Significant contributions Three editions of a Bandura primer were published in Moscow by Kuban bandurist Vasyl Shevchenko. The first professional Bandurist Capella was organized in Yekaterinodar in 1917 by Kravchenko under the auspices of the Prosvita organization. This capella existed a year before the establishment of a similar professional bandurist capella in Kyiv in 1918. Many of the members of the Kyiv Bandurist Capella were in fact Kuban Cossacks who had learned to play the bandura in Yekaterinodar. Kuzma Nimchenko made significant contributions to the development of bandura construction in the late 1920s and early 30s. Kuban bandurists were very prominent in the Kyiv bandurist Capella and also in the establishment of bandura groups in Prague and in the Ukrainian diaspora. Early 20th century After the 1902 Archeological conference in Kharkiv, Ukrainian Intellectuals seized the opportunity to use the bandura as a tool for fighting aspsects of the Tsarist regime and as a tool for Ukrainianization. Such prominent writers as Olena Pchilka and Hnat Khotkevych noted the importance of using the bandura as a way of affirming national rights. A result, the Imperial government officials in the Kuban negatively reacted to the rise in the popularity of the bandura. In the 1920 and early 30s however the bandura flourished in the Kuban. A significant number of Kuban bandurists who had emigrated to the West continued to perform. However, as part of the de-ukrainisation of the Kuban that was implemented in 1930, many of the bandurists such as Svirid Sotnichenko, Konon Bezchasny, Mykola Bohuslavsky were arrested and received terms of imprisonment of 5–10 years or exile. Many more were purged in the Yezhovschina wave of repressions in 1937-38. The Bandura in the Kuban today Today the art