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The article reviews the book, "According to Baba: A Collaborative Oral History of Sudbury's Ukrainian Community," by Stacey Zembrzycki.
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For Ukrainian Canadian leftists, the 1920s represented a golden age of domestic cultural production. The strict hierarchy that constituted the communist movement in the 1930s was not yet extant, and the realm of possibilities was limited only by the imagination of the organization itself. The material produced in this period was neither crass agitprop nor cheap melodrama. Rather, it was bottom-up expressions of proletarian high culture and organic reflections of the social, economic, and political realities that constituted the experiences of Ukrainian progressives in Canada. As such, in the 1920s, the theatre served as the movement's most effective vehicle for political propaganda and ethnocultural instruction.
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This article examines anti-communist political violence in Canada during the early years of the Cold War. It specifically focuses on the Ukrainian Canadian community, one of the country's most politically engaged and divided ethnic groups. While connected to an existing split within the community, acts of violence were largely committed by newly arrived displaced persons who were much more radical than existing anti-communist Ukrainian Canadians. Government and state officials tacitly, and sometimes even explicitly, sided with the perpetrators. This laxity toward the violence reveals how, in the early years of the Cold War, law and justice were mutable and unevenly enforced depending on the political orientation of those involved. In a broader sense, this article adds to an understanding of the multifaceted ways that anti-communism manifested itself in this period to define the acceptable parameters of political consciousness.
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Describes labour unrest of internees in Fort Henry and Kaspuskasing during the First World War.
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This dissertation examines the process by which a singular Ukrainian Canadian identity was constructed and entrenched throughout the twentieth century. It details how one of Canada’s largest and best organized diasporic communities, utilizing changing notions of cultural pluralism and the politics of the Cold War, crafted an increasingly nationalist, anti-communist version of identity that eradicated previously popular articulations of what it meant to be a Ukrainian in Canada. The traditional historiography posits that the community defined itself on its own terms, relying on individualized acts of agency and migrant resilience to entrench a version of Ukrainian-ness that was a democratic, bottom-up reflection of the collective. This project offers an alternative perspective by focusing on the battle over community narratives between communists, represented by the Ukrainian Labour Farmer Temple Association (ULFTA) and then the Association of United Ukrainian Canadians (AUUC), and the nationalists, organized under the umbrella of the Ukrainian Canadian Committee (UCC). I show how, with the help of state officials, the nationalists overpowered their ideological enemies on the left, concreting their identity as hegemonic. Through this process of coherence, they further bound specific aspects of their own ideology, perceived as innocuous, apolitical, and simply common sense, into mainstream political consciousness. Beyond a simple community study, this dissertation is also a case study about the building of anti-communist hegemony in Canada. Chapter One examines the role of state surveillance and political policing to show how state officials collaborated with the UCC to weaken the domestic left. Chapter Two analyzes the rise and fall of a government bureaucracy that acculturated the nationalists so as to embed them in Canada’s structures of power and bolster their anti-communism. Chapter Three looks more closely at acts of anti-communist violence, which seriously deterred participation in the AUUC. The state’s refusal to condemn the violence also telegraphed its preferences and helped define Canada’s social, political, and judicial boundaries. Chapter Four focuses on the nationalists’ appropriation of cultural pluralism to further entrench their version of Ukrainian identity. Lastly, Chapter Five explores commemoration, where competing visions for certain cultural figures were articulated and, eventually, nationalist narratives were set.
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