Politics of Cinematic Representation of Crimean Tatars in Ukraine: 2003-2018 by Alina Zubkovych

The Euromaidan protest brought tremendous challenges to the political, social-cultural and everyday life in Ukraine and abroad. The military invasion by the neighboring country and annexation of the Crimean Peninsula marked the appearance of newly constructed discourses. The events raised questions about the continuity of the popular paradigm of conceptualization of national identity in Ukraine. Such dichotomies as national vs regional and /or ethnic were re-constructed through practices of civic and national unity. The simultaneous emergence of diverse discourses that ideologically competed with each other (multiculturalism, ethnic nationalism and other), and simultaneously co-exist- ed in the same physical landscape have shed light on the plurality, complexity and fluidity of visions of national identity. Focusing on the representation of Crimean Tatars in Ukraine offers a unique possibility to observe the dynamics of imaginative shifts in Ukrainian media discourses that have appeared during the Euromaidan and further occupation of the Crimean peninsula. Keywords: Crimean Tatars, representation, cinema, Ukraine, media.

Introduction The Revolution of Dignity or the EuroMaidan, on the one hand, and the tur- moil caused by the Kremlin with into annexation of Crimea in 2014 and the Rus- so-Ukrainian war in Donbas, on the other hand, brought tremendous changes to reconceptualized politics of belonging became part of the tendencies one may ob- servelife in sinceUkraine the in EuroMaidan. many aspects. The New annexation memory ofpolitics, Crimea identification is changing thestrategies role of andthe peninsula in the various new discourses in Ukraine. The role and image of Crime- an Tatars were radically shifted as well, due to their leading role in defending Ukrainian Crimea, banning the pseudo-referendum and being the major victims after the occupation.1 The Crimean Tatars as an imaginary community were predominantly stigma- tized before 2014 by different means.2 Both the local authorities and media were active contributors to the reproduction of the image of Crimean Tatars as symbolic “Others”.3 With this study, I aim to analyze the dominant discourses constructed around the films that represent Crimean Tatars in the Ukrainian film industry. For arethis to reason, be further I have analyzed selected in films this of study. major All importance of them have based different on the artistic centrality goals of and the aestheticCrimean Tatars quality. as However, an object as of myrepresentation. study focuses The on filmsthe images of 2003, that 2013, are 2015,formed 2018 be- hind the esthetic representation and that are related to the media discourses that

Euxeinos, Vol. 9, No. 28 / 2019 47 Alina Zubkovych are centered on their representation, and thus contribute to the construction of a certain image, all of them are relevant.

Mamay: the pioneering art house reflection - (s) in the plot. Against Films that were produced in Ukraine before 2013 did not dedicate much atten attractedtion to Crimean the attention Tatar(s) of as scholars the central dealing or importantwith the issue figure of the representation of this background, however, one film produced in 2003 was a valuable exception and basedCrimean on Tatara love in story the Ukrainian that has the film dramatic industry. effect because of being constructed on Mamay is a feature film directed by Ukrainian filmmaker Oles Sanin in 2003. It is it as a love story or reducing it to a play movie plot would be incorrect, since its the boundaries of two historically antagonistic folk traditions. However, defining wasimportant to go not feature through is the the heteronomy: professional both adaptation the film, of and the of text its to verbal screening narrative it, but that to disintegratecannot be easily with caught the means and described.of cinema the As Sanintext itself put init: the“The cinema.” difficulty4 of directing

www.kinokolo.ua/argument/2331/. Figure 1. Volodymyr Voytenko, ““Mamay”, Oles’ Sanin”, Kino-Kolo©, March 9, 2014. https:// and another in Crimean Tatar. A third one evolves from them and takes on the Sanin presented two epic stories: one popular in Ukrainian folklore tradition Euxeinos, Vol. 9, No. 28 / 2019 48 Alina Zubkovych

16th centrality of the plot and is invented by the author. The first story is based on the century Ukrainian “The Thought of Three Azov Brothers” (Duma pro tr’okh DoblesnykhBrativ Azovs’kykh). Mamlyukiv) The secondwhich isstory, also inknown contrast, in the is basedCrimean on Tatarthe Iranian folklore folklore tradition.narration “Dervish Song about Three Valiant Mamluk” (Pisnya Dervisha pro tr’okh seemingly traditional narration which is not such at all if one starts deconstructing it. SaninThe third combines story andboth probably stories, re-attributes the central one meanings is a dramatic to each love and storyconstructs of a fugi the- and they fall in love. Their relationship symbolically defy age-old hatred ethnic, religioustive Cossack and savedcultural by differences Tatar women between in steppe. their Sherespective saves him peoples. from The certain movie death has rich symbolic language and prevails with silence accompanied by sounds of nature

Cossacks and Tatars, are rather on the outskirts of the sound and picture. Already (wind, horses, fire) over human dialogues. The rare dialogues, predominantly of is not called “Cossack Mamay”, but only “Mamay”. Is it Mamay, the powerful mil- itarythe title commander questions of the the boundaries Golden Horde? of the Mamay, symbolic who order was, we in fact,are facing. born in The what film is today Crimea, and who has later controlled the lands in what is now the south- ern Ukrainian and the Crimean Peninsula. Mamay who was killed in what is now Crimea and buried in Sheikh Mamay (now the village of Aivazovsky, near the city of Feodosiya),In Ukrainian and folk whose painting grave tradition (mound) Cossack was later Mamay found is a by collective Aivazovsky. image Or of is Cos this- sackhood.reference toIt therepresents Slavic tradition? freedom and bravery. Image became popular for depiction during the late 17th century and up to 20th in Kyiv and Khortiza. In the hundreds of survived century paintings, – for example Cossack DavidMamay Burlyk’s is usu- ally1912 shown avant-garde with kobza reflection – a symbol on Mamay. of the Today soul; one a horse,will find which monuments represented to Mamay both

Cossackfreedom Mamayand fidelity; gained and popularity an oak with in Ukrainianhis weapons tradition. hanging The on dominantit that symbolize theory, thought,the people’s is that strength. both the There name are and different the pose theories correlate on howwith thetraditional collective Turkic image folk of art and, hence, the Ukrainian version is a derivative of the Turkic original. The word “Mamay” also means “no one” in Turkic languages and this etymological ob- - 5 servation became a metaphor and an argument selected by Oles Sanin in his ex planatory articles reflecting on the film. Mamay filled up the treasury of Ukrainian art films according to a few art critics. others,Such review who claimedusually emphasizethat this period the stylistic became novelty overwhelming and talented in the montage contemporary work. Oles Sanin’s reference to the period of Cossackhood was evaluated critically by Euxeinos, Vol. 9, No. 28 / 2019 49 Alina Zubkovych art scene and that sophisticated art work should distance itself from such a main- stream topic.6 Reviewers have frequently pointed out the differences between the - personaloriginal ballads vision, anda representation Sanin’s interpretation. of the Orient However,7, or as the the same historical action inconsisten was interpreted differently by various critics: by some as a creative art canvas and author’s of such historical and ethnographic inconsistency. The argument that it is not a cy by others. Solitary women living along in the steppe may serve as an example others.8 historical film and serves other aesthetic goals applied as a counter-argument by

Figure 2.Visual representation of the Cossack Mamay. Volodymyr Voytenko, ““Mamay”, Oles’ Sanin”, Kino-Kolo©, March 9, 2014. https://www.kinokolo.ua/argument/2331/. - - With limited budget (approx. $200,000) and filming that lasted 24 hours, Ma distributionmay was exhibited was limited at a few to theinternational premieres film that festivals took place and in was several Ukraine’s large cities.2003 sub The mission for the Academy Award for the Best Foreign Language Film. The national was attended by several ministers and deputies such as by Viktor Yushchenko, a deputysymbolical at that importance time.9 of the film is illustrated by the fact that the Kyiv premiere - troduce discourse on the “steppe as a borderland” and what is most remarkable to processIt was the the antagonist first and most cultural remarkable myths and attempt to construct in the Ukrainianthe space filmof commonality. scene to in

Mamai advances a Ukrainian identity capable of reconciling opposites and con- As Rory Finnin put it: “As open and enigmatic as the steppe, Oles’ Sanin’s Cossack

Euxeinos, Vol. 9, No. 28 / 2019 50 Alina Zubkovych taining multitudes.”10 Tatars would appear only ten years later and have a different aesthetic quality, The next film that deals with the representation of Crimean criteriagoals and than historical Mamay. context. The significance of the “Haytarma”, the next film to be analyzed, is difficult to overestimate, although its relevance is determined by other “Haytarma” - tation of 1944 through the prism of the personal history of the hero-pilot, twice “Haytarma” is the first Crimean Tatar feature film telling the story of the depor - Hero of the Soviet Union Amet-khan Sultan. It was directed by the Crimean Tatar director“Haytarma”, Akhtem translated Seitablaiev as “return”,in 2013 isand also funded the name by theof the Crimean traditional Tatar dance. business This man and producer of the film Lenur Islyamov. film was the first step to visualize the collective trauma and share it in the cinemas annexation.around Ukraine. However, The productionit was released of another recently. film with the same funding entitled “Hidir dede”, which was in the process of filming in 2013, was postponed due to the

- ture/2138042/#. Picture 3. Poster for the movie “Haytarma”, ART©, 2013. https://www.kinopoisk.ru/pic - ipation of local inhabitants. According to the director, more than a thousand of peo- “Haytarma” was filmed in Crimea and the mass scenes were based on the partic ple participated in filming of the mass scenes. The central scene demonstrates the

Euxeinos, Vol. 9, No. 28 / 2019 51 Alina Zubkovych eve of the deportation when all Crimean Tatar inhabitants of Crimea had to leave their houses and move to the railway stations under the escort of the NKVD organs. Among the volunteers who participated in the crowd scene were elderly people who actually survived the deportation 69 years ago.11 There were cases of elderly people suffering from re-living the experience. The plot includes reminiscences of witnesses (often the same people from the mass scenes and/or relatives of the carried in the overcrowded wagons. They suffer not only mentally from the inhumanity,shooting group). but also Thus, physically, there is abecause scene at there the endis almost of the no film space that to depicts seat, there people is fierce someone is giving birth under such conditions. The women who gives birth in one lack of air, no provisions and other things of prime necessity. Someone is dying and cadres of deportation are grounded on the personal stories and, thus giving the cadre is Lenur Islyamov’s grandmother, her son is, respectively, his uncle. Other - film another dimension of collective recognition and authenticity. injuryThe tosymbolic the collectivity, impact ofestablishes this film isthe difficult victim, to attributes overestimate. responsibility, Jeffrey C. andAlexan dis- tributesder’s social the theory ideal and of trauma material helps consequences.” to explain its12 significance.Alexander provides Trauma an is “aoverview painful of the process of creating, broadcasting and inhabiting trauma on the social and cultural level. He explains that there are many traumatic events happening in the lives of individuals, collectivities and nations. However, not all of them become recognized as traumas, not all of them are collectively shared. In order for the traumatic event to become socially recognizable, it must pass through several levels of making: one or the collective of people should start bringing the issue to constant repetition to the public space. They play the role of the agents that broadcast the answertrauma. aGenerally certain number speaking, of fundamentalthe agent’s job questions: is to bring the oppressed story, tell it, make1. The it new nature and ofto thefind pain. the proper What actually audience happened that will taketo the it. particular Such new group?story has to 2. The nature of the victim. What group of persons was affected by this trauma- tizing pain? 3. Relation of the trauma victim to the wider audience. Typically, at the beginning of the trauma process, most audience members see little if any relation between themselves and the victimized group. 4. Attribution of responsibility. Who caused the trauma? A necessary part of the trauma process is “experiencing trauma”. The experience of trauma and its latter representation shifts collective identity. Identities, as seen through the lens of constructionism and discourse analysis theories, are in a permanent process of transformation; the revision of the collective past plays present and future. a significant role in the process of identification and establishing a vision of the

Euxeinos, Vol. 9, No. 28 / 2019 52 Alina Zubkovych collections of historical artifacts. New generations inhabit identity markers that becomeTrauma structured turns into in ritual“lessons” routines. and is According objectified to inAlexander, museums, the monuments, process of rouand- tinization that follows experiencing trauma and is a form of its memorialization has the most profound normative effect on social life. By allowing members of wider publics to participate in the pain of others, cultural traumas broaden the realm of social understanding and sympathy, and they provide powerful avenues for new forms of social incorporation.13 - proach the constant frame of the “enemy” vs “victim” dichotomy and to go beyond theIn folklore contrast separation to the movie on Mamay“us” and that “them”, functioned “Haytarma” as an art had film a differentattempting promise to ap and goals. It became the mediation of the collective memory on deportation. As the - ences into its cinematic form. This new visual form serves as a testimony of the authenticity.nodal point It ofwas the reproduced narrative, numerousits visualization times fixedin the the media multiple (for instance personal in experi news) when the issue of deportation was discussed. It usually served as a background of successful in this regard if the visualization is also shared by others. In this case, the oral text. The process of mediation of a cultural trauma might be identified as there are two distinct aspects of its completeness: firstly, because it is reproduced- emasin media, and andto the secondly, various because movie clubs. the film was received by both Crimean Tatars who participated in filming stage, and those who came and continue to come to the cin th withIn justSimferopol, two screenings the Kosmos per day Cinema but added estimates two additionalthat six thousand screenings people in response saw the tofilm the in unexpectedthe first week, interest. and one14 thousand by the 4 of June; the cinema had begun by the Ukrainian Oscar committee for the Academy Award submission. Similarly to “Mamay”, “Haytarma” was also selected-

“Haytarma” deals with the contested past opposite to the locally dominant Sovi et discourse on the Great Patriotic War. Soviet discourse is based on the primitive ofglorification vanished heritageof the constructed and simply “Russian” property victory; that was it excludes utilized anyby thosecomplexity who left of the or camewar, responsibility, after the deportation guilt and does general not have reflection a place on in the such deported collectively nations. shared The collec issue- tive glory. Therefore, when “Haytarma” appeared, it became involved in memory wars between two competing collective memories. The Consul General of Russia for not presenting the issue of collaboration and treachery. After the scandal that brokensuggested out not he toresigned. visit the premiere of the film. He has also reproached “Haytarma” 15 War” for the national Russian authorities, “Haytarma” used also selective historical If the consul reproduced the traditional rigid narrative of “the Great Patriotic

Euxeinos, Vol. 9, No. 28 / 2019 53 Alina Zubkovych

- ativesmaterial and to themake next the day issue becomes of victimhood a witness most of visible.the deportation Thus, the excludes story of thedetails Soviet of Union hero pilot and Crimean Tatar Amet-khan Sultan who comes to visit his rel nativehis own to family the Dagestan story. The area) film and, does therefore, not mention was thatnot subject film’s prototype to the deportation, real Sultan’s or father was, for example, identified as Lak (the Northern Caucasus ethnic group occupation. At the post-war tribunal for his brother Amet-khan tried to defend Im- ranthat and his brotherexplained Imran that hasit was served impossible in the commandant’sto avoid any cooperation office during with the the German Nazis 16 Reference to this or similar stories would have contributed to the understanding of the complexity of the pe- even for the family of the Hero of the Soviet Union. riod. The true story of Amet-khan’s father would have demonstrated the cynicism- ferentof Soviet promises politics and to angoals. even Certainly, greater tthe extend representation when the registeredof the complexity nationality of the in the passport defined and fully controlled person’s life and future. Films have dif need to articulate the cultural trauma and emotional collective feelings of injustice period was not the priority of this film. It worked with another no less important recognized. Therefore, “Haytarma”, which focuses particularly on the representa- tionand brokenof the collective destinies trauma,of thousands plays ofsuch people an important that were rolenot heard,for the reflected Crimean on,Tatar or

Theself-identification new “We” through and became media entangled optics in the memory wars. in different media contexts. The collective memory visualized in a concrete form thatThe is basedspecial on symbolic selected status fragments that the of past,film hasoblivion obtained of certain continues elements to be andapplied the emphasis of others, develops into a thing-in-itself, noumenon, or simulacrum with reality that produces belief in its own. its Onown 4 sense April of2018 authenticity. the Espreso It shows TV channel the special reported status onof theits filmwebsite as a constructedthat the TV screening of “Haytarma” would be on 9 April. It was a routine announcement, ex-

- Orthodox Easter. The announcement was accompanied by a short text explain- cept for that 9 April was an official holiday with a distinct symbolic connotation quotations: one is from by the chief editor of the channel and another from the programing why this director. film should be presented on this particular day. It is followed by two It is impossible not to project Easter events on the reality in which we live. Knowing that resurrection was preceded by the torments and the crucifixion of Christ, we also think of today’s injustice and repression in the worst traditions of the Stalin era in the occupied territories - in Crimea in particular. We believe

Euxeinos, Vol. 9, No. 28 / 2019 54 Alina Zubkovych that following the crucifixion of Crimea by Russia, its [Crimean] resurrection will follow as a part of a united and independent Ukraine “, - believes Gurska- ya.17 Espreso explains further: Espreso TV will show the “Haytarma” movie in the memory of the tortured Ukrainians in Crimea (in the 1940s and now) in solidarity with the persecuted Crimean Tatars. Without unity with them the spiritual unity of Ukraine is impossible.18 simply screened in a memory of the deported, or more broadly in the memory of all LetUkrainians us leave (meaningapart the logicCrimean of why Tatars the filmas well) about “tortured...in the deportation Crimea...in should not1940s be and now.” In general, this newspaper piece was hastily made. There are mistakes and the the text and cover it is clear it is in April. Clearly, announcements are not informa- tiontypos that at the people beginning read carefully. of the article It is sayingpart of the a very movie routine will be process in July, ofalthough maintaining from the website. Something that looks obvious and clear is expected to be reproduced thatin such exist announcements. as constructed Particularly“objective knowledge”. because this seems obvious, the text deserves closeWhat attention is visible while is that by thedeconstructing text is grounded it we on may the find several the clusters:underlying structures - tinguishes Crimean Tatars as a separate unity because if the mental map included “Torturedthe Crimean Ukrainians”, Tatars in the“Persecuted body of “Ukrainians” Crimean Tatars” it would “Unity make of Ukraine”.no sense toIt adddis the phrase “the tortured Ukrainians in Crimea (in the 1940s and now)” any other group because it has to include everyone who is believed to be Ukrainian. There- fore, this means that ethnonational perception is in action here. However, two more important aspects are also visible. secondly,Firstly, the the traditional most important victimizing group image to be of associated“suffering Ukrainian with today’s people” Crimea is mir are- roredCrimean by sufferingTatars who Crimean are perceived Tatar people. as, first The of common all, the painunity and of common“persecuted”. goal isAnd to unite them into the “spiritual unity of Ukraine”, whereby the reference to the unity a national unity constellation does not have any cliché-like recognizable narrative, wepoints are out in a the unique demand situation to find of and observing construct the such process unity. of While construction the language of this of suchnew feeling of commonality. The randomness of the categories (different sorts of uni- commonality may be interpreted particularly as the novel process of construction ofty) this jumps new to inclusive the explanatory politics of theology belonging. (sacrifice, Christ, Easter) - this language of

Euxeinos, Vol. 9, No. 28 / 2019 55 Alina Zubkovych - a communionReturning back where to thethe traumaticfilm as a simulacrumnarration is consecratedit is clear from and the shared analyzed by those an who,nouncement by the act that of thewatching, film is becomeperceived witnesses. as a testimony This tendency and its hasscreening been described becomes by Uehling,19 -

who conducted interviews with Crimean 20Tatar Ukrainians IDPs in mainlandand Crimean cit ies of Ukraine. She notices that a “newfound sense of “Ukrainianness” relies in part- sionon separating and start perceivingitself from eachthe Sovietas friends and ratherthe Russian”. than enemies.21 This new sense is strengthenedTatars are beginning by a growing to develop awareness a counter-history of political agency to the andSoviet focus passed on the down re-inter ver- pretation of the past. Significant departure points include victimized narratives of Thethe Soviet further collectivization, cinematic dynamics the 1944 of deportation 2014-2018. and Holodomor. Another’s Prayer (87 Children)

87 22 (Chuzha molytva) was releasedAkhtem on Seitablaiev 18 May 2017, managed on the to anniversary attract funding of the from deportation. the state-funded Dergkino. His new feature film “ Children” or “Another’s Prayer”

Figure 4. Poster for the movie “Chuzha molytva”, KINO.NET.UA©, 2017. https://kino.net.ua/ film/57845/poster/47311.

Euxeinos, Vol. 9, No. 28 / 2019 56 Alina Zubkovych

It narrates the story of a Crimean Tatar kindergarten7 teacher who saved Jewish constructchildren during fake Crimean the Nazi Tatar occupation identities of Crimea. to survive, Akhtem which Seitablaiev involved saysteaching it is based them on the true story of Saide Arifova, who saved 8 Jewish children by helping them wereMuslim not practices responsible and for prayers. “the collective She then crime” saved ofthem collaboration for the second with Nazistime, whenascribed on tothe the eve Crimean of the deportation Tatars and, therefore,they demonstrated she was deported that they without were Jews them. and therefore

I do not possess information that confirms or disproves Saide Arifova’s story. TheSo far, topic she is has the not continuation been included of both into the the visual list of traditionRighteous of Among “Haytarma”, the Nations and of andthe similarthere were discourses no contacts on the from cultural the survivors trauma actualized or their relatives there. The to stillconfirm tenacious the story. and

- turalstigmatizing trauma isSoviet-grounded further developed narrative into the on narrative the “perpetrators” of “good” and and “evil” “collaborators” and clearly, theis communicated construct does with not theimply counter the complexity argument of of the victimhood historical and period. sacrifice. The cul

Documentaries

of CrimeanSince the Tatars annexation has been of Crimea produced. in 2014, The major the film focus industry is juxtaposed has gone between through the a post-annexationsignificant change conditions of themes. in A Crimea series ofand documentaries stories of those articulating who left thethe peninsulaproblems and moved to mainland Ukraine. The stories of displaced activists and/ or stories of the generation of their parents who stay in Crimea under occupation are usually combined.

Importantly, most documentaries23 are filmed by international teams. To give just a few examples: “Crimea Unveiled” (2014), Olga Morkova’s story of the displaced artist and activist Rustem Skibin ; “A Struggle for Home: The Crimean Tatars”- (2015), produced by Christina Paschyn in Qatar; and “When Will This Wind Stop” (2017)(2016), “aproduced docudrama by the about Polish the film-director long life of Crimean Anila Astrid Tatar and activist dedicated Mustafa to the Dzhe ev- milev.”eryday24 life of Crimean Tatar families under the occupation. And, finally, “Mustafa” - tion to the memory of deportation and construct a link between the 1944 deporta- tionAll and of thesethe 2014 films occupation. emphasize The the traumaticannexation experience of Crimea ofby Crimean Russia becomes Tatars in a rela major point of reference. It is contextualized as a repetition of history and is referred to in the films as a “hybrid deportation”.

Euxeinos, Vol. 9, No. 28 / 2019 57 Alina Zubkovych Jamala as the embodiment of the cultural trauma Another type of documentaries that have contributed to the representational trajectory are those that are related to the popular Ukrainian-Crimean Tatar singer - holm has greatly contributed to the vision of Crimean Tatars. Jamala (Susana Jamaladinova). Jamala’s victory at the Eurovision 2016 in Stock- andThe during title theof Jamala’smemory songwars “1944”that have refers occurred to the around year of the the symbolic Crimean legitimacy Tatar de portation. Her participation was held against the backdrop of Crimea’s annexation the myth of “Russian Crimea”, applying such descriptions as “primordially Russian of the act of annexation. Russia’s political elite has been aggressively referring to elements of its “totalizing narrative”. The intonation and the form of expression excludedland” (iskonno any possibility russkaya zemlya),for accepting “Sevastopol, the co-existence the city of of Russian other interpretations glory” and other of the past. Her song received a lot of national and international media attention and, as with “Haytarma”, fueled memory wars even in a more ultimate form. If25 the con-

- turalflict with trauma the thatRussian gained Consul symbolical General international of 2013 may recognition. be considered Also, as the a desirerecipient to hascurry changed favor that drastically: failed, Jamala’s if the representation performance was of the a successful deportation embodiment in 2013 was of culthe clash between the Crimean Tatar activists, politicians and others from the ethnic the representation of the deportation in 2016 was the clash between Ukrainian andcommunity Russian belonging state narratives. versus RussianIt is a symbolic authorities continuation officially representedof the Russo-Ukrainian in Ukraine, war in the hybrid form similar to the media wars on the fake news that Ukrainian journalists and activists have to face since the EuroMaidan, while confronting the disinformation and post-truth of the Kremlin-sponsored media outlets.26 The most 27 - ouslyvivid exampleethnic-grounded is the fake-story narrative, of the “crucifiedchanged role boy”. of the singer (the agent of cul- turalIt istrauma) difficult and to overestimatethe extent to thewhich rapid the transformation formerly localized of the and status ethicized of the trauma previ place since 2014 in Ukraine. has influenced on the discourses on the national politics of belonging that take

CrimeanJamala’s Tatars, victory deportation has served and to increase their exile, interest retrieval in the to Crimean Ukraine Tatars. after Thethe dissomajor- media spoke about Jamala in the context of such topics as indigenous status of the lution of the Soviet Union, and finally Russia’s occupation of Crimean peninsula. whichJamala always is often signify introduced her ethnicity by Ukrainian as an important media as marker a “singer of identity.with Crimean Tatar roots” (spivachka z kryms’kotatars’kym korinnyam) or by similar formulations

Euxeinos, Vol. 9, No. 28 / 2019 58 Alina Zubkovych - - Not surprisingly, a number of documentary films, reportages, news stories re lated to Jamala were produced in 2016. For instance, Anna Akulevich’ documenta ry “Jamala.ua” was released in April 2016. It films in the backstage genre singer’s- tory.preparation28 for Eurovision. The film director started shooting the film half a year ofbefore the Eurovision, the entire trip but to“simply” Sweden as and, a singer therefore, who participates could only have in the expected Eurovision her wasvic still considered It is a considerable as an appealing detail since project it means in terms that of filming possible Jamala interest not inas hera winner from the audience and funding.29 The Kyiv premiere at Zhovten cinema contributed to the representation of the typical composition of target audience. As with “Haytar- on Crimea, strengthens the role of Crimean Tatar as the legitimate and the most authenticma” and other political films, actor the premierin regard becomes to Crimea a space and maintainsthat mixes all political this by statements the reproduction of the carnival folk imaginary. Media that circulate the image contribute to the habitualization of these constructed ties. The presence of the politicians (both make the link between the issues of occupation, political persecutions and art are largelyMejlis and mediatized MPs), activists, through artistsdifferent that news articulate outlets. the30 importance of the film and

The fairy tale Hidir dede: the field of political struggle related to the Crimean Tatar cinematic discourses since 2014. The recently pro- Politicization and biopolitics of art were the main feature of many public events Hidir dede”31 duced youth story on the Medieval Crimea “the first Crimean Tatar fairy tale movie occupied Crimea, is the Kyiv most and speaking Moscow. illustration of this kind. Filmed in Crimea by QaradenizThe focus productions on the differences and released in the inrepresentation summer 2018, of the premierefilm had premieresseems to me in a cultural product but the political connotations that are constructed around it.32 Mustafato be highly Dzhemilev important attended and relevant the premiere, for understanding was invited to not give primarily a speech the at thefilm cin as- ema hall and urged Crimean Tatars to be strong and united during the occupation of the Motherland. The director of the Qaradeniz production and general producer We want [to present] a cultural product that is so rarely possible among Crime- of thean Tatarsfilm said: today in Crimea for a big number of reasons. And we want to share our culturological product with our compatriots who live all around the world. We don’t see anything bad in this. [There is] no politics [in it].33 -

The Ukrainian Crimean Tatar media outlet ATR reported that the film is also be ing shown in Crimea and will be shown in Poland, Turkey and Canada. The Moscow

Euxeinos, Vol. 9, No. 28 / 2019 59 Alina Zubkovych aims to construct. Additionally, the nodal point of the narrative was the informa- premiere was not mentioned at all. It does not fit the narrative the media outlet tion that according to the Security Service of Ukraine (SBU) information, SBU has- trolledprevented fake-nationalist a provocation protesters led by the who Kremlin. were toThe prevent official the page screening. of the SBU,34 indeed, contains the report on the successful prevention led by SBU of the Kremlin-con - cow.The The Crimean-based goal of uniting internet Crimean recourse Tatar “compatriots” “Crimean Tatars” was also funded a main by Qaradenizpart ofthe narrative.productions Due has to published the control a videoof the reportage local media on andthe premiereself-censorship of the whichfilm in is Mos the forced measure for the channel located in Crimea that tries to survive without having obvious collaboration with the regime, the “Crimean Tatars” cannot allow any public criticism or political utterance itself. This is a very complicated and fragile balance of semi-existence on the occupied peninsula with a risk of being persecut- in avoiding any political content. ed However,anytime. Clearlywhat might local bemedia interesting and film for productions the analysis have of the to imagebe very constructed instrumental by th century Crimea. The brief answers emphasizedthe film is the their accent gratefulness on the authenticity to the “18 ofth 18century Crimea”35 and authenticity of from the visitors in Kyiv, Simferopol and Moscow for the different reportages often Thus, someone is inspired by the fact that: “The directors […] managed to con- veythat the period spirit that and they the thinkatmosphere the film of provides. the Crimean Tatar Crimea that, unfortunately, we lost. But I hope that we will retrieve it as soon as possible”36. Both the reference period of the fairy tale, and the belief in the authenticity that was provided by the directorsto the specific who “managedperiod, as to if conveyanyone the can atmosphere”, say for sure asanything if anyone about could the testify imagined what was the atmosphere in the minds of people in the 18th century or any other “Crimea or Crimean Tatar Crimea” anytime, demonstrate the nostalgia for the imaginary past. Nostalgia as a form of selective remembering can be divided into two types.

Svetlana Boym suggests the concept of “restorative” and “reflective” nostalgia. The This kind of nostalgia characterizes national and nationalist revivals all over firstthe is world,based onwhich the engagebelief that in the the antimodern dream project myth-making is about truth. of history by means of a return to national symbols and myth.37 There are various types of nostalgic remembering and the spread of such form of perception is explained as the reaction to the rapid social changes and attempts to preserve the continuity of the constructed identity and as a reaction to the emerging multiple crisis.38 Various contexts could produce nostalgia as a reaction. Our case shows that the

Euxeinos, Vol. 9, No. 28 / 2019 60 Alina Zubkovych collective belief in the ideal period of history can be reproduced and maintained by having a complex system of communication with those who stay on the peninsula, different occasions. Living under occupation in Crimea or in mainland Ukraine but looks better due to its distance and because of our eroded knowledge on it. At the samemight time,influence a period the searchwhen Crimeanand attempts Tatars to as take an rootobject in ofa distantdiscourse period is the that issue often of permanent exploitation by different groups including Crimean Tatars themselves

Crimean Khanate as a period of semi-independence of the peninsula under the rulealso ofinfluences the Crimean the Tatarproduction leader of is historicalone such case.models and points of reference. The

kherson.net.ua/news/v-genicheske-pokazhut-krymskotatarskuju-kinoskazku-hidir-dede. Figure 6. Poster for the movie “Hidir dede”, Kherson.net.ua©, October, 8, 2018. https:// Conclusions The analysis of the cinematic representation of Crimean Tatars demonstrated was divided into those produced before 2014 and after. It is visible that the trend hasvarious continued option fromfor the the displaying past and thethe post-annexationimagined community. period Our accelerates category theof films representation and enhances the political attention to the Crimean Tatars. The search - may. The interplay between the antagonist traditions of Ukrainian and Crimean Tatarfor the folklore communal is reconstructed narrative is oneinto ofthe the story leading where aspects the seemingly of the early traditional art film preMa- sentation is novel. It constructs the space that combined elements of the myths and unites them into a new story of love shared between archetypical Ukrainian men and Crimean Tatar women. At the same time, it falls in line with the typical oriental Euxeinos, Vol. 9, No. 28 / 2019 61 Alina Zubkovych constellation of gender positions with white men and exotic women at the core of the story. This search for the common mythical space that unites different peoples post-annexation period. The annexation gives rise to the symbolic violence against and createsphysical the persecution new symbolic of Crimean unity is reflected Tatars on further the peninsula in the documentaries and by the forced of the migration from the peninsula to mainland Ukraine. The historical analogy that is forced migration of Crimean Tatars, especially young and active ones. The hybrid constructed makes clear ties between the Stalin’ deportation of 1944 and recent Mustafa Dzemilev becomes the most prominent of this kind. deportationAnother dominantalso updates trend the storyis representation of the Soviet dissident of deportation struggle by and the the differentfigure of - sic performance at Eurovision. Its role is fundamental in the ethnic (or national) self-perceptionmeans, both in ofa feature Crimean films Tatars. such The as analysis “Haytarma”, of the “Another’s random news Prayer” announcement or the mu demonstrated the dynamics of the search for the new uniting Ukrainian narrative. The cross-circulation of the image of deportation as the simulacrum with its own representation of authenticity is another detail that was observed. - - ducedFinally, fairy the tale politicization in Crimea. The of complexthe cultural conditions content of was circulation demonstrated between on annexed the ex Crimea,ample of Ukraine several andmovies Moscow such wereas the also documentary analyzed by Jamala.ua this case. and the recently pro

About the author - rent academic project focuses on the cultural representation of Crimean Tatars in UkraineDr. Zubkovych, through media Alina isdiscourses a to postdoctoral and visual fellow culture. at Södertorn Dr. Zubkovych University. is the Her author cur - - of the monograph Dealing with the Yugoslav past: exhibition reflections in the suc incessor co-authorship states, ibidem-Verlag, with M.Makarovic 2017 and and edited E.Danilova. volume Late Modernity in Transfor mation: Migrations, Culture and Economics, Cambridge Scholar Publishing, 2015

Euxeinos, Vol. 9, No. 28 / 2019 62 Endnotes 1 Uehling, Greta, “A Hybrid Deportation: Internally Displaced from Crimea in Ukraine”, in Migration and the Ukrainian Crisis: A two-country perspective, eds. Pikulicka-Wilczewska Agnieszka, Uehling, Greta, (E-International Relations, 2016), 62-77. 2 See Williams, Brian G., The Crimean Tatars: From Soviet Genocide to Putin’s Conquest. (New York: Oxford University Press, 2016); Sasse, Gwendolyn, The Crimea Question. (Harvard University Press 2007); Babenko, Svitlana, “Life-Course Strategies of Crimean-Tatars Elite”, in InterEthnic Integration in Five European Societies, ed.Genov, Nikolai. (Hamburg: Kramer, 2008), 155-166. 3 Bezverkha, Anastasia, “Reinstating Social Borders between the Slavic Majority and the Tatar Population of Crimea: Media Representation of the Contested Memory of the Crimean Tatars’ Deportation”, Journal of Borderlands Studies, 32, no. 2 (2017),127-139. 4 Складність режисури полягала у тому, щоб іти не шляхом професійної екранізації тексту, а руйнувати сам текст в кіно. Sanin, Oles. „Khto bojitsia Mamaia?”, KinoKolo, Summer 2001. http:// www.kinokolo.ua/articles/66/ 5 Ibid. 6 Rutkovskii, Olesandr, „Mamaj jak vaza“, Dzerkalo Tyzhnia, February 28, 2003. https://dt.ua/ CULTURE/mamay_yak_vaza.html 7 Sidor-Gibelinda, Oleg. “Kurs – Skhid (pro film Mamay),“ February 1, 2003. http://www.kinokolo.ua/ articles/73/ 8 Bryukhovetska, Olga, “Mamay”, Kino-Teatr, April, 2003. http://ktm.ukma.edu.ua/show_content. php?id=135 (in Ukrainian) 9 Sanin, Oles, ibid. at: http://www.kinokolo.ua/articles/66/ 10 Finnin, 2009 11 Kokorina, Natalia. “Akhtem Seitablayev o semkakh ‘Khajtatmy’: samopozhertvovanie krymchan I misticheskie sovpadeniiaiu,” May 22, 2013. https://investigator.org.ua/ua/articles/85851/ 12 Alexander, Jeffrey C. Trauma: a social theory. (Cambridge and Malden: Polity Press 2012), 27. 13 Ibid, 28. 14 “Haytarma movie creates stir”. QHA Crimean News Agency. Juny 4, 2013. http://qha.com.ua/en/ culture-art/haytarma-movie-creates-stir/127136/ 15 “‘Khajtarma’:pervyj krymskotarskyj film o deportacii 1944 goda”, Uroki Istorii, October 9, 2013. http://urokiistorii.ru/article/51874 16 Ibid. 17 “Telekanal ‘Espreso’ pokazhe film ‘Khajtarma’ pro deportaciiu krymskykh tatar”, Espreso TV, April 4, 2018. https://espreso.tv/news/2018/04/04/telekanal_quotespresoquot_pokazhe_film_ quotkhaytarmaquot_pro_deportaciyu_krymskykh_tatar 18 Original text in Ukrainian: “Телеканал “Еспресо” покаже стрічку “Хаймарма” в пам’ять про закатованих, замучених в Криму (у 1940-х роках і зараз) українців у солідарність із переслідуваними кримськими татарами, без єдності з якими неможлива духовна єдність всієї України.” Ibid. 19 Uehling, Greta, “A Hybrid Deportation: Internally Displaced from Crimea in Ukraine”, in Migration and the Ukrainian Crisis: A two-country perspective, eds. Pikulicka-Wilczewska Agnieszka, Uehling, Greta, (E-International Relations, 2016), 62-77. 20 Ibid, 71. 21 Ibid, 73.

Euxeinos, Vol. 9, No. 28 / 2019 63 22 The provided version of translation is taken from the premiere of the film took place in Stockholm, November 2017. Ukrainian Institute in Sweden, available at: http://ukrainskainstitutet.se/ blog/2017/10/31/23-26-november-2017-third-nordic-ukrainian-film-festival/. Later it was distributed as “87 Children”, EastWest Production, Available at: http://eastwest-distribution.com/2019/02/09/87_ children/ 23 Euromaidan press, Crimea Unveiled, April 14, 2015. http://euromaidanpress.com/2015/04/14/crimea- unveiled-documentary-film-spotlights-crimean-tatars-and-ukraine/#arvlbdata 24 Gienger, Viola, “The Epic Struggle of Crimean Tatars Captured in the Film Mustafa.” Atlantic Council, Juny 12, 2018. http://www.atlanticcouncil.org/blogs/ukrainealert/the-epic-struggle-of-crimean-tatars- captured-in-the-film-mustafa 25 The articles related to Crimea, Ukraine, deportation, Crimean Tatars and of course to Jamala were systematically presented in the period of March-May 2016 in the world leading media-outlets. 26 Yet it does not exclude the Ukrainian media-scape from using the elements of post-truth methodology or selectivity as well. However, the scope and quality are incomparable. 27 Kramer, Andrew E. “To Battle Fake News, Ukrainian Show Features Nothing but Lies”. The New York Times, February 2, 2017. https://www.nytimes.com/2017/02/26/world/europe/ukraine-kiev- fake-news.html,;The post-truth world: Yes, I’d lie to you.” The Economist, September 10, 2016. https://www.economist.com/briefing/2016/09/10/yes-id-lie-to-you; Jane Wakefield. TED 2018: “Ukrainian journalist fights fake news,” BBC news, April 15, 2018. https://www.bbc.com/news/ technology-43568238 28 From the personal interview with Anna Akulevich. November 2017. 29 Annitova, Inna, “’Jamala.UA’: zhyttia za lashtunkamy.”Krym. Realii. 30. 03.2017 Available at: https://ua.krymr.com/a/28399576.html 30 My statement is based on the participant observation. Some illustrations are available at QHA, April 7, 2017. http://qha.com.ua/ru/photo/v-kieve-sostoyalsya-dopremernii-pokaz-dokumentalnogo-filma- jamala-ua/28863/#1 31 Crimean Tatars, Trailer, Juny 11, 2018. https://www.youtube.com/watch?v=X7cIZCs_DVQ 32 Due to the space- limits that this paper requires I will have to leave the number of observations for another study. Leaving beside the analysis of the film, its strategies of constructing historical authenticity and also analysis of gender representation, structural hierarchies and mythology. 33 “Despite the attempt to disrupt the show - a full house. The first Crimean Tatar fairy tale ‘Khydyr Dede’ was shown in Kyiv.” ATR, July 2, 2018. https://www.youtube.com/watch?v=tSbH7TaNTZA (in Ukrainian) 34 “SBU prevents Russian-inspired provocation against Crimean Tatar people.”, Security Service of Ukraine, July 1, 2018. https://ssu.gov.ua/ua/news/22/category/21/view/5002#.emKfUWQM.dpbs 35 “‘Khydyr Dede’ pobyval u krymskykh tatar Moskvy”, Juny 30, 2018. https://www.youtube.com/ watch?v=0CDKzuZmwKU 36 Liberty radio. Alexander Golubov “Film popal v serdce”: pochemu stoit posmotret’ krymskotatarskuiu skazku, July 5, 2018. https://ru.krymr.com/a/29338680.html 37 Boym, Svetlana, The Future of Nostalgia. (New York: Basic Books, 2001), 41. 38 Zubkovych, Alina, Dealing with the Yugoslav past: exhibitions reflections in the successor states. (Ibidem-Press 2017).

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