Showing posts with label Anna Dziapshipa. Show all posts
Showing posts with label Anna Dziapshipa. Show all posts

Monday, December 03, 2018

EXCERPT: Moments of Mistrust in the South Caucasus. By Florian Muehlfried via ge.boell.org @Boell_SC

On Friday, December 7, at 4:00 pm, Heinrich-Böll-Stiftung South Caucasus invites you to Florian Muehlfried’s public lecture "Moments of Mistrust in South Caucasus. click here to read more:


Published by Boell Foundation, 3. December 2018,
Click on logo to read the article by Florian Muehlfried
Florian Muehlfried’s lecture is largely based on ethnographic vignettes of mistrust, with the material mainly stemming from Abkhazia, a breakaway self-declared republic in the Caucasus. The largely absent international recognition of Abkhazia makes mistrust almost endemic and a crucial part of daily life. Mistrust materializes in the assumption that something is hidden behind the surface, e.g. a hidden agenda. This assumption paves the way for conspiracy theories, but also allows to get along with distrusted others who cannot be avoided. Contrasting vignettes from Georgia show that mistrust towards facades may also entail the opposite assumption: that there is nothing behind.

Florian Muehlfried is a social anthropologist working on the Caucasus, particularly on Georgia, for more than twenty years. His academic publications include the monographs Schemes of Mistrust: A Global Approach (forthcoming), Being a State and States of Being in Highland Georgia (2014) and Post-Soviet Feasting: The Georgian Banquet in Transition (2006, in German) as well as the edited volumes Mistrust: Ethnographic Approximations (2018), Sacred Places, Emerging Spaces: Religious Pluralism in the Post-Soviet Caucasus (2018, coedited with Tsyplylma Darieva and Kevin Tuite) and Soviet Era Anthropology in the Caucasus and Central Asia (2012, coedited with Sergey Sokolovskiy).

 
Address: ილიაუნის წიგნის სახლი "ლიგამუსი" / Book House "Ligamus", 32 Chavchavadze Ave., Tbilisi



[ge.boell.org] Even time cannot be trusted in Abkhazia. On mobile phones and computers that receive data from the Internet, it is one hour earlier than on mechanical watches. The Internet forces the Abkhazians into a time zone that for them has expired: the time zone of Georgia. Abkhazia is not recognised under international law, thus Abkhazian time is not accepted in virtual space. Abkhazia has fallen out of time.


Sukhum/i, July 2015 – Creator: Anna Dziapshipa. All rights reserved.
© Florian Muehlfried 2019: Schemes of Mistrust: A Global Perspective. Basingstoke: Palgrave Pivot (Chapter 5). This draft has not been copy edited yet and thus will differ from the book Version.



Walking down the street, we meet a man of about fifty years in a black suit with a badge depicting a faded image of his mother, who had died a few years ago, on his shirt; he immediately starts talking about god, that he seeks Him, that people need Him, that he hopes to find Him, that he has to talk to us ... I first believe to have a Jehovah's Witness in front of me, but then he seems like too many questions and too few certainties. Later we learn that he lives alone in a village after his mother had passed away. And that, during the war, one of his ears was cut off as he was presumed dead; ears were cut off for trophies.


This note is included in my diary for August 2017 when I visited a town whose name is being disputed.[1] Some call it Gal and see it as the westernmost city of Abkhazia. Others call it Gali and thus perceive it as a Georgian city, because the “i” is the nominative ending of Georgian nouns. Its population was displaced by Abkhazian troops after they had won a war against Georgia in the autumn of 1993. Violence came suddenly, unexpectedly and massively, people had to flee overnight.[2]

The expulsion was based on Abkhazian troops’ and leaders’ distrust of the loyalty of the population of Gal/i that almost completely consisted (and now again consists) of Megrelians. They speak a language related to Georgian, and most of them live on Georgian territory across the border. As a second language, almost all Megrelians speak Georgian, the “language of the enemy”. In the second half of the 1990s, shortly after their cleansing, a large number of Megrelians were able to return to their destroyed homes. The distrust of the Abkhazians towards the Megrelians, however, remains lively still today. Abkhazian police patrol the streets, Megrelians are not recruited. Megrelians are denied Abkhazian passports – unless they profess to have been originally Abkhazian and megrelianised later on. In 2014, Megrelians residing in Abkhazia were deprived of the right to vote. The Georgian government speaks of apartheid. And in 2015, the Georgian language was banned from usage in the schools of Gal/i. Despite their poor command, Megrelian children thus have to study school subjects in the Russian language.

Georgians, too, distrust Megrelians because their group provides numerous features that could justify national independence: a separate language, a fairly clearly demarcated settlement area, periods of political sovereignty (see Broers 2001). For this reason, Georgian scholars attach great importance to concepts: whereas the Georgians are considered an ethnic group, the Megrelians are labelled as a sub-ethnic, ethnographic or ethno-territorial group (e.g. by Chitaia 1997-2001 who prefers the notion of sub-ethnicity). Beyond academic concerns, the crucial issue here is that ethnic groups may become a nation and claim sovereignty according to international law, whereas groups allocated below the threshold of ethnic identify may not, because they already belong to a (at least potential) nation. As ethnic groups with their own languages, some may fear, Megrelians may well claim sovereignty outside of the confines of the Georgian state, and this claim would be difficult to dismiss on scholarly grounds. The background to these concerns is separatism that has lead to the de facto statehood of Abkhazia and, to a lesser extent, of South Ossetia. It is these concerns that have motivated some Georgian scholars to state that Megrelians speak a dialect of Georgian, not a language (e.g. Gogebashvili 1991), although the vast majority of linguists worldwide disagree (e.g. Harris 1991).

In the district of Gal/i, mistrust is omnipresent, mutual and reciprocal. The reciprocity of mistrust perpetuates the latter and creates spirals of suspicion that are almost impossible to escape. When mistrust encounters itself, it tends to intensify and solidify, like aggression aggravates in situations of war. Yet, the citizens of Gal/i have to find ways to get along with the presence of others they distrust and that distrust them. One coping strategy is to allocate the core of mistrust beyond subjective accountability. Instead of blaming the people in one’s surrounding personally for the unbearable situation, one may assume that there is something else behind the surface, an unknown essence that drives it all and that causes mistrust to spread.

Conspiracy Theories

Visiting a Megrelian family in Gal/i. Giorgi, a Megrelian nationalist, is seated next to me. For him, the first kingdom of the Megrelians, Colchis, represents the origin of Georgian statehood. Only the Megrelians and the “hill tribes” [so-called sub-ethnic groups of Georgian highlanders such as Tushetians, Svans, or Khevsurs] are true Georgians, he postulates, the others are a mixture of Georgians, Armenians and Azerbaijanis. He has learned Abkhazian as a child and has Abkhazian friends. In front of me are two Abkhazians who speak Abkhazian among themselves and Russian with the others. In order to explain how the war between Georgia and Abkhazia came about, Giorgi tells a story he attributes to the Georgian erudite nobleman Sulchan-Saba Orbeliani:

‘A pig lives with its piglets at the foot of a tree on which an eagle nests. Comes a fox and says to the pig: Do not leave the tree [to fetch food]; the eagle is just waiting to kill your piglets. Then he goes to the eagle and says: Do not fly away [to provide food for the chicks]; the pigs are just waiting to gnaw the root of the tree until it falls over. The pig and the eagle no longer leave the tree. The first piglet dies and is fetched by the fox, the first chick dies and is fetched by the fox. At the end, everyone is dead and the fox has filled its stomach.’

Giorgi explains: A third force is at work here, which whispers, incites and only pursues its own interests. This force was behind the war in Abkhazia, this force is behind everything: Jews, Freemasons.

Such narratives allow living with those who distrust you because they are not held responsible for this distrust. And one can agree with them about invisible enemies who are to be blamed for it all. Later on, I note: “Many conspiracy theories. Armenians, Jews, freemasons are guilty of everything, but one cannot see them and there is no evidence (a hidden power that, like god, works in secret).” As much as these conspiracy theories are based on demonising groups as Freemasons, Jews or Armenians – with potentially most harmful consequences such as pogroms, ethnic cleansing, shootings, incarceration, gasification etc., they are not least ways of getting along with the “own” others, who are apparently, so it seems, not responsible, just like oneself. Thus, conspiracy theories may open up a shared space; a space that potentially nurtures conviviality, if only in its most basic form.[3] It is the “comfort of commonly perceived enemies” (Asmussen 2011: 127) that conspiracy theories provide. The secret others become scapegoats, and their joint blaming creates commonality (see Girard 2005).

A bit earlier, I had already pencilled down: “A lot of talk about god here, the quest for god, the only one who provides meaning to life.” This entry was not merely about the man in black we met on the street, but also about Davit, our host.

Looking Behind Things

Davit had fled to Georgia during the Abkhaz war, spent several years there and intended to stay. In 2001, however, he returned to Gal/i because his father had passed away and Davit had to take over the position of head of the household: “God had other plans for me.” Professionally, he works as a bank accountant. Davit is unmarried and possesses a key to the church. When taking me along, he points to an icon of St. George in a corner of the church and explains:

In the right top corner there is God, whose light falls on George. George is a saint who guides the people, symbolised by the horse he rides on. People are both good and evil, so they need divine guidance. The dragon that George kills creeping at his feet is just evil. On this icon, the flakes of the dragon are painted in bright colours. Did you notice that Georg wears the same colours in his robe? This is because he has to know evil in order to defeat it.

The latter reference emphasises the lifeworldly importance of practical knowledge, which is not acquired by observation from a distance, but by taking part. Such knowledge requires the engagement with a world that cannot be trusted. For Davit, this “dirty” knowledge is more profound than secular knowledge derived from a safe distance. At the same time, he pays close attention to natural phenomena such as the position of the sun or its rays. He has stored several photographs of the sun on his phone, even more of stones from a nearby forest. There is a place, explains Davit, where two rivers come together, a place he usually visits with his confessor. The water has a very special composition and is not drinkable. No frogs live in the water, there is no living being around, all is quiet. This is where Davit detects stones consisting of a cosmic material and marked by signs: some looking like a star chart, others like faces. Davit is fascinated by the regularity and symmetry of these signs, which to him indicate that these stones were inscribed by humans and derive from prehistoric times (“when the dinosaurs were still alive”).

For him, these artefacts are facts he can stick to, which at the same time testify to a higher power, an ancient lost knowledge, and cosmic energies (or substances). On one of the many photographs he took of the stones, a small folding rule is placed next to the object; on others he holds a square angle to the stone in order to illustrate its perfect proportions. On a portrait depicting him with a stone in his hand, an inexplicable light appears on his back. Davit has tried to find archaeologists to study these stones, their effect and location, but in vain. For him, the messages are evident, but for others they are hidden. Perhaps they can only be seen by those who have learned to look behind things. Religions are cults of mistrust as they do not accept things or people for what they seem to be. In this sense, conspiracy theories can be construed as religious, as they too represent powers as concealed. Places like Gal/i, where insecurity is endemic, such concealed powers are everywhere, and they haunt.

Even time cannot be trusted in Abkhazia. On mobile phones and computers that receive data from the Internet, it is one hour earlier than on mechanical watches. The Internet forces the Abkhazians into a time zone that for them has expired: the time zone of Georgia. Abkhazia is not recognised under international law, thus Abkhazian time is not accepted in virtual space. Abkhazia has fallen out of time.

Facade Politics

There is also the suspicious assumption that there is no nothing behind observable reality. Everything is just a facade. By means of such facades, revolutionary projects occasionally indicate the beginning of a new era. One such project was the peaceful Rose Revolution in Georgia in November 2003. With the overthrow of the then president Shevardnadze, the post-Soviet period was declared to have come to an end. A society would emerge that freed itself from the shackles of the past. It would go from darkness to light quite literally: In the more than twenty years since independence, the frequent power cuts turned the lights off; now Georgia would shine.

The remodelling of Georgia started with fountains being dressed in pastel colours. Then the TV tower in the Georgian capital Tbilisi glittered like a Christmas tree. With the arrival of the former US President George W. Bush for a state visit in 2005, the apartment buildings adjacent to the airport were freshly painted. Blue and red rays of light illuminated the facades of old city houses along the city walls at night. After the advent of light and colours, it was the time of balconies and cobblestones. The popular old town of Tbilisi, depicted in numerous novels and repeatedly painted or photographed, became the role model. From now on, every Georgian town would need a historic centre with balconies and cobblestones. A large sum of money was invested in the development of Sighnaghi, a fortress town built on a mountainside overlooking the Caucasian mountain ridge. After cobblestonisation and balconisation, this small town developed into the most popular tourist destination in the Georgian countryside. For Georgians, Sighnaghi now symbolises regional development in the form of musealisation; for tourists, it is a symbol of Georgian authenticity.

In 2007, I visited a winemaker who works in a wine cellar in the neighbouring town of Telavi. Telavi, too, has undergone a renovation of its ancient centre. Traditionally, there were no balconies in the centre at all, but now they are attached to many facades. Asphalt roads have been torn up and then paved. Shops, cafes, guesthouses and a centre for tourist information have opened. Nevertheless, there were hardly any visitors. Telavi at that moment was a ghost town. Perhaps spirits can work miracles and convey a sense of presence where before there was nothing, I was speculating. The winemaker waved this off. Against the polished facades of the renovated centre, it would become even more apparent how poorly people live. No state funds had reached them. “It's like in the Soviet Union – just a show.”

The comparison with the Soviet Union makes the post-Soviet economy of Georgia look like a planned economy. What matters is what is in the plan, what can be sold to the media and celebrated on public events. In this vein, the Tbilisi airport was built at record-breaking speed, but once opened, its roofs began to leak. And 100 hospitals were officially inaugurated within three years (2007 – 2010), but their equipment was driven from here to there depending on the schedule of press conferences organised to document the opening of a hospital (Frederiksen and Gotfredsen 2017: 113ff.).

In the Soviet Union, the realisation of plans had also been detached from reality, dramatically so and with substantial consequences. Those who, like the economist Alexander Chayanov, held on to the power of the factual and empirically-based analyses for the development of economy, had to reckon with exile and death during the early Soviet Union years (Nikulin 2011). This procedure was successful to the extent that, during the late Soviet Union years, facts and empiricism became largely irrelevant. There was no longer anything below the surface; instead, the surface was employed as a material that could be manipulated and ironised (Yurchak 2006).

In post-Soviet Georgia, too, there is nothing behind the facades – so, at least, many Georgians assume. The role model for the faking of reality is not so much the Soviet Union, however, but rather imperial Russia with its impression policy. The painted apartment blocks close to the airport, the facades of cracking old Tbilisi houses bathed in flashy colours, hospitals with no equipment, all this rather evokes the image of Potemkin villages. These fake villages, allegedly (for it may be a rumour) built by Grigory Potemkin for Catherine the Great in 1787, represent grandezza without substance, serving to hide an undesirable presence.[4] And it is this kind of impression management which became paradigmatic under the label of “Potemkin villages” that is at stake in post-Soviet Georgia as well. Mistrust here asks for substance.


Ruins


In Abkhazia as well, there is nothing behind some facades, but for another reasons: many building have been destroyed during the war with Georgia and not been renovated yet (or only poorly so). Doric columns that have nothing to support, windows through which one can see the sky from the street, bullet holes in the walls. In several cases, the facades are deliberately left standing. The twelve-story former government seat that had caught fire due to army shelling, for example, remains as a ruin in the centre of the Abkhazian capital; in front of it an empty pedestal on which Lenin once stood. Places like these are embodiments of horror that work as a reminder to the Abkhaz citizenry of a past that is yet a presence. In most other cases, however, the reason for the existence of ruins or seriously dilapidated building is much more straightforward: lack of financial means to do something with the facades. Obviously, there is nothing behind them: no intention, no excuse, no deception. No mistrust is required to observe this. Railway stations, built as palaces for the travellers, fall into disrepair, as do factory buildings, mining shafts and conveyor belts. Mining towns have turned into ghost towns. As their architecture is pompous, the effects of decay are even stronger. These sights, however, attract tourists from Western Europe to Abkhazia and serve to illustrate their travelogues on the Internet.

On Georgian facades with nothing behind, the future should shine – a colourful, happy, somewhat loony future. They are inscribed with a fictional temporal dimension. On Abkhazian facades, likewise with nothing behind, there is no discernible future, only a past as war or a present as absence. If statehood is built on citizens’ confidence in the future, then this confidence is shaken here – and thus statehood subverted on a most basic level. This lack of faith in the capacity of the state to shape the future is not limited to Abkhazia or other post-Soviet societies, of course, it is also a symptom of the West, at least since the proclaimed end of history after the collapse of the Soviet Union (Fukuyama 1992). With no future ahead, the future now takes place in the past, captured in out-dated utopias such as those of state socialism. This is one of the reasons why places like Abkhazia are so attractive to Western visitors: it is here they can encounter a past future. It radiates from the Soviet mosaics and conjures up the departure into space or utopia on earth. If there wasn’t the suspicion that this future has expired, one would want to join these travels, too.


NGO Politics


Business or betrayal? Such is the question asked by Timur Kodori in an entry on Facebook dated 24 July 2017.[5] The author is concerned about the involvement of his Abkhaz compatriots in an international project to preserve the Abkhaz language. The project is coordinated by the Georgian-based Centre for Civil Integration and Interethnic Relations and funded by the United States Development Assistance (USAID). The participating linguists hail from the University of Frankfurt; their local partner is the “Association of Businesswomen of Abkhazia.” In his post, Kodori mentions the names of the participants as well as the amount of money they received. He then raises the question whether the Abkhazians involved in this project had been bribed by the opponents of Abkhazia. “How soon will Abkhazia lose its independence as a result of such an approach and [...] again become an appendix of Georgia?”


Another indicator of betrayal is, according to Kodori, the fact that the Abkhaz participants have accepted to be photographed in front of a logo showing Abkhazia within the confines of Georgia. This logo is part of the corporate design of the Georgian NGO responsible for the project. The homepage of this NGO does not mention this project, however, not even in their Annual Reports produced during the project term 2015-2016. And maybe it is no coincidence that the “current projects” section of the NGO’s homepage was adjusted on 25 July 2017 – one day after Kodori’s post. On the websites of those involved in Frankfurt and Abkhazia, too, not a single word can be found about this project. Only the donor has published the following description:



The aim of the project is to support the interpersonal reconciliation between Georgians and Abkhazians by protecting and promoting the endangered Abkhaz language. This goal will be achieved by: (1) mobilizing the Georgian and Abkhazian representatives of science and civil society through the common interest in treasuring and revitalising the Abkhazian language, (2) bringing together young people, the potential leaders of Abkhazia and Georgia, to represent and promote universal human values as well as encouraging mutual respect, tolerance and a peaceful neighbourhood and (3) to facilitate a meaningful dialogue between various social groups regarding issues of common interest, e.g., education, science and the promotion of joint cooperation.[6]

In addition to the promotion of cooperation, this project concerns the creation of an Abkhaz language corpus and the development of software for the linguistic processing of the Abkhaz language. The required material is provided by Abkhazians (among them writers), the scientific expertise by the specialists from Frankfurt. Abkhazian linguists are not part of this cooperation, although they too are working on the documentation of the Abkhazian language and on concepts for its promotion. A linguist and teacher of Abkhaz based in the Abkhazian capital who authored one of the few textbooks available has never heard of the project. A linguist from the Abkhaz Academy of Sciences heard of this project from his dentist. The form of collaboration this project promotes is thus asymmetric: one party delivers, the other one understands.

This colonial form of knowledge production confirms the mistrust of those who feel that Abkhazia is not taken seriously. In this way, mistrust perpetuates and intensifies the rejection to work with colleagues from abroad, as cooperation is never assumed to take place among equals. A great deal of energy is needed for mistrustful engagements with external actors, energy many Abkhazians lack after decades of isolation, stagnation and depression. Better not having anything to do with something one cannot trust and that can be avoided. Given the clouds under which the project is shrouded, another mistrust finds substantiation: one should not see what it is all really about.

Once again, mistrust is ignited by surfaces. Instead of assuming that all there are facades, with no substance behind, the suspicious assumption here is that there is something hidden behind the facade, namely a political agenda based on hostile intentions. On the surface, one can see NGO-driven civic engagements, presumably without a political purpose and directed towards a universal good (in this case, the preservation, documentation and promotion of the Abkhaz language). Underneath the surface, however, a doubtful observer such as Timur Kodori identifies a dark force, here incorporated by the Georgian state and its allies. In order for this force to work, so Kodori implies, it has to come in disguise. This disguise is provided by the NGOs involved in this project, which are essentially machinations of masquerade.

For Kodori, the research project is just a cover-up of political infiltration and indoctrination. In the Russian-speaking world (that includes Abkhazia), such activity is covered by the word pokazukha, which “refers to putting on a false show to cover up the actual state of affairs“ (Sántha and Safonova 2011: 75).[7] The aim of this show is to represent a presence that isn’t real, and a reality that is not meant to be present. Trusting the visible would mean to be trapped in illusion and to fall victim to deceit. The distrust that Kodori articulates is meant to make the show fall apart.

Distrusting Facades

In many of the cases portrayed above, facades have aroused suspicion. In the case of Georgian facade politics, the suspicion is that there is nothing behind, that the surface is all there is. This absence of substance comes in stark contrast to the message that is conveyed with these facades: that of a presence, of a thriving life, of a future and a succeeding present. In the case of Abkhazians facades (that are often those of ruins), the absence of something behind at the same time denotes an absence of the future. This absence of the future is, in a way, the essence of Abkhaz ruins. Whereas in the Georgian case, the Potemkin facades denote an attempt to manipulate public perception, in the Abkhaz case, they denote a void.

Facades may also serve to hide a secret agenda. In this vein, Timur Kodori assumes that NGOs occasionally provide the facade behind which a secret political agenda unfolds. He sees the NGOs that he is targeting as Trojan horses that allow the enemy to penetrate ones own space. What he discerns is a contradiction between visible surfaces and that what is underneath. Such kind of contradiction may be explained with the help of conspiracy theories.

Doing so also allows alleviating tensions with one’s neighbours who do not need to be held accountable for past atrocities, because another clandestine power can be blamed instead. In the context of Abkhazia, this discursive strategy fosters conviviality with those that cannot be trusted. The tension that distrust creates is distracted by conjuring up joint enemies, even if fictional ones.

Bibliography

Asmussen, Jan. 2011. Conspiracy Theories and Cypriot History: The Comfort of Commonly Perceived Enemies. Cyprus Review 23 (2): 127-145.

Broers, Laurence. 2001. Who are the Mingrelians? Language, Identity and Politics in Western Georgia. Sixth Annual Convention of the Association for the Study of Nationalities 2001. Panel: Minority Identity in Georgia (unpublished paper).

Frederiksen, Martin Demant und Katrine Bendtsen Gotfredsen. 2017. Georgian Portraits: Essays on the Afterlives of a Revolution. Winchester/Washington: Zero Books.

Fukuyama, Francis. 1992. The End of History and the Last Man. New York: The Free Press.

Girard, Réne. 2005. Violence and the Sacred. New York: Continuum.

Gogebashvili, Iakob.1990 [1902]. borot’i c’adili samegrelos shesaxeb [An Evil Intention

vis-à-vis Mingrelia]. In: rcheuli txzulebani xut t’omad [Collected Works in Five Volumes]

Vol. 2. Tbilisi: ganatleba.

Harris, Alice C. 1991. Mingrelian. In: A.C. Harris (ed.): The Indigenous Languages of the Caucasus 1: The Kartvelian Languages. Delmar NY: Caravan Books: 313–394.

Nikulin, Alexander. 2011. Tragedy of a Soviet Faust: Chaianov in Central Asia. In Exploring the Edge of Empire: Soviet Era Anthropology in the Caucasus and Central Asia, ed. by F. Mühlfried and S. Sokolovskiy. Münster: LIT Verlag: 275-293.

Sántha, István and Tatiana Safonova. 2011. Pokazukha in the House of Culture: The Pattern of Behavior in Kurumkan, Eastern Buriatiia. In: Donahoe, Brian and Joachim Otto Habeck (eds.): Reconstructing the House of Culture: Community, Self, and the Making of Culture in Russia and Beyond. New York: Berghahn: 75-96.

West, Harry G., and Todd Sanders (eds.). 2003. Transparency and Conspiracy: Ethnographies of Suspicion in the New World Order. Durham, London: Duke.

Yurchak, Alexei. 2006. Everything Was Forever, Until It Was No More: The Last Soviet Generation. Princeton, NJ: Princeton University Press.

Florian Mühlfried 2019: Schemes of Mistrust: A Global Perspective. Basingstoke: Polgrave Pivot (chapter 5)

[1] This essay is largely identical with chapter five of my book on „Schemes of Mistrust: A Global Perspective” to be published with Palgrave Pivot in spring 2019. I thank the publisher and in particular my editor Mary Al-Sayed for the permission to republish my chapter in this format.

[2] In accordance with the policy of the media portal OC Media that reports on the entire Caucasus region, I do not use qualifiers such as ‘de facto’, ‘unrecognised’, or ‘partially recognised’ when discussing institutions within Abkhazia for reasons of readability. In the same vein, the simoultanous usage of the designations Abkhazia and Georgia does not imply a position on the political status of Abkhazia, but rather follows the pragmatic goal of being able to contrast situations and developments in Abkhazia and (the rest of) Georgia without straining readability with inserted brackets.

[3] See West and Sanders 2003 for the social workings of conspiracy theories.

[4] Many thanks to Sascha Roth for raising this argument.

[5] Timur Kodori is probably a pseudonym.

[6] Source: https://www.usaid.gov/georgia/working-crises-and-conflict; later on, however, this entry also disappeared.

[7] Again, my gratitude goes to Sascha Roth for bringing this to my attention.

Thursday, September 20, 2018

PHOTOGRAPHY: TBILISI PHOTO FESTIVAL 2018 CLOSING AT STAMBA HOTEL on September 20th!

Broken Sea

by Russian Georgia female photographers duo Nata Sopromadze & Irina Sadchikova

© Broken Sea by Nata Sopromadze & Irina Sadchikova 


Exhibition - installation

Opening at 18.30, Stamba Hotel.

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Salty Taste of The Black Sea 
                   



© Gueorgui Pinkhassov / Magnum Photos. Sokhumi, Abkhazia, Georgia 2009 


by Eric Baudlaire, Jonas Bendiksen/Magnum Photos, Family albums, Maria Gruzdeva, Yuri Kozyrev/NOOR, Justyna Mielnikiewicz/MAPS, Gueorgui Pinkhassov/Magnum Photos, Anna Dziapshipa, Thomas Dworzak/Magnum Photos, Anonymous Polish tourists’ photo archives, documentary movies from 70s, found footage.

Screening with live music accompaniment by Ben Wheeler

at 20.30 Stamba Hotel Amphitheatre.


www.tbilisiphotofestival.com
www.instagram.com/tbilisi_photo_Festival
www.facebook.com/tbilisiphotofestival
 

Wednesday, July 13, 2011

FILM: Black Shorts: Georgian premiere

Monday, July 18 · 9:30pm - 11:30pm

Courtyard of Goethe Institute Georgia
16 Zandukeli Street
Tbilisi, Georgia

Plotki (Rejs e.V.), Sakdoc Film and the Centre for Arts and Culture at the Central European University proudly present five Black Shorts from Georgia.

In May 2011, twenty young creative people from across Europe met for the first time in Garikula, Georgia to share their diverse skills, undertake training in filmmaking, form into small multinational working groups and set off across the country to explore everyday life in Georgia....

The resulting Black Shorts are as diverse as they are intriguing. The films capture the lively theatrics of death in Kutaisi; the endearing character of a barber’s shop in Tbilisi; the second life of objects as scrap metal in-and-around Zugdidi; the highflying web of cable cars in Chiatura; and a day in the life of an underpass’s resident band in Tbilisi.


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Sakdoc Film
24g Khazbegi Ave., 0160 Tbilisi, Georgia
Sakdoc Films is a documentary film production company in Georgia
THE SETTLEMENT [working title] 15' as part of the project 15 YOUNG BY YOUNG. In production
BAKHMARO 60' directed by Salomé Jashi. In co-production with ma.ja.de. filmproduktion GmbH 2011
10 MINUTES OF DEMOCRACY documentary film series 2009. 3 shots – SPEECHLESS 12’ directed by Salomé Jashi, ALTZANEY 28’ directed by Nino Orjonikidze and Vano Arsenishvili, WHEN CLOCKS STOP 12’ directed by Tiko Nachkhebia

Master class "Art and Documentary" by British documentary film director Gideon Koppel at Goethe Institute in Tbilisi, Georgia 2008
Peace and Human Rights South Caucasus Film Festival Nationality: Human in Tbilisi 2008

The aim of Sakdoc Film is to depict the transitional period that Georgia is now undergoing from being a Soviet state to becoming a 'European' country. We believe that there are number of topics, places and people that will not exist in Georgia in a few years and which are worth and even essential to film before the opportunity fades away. [but it will never fade away]

anna@sakdoc.ge
salome@sakdoc.ge
www.sakdoc.ge

Friday, September 10, 2010

FESTIVAL: SONDERPROGRAMM KAUKASISCHE LEKTIONEN - 53. Internationales Leipziger Festival für Dokumentar- und Animationsfilm (dokfestival-leipzig.de)

52nd International Leipzig Festival for Documentary and Animated Film
18.10.- 24.10.2010

Homepage: dokfestival-leipzig.de

Das Internationale Leipziger Festival für Dokumentar- und Animationsfilm pflegt seit Jahrzehnten die Tradition, Ländern oder geografischen Regionen Sonderprogramme und Retrospektiven zu widmen, deren Filmschaffen in Deutschland und oft auch international weitgehend unbekannt ist. Dadurch erhält das Publikum einen tiefen Einblick in die jeweiligen Kinematographien und kann Filme entdecken, die sonst weder im Fernsehen noch im Kino zu sehen sind. So können sich die Festivalbesucher durch die Augen der Filmemacher aus den jeweiligen Ländern einen eigenen emotionalen Eindruck vom Alltag und der Kultur der Länder jenseits von verkürzten Schlagzeilen, Nachrichtenbildern und Stereotypen verschaffen, Vorurteile über Bord werfen und sich ihr eigenes Urteil bilden. Das Leipziger Publikum und die Fachbesucher belohnen diese Bemühungen mit oft schon morgens ausverkauften Vorstellungen.

In der Tradition dieser Programmschwerpunkte, zu denen in den letzten Jahren die Sonderprogramme zum chinesischen, arabischen, afghanischen oder afrikanischen Dokumentar- und Animationsfilm zählten, steht das von Barbara Wurm kuratierte Sonderprogramm zum jüngeren Filmschaffen aus der Kaukasus-Region.

Ausgangspunkt für das schwierige Unterfangen, eine Reihe mit neueren Dokumentarfilmen aus der Kaukasus-Region zusammenzustellen, ist ein simpler Befund: Es gibt keinen Fleck auf der Landkarte der ehemaligen Sowjetunion, der nicht von den politischen Ereignissen rund um die Perestrojka erschüttert worden wäre; es gibt aber nur eine Region, in der aus Konfliktherden Kriegszonen wurden, die bis heute nicht zur Ruhe kommen. An der strategisch Jahrhunderte lang wichtigen Grenze zwischen Europa und Asien graben sich seit nunmehr zwanzig Jahren die Konturen des postkommunistischen Dilemmas ein und verweisen immer wieder zurück auf die historischen Ursprünge der zahlreichen, einzelnen Konfliktbereiche, die sich zu einem Komplex geopolitischer Antagonismen formieren. Ob nationale, territoriale, ethnische, religiöse oder soziale Streitfragen – auf dem Gebiet der drei kaukasischen Sowjetrepubliken Georgien, Armenien und Aserbaidschan sowie des südlichen Russlands sind davon alle Lebensbereiche betroffen.

Aber noch ein zweiter Befund motiviert diese Filmreihe: So sehr der Kaukasus, insbesondere in Bezug auf den Tschetschenienkrieg und den Russisch-Georgischen Konflikt Thema in den öffentlichen Medien ist, und so viele Fernseh-Reportagen es zu diesem Thema gibt, so wenig ist das Filmschaffen aus der Region selbst bekannt. Die geplante Filmreihe will daher die historischen und politischen Krisenzonen aus künstlerischer, nicht rein journalistischer Perspektive beleuchten und darüber hinaus auch den verschütteten und vergessene Filmkulturen – die gemeinsam mit dem Ende des Sowjetstaats unterzugehen drohten – zu einem ‚Revival’ verhelfen.

So unterschiedlich nämlich die politischen Entwicklungen der letzten beiden Jahrzehnte in den betroffenen Staaten sind, so differenziert muss man sich auch dem Zustand der Filmproduktion in den einzelnen Ländern widmen. In Bezug auf Infrastruktur und Nachfrage litten die beiden großen ex-sowjetischen Filmkulturen Georgiens und Armeniens zunächst genauso stark wie die weniger bekannte Filmszene Aserbaidschans an den Folgen des Endes der Sowjetunion.



Autonomiebewegungen und Dezentralisierung leiteten jenen ökonomischen und kulturellen Prozess ein, der letztlich dazu führte, dass es seit drei Jahren nun kein (im ehemaligen Zentrum Moskau stattfindendes) föderatives "Forum der nationalen Kinematographien" mehr gibt. Wer Filme drehen wollte, emigrierte oder ließ sich auf langwierige internationale Koproduktionen ein. Der Zustand der Filmstudios war Anfang der Nullerjahre verheerend, so genannte "Filmschulen" waren mit nicht mehr Equipment als einem Fernsehgerät ausgestattet – keine Spur von Kamera oder Schnittplätzen –, während so manches aus dem Boden schießende neue "Filmstudio" von einer Handvoll Enthusiasten geführt wurde, das sich mit Mini-DV-Kamera und PCs über Wasser hielt.

Aber wie gesagt: Man muss sich dem Filmschaffen der Region, insbesondere dem dokumentarischen, differenziert nähern (kleinere Animationsarbeiten werden berücksichtigt, bilden aber keinen eigenen Schwerpunkt). Dies soll im Rahmen von fünf bzw. sechs Programmblöcken passieren, die der Kaukasus-Schwerpunkt von DOK Leipzig 2010 umfassen wird, aber auch im Rahmen eines Symposiums und von Werkstattgesprächen, zu denen FilmemacherInnen, ProduzentInnen und andere Fachleute aus der Kaukasus-Region eingeladen werden sollen. Die Filmauswahl konzentriert sich auf die letzen drei, vier Jahre (2006-2010), greift aber an einigen relevanten Punkten auf historisches Filmmaterial zurück. Filme, die in den letzten beiden Jahren im Rahmen des Festivals gezeigt wurden, können dabei nicht berücksichtigt werden (u.a. Nino Orjonikidzes und Vano Arsenishvilis "Altzaney", Georgien 2009; Marija Kravčenkos "Časti tela" (Body Parts), Russische Föderation 2009). Den Schwerpunkt bilden Arbeiten von Regisseurinnen und Regisseuren aus der Region selbst (also Georgien, Armenien, Aserbaidschan und Russische Förderation), das gilt auch für jene, die mittlerweile im Ausland leben, aber vor Ort drehen.

Im Weiteren seien einige mögliche Programmblöcke bzw. Themenschwerpunkte skizziert:

Berg-Karabach (Nagornyj Karabach)
Drei Autorenfilme umrahmen diese heikle Konfliktzone zwischen Armenien und Aserbaidschan, die gleichsam den schrecklichen "Auftakt" für das permanente Kriegstreiben im Kaukasus markiert: Vardan Hovhannisyans "Mardkayin patmutyun paterazmi yev khaghaghutyan orerits" (A Story of People in War & Peace), 2007, und das neueste Oeuvre der poetischen Ausnahmefigur unter den zeitgenössischen armenischen Filmregisseuren, Arutjun Hachatryans "Sahman" (Grenze), 2009, stellen je auf ihre Weise ihren persönlichen Umgang mit den Erinnerungen an und den Folgen des Berg-Karabach-Kriegs in den Vordergrund. Während Hovhannisyan auf Archivmaterial zurückgreift, das er selbst während des Kriegs gedreht hat, und sich zwölf Jahre später auf die Suche nach seinen ehemaligen Soldatenkameraden begibt, mit denen er der Gewalt des Schlachtfelds in intimen Gesprächen begegnet, erzählt Hachatryan die Geschichte eines kleinen vom Konflikt betroffenen Dorfes aus der Perspektive eines geretteten Büffels. Eine postkommunistische Parabel von Vertrauen und Misstrauen, ein poetisches Doku-Drama, basierend auf realen Ereignissen. Umflankt werden diese beiden Filme von Vitalij Manskijs großartig lakonischem (und seinerzeit "im Westen" wenig gezeigten) Kurzfilm "Post" (Wache), 1990. Damals, als alles begonnen hat, war schon klar, dass der hier nah verfolgte Einmarsch russischer "Friedenstruppen" in eine armenisch-aserbaidschanische Siedlung alles andere als Frieden bringen würde.

Tschetschenien
Von einer tschetschenischen lokalen Filmproduktion kann leider nicht die Rede sein. Aufhänger dieses Programmblocks bildet die erste Regiearbeit der jungen in Groznyj geborenen Tschetschenin Marija Kravčenko, „Sobirateli tenej“ (Collecting Shadows), 2006, das bildgestalterisch wie erzählerisch sensible Privatdokument einer Zerstörung, das weit über die damals aktuelle Kriegsberichterstattung hinausgeht. Produziert wurde dieser Film der VGIK-Absolventin vom Nizhne-Volzhskaya Studio of Documentary Cinema Chronicles in Saratov. Die ‚heutige’ Bilderwelt der persönlichen Erinnerungen der Autorin sind hier mit völlig unbekannten Archivaufnahmen aus der gerade-nochsowjetischen Filmchronik, die nie das Licht der Öffentlichkeit erreicht haben, verwoben - mit Bildern von Clan-Demonstrationen, politischen Meetings, Protesten gegen die Regierung. Die Idee für diesen Programmpunkt ist, über dieses Studio sowie über das RGAKFD, das Russische Staatliche Archiv für Film- und Fotodokumente in Krasnogorsk, das Spektrum an Archivmaterial zum tschetschenischen Leben in der noch "funktionierenden" UdSSR zu erweitern und den Film Kravčenkos in diesen Kontext zu stellen.

Weitere Recherchen zu Arbeiten jüngerer tschetschenischer Regisseure, die teilweise auch in Georgien produziert werden, sind hier noch notwendig. Verzichtet wird hingegen voraussichtlich aus konzeptionellen Gründen auf russische Dokumentarfilme zum Tschetschenien-Konflikt.

Georgien
Der aktuellste und auch streitbarste Dokumentarfilm zum russisch-georgischen Konflikt stammt von einem der schärfsten Kritiker der russischen Politik: Andrej Nekrasov. Gemeinsam mit Olga Konskaja stellt er in der norwegisch-russisch-georgischen Koproduktion "Russian Lessons", 2009, der u.a. auf den Festivals in Sundance und Rotterdam gezeigt wurde, den Krieg aus der Perspektive dies- und jenseits der Fronten dar, also vom "europäischen" Süden und vom "russischen" Norden. Die Konfrontation wird jedoch zu einer investigativ einzigartigen Lektion in Sachen Politik und Macht entfaltet, die bis ins Jahr 1993 und den Abchasien-Konflikt zurückreicht. Auch das dokumentarische Schaffen von Nino Kirtadze steht im Zeichen der Offenheit für die politischen und historischen Quellen der Kaukasus-Region. Ob in ihren frühen Arbeiten wie "Chechen Lullaby" (Il était une fois la Tchétchénie), 2001, oder im aktuellen "Durakovo: Village of Fools", 2007, der vom Aufkeimen russischer rechtsnationalistischer Bewegungen berichtet, immer wieder geht es um den Alltag und die Rituale einer ideologisch überformten Gesellschaft.

Das vielfältige georgische Dokumentarfilmschaffen der letzten Jahre muss für die Programmierung noch weiter recherchiert werden. Kontakte zum Georgian National Film Center und zu einzelnen BeraterInnen (Stefan Tolz, Zaza Rusadze, Mariam Kandelaki sowie Anna Dziapshipa) bestehen bereits. Angedacht sind in erster Linie die durchaus herausragenden Arbeiten der jungen Salome Jashi, aber auch von Levan Koguashvili oder Merab Kokochashvili. Einen Einzelplatz soll der Altmeister des georgischen Filmschaffens, Aleksandr Rechviašvili, bekommen.

Armenien
Neben den bereits erwähnten Filmen ist im Bereich des armenischen Films geplant, das marginale dokumentarische und teilweise experimentelle, in den Kunstbereich reichende Schaffen junger NachwuchsregisseurInnen und kleinerer Filmschulen sowie ähnlicher Initiativen zu porträtieren (Simoyan Arusyok ("9:39"), Gor Baghdasaryan ("Dinner Time"), Produktionen des Studios von Ruben Gevorkjanc "Nayk", Arbeiten des Experimentellen Zentrums für Kunst in Jerewan, u.a.m.)

Auch die in Russland produzierte, in Armenien gedrehte Arbeit von Arman Yeritsyan, "Privet, Fellini!" kommt in Betracht. Fraglich ist hingegen, ob historisch-politische Anklagefilme, die von Exilarmeniern in den USA produziert wurden, wie beispielsweise "The River Ran Red" ins Programm aufgenommen werden sollten. Eine Recherchereise zum zentralen Festival in Jerewan ("Golden Apricot") wäre hier sowie im Bereich der Recherche zu den kleineren Strömungen und Aktivitäten sehr aufschlussreich.

Aserbaidschan
Der international renommierte Schauspieler Murad Ibragimbekov ist gleichzeitig die herausragende Figur des aus Aserbaidschan stammenden Dokumentarfilmschaffens. Sowohl in "Neft" (Erdöl), 2003, als auch in seinem neuesten Kurzfilm "Objekt No. 1" lässt sich erahnen, wie sehr die großen Montage-Traditionen des sowjetischen Kinos und die reiche Symbolkraft noch bis heute wirksam sind, während gleichzeitig aktuelle Themen wie die geopolitische Bedeutung der Rohölvorkommen thematisiert werden. Einen weiteren Schwerpunkt eines möglichen Kurzfilmprogramms bilden die Arbeiten "Il’gar Safats", der bereits vor einiger Zeit in Leipzig war, sowie andere Dokumentarfilme, die von der aserbaidschanischen Firma Narimanfilm produziert werden. Außerdem werden noch Recherchen zu den aktuellen Arbeiten des ebenfalls bereits in Leipzig gezeigten "Elchin Musaoglu" durchgeführt.


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Dr. Christoph Peters peters@dok-leipzig.de +49 (0) 341 308 64 16