Negotiating Diasporic Identity: Cultural Productions and Narratives in Exile after 2020–2022
Panel at the ceecon 26, the DGO-Congress of Central and East European Studies, at Freie Universität Berlin
The political mass mobilisation against the authoritarian regime in Belarus in 2020, followed by Russia’s full-scale invasion of Ukraine in 2022, led to massive waves of migration and displacement. Lithuania, Poland, and Germany became the primary destinations for the displaced persons, including a significant number of artists, writers, theatre and cinema makers, and other cultural professionals. This influx contributed to a surge in cultural productions related to the concept of “culture in exile.”
The panel focuses on narratives of diasporic identity that have recently emerged in such a culture in exile. We rely on the concept of diasporic identity developed in cultural studies and migration studies, focusing on the transformation and hybridisation that occur with cultural identity in motion. Mainly, the papers focus on the popular culture narratives emerging in the Belarusian culture in exile. However, as this phenomenon closely relates to the cultures of host communities and other diasporas, we approach this topic from a transcultural perspective. The aim is not only to reveal how the visions of diasporas are constructed through popular culture narratives but also to investigate the dynamics of negotiations, conflicts, and contradictions among different diasporic agents and communities, including potential counter-narratives.
The panel operates at the intersection of several fields, primarily cultural studies and migration studies, and incorporates perspectives from literary and visual analysis, performance studies, and feminist theory.
Programm
Tania Arcimovich
Pavel Niakhayeu
This paper stems from the dramatic recent transformations and uprooting of the Belarusian music scenes caused by political repressions and violence, migration, isolation and militarization of the county, censorship and legal framework changes. Since 2020, the political crisis and then Russia's full-scale war in Ukraine posed unprecedented challenges to the polarized Belarusian society. At least 500,000 people have emigrated from the country since 2020. Among them were hundreds of musicians and other music scene actors (DJs, VJs, promoters, managers, technicians, journalists and critics) and a significant part of their audience. They all ended up in new cultural, economic and political situations abroad where they are not only adapting to new environments, navigating various everyday obstacles and conflicts, but also (re)constructing their identities. I argue that music and networks built during and around music events and communities are among the key elements of Belarusian diaspora's cultural life and resilience in the EU and other countries. The diasporic music scene provides Belarusian migrants with social spaces where sonic citizenship is practiced, information is exchanged, networks are articulated, boundaries between different groups are negotiated, blurred or reconfigured, contacts with the host societies and other migrant diasporas are created and maintained. Based on a qualitative study of music events, networks and communities of Belarusian diaspora in Poland, as well in Lithuania, Germany and other countries, this paper analyzes how do uprooted Belarusian music scenes function in diaspora hubs across Europe and maintain links across the EU-Belarus border that is turning into a new Iron Curtain.
Ulyana Veryna
This paper conceptualizes diaspora as a processual, event-based formation emerging through moments of cultural mobilization. Drawing on process-oriented approaches (Tölölyan; Brubaker; Sökefeld) and theories of cultural, hybrid, and postmodern diaspora (Hall; Gilroy; Cohen), it argues that commemorative rituals produce diasporic identity and belonging through participation, which is neither pre-given nor necessarily sustained beyond the event. The “Night of the Executed Poets,” commemorating the mass execution of over 100 members of the Belarusian intelligentsia in Minsk on 29–30 October 1937, is analyzed as a ritualized commemorative practice whose meanings have evolved over time: from an oppositional post-Soviet initiative, to resistance against the Lukashenka regime, and eventually developed into a structured ritualized form. The study traces the event from its emergence in 1988, through the popular-oriented project The (Non)Executed, which combined lectures, songs, and films in 2017, to its role in the diasporic context after 2020, when it became a focal point for collective gathering. The case demonstrates that ritualized commemoration can generate collective belonging among dispersed participants, producing situational diasporic identities. In exile, the “Night of the Executed Poets” shows how such identities are actively formed through shared ritual and performance, extending our understanding of diaspora as an emergent, participatory process.