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                <text>Z Ukrains'kykh Stepiv / Maksym Kozak Zalizniak</text>
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                <text>Emetz, Wasyl</text>
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                <text>Columbia</text>
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                <text>Oi Divchyno Shumyt' Hai / Pobredu Po Bredu</text>
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                <text>Oh, Girl Forest Whispering / Knee-Deep Into Goose-Foot</text>
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                <text>1 sound disc : analog, 78 rpm record, 10 in.</text>
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                <text>Vielleicht Sag' Ich Ja / Auf Wiederseh'n , Leb' Wohl!</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Evens, Joan</text>
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                <text>London Records</text>
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                <text>1 sound disc : analog, 78 rpm record, 10 in.</text>
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                  <text>Textiles are used for keeping warm and for producing useful objects, but they are also cultural artifacts that can speak powerfully about the people who made and used them, as well as about the cultural context. &lt;br /&gt;&lt;br /&gt;The BMUFA Textile Collection is eclectic, exemplifying a broad variety of items, contexts, and uses, whose main common feature is that they can be understood as symbolically Ukrainian. The collection thereby includes a number of cloths and garments that originate in traditional villages in Ukraine, part of the older vernacular culture, being hand woven, sewn, and embroidered to make them more beautiful for everyday or holiday occasions. They are no longer used in this way and have become "heritage," thought of primarily as artifacts illustrating Ukrainian regional embroidery patterns and clothing styles. Some of these garments and cloths were transported to Canada during the first wave of immigration 1891-1914, others came with immigrants of later waves or were bought more recently by Canadian tourists in Ukraine who acquired them as beautiful heritage objects. &lt;br /&gt;&lt;br /&gt;A larger part of the collection consists of textiles made specifically as ethnic symbols, either in Ukraine, Canada, or elsewhere. A large collection of Ukrainian Canadian embroidered and woven pillowcases, for example, was made purposefully to beautify and to Ukrainianize Ukrainian Canadian homes. Documented and researched extensively by Larisa Sembaliuk Cheladyn, such embroidery work was encouraged by the leadership of the Ukrainian national movement in Canada and internationally, through magazines, community workshops, and by word of mouth. Thousands of pillowcases and embroidery samplers were created by women all across Canada and throughout the twentieth century as expressive ethnic and art objects. This collection contains a wide variety of patterns and styles, technological and aesthetic concerns. Other items made explicitly as ethnic symbols include theatrical costumes for Ukrainian staged-folk dance, for New Year’s celebration performances (Malanka), or for elegant balls. &lt;br /&gt;&lt;br /&gt;The textile collection is also quite rich in ethnic pop culture textiles, including T-shirts and baseball caps emblazoned with a variety of Ukrainian themes, faux-embroidery printed tablecloths, and other commercial and kitsch products of the ethnic revival in North America. The collection is particular in that it has assembled clusters of items from single individuals or families, such as Elizabeth Holinaty, a renowned weaver, reconstructor, and textile artist in Edmonton; the Onufrijchuk family of Yorkton and Winnipeg, who were engaged in the sub-culture of the post WW2 Ukrainian community; and several others. Each of these focuses more or less on a particular cluster of activities, aesthetic preferences, and local variations within Ukrainian Canadian culture. &lt;br /&gt;&lt;br /&gt;A few items in the BMUFA textile collection derive from the Ukrainian diaspora communities in Brazil, the former Yugoslavia, or were produced elsewhere in the international market of ethnic fare.&lt;br /&gt;&lt;br /&gt;&lt;em&gt;(Description created 2022-11-18 by AN)&lt;/em&gt;</text>
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              <text>cotton (textile)</text>
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              <text>machine-made</text>
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              <text>screen printing</text>
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              <text>red</text>
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              <text>overall: 66 cm x 78 cm</text>
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              <text>Textiles: Case 2, Shelf 4</text>
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          <name>Accession Number</name>
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              <text>UF2024.008.a006</text>
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            <description>A name given to the resource</description>
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                <text>Souvenir T-shirt</text>
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            <name>Creator</name>
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                <text>Evergreen</text>
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                <text>White souvenir T-shirt with a red screen printed graphic depicting two dancers in the centre. The dancer on the viewer’s left is a woman standing with her hands extended to the right. The dancer on the right is a man crouching on one leg, with the other leg extended and his arms crossed. Above the dancers is red lettering reading “ЧОТИРИ” [Four] and below the dancers is red lettering reading “NYRBAM, AB”. Size: L. Manufactured by Evergreen, Canada. </text>
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                <text>Gift of Jason Golinowski</text>
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                  <text>Textiles are used for keeping warm and for producing useful objects, but they are also cultural artifacts that can speak powerfully about the people who made and used them, as well as about the cultural context. &lt;br /&gt;&lt;br /&gt;The BMUFA Textile Collection is eclectic, exemplifying a broad variety of items, contexts, and uses, whose main common feature is that they can be understood as symbolically Ukrainian. The collection thereby includes a number of cloths and garments that originate in traditional villages in Ukraine, part of the older vernacular culture, being hand woven, sewn, and embroidered to make them more beautiful for everyday or holiday occasions. They are no longer used in this way and have become "heritage," thought of primarily as artifacts illustrating Ukrainian regional embroidery patterns and clothing styles. Some of these garments and cloths were transported to Canada during the first wave of immigration 1891-1914, others came with immigrants of later waves or were bought more recently by Canadian tourists in Ukraine who acquired them as beautiful heritage objects. &lt;br /&gt;&lt;br /&gt;A larger part of the collection consists of textiles made specifically as ethnic symbols, either in Ukraine, Canada, or elsewhere. A large collection of Ukrainian Canadian embroidered and woven pillowcases, for example, was made purposefully to beautify and to Ukrainianize Ukrainian Canadian homes. Documented and researched extensively by Larisa Sembaliuk Cheladyn, such embroidery work was encouraged by the leadership of the Ukrainian national movement in Canada and internationally, through magazines, community workshops, and by word of mouth. Thousands of pillowcases and embroidery samplers were created by women all across Canada and throughout the twentieth century as expressive ethnic and art objects. This collection contains a wide variety of patterns and styles, technological and aesthetic concerns. Other items made explicitly as ethnic symbols include theatrical costumes for Ukrainian staged-folk dance, for New Year’s celebration performances (Malanka), or for elegant balls. &lt;br /&gt;&lt;br /&gt;The textile collection is also quite rich in ethnic pop culture textiles, including T-shirts and baseball caps emblazoned with a variety of Ukrainian themes, faux-embroidery printed tablecloths, and other commercial and kitsch products of the ethnic revival in North America. The collection is particular in that it has assembled clusters of items from single individuals or families, such as Elizabeth Holinaty, a renowned weaver, reconstructor, and textile artist in Edmonton; the Onufrijchuk family of Yorkton and Winnipeg, who were engaged in the sub-culture of the post WW2 Ukrainian community; and several others. Each of these focuses more or less on a particular cluster of activities, aesthetic preferences, and local variations within Ukrainian Canadian culture. &lt;br /&gt;&lt;br /&gt;A few items in the BMUFA textile collection derive from the Ukrainian diaspora communities in Brazil, the former Yugoslavia, or were produced elsewhere in the international market of ethnic fare.&lt;br /&gt;&lt;br /&gt;&lt;em&gt;(Description created 2022-11-18 by AN)&lt;/em&gt;</text>
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              <description>The size or duration of the resource.</description>
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          <name>Accession Number</name>
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              <text>UF2022.004.033.a023</text>
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              <text>overall: 30 cm x 36 cm</text>
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          <description>The actual location of the item</description>
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              <text>Box: Textile 8</text>
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            <description>The size or duration of the resource.</description>
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            <description>The nature or genre of the resource</description>
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            <description>A name given to the resource</description>
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                <text>Embroidered pillowcase</text>
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                <text>A medium pillowcase, entirely embroidered on one side in star-like patterns of green, yellow, burgundy and black cross stitch.</text>
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          </element>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Ewasiuk, Clara</text>
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                <text>Embroidered by Victoria Zukiwsky's sister, Clara Ewasiuk, a member of the Ukrainian Women's Association of Canada at Holy Trinity Cathedral in Saskatoon, SK.</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Gift of Victoria Zukiwsky</text>
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          <name>Accession Number</name>
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              <text>UF2022.004.038.a001</text>
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          <description>The actual physical size of the original image</description>
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          <description>The actual location of the item</description>
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            <description>An account of the resource</description>
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                <text>A pillowcase is solidly embroidered on one side with concentric eight-pointed stars in a multitude of neon colours, all different from each other, intersecting with large green crosses and smaller white ones. The edges are decorated with a stripe of small red crosses inside diamonds on a green field framed with black lines. The closure is on the bottom edge and damaged. The backside is black fabric. Embroidery stitch: cross stitch.</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Fedak (Paradowski), Anastasia</text>
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            <description>Date of creation of the resource.</description>
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                <text>ca. 1960</text>
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                <text>Made by Anastasia Fedak (nee Paradowski) of Buchanan, Saskatchewan who immigrated to Canada in 1921 from Uvysla, a village in the Ternopil region of Ukraine. She, her husband John, one daughter farmed 5 miles north of Buchanan. Their daughter Josephine (Yustyna) married Stephen Talpash formerly of Ethelbert, Manitoba. The cushion was made as a gift for granddaughter Lesia Perritt, nee Talpash, who never liked the cushion for its pastel and gaudy colours. She believed it should have been made of more traditional colours such as red and black. The last owner before donating it to BMUFA was Anastasia's granddaughter, Lesia Perritt.</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Gift of Lesia Perrit</text>
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                <text>But for the Fences / There's Flax on the Hill</text>
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            <description>An alternative name for the resource. The distinction between titles and alternative titles is application-specific.</description>
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                <text>Iak By Meni Ne Tynochky / Oi, Na Pori L'on</text>
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                <text>Folk Instrumental Ensemble</text>
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                <text>A. Ivanov</text>
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                <text>Aprelevskii Zavod</text>
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                <text>1 sound disc : analog, 78 rpm record, 10 in.</text>
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