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Documents (155)

Image for Commemoration of the Tatarbunary Uprising: Resolution of the Izmail City Executive Committee of the Communist Party of Ukraine (Bolsheviks) in 1949
Commemoration of the Tatarbunary Uprising: Resolution of the Izmail City Executive Committee of the Communist Party of Ukraine (Bolsheviks) in 1949
The Tatarbunary Uprising—a peasant uprising organized by the Bolsheviks from September 15 to 18, 1924, in several villages in the Budzhak region, centered in Tatarbunary and aimed at destabilizing Romania’s domestic political situation—became one of the key themes in the Stalinist regime’s construction of official memory in the region. Commemoration of the event began in the early days of Soviet power. The 25th anniversary celebration became one of the most significant local political and ideological campaigns of 1949, marked by large-scale memorial, cultural, educational, and propaganda events. The proposed document is a local regulatory act that sets out measures to commemorate the Tatarbunary Uprising on its 25th anniversary. The joint resolution of the...
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Volhynia in 1943 in Mykola Androshchuk’s “Notes of an Insurgent”
These memoirs, written by one of the organizers of the UPA in the Mizoch district, were first published in 2011 as part of the Chronicle of the UPA series. Rivne-based researcher Ihor Marchuk, who edited the series, discovered the typescript in the Sectoral State Archive of the Security Service of Ukraine, where it was titled Notes of an Insurgent [1]. The author of the memoirs was born on December 8, 1913, in the village of Derman 1, Dubno powiat, Volhynia governorate. In the 1920s, after the village became part of Poland, it belonged to the Mizotch gmina in Zdolbuniv powiat, Volhynia voivodeship. In the 1930s, the Androshchuk family moved to the Ozery khutir...
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Memoirs of UPA Fighter Maksym Skorupskyi (“Maks”) on Volhynia in 1943
The source text presented here is an excerpt from the much larger memoirs of Maksym Skorupskyi, an active figure in the Ukrainian nationalist underground, born in Antonivtsi (now Kremenets district, Ternopil oblast). In these memoirs, he recounts his experiences in the underground, first with the OUN(m) and later with the UPA. The narrative begins in 1939 and ends in May 1944, when Skorupskyi, fearing he might fall victim to the OUN’s Security Service purges, decided to escape the UPA and head farther west. According to Skorupskyi, these memoirs were originally written in 1944, but he edited and published them in Chicago in 1961. By then, he likely had some temporal distance from the...
Image for “The Tatarbunary Uprising” in the Context of Soviet Memory Politics: From the Minutes of the Izmail Oblast Architectural Commission Meeting of December 28, 1949
“The Tatarbunary Uprising” in the Context of Soviet Memory Politics: From the Minutes of the Izmail Oblast Architectural Commission Meeting of December 28, 1949
The minutes of the Izmail Oblast Architectural Commission meeting on December 28, 1949, record the discussion of the initial design for a monument to the “heroes of the Tatarbunary Uprising” in the village of Tatarbunary. A joint resolution of the Izmail Oblast Executive Committee and the Oblast Committee of the Communist Party of Ukraine (Bolsheviks) mandated its construction to commemorate the 25th anniversary of the event. The monument was placed in the village center during a solemn rally on September 18, 1949, at a grave prepared by Soviet authorities for the reburial of the fallen insurgents. This document exemplifies the practical application of Soviet monumental propaganda principles in the postwar era. The criticism...
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Yona Oliker’s Testimony on the Holocaust in Volhynia
Another essential perspective for triangulating sources about World War II events in the village of Zelenyi Dub comes from the Jewish populations of Mizoch and Shumsk—the two largest shtetls situated equidistant from the village. In fact, no Jews lived in Zelenyi Dub itself. To understand how they came to be in the area during the German occupation, it's helpful to draw on Tim Cole’s interpretive approach. In his study of the Holocaust, Cole proposed examining it through the lens of landscapes: both the real and mental maps that Jews carried during the violence [1]. As German occupation policy evolved, these mental maps shifted in the perceptions of Jewish community members—some areas were seen...
Image for A Soviet-Style Commemoration: Celebrations Marking the 150th Anniversary of Alexander Suvorov’s Death in the Izmail Oblast, 1950
A Soviet-Style Commemoration: Celebrations Marking the 150th Anniversary of Alexander Suvorov’s Death in the Izmail Oblast, 1950
The source presented here is an internal party report on preparing and executing celebrations marking the 150th anniversary of Alexander Suvorov’s death—a large-scale commemorative event held across the Soviet Union on May 18, 1950. In addition to all-Union and republic-level festivities, local ceremonies honoring the Russian commander’s victories against the Ottoman Empire also played an important role in commemorating him. In this context, the Izmail Oblast occupied a special place in the celebrations, particularly the city of Izmail, which Soviet discourse of the time described as the “city of glory of Russian arms.” The commemoration practices in the Suvorov District deserve special attention; the district’s association with the general led local party and...
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Images (18)

Image for New residential neighborhood Sykhiv, 1989 postcard
New residential neighborhood Sykhiv, 1989 postcard
This postcard showcases the Sykhiv residential district in Lviv. The district’s name originates from the village of Sykhiv, which occupied this area from the 15th century until large-scale development began in the second half of the 20th century. The photograph was taken in the early 1980s, during the peak of the district’s construction. This is suggested by the completed street section in the image, while most of the trees in the foreground were recently planted, and the flower beds remain unlandscaped. The postcard was published in 1989 as part of a series depicting various city views.
Image for ‘Fashion Show’ in late Soviet Pokrovsk, photo by Mykola Bilokon
‘Fashion Show’ in late Soviet Pokrovsk, photo by Mykola Bilokon
This image, taken by Mayak photojournalist Mykola Bilokon, shows a woman on a catwalk demonstrating some of the clothing manufactured by ‘Rainbow’ sewing factory in Krasnoarmeisk (today’s Pokrovsk), in the Donetsk region. The woman is dressed in a floral print, dagger-collared, button-down dress and woollen, belted, armless cardigan and wears a contemporary backcombed hairstyle and makeup. An audience made up of different generations of Pokrovsk residents watches the show. Their clothing and hairstyles also demonstrate the changing fashions of the 1970s and 1980s. While some women in their 40s and 50s (born in Stalinist 1930s and 1940s) wear knee-length, possibly homemade, patterned floral dresses and headscarves, some younger members of the audience wear...
Image for Privatization and Economic Transformation in the Post-Soviet Space: The Photo Archive of the Druzhkivka Newspaper Okno, 1990s
Privatization and Economic Transformation in the Post-Soviet Space: The Photo Archive of the Druzhkivka Newspaper Okno, 1990s
The photographs presented here from the archives of the newspaper Okno [literally “window” — tr.note] document the creative work of its editorial staff, who sought to critically reflect on the realities of Ukraine’s economic transformation in the 1990s through artistic and allegorical means. Founded in 1994 by local entrepreneurs, the newspaper positioned itself in opposition to the old communist nomenclature, which still retained control over local government bodies and capitalized on the widespread disappointment and confusion following the collapse of the Soviet Union. The founders of Okno were the insurance company ASKO-Donbas Pivnichny (established in 1991) and its affiliated printing company PrimaPress. The emergence of the paper ended the local authorities’ monopoly over...
Image for “Bringing Education to a Remote Corner”: A Competition Photograph by Marko Zalizniak, 1929
“Bringing Education to a Remote Corner”: A Competition Photograph by Marko Zalizniak, 1929
Marko Zalizniak (1893–1982) was a rural amateur photographer best known for his images from the front lines of World War I and for documenting collectivization in the villages of what is now the Pokrovskyi District of Donetsk Oblast, Ukraine. The opening of a primary school in his home in the Romanivskyi khutir in 1927 can be seen as a prologue to his 1929 competition photograph, which will be discussed below. The following year, the residents of the khutir decided to construct a separate school building at their own expense. The new school opened in 1928, timed to coincide with the 11th anniversary of the October Revolution. Soon afterward, the Soviet authorities took the...
Image for Celebration at the Stadium of the Ukrainian Sokil-Batko, Lviv, 1934
Celebration at the Stadium of the Ukrainian Sokil-Batko, Lviv, 1934
The event captured in the image takes place at the stadium of the Ukrainian Sokil-Batko, likely during the third and final Regional Sokil gathering in 1934. The first Ukrainian gymnastic society, Sokil (Sokil-Batko [Father Falcon]) was founded in Lviv on February 11, 1894. The model was the charter of the Czech Sokol (1862, founded by Miroslav Tyrš). The goal of the society was fostering national unity, strength, and dignity among Ukrainians while also promoting endurance, agility, entrepreneurship, and discipline. Beyond gymnastics, Sokil placed significant emphasis on firefighting and tourism. The society’s first chairman, serving until 1900, was the renowned architectural engineer Vasyl Nahirnyi. By 1900, Sokil had expanded its activities across Galicia, leading...
Image for Title Pages of Never Published Editions of the DP Journal KHORS, 1945-1951
Title Pages of Never Published Editions of the DP Journal KHORS, 1945-1951
The idea of the Ukrainian DP-creation KHORS as a movement and a journal was kept alive for many years, even though the journal’s publication, initially planned as a quarterly, could never be realized beyond a first edition in 1946. The title pages listed here were never published, but they can provide interesting insights into the senses put into KHORS by its creators, its design, and the materials used. In 1945, immediately after the war, Ukrainian artist Halyna Mazepa drew the first cover with simple paint on a piece of cardboard. Its design was intended to reveal the idea of the future edition. The journal’s title is written in wheat, an important symbol in...
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Videos (15)

Image for A Wedding in a Working-Class Family, a 1964 TV report by Lviv Television
A Wedding in a Working-Class Family, a 1964 TV report by Lviv Television
The wedding newsreel was filmed in Lviv in 1964 for a television news program. Unfortunately, the audio has not survived to the present day. This prompts important questions: why wasn’t the sound preserved, and how should such a source be studied? The video was recorded on 16-millimeter film, with the audio likely captured on magnetic tape. Evidence of an audio recording exists in the form of fragments of speeches and greetings to the newlyweds (05:00), (05:25), (05:50), which were emphasized during editing and required sound. At the time, audio was typically saved on special magnetic tape that could be reused multiple times, but the recordings deteriorated quickly. Although 35-millimeter film, which could...
Image for Amateur Media and Life in Cheryomushky
Amateur Media and Life in Cheryomushky
  In addition to the official media (ekklesia)—the imagined narratives and myths presented through theatrical performances, films, and other sanctioned representations consumed by Soviet citizens in the agora (for instance, in cinemas as part of the public sphere, or via television as a window onto it)—there also existed a private sphere (oikos). But how can we uncover what everyday life was like for ordinary people? One valuable source for accessing this lived reality is amateur film recordings, which captured fragments of daily life in cheryomushky and khrushchovkas. The Soviet Union maintained a unique ideological system that simultaneously restricted and encouraged amateur media. The state promoted amateur filmmaking through official clubs—such as those...
Image for TV News from a Lviv Television Studio in the 1960s
TV News from a Lviv Television Studio in the 1960s
The task of popularizing the Soviet government’s approach to solving the “housing issue” in the Ukrainian SSR was entrusted not only to trade unions and their media—such as construction or architectural magazines—or to artists working in theater and cinema, but also to television. A television studio in Lviv was established in 1955, and by 1957 it was already actively producing local news. These broadcasts typically featured several short stories, each lasting from one to three minutes, focused on the region’s economic and cultural development. When not aired live—live broadcasts being made possible through the use of a mobile television station—the news segments were filmed on 16 mm film by traveling television crews. The...
Image for The Irony of Fate, or Enjoy Your Bath!, a 1975 Soviet Film
The Irony of Fate, or Enjoy Your Bath!, a 1975 Soviet Film
In 1969, Soviet playwrights Emil Braginskiy and Eldar Riazanov wrote the play Enjoy Your Bath! Or Once Upon a Time on New Year’s Eve, which quickly became a favorite in Soviet theaters. In the early 1970s, the decision was made to adapt it for television, leading to the premiere of the two-part TV movie during the New Year’s holidays of 1975–1976. Much like the 1959 Moscow operetta about the Cheryomushki neighborhood, a popular theatrical plot was reimagined in a new medium—this time, not through cinema but television. Unlike the 1963 film musical Cheryomushki, the adaptation took the form of a television movie enriched with numerous musical interludes, which became widely popular after its...
Image for Moscow, Cheryomushki, a 1959 Soviet Operetta
Moscow, Cheryomushki, a 1959 Soviet Operetta
On December 24, 1958, the premiere of the three-act operetta Moscow, Cheryomushki took place at the Moscow Operetta Theatre. The music was composed by the renowned Soviet composer Dmitri Shostakovich, and the production was widely referred to in the media as the “Shostakovich operetta.” The official opening followed on February 24, 1959, and the work was met with favorable responses from both audiences and critics. The libretto was written by prominent Soviet playwrights and screenwriters Vladimir Mass and Mikhail Chervinsky. The stage production was directed by Vladimir Kandelaki and Leon Zaks, with Grigori Stoliarov as conductor, Georgi Kigel as set designer, and Halyna Shakhovska as choreographer. Two years after the premiere, Shostakovich’s friend,...
Image for Cheryomushki, a 1963 Soviet Film
Cheryomushki, a 1963 Soviet Film
In 1961, the USSR’s cinematic authorities approved the idea of adapting the operetta Moscow, Cheryomushki into a film, and the search for a director began. The creators wanted someone with a musical background, so they turned to Herbert Rappaport, a professional musician. Rappaport had gained experience in musical cinema through his participation in Grigori Kozintsev’s Don Quixote (1957, Lenfilm), a renowned Soviet film that received international awards. Interestingly, Rappaport—an ardent admirer of the Austrian composer Gustav Mahler—enjoyed the music of the operetta. His idea to adapt the play into a film received support from Nikolai Rabinovich, professor at the Leningrad Conservatory and chief conductor of the local symphony orchestra, who became the conductor...
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Audio (9)

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The Volhynia village of Zelenyi Dub during World War II: an interview with Antonina Huk
This testimony is from Antonina Huk, the grandmother of the author of this commentary. The interview, recorded in 2021, is one of six conversations with her about the events of World War II in Zelenyi Dub, Volhynia. During the interwar period, the village belonged to Buderazh gmina in Zdolbuniv powiat, Volhynia voivodeship of the Second Polish-Lithuanian Commonwealth, with a population made up of roughly equal numbers of Polish and Ukrainian residents. Antonina, born in 1931 in the neighboring village of Ruska Huta, moved to Zelenyi Dub as a young child and, by 1943—the height of the Polish-Ukrainian conflict in the region—was a 12-year-old girl. Antonina Huk’s account of the past does not unfold...
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Song about deportation to Siberia
At first glance, one might think this is a folk song about the end of deportations to Siberia. However, it is in fact an original composition, created by a local resident of Zastavna well known in the area — the folklorist Maria Havryliuk. Interestingly, the song was not based on Havryliuk’s own deportation experience but rather on stories she heard from a neighbor who had been forcibly sent to Siberia in the 1940s and 1950s. The way this song came into being reflects a common pattern in which experiences and events significant to an entire community are prompted to be voiced, interpreted, and endowed with meaning by that community. Consequently, such narratives are...
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“Oh, in the meadow blooms the red viburnum,” a Ukrainian resistance song
This source is an audio recording of the folk version of the one of the most popular Ukrainian resistance songs. It is known by various titles: “The rifleman’s Anthem,” [Cтрілецький гімн] “The song of the viburnum,” [Пісня про калину] or “Oh, in the meadow blooms the red viburnum” [Ой у лузі червона калина]. The song’s worldwide spread was facilitated by the performance of Andriy Khlyvnyuk, the lead singer of the Boombox band, who on February 28, 2022, the fourth day of Russia’s full-scale attack on Ukraine, sang only the first stanza of the song. His performance on St. Sophia Square in Kyiv led to the emergence of remixes. Among the many performers are...
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Legend about the “disguised emperor” during the First World War
This source is the audio recording of the legend about the events of the First World War. The storyline describes an “emperor” who was incognito inspecting his army and its provisions. The prototype for the protagonist is Franz Josef I (1830–1916), the emperor of the Austrian Hungarian Empire. This artistic image shows the elements of naive monarchism. The type of “just and kind” ruler is based on his favorable attitude to Galician Ukrainians, who he took as loyal to the Habsburgs. This social myth about the “loyal troops” consisting of Ukrainians was reflected in the prose but also in songs from the late 19th and early 20th centuries. Our emperor is getting old...
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Grine kuzine (Green Cousin), song about emigration, 1921
The song, with a debatable authorship, was written for a Jewish theater. It was performed both in Europe and in the United States, and it became one of the most popular migrant works. The word “green” was an ironic definition of new immigrants who did not navigate well in American reality. The song “Green Cousin” raises the issue of disappointment of migrants in America, where hard work exhausts new-comers and does not bring the expected profit. The “Columbian state” appears not as a dream country where dreams come true, but a society of inequalities. Despite the hilarious music and satirical plot, the song shows the anxiety of emigrants due to the lack of...
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