Rock Festivals of Ukrainian Nazism

Translated by Ollie Richardson & Angelina Siard


During these festive winter days Ukraine adopted an exclusively aggressive and brutal law on the de-occupation of Donbass. This law actually legalises any acts of violence committed by the UAF against local residents and tramples on all peace agreements.

However, any law [in Ukraine – ed] must rely not only on State violence, but also on the consent of those segments of the population that will work within its framework, otherwise it won’t work. As Napoleon said, you can do anything with bayonets except sit on them. I think that such a law won’t please most of the people of Ukraine, despite all the propaganda of the Maidan regime. But for a considerable part of the Ukrainian youth eligible for conscription, unfortunately, it can be pleasing, because they were strongly injected with aggressive nazi ideology for too long.

“musical” aspect of this propaganda played a very big role in the zombifying of Ukrainian youth. Today every local rock festival is attended by thousands, and even tens of thousands of people. And the Ukrainian media broadcasts such festivals to an audience in the millions. A part of the funds raised by this are, as a rule, transferred to help the participants of the punitive “ATO”. But this is not the most important thing. The most important thing is the “brainwashing” that takes place there.

The topic of propagandising and glorifying the “ATO” became central to Ukrainian festivals. It will obviously be supported and developed further.

Here is a striking example: the Dnepropetrovsk regional state administration (the ancestral lands of colleagues of the oligarch Kolomoisky) opened in 2016 “The ‘PEACEcreators’ festival of patriotic theater”. Almost one sole topic is being inflated – the “Russian occupation” of Crimea and Donbass. And it is a collective from Uzhgorod with a performance of “Hamlet” remade “Maidan-style” that became a highlight of the theatrical-musical sabbath program. The setting of the rock musical is modern Ukraine, and “Hamlet” is a young “patriot” who participated in the “ATO”, who comes back from war because of the death of his oligarch (!) father. It’s as if the children of Ukrainian oligarchs go to the frontline, heaven forbid… And this “Hamlet” fights against corruption up in arms. In parallel, in the performance the army of aggressors led by Fortinbras-Putin is shown… Some start to laugh at such a remake of a classic, but the organisers assure that it pleases the audience…

And they know very well what they are doing, implementing the xenophobic political order of the regime of Poroshenko. They spit on the classics and on art – the aim must justify the means.

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In this same Dnepropetrovsk regional state administration, for the second year another festival took place – Songs That Were Born in the ATO. As the organisers report, for this event works are selected that were allegedly created in the trenches – such kinds of alleged “facts of life”. But when you learn about this “soldier’s chanson” you immediately understand that the majority of these texts was born not in the trenches at all, but in the offices and studios of the political propagandists of the regime of Poroshenko.

Uncensored version can be found here

I listened offhand to several songs and immediately found xenophobia in the texts, which would naturally cause ordinary people to be outraged:

There is a bang, a whistle is audible,
These shells are for enemies.
Hit them stronger on the head.
After the given-out punishment,
Smoke and chaos is everywhere,
Oh, today it will be hot for the doctors of Lugansk.

The fact that Ukrainian shells hit not so much the militia’s positions but the civilians of Donbass has long been known. But the doctors of Lugansk and Donetsk save the civilian population from these shells. I.e., the fanatics and opportunists – who, flying into a rage, push out such texts – call to kill peaceful people.

And here is a song allegedly written by a former Lugansk doctor who left to Cherkassy [Ukraine-controlled territory – ed] and addressed his colleague who remained in Lugansk.

My dear Cherkassy, Shevchenko’s country,
I have work and new friends,
But every day we hear spiteful barking
From the planet of apes.

For this “poet” the “planet of apes” is, clearly, the territory of Donbass that isn’t under the control of Kiev. He tries to dehumanise the local people in the opinion of Ukrainians for their destruction. After all, killing an ape is not the same as killing a person. At such festivals the idea is being spread that Ukraine fights against “animals” and not people. This so-called “art” is nothing less than inciting xenophobia on ethnic grounds, and this happens for a wide audience in the cities of Ukraine under the patronage of the State. And no western “human rights activists” are indignant at this. When there is incitement of hatred towards Russians or Orthodox Christians, they are always silent …

The organisers of the festival, of course, become acquainted with the repertoire before including it in the program, but such songs are about 80% there…

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Radical nationalism in Ukraine was created absolutely artificially to push forward the political interests of the West fighting against the Russian world. After the collapse of the USSR, the number of nationalists in Ukraine could literally be counted on fingers, and ultranazis like the adherents of the C14 organisation, who nowadays attack the churches of the Ukrainian Orthodox Church of the Moscow Patriarchate didn’t exist at all. I say this as an indigenous inhabitant of Kiev, who very well remembers all the years of “independence”.

Ukraine was a quiet Post-Soviet State, the local population of which had a rather soft mentality. For a long time radical nationalism was considered as an absolutely marginal phenomenon, causing rather laughter than fear. From all the types of reports about Banderists, only the jokes about them were really spread.

That’s why the western puppeteers had to propagandise this topic for a very long time and diligently, so that it became noticeable. Nazi ideas started being introduced in masses long before Euromaidan. Presidents and governments were being changed, and alleged pro-Russian parliaments were substituted with openly pro-West ones. The television picture gave the illusion of changes in the political life of the country. But only one thing didn’t change at all during  these years of an “independent” Ukraine: the methodical raising of a whole public layer of aggressive-minded nationalist forces.

Several directions were chosen, foreign grants were allocated for them, curators were found, textbooks of methodics were developed for future terrorists. They were trained often and constantly covered by Ukrainian law enforcement.

Uncensored version can be found here

One of such directions is work with the admirers of rock music. This is an especially perspective direction, since it covers many representatives of the youth. And in Ukraine, already in the 90’s nationalist musical festivals – rock, pop, ethno, jazz, and other styles – started being held constantly and in large quantities. The organisers appropriated “creative” names to each of them, behind which there was almost always low-standard Russophobic content.

In order to grow a new festival from scratch there is a need for a lot of effort, financial injections, information maintenance, and administrative support. It is the local authorities, politicians, and organisations receiving western grants that sponsored it – for example Prosvita was at the origins of “Mazepa Fest”. Also, the nationalist diaspora and, most of all, the embassies of western countries also participated in it. On the website of the Kraina Mriy festival, for example, it is directly specified that the festival takes place with the financial support of the governments of Germany and Italy.

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Nationalist festivals take place in a large number every year. Here is a list of the most popular ones: “Mazepa Fest” (Poltava, since 2003), “Kraina Mriy” (in the summer in Kiev, in other cities of Ukraine – in the winter, since 2004), “Bandershtat” (Lutsk, since 2007), ZAXIDFEST (Lvov Region, since 2009), and a rock festival with a nationalist bias took place in 1991 – “Taras Bulba” (Rovno Region). Thus, before Euromaidan more than 52 annual rock festivals with a nationalist theme took place in Ukraine.

The program of such “parties” is sated with Banderist symbols, Russophobic chants; movies, installations, pictures – the idea of the “oppression of Ukrainians” by “Russians” and the topic of the fight against them. Bands don’t perform songs that are loved by the people like “Nich Yaka Misyachna“, but instead perform “We are the great nation”, “March of units”, and others in the same vein.

Should one be surprised by the fact that by 2013 in Ukraine a whole generation of nazi youth was formed, ideologically ready to overthrow the “non-Ukrainian power” that is allegedly connected to the Kremlin? In other words, at musical festivals the fists of the “revolution” were being cultivated.

Maidan itself in Ukraine began and passed in the form of a musical festival, just with the addition of a political struggle, which is smoothly turning into an armed coup. It is precisely Ukrainian nationalists who played the role of the engine of the street and participated in the armed coup.

Of course, rock festivals were not the only smithy of staff of Ukrainian Nazism. Revolutionary driving forces were developed in the “correct patriotic direction” by uniates and sectarians – who organised outdoor militarised camps, and football fan clubs and a mass of political nationalist movements. Nevertheless, without this active “rock festival” layer, this same Euromaidan would’ve ended not in the seizure of power, but would’ve simply gone home on a downer. It is precisely radical nationalists raised on this same extremely low-standard rock festivals from the point of view of art that tamed the opposition in the Rada and destroyed it on the street. And it is precisely they who are now used as a ram against the Canonical church.

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