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12 OUR LIFE • March-April 2025 As the Ukrainian National Women’s League of America celebrates the 100th anniversary of its founding, it is important to highlight one of its most important achievements: the founding of The Ukrainian Museum in New York. At this time, when Ukraine is fighting for its freedom, for its very exist - ence in the terrible war of attrition perpetrated by russia, the importance of the Museum founders’ vi- sion of creating a museum whose mission is to pre- serve Ukraine’s cultural heritage and present it to the world has taken on even greater significance. The Ukrainian Museum was founded in 1976, but the core folk art collection with which the Museum was established traces its origins to the 1933 World’s Fair in Chicago. The fair was named A Century of Progress as a tribute to innovations in science and industry and in celebration of great achievements in the arts. The Ukrainian communi - ty in the U.S. took an active part in the fair. They built a magnificent pavilion, based on the architec - ture of Ukrainian wooden churches, to showcase Ukraine’s history and its cultural heritage. UNWLA leadership worked closely with the pavilion com- mittee to ensure the success of the project. The exhibitions in the pavilion were divided into three sections. One was a general overview of Ukraine, its demography and history. The two main exhibitions featured works by sculptor Alexander Archipenko, one of the world’s most important and innovative artists, and Ukrainian folk art. The UNWLA took on the responsibility, at its own expense, of organizing the folk art exhibition. A committee led by UNWLA president Olena Lototska purchased from the Ukrainian Folk Art Cooperative in Lviv representa- tive samples of Ukrainian folk art, including kilims, regional costumes, various textiles, ceramics, and woodwork. The Folk Art Cooperative sent its repre- sentative, Stefania Chyzhovych (Pushkar), to act as liaison and advisor. The Ukrainian pavilion was a tremendous achievement, especially considering that the U.S. was experiencing an unprecedented economic dis - aster — the Great Depression. And yet, the Ukrain - ian community raised substantial funds to build the pavilion and to present exceptional exhibitions and programs there. Almost 2 million people visited the Ukrainian pavilion during the World’s Fair. We also cannot forget that 1933 was the year of the Holodomor, the Great Famine in Ukraine — the terrible genocide perpetrated by russia. Another genocide is taking place now. Then as now, Ukrain - ians were trying to let the world know about the atrocities occurring in Ukraine. In 1933, eastern Ukraine was under Soviet rule and cut off from the world, and Ukrainian immigrants in the U.S. were therefore doing everything possible to call atten- tion to their homeland. Following the conclusion of the World’s Fair, the folk art collection remained with the UNWLA and was used by the organization’s branches across the country for local displays in libraries, schools, and community centers, aimed at introducing Ukraine’s cultural heritage to the general public. After World War II, a new wave of Ukrainians ar - rived in the U.S. In the aftermath of the war, all of Ukraine fell under Soviet rule. The new immigrants, faced with a permanent break from their native land, saw the preservation of their cultural heritage in the new homeland as a necessary and important undertaking. For the UNWLA, the preservation of its collection took on added importance. Individu - als who had brought treasured family objects with them from the homeland began donating those items to the collection. Among the individuals who arrived in the U.S. as part of the new wave were several experts in the field of folk art, including Ste- fania Chyzhovych-Pushkar and Lydia Buraczynska, who helped identify which items were suitable for inclusion in the collection. The leadership of the UNWLA realized that only a professional museum in its own facility could en- sure the longevity of the collection and serve as The Ukrainian Museum: A Brief History of an Iconic Institution Maria Shust , Branch 113, New York City
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