Capsule Sheds Images of
“Just War”
By Lubomyr Luciuk
Their cache was exhumed June 24, 1999 near the Hutsul
As Hanna removed remnants of a drying shed,
levelling the surrounding turf, her hoe snagged two glass jars. The contents of
one were decayed. The second held 216 celluloid negatives. Her son, Petro,
seeing the Ukrainian tryzub, a trident, on the cap badges of soldiers
visible on this developed film, identified them as members of the Ukrainian
Insurgent Army. He had grown up hearing stories about the Ukrains’ka
Povstans’ka Armija (UPA). Until 1991, those tales may have been
whispered, but they were told and retold, nonetheless.
What is even more remarkable than their
discovery, after fifty years in the ground, was that these photographs were ever
taken. UPA regulations generally prohibited photography, which
needlessly exposed soldiers and supporters to grave risk should their
likenesses be captured. While we will never know why these pictures were made,
it seems certain that by the time they were buried, those secreting them knew
full well that their struggle was drawing to an end. So, before they were
finally undone, the last of Company No. 67’s men consigned their negatives to
the shelter of their native soil, willfully preserving relics they hoped would
someday be found, to provide evidence of who they were and what they fought
for. “Fascist collaborators,” “bandits,” and “war criminals” – terms used to
brand these partisans – do not usually seek to secure their record for
posterity. UPA soldiers did because they understood their struggle for
Above all, they saw themselves engaged in a
national liberation movement. They took up arms only after the state in which
they lived,
The arrival of new overlords brought little
respite, for the Nazis proved no more sympathetic to Ukrainian aspirations than
the Soviets. For Hitler and his satraps, Ukrainians were sub-humans (untermenschen),
their land a future living space, or lebensraum, to be emptied and then
resettled, by the Aryan master race. Toward that end, they herded Ukrainian
patriots into concentration camps, despoiled the country’s resources, and
press-ganged millions into slave labour in the Third Reich.
Confronted by two rogue states, Nazi Germany and
the
Whether the guerillas had any serious prospect of
success can be debated. Certainly, many believed Soviet Imperialism would be
contained, perhaps even rolled back by the West. For what proved to be a very
mistaken intelligence, they would suffer betrayal, disillusionment, and what
must have seemed like the greatest indignity, being all but forgotten, spoken
of in their homeland only out of earshot of the regime’s minions.
In 1991,
This situation will not last
because, for over a decade, the people have taken it upon themselves to honour their
partisans. Those best placed to know what the insurgency represented – family
members, neighbours and descendents – have erected dozens of plaques and
memorials to hallow the victims of Nazi and Soviet oppression and to laud all
who resisted foreign domination. This reshaping of the cultural landscape has
sapped Soviet-era fabrications of much of their meaning, giving strong evidence
of how the people understand Ukraine’s 20th century history, and of
how, someday, it will be written.
Until that day comes, stories will be told about UPA
heroes. One was Dmytro Bilinchuk, nom de guerre, Khmara. When the
Soviets deported his family to
On the exact anniversary of his execution the
cached photographs of Company No. 67 were pulled from the very ground into
which the insurgents entombed themselves every winter and from which they
emerged each spring to take up their quarrel with the foe. They kept doing that
until the last of them fell, faithful to their oath: “Attain a Ukrainian state
or die in battle for it.”
Having spent the better part of a decade
eradicating OUN and UPA, Khmara’s executioners probably
believed they had erased the Ukrainian liberation movement from history. By
consigning their images to
A professor at the