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30 “НАШЕ ЖИТТЯ”, ТРАВЕНЬ 2009 Textile artist Eudokia Sorochaniuk with s eminar speaker Lubow Wolynetz Ms. Wolynetz also described different motifs from different regions of Ukraine, often distinctive but equally often related to a common theme, such as the tree of lif e. Her presentation also included anecdotal explanations for the evolution of embroidery. Black, for example, was almost impossible to produce f rom natural substances and did not become a standard component of em - broidery until chemical dyes became availab le. Motifs and patterns also changed as a result of happenstance — soap sellers, hoping to sell their wares for a higher price , wrapped bars of soap in decorative paper. Country girls, impressed with the wrapping designs, began to reproduce them and incorpor ate them into their embroidered sh i rts, sometimes shocking purist ethnographers who found the practice appalling and all but sacrilegious. Political and social upheaval also affected embroidery. With the short - lived euphoria of Ukrainian independence in 1 918, patriotic symbols were incorporated into embroidery designs . As circumstances changed, the se symbols were removed or concealed or subject ed to an elaborate encryption of dashes — covert patriotism as a means of preserving life. Under Soviet rule , “embro idery by number” was introduced along with embroidery honoring some Soviet hero or symbol. After Ukraine became independent in 1991, scores of Ukrainian women and diaspora Ukrainians con - tributed their personal touches to a rushnyk of national unity, a sym bol of national identity. The second presenter, Olga Basarab Kolo - dij, spoke on the theme of “Fashion and Tradition, Present Trends,” beginning with a historical over - view of Ukrainian embroidery as an ancient and symbolic folk art dating back to the 5 th century B.C. Like the previous speaker, she touched briefly on regional distinctions and the impact of social and political influences over the centuries, underscoring that the two major contributors to the decline of traditional Ukrainian embroidery were the Soviet occupation of Ukraine and the convenience and low price of manufactured clothing. Ms. Kolodij then spoke about embroidery as a social event in Ukrainian villages, with young girls and women gathering in one house in the village, partly for comp anionship and partly to economize by sharing a light source. They also shared patterns, with each embroiderer adding her own touches. She then spoke of the evolutionary process that transpired as Ukrainians began to emigrate to Western Europe, Canada, Aust ralia, South America and the United States, bringing their culture with them and passing it on to children and grandchildren. She commended the Sisters of St . Basil the Great and the UNWLA for playing a role in fostering and nurturing Ukrainian traditions, including embroidery, in this country. Ms. Kolodij then discussed the future of Ukrainian embroidery and posed a provocative question: Will traditional Ukrainian embroidery evolve and flourish or will it become lost and forgotten? There are, she explaine d, two schools of thought on this subject. The first believes that there can be no change in traditional embroidery patterns, no deviation. The second believes that an art form must evolve to survive. To a certain degree, both are correct. Like other art f orms, embroidery must evolve and change, but within the traditional guidelines that have been followed by the previous generations. To remain rigid, guarantees the death of an art form. But it is the Ukrainian community , she concluded, that must decide whe ther any given change is acceptable. If it is not, it will die a natural death because it will not be reproduced. Ms. Kolodij then spoke about Ukraine and the rebirth of Ukrainian culture, including embroidery. “The basics of traditional Ukrainian embroide ry are now part of the curriculum in elementary schools and high schools. Folk art institutes’ curriculum teaches the students all the stitches, semantics, composition and design. . . . The students’ projects are breathtaking, very creative, and uphold tra ditional Ukrainian embroidery, with a very contemporary flair.” The most influential individuals in this rebirth are teachers, parents and grandparents who teach new generations about 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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