48 10 2543 https://collections.ukrfolk.ca/files/original/867eccbe1680505faf734c71dc73c4a0.jpg bf35c2648ccbc136c3e7e2e9cfb8c45a https://collections.ukrfolk.ca/files/original/26445e987892b792db482d4b963196f6.jpg 3b45e94d595067a6962ec64460e19df8 https://collections.ukrfolk.ca/files/original/c54090d8f8d3e00b939792487c786fe8.jpg 87355af1bfc0eee7920ddf977cd05d48 https://collections.ukrfolk.ca/files/original/35c499422085a2ac7dec7178aa2a9287.pdf e92918488348961dd92d3a40a6e2f44b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sluzar Music Score Collection Creator An entity primarily responsible for making the resource Rev. Wolodymyr Sluzar Language A language of the resource Mostly Ukrainian, some items are in Church Slavonic, English, German, Greek, Latin, Polish or Russian Description An account of the resource The Sluzar Music Score is a collection of over 1,600 handwritten, copied and printed sheet music items and musical scores, and it contains more than 2,500 individual songs. The collection was donated to the Bohdan Medwidsky Ukrainian Folklore Archives at the University of Alberta in 2011 by Dr. Roman Sluzar, son of late Reverend Wolodymyr Sluzar. This phase of the project focuses on the approximately 500 handwritten scores. <h4> Who can benefit from the Sluzar Music Score collection?</h4> Anyone! For the performer and music lover alike, this collection is a veritable treasure trove of information and musical enjoyment. Choir directors, music enthusiasts and fans of Ukrainian music are welcome to use this special collection and perform these unique pieces of composition. <h4> Content</h4> This collection contains a unique variety of musical genres – from folk songs to opera and operetta scores, and from classical to liturgical and spiritual songs. Most of the pieces are arranged for choral performance; however, many solos, duets, quartets, and even instrumental arrangements are included as well. <h4> History and Scope</h4> The collection spans nearly a century in its compositions and publications, from the late 1800s to the end of the 20th century. Its songs reflect the incredibly rich historical legacy of the Ukrainian people and chronicle events from Cossack and chumak times all the way to the World Wars of the 1900s. The collection also strongly reflects the customs and traditions of the Ukrainian people through its assortment of folk songs – from hahilky and Kupalo songs to koliadky and shchedrivky. Moreover, the Sluzar Music Fonds does not exclusively house Ukrainian music; it also includes songs written in Russian, Latin, Church Slavonic, Polish, German, and Greek. The handwritten items in the collection are particularly beautiful, and many of them contain meticulous and detailed annotations about the items’ origins and date of creation. For instance, one handwritten booklet sports the note: “1.5.1950, 10:45pm” (item 60), while another boasts that it was “written: 24/XII at 9pm-2am, 1943” (item 568). <h4>Reverend Wolodymyr Sluzar</h4> Rev. Wolodymyr Sluzar was born in Chunkiv, Bukovyna in 1895 and immigrated to Canada in 1923. He was ordained shortly after his arrival and served in several parishes in Saskatchewan before moving to Montreal to establish the first Ukrainian Orthodox parish in Eastern Canada. He retired in 1972 and died in December of 1976. As well as being an ordained priest, Rev. Sluzar was a choral conductor, and so his personal collection of sheet music is extensive. Aside from his music score collection, the Bohdan Medwidsky Ukrainian Folklore Archives acquired Rev. Sluzar's music library that contains hundreds of publications about Ukrainian music, composers, collections of songs, etc. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant late 1800s to the end of the 20th century Is Part Of A related resource in which the described resource is physically or logically included. Sluzar Fonds Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Dr. Roman Sluzar, son of Rev. Wolodymyr Sluzar donated the collection to the Bohdan Medwidsky Ukrainian Folklore Archives in 2011. Identifier An unambiguous reference to the resource within a given context Accession number: UF2011.66 Music Score Custom type for the Ukrainian Folklore Archives First Line First line of the song in the original language Огні горять First line transliterated Transliteration of the first line according to the Library of Congress transliteration rules, if the original is in non-Latin alphabet (e.g. Ukrainian) Ohni horiat' Composer A name of the individual(s) or corporate body(s) responsible for creating the musical content of the work Vorobkevych, Izydor Lyricist A name of the individual(s) or corporate body(s) responsible for creating the lyrics of text of the work Shevchenko, Taras Medium of Performance Voices and instruments used in the piece of music choral (male) Time Signature 4/4 Starting Tempo con motto Key C sharp min Note Note: Montreal, QUE, 13.4.1949, o.V.S. Accession Number A unique number for the item in the Bohdan Medwidsky Ukrainian Folklore Archives UF2011.66.t213 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Огні горять Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Ohni horiat' Language A language of the resource Ukrainian Format The file format, physical medium, or dimensions of the resource Handwritten Subject The topic of the resource youth part songs sorrow музика надія очі плач танець https://collections.ukrfolk.ca/files/original/81ba33fdf9c162934135776920b1da64.jpg 6d09fd6fc953f0a83636ce1c7d8cb8bf https://collections.ukrfolk.ca/files/original/870ce12181bb7686740cb5f3fef943ea.jpg 87e3629a40d7d874ec353ba0a7bd57f7 https://collections.ukrfolk.ca/files/original/5a35b3b40d587f444a9d6b2a7af7f403.pdf ef08dc760eab361b02386da6c4e4d5e4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sluzar Music Score Collection Creator An entity primarily responsible for making the resource Rev. Wolodymyr Sluzar Language A language of the resource Mostly Ukrainian, some items are in Church Slavonic, English, German, Greek, Latin, Polish or Russian Description An account of the resource The Sluzar Music Score is a collection of over 1,600 handwritten, copied and printed sheet music items and musical scores, and it contains more than 2,500 individual songs. The collection was donated to the Bohdan Medwidsky Ukrainian Folklore Archives at the University of Alberta in 2011 by Dr. Roman Sluzar, son of late Reverend Wolodymyr Sluzar. This phase of the project focuses on the approximately 500 handwritten scores. <h4> Who can benefit from the Sluzar Music Score collection?</h4> Anyone! For the performer and music lover alike, this collection is a veritable treasure trove of information and musical enjoyment. Choir directors, music enthusiasts and fans of Ukrainian music are welcome to use this special collection and perform these unique pieces of composition. <h4> Content</h4> This collection contains a unique variety of musical genres – from folk songs to opera and operetta scores, and from classical to liturgical and spiritual songs. Most of the pieces are arranged for choral performance; however, many solos, duets, quartets, and even instrumental arrangements are included as well. <h4> History and Scope</h4> The collection spans nearly a century in its compositions and publications, from the late 1800s to the end of the 20th century. Its songs reflect the incredibly rich historical legacy of the Ukrainian people and chronicle events from Cossack and chumak times all the way to the World Wars of the 1900s. The collection also strongly reflects the customs and traditions of the Ukrainian people through its assortment of folk songs – from hahilky and Kupalo songs to koliadky and shchedrivky. Moreover, the Sluzar Music Fonds does not exclusively house Ukrainian music; it also includes songs written in Russian, Latin, Church Slavonic, Polish, German, and Greek. The handwritten items in the collection are particularly beautiful, and many of them contain meticulous and detailed annotations about the items’ origins and date of creation. For instance, one handwritten booklet sports the note: “1.5.1950, 10:45pm” (item 60), while another boasts that it was “written: 24/XII at 9pm-2am, 1943” (item 568). <h4>Reverend Wolodymyr Sluzar</h4> Rev. Wolodymyr Sluzar was born in Chunkiv, Bukovyna in 1895 and immigrated to Canada in 1923. He was ordained shortly after his arrival and served in several parishes in Saskatchewan before moving to Montreal to establish the first Ukrainian Orthodox parish in Eastern Canada. He retired in 1972 and died in December of 1976. As well as being an ordained priest, Rev. Sluzar was a choral conductor, and so his personal collection of sheet music is extensive. Aside from his music score collection, the Bohdan Medwidsky Ukrainian Folklore Archives acquired Rev. Sluzar's music library that contains hundreds of publications about Ukrainian music, composers, collections of songs, etc. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant late 1800s to the end of the 20th century Is Part Of A related resource in which the described resource is physically or logically included. Sluzar Fonds Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Dr. Roman Sluzar, son of Rev. Wolodymyr Sluzar donated the collection to the Bohdan Medwidsky Ukrainian Folklore Archives in 2011. Identifier An unambiguous reference to the resource within a given context Accession number: UF2011.66 Music Score Custom type for the Ukrainian Folklore Archives First Line First line of the song in the original language Огні горять, музика грає First line transliterated Transliteration of the first line according to the Library of Congress transliteration rules, if the original is in non-Latin alphabet (e.g. Ukrainian) Ohni horiat', muzyka hraie Composer A name of the individual(s) or corporate body(s) responsible for creating the musical content of the work Vorobkevych, Izydor Arranger A name of the individual(s) or corporate body(s) responsible for transforming the musical content of the work from its original form, genre, instrumentation, etc. to another for publication Liudkevych, Stanislav Lyricist A name of the individual(s) or corporate body(s) responsible for creating the lyrics of text of the work Shevchenko, Taras Medium of Performance Voices and instruments used in the piece of music choral (mixed) Time Signature 4/4 Key C sharp min Note Note: 3.XII.1950 Accession Number A unique number for the item in the Bohdan Medwidsky Ukrainian Folklore Archives UF2011.66.t229-11 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Огні горять Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Ohni horiat' Language A language of the resource Ukrainian Format The file format, physical medium, or dimensions of the resource Handwritten Subject The topic of the resource youth folk dance music sorrow вогонь молодість музика плач сміх танець https://collections.ukrfolk.ca/files/original/92569d483d0bfbdc7154933d7a7391dc.jpg f6eb3d7c8b25553aaa31998abfeb2bb0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource BMUFA Textiles Collection Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Clothing and Textiles Collection Creator An entity primarily responsible for making the resource Various Date Created Date of creation of the resource. 1900-2020 Description An account of the resource 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. 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. 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. 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. 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. (Description created 2022-11-18 by AN) Extent The size or duration of the resource. 726 objects Physical Object An inanimate, three-dimensional object or substance (usually artifact, textile or art object). Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Accession Number A unique number for the item in the Bohdan Medwidsky Ukrainian Folklore Archives UF1991.027.a001 Physical Dimensions The actual physical size of the original image overall: 13,5 cm x 23 cm Location The actual location of the item Textiles: Case 1, Box: Textile 5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Extent The size or duration of the resource. 1 item Type The nature or genre of the resource needlework pattern Title A name given to the resource Samples of embroidery stitches Description An account of the resource Samples of embroidery stitches: zoopchyky, feather stitch, herringbone or cross stitch in green, red, yellow, orange and burgundy colours. Source A related resource from which the described resource is derived Gift of Marsha Sydor https://collections.ukrfolk.ca/files/original/f68bf123c0a61a667e80654ba3f3dc95.jpg d44772d43ca4a692d48a53825bc84d03 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource BMUFA Textiles Collection Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Clothing and Textiles Collection Creator An entity primarily responsible for making the resource Various Date Created Date of creation of the resource. 1900-2020 Description An account of the resource 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. 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. 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. 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. 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. (Description created 2022-11-18 by AN) Extent The size or duration of the resource. 726 objects Physical Object An inanimate, three-dimensional object or substance (usually artifact, textile or art object). Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Accession Number A unique number for the item in the Bohdan Medwidsky Ukrainian Folklore Archives UF1992.028.a030 Physical Dimensions The actual physical size of the original image overall: 60 cm x 104 cm Place created North America: Canada, Alberta, Edmonton Location The actual location of the item Case: Textiles 2, Box: Clothing 5 Additional Notes used Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Extent The size or duration of the resource. 1 item Type The nature or genre of the resource T-shirt Title A name given to the resource Souvenir T-shirt Description An account of the resource White souvenir T-shirt with a graphic of Bart Simpson wearing wide blue trousers with a red sash, called "sharovary" and an embroidered shirt. There is the text bubble on the left side in capital letters that reads: "BART SIMPSKY!!!" and another below in capital letters that reads: "SO WHERE'S THE PEROGIES, DUDE?!" Designed and printed by Veseli Enterprises. Size: L. Manufactured by STARCHEK, Canada. Creator An entity primarily responsible for making the resource Veseli Enterprises Source A related resource from which the described resource is derived Gift of Andriy Nahachewsky https://collections.ukrfolk.ca/files/original/11ac3bc69a0b8934e7a1eb26864fb67b.jpg e5e319485637741215c16e72223ee4cd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource BMUFA Textiles Collection Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Clothing and Textiles Collection Creator An entity primarily responsible for making the resource Various Date Created Date of creation of the resource. 1900-2020 Description An account of the resource 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. 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. 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. 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. 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. (Description created 2022-11-18 by AN) Extent The size or duration of the resource. 726 objects Physical Object An inanimate, three-dimensional object or substance (usually artifact, textile or art object). Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Accession Number A unique number for the item in the Bohdan Medwidsky Ukrainian Folklore Archives UF1992.028.a031 Physical Dimensions The actual physical size of the original image overall: 60 cm x 112 cm Place created North America: Canada, Alberta, Edmonton Location The actual location of the item Textiles: Case 2, Box: Clothing 7 Additional Notes used Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Extent The size or duration of the resource. 1 item Type The nature or genre of the resource T-shirt Title A name given to the resource Souvenir T-shirt Description An account of the resource Neon yellow souvenir T-shirt with a black line drawing the portrait of Grogachev who has a "tryzub" (trident) earring and a birthmark on his forehead in the shape of Ukraine. The text under the head is in black capital letters and reads: "НЕ БІЙТЕСЯ УКОАЇНІЗАЦІЇ ПАНЕ ГОРБАЧУК" [Don't be afraid of Ukrainization Mr. Horbachuk]. Size: L. Manufactured by Mr. Worldpro, Canada. Source A related resource from which the described resource is derived Gift of Andriy Nahachewsky https://collections.ukrfolk.ca/files/original/944f571ac618bb76021bc974c7cceeff.jpg b25b119e849128a8cb48800a731f642b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource BMUFA Textiles Collection Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Clothing and Textiles Collection Creator An entity primarily responsible for making the resource Various Date Created Date of creation of the resource. 1900-2020 Description An account of the resource 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. 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. 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. 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. 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. (Description created 2022-11-18 by AN) Extent The size or duration of the resource. 726 objects Physical Object An inanimate, three-dimensional object or substance (usually artifact, textile or art object). Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Accession Number A unique number for the item in the Bohdan Medwidsky Ukrainian Folklore Archives UF1992.028.a032 Physical Dimensions The actual physical size of the original image overall: 76 cm x 116 cm Place created North America: Canada, Alberta, Edmonton Location The actual location of the item Textiles: Case 2, Box: Clothing 7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Extent The size or duration of the resource. 1 item Type The nature or genre of the resource T-shirt Title A name given to the resource Souvenir T-shirt Description An account of the resource White souvenir T-shirt with a black line drawing of a Kozak that has fallen on the ground after being hit on the head with a soccer ball. Little "tryzubs" circle his head. Text on the ball reads: "V-ball tourney" Text to the right of the graphic in capital letters reads: "ST. MICHAEL'S TRYZUB CYMK". Size: XL. Manufactured by Fruit of the Loom. Source A related resource from which the described resource is derived Gift of Andriy Nahachewsky https://collections.ukrfolk.ca/files/original/dc2515294da75055da04353703c4f784.jpg 1b449dff717d4e02b447333baa231753 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource BMUFA Textiles Collection Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Clothing and Textiles Collection Creator An entity primarily responsible for making the resource Various Date Created Date of creation of the resource. 1900-2020 Description An account of the resource 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. 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. 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. 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. 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. (Description created 2022-11-18 by AN) Extent The size or duration of the resource. 726 objects Physical Object An inanimate, three-dimensional object or substance (usually artifact, textile or art object). Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Accession Number A unique number for the item in the Bohdan Medwidsky Ukrainian Folklore Archives UF1992.028.a033 Physical Dimensions The actual physical size of the original image overall: 10 cm x 31.5 cm x 29 cm Place created North America: Canada, Alberta, Edmonton Location The actual location of the item Textiles: Case 1, Box: Clothing 2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Extent The size or duration of the resource. 1 item Type The nature or genre of the resource hat Title A name given to the resource Ukrainian costume Description An account of the resource Black felt handmade hutsul hat made locally in Edmonton to "Shumka standards" for stage performances. Seven rows of multi-coloured cord are wound around the hat with a grouping of artificial flowers: 1 daisy, 1 yellow flower, 1 cornflower, 1 poppy, glued on the top left side of the brim. Date Created Date of creation of the resource. 1984 Source A related resource from which the described resource is derived Gift of Andriy Nahachewsky https://collections.ukrfolk.ca/files/original/b12c53a06e59e9450262794cfbee65ac.jpg 52090a607b0cb4c6efe6c581bfc9815d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource BMUFA Textiles Collection Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Clothing and Textiles Collection Creator An entity primarily responsible for making the resource Various Date Created Date of creation of the resource. 1900-2020 Description An account of the resource 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. 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. 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. 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. 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. (Description created 2022-11-18 by AN) Extent The size or duration of the resource. 726 objects Physical Object An inanimate, three-dimensional object or substance (usually artifact, textile or art object). Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Accession Number A unique number for the item in the Bohdan Medwidsky Ukrainian Folklore Archives UF1992.028.a034 Materials polyester (fiber) Physical Dimensions The actual physical size of the original image overall: 50 cm x 100 cm Place created Europe: Ukraine Location The actual location of the item Textiles: Case 1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Extent The size or duration of the resource. 1 item Type The nature or genre of the resource pants Title A name given to the resource Ukrainian costume Description An account of the resource White pants from the Moldavian dance called Zhok, which were performed by the Ukrainian Festival Dance Company in Toronto. Sewn to the specifications of the company: wide, straight legs fastened at the waist with a white, twisted drawstring through the waistband. Machine manufactured decorative trim with a geometric design in yellow, red, black and white has been sewn along the outside seam of each leg from waist to hem and around the hem of each leg. The number "25" has been written with a black felt pen on the hem of each leg and on a piece of tape stuck to the inside of the waistband. Source A related resource from which the described resource is derived Gift of Andriy Nahachewsky https://collections.ukrfolk.ca/files/original/1a47b2aea79ee5cb6027a09b5de65a35.jpg 1f81833eb05e0bd670c3fa9b1e07b500 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource BMUFA Textiles Collection Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Clothing and Textiles Collection Creator An entity primarily responsible for making the resource Various Date Created Date of creation of the resource. 1900-2020 Description An account of the resource 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. 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. 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. 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. 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. (Description created 2022-11-18 by AN) Extent The size or duration of the resource. 726 objects Physical Object An inanimate, three-dimensional object or substance (usually artifact, textile or art object). Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Accession Number A unique number for the item in the Bohdan Medwidsky Ukrainian Folklore Archives UF1992.028.a035 Materials leather Physical Dimensions The actual physical size of the original image overall: 82 cm x 10.5 cm Location The actual location of the item Textiles: Case 2, Box: Clothing 13 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Extent The size or duration of the resource. 1 item Type The nature or genre of the resource belt Title A name given to the resource Leather belt Description An account of the resource Belt worn with the pants (UF1992.028.a034) from the Moldavian dance call Zhok Performed by the Ukrainian Festival Dance Company in Toronto. Manufactured to the specifications of the company: Wide dark brown stiff leather with 3 brass buckles that are fastened in the front. Written on the inside with black felt pen: Lukash N. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Worn by Andiy Nahachewsky Source A related resource from which the described resource is derived Gift of Andriy Nahachewsky https://collections.ukrfolk.ca/files/original/d776f4da03c25c6c0d8c10cdb88c8ca1.jpg d8a06700448cf984f6836b4cb4b6a91c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource BMUFA Textiles Collection Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Clothing and Textiles Collection Creator An entity primarily responsible for making the resource Various Date Created Date of creation of the resource. 1900-2020 Description An account of the resource 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. 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. 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. 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. 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. (Description created 2022-11-18 by AN) Extent The size or duration of the resource. 726 objects Physical Object An inanimate, three-dimensional object or substance (usually artifact, textile or art object). Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Accession Number A unique number for the item in the Bohdan Medwidsky Ukrainian Folklore Archives UF1992.028.a036 Physical Dimensions The actual physical size of the original image overall: 38 cm x 90 cm Location The actual location of the item Textiles: Case 1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Extent The size or duration of the resource. 1 item Type The nature or genre of the resource runner Title A name given to the resource Embroidered runner Description An account of the resource Embroidered wall hanging which looks like 1/2 of a rushnyk. Created on hand-woven raw lined. Embroidery is in red and black created directly onto the cloth counting 3 x 3 threads. The lower half is a variety of floral and grape motifs in horizontal rows. The top half is a graphic depiction of two love birds sitting on a branch. The bottom hem is trimmed with hand-crochet lace. Embroidery stitch: cross stitch. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. This piece was gifted to Andriy Nahachewsky by Professor Skrypka (relative of Tamara Bulat and Taras Filenko - musicologists: Lilea Wolanska) who was visiting guest lecturer from Ukraine in the late 1980s. Source A related resource from which the described resource is derived Gift of Andriy Nahachewsky