(from RadioFree Europe, 11/29; photo: Ukrainian President Volodymyr Zelenskiy (left) poses with Jamala in Kyiv on November 29, 2022. )

The Moscow prosecutor’s office said on November 29 that an arrest warrant had been issued for Ukrainian Eurovison Song Contest winner Jamala, who is of Crimean Tatar origin, on a charge of distributing “fake” information about Russia’s armed forces involved in Moscow’s invasion of Ukraine. Earlier this month, the Russian Interior Ministry added the singer, whose real name is Susana Dzhamaladinova, to its wanted list. In 2016, Jamala won the Eurovision Song Contest for performing a ballad that described the brutal 1944 Soviet deportation of Crimean Tatars from Crimea to Central Asia. To read the original story by RFE/RL’s Russian Service, click here.

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(Dinara Khalilova’s article appeared in the Kyiv Independent, 10/25/23; Photo:  Ukrainian ballet dancer Oleksandr Shapoval (top left), artist and researcher of Ukrainian cuisine Olha Pavlenko (top right), film editor Viktor Onysko (bottom left), artist and fashion designer Liubov Panchenko (bottom center), conductor Yurii Kerpatenko (bottom right). All of them were killed by Russia’s full-scale war against Ukraine. This audio is created with AI assistance.)

“My worst fear is coming true: I’m inside a new Executed Renaissance. As in the 1930s, Ukrainian artists are killed, their manuscripts disappear, and their memory is erased,” Ukrainian writer Viktoriia Amelina penned in the foreword to the published diary of another author, Volodymyr Vakulenko, murdered during the Russian occupation of Izium.

Amelina, who dug up Vakulenko’s notes he had hidden from the Russians in his yard and initiated the diary’s publication, was also killed by Russia’s war. She died on July 1 after being critically injured in a Russian missile strike on Kramatorsk.

Vakulenko and Amelina are among dozens of Ukrainian cultural figures killed by Russian aggression. There is no official record of such losses, but two lists compiled by PEN Ukraine suggest that the full-scale invasion has claimed the lives of at least 65 Ukrainian cultural figures.

Some were killed as civilians in missile attacks or in occupation, others as service members after joining the Armed Forces to defend their country. But all of these deaths have contributed to what experts call Russia’s hundreds-year campaign against Ukrainian culture.

“(Russian President Vladimir) Putin has said that Ukraine has no right to exist as a state, so they (Russians) are trying to erase all evidence of this existence,” Olha Honchar, director of Lviv’s Memorial Museum of Totalitarian Regimes, told the Kyiv Independent.

“If you have a pro-Ukrainian position, engage in culture, language, literature, history — then you are a target for destruction on the occupiers’ lists.”

The Kyiv Independent tells the stories of five cultural figures Ukraine has lost to Russia’s war since Feb. 24, 2022.

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(Kelly Burke’s article appeared in the Guardian, 2/26/23; Photo: … Nicolai Khalezin and Natalia Kaliada of Belarus Free Theatre in London. Photograph: John Sibley/Reuters.)

Belarus Free Theatre currently face years in prison if they return home. Now living in exile, they’re bringing their show Dogs of Europe to Australia

Long before the pandemic, working over video calls was completely normal for husband-and-wife team Natalia Kaliada and Nicolai Khalezin. The founders of Belarus Free Theatre, who arrive in Australia soon to put on the production Dogs of Europe at Adelaide festival, have worked under extreme conditions since the company’s birth in 2005.

Then, the repressive regime of Alexander Lukashenko had already been in power for 11 years. Performing arts companies were owned by the Belarusian government; artistic directors appointed by the country’s ministry of culture. From the moment it was created, Belarus Free Theatre was an illegal entity.

‘Today there are more artists in jail in Belarus than journalists and human rights defenders’ … Nicolai Khalezin and Natalia Kaliada of Belarus Free Theatre in London. Photograph: John Sibley/Reuters

Kaliada and Khalezin directed their actors remotely using Skype and a network of CCTV cameras, installed in a secret rehearsal room. To attend a performance, the phone number of a theatre administrator would be quietly circulated by word of mouth. 

A meeting point would be arranged and the audience would proceed to the secret venue – a private apartment, a vacant warehouses, sometimes a forest – that would be constantly changed to elude authorities.

Audience members were told to bring along their passports: if the performance was raided by special forces, being able to easily prove your identity meant less time in a cell.

In October 2021 Belarus Free Theatre’s actors, directors and audience were all arrested. Released pending a trial, most were facing a prison sentence of up to eight years. The company fled to Ukraine using a border resistance network. When Russia declared war on Ukraine in February 2022, the company crossed the border to Poland.

“Now we are all in different locations, but nobody can go back to Belarus,” Kaliada says from London. “We all face jail. Today there are more artists in jail in Belarus than journalists and human rights defenders.”

According to Pen International, almost 600 writers, artists and cultural workers alone were targeted by armed forces in the aftermath of the 2020 election that reasserted Lukashenko’s dictatorship. Pen estimates that almost one in 10 political prisoners held in Belarusian prisons, as of 2021, are citizens working in the cultural sphere, found guilty of charges such as “extremism” and “petty hooliganism”.

Kaliada now accepts that she, her husband and the dozen or so actors and technicians that make up the permanent company, likely face permanent exile from their home country. Belarus’s collusion with Russia in the invasion of Ukraine has only cemented that belief.

A single production of Dogs of Europe would mean facing a maximum eight-year prison sentence for those involved if staged in Belarus. Copies of the 1,000-page novel by Alhierd Baharevich, upon which the play is based, were seized by the regime when published in 2017. Notwithstanding its political content, the book is written in the Belarusian language; myriad ethnic languages and cultures within the broad sweep of the Soviet Union were stamped out and the Russification of Belarus has continued under Lukashenko. His regime has overseen a renewed crackdown on booksellers and publishing houses specialising in Belarusian language publications, likely to appease the Kremlin.

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