Who Deserves to be Refugee?: The Instrumentalization of Art and Culture in the  Solidarity Discourse of UkrainianRefugees in Social Media

Arda, Balca

Who Deserves to be Refugee?: The Instrumentalization of Art and Culture in the Solidarity Discourse of UkrainianRefugees in Social Media

Balca ARDA (Kadir Has Üniversitesi, Görsel İletişim Tasarımı Bölümü, İstanbul, Türkiye)

MSGSÜ Sosyal Bilimler Dergisi

6 1

Yıl: 2022 Cilt: 2 Sayı: 26 Sayfa Aralığı: 538 - 557 Metin Dili: İngilizce İndeks Tarihi: 02-12-2022

Who Deserves to be Refugee?: The Instrumentalization of Art and Culture in the Solidarity Discourse of UkrainianRefugees in Social Media

Öz:

This article explores the online display of artistic ability and cultural practice to express support for the resistance in Ukraine and Ukrainian refugees while blaming the Russian attack on the country starting in February 2022. Social media engagement is essential in constructing discursive traits of belonging through bottom-up articulations of ‘us’ and ‘them’ dichotomies. Here, I question the distinguished characteristics of representation related to art, artistic practices, and abilities under solidarity social media posts in the case of Ukrainians fleeing their homes. Social media users who include art and culture concerning solidarity use a discourse of inclusion to depict refugees as parts of civilization and hence not reducible them to the bare life position. This study is guided by critical multimodal discourse analysis to understand better how social power is enacted, replicated, and resisted by social media content. I contend that these social media posts that convey specific art and culture-related representations serve to distinguish characteristics of war-torn Ukraine, people displacement, and Ukrainian refugees from the generic tendencies of otherization reflected on the ‘Southern’ refugee figure deprived of capability or motivation for logos.

Anahtar Kelime:

Mülteci Olmayı Kim Hak Eder? : Ukraynalı Mültecilerin Sosyal Medyada Dayanışma Söyleminde Sanat ve Kültürün Araçsallaşması

Öz:

Bu makale; kültürel pratiklerin ve sanatsal yetenek gösteriminin, Rusya’nın 2022 Ukrayna sal- dırısına karşı Ukrayna direnişini desteklemek ve Ukraynalı mülteciler ile dayanışmak amacıyla kullanımını inceler. Aidiyet söylemi “biz” ve “onlar” ayrımları üzerinden kullanıcılar tarafından sosyal medyada başka bir araca gerek kalmaksızın inşa edilebilmektedir. Bu makale, Ukraynalı- ların haklı tanımlanan direnişlerini ve anavatanlarından ayrılma zorundalıklarının çevrimiçi da- yanışma paylaşımları altında nasıl da sanat, sanatsal pratikler ve kültürel faaliyetler üzerinden temsil edildiğini analiz eder. Bu sosyal medya kullanıcıları, mültecileri medeniyetin bir parçası olarak göstermekte ve dolayısıyla mültecileri “çıplak yaşam” (bare life) konumuna indirgeme- mek için özel bir aidiyet söylemi kullanmaktadır. Bu araştırma, sosyal tahakküm pratiklerinin sosyal medya içerikleri tarafından nasıl gösterildiğini, türetildiğini ve direnildiğini daha iyi anla- mak için eleştirel çokludüzlem söylem analizini esas alır. Bu çevrimiçi temsiller, Ukraynalı mül- teciliğini yoksul küresel güney dünya (“Global South”) kesiminden gelmesi alışılagelmiş göçmen ötekileştirmesinin dışına çıkarır. Çünkü bu dayanışma söyleminde Ukraynalı mülteci tahayyülü entellektüel aktivite (logos) ile özdeşleşir.

Anahtar Kelime:

Belge Türü: Makale Makale Türü: Araştırma Makalesi Erişim Türü: Erişime Açık

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APA	Arda B (2022). Who Deserves to be Refugee?: The Instrumentalization of Art and Culture in the Solidarity Discourse of UkrainianRefugees in Social Media. , 538 - 557.
Chicago	Arda Balca Who Deserves to be Refugee?: The Instrumentalization of Art and Culture in the Solidarity Discourse of UkrainianRefugees in Social Media. (2022): 538 - 557.
MLA	Arda Balca Who Deserves to be Refugee?: The Instrumentalization of Art and Culture in the Solidarity Discourse of UkrainianRefugees in Social Media. , 2022, ss.538 - 557.
AMA	Arda B Who Deserves to be Refugee?: The Instrumentalization of Art and Culture in the Solidarity Discourse of UkrainianRefugees in Social Media. . 2022; 538 - 557.
Vancouver	Arda B Who Deserves to be Refugee?: The Instrumentalization of Art and Culture in the Solidarity Discourse of UkrainianRefugees in Social Media. . 2022; 538 - 557.
IEEE	Arda B "Who Deserves to be Refugee?: The Instrumentalization of Art and Culture in the Solidarity Discourse of UkrainianRefugees in Social Media." , ss.538 - 557, 2022.
ISNAD	Arda, Balca. "Who Deserves to be Refugee?: The Instrumentalization of Art and Culture in the Solidarity Discourse of UkrainianRefugees in Social Media". (2022), 538-557.

APA	Arda B (2022). Who Deserves to be Refugee?: The Instrumentalization of Art and Culture in the Solidarity Discourse of UkrainianRefugees in Social Media. MSGSÜ Sosyal Bilimler Dergisi, 2(26), 538 - 557.
Chicago	Arda Balca Who Deserves to be Refugee?: The Instrumentalization of Art and Culture in the Solidarity Discourse of UkrainianRefugees in Social Media. MSGSÜ Sosyal Bilimler Dergisi 2, no.26 (2022): 538 - 557.
MLA	Arda Balca Who Deserves to be Refugee?: The Instrumentalization of Art and Culture in the Solidarity Discourse of UkrainianRefugees in Social Media. MSGSÜ Sosyal Bilimler Dergisi, vol.2, no.26, 2022, ss.538 - 557.
AMA	Arda B Who Deserves to be Refugee?: The Instrumentalization of Art and Culture in the Solidarity Discourse of UkrainianRefugees in Social Media. MSGSÜ Sosyal Bilimler Dergisi. 2022; 2(26): 538 - 557.
Vancouver	Arda B Who Deserves to be Refugee?: The Instrumentalization of Art and Culture in the Solidarity Discourse of UkrainianRefugees in Social Media. MSGSÜ Sosyal Bilimler Dergisi. 2022; 2(26): 538 - 557.
IEEE	Arda B "Who Deserves to be Refugee?: The Instrumentalization of Art and Culture in the Solidarity Discourse of UkrainianRefugees in Social Media." MSGSÜ Sosyal Bilimler Dergisi, 2, ss.538 - 557, 2022.
ISNAD	Arda, Balca. "Who Deserves to be Refugee?: The Instrumentalization of Art and Culture in the Solidarity Discourse of UkrainianRefugees in Social Media". MSGSÜ Sosyal Bilimler Dergisi 2/26 (2022), 538-557.