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The Chornobyl phenomenon: why the world sees only the aesthetics of disaster in the exclusion zone, and how Ukraine can change this perspective on its own resilience.
Read the FULL analysis by Volodymyr Kuznetsov, communications specialist, expert at the United Ukraine Think Tank
As Volodymyr Kuznetsov notes, the concept of “dark tourism,” first introduced in 1996 by academics John Lennon and Malcolm Foley, describes travel to places associated with tragedy and death—sites such as Auschwitz or Hiroshima. Over time, it has evolved into both a recognized academic field and a global industry worth tens of billions of dollars. The appeal lies in confronting history directly—seeking to understand catastrophe beyond abstraction.
Yet Chornobyl occupies a unique place within this framework. As Kuznetsov explains, it does not fully conform to the conventional model of dark tourism—and this very mismatch defines its global significance.
The turning point came in 2019 with the release of the Chernobyl, created by Craig Mazin and directed by Johan Renck. Although produced outside Ukraine and largely without Ukrainian creative leadership, the series became a global phenomenon. Within months, it topped international ratings and triggered a surge of interest in the Chernobyl Exclusion Zone. Tourist flows increased by 30–40%, and by the end of 2019, over 124,000 visitors had entered the zone—most of them foreigners. As Kuznetsov points out, the series effectively became the most powerful promotional tool the site had ever seen, surpassing years of official efforts.
However, this surge also exposed a structural imbalance. The global narrative of Chornobyl has largely been shaped by external voices—Western media, filmmakers, and writers—while Ukrainian perspectives remain underrepresented. Kuznetsov emphasizes that this is not inevitable. Ukraine already possesses a rich body of cultural and intellectual work on Chornobyl, but it remains insufficiently visible to international audiences who arrive with pre-formed perceptions.
Understanding the visitors themselves is key. Kuznetsov identifies distinct groups, including those who approach Chornobyl as a site of mourning and reflection—readers of works like Voices from Chernobyl by Svetlana Alexievich or historical analyses by Serhii Plokhy. Though relatively small in number, this group shapes the deeper intellectual engagement with the site.
At the policy level, Ukraine has already recognized the importance of reframing Chornobyl. In 2019, Volodymyr Zelenskyy declared the exclusion zone an official tourist destination and proposed infrastructure improvements, expanded access, and support for cultural projects. As Kuznetsov notes, the strategic direction is correct—but implementation requires more than physical development.
The central challenge is narrative control. Ukraine must shift from being a passive host of global attention to an active author of its own story. This means placing Ukrainian voices—guides, scientists, artists, and writers—at the center of interpretation, rather than at the margins. Only then can Chornobyl become not just a site of external curiosity, but a space of authentic national storytelling.
A second dimension is integration. Currently, for many visitors, Chornobyl exists as an isolated experience—a closed loop between arrival in Kyiv and departure. Kuznetsov argues that connecting the exclusion zone to the broader cultural and historical context of Ukraine would transform the visit from a standalone attraction into a deeper engagement with the country itself.
Ultimately, Chornobyl is already one of Ukraine’s most globally recognized locations. As Kuznetsov concludes, this visibility should be treated as an asset rather than a burden. The challenge is to reshape the global gaze—moving it beyond images of abandonment toward questions of history, identity, and resilience.
The zone is not frozen in 1986, just as Ukraine is not defined solely by catastrophe. The proximity between the abandoned city and modern Kyiv reflects a deeper narrative—one of continuity, survival, and transformation. It is this story, Kuznetsov suggests, that still remains to be fully told.
Read the FULL article on The Gaze: Dark Tourism in Ukraine: Why Everyone Wants to Visit Chornobyl
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