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The collection consists of essays and supporting material collected by Frank Fingarsen while taking Ukrainian Folklore courses at the University of Alberta.

The collection consists of essays and questionnaires created by Natalia Booyar as part of her assignments for the Ukrainian Folklore courses at the University of Manitoba.

The collection consists of various research materials compiled by Elizabeth Holinaty during her career as a weaver and active community member, including 14 binders with photographs, newspaper clippings, other research material on various folk costumes, weaving, kylymy, poiasy, rushnyky, headware, Ukrainian breads, korovai, Easter traditions, etc.; 18 woven and/or embroidered clothing pieces; calendars; posters; phonograph and video recordings.

In the summers of 1976-1981 inclusive, Patricia Pelech (Olsen) Carrow taught Ukrainian Folk Weaving at the Banff School of Fine Arts, now the Banff Centre, in their Visual Arts Department as part of its Weaving/Textile Arts program (later called Fibre Arts). She and her mother, Fiona Pelech, did extensive research in developing visual presentations for this course. They prepared over one thousand slides to present to the students as reference material. The sources for the slides are unknown.

Included in the slides are images pertaining to Ukrainian weaving, embroidery, costuming, baking, ceremonial occasions and photographs of the class participants in Banff.

The collection consists of the audio recordings of proverbs recorded by Jason Golinowski with Andriy Nahachewsky for the Zabava program on the 840 CFCW.

The project consists of the materials collected for Nataliya Bezborodova's master thesis. The thesis traces Internet textual representations of the Maidan, a wide-scale protest movement that took place in 2013-2014 in Ukraine, and their function in identifying the opposing sides during the protests. These texts helped to formulate new narratives, articulate attitudes, and build relationships, create a sense of community within the protestors’ side, which had its impact on institutional changes of commemorative practices.

Facebook served as an important platform for the initial appeal, for coordination between the participants, for reflections, and for identification of the opposing sides during the protests. It was a key space for sharing emotions, personal stories, humor and expressive forms of protest, making allusions to known literary works, historical events and world public figures.

Exploring the types of narratives and their contribution in identifying the opposing sides, the work is focused on digital stories that illuminate elements not covered by the professional media coverage and official reports. It traces the diverse forms, topics and expressive devices in the narratives, and identifies the categories of lore (eyewitness narratives, (re)telling of stories, jokes, poetry, songs, etc.). It provides juxtaposition of the patterns found in the text with the main events of each specific day.

The thesis provides several chapters that focus on: (1) a review of the historical context of the events; (2) an analysis of the data with reference to all categories and topics, and the main findings; (3) the role of humor and expressive devices in releasing the tension of the conflict and in helping to formulate the attitudes within the protestors’ side; (4) evidence of the functions of personal stories as they build relationships, create a sense of community, and validate the participants’ experiences and the significance of the events from the protestors’ perspectives; (5) interpretation within this protest lore, and its impact on institutional changes of commemorative practices as in the example of the Nebesna Sotnia (Heavenly Hundred) narrative formation and its correlation to the repertoire of motifs and terms of the selected historical periods: the Cossack, the Ukrainian National Republic and World War II.
The study underlines the relevance of time and several patterns related to historical events, as Facebook posts immediately responded to the events occurring on the square and streets occupied by protestors, simultaneously with professional media outlets, and sometimes prior to them. These findings have important implications that go beyond the Ukrainian context in that they contribute to the further exploration of social networks functioning in relation to factual events.

The collection consists of photos and video footage from the event of the re-naming and additional gift by Drs. Peter and Doris Kule held in the Timms Centre, University of Alberta on 6 September 2006. Recognizing the contribution Ukrainian folklore plays in the development and preservation of Ukrainian culture and heritage, the Kules made another substantial gift to the University of Alberta in September 2006. To honor the Kules’ vision to see the centre expand and grow as a leading entity, the centre was renamed the Peter and Doris Kule Centre for Ukrainian and Canadian Folklore at a ceremony attended by several dignitaries including Dr. Indira Samarasekera, UofA President, and Dr. Daniel Woolf, Dean of Arts.

With this gift, the Kule Centre Endowment and the Kule Fellowship Endowment was established. Funds from the interest generated from these endowments is used for research projects, scholarships, publications and teaching. The Centre has been able to expand beyond Ukrainian Folklore to include Canadian Folklore studies, filling a much needed resource void in Western Canada.

The collection consists of materials related to Chester and Luba Kuc's professional and social life. It includes materials representing dance groups founded or taught by Chester; photographs of Ukrainian costumes and dances; concert programs, music scores of Ukrainian songs, a collection of Ukrainian postcards, and some self-published educational materials of the Ukrainian youth organizations.

The collection predominantly consists of records between the mid-1940s and late 1990s and includes various records related to Ivan (John) Lahola and his family. It includes biographical materials, correspondence, and documents covering Lahola's life during World War II, detailing his experiences in Auschwitz and other prisons and concentration camps. The collection encompasses textual records related to Lahola's community life in Canada, published materials, and miscellaneous information. Notable correspondence involves letters from different organizations thanking Lahola for donations, including contributions to the construction of the Greek Catholic Cathedral and the Ukrainian Embassy Foundation. Additionally, the collection contains greeting cards, and printed materials such as program invitations and catalogs, offering insights into Lahola's engagement with community events, cultural activities, and charitable causes.

This collection consists of five oil paintings by Wadym Dobrolige.

Various paintings and a drawing of the Kazymyra family. Includes 1 pastel drawing, 3 oil paintings, and 1 unfinished oil study.

Contains audiotapes and scripts from the radio show Radio Canada International recorded from 1992-1997 hosted by Halyna Klid. The reel-to-reel audiotapes are dated from 1993 to1996 and contain many interviews with various individuals such as Hryniuk, Mykola, Konolyk, Kopotun, Andriievska, Kuchma etc. Some of the audio tape topics also include Leonid Kuchma's visit to Canada, The Joke Project, V-E Day, Hockey, Chornobyl, Perogies, and many more.

The scripts from the radio show from date from 1992 to 1997. They contain the scripts from the interviews with Polkovsky, Starchenko, McCaffrey, Major Dmytro Shkurko etc. as well as scripts from topics such as the First Ukrainian combat jets in Canada, the Men Who Broke the Circle of Women's Traditional Activities, the Alberta Legislature Passes a Motion on Chornobyl, The Feast of Jordan, Ukrainian-Canadian Visual poetry in Canada, a Bukovynian Wedding Show, and many others.