Remembering the Battle of Kosovo (1389)
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what is there to commemorate for the following generations of parties which were involved in
this war, when the available historical knowledge regarding this particular event is very
limited? The commemoration of the Ottoman victory at the Battle of Kosovo has not been a
tradition on the Turkish side, whereas Serbs have been commemorating June 28 every year.
This simple fact urges one to raise the question: What is actually being commemorated on
June 28?
In order to answer this question, this article would like to draw attention
to one
particular instance of commemoration of the Battle of Kosovo: The movie Battle of Kosovo
(Boj na Kosovu). This movie was produced as an ambitious project of the Radio Television
Belgrade in 1989 for the six hundreth anniversary of the battle on
Kosovo Plain and it is based
on the drama written by
the poet Ljubomir Simović. It is screened every year on Vidovdan on
Serbian local television RTS1. Below are the lines from the conversation between a fish seller
and a saleswoman in the market place:
Fish Seller: Why are they so afraid of the Turks? They are not grasshoppers.
Saleswoman: They are the cruelest army. They steal wool, cloth, cattle. They burn
down houses.They burn down clouds.
Fish Seller: Supposedly they don’t eat pork.
Saleswoman: They rape girls and boys. They turn churches into stable and mosques.
Fish Seller: Do they eat fish?
Saleswoman: They impale people alive.
Fish Seller: Are you deaf? Do they eat fish?
Saleswoman: What?
Fish Seller: Do Turks eat fish?
Saleswoman: I think so. Why do you ask?
Fish Seller: Why do I ask? Trouts, eels, carps, sterlets! Fresh Danube fish!
The conversation between the fish seller and a saleswomen in the market place
scene,
which was placed at the beginning of the movie, presents the audience with the public’s “fear
of the Turks”, in other words, “mama li Turchi”. Hence, through this scene, the immediate
feeling affiliated with the Turks from the very beginning of the movie is “fear”. Fear, being
commonly shared by all, may they be saleswomen, soldiers, princes etc., recurs as the
dominating theme
of the movie. But, “fear of what?” The content of the converse in the
market place makes it clear that it is the fear of the “unknown”: The level of ignorance in
regard to the Turks is represented over the discussion of the two ladies’ on whether the Turks
eat fish or not. Such a level of ignorance is understandable within the context of the fourteenth
century. Nevertheless, the Turks are being represented as paragons of cruelty in a movie
produced in 1989. The message delivered through this market sequenc
e is: “We do not know
them, but remain assured they are the cruelest!” Through this scene, immediately from the
beginning of the movie, Turks are being constructed as the object of fear. Within the context
of 1989, this scene operates as a reminder of fear - a very strong feeling crucial for human
survival. But whom to affiliate this fear with in a setting where Turks are no more present?
This brings us to the question of representation within the movie. The parties coded as “the
Turks” in the movie, who are they actually representing? The Ottomans in particular; or the
Muslims in general?
In the movie, the Battle of Kosovo is situated at the center of polarization between
Christianity and Islam through Vuk Brankovic’s (Lazar’s son in law and lord of Kosovo)
declaration: “In Kosovo, there won’t
be just two countries, two nations
and two rulers fighting
but two continents, two religions, two Gods.” This declaration sets the ground for the
immediate replacement of the Turks with Muslims and hence, the transfer of the fear of the
Turks to the fear of the Muslims: Muslims replacing “the Turks” as the “other”, the