Abstract

The year 1989 marked the six hundredth anniversary of the defeat of the Christian Prince of Serbia, Lazard I, at the hands of the Ottoman Empire in the “Valley of the Blackbirds,” Kosovo. On June 28, 1989, the very day of the battle’s anniversary, thousands of Serbs gathered on the presumed historic battle field bearing nationalistic symbols and honoring the Serbian martyrs buried in Orthodox churches across the territory. They were there to hear a speech delivered by Slobodan Milosevic in which the then-president of the Socialist Republic of Serbia revived Lazard’s mythic battle and martyrdom. It was a symbolic act aimed at establishing a version of history that saw Kosovo as part of the Serbian nation. It marked the commencement of a violent process of subjugation that culminated in genocide. Fully integrated into the complex web of tragic violence that was to ensue was the targeting and destruction of the region’s architectural and cultural heritage. As with the peoples of the region, this heritage crossed geopolitical “boundaries.” Through the fluctuations of history, Kosovo’s heritage had already become subject to divergent temporal, geographical, physical and even symbolical forces. During the war it was to become a focal point of clashes between these forces and, as Anthony D. Smith argues with regard to cultural heritage more generally, it would be seen as “a legacy belonging to the past of ‘the other,’” which, in times of conflict, opponents try “to damage or even deny.” Today, the scars of this conflict, its damage and its denial are still evident. However, there are initiatives that are now seeking to use heritage – architectural and otherwise – as a way of fostering respect and dialogue between the cultures still reeling from the effects of the conflict. Having been seen as an originating factor in the conflict and made into a target for attack during the war, heritage is now seen as a facilitator for peacekeeping. As is to be expected, this is a complex, polemic, fraught and contested process.

Highlights

  • The year 1989 marked the six hundredth anniversary of the defeat of the Christian Prince of Serbia, Lazard I, at the hands of the Ottoman Empire in the “Valley of the Blackbirds,” Kosovo

  • On June 28, 1989, the very day of the battle's anniversary, thousands of Serbs gathered on the presumed historic battle field bearing nationalistic symbols and honoring the Serbian martyrs buried in Orthodox churches across the territory

  • They were there to hear a speech delivered by Slobodan Milosevic in which the thenpresident of the Socialist Republic of Serbia revived Lazard’s mythic battle and martyrdom

Read more

Summary

Introduction

The year 1989 marked the six hundredth anniversary of the defeat of the Christian Prince of Serbia, Lazard I, at the hands of the Ottoman Empire in the “Valley of the Blackbirds,” Kosovo. On June 28, 1989, the very day of the battle's anniversary, thousands of Serbs gathered on the presumed historic battle field bearing nationalistic symbols and honoring the Serbian martyrs buried in Orthodox churches across the territory They were there to hear a speech delivered by Slobodan Milosevic in which the thenpresident of the Socialist Republic of Serbia revived Lazard’s mythic battle and martyrdom. It has shared and contributed to variegated cultures at the intersection of the Eastern and Western Roman empires, the Austro-Hungarian and Ottoman empires, and NATO and the Eastern Bloc It has been the home of various peoples with diverse histories and backgrounds. Christianity: Lazard is presented as deliberately choosing defeat in the battlefield in order to gain the glory of God. The myth conceptualizes, as a single moment, the historical events that gradually saw the

Objectives
Conclusion

Talk to us

Join us for a 30 min session where you can share your feedback and ask us any queries you have

Schedule a call

Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.