Blog Post 3: Critiquing the National Brand

           Ukraine’s Eurovision Song Contest entries from the years 2011-2016 inherently “perform Ukrainianism” or exude many characteristics that align with the dominant national identity. Components from each performance either directly or indirectly allude to Ukrainian folk culture and Cossack history, which Stephan Shulman (1999) states is the essence and principal “content” of Ukrainian national identity. The narrative of national identity embedded on stage is comprehended and present through the contextualization of female gender roles in accordance to the Ukrainian, folkloric goddess motif, Ukrainian “national character” vis-à-vis Europe and Russia, and the “othering” of the oppressive neighbor, Russia. Furthermore, Ukraine’s recent independence as a nation and dependent economy leave it at a vulnerable position, which encourages the agenda of nation branding and the importance of the ESC as a platform to project the brand.

            In brief summary, Blog Post One details Von Hagen’s (1995) idea that Ukrainian national identity is an artificial product constructed by political elite during the time of Ukraine’s 1991 independence. Ukraine’s history as a territorial component of the Polish-Lithuanian Commonwealth, Austro- Hungarian Empire, and the Russian Empire/Soviet Russia has forced Ukraine to construct a national identity from limited and arguably questionable myth history. Stephan Shulman (1999) states that Ukrainian national identity is nearly synonymous with Ukrainian ethnicity and comprises of five fundamental “national characters” (natsional'nyi kharakter) based on the militaristic Cossack peoples and folk culture. Ukraine’s national narrative has the natural inclination to resonate with the clear majority of Ukrainian speaking/ ethnic Ukrainians who reside in the west, and naturally “others,” Russian speaking/ethnic Russian populations residing in the east. Furthermore, Ukraine attempts to legitimize their national identity by relentlessly “othering” Russians, their internal/external significant other. Blog Post Two discusses Ukraine’s display of archetypal and traditional Christian views, such as the purity of Eve and seduction of Lilith, as quintessential of the female persona/gender role in each performance. In addition, the paradigmatic use of exoticised ethnicism, contradictory views of diversity, and continual affirmation of belonging amongst “cosmopolitan” Europe are present in Ukraine’s ESC entries.

            Ukraine’s 2011-2016 Eurovision Song Contest entries each feature a central female character, presenting a diverse array of archetypal female personas ranging from the pure, virgin Eve to the bewitching, enchantress Lilith. The emphasis on a central female persona closely aligns with the contextualization of women in Ukrainian folk culture, which as Shulman (1999) states, is the elemental basis for Ukrainian national identity itself. Berehynia is a Slavic goddess/ hearth mother of fertility and nature centered in Ukrainian matriarchal myth and evidenced to have gone through a “fakeloric metamorphosis”, since Ukrainian independence (Oksana, 2007). Berehynia is the folkloric personification of Ukrainian female identity itself and has been altered by nationalists in the late 20^th century to fuse Christian beliefs and represent a Ukrainian “mother country” (Oksana, 2007). Furthermore, Oksana (2007) argues that the motif of Berehynia is complementary to “Barbie”, which is a representation of Ukraine’s nationalistic embrace of Western European female beauty standards and the disappearance of the former “Soviet Superwoman” from Ukrainian femininity. It is important to note that this shift in the Ukrainian national narrative is an intentional decision. Shulman (1999) states that the construction of Ukrainian identity embraces a highly fabricated, folkloric culture of its own, but simultaneously rejects its history of Russian/Soviet collectivist identification by embracing more European characteristics and identities. Gaitana’s “Be My Guest” (2012) features the vocalist adorned with a Vinok, which is a traditional, floral headdress that symbolizes the nationalistic goddess Berehynia, who is depicted in Ukrainian folk literature and historic Cossack embroideries as both wearing and defining the cultural importance of the Vinok (Kelly, 1983). In addition, Ognevich’s “Gravity” (2013) demonstrates alignment to the dominant national narrative by presenting visual manifestations of Berehynia as a goddess of nature. Zlata’s erect, central position amongst a background of mythical forestation and choice of supporting a statement, butterfly ring on the stage parallels the historic depiction of Berehynia as a central figure amongst animals and natural sceneries in folk art (Kelly, 1983). “Tick Tock” (2014) by Mariya Yaremchuk depicts the culmination of Oksana’s (2007) idea of “Berehynia and Barbie” and the “ideal Ukrainian women”, where Yaremchuk is presented as a perfectly tan, hourglass shaped, and an enticingly clad “Barbie,” but also a sexualized, central female character alluding to the folkloric motif of Berehynia as the goddess of fertility. Lastly, Mika Newton’s “Angel” (2011) demonstrates alignment to Ukrainian national identity on stage through exhibiting the maternal role of Berehynia and her mythical daughter, Razhinitza. The myth of Berehynia and Razhinitza, was utilized by Ukrainian nationalists in the wake of the nation’s independence to signify Berehynia’s status as a guardian and mother figure of the nation (Kelly, 1983). The performance “Angel,” (2011) features a juxtaposition between the world-famous sand artist Kseniya Simonova, dressed in deep plum colored, mature clothing, and Mika Newton, clad in pure white signifying her innocence. In addition, Simonova is placed on a riser and at times appears to be looking over Newton, alluding to a maternal relationship like that of Berehynia (Kseniya Simonova) and Razhinitza (Mika Newton). 

            “Be my Guest” (2012) by Gaitana and “1944” (2016) by Jamala demonstrate an alignment with Shulman’s (1999) idea that Ukrainian national identity is based on the myth history of the Cossack peoples and a “tolerance for others.” The Cossacks are a Slavic people, that have historically rebelled against the Polish-Lithuanian and Russian elites who governed them and formed their own hybridized nomadic and militaristic societies within the present-day territory of Ukraine (Shulman, 1999). The Cossack people are essential to the national Ukrainian narrative due to their history of “othering” neighboring empires and establishing a personal folk culture, which allowed Ukrainian elites in the later 20^th century to construct an identity. “Be my Guest” (2012) projects Cossack culture through the Gaitana’s Cossack headdress, the Vinok, utilization of a traditional Surma horn, and the presence of three male dancers clad in a militaristic Cossack uniform.  Shulman (1999) details that a vital component of Ukrainian identity is the idea of “tolerance for others” and “individualism,” which Shulman states is the acceptance of the many historic ethnic minorities (i.e. Tatars, Jews) on Ukrainian territory and a blatant form of “othering” dogmatic collectivism associated with Russianness from Ukrainianism. The direct alignment between this romanticized idea of Ukrainian national identity and Ukraine’s ESC performances occurs when Ukraine chooses to allow an Afro-Ukrainian woman, Gaitana, and a Crimean Tatar, Jamala, (both belonging to ethnic minorities within Ukraine) to represent the nation on a global stage.

            The last alignment between Ukrainian national identity and the ESC occurs through staging the blatant “othering” of the historic ruler, Russia. Shulman (1999) states that without “othering” or creating a distinct line between Russianness and Ukrainianness, the Ukrainian national narrative ceases to exist. Thus, the “othering” of internal and external significant others, ethnic Russians/Russian speakers, is fundamental to the Ukrainian national identity. Jamala’s “1944” (2016) powerfully narrates Stalin’s killing and deportation of Crimean Tatars from their native lands. The performance sends a blatant message of animosity towards Russian aggression and the annexation of the Crimean Peninsula.

            Paul Jordan (2014) defines nation branding as a “phenomenon,” in which the political elite attempt to construct a certain image of their respective nations for economic stimulation, political gains, as well as communication of culture and diplomacy on the world stage. Ukraine tactically utilizes the European Song Contest as a tool of nation branding to communicate their cultural identity as divorced from their Russian/Soviet past, convince the world of their worthiness of capital investment and political stance amongst the “developed” western nations in “Cosmopolitan” Europe. Ukraine utilizes the concept of essentialization to condense their identity as purely “ethnic Ukrainian”, while simultaneously “othering” themselves from Russianness. Ukrainian ESC performances have intentionally excluded representation of the nation’s large Russian minority group. Jamala’s “1944” (2016) and Gaitana’s “Be my Guest” (2012) have primarily functioned as essentializing tools to “other” Russians and further establish a Ukrainian identity based upon an ethicized and folkloric basis. In addition, Ukraine’s continual choice to brand themselves with archetypal motifs of the female persona and exoticized ethnicism parallels the common Eastern European tactic of pleasing “dominant” Western European countries, and tantalizing them to invest capital in the dependent Eastern economies (Sieg, 2012). Lastly, the Ukrainian ESC entries by Jamala and Gaitana highlight the nation’s tendency towards emphasizing diversity for branding Ukraine amongst other “developed” and progressive countries in a “unitary” or “cosmopolitan” Europe.

            Ukraine demonstrates extensive reliance on the ESC to inform the world of their national brand and positionality amongst the progressive and developed countries in Europe, while simultaneously performing their subordination to them. Furthermore, there is immense alignment between the presence of the dominant Ukrainian national identity narrative and ESC performances. The matriarchal myth of Berehynia, emphasis upon Cossack myth history, tolerance towards ethnic minorities, and blatant “othering” of Russianness on the ESC stage, is a representation of fundamental Ukrainian identity and natsional'nyi kharakter (national character).  

References: 

Gaitana. “Be My Guest,” music and lyrics by Gaitana and KIWI project. Ukraine, Eurovision Song Contest, 2012. https://www.youtube.com/watch?v=sLsTn_li5d8 Accessed 10 Feb. 2017.

Jamala. “1944,” music and lyrics by Jamala. Ukraine, Eurovision Song Contest, 2016. https://www.youtube.com/watch?v=VCG2rw4ZXTY Accessed 10 Feb. 2017.

Jordan, Paul. “Nation Branding: A Tool for Nationalism?” Journal of Baltic Studies, vol. 45, no. 3, 28 Nov. 2013, pp. 283–303., http://www.tandfonline.com/doi/citedby/10.1080/01629778.2013.860609?scroll=top&needAccess=true. Accessed 15 Mar. 2017.

Kelly, Mary B. “Goddess Embroideries of Russia and the Ukraine.” Women's Art Journal , vol. 4, no. 2, 1983, pp. 10–13., http://www.jstor.org/stable/1357939?Search=yes&resultItemClick=true&searchText=ukrainian&searchText=women&searchUri=%2Faction%2FdoBasicSearch%3Facc=on%26amp%3Bfacet_womensstudies-discipline=AWRpc2M6KCJ3b21lbnNzdHVkaWVzLWRpc2NpcGxpbmUiKQ%26amp%3Bhp=w Accessed 15 Mar. 2017.

Newton, Mika. “Angel,” music and lyrics by Maryna Skomorohova and Ruslan Kvinta. Ukraine, Eurovision Song Contest, 2011. https://www.youtube.com/watch?v=g_xRmEkR6KE Accessed 10 Feb. 2017.

Ognevich, Zlata. “Gravity,” music and lyrics by Karen Kavaleryan and Mikhail Nikrisov. Ukraine, Eurovision Song Contest, 2013. https://www.youtube.com/watch?v=BMxpv8naRd8 Accessed 10 Feb. 2017.

Oksana, Kis. “‘Beauty Will Save The World!’: Feminine Strategies in Ukrainian Politics and the Case of Yulia Tymoshenko.” Spaces of Identity, vol. 7, no. 2, 2007, pp. 32–75., s3.amazonaws.com/academia.edu.documents/38755381/Kis_Beauty_Tymoshenko.pdf?AWSAccessKeyId=AKIAIWOWYYGZ2Y53UL3A&Expires=1489629717&Signature=VXa9wToTPkE4Z8WmxZt06QqGpeg%3D&response-content-disposition=inline%3B%20filename%3DBeauty_Will_Save_The_World_Feminine_Str.pdf. Accessed 15 Mar. 2017.

Shulman, Stephan. “The Cultural Foundations of Ukrainian National Identity.” Ethnic & Racial Studies, vol. 22, no. 6, Nov. 1999, pp. 1011–1036., http://web.b.ebscohost.com.proxy.seattleu.edu/ehost/detail/detail?sid=ce938282-ad4f-43f8-916a-e6fe2afab406%40sessionmgr102&vid=1&hid=102&bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#AN=2653082&db=sih Accessed 15 Mar. 2017.

Sieg, Katrin. “Cosmopolitan Empire: Central and Eastern Europeans at the Eurovision Song Contest.” European Journal of Cultural Studies, vol. 16, no. 2, 12 Dec. 2012, pp. 244–263., journals.sagepub.com.proxy.seattleu.edu/doi/abs/10.1177/1367549412450639. Accessed 15 Mar. 2017.

Von Hagen, Mark. “Does Ukraine Have a History?” Slavic Review, vol. 54, no. 3, 1995, pp. 658–673., http://www.jstor.org/stable/2501741?Search=yes&resultItemClick=true&searchText=does&searchText=ukraine&searchText=have&searchText=a&searchText=history?&searchUri=%2Faction%2FdoBasicSearch%3Facc=on%26amp%3Bgroup=none%26amp%3Bfc=off%26amp%3BQuery=dw Accessed 15 Mar. 2017.

Yaremchuk, Mariya. “Tick- Tock” music and lyrics by Mariya Yaremchuk and Sandra Bjurman. Ukraine, Eurovision Song Contest, 2014. https://www.youtube.com/watch?v=slHboKF9PIQ Accessed 11 Feb. 2017.