Att “1944”, en visa om Krimtatarernas tragiska öde framförd av Jamala en ung Ukrainsk tjej med en Tatarisk pappa och en Armenisk mamma skulle platsa i Eurovisionsfestivalen är helt otroligt och verkligen positivt. Att Jamala sen till råga på allt skulle vinna visar att all popmusik faktiskt inte alltid behöver meningslös och handla om hjärta och smärta. Den kan handla om någonting som angår oss alla.
Mer om Jamala från Wikipedian: Jamala
Susanna Jamaladinova was born in Osh, Kirghiz SSR, to a Crimean Tatar father and an Armenian mother. Jamala is, through her maternal great-grandmother, related to Aram Khachaturian; the most renowned Armenian composer of the 20th century. Her maternal ancestors are from Nagorno-Karabakh.
Jamala was born in Osh, Kirghiz SSR (now Kyrgyzstan), because some of her ancestors had been forcefully resettled there under Stalin. During this deportation, one of her great-grandmother’s daughters died on board of a freight truck and was tossed from the wagon “like garbage”. Upon the gaining of independence by Ukraine, her family returned to Crimea.
Något som visar att mjuk makt faktiskt ibland kan spela en roll i världspolitiken.
Tom Burridge skriver på BBC: Ukraine Eurovision win: ‘A big day for Crimea’
Then there is the subject matter of the song. Jamala has always insisted that it’s a personal tale because her great-grandmother was one of those deported by Stalin from Crimea.
But like it or not, anything linked to Crimea in Ukraine today has, at the very least, political overtones because Russia’s annexation of the peninsula remains an emotive topic and point of grievance for many Ukrainians.
That is especially true for Tartars like Jamala, who have left the peninsula and say they cannot return.
But the sombre nature of the song had appeared in some ways to be its Eurovision Achilles heel.
That’s because the lyrics, in both English and Tartar, are hardly the type of catchy pop number that all too often comes out on top.
It makes Jamala’s victory all the more remarkable.
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