Russia’s mastery of symbolism extends far beyond its geopolitical manoeuvres, permeating even its cultural diplomacy. Renowned for leveraging public diplomacy tools as soft power, Russia often employs seemingly innocuous events to advance its agenda on the global stage. One such instance emerges with the scheduled tour of the Russian Red Army Choir in Türkiye, originally scheduled from 14 to 22 May 2024.
While ostensibly an artistic endeavour, the timing and choice of concert dates by the Red Army Choir reveal a calculated nod to Russia’s historical narratives and geopolitical ambitions. Specifically, the decision to hold concerts during the week commemorating the 80th anniversary of the Great Crimean Tatar Exile (18 May 1944) and the 160th anniversary of the Great Circassian Exile (21 May 1864) has evoked widespread controversy and condemnation.
In Türkiye, where the scars of ethnic cleansing, forced migration, and exile run deep among many segments of the population as the result of long phases of Russian conquests, the Red Army Choir’s performances resonate not as harmonious melodies but as painful reminders of historical injustices. Every year on these days, Tatars and Circassians living in Türkiye organise various events to commemorate their losses and share the painful memories of their suffering.
The deliberate alignment of the concert dates with these solemn anniversaries underscores Russia’s disregard for the sensitivities of affected communities and its ongoing efforts to reshape historical narratives in its favour. As civil society organisations and ethnic associations vocally opposed this symbolic affront, the broader implications of Russia’s cultural diplomacy tactics came the fore.
There are few people living in Türkiye who do not have relatives or acquaintances with a history of forced migration. Anatolian lands have warmly welcomed migrants and exiles from Crimea, Rumelia, and the Caucasus, distributing them to various regions of Türkiye. The Crimean Peninsula, which had been the homeland of the Kipchak Turks for many centuries, fell under Russian occupation, soon transforming into a land where Russians became dominant. The former inhabitants of Crimea sought refuge first in Romania and Bulgaria and then, when those territories lost Ottoman rule, in Anatolia. The number of Crimean Turks migrating to Anatolia from the early nineteenth century until the end of the First World War is estimated to have reached millions.
Nevertheless, even during the Second World War, more than 200 thousand Crimean Tatars still lived on the Crimean Peninsula. On the night of 18 May 1944, all of them, regardless of age or gender, were packed into train cars and deported to the steppes of Central Asia and Siberia. Many could not withstand the brutal conditions of the journey and lost their lives.
After the collapse of the Soviet Union, only a very small number of the exiles were able to return to their ancestral homeland. However, after Russia’s recent occupation and annexation of the Crimean Peninsula in 2014, many felt it is a Groundhog Day cycle of persecution again.
The Red Army, primarily responsible for the ethnic cleansing and tragic deportations in the past, intended to tour Türkiye with its choir, portraying the event as a cultural endeavour. Their performance, scheduled to coincide with the anniversary of the deportation, would serve as a painful reminder to Crimean Tatars of their past suffering. The decision of the Red Army Choir, historically linked to efforts to downplay Soviet atrocities and promote Russia’s soft power, to stage a concert on such a significant date would undoubtedly unsettle those with a deep sense of historical awareness.
The announcement of the Russian Red Army Choir’s concerts in Türkiye during the specified dates triggered a significant backlash. This response transcended mere verbal expressions, manifesting in active engagement on social media platforms and meetings with political figures. Descendants of the Red Army victims, alongside concerned citizens, raised their voices against the event, deeming it unacceptable. As a result of public pressure, the organising company eventually yielded and postponed the concert date, effectively foiling this provocative endeavour.
Russia’s public diplomacy has been notoriously known for using different propaganda efforts, both explicit and covert, to reshape historical awareness. The Red Army Choir is one such tool. The date of the choir’s visit to Türkiye was in no way coincidental. It aimed to cast a shadow on the commemoration of the Crimean Tatar and Circassian exiles and whitewash the crimes the Red Army committed via art and culture while promoting a militaristic image as an integral aspect of Russian culture.
In sum, the scheduled tour of the Russian Red Army Choir in Türkiye has backfired and opened a can of worms that serves as a stark reminder of a bloody historical legacy. Although some sensationalist left-wing Turkish media outlets criticised the public outcry, the subsequent mobilisation of concerned citizens led to the cancellation of these concerts.
All in all, public diplomacy must avoid manipulative tactics that seek to normalize tragic historical episodes, instead opting for transparency and acknowledgment. Sweeping such events under the rug only perpetuates injustice and impedes genuine reconciliation. On the other hand, honest engagement with the past fosters understanding and empathy, paving the way for healing and constructive dialogue in the present and future.
This piece originally appeared in the opinion section of Middle East Monitor.