Dance with Rushnychok for the 2019-20 Dance Season!

Embrace your Ukrainian roots or discover what Ukrainian dance culture is all about! Join our award-winning dance club today!

Our dancers range in age from 3 to 18, and new families are always welcome. We dance on Wednesday evening, and this year will dance out of the newly renovated Dance Saskatchewan Inc. studios on Fairmont Drive!

We are always looking for little dancers to join our Tots group (ages 3 & 4). Send us an email to register in our Tots class by August 21st and receive a discount. Please indicate whether you prefer to dance at 4:30 pm or 5:00 pm. September is free for 3 and 4 year olds!

For all registration details email us at Find us on Facebook at Rushnychok Ukrainian Folk Dance or our website,

All classes begin on September 4th, 2019! See you in the fall.

Malanka 2018

This weekend we at Rushnychok Ukrainian Folk Dance association will celebrate our annual celebration of Malanka. This event is not only our largest fundraiser for the year, but it gives our dancers and instructors an opportunity to showcase their dances and talents to parts of their extended family and friends that may not have seen them dance yet. This year, our all ages event has been moved to TCU Place in Saskatoon and will feature all of our dancers from Tots to Sapphire. The dancers and instructors have been working hard to put finishing touches on the dances and we are very excited for a preview of what I’m sure will be award winning dances on the competition run this year!

Rushnychok Malanka could not happen without the dedication of our parent run volunteer committee and our costume committee. These parents have put in many hours coordinating logistics for the evening and we thank them for being involved in a way that will bring our families together. Our costume committee has been working tirelessly as well to make sure all of the costume pieces are ready to go to make our dancers dazzle on stage! And to you, the Dance Parent, thank you for your part in helping Malanka be successful! Without your dedication to Ukrainian dance, Malanka would not be as much fun as it is.

What is Malanka?

I found this origin story on wikipedia and thought I would share it. The Ukrainian New Year obtained the name Malanka from a Christianized folk tale of pagan origin, as collected and published by a Ukrainian ethnologist. The story is based on the creator god Praboh, and his four sons and one daughter. One of his sons was the Devil, the second son was St. George (Yar-Yarylo), the third St. John (Rai), and the fourth was Lad or Myr (Peace). The one daughter is an earth goddess named Lada, who had two children: a son called the Moon and a daughter “Spring-May”, later referred to as Mylanka because she was loving (мила). As mother Earth, she was responsible for the blooming of flowers and the greenery of spring. In a version of the myth of Hades and Persephone, Mylanka’s evil uncle (the Devil) desired her presence in the underworld and abducted her one-day when the Moon was hunting. While she was gone, the Earth was left without spring and once she was released from the vices of the Devil, flowers began to bloom and greenery spread around the world. Ukrainians celebrate Malanka to symbolize the onset of spring (Source:

Thus, Malanka signifies the start of the new year and the onset of spring! We are very excited to be able to celebrate the Ukrainian New Year with you and cannot wait to see everyone this weekend.

Malanka 2018

Rushnychok Ukrainian Folk Dance Inc. proudly presents Malanka 2018.

Ticket prices:
Ages 3 & Under – FREE
4-10 – $30
11 and up – $60
VIP Seating – $600 (round table of 8) *Includes assigned seating with a gift at each place setting.

Doors open at 5:30 pm
Dinner served at 6:30 pm
Performance and dance to follow

Cash Bar/Silent Auction/50-50

Thank you for supporting our club’s largest group fundraiser!

Tickets are available from any malanka committee member or online:

Questions? Visit our Facebook event page ( or email us at



The Hutsul’shchyna region of Ukraine is located in the Carpathian Mountains.

The people from the Hutsul’shchyna region are easily distinguished from other ethnographic groups in Ukraine. They have distinct traditional costumes which, today, are worn only on festive occasions.


Outer garments of both sexes consist of a black or dark red coat (serdak), a linen blouse or shirt with multicolored embroidery or glass beads, and a short, sleeveless white sheepskin jacket ( kyptar) often ornamented with appliqués of leather, embroidery, and string, and mirror inlays. Men wear a broad-rimmed hat (krysania) decorated with colored string and plumes, a sheepskin hat in winter, a long shirt over narrow linen trousers, and a wide (remin) or narrow (cheres) belt with purses and brass ornamentation over the shirt. Women wear a wraparound skirt (zapaska or horbotka) and a headband (namitka) or colorful kerchief (khustka). Footwear consists of leather moccasins (postoly) laced above the ankle.


The Hutsuls are renowned for their artistic wood carving and inlaying of wooden objects with contrasting wood, brass, silver, bone, mother-of-pearl, and glass beads; their ceramics; their handmade jewelry, ornaments, and implements of brass, leather, and bone; their vibrant handwoven textiles and kilim weaving; and particularly their embroidery, Easter eggs, and distinctive wooden folk architecture.

Easter eggs (Hutsul region, Pokutia, Transcarpathia)Hutsul_embroidery_patterns

The churches in Vorokhta, Kniazhdvir, Kryvorivnia, Yasinia, Zelena, and Verbovets are fine examples of the Hutsul style. The Hutsul farmstead (grazhda) is also notable for its features.

Hutsul house

Dance choreography from the Hutsul’shchyna region reflects the steep mountainous terrain. Narrow, high-stepped movements with quick moving feet are indicative of dances from this region. Traditional Hutsul’shchyna dances include Hutsulski Tanets, Arkan, and Kolomeyka.


Koklomyjka – Teodor Axentowicz

The Arkan is traditionally performed around a burning bonfire by the men. The word Arkan also refers to the step that the men perform while dancing around the fire. The step begins with the right foot stepping to the side (or double stamping as the dance builds momentum), the left foot crosses behind, the right foot steps to the side again, and the left foot is hopped in front of the dancer with a bent knee. The dance is performed with the men’s arms upon one another’s shoulders. In professional Ukrainian dances, however, many variations may accompany this root step.


Originally, the Kolomeyka is a Hutsul music genre that combines a fast-paced folk dance and goofy-rhymed verses. It also refers to a type of dance performed by Ukrainians who emigrated to North America.

According to Andriy Nahachewsky kolomyjky as practised in Canada are a separate genre of dance from what is known in Ukraine. The diasporic kolomyjka developed from the old country folk dance but with a prevailing influence from stage dancing. Originating in Western Canada in the 1950s and 60s, the kolomyjka is considered the highlight of Ukrainian weddings and dances in Canada: when any attendees who have experience as stage dancers perform their favourite “tricks” involving lifts, spins, high kicks, even building human pyramids. It is a chance for individuals and groups to “show off” their most impressive or dangerous moves so as to entertain the audience and win approval. Nahachewsky suggests that despite being a relatively new tradition the Canadian kolomyjka is an important symbol of Ukrainian culture in Canada and that the dynamism of this type of Ukrainian dance helps to interest young people in Canada in retaining Ukrainian culture.[1]

  1. Mithrush, Fawnda (Spring 2014). “From dancer to academic” (PDF). ACUA Vitae19 (1). Edmonton: Alberta Council for the Ukrainian Arts. pp. 16–17. Retrieved 2014-07-26.


Central Ukraine Folk Dance Costumes


The Central Ukraine, representing the culture and traditions of the Ukrainian Kozaks (Kozaky), Poltava and other central Ukrainian lands surrounding the river Dnipro (Dnieper), these are the dances most commonly associated with Ukrainian dance. The culture of central and eastern Ukraine developed under many foreign influences, due to both trade and foreign invasion.The greatest indigenous cultural influence was the semi-military society of the Kozaks, whose love of social dances spawned the Hopak the Chumaky, and many others.


The men’s costumes for these dances are styled after Kozak dress, with boots, a comfortable shirt, a sash (poyas) tied around the waist, and loose, billowy riding trousers (sharovary); common accessories include overcoats, hats, and swords.


The women’s costumes have subtle variations since the woman’s blouse generally displays more embroidery than the men’s shirt, the skirt (plakhta) is woven with various geometric and color patterns, and they wear a headpiece of flowers and ribbons (vinok).


All of these pieces can vary from village to village, or even based on a family tradition, although most professional ensembles dress their performers with identical costumes, for aesthetic reasons.


The style of these dances is acrobatic and physically demanding for the men, who are often showcased individually; women have traditionally played secondary roles, displaying grace and beauty while often dancing in technically demanding unison.




The celebration of Malanka is a Ukrainian folk holiday taking place on or around January 13th, which is New Year’s Eve in accordance with the Julian calendar. Malanka, also known as Schedryi Vechir (“Generous Eve”) marks the end of Christmas festivities, comprised of the 12 days of Christmas, and is often the last opportunity for revelry before the solemn period of Lent that leads up to Easter.

Food and family figure prominently in Ukrainian culture, with any holiday a good occasion for holding a feast. The menu of Malanka is similar to that of Christmas Eve, Sviata Vecheria, except that meat is served for the New Year feast. The traditional meal often consists of kutia (a wheat, poppy seeds, and a honey mixture symbolizing peace, prosperity and good health), meat or cheese varenyky, buckwheat pancakes and sausages.

Malanka also commemorates the feast day of St. Melaniya that falls on the 13th of January for Orthodox Christians. The 14th is the feast day of Vasyl (Basil) the Great, one of the Church fathers. These Christian holidays coincide with the solar cycles recognized in pre-Christian times. As an agrarian society, it was at this time of the year that ancestors of Ukrainian people performed rituals to ensure plentiful crops, peace, and well-being for all. The Malanka celebration serves as a bridge between the old and new religious traditions.


Christianity was introduced to Ukraine in 988 A.D. The pagan religion and traditions of the day were deeply rooted in the culture which did not allow the church to eradicate the pagan traditions completely. As with many of the religions supplanted by Christianity, the church compromised by adopting a policy of tolerance, integrating many of the ancient customs with its own holidays. In this way, the ancient pagan feasts of the winter solstice, and fertility became part of Christian Holidays, allowing for the unique and deeply symbolic customs enjoyed at Ukrainian celebrations today.


According to legend, Malanka is the daughter of Mother Earth. She was the personification of spring, held against her will by the evil spirit and ruler of Hell. Being imprisoned in the underworld, spring was gone from the earth, leaving a barren winter landscape. With Malanka imprisoned, there was no happiness on earth until her release, when spring came, bringing with her the joy of new life. This legend is similar to others in ancient mythology, such as the Greek myth of Persephone who was kept by Hades in the underworld for part of the year, then returned to her mother, Kore, in the spring. In the Ukrainian version of the story, Brother Wasilchyk (Vasyl) rescues and marries Malanka.

The feast of Malanka celebrates her liberation from the Evil One on New Year’s Day, which became an occasion to look forward to a happy and prosperous new year.


The feast of Malanka has traditionally been marked by playful merriment, with households singing songs that were similar to Christmas carols, and people donning elaborate costumes. Men dressed up as bears, as women, or as the old couple, Malanka and Vasyl, who would bring along a goat, also in costume, a gypsy, a Jewish merchant, and a policeman, as well as many other characters and musicians. They would parade the streets of villages on New Year’s Eve, often interrupting family meals with knocks on their doors. Sometimes, these merrymakers would also play pranks.


The actors entered the house singing, often carrying a plow, performing the rite of “first furrow” in imitation of plowing and sometimes sprinkled cows with holy water. The person playing the character of Malanka would ask permission to enter the house, promising to put the household in order, frequently in slap-stick style.


Many colorful traditions sprang up, with each village giving rise to its own variations, all of which are highly entertaining to read about, and would have been extraordinarily fun to have experienced.

The Malanka tradition saw a decline after the 1917 revolution, but in the early 1930s, it saw a revival as a New Years celebration.

(adapted from

Lesya Ukrainka



Lesya Ukrainka, born Larysa Petrivna Kosach-Kvitka, is a famous Ukrainian poet and author. During her lifetime, she was a political, civil, and feminist activist. Lesya was born in Ukraine in 1871. She studied law at Kyiv University.



Lesya wrote her first poem, “Hope”, when she was eight years old. When she was 13, she published her first poem,”Lily of the Valley” under her pseudonym because, in the Russian Empire, publications in Ukrainian were forbidden. As a result of this censorship, her first book of poetry was published secretly in Western Ukraine and snuck into Kyiv.


During her lifetime, Lesya believed in Ukraine’s independence and fought for its freedom. She actively opposed Russian Tsarism and was a member of Ukrainian Marxist organizations. In 1902, she translated the Communist Manifesto into Ukrainian. She was arrested in 1907 by Tsarist police and remained under surveillance after her release.


Lesya died in 1913. A monument to her life and work was erected at the University of Saskatchewan and now sits in a prominent location on campus.


Contra spem spero!

Гетьте, думи, ви, хмари осінні!

То ж тепера весна золота!

Чи то так у жалю, в голосінні

Проминуть молодії літа?


Ні, я хочу крізь сльози сміятись,

Серед лиха співати пісні,

Без надії таки сподіватись,

Жити хочу! Геть думи сумні!


Я на вбогім сумнім перелозі

Буду сіять барвисті квітки,

Буду сіять квітки на морозі,

Буду лить на них сльози гіркі.


І від сліз тих гарячих розтане

Та кора льодовая, міцна,

Може, квіти зійдуть – і настане

Ще й для мене весела весна.


Я на гору круту крем’яную

Буду камінь важкий підіймать

І, несучи вагу ту страшную,

Буду пісню веселу співать.


Я співатиму пісню дзвінкую,

Розганятиму розпач тяжкий, –

Може, сам на ту гору крутую

Підійметься мій камінь важкий.


В довгу, темную нічку невидну

Не стулю ні на хвильку очей,

Все шукатиму зірку провідну,

Ясну владарку темних ночей.


Я не дам свому серденьку спати,

Хоч кругом буде тьма та нудьга,

Хоч я буду сама почувати,

Що на груди вже смерть наляга.


Смерть наляже на груди важенько,

Світ застеле суворая мла,

Але дужче заб’ється серденько,

Може, лютую смерть подола.


Я не дам свому серденьку спати,

Хоч кругом буде тьма та нудьга,

Хоч я буду сама почувати,

Що на груди вже смерть наляга.


Буде погляд мій вельми палати,

Може, згинуть всі хмари сумні,

Може, зірка, як буде сіяти,

Ясний промінь пошле і мені.


Смерть наляже на груди важенько,

Світ застеле суворая мла,

Але дужче заб’ється серденько,

Може, лютую смерть подола.


Так! я буду крізь сльози сміятись,

Серед лиха співати пісні,

Без надії таки сподіватись,

Буду жити! Геть думи сумні!


Thoughts away, you heavy clouds of autumn!
For now springtime comes, agleam with gold!
Shall thus in grief and wailing for ill-fortune
All the tale of my young years be told?


No, I want to smile through tears and weeping.,
Sing my songs where evil holds its sway,
Hopeless, a steadfast hope forever keeping,
I want to live! You thoughts of grief, away!


On poor sad fallow land unused to tilling
I’ll sow blossoms, brilliant in hue,
I’ll sow blossoms where the frost lies, chilling,
I’ll pour bitter tears on them as due.


And those burning tears shall melt, dissolving
All that mighty crust of ice away.
Maybe blossoms will come up, unfolding
Singing springtime too for me, some day.


Up the flinty steep and craggy mountain
A weighty ponderous boulder I shall raise,
And bearing this dread burden, a resounding
Song I’ll sing, a song of joyous praise.


In the long dark ever-viewless night-time
Not one instant shall I close my eyes,
I’ll seek ever for the star to guide me,
She that reigns bright mistress of dark skies.


Yes, I’ll smile, indeed, through tears and weeping
Sing my songs where evil holds its sway,
Hopeless, a steadfast hope forever keeping,
I shall live! You thoughts of grief, away!

Holodomor – A Politically Engineered Famine

The term Holodomor (death by hunger, in Ukrainian) refers to the starvation of millions of Ukrainians in 1932–33 as a result of Soviet policies. The Holodomor can be seen as the culmination of an assault by the Communist Party and Soviet state on the Ukrainian peasantry, who resisted Soviet policies. This assault occurred in the context of a campaign of intimidation and arrests of Ukrainian intellectuals, writers, artists, religious leaders, and political cadres, who were seen as a threat to Soviet ideological and state-building aspirations.

Front Page - Chicago American

Front Page – Chicago American

Between 1917 and 1921, Ukraine briefly became an independent country and fought to retain its independence before succumbing to the Red Army and being incorporated into the Soviet Union. In the 1920s, Soviet central authorities, seeking the support of the populace, allowed for some cultural autonomy through the policy known as “indigenization.”

By the end of the 1920s, Soviet leader Joseph Stalin decided to curtail Ukraine’s cultural autonomy, launching the intimidation, arrest, imprisonment and execution of thousands of Ukrainian intellectuals, church leaders, as well as Communist Party functionaries who had supported Ukraine’s distinctiveness.

Map of area effected by famine. The darker colours are the areas most effected.

Map of the area affected by famine.

At the same time, Stalin ordered the collectivization of agriculture. The majority of Ukrainians, who were small-scale or subsistence farmers, resisted. The state confiscated the property of the independent farmers and forced them to work on government collective farms. Prosperous farmers (owning a few head of livestock, for example) and those who resisted collectivization were branded kulaks (rich peasants) and declared enemies of the state who deserved to be eliminated as a class. Thousands were thrown out of their homes and deported.


In 1932, the Communist Party set impossibly high quotas for the amount of grain Ukrainian villages were required to contribute to the Soviet state. When the villages were not able to meet the quotas, authorities intensified the requisition campaign, confiscating even the seed set aside for planting and levying fines in meat and potatoes for failure to fulfill the quotas. Special teams were sent to search homes and even seized other foodstuffs. Starving farmers attempted to leave their villages in search of food, but Soviet authorities issued a decree forbidding Ukraine’s peasants from leaving the country. As a result, many thousands of farmers who had managed to leave their villages were apprehended and sent back, virtually a death sentence. A law was introduced that made the theft of even a few stalks of grain an act of sabotage punishable by execution. In some cases, soldiers were posted in watchtowers to prevent people from taking any food from the harvest. Although informed of the dire conditions in Ukraine, central authorities ordered local officials to extract even more from the villages. Millions starved as the USSR sold crops from Ukraine abroad.

Mother of the Year 33 by Nina Marchenko

Mother of the Year 33 by Nina Marchenko

The USSR vigorously denied that the Holodomor had occurred. Since the collapse of the Soviet Union, the Communist Party, secret police, and government archives that have become accessible to researchers support the conclusion that the famine was caused by Soviet state policies and was indeed intentionally intensified by Soviet authorities. (Text modified from


As millions died, and others moved in search  of food, armed guards sealed off the border  with Russia, where there was food. As millions  died, the USSR exported grain. According to Dr. Taras Hunczak of Rutgers University, 28  million tons were exported during 1932 and  1933 – four tons of grain per each man, woman, and child who starved. There was no physical reason that they should have died. It was a deliberate policy.

Read full story


Holodomor Memorial in Kyiv, Ukraine

For further reading:

  • Davies, R.W. and Wheatcroft, Stephen G., The Years of Hunger: Soviet Agriculture, 1931–1933. New York: Palgrave Macmillan, 2004.
  • Graziosi, Andrea, “The Soviet 1931–1933 Famines and the Ukrainian Holodomor: Is a New Interpretation Possible, and What Would Its Consequences Be?”, Harvard Ukrainian Studies 27 (2004–2005), pp. 97–115.
  • Klid, Bohdan and Motyl, Alexander J., co-compilers and co-editors. The Holodomor Reader: A Sourcebook on the Famine of 1932–1933 in Ukraine. Edmonton and Toronto: CIUS Press, 2012.
  • Conquest, Robert. The Harvest of Sorrow: Soviet Collectivization and the Terror-Famine. New York: Oxford University Press, 1987.
  • Kulchytskyi, Stanislav V., “Holodomor in Ukraine 1932–1933: An Interpretation of Facts,” in Holodomor and Gorta Mór: Histories, Memories and Representations of Famine in Ukraine and Ireland. Ed. Christian Noack et al. London, New York and Delhi: Anthem Press, 2012, pp. 19–33.
  • “Lemkin on Genocide of Nations,” Journal of International Criminal Justice 9 (2009), pp. 123–30.
  • Martin, Terry. The Affirmative Action Empire: Nations and Nationalism in the Soviet Union, 1923–1939. Ithaca and London: Cornell University Press, 2001.
  • Naimark, Norman M. Stalin’s Genocides. Princeton and Oxford: Princeton University Press, 2010.
  • Snyder, Timothy. Bloodlands: Europe Between Hitler and Stalin. New York: Basic Books, 2010.
  • Werth, Nicholas, “The Great Ukrainian Famine of 1932–33,” Online Encyclopedia of Mass Violence, published 18 April 2008. Online at


Filip Konowal VC

During the First World War, while the Canadian Government was interning approximately 5,000 Canadians of Ukrainian descent for being enemy aliens, 4,000 brave men of Ukrainian heritage volunteered with the Canadian Expeditionary Forces (CEF). Of these courageous men who fought for a country that had declared them unwelcome enemies, one man, Filip Konowal, was recognized for bravery in the face of extreme danger.


Filip Konowal, born in Kutkivtsi, Ukraine in 1888, enlisted with the 77th Canadian Infantry Battalion on 19 June 1915. He left Halifax for Liverpool on 19 June 1916 and was promoted to Corporal in the 47th British Columbia Battalion. In August 1916, the 4th Division arrived in France. In April 1917, the soldiers participated in the assault on Vimy Ridge. From 22-24 August 1917, during the Battle of Hill 70 in Lens, France, Filip Konowal was recognized for conspicuous bravery in the face of the enemy and he was awarded the Victoria Cross.


Description of Filip Konowal’s bravery as it appeared in the London Gazette 27 November 1917.

Konowal’s Victoria Cross medal was personally presented to him by King George V. Konowal was also awarded the British War Medal, Victory Medal, George VI Coronation Medal, and Elizabeth II Coronation Medal.


Filip Konowal’s medals. The Victoria Cross is on the far left.


After his military service, Konowal worked as a caretaker at the House of Commons before being reassigned to a lifetime job in Prime Minister William Lyon Mackenzie King’s personal office.


Portrait of Filip Konowal


“Enemy Aliens”

Ukrainian Internment Camps – 1914-1920


At the beginning of World War I in August 1914, the Canadian government enacted the federal War Measures Act (WMA). The Act’s sweeping powers permitted the government to suspend or limit civil liberties in the interest of Canada’s protection, including the right to incarcerate “enemy aliens”.

The term “enemy alien” referred to the citizens of states legally at war with Canada who resided in Canada during the war. Under the authority of the WMA, Canada interned 8,579 enemy aliens, men, women, and children, in 24 receiving stations and internment camps from 1914-1920.  One of these camps was only 7 miles west of Saskatoon at Eaton Siding, current home of the Saskatchewan Railway Museum.



The majority of those interned were of Ukrainian descent, targeted because Ukraine was then split between Russia (an ally) and the Austro-Hungarian Empire, an enemy of the British Empire. In addition to those placed in camps, another 80,000 enemy aliens, again mostly Ukrainians, were forced to carry identity papers and to report regularly to local police offices.


The government frequently employed internees on massive labour projects, including the development of Banff National Park and numerous mining and logging operations. Internees had much of their wealth confiscated, although most were paid $0.25 a day, far less than that offered to labourers of the time period. Interned Canadians were also disenfranchised, lost their right to vote, during the course of the war.


War-time fervour and xenophobic fear had been the main factors driving the policy of internment, and not actual attacks on Canada’s domestic war effort by enemy sympathizers. There were a few inept plans for sabotage on Canadian soil, and fear of a German invasion persisted for several years, but no serious threats materialized.


The internment of Canadians left painful scars and, for Ukrainian Canadians in particular, the lingering suggestion of widespread disloyalty. In November 2005, after a long, grassroots campaign by the Ukrainian community, Bill C-331 recognized the internment of Ukrainian Canadians during the First World War and called for negotiated settlement between government and members of the Ukrainian-Canadian community. (Text modified from the Canadian War Museum)

Remembering Our History – The Camps by Armistice Films

Actor and activist Ryan Boyko founded Armistice Films in October of 2010. The film company began as a direct result of Mr. Boyko’s desire to tell the story of Canada’s first national internment operations through the power of cinema. It is a story of those lured to Canada by the false promise of a dream – hated when they arrived, turned into prisoners and slaves in the prime of their lives, in a country that promised them a chance, yet never told the story of their affliction. It is a subject struck from Canadian history books.

Armistice Films will release one episode every week. Please take a few moments to watch these short videos about the internment camp, an important and silenced part of Canada’s history.

The company is currently in high gear, financing Enemy Aliens. Armistice Films is the first Canadian company to receive funding directly from Ukraine through a contribution of 1.5 million Canadian from the Ukrainian State Film Agency. Armistice Films is working to raise an additional 3.8 Million CAD to begin filming Enemy Aliens this year. The making of this film will honour the trials and sacrifice of thousands of Ukrainians, Poles, Italians, Bulgarians, Croatians, Turks, Serbians, Hungarians, Russians, Jews, Slovaks, Slovenes, Czechs and Romanians whose home country was under the Austro-Hungarian Empire’s rule. Their freedom was stripped and they were forced into work camps. Many lost everything between the years 1914 – 1920.

To learn how you can give financial assistance to the making of this movie, please contact Ryan directly at or by phone at 647.294.2741