Belarusian music in exile/worldwide
"In Belarusian culture in exile, our bullets are not symbols -
but meanings!"
but meanings!"
Probably the most famous DJ from Belarus - on the energy of exile, building senses through the universal language of music, and hungry youth culture worth of sounding worldwide
Alexander Bogdanov, aka Papa Bo/Papa Bo Selektah is a Belarusian art activist, culture manager, multi-genre DJ and an organizer of numerous cultural and music events. Founder of the first Belarusian independent Internet-radio "RadioBo". Art director and co-producer of "SunWoofer" - a label that released more than 30 albums of Belarusian independent musicians
As a DJ, known for his conceptual approach and tours in Poland, Lithuania, Latvia, Georgia, Germany, Holland, Belgium, Ukraine, the USA, India, and Sri Lanka.
In 2005, launched the promotional group and concert agency “BoPromo” aimed at supporting various culture events (from small underground concerts to big festivals), exhibitions, educational events, raves, etc. Organized tours in Belarus of such world-famous independent artists as "The Tiger Lillies", "Lee Scratch Perry", "Damo Sudzuki", Alina Orlova, "The/Das", "Dakha Braha" and many others.
In 2005 - 2015, collaborated as a concert director, producer, and tour manager with such famous Belarusian musical projects as Cabaret-Band “Silver Wedding”, "Cassiopeia", "Shuma", "RockerJocker", "Nagual", and others. In 2008, together with "Be2gether" Festival in Lithuania, launched 2-weeks' residencies and workshops for Belarusian artists. The same year, held the qualifying rounds of the finals of the Swedish-Belarusian music competition “Sweden: Bandscan” (supported by the Swedish Embassy).
In 2016 - 2021, with a team of like-minded individuals ran culture center "Korpus" (Minsk), where more than 800 cultural, educational and entertainment events were held, as well as unique platforms for the exchange of ideas and inspiration. In total, "Korpus" supported more than 150 initiatives becoming a symbol of openness and creativity and a real “place of power” for representatives of culture, activism and civil society in Belarus.
In autumn 2021, got detained by Belarusian security forces together Maxim Kruk, "Korpus" technical director. Having spent four months in custody, was sentenced him to three years in an open colony. In December the same year, managed to flee Belarus and reunite with “Korpus” team in Georgia.
Since 2022, a part of "Belarus Outside Sound System". Its festivals have been held in Tbilisi, Vilnius, Berlin and Warsaw and raised >20K € for solidarity funds.
As a DJ, known for his conceptual approach and tours in Poland, Lithuania, Latvia, Georgia, Germany, Holland, Belgium, Ukraine, the USA, India, and Sri Lanka.
In 2005, launched the promotional group and concert agency “BoPromo” aimed at supporting various culture events (from small underground concerts to big festivals), exhibitions, educational events, raves, etc. Organized tours in Belarus of such world-famous independent artists as "The Tiger Lillies", "Lee Scratch Perry", "Damo Sudzuki", Alina Orlova, "The/Das", "Dakha Braha" and many others.
In 2005 - 2015, collaborated as a concert director, producer, and tour manager with such famous Belarusian musical projects as Cabaret-Band “Silver Wedding”, "Cassiopeia", "Shuma", "RockerJocker", "Nagual", and others. In 2008, together with "Be2gether" Festival in Lithuania, launched 2-weeks' residencies and workshops for Belarusian artists. The same year, held the qualifying rounds of the finals of the Swedish-Belarusian music competition “Sweden: Bandscan” (supported by the Swedish Embassy).
In 2016 - 2021, with a team of like-minded individuals ran culture center "Korpus" (Minsk), where more than 800 cultural, educational and entertainment events were held, as well as unique platforms for the exchange of ideas and inspiration. In total, "Korpus" supported more than 150 initiatives becoming a symbol of openness and creativity and a real “place of power” for representatives of culture, activism and civil society in Belarus.
In autumn 2021, got detained by Belarusian security forces together Maxim Kruk, "Korpus" technical director. Having spent four months in custody, was sentenced him to three years in an open colony. In December the same year, managed to flee Belarus and reunite with “Korpus” team in Georgia.
Since 2022, a part of "Belarus Outside Sound System". Its festivals have been held in Tbilisi, Vilnius, Berlin and Warsaw and raised >20K € for solidarity funds.
Alexander Bogdanov/Papa Bo
art activist, producer, cultural manager, organizer of cultural events, DJ
Platformb:
In 2021, you managed to flee Belarus and found yourself in Georgia.
Did you have any choice of the country for your exile?
Did you have any choice of the country for your exile?
Papa Bo:
In September 2021, my comrade-in-arms and "Korpus" art space employee Maxim Kruk and I were detained for participating in the 2020 protests - namely, for our DJ sets played at the rallies (official charges indicted were Art. 342 of the Criminal Code — Organization and preparation of actions that grossly violate public order, or active participation in them). Before trial, we had spent four months in prison and then got sentenced to three years in an open colony. However, at the end of 2021, with the help of "BySol", we managed to flee.
Tbilisi was chosen, firstly, as the most accessible direction for escape at that moment, and secondly because the rest of our "Korpus" team - Masha Znachenok and Liza Nevmerzhitskaya - were already there. They left Belarus right after our detention.
Tbilisi was chosen, firstly, as the most accessible direction for escape at that moment, and secondly because the rest of our "Korpus" team - Masha Znachenok and Liza Nevmerzhitskaya - were already there. They left Belarus right after our detention.
Platformb:
How difficult was it for you to get back to work in music events organization and culture management after prison?
Papa Bo:
After the 2020 protests, I remained active in the Belarusian capital for about a year. A video of me DJing in the streets of Minsk, surrounded by dancing protestors, went viral, and I continued to perform various DJ sets almost weekly. I participated in all the major informal concerts held in "protest backyards" across Minsk, from large raves to smaller venues. My final performance was at the big rave "4 Hours Next to Bo" in "Korpus," just two days before my eventual arrest. It later emerged that GUBOPIK (the Main Directorate for Combating Organized Crime and Corruption of the Ministry of Internal Affairs) had been spying on me, collecting evidence during this rave.
Upon leaving Belarus, I immediately resumed my creative work, engaging in music, activism, and other movements, as I had never truly stopped even during my time in prison. While incarcerated, I constantly devised new creative plans and plotted their execution upon my release or remotely from prison. I stayed in touch with musicians, offering advice on promoting their music projects, and discussed plans with colleagues through letters or via my lawyer. As soon as I departed Belarus, I yearned for action.
Upon leaving Belarus, I immediately resumed my creative work, engaging in music, activism, and other movements, as I had never truly stopped even during my time in prison. While incarcerated, I constantly devised new creative plans and plotted their execution upon my release or remotely from prison. I stayed in touch with musicians, offering advice on promoting their music projects, and discussed plans with colleagues through letters or via my lawyer. As soon as I departed Belarus, I yearned for action.
It was my eagerness to take action that helped me in exile. After four months of what felt like 'resting' on a prison bunk, I was ready to dive back into action.
Platformb:
What helped you in Georgia? How was your first year in exile? And why, after Georgia, did you end up in Poland?
Papa Bo:
It was my eagerness to take action that helped me in exile. After four months of what felt like "resting" on a prison bunk, I was ready to dive back into action. Just a month after escaping Belarus, news of the war broke out, with Russians heading towards Georgia. This sparked instances of discrimination against Belarusians, akin to what Russians were facing. In response, our team swiftly decided to organize a large festival featuring Belarusian musicians and DJs in the heart of Tbilisi. Our aim was to rally the active young Belarusian diaspora and raise funds for a charity supporting Ukrainian children affected by the conflict. This event marked the inception of the “Belarus Outside Sound System” series in Georgia, where we managed to raise 3,000 Euros, donated to a Polish charity foundation.
Regarding Georgia as a country for cultural managers and artists, integrating into its local cultural scene proved challenging. While events were organized with a certain charm, they often lacked the scale and impact necessary for me to influence the agenda through my activities. While one could engage in local events and support grassroots movements, it lacked a broader global impact. Consequently, the decision was made to move on to Europe, where our team saw greater opportunities to promote Belarusian independent culture. And we were right; in Poland, I felt as though I had emerged from a cave.
Regarding Georgia as a country for cultural managers and artists, integrating into its local cultural scene proved challenging. While events were organized with a certain charm, they often lacked the scale and impact necessary for me to influence the agenda through my activities. While one could engage in local events and support grassroots movements, it lacked a broader global impact. Consequently, the decision was made to move on to Europe, where our team saw greater opportunities to promote Belarusian independent culture. And we were right; in Poland, I felt as though I had emerged from a cave.
Platformb:
Could you tell us about your current projects - "Belarus Outside Sound System" and Belarus Music Export (BMEx)? What are they for you as a Belarusian and as a musician/DJ at this stage of your life and career? An opportunity to introduce yourself to a new audience? A chance to come to your senses?
Papa Bo:
I'm currently running two projects, "Belarus Music Export (BMEx)" and "Belarus Outside Sound System", which I view as the next logical step in my creative and managerial journey within the expansive Belarusian cultural landscape. These projects represent the culmination of my passions and expertise, as I've conceptualized them, brought them to fruition, devised strategic development plans, secured funding, and assembled teams. Both the initiatives encapsulate everything I love and know how to do – organizing various musical and near-musical events and instigating processes to bolster the development of the Belarusian independent music scene.
Over the past two years, we've successfully hosted five major events in the form of rave festivals featuring Belarusian artists and DJs in countries such as Georgia, Germany, Lithuania, and Poland. These events have collectively raised over 20,000 Euros to support Belarusian political prisoners and their families. While we're just getting started, our progress is evident!
The concept of such an initiative isn't entirely novel. We've contemplated similar endeavors for some time, but were always hindered by either limited resources or a lack of clear vision. Thus, I'm thrilled to finally bring these ideas to life and be the first to offer an album showcasing Belarusian musicians expressing their unique cultural identities. We aim to really go "outside" into the world and showcase our culture to the world, addressing pertinent issues such as charity initiatives, community collaborations, and the quest for a universal language – music. Our ambitious objective is to become a driving force in the advancement of Belarusian contemporary independent music, and our team is currently immersed in institutional planning to achieve this goal.
As I embark on tours across Europe, I often encounter DJs striving to assert their cultural heritage, seeking recognition as Belarusians. It's inspiring to offer them a curated selection of tracks where this challenge has already been addressed. While Ukrainian music enjoys numerous impressive remixes, I believe it's imperative to feature more of our own music – don't you agree?
Over the past two years, we've successfully hosted five major events in the form of rave festivals featuring Belarusian artists and DJs in countries such as Georgia, Germany, Lithuania, and Poland. These events have collectively raised over 20,000 Euros to support Belarusian political prisoners and their families. While we're just getting started, our progress is evident!
The concept of such an initiative isn't entirely novel. We've contemplated similar endeavors for some time, but were always hindered by either limited resources or a lack of clear vision. Thus, I'm thrilled to finally bring these ideas to life and be the first to offer an album showcasing Belarusian musicians expressing their unique cultural identities. We aim to really go "outside" into the world and showcase our culture to the world, addressing pertinent issues such as charity initiatives, community collaborations, and the quest for a universal language – music. Our ambitious objective is to become a driving force in the advancement of Belarusian contemporary independent music, and our team is currently immersed in institutional planning to achieve this goal.
As I embark on tours across Europe, I often encounter DJs striving to assert their cultural heritage, seeking recognition as Belarusians. It's inspiring to offer them a curated selection of tracks where this challenge has already been addressed. While Ukrainian music enjoys numerous impressive remixes, I believe it's imperative to feature more of our own music – don't you agree?
Platformb:
Minsk subway sounds and the voice of Yelnya swamps, lullabies and voices of Belarusian classic poets revived by AI - all those phenomena inspired the musicians whose tracks you put together into "Belarus Outside Sound System". The first thing that one notices in the album is its diversity. Was it also one of your priorities as a producer?
Papa Bo:
“Belarus Outside Sound System” is a Belarusian touring charitable musical movement established to support young Belarusian musicians in exile, help our political prisoners, highlight the socio-political crisis, as well as consolidate diasporas and integrate into the local cultural community.
In November 2023, in collaboration with "UkrainaTV" stream platform, we held a charity stream marathon with Belarusian DJs based in Krakow and raised money for gifts for political prisoners' children. And in February 2024, "Belarus Outside Sound System" team released a collection of Belarusian electronic music that refleced musicians' personal feelings of home. The album was released on all the global streaming platforms with all the funds raised from listening and sales transferred to "BySol" Foundation.
I'm pleased to note that the musicians who responded to our open call spanned various genres, ensuring that our compilation offers tracks that seamlessly complement any DJ's performance style. I intentionally avoided limiting the selection to just ethnic singers or those making overt political statements. Diversity was key: from pop tunes ideal for cocktail parties to techno beats, from literal interpretations of authentic Minsk sounds to innovative solutions like AI-generated voices of Belarusian "classics" or the sounds of swamps.
Furthermore, I'm thrilled to announce that we've successfully secured funds to sustain this project and are preparing to release our album on vinyl. Most of the records will be sent as gifts to leading DJs worldwide.
In November 2023, in collaboration with "UkrainaTV" stream platform, we held a charity stream marathon with Belarusian DJs based in Krakow and raised money for gifts for political prisoners' children. And in February 2024, "Belarus Outside Sound System" team released a collection of Belarusian electronic music that refleced musicians' personal feelings of home. The album was released on all the global streaming platforms with all the funds raised from listening and sales transferred to "BySol" Foundation.
I'm pleased to note that the musicians who responded to our open call spanned various genres, ensuring that our compilation offers tracks that seamlessly complement any DJ's performance style. I intentionally avoided limiting the selection to just ethnic singers or those making overt political statements. Diversity was key: from pop tunes ideal for cocktail parties to techno beats, from literal interpretations of authentic Minsk sounds to innovative solutions like AI-generated voices of Belarusian "classics" or the sounds of swamps.
Furthermore, I'm thrilled to announce that we've successfully secured funds to sustain this project and are preparing to release our album on vinyl. Most of the records will be sent as gifts to leading DJs worldwide.
"In Belarusian music in its current state, it is important to realize that our bullets are not symbols, but meanings. And it doesn’t really matter whether you wear traditional "vyshavanka" or not, whether you sing in Belarusian, Russian or English. It is your message and your ideas that matter!"
Platformb:
How do you see the future of the Belarusian music and culture, speaking about those of us in exile? Do you think we will able to preserve our identity in emigration, or should we expent some kind of assimilation?
Papa Bo:
For me, the modern Belarusian music scene is a topic of profound interest and concern. When I look at it broadly, I can't help but notice a certain stagnation – a large number of musicians seem confined to an emigrant cultural bubble. What's missing is diversity! Many Belarusian artists fail to produce music with wider appeal beyond the circle of Belarusian emigrants. Personally, I take a more outward-looking approach and envision our music being more attractive for collaborations and gaining recognition on the contemporary global stage. I don't want us to be pigeonholed into just ethno-music; that would lead us nowhere. While this aspect is important and provides temporary comfort, culturally, it's not constructive for growth. This is where I see my mission and goal – to provide opportunities for self-development to those musicians who want to compete on the world stage.
In the current state of Belarusian music and culture, it's crucial to realize that our bullets are not symbols, but meanings. Whether you wear traditional "vyshavanka" embroidery or not, or sing in Belarusian, Russian, or English, what truly matters is the message and ideas you bring forward. How musicians choose to express themselves is their personal choice. Music owes nothing to anyone.
I firmly believe that we have plenty of determined artists who understand the importance of their actions. We represent the voice of the new Belarus, and it's imperative that we speak about what truly matters. And what matters to me personally? That we are fresh, open-minded, and hungry for change. Our youth culture is captivating, thrilling, and deserves to be heard globally.
In the current state of Belarusian music and culture, it's crucial to realize that our bullets are not symbols, but meanings. Whether you wear traditional "vyshavanka" embroidery or not, or sing in Belarusian, Russian, or English, what truly matters is the message and ideas you bring forward. How musicians choose to express themselves is their personal choice. Music owes nothing to anyone.
I firmly believe that we have plenty of determined artists who understand the importance of their actions. We represent the voice of the new Belarus, and it's imperative that we speak about what truly matters. And what matters to me personally? That we are fresh, open-minded, and hungry for change. Our youth culture is captivating, thrilling, and deserves to be heard globally.
Interview, translation - Olga Bubich
Photo in bio - Sergei Mikhalenko
Photo in bio - Sergei Mikhalenko