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Maryna Hrymych is a Ukrainian scholar and novelist. She has a Ph.D. in Philology and History (Candidate of Philology, Doctor of History). Editor in Chief of the Publishing House Duliby. Producer of the literary project Lyuba Klymenko. Member of the Writers Union of Ukraine, member of the Ukrainian Association of Regional Ethnography. Leading researcher of the Research Institute of Ukrainian Studies.

Maryna Hrymych was born on April 4, 1961 in Kyiv. Her father, Will Hrymych, was a translator, member of the Writers Union of Ukraine. Her mother, Halyna Hrymych, was a professor of the Taras Shevchenko National University of Kyiv. Maryna's grandfather, Hryhoriy Hrymych, was a journalist and writer. He worked in the newspaper "Hudok" in Moscow together with Il'f, Petrov, and Zoshchenko.

In 1983 Maryna Hrymych graduated from Taras Shevchenko National University of Kyiv, Department of Philology, Chair of Slavonic Studies. As a student Hrymych published her first translations from Slovenian, Serbian-Croat and Macedonian languages. At that time her first poems were published as well in Dnipro and Zhovten literary magazines. In 1990 she obtained Ph.D. in Philology (Candidate Ph.D.) from the Institute of Art History, Folkloristics and Ethnography of the Academy of Sciences of the Ukrainian Soviet Social Republic. In 1991-1995, she worked as an Academic Secretary and Deputy Head of the International School of Ukrainian Studies at the National Academy of Sciences of Ukraine.

Hrymych started her academic career as an ethnographer and folklorist at the M. T. Rylskyi Institute of Art History, Folkloristics and Ethnography of the Academy of Sciences of the USSR. During her work at the International School of Ukrainian Studies developed methodology for teaching Ukrainian as a foreign language. At the Department of History of the Taras Shevchenko National University of Kyiv she taught ethnology and social anthropology. Her cross-disciplinary Ph.D. thesis (Doctorate Ph.D.) on customary law relates to three scientific fields – ethnology, history and law. Between 1996 and 2006 she was an Associate Professor and later Professor of the Taras Shevchenko National University of Kyiv, Department of History. In 2001-2006, Hrymych was the head of the Ethnology and Regional Studies of the Department. In 2004 she obtained her Ph.D. in History (Doctorate Ph.D.). In 2004 Maryna Hrymych founded and took the lead of the publishing house Duliby specializing in modern Ukrainian literature and scientific works of ethnological character. In 2004 and 2005 Duliby was awarded a number of prizes of the Lviv Publishers Forum.

Hrymych is an experienced field-worker – she conducted ethnological and anthropological field work throughout Ukraine and in a number of other countries.

In 2008-2010, she was a visiting professor at the University of Alberta, and together with other professors of the Kule Folklore Centre, taught Ukrainian Folklore courses.

Maryna Hrymych is the author of 4 books, 2 textbooks, 8 novels, and a number of essays. She edited 7 scholarly publications, and initiated, compiled and edited 5 collections of articles. She is a prize-winner of the All-Ukrainian Literary Competition Koronatsiya Slova (special awards in 2000, 2001, first prize in 2002 for novel Egoist). She was awarded the Taras Shevchenko Award (Taras Shevchenko National University of Kyiv) for her monograph Property Institution in the Customary Law Culture of the Ukrainians in the 19th and beginning of the 20th centuries (2004).

Translator and editor of the Composers of the Ukrainian Diaspora articles, Lada Hornjatkevyc, is an editor and Ukrainian-English translator. She has a BA with distinction from the University of Alberta in Ukrainian Language and Literature with a Minor in English Literature. She has also worked in media as a television news editor and has many years’ experience producing and hosting radio programs about Ukrainian music.

Ivan Honchar was a prominent Ukrainian activist, sculptor, artist. He was born on January 27 1911 in Lyp'ianka village of Kirovohrad region (today the village is part of the Cherkasy region). He studied art, drawing and sculpture the Kyiv Art and Industrial Professional School and graduated as a sculptor-decorator. While in school, he was renting a room from Maksym Korostash, a musicologist and folklorist. There he met Klymentii Kvitka and Olena Pchilka.

Honchar created numerous sculptures and monuments in many cities and villages across Ukraine. In 1960s-80s he created art albums with photographs and descriptions of folk costumes from different regions of Ukraine, architecture, folk art. Honchar did ethnographic fieldwork, and in 1970-1993 he created 18 volumes of historical-ethnographic albums "Ukraina i ukraintsi" [Ukraine and Ukrainians] based on photographs of the beginning of the 20th century and historical and ethnographic research.

He passed away June 18, 1993. In September of that year, a museum named after Ivan Honchar was created in Kyiv. His private collection of folk art became a foundation for the new museum. In 1999, the museum was renamed the Ukrainian Centre of Folk Culture "Ivan Honchar Museum". In 2009, it became a national museum.

Mykhailo Holynsky (January 2, 1890 - December 1, 1973) was born in Verbivtsi village, Halychyna (now Horodenkivskyi rayon, Ivano-Frankivska oblast). He graduated from the faculty of law at the University of Kamianets-Podilsky and as a person gifted with a unique voice started taking singing classes. Prof. Cieslaw Zaremba was his first tutor for two years in Lviv. After that Holynsky became a student of prof. Edoard Garbin of Milan, once a leading tenor of “La Scala” opera, who “polished Holynsky’s operatic studies.” In 1925, after four years of training, Holynsky made his debut in “Il Pagliacci,” in Lviv Opera, singing the part of Canio. With this performance he started a long period of tours and concerts in Europe that lasted till 1938. In 1927 he accepted an invitation to work at the Kharkiv State Opera and was premier tenor with the state opera houses in Berlin, Tiflis (now Tbilisi), Kyiv, Kharkiv, Odessa, Lviv, Warsaw, and Moscow. He also performed with great success in concert tours at the Vienna’s concert hall “Konzerthaussal” and the Praha “Smetana Hall”.

In December 1838 Holynsky made his debut in Canada at the Eaton’s Auditorium, Toronto and then pursued his tour to Winnipeg, Saskatoon, Edmonton and Montreal. He concluded his tour to North America with appearances in several operas in Philadelphia and New York city.

Holynsky planned to return to Ukraine however with the start of WWII he remained in Canada and lived in Toronto and Edmonton. Holynsky performed in several languages including German, Italian, Polish, Ukrainian, Czech, and Slovac. He also knew French and English. He passed away on December 1, 1973 in Edmonton.

Elizabeth Holinaty was born on a farm three miles from Wakaw, Saskatchewan to parents who were born in Canada. Her grandparents immigrated from western Ukraine. Her maternal ancestors came from Horodenka. Her grandfather Gabriel Holinaty came from Zalishchyky and worked as a tanner (kushnir) for the landlord. He made a kozhukh for a lady in Wakaw. Her mother Mary Kotelko Holinaty embroidered a great deal, and also sewed, crocheted and knitted. She was a collector and organizer.

Elizabeth went to Zalishchyky school near Wakaw. She remembers not knowing to speak English when she started school, crying for several days. Elizabeth studied Home Economics and Education at the University of Saskatchewan. She was a grade 1-4 teacher for several decades, moving from Saskatchewan to Alberta in the 1970s. She has a post-graduate diploma from 1970-71, specializing in reading diagnosis and reading remedial work, but she missed classroom contact, and returned to regular teaching. Before and after she retired in 1991, she tried painting, drawing, pottery, pysanky. She loves to sing and also to bake breads, but found her true calling and inspiration in weaving. In the 1980s and later, she attended many bread making classes, embroidery classes, weaving classes, pysanky workshops, etc. She participated in the Ukrainian fashion activities in the Edmonton area.

Elizabeth’s first weaving lessons were from the Cyril Flour Mill Company, near Wakaw. She bought her first 1950s loom from the Burkhailo family near Wakaw in the 1980s. Elizabeth didn’t attend the first 2-3 weaving workshops in Banff, but went to nearly all of them thereafter. Chester and Luba Kuc asked her to make Hutsul fabric, requesting she reproduce it as accurately as possible. Elizabeth prefered natural fibres then, and still does. Calmar Zirka dancers ordered some costume pieces thereafter, and her work weaving Ukrainian dance costumes snowballed after that. She did this work on weekends as a teacher at first, and continued after she retired. Elizabeth has woven many Ukrainian dance costumes for groups in Saskatchewan, and other places. Many different organizations commission weavings, sometimes based on very traditional models, sometimes adapted and contemporized. She has also reproduced historical sashes for the Ukrainian Cultural Heritage Village, etc.

Elizabeth has attended many textile and weaving conferences across North America. Her first weaving conference and first exhibition was at “Convergence 86” in Toronto. The Ukrainian community participated in the conference, and asked her for 5 pieces for display.

Elizabeth, Kay Chernyavsky and Pauline Lysak organized a number of projects to provide interesting towels and cloths with Ukrainian themes.

Elizabeth embroiders small towels for pallbearers in the Wakaw area, now mostly for family. Sometimes she embroiders seven, because the cross bearer also receives one. She also embroiders or weaves wedding rushnyky.

Elizabeth has donated numerous family records to the Ukrainian Catholic Museum in Saskatoon (including her father’s careful accounting books and planting records, mother’s records), and some materials to the Bohdan Medwidsky Ukrainian Folklore Archives.

Composer and conductor Andrij Hnatyschyn (b. 1906, Chyzhykiv, Ukraine, d. 1995, Vienna, Austria) studied at the Ukrainian Academic Gymnasium in Lviv, the Lviv Theological Academy and the Lysenko Music Institute. He worked for the Prosvita educational society in villages near Lviv. Awarded a scholarship by Metropolitan Andrei Sheptytsky, he continued his music studies at the Neues Wiener Konservatorium and graduated in 1934. From 1931 until the Nazi occupation of Austria, Hnatyschyn directed the choir of St. Barbara’s Ukrainian Catholic church in Vienna. He spent part of the Second World War in Berlin, where he conducted the choir of the local Ukrainian Catholic parish. Following the war he returned to Vienna, and from 1954 until the end of his life he again directed the choir of St. Barbara’s, which was the center of Ukrainian cultural life in the city. Hnatyschyn used the choir as a platform for promoting Ukrainian music, particularly through recordings and performances on Austrian radio. Beginning in the 1990s he was able to travel once again to Ukraine, and in 1994 the Liatoshynsky Chamber Choir gave a concert of his works in Kyiv. At the time Hnatyschyn also began transferring his archive to the Vernadsky National Library.

Hnatyschyn was primarily a composer of sacred music, including numerous liturgies and cantatas. He also produced orchestral suites, an opera, chamber pieces for violin and piano, a piano trio and string quartet, and choral arrangements.

Olena Hlibowych was the artistic director of Verkhovyna Vocal Ensemble from its inception in 1952.

Composer and violinist Michael Hayvoronsky (b. 1892, Zalishchyky, Ukraine, d. 1949, New York, USA) received his first music lessons from the church choir conductor in his native village. He subsequently studied music education at a teaching seminary and violin at the Lysenko Music Institute in Lviv. During the First World War he enlisted in the Ukrainian Sich Riflemen. After the war he worked as a music teacher in Lviv and as a choral conductor. Following his emigration to the United States in 1923 he continued his studies at Columbia University and co-founded the Ukrainian Music Conservatory in New York with Roman Prydatkevytch.

The majority of Hayvoronsky’s compositions are for voice: songs, choral arrangements and sacred choral works. He also composed tone poems for orchestra, music for brass band, incidental music and chamber pieces.

Rena Hanchuk was a graduate student in the Ukrainian Folklore Program at the University of Alberta. Her master thesis entitled "The World and Wax: Folk Psychology and Ukrainians in Alberta" was published as a book in 1999 by the Huculak Chair of Ukrainian Culture and Ethnography under the title "The World and Wax: A Medical Folk Ritual Among Ukrainians in Alberta". Rena lives in Edmonton and is very active in the Ukrainian community.

Ashley Halko-Addley, born September 1, 1995 in Regina, Saskatchewan, is the youngest of three children to Kathy and the late Wayne Halko. Ashley was baptized Ukrainian Orthodox at the Sts. Peter and Paul Ukrainian Orthodox Church (Melnychuk) near Tuffnell, SK.. Throughout school, she participated in Ukrainian dance and danced with the Chaban Ukrainian Dance Ensemble and Zabutnyy Dance Company in Regina, and the Cudworth Ukrainian Dance Club. While attending university for her undergraduate degree in Saskatoon, she was a member of the Solovei Ukrainian Dance Group and the Lastiwka Ukrainian Orthodox Choir. While attending university for her graduate degree in Edmonton, she was involved with the Veeteretz School of Ukrainian Dance and the Viter Ukrainian Dancers and Folk Choir (choir member).

Ashley attended the University of Saskatchewan from 2013-17, where she completed her Bachelor of Arts High Honours degree in Anthropology with a minor in Ukrainian Studies. Ashley was on the Dean's List (top 5%) each year, and in 2017, she was awarded the Most Outstanding Graduate in Anthropology from the College of Arts and Science. Ashley spent five weeks in Ukraine in 2016 studying Anthropology and language at the Ternopil National Pedagogical University, as part of the St. Thomas More College Spring Session in Ukraine program. During her undergraduate degree, Ashley received numerous awards and scholarships, including the John Russell Kowalchuk Award in Ukrainian Studies, the Ukrainian Self-Reliance Association Language Award, the Rose Semko-Hrynchuk Scholarship, the Leo J. Krysa Family Undergraduate Scholarship, and the Ukrainian Canadian Congress Saskatchewan Provincial Council Community Achievement Award in the Youth Achievement category.

Ashley was very active in the Ukrainian student movement. In her first two years of university, Ashley was a resident of St. Petro Mohyla Institute. During that time, she sat on the executive of the Kameniari Ukrainian Student Society, serving her first term as Treasurer, and second term as President. She served three terms on the executive of the University of Saskatchewan Ukrainian Students’ Association, as Mohyla Representative, Vice-President Internal, and co-President. Ashley also sat on the board of directors of the Ukrainian Canadian Students’ Union (SUSK) for three terms, as Alumni Director for two years, and as Executive Vice-President for one year. Ashley also sat on the University of Alberta Ukrainian Students’ Society executive as Media Technician.

She has worked as a Museum Assistant at the Ukrainian Museum of Canada in Saskatoon, Marking Assistant for Ukrainian language classes at the University of Saskatchewan, as Assistant Director in the two sessions: children and teens at Green Grove Camp, Wakaw Lake, as counsellor at St. Petro Mohyla Institute’s Ukrainian Summer Immersion Cultural & Language Program, as a Research Assistant at the Kule Folklore Centre, and at the Ukrainian Cultural Heritage Village.

Ashley moved to Edmonton in September 2017. She completed her Master of Arts in Media and Cultural Studies in the Department of Modern Languages and Cultural Studies in 2019. Ashley received the Joseph-Armand Bombardier Canada Graduate Scholarship-Master’s (SSHRC CGS-M) in 2018. Her research topic was the Ukrainian wax healing ceremony on the Canadian Prairies.

Dr. Bohdan Medwidsky was on the committee for Graham's dissertation.

Gordon Gordey (Master of Fine Arts, Master of Arts, Bachelor of Education) was a key builder in the evolution of the Ukrainian Shumka Dancers of Canada. In his forty years with Shumka, Gordey transitioned from a dancer, to a librettist/writer, and to a stage director, conceiving twenty-five original dance works for Shumka from 1992 to 2012. His works set a benchmark for Ukrainian dance in Canada and have toured across Canada, Ukraine, and over 20 cities in China. Gordey also served as Shumka's Artistic Director and Chief Executive Officer for 12 years. Gordey is privileged to be a Honourary Lifetime Member of the Ukrainian Shumka Dancers.

In his creative career outside of Shumka, Gordey studied ballet with Ruth Carse, founder of Alberta Ballet, spent 20 years as an Arts Consultant with the Department of Culture in Alberta, and worked for 13 years as a Human Rights Officer with the Alberta Human Rights Commission. He has been teaching Drama for 37 years at Grant MacEwan University in Edmonton. For Alberta's Centennial in 2005, he conceived and produced Celebrate Alberta as part of Her Majesty Queen Elizabeth II's official welcome to Alberta's Centennial event, which included 1500 performers. In the same year, Gordey was recognized as one of the most influential people in the development of theatre in Alberta in the publication: Theatre 100. In 2006 he received the Hetman Award for Outstanding Contributions and Dedicated Service in Promoting Ukrainian Heritage and Culture in Alberta. He continues to serve the Ukrainian Canadian community as a National Board Member of the Ukrainian Canadian Foundation of Taras Shevchenko.

Below is an autobiography provided by Gordon Gordey.

"I was born in 1948 into the farming community of Innisfree, in northeast central Alberta. My great-grandparents, George and Magdalena Gordey arrived in Canada on June 2, 1900 emigrating from Borivsti, Bukovyna in present day Ukraine. Unlike the predominantly Ukrainian settlement prairie villages in northeast central Alberta, Innisfree was ethnically diverse. In general, everyone who lived north and west of Innisfree was of Ukrainian heritage and everyone who lived south and east of Innisfree was of British heritage. The village was a hub of Canadian diversity of the era, even though no-one was aware of this at the time.

Growing up my parents, John and Emily Gordey, hammered home over and over again to me: “Bud' kul’turna l’udyna– Be a cultured person”. There was no caveat that being “cultured” meant that part of me that was Ukrainian. It was an inclusive guidepost for life. This phrase stirred my imagination. From a young age it made me reach for a higher ground. I read everything I could from Canadian war stories, to every classic of British and American literature and to Dostoyevsky, when I was only 14 years old. I stood as close to the stage as I could at Ukrainian weddings and learned to sing the wedding songs. I listened to dance bands of Metro Radomsky and Jimmy Watsko stir my emotion for Ukrainian music with their wonderful singing violins. Church services filled my imagination with myth, magic and mystery. Folk superstitions kept me awake at nights after visits to Baba K. who poured wax onto the water, whispered incantations, and cured me of my fear of roosters.

Grade school whizzed by with academics, participation in all school sports, and singing in the rock band, The Rivals, in the 60’s. In 1965 I experienced a pivotal event that would lead me into the world of Ukrainian dance. I attended a summer cultural program, Osvita, at St. John’s Institute where I was instructed in Ukrainian dance by a fiery young Shumka dancer named Gerald Metrunec. Like me, he was from rural Alberta, the town of Myrnam, and had come to Edmonton to join the Ukrainian Shumka Dancers and go to University. Within 10 days he used my background in athletics to drill into me the basics of Ukrainian dance. That fall, upon my return to Innisfree, I knew more about Ukrainian dance than anyone in my community, and was tagged to teach Ukrainian dancing in the town of Vegreville. My survival as a dance teacher with limited pedagogy depended on my creativity, my knowledge of music, and the drive to excel in dance that Gerald Metrunec had instilled. In 1966 my family moved into Edmonton and I joined the Ukrainian Shumka Dancers. Edmonton became my cultural oasis. I also immersed myself in ballet, jazz, theatre studies, choirs, musicals, and operatic singing lessons. Like-minded friends like the musically gifted, Gene Zwozdesky and the top male ballet and Ukrainian dancer of the day, Orest Semchuk inspired me to adhere to the guidepost of “Be a cultured person.” The Drama Department at the University of Alberta was at a high point of fine art at the time and filled my thirst for learning and practicing world theatre and art.

It is from this well-spring, “Dzerelo”, of experiences that my 40-year journey of creating original Ukrainian dance in Canada took flight." (Gordon Gordey, March 7, 2017)