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                  <text>The Bohdan Medwidsky Ukrainian Folklore Archives (BMUFA) hosts a diverse collection of artifacts showcasing the multifaceted cultural heritage of Ukraine and its diaspora in Canada. This repository houses more than 400 objects categorized into two primary groups.&#13;
&#13;
The first category comprises an assortment of souvenirs sourced from Ukraine, ranging from tobacco pipes and Hutsul hatchets to intricately designed jewelry boxes and fridge magnets.&#13;
&#13;
The second group encompasses handcrafted pieces by Ukrainian Canadians, featuring motifs such as Easter eggs (pysanky) and ceramic artworks. Notably, the collection includes badges and pins associated primarily with local Canadian dance ensembles.&#13;
&#13;
This collection highlights a series of ceramics exhibiting patterns reminiscent of cross-stitching, prevalent in North America during the 1960s. These ornate works, adorned with pasted embroidery, vary from children's toys to functional household items like dishes and sizable vases. Possessing such pieces symbolized a sense of national belonging, fostering a connection with Ukrainian culture across generations of Ukrainian Canadians.&#13;
&#13;
Easter, a significant celebration for Ukrainians and Ukrainian Canadians, is marked by the tradition of painting pysanky. The BMUFA holds a diverse collection of these intricately adorned eggs, ranging from traditional symbolic designs on chicken eggs to more unconventional examples, such as carvings on ostrich eggs. One extraordinary instance includes five goose eggs utilized by Lorenz Kenakin to depict portraits of Cossack hetmans, heroic figures from 16th to 18th-century Ukrainian history.&#13;
&#13;
BMUFA Artifact Collection remains ongoing, periodically enriched with new descriptions and additions.</text>
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              <text>overall: 26 cm x 16 cm</text>
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                <text>Meron Sembaliuk; Paul Sembaliuk</text>
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                <text>Goat mask cut from cardboard. The face is drawn on with felt pens</text>
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                <text>This mask was made in December of 1988 by Paul Sembaliuk and his son Meron Sembaliuk. It was worn by one of the mummers that performed at the January 1989 faculty Club Malanka at the University of Alberta</text>
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                  <text>The Bohdan Medwidsky Ukrainian Folklore Archives (BMUFA) hosts a diverse collection of artifacts showcasing the multifaceted cultural heritage of Ukraine and its diaspora in Canada. This repository houses more than 400 objects categorized into two primary groups.&#13;
&#13;
The first category comprises an assortment of souvenirs sourced from Ukraine, ranging from tobacco pipes and Hutsul hatchets to intricately designed jewelry boxes and fridge magnets.&#13;
&#13;
The second group encompasses handcrafted pieces by Ukrainian Canadians, featuring motifs such as Easter eggs (pysanky) and ceramic artworks. Notably, the collection includes badges and pins associated primarily with local Canadian dance ensembles.&#13;
&#13;
This collection highlights a series of ceramics exhibiting patterns reminiscent of cross-stitching, prevalent in North America during the 1960s. These ornate works, adorned with pasted embroidery, vary from children's toys to functional household items like dishes and sizable vases. Possessing such pieces symbolized a sense of national belonging, fostering a connection with Ukrainian culture across generations of Ukrainian Canadians.&#13;
&#13;
Easter, a significant celebration for Ukrainians and Ukrainian Canadians, is marked by the tradition of painting pysanky. The BMUFA holds a diverse collection of these intricately adorned eggs, ranging from traditional symbolic designs on chicken eggs to more unconventional examples, such as carvings on ostrich eggs. One extraordinary instance includes five goose eggs utilized by Lorenz Kenakin to depict portraits of Cossack hetmans, heroic figures from 16th to 18th-century Ukrainian history.&#13;
&#13;
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              <text>overall: 22 cm x 14 cm</text>
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              <text>UF2014.013.a015</text>
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                <text>Meron Sembaliuk; Paul Sembaliuk</text>
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            <description>Date of creation of the resource.</description>
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                <text>This mask was made in December of 1988 by Paul Sembaliuk and his son Meron Sembaliuk. It was worn by one of the mummers that performed at the January 1989 faculty Club Malanka at the University of Alberta</text>
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                  <text>The Bohdan Medwidsky Ukrainian Folklore Archives (BMUFA) hosts a diverse collection of artifacts showcasing the multifaceted cultural heritage of Ukraine and its diaspora in Canada. This repository houses more than 400 objects categorized into two primary groups.&#13;
&#13;
The first category comprises an assortment of souvenirs sourced from Ukraine, ranging from tobacco pipes and Hutsul hatchets to intricately designed jewelry boxes and fridge magnets.&#13;
&#13;
The second group encompasses handcrafted pieces by Ukrainian Canadians, featuring motifs such as Easter eggs (pysanky) and ceramic artworks. Notably, the collection includes badges and pins associated primarily with local Canadian dance ensembles.&#13;
&#13;
This collection highlights a series of ceramics exhibiting patterns reminiscent of cross-stitching, prevalent in North America during the 1960s. These ornate works, adorned with pasted embroidery, vary from children's toys to functional household items like dishes and sizable vases. Possessing such pieces symbolized a sense of national belonging, fostering a connection with Ukrainian culture across generations of Ukrainian Canadians.&#13;
&#13;
Easter, a significant celebration for Ukrainians and Ukrainian Canadians, is marked by the tradition of painting pysanky. The BMUFA holds a diverse collection of these intricately adorned eggs, ranging from traditional symbolic designs on chicken eggs to more unconventional examples, such as carvings on ostrich eggs. One extraordinary instance includes five goose eggs utilized by Lorenz Kenakin to depict portraits of Cossack hetmans, heroic figures from 16th to 18th-century Ukrainian history.&#13;
&#13;
BMUFA Artifact Collection remains ongoing, periodically enriched with new descriptions and additions.</text>
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              <text>overall: 12 cm diameter</text>
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              <text>At the time of it's use in the 1980s, the artifact was referred to as a  "Gypsy's Crystal Ball". This description is no longer acceptable, however, in order to preserve provenance, it remains in our records. More appropriately referred to as a "Fortune Teller's Crystal Ball". </text>
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              <text>UF2014.013.a018</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Meron Sembaliuk; Paul Sembaliuk</text>
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            <description>Date of creation of the resource.</description>
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                <text>Gypsy’s crystal ball – made of paper mache and covered with aluminum foil.</text>
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            <name>Provenance</name>
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                <text>This object was made in December in 1988 by Paul Sembaliuk and his son Meron Sembaliuk. It was used by the mummers that performed at the January 1989 faculty Club Malanka at the University of Alberta</text>
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                  <text>The Bohdan Medwidsky Ukrainian Folklore Archives (BMUFA) hosts a diverse collection of artifacts showcasing the multifaceted cultural heritage of Ukraine and its diaspora in Canada. This repository houses more than 400 objects categorized into two primary groups.&#13;
&#13;
The first category comprises an assortment of souvenirs sourced from Ukraine, ranging from tobacco pipes and Hutsul hatchets to intricately designed jewelry boxes and fridge magnets.&#13;
&#13;
The second group encompasses handcrafted pieces by Ukrainian Canadians, featuring motifs such as Easter eggs (pysanky) and ceramic artworks. Notably, the collection includes badges and pins associated primarily with local Canadian dance ensembles.&#13;
&#13;
This collection highlights a series of ceramics exhibiting patterns reminiscent of cross-stitching, prevalent in North America during the 1960s. These ornate works, adorned with pasted embroidery, vary from children's toys to functional household items like dishes and sizable vases. Possessing such pieces symbolized a sense of national belonging, fostering a connection with Ukrainian culture across generations of Ukrainian Canadians.&#13;
&#13;
Easter, a significant celebration for Ukrainians and Ukrainian Canadians, is marked by the tradition of painting pysanky. The BMUFA holds a diverse collection of these intricately adorned eggs, ranging from traditional symbolic designs on chicken eggs to more unconventional examples, such as carvings on ostrich eggs. One extraordinary instance includes five goose eggs utilized by Lorenz Kenakin to depict portraits of Cossack hetmans, heroic figures from 16th to 18th-century Ukrainian history.&#13;
&#13;
BMUFA Artifact Collection remains ongoing, periodically enriched with new descriptions and additions.</text>
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              <elementTextContainer>
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                  <text>315 objects</text>
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    </collection>
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      <name>Physical Object</name>
      <description>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.</description>
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          <description/>
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              <text>North America: Canada, Alberta, Edmonton</text>
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          <name>Materials</name>
          <description/>
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              <text>nylon</text>
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          <description>The actual physical size of the original image</description>
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              <text>overall: 80 cm x 2 cm</text>
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          <name>Note</name>
          <description/>
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              <text>At the time of it's use in the 1980s, the artifact was referred to as a  "Coolie's Braid". This description is no longer acceptable, however, in order to preserve provenance, it remains in our records. More appropriately referred to as a "Braid". </text>
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          <name>Location</name>
          <description>The actual location of the item</description>
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              <text>Artifacts: Case 5, Shelf 0, Box 17</text>
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          <name>Accession Number</name>
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              <text>UF2014.013.a020</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>"Coolie's" braid</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Meron Sembaliuk; Paul Sembaliuk</text>
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            <name>Date Created</name>
            <description>Date of creation of the resource.</description>
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                <text>1988</text>
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                <text>Chinese coolie’s braid made from dark grey pantyhose, and attached to the costume with a safety pin. Mummer unknown</text>
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          </element>
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            <name>Provenance</name>
            <description>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.</description>
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                <text>This item was made in December of 1988 by Paul Sembaliuk and his son Meron Sembaliuk. It was worn by one of the mummers that performed at the January 1989 faculty Club Malanka at the University of Alberta</text>
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              <description>An account of the resource</description>
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                  <text>The Bohdan Medwidsky Ukrainian Folklore Archives (BMUFA) hosts a diverse collection of artifacts showcasing the multifaceted cultural heritage of Ukraine and its diaspora in Canada. This repository houses more than 400 objects categorized into two primary groups.&#13;
&#13;
The first category comprises an assortment of souvenirs sourced from Ukraine, ranging from tobacco pipes and Hutsul hatchets to intricately designed jewelry boxes and fridge magnets.&#13;
&#13;
The second group encompasses handcrafted pieces by Ukrainian Canadians, featuring motifs such as Easter eggs (pysanky) and ceramic artworks. Notably, the collection includes badges and pins associated primarily with local Canadian dance ensembles.&#13;
&#13;
This collection highlights a series of ceramics exhibiting patterns reminiscent of cross-stitching, prevalent in North America during the 1960s. These ornate works, adorned with pasted embroidery, vary from children's toys to functional household items like dishes and sizable vases. Possessing such pieces symbolized a sense of national belonging, fostering a connection with Ukrainian culture across generations of Ukrainian Canadians.&#13;
&#13;
Easter, a significant celebration for Ukrainians and Ukrainian Canadians, is marked by the tradition of painting pysanky. The BMUFA holds a diverse collection of these intricately adorned eggs, ranging from traditional symbolic designs on chicken eggs to more unconventional examples, such as carvings on ostrich eggs. One extraordinary instance includes five goose eggs utilized by Lorenz Kenakin to depict portraits of Cossack hetmans, heroic figures from 16th to 18th-century Ukrainian history.&#13;
&#13;
BMUFA Artifact Collection remains ongoing, periodically enriched with new descriptions and additions.</text>
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          <description/>
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          <name>Physical Dimensions</name>
          <description>The actual physical size of the original image</description>
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              <text>overall: 23 cm x 16 cm x 11 cm</text>
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          <description>The actual location of the item</description>
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              <text>Artifacts: Case 5, Shelf 0, Box 18</text>
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          </elementTextContainer>
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          <name>Accession Number</name>
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              <text>UF2014.013.a001</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Malanka mask</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>Meron Sembaliuk; Sembaliuk, Paul</text>
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            <name>Date Created</name>
            <description>Date of creation of the resource.</description>
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          </element>
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            <description>An account of the resource</description>
            <elementTextContainer>
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                <text>Paper mache Malanka mask with silk flowers on the wreath, and satin ribbons. Originally worn by Mark Ferbey</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="106">
            <name>Provenance</name>
            <description>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.</description>
            <elementTextContainer>
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                <text>This mask was made in December of 1988 by Paul Sembaliuk and his son Meron Sembaliuk. It was worn by one of the mummers that performed at the January 1989 faculty Club Malanka at the University of Alberta</text>
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                  <text>The Bohdan Medwidsky Ukrainian Folklore Archives (BMUFA) hosts a diverse collection of artifacts showcasing the multifaceted cultural heritage of Ukraine and its diaspora in Canada. This repository houses more than 400 objects categorized into two primary groups.&#13;
&#13;
The first category comprises an assortment of souvenirs sourced from Ukraine, ranging from tobacco pipes and Hutsul hatchets to intricately designed jewelry boxes and fridge magnets.&#13;
&#13;
The second group encompasses handcrafted pieces by Ukrainian Canadians, featuring motifs such as Easter eggs (pysanky) and ceramic artworks. Notably, the collection includes badges and pins associated primarily with local Canadian dance ensembles.&#13;
&#13;
This collection highlights a series of ceramics exhibiting patterns reminiscent of cross-stitching, prevalent in North America during the 1960s. These ornate works, adorned with pasted embroidery, vary from children's toys to functional household items like dishes and sizable vases. Possessing such pieces symbolized a sense of national belonging, fostering a connection with Ukrainian culture across generations of Ukrainian Canadians.&#13;
&#13;
Easter, a significant celebration for Ukrainians and Ukrainian Canadians, is marked by the tradition of painting pysanky. The BMUFA holds a diverse collection of these intricately adorned eggs, ranging from traditional symbolic designs on chicken eggs to more unconventional examples, such as carvings on ostrich eggs. One extraordinary instance includes five goose eggs utilized by Lorenz Kenakin to depict portraits of Cossack hetmans, heroic figures from 16th to 18th-century Ukrainian history.&#13;
&#13;
BMUFA Artifact Collection remains ongoing, periodically enriched with new descriptions and additions.</text>
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              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
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              <description>Date of creation of the resource.</description>
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              <description>The size or duration of the resource.</description>
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      <description>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.</description>
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          <description/>
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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>A unique number for the item in the Bohdan Medwidsky Ukrainian Folklore Archives</description>
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            <description>A name given to the resource</description>
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                <text>Sun God mask</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>Meron Sembaliuk; Sembaliuk, Paul</text>
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            <description>Date of creation of the resource.</description>
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                <text>1988</text>
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            <description>An account of the resource</description>
            <elementTextContainer>
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                <text>Sun God mask made of paper mache in the shape of a large star. Painted in gold, yellow, and cotton batting attached to the back to look like the hair. Worn by Ihor Hlushok</text>
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            <elementTextContainer>
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                <text>This mask was made in December of 1988 by Paul Sembaliuk and his son Meron Sembaliuk. It was worn by one of the mummers that performed at the January 1989 faculty Club Malanka at the University of Alberta</text>
              </elementText>
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&#13;
The first category comprises an assortment of souvenirs sourced from Ukraine, ranging from tobacco pipes and Hutsul hatchets to intricately designed jewelry boxes and fridge magnets.&#13;
&#13;
The second group encompasses handcrafted pieces by Ukrainian Canadians, featuring motifs such as Easter eggs (pysanky) and ceramic artworks. Notably, the collection includes badges and pins associated primarily with local Canadian dance ensembles.&#13;
&#13;
This collection highlights a series of ceramics exhibiting patterns reminiscent of cross-stitching, prevalent in North America during the 1960s. These ornate works, adorned with pasted embroidery, vary from children's toys to functional household items like dishes and sizable vases. Possessing such pieces symbolized a sense of national belonging, fostering a connection with Ukrainian culture across generations of Ukrainian Canadians.&#13;
&#13;
Easter, a significant celebration for Ukrainians and Ukrainian Canadians, is marked by the tradition of painting pysanky. The BMUFA holds a diverse collection of these intricately adorned eggs, ranging from traditional symbolic designs on chicken eggs to more unconventional examples, such as carvings on ostrich eggs. One extraordinary instance includes five goose eggs utilized by Lorenz Kenakin to depict portraits of Cossack hetmans, heroic figures from 16th to 18th-century Ukrainian history.&#13;
&#13;
BMUFA Artifact Collection remains ongoing, periodically enriched with new descriptions and additions.</text>
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              <description>An entity primarily responsible for making the resource</description>
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              <text>UF2014.013.a003</text>
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                <text>This mask was made in December of 1988 by Paul Sembaliuk and his son Meron Sembaliuk. It was worn by one of the mummers that performed at the January 1989 faculty Club Malanka at the University of Alberta</text>
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&#13;
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This collection highlights a series of ceramics exhibiting patterns reminiscent of cross-stitching, prevalent in North America during the 1960s. These ornate works, adorned with pasted embroidery, vary from children's toys to functional household items like dishes and sizable vases. Possessing such pieces symbolized a sense of national belonging, fostering a connection with Ukrainian culture across generations of Ukrainian Canadians.&#13;
&#13;
Easter, a significant celebration for Ukrainians and Ukrainian Canadians, is marked by the tradition of painting pysanky. The BMUFA holds a diverse collection of these intricately adorned eggs, ranging from traditional symbolic designs on chicken eggs to more unconventional examples, such as carvings on ostrich eggs. One extraordinary instance includes five goose eggs utilized by Lorenz Kenakin to depict portraits of Cossack hetmans, heroic figures from 16th to 18th-century Ukrainian history.&#13;
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                <text>This mask was made in December of 1988 by Paul Sembaliuk and his son Meron Sembaliuk. It was worn by one of the mummers that performed at the January 1989 faculty Club Malanka at the University of Alberta</text>
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&#13;
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&#13;
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&#13;
Easter, a significant celebration for Ukrainians and Ukrainian Canadians, is marked by the tradition of painting pysanky. The BMUFA holds a diverse collection of these intricately adorned eggs, ranging from traditional symbolic designs on chicken eggs to more unconventional examples, such as carvings on ostrich eggs. One extraordinary instance includes five goose eggs utilized by Lorenz Kenakin to depict portraits of Cossack hetmans, heroic figures from 16th to 18th-century Ukrainian history.&#13;
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            <description>A name given to the resource</description>
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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>Iz-za Chornoho Morya, zza Lymanu</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Mins'kyi, Mykhailo</text>
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                <text>Ukrainian Bandurists' Chorus Conducted by Kytasty, Hryhory</text>
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