The screening room at the Toda Peace Memorial Hall in Tokyo fell into a profound silence as Kazakh filmmaker Aigerim Seitenova stepped forward in a black T-shirt and green skirt to unveil her striking 31-minute documentary, “Jara – Radioactive Patriarchy: Women of Qazaqstan.” This event, co-organized by the Kazakh Nuclear Frontline Coalition, the Soka Gakkai Peace Committee, and Peace Boat, represents not just a film screening, but a powerful intersection of art, activism, and the urgent need for social justice.
The hall itself is emblematic of Japan’s peace movement, named after Josei Toda, who in 1957 made a pivotal declaration for nuclear disarmament. His words resonate today, serving as a moral compass for global efforts to abolish nuclear weapons.
Seitenova understands this context deeply. “This film was made to make visible the voices of women who have lived in silence. They are not victims—they are storytellers and changemakers,” she declared to an audience of diplomats, journalists, students, and peace activists. With her documentary, Jara—meaning “wound” in Kazakh—she sheds light on the experiences of women from Semey, the site of 456 Soviet nuclear tests between 1949 and 1989.
What sets Jara apart from previous documentaries on nuclear testing is its focus on the unseen scars: the psychological trauma, the stigma, and the intergenerational fear of childbirth. “Most films show Semey as ‘the most nuked place on Earth.’ I wanted to show resilience instead of fear—to reclaim our story in our own voice,” Seitenova asserts, challenging the dominant narrative that has often cast her homeland as a mere victim of historical atrocities.
Seitenova’s personal connection to this issue began with a moment of humiliation during her university days in Almaty. When a classmate mocked her for being from Semey, asking if she had “a tail,” it became painfully clear to her that the consequences of nuclear harm extend far beyond the physical. “That moment stayed with me,” she reflected, recognizing that prejudice and silence are also forms of violence.
In Jara, Seitenova refuses to depict women as passive victims; instead, she showcases them as active participants in their communities, standing against a legacy of secrecy and discrimination. “In militarized societies, nuclear weapons are symbols of superiority,” she explained during her speech. “Peace and cooperation are dismissed as weak—as feminine. That’s the mindset we must challenge.” This feminist lens connects the dots between nuclear power and patriarchy, arguing that both systems thrive on domination and oppression.
Seitenova, born into a family affected by radiation exposure in Semey, channels her community’s suffering into advocacy. Her activism is rooted in “quiet endurance and the absence of open discussion.” In 2018, she joined the Youth for CTBTO group and participated in a conference organized by the Kazakh government, which allowed her to witness firsthand the land marred by nuclear tests. “It was the first time I saw the land that shaped my people’s history,” she noted, acknowledging the emotional weight of that experience.
Her insights are bolstered by influential works like Togzhan Kassenova’s Atomic Steppe and Ray Acheson’s Banning the Bomb, Smashing the Patriarchy, which articulate the intricate connections between nuclear policy and gender inequality.
In October, Seitenova traveled to Japan to engage in the 24th World Congress of the International Physicians for the Prevention of Nuclear War in Nagasaki, where she exchanged stories with survivors of the atomic bombings. “Japan and Kazakhstan share the experience of nuclear suffering,” she said, emphasizing the potential to transform shared pain into dialogue and ultimately, peace.
The Tokyo screening became a vital space for discussing nuclear justice, gender equality, and the importance of youth participation. Through her organization, the Kazakh Nuclear Frontline Coalition, Seitenova strives to connect nuclear-affected communities with policymakers responsible for implementing the Treaty on the Prohibition of Nuclear Weapons (TPNW). “The fight for nuclear justice is not about the past—it’s about the future,” she asserted. “It’s about ensuring that no one else has to live with the consequences of nuclear weapons.”
As the applause resonated through the Toda Peace Memorial Hall, it became clear that this was more than a film premiere; it was a call to action. The hall, named for a man who condemned the bomb, now echoed with the voices of women from Semey, reclaiming their narratives and demanding accountability. The fight for justice does not end with acknowledging the past; it extends into a future where empowerment, equality, and human rights prevail. In the face of entrenched power, the resilience of these women shines as a beacon of hope, reminding us that the path to peace must be paved with collective action and unwavering courage.
This article highlights the importance of SCARS IN KAZAKHSTAN.
