In surveying the Doukhobor cultural history, one must conclude that the culture changed from one recorded through an oral a capella singing one in which history and literate culture were preserved by rote, to one that embraced all of the modern means of communication and preservation as they became available.

When the Doukhobors experienced the break up of the communal system and young people were more or less forced to mingle with the non-Doukhobor society through schools and work, there was an outburst of Doukhobor cultural activity rather than what might be expected, an absorption into the prevalent mainstream Canadian culture.

One direct result of interaction with the broader Canadian society led to the open use of musical instruments and available recording techniques to create an indigenous recording industry that created stars of performers throughout the Doukhobor community. Most of them originated in British Columbia and performed locally, but some also toured throughout Alberta and Saskatchewan. In Saskatchewan, they were also quick to begin singing in the English language as well as Russian and Ukrainian and some even found employment performing for dances and programs on the early radio stations of the day. The performers also recorded Russian and Doukhobor songs, and as the Doukhobors obtained record players and vechurooshki [evening socials which often featured group singing] became less frequent, a market was created to satisfy a craving for Russian language recordings, both for the elders and the youth, who looked upon the performers as role models. The other development occurred on a more spiritual plain.

Concurrent with the advent of recording techniques, activities of the B.C. Interior choirs were stimulated which led to the recording of traditional hymns and songs in the old style. These too found a market, within the general public as well as Doukhobor fans, and no doubt also encouraged participation in the choirs.

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