- CA BMUFA 0059
The collection includes Yarema Kowalchuk's final essay for the course UKR-699.
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The collection includes Yarema Kowalchuk's final essay for the course UKR-699.
This collections includes an essay by Vivian Osachuk on the development of the contemporary bandura scene for the course Ukrainian Arts in Canada.
The collection consists of articles about Ukrainian diaspora composers researched, written, and translated within the Ukrainian Diaspora Research Project conducted by the Ukraine Millennium Foundation.
The Composers of the Ukrainian Diaspora Research Project was initiated in 2001 when Pittsburgh musicologist Taras Filenko, PhD, approached Ukraine Millennium Foundation president Gordon (Bud) Conway, offering to research and author the project. The UMF Board supported the concept and received permission from the Alberta Gaming and Liquor Commission to use gaming funds to pay for the long-term project. The project was to include the biographies of approximately 40 composers living and working outside Ukraine. It was originally conceived as a book, but ultimately has become a compilation placed into the Bohdan Medwidsky Archives of the Kule Centre at the University of Alberta.
Phase One, completed in 2021, contains articles on 21 composers of the Ukrainian diaspora. Written primarily in Ukrainian, the files have been translated into English and edited by Lada Hornjatkevyc from 2008 to 2021.
In a letter dated from October 3, 2001, Dr. Filenko related the rationale of the project:
“One of the purposes of this project is to bring hitherto hidden composers into the spotlight of international music. I feel strongly that there will be many discoveries. For example, there were two brothers-composers in the Ukrainian musical milieu at the end of the 19th century. Their surname was Akimenko, one of them emigrated to France and the other remained in Ukraine and composed under the pen name Stepovy.
I recently learned that the brother in France, although living in poverty, composed music as well… This is just one of the many interesting realities on the journey into the unknown terrain of the resurrection of Ukrainian music.”
Many years later, in 2020, Dr. Filenko explained why the article on Vasyl Bezkorovayny was still incomplete. The archive was in his brother’s private home in Simferopil and had been inaccessible since the Russian takeover of Crimea. These stories reveal some of the challenges in compiling research on composers included in this project.
Because Ukrainian history includes centuries of foreign domination, a great number of composers and musicians left their homeland and took up residence in other countries. Australia, Canada, Italy, Czechia, France, Germany, Poland, Russia, Slovakia and other countries have benefitted from the talents of their nationals of Ukrainian heritage. The Ukraine Millennium foundation intends to fund research into the identification of these composers.
Phase One of the Composers of the Ukrainian Diaspora Project includes Fedir Akimenko, Virko Baley, Vasyl Bezkorovayny, Peter Deriashnyj, George Fiala, Mykola Fomenko, Michael Hayvoronsky, Andrij Hnatyschyn, Wadym Kipa, Alexander Koshetz, Marian Kouzan, Gary Kulesha, Larysa Kuzmenko, Hryhory Kytasty, Zenoby Lawryshyn, Zenowij Lysko, Yuriy Oliynyk, Roman Prydatkevytch, Ihor Sonevytsky, Stefania Turkewich-Lukianovych and Wasyl Wytwycky.
The Diaspora Composers Project was designed to develop through four stages, described by Dr. Filenko in 2002:
Stage 1. Initial (Preliminary)
Evaluation of the existing research related to the project. Gathering publicly available and published information on the subject. Further delineation of the sub-stages of the project. Definition of the most efficient way of gathering information.
Stage 2. Intermediate
Systematization of the material based upon historical, socio-political, geographical and cultural criteria.
Stage 3. Advanced
Selection of auxiliary sources for additional information. Reevaluation of the cultural context and the role of the particular individual in cultural development and his/her influence on the musical culture. Musicological analysis of the selected compositions, comparative analysis of the stylistic characteristics, etc.
Stage 4. Final Stage
Unification of the form of presentation, development of academic apparatus, such as indices, maps, music examples, photo materials, and possibly audio material. Style of footnotes, especially related to archival materials from different countries, list of illustrations and additional materials.
Future of the Project
Upon completion of the Composers of the Ukrainian Diaspora Project (Phase One), with files on 21 composers placed in the Bohdan Medwidsky Archives in 2021, UMF intends to continue to fund Phase Two of the project.
Ukraine Millennium Foundation
The collection consists of the photographs by Andriy Nahachewsky taken while in Wroclaw in the summer of 2016; music scores and publications collected at the Holy Cross Ukrainian Catholic church. There is a large Ukrainian community in this big city, which became part of Poland after WW2, and to which Ukrainians voluntarily and involuntarily moved as Poland Polonized Silesia (and de-Ukrainianized Lemkivshchyna, Chelm, Przemysl). The church is a huge cathedral. It is historically important and is a tourist destination.
The photographs depict the cathedral (Українська католицька катедра Воздвиження Чесного Хреста), Prawoslawna Parafia sw. Archaniola Michala (Orthodox Slavic Church), Ukrainian restaurants in Wroclaw, a graffito of Ukrainian trident.
Music scores are handwritten, typed or copied notation of the music sung by the cathedral choir, including church music, carols, Holodomor concert, etc.
The publications include one issue of the monthly periodical of the Ukrainian Greek-Catholic Church in Poland "Blahovist" (Благовіст), one issue of "Khrystyians'kyi holos" (Християнський голос) - a Ukrainian religious newspaper published in Munich, and an issue of the newspaper "Nash vybir" (Наш вибір) - a newspaper for Ukrainians in Poland. There is a brochure of the Prawoslawna Parafia sw. Archaniola Michala (Orthodox Slavic Church).
The collection consists of manuscripts -- books and papers -- about Ukrainian culture and history written by different authors and deposited to UCAMA over the years.
The collection consists of field materials collected by Sogu Hong during his courses at the Ukrainian Folklore program, University of Alberta, as well as essays on a wide range of Ukrainian folklore topics: Ukrainian folk songs, ethnic jokes; immigrant tombstones; calendar customs and family rites, such as Christmas, childbirth, weddings; folk arts and crafts; foodways, and others.
The collection consists of songs and verses collected in Edmonton from the informants Joe Olinyk, Anna Olinyk, Mrs. Helena Pinkyj, Mrs. Eva Kurylo, Mrs. Maria Stratychuk, Mrs. Annie Kapach, and Mrs. Mary Lagoski, some of whom grew up in Galicia or Bukovina and immigrated to Canada.
Collection consists of correspondence between Opryshko family in Canada and in Poland and Ukraine.
The collection consists of photographs of Ukraine and its people taken by Myeong Lee in 2006 in Ukraine. The images depict calendar customs, rituals, and everyday life of Ukrainians.
Lee, Myeong Jae
The collection consists of a fieldwork project and final papers done by Markian Kowaliuk for the Ukrainian Folklore courses at the University of Alberta.
A collection of course work by Mark Bandera including book reviews, annotated bibliographies, and essay on topics such as folklore, folksongs, tsymbaly, and bandury.
Bandera, Mark Jaroslav
The collection consists of various materials, newspaper clippings, manuscripts, minutes, brochures, periodicals about history, culture, Ukrainian organizations, education and bilingual programs in Western Canada collected and organized by Manoly Lupul.
The collection consists of three groups of materials. Firstly, a two-volume "History of Ukrainian art" by Ivan Keywan; secondly, a series of reproductions of artworks by different artists; thirdly, two articles by Ivan Keywan.
The collection consists of verses collected in Canada from various pioneers from western Ukraine, and a collection of jokes, proverbs, New Year's verses and texts of other folk songs.
This collection includes songs collected by Ihor Kruk in 1973 in Kuban' from the woman who was born in 1894 and moved to Kuban' in 1905, and proverbs collected in 1977 in Canada.
The collection consists of three albums of photographs many of which were included in the historical and ethnographic albums "Ivan Honchar: Ukraine and Ukrainians".
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.
This collection contains an analysis of the structure of a poetic form "dumy" for mood, emphasis, and rhythm on the overall effect of the poem.
The collection consists of fieldwork materials and essays collected by Demjan Hohol for folklore courses.
The collection consists of 31 issues of the monthly humorous magazine Beztaktnist self-published by the Canadian Institute of Ukrainian Studies, edited mainly by David Marples; an obituary to Havrylo Ciusovych Harmatenko; and an interview with Andrij Hornjatkevyc about these publications recorded by Kateryna Kod at the time of donation.
Beztaktnist was self-published monthly magazine by CUIS for several years. It started when the CIUS was located in Athabasca Hall and the office of the PhD candidate David Marples who is now the Professor at the Department of History and Classics at the University of Alberta was behind the wall from the office of the CUIS director Manoly Lupul. When David Marples would hear some slips of the tongue or jokes from the office, he would later publish them and circulate calling it Beztaktnist. This publication served the role of a buffoon, like in older days buffoons were able to tell not only jokes but the truth or voice their opinions to the kings without being punished for that, Beztaktnist was that buffoon in CIUS. Different topics were published without censorship about CUIS life, everybody included their stories but the main editor was David Marples.
Havrylo story: there was a copier in Athabasca building that was used by all the departments located in the building. Each department had a small page counter that was inserted in the copier in order to count the pages so at the end of the month to pay for copying. The amount of the copies done by each department should coincide with the amount that would be on the inner page counter in the copier itself. It came up that the CIUS page counter was named Havrylo and it was discovered that if Havrylo is
not inserted into the copier completely it will not count pages. So many copies were done, including the periodical Beztaktnist free of charge. Later it was discovered that the amount of the copies on the inner and external counters did not coincide, so the new program was installed on the copier and Havrylo came out of use, “became unemployed”. When it was known some people together with Andrij Hornjatkevyc wrote an obituary for Havrylo Ciusovych Harmatenko (the copier was Canon) and asked to announce it on the radio. Roman Brytan announced it on the radio and even chose a song by Seniors Choir that sang “Oi iz-za hory kam’ianoi”. The original text of the obituary is added to this collection.
With time Marples was leaving CIUS and going to Munich to work at Radio Svoboda and he asked for the copies of this periodical from Andrij Hornjatkevych, who was not willing to share. Another joke that CIUS had was the theory that there should as many Free Universities as there are not free Universities in Ukraine, the Free University in Munich was not enough. The Decree was pronounced to establish Free Universities parallel to those that were in Ukraine. There was also a diploma sample and some people were awarded various doctoral degrees. At the farewell party for Marples that was in the house of Bohdan Krawchenko the collection of Beztaktnist, bound in yellow binder (yellow colour symbolizing yellow journalism), was awarded to Marples to the loud applause by Krawchenko dressed in his Oxford gown.
Canadian Institute of Ukrainian Studies