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what tied us together w as that in which we all shared an interest: the good of the community. I hope our women will continue their constructive work. Indeed, perhaps the establishm ent of a ’’m en’s branch” of UNWLA isn’t just a humorous idea. After all, there are two candidates for membership already: I and the man I sp ok e to at the UNWLA event in Chicago on October 23! Translated by A_H_S_ OUR COVER This month’s cover is graced by a graphic work of Myron Bilynsky. It doubles as an illustration to the article ’’Our Christmas in folk beliefs and cu stom s.” The seco n d part of this article, where particular attention is paid to koliady, will appear in the January 1978 issue. Unfortunately .Myron Bilynsky’s graphic works no longer appear at art exhibits, b ecau se he is presently working on Byzantine art: designing and painting the interiors of churches. This is surely a n ecessary and no less meritorious enterprise. It’s just that graphic art is available to a wider audience and it is unfortunate that he no longer produces any. Myron Bilynsky graduated from the Krakow Academy of Fine Arts in 1939, just before the outbreak of war. After the war he worked alm ost exclusively in graphic art and illustration. While he was in Munich he designed entire series’ of postage stamps, including som e for the insurgent government of Ukraine. A few of th ese d esign s appear in this issue. Som e of them have been included in German philatelic catalogs, and even more in Spanish catalogs. He also did illustrations for various publications: UPA calendars etc. His works, mostly engravings and drawings, were exhibi ted in various cities in Germany. He also took part in inter national exhibits in Amsterdam and Paris. In 1952 he settled in New York and turned to Byzantize art and has been working in this medium ever since. He has produced many stained glass windows, ico n o sta ses and icons in the Byzantine style for many Ukrainian churches in the United States. His specialty is m osaics. From among the many churches where his work can be found we will name but a few: Johnson City, New York; Astoria, Long Island; Berwick, Penn sylvania; Ramey, Pennsylvania; Hillside, New Jersey and many others. All this year Myron Bilynsky has been busy painting icons for the Cathedral of St. Nicholas in C hicago. B ecau se church art takes up all his time and creative energy, his o n ce beloved graphic art has fallen by the wayside. We sincerely hope that circum stances will permit him to return to thismedium, in which he on ce had considerable achievem ent and su c c e ss. Translated by M-O. T. BETWEEN US AND THE TELEPHONE In an interesting article Lubow Kalynowych d isc u sses the possibilities open to our w om en’s organizations for creative and constructive efforts. Especially referring to branches of U.N.W.L.A., Ms. Kalynovych finds that their cultural efforts tend to be rather limited. True, they will sponsor musical or dramatic presentations, hold picnics or readily agree to buy a ’’kylym" for the museum. They will also give a generous gift to the building of a new church or for the support of a new organization. Yet there are so many other more challenging possibilities open to our branches. Here Ms. Kalynowych su g g e sts that the publication of a Ukrainian book, translated into English would fit the bill. LETTER TO THE EDITOR November 10, 1977 More and more often, I notice in the Ukrainian press and at various Ukrainian-sponsored events, women and girls wearing gauzy, finely embroidered peasant blouses. I am sure that very few of the people, if any, realize that they are wearing Rumanian, not Ukrainian blouses. Of course, one may wear whatever one ch o o se s, and a Rumanian blouse is certainly a lovely article of clothing. How ever, when it is worn in place of a Ukrainian blouse, for a Ukrainian occasion where a Ukrainian blouse is meant to be worn, it is not right. Recently, there w as a photograph in a Ukrainian newspaper of two bandurystky in Poltava costu m e — and Rumanian blouses! Just b ecau se the blouse is ’’peasanty” in appearance, and is embroidered in cross-stitch, d o es not mean it is Ukrainian. We do not hold the copyright on em broidery in the world — all of the countries in Eastern Europe embroider their costum es. The Ukrainian blouse differs from the Rumanian one in fabric (we do not use gauzy fabric, but fine linen and similar modern fabrics), style, embroidery and its layout. There are many books and articles available in libraries and Ukr. museums which give information on the styles and ornamentation of traditional Ukrainian blouses. It is very easy to spend between $50-100 for a ready-made, hand-embroidered Rumanian blouse, and innocently wear it, taking it for a Ukrainian one. However, that sam e money could be used to pay so m eo n e to embroider a truly Ukrainian blouse, if one cannot embroider herself. I urge all youth organization leaders, w om en’s organizations, and cultural association s to in form their members of this matter. We are quite sensitive if so m eo n e "steals” or borrows Ukrainian art or folk art and calls it their own. Let us not do the sam e with the Rumanian blouse. Orysia Paszczak Tradz 32 НАШ Е ЖИТТЯ, ГРУДЕНЬ 1977 Видання C оюзу Українок A мерики - перевидано в електронному форматі в 2012 році . A рхів C У A - Ню Йорк , Н . Й . C Ш A.
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