A Body of Clay: The Vanishing Tradition of House-Building in the Donetsk Region
By Anton Dorokh
Introduction
26 May 2023
Russians dropped a FAB-250 bomb on Niu-York, Donetsk region. One person was injured.[1]
I am sending this news to my parents. My family originates from this village.
– I have no words, my mother replies.
– How are the relatives? I ask.
– I will write to Aunty Olya.
Among the destroyed buildings was the Phenolic Plant Club, built in 1950 by architect Borys Bolshutkin as a key element of the rural urbanisation project socmisto.[2] It stood out from typical Soviet theatre buildings: covered in distinctive orange and rich decorative details, it had extra dancing and dining halls which made it look like a palace. Right here, an assembly was held in 2020 on whether the village should be renamed from Novgorodskoe back to its original name, Niu-York.[3] The club remained active until the Russian full-scale invasion and held enormous historical, social, and cultural significance for the local community.


On the day the club was destroyed, I subscribed to the Donetsk Regional Government’s Telegram channel. Every morning they delivered a solid report on the situation: nearly every day, buildings were destroyed and people were injured or killed. According to my observations, in just 91 days of autumn 2023, Russia damaged 1,470 buildings, killed 98 civilians, and injured another 299.[4] I followed these reports, knowing that one day, it could be our relatives still living in the village, or our dacha (family house) being demolished. A few days later, in another report, I saw a house very similar to ours: same orange walls, blue gates and windows. But it was not our garden. Another house that looked like ours appeared a few days later. And another day – no. And again, not ours. In total, I saw photos of terracotta houses 24 times: every five days, a house that looked like ours had been demolished. That could not have been a coincidence. Why were people building such similar houses with red brick walls and green or blue windows and gates? Is there a specific architectural style?



“Makes sense, cause cyan is a complementary colour to orange, according to colour theory,” my designer and illustrator friend Nika told me when I showed her photos of our house back in 2021. A similar house appeared in the 2022 feature film Klondike,[5] which demonstrates that the art department deliberately used this pattern when reconstructing a village of eastern Ukraine. Multiple destroyed clay-brick houses appear in a YouTube video by the channel Khashi,[6] which explores Niu-York after two years of the full-scale Russian invasion. The host suggests that the houses were built by German settlers who moved to the area at the end of the 18th century.


A traditional Ukrainian village house (khata) had one floor, white clay-and-wood walls, a hay-covered roof, and small windows. Ethnographers described this archetype from the eighteenth century, and it spread across all Ukrainian-speaking regions.[7] An example from eastern Ukraine is a nineteenth-century khata from the Luhansk region preserved in the National Museum of Folk Architecture.[8]
However, both types of houses do not fit the Soviet narrative. Donbas is usually portrayed through coal mines and steel factories, not clay village houses. The geological term “Donbas”, short for “Donets Coal Basin”, was introduced in 1829 by the Ukrainian engineer Yevgraf Kovalevsky.[9] He describes a vast coal-bearing formation stretching from the borders of the modern Poltava and Dnipro regions far eastward into Russia’s Rostov region. Through the 19th century, the industrial infrastructure of Donbas was built mainly by entrepreneurs from Western Europe. After the First World War and the Bolshevik’s victory, the Soviet Union used the emerging medium of cinema to transform “Donbas” into the “industrial heart” of the Soviet Union.[10] As new films were produced and projected on the screens, a new identity was constructed over the pre-industrial ethnocultural areas of Slobozhanshchyna (Sloboda Ukraine) and Pryazovia (Cis-Azov region).

So, if the orange clay houses do not fit into the established image of Donbas, can they help us deconstruct it? Is there something in this architectural tradition that can serve as a counterpoint to the Soviet narrative? How were they built, what kind of story is behind them, and what does their destruction tell us about the nature of Russia’s war against Ukraine?
Colonial Conditions
As soon as the first coal mines began operating in the Donetsk and Luhansk regions, entrepreneurs from Western Europe started bringing their knowledge of engineering. John Hughes,[11], Charles Gascoigne,[12] and Jakob Unger[13] established one of the first steel factories and built cities around them. The Russian empire needed steel and machinery to expand its borders, while foreign investors found a less competitive market for their capital. Newly discovered deposits of coal, clay, and iron fuelled rapid growth, and Ukrainians who were living in that region provided much of the labour. Yet their numbers were insufficient, drawing in workers from across the empire and reshaping the region’s ethnic composition. This created colonial conditions: natural resources were extracted through cooperation between foreign empires, while the local population was reduced to a labour force and mixed with newcomers.[14]
Across imperial, Soviet, and post-Soviet eras, the Donbas industry was driven by workforce exploitation. Numerous accounts describe workers labouring in unheated wooden structures, with equipment exposed to snow and freezing air, sleeping in earthen dugouts, having their passports confiscated and unable to leave the cities.[15] Under the Soviet Union, promises of improved conditions gave way to Stalin’s Great Purge, the Holodomor, the Second World War, and post-war starvation. The Stakhanovite movement[16] that promoted the myth of miner Oleksii Stakhanov’s record output – later revealed to be a team effort and likely fabricated. Still, it fuelled a productivity race and entrenched the dichotomy of “labour heroes” and “labour traitors” in Soviet culture.[17] After the Soviet collapse, factories struggled to adapt to the open market, with wage delays becoming routine and workers often paid in foodstuffs, household goods, or even bricks that could be resold for cash.[18]
Japanese-American historian Hiroaki Kuromiya offers another vision of Donbas, where classical Western categories such as class and nation do not fully apply. Instead, the spirit of freedom and independence are more definitional for the Donbas politics:
Even after the free steppe was conquered, the frontiers closed, the Zaporozhian Cossackdom abolished, and the Don Cossacks incorporated into the Russian Empire, the metropolis’s. hold on the former frontier region remained weak, and the spirit of freedom endured…
Nevertheless, because of its function as a refuge for freedom seekers, the Donbas remained politically suspect and was indeed hit hard by Stalin’s Great Terror. World War II led to more waves of carnage, perpetrated by both sides.[19]
We are left with two visions of Donbas: one as the “industrial heart”, full of heroic workers (and jobless traitors), and another, more critical, emphasising the drive for freedom and the terror used to suppress it. What is missing from both narratives, however, is a view of the everyday lives of the people native to these lands, who tried to make a living within these structures. While both narratives revolve around coal and steel, mines and factories, I will turn to clay and its role in the construction of civilian housing to provide a more humanising perspective.
Traces on Clay
Clay is one of the most common minerals on earth, and people have used it to build houses since the dawn of history. Civil engineer Sofia Hryhorieva, who comes from Kramatorsk, Donetsk region, notes that clay is an perfect building material. She explained that it repels water, is quite plastic, and can be shaped with ease. According to her, it is also very convenient to work with: the bricks are compact, allow for almost any wall thickness, and the basics of bricklaying are relatively easy to learn. She added that although there are certain rules to follow, working with clay is still far simpler than creating a monolithic structure or carving construction elements out of timber.[20]
Ukraine has an abundance of clays suited for diverse architectural purposes, from civil engineering to high-refractory furnaces for steel production.[21] In 2022, the Donetsk region accounted for more than half of Ukraine’s reserves of medium- and high-refractory clays, with other major deposits in the neighbouring Zaporizhia, Kharkiv, and Dnipro regions.[22] Proximity to these deposits was key to the rise of brick production. In 1884, it spurred the development of the Katerynoslavskii brick style. Architect Serhii Revskyi noted that between the 1880s and 1900s, Dnipro buildings were distinguished by the exclusive use of red brick, especially in multi-story revenue houses.[23]
One of the first recorded manufacture of bricks in the Donetsk region dates to 1831 in the city of Bakhmut. In 1847, the Russian Empire set a standard for brick manufacturing. Additionally implementing a standard brick dimensions (27×13×6 cm), manufacturers were now required to stamp their products. These stamps have allowed historians to identify factory owners and find information in archives. In his book The History of the City Made from Bricks, local historian Hryhorii Sokolovskyy describes the manufacturing process of bricks at that time:
The production of building bricks was affordable and involved mixing clay with water (and sometimes sand) in experimentally established proportions. The mixture was then placed in a brick mould and left to dry for approximately a day before being fired in a ground furnace. The resulting bricks were then cooled, and the process was complete. The factories operated seasonally, for about 6–7 months a year, from April to October, and were dependent on weather conditions.[24]
In Bakhmut alone, more than 27 different brick stamps from 1856 to 1921 have been found, indicating at least as many separate factories in the region.[25]
In Niu-York, the first brick factory was built in 1889 by the German entrepreneur Jakob Unger. His partner, Peter Dick, built the first steam mill, which initiated the industrialisation of the village. Later, an additional Unger brick factory was built at of the Kryvyi Torez River, right next to the clay quarry. By the time of the First World War, two brick factories were operating in Niu-York.[26] After the Soviets took power, the factories became state property. Little is known about their operations between 1921 and 1945. Many businesses in the village had been owned by Germans, but the Great Purge, the Holodomor, and the Second World War left almost none of them. The only Germans remaining in the region were prisoners of war, whose labour was used to rebuild the factories, later replaced by local Soviet prisoners.[27]
This is how Sokolovkyi describes the times after the Second World War:
Because of the shortage of building materials, people built their houses with whatever they could find. It was a big problem to buy bricks directly from the factory: you had to stand in a queue, which could take an unknown amount of time, and give bribes or payoffs to speed up the process or make arrangements with the ‘necessary people.’ Bricks were taken from the war ruined houses, or simply bought from private individuals, and nobody cared where they came from.[28]
In Niu-York, in 1951, while the region was still recovering from the war, the village name was changed from Niu-York to Novgorodskoe by Stalin’s direct order. He could not allow a place called New-York to exist in the industrial heart of the Soviet Union while initiating a Cold War against the capitalist West. Any historical links to Western Europe were deliberately erased. Unger’s machine factory was renamed to Petrovskyi. The school built by German Mennonites in 1917 was renovated and reassigned the date 1952, making it impossible for future generations to know its earlier history.[29] However, my most daring and important witness of the post-war era is still reachable by phone call.
How to Build a House in Niu-York
I am calling my grandma to ask her about our village house:
[After the war] there was simply no place to live. But there was land. [Brick] Factories were already there when I was still in the foster house after the war. Remember you went swimming in the curry after the first street turn? This is where they took clay from. People were building from local materials. 4 kopijky [cents] for a brick. Our house was built in 1958. It was built by Nikolai, the son of Maxim Pavlovich, who was the foster father of your granddad. When Nikolai moved to Krasnodar, he left the house to his father. Do you remember where Tykhonovich [the neighbour] used to live? It was part of the one household. Actually, it used to be just one big lot till the first corner of the street. Maxim Pavlovich used to be a blacksmith. But when the Soviets started to govern, they cut his lot. And in the end, it was only ours and Tykhonovich’s lot. That’s what was left of his parcel.xxx

Grandmother says that when young people wanted to live apart from their parents, they would build another house on the same lot. Parents usually stayed in the first, smaller house, while the newlyweds moved into the bigger one to raise their children:
And back then, people were building very simple houses. Just walls and roof. Everything was self-built by the simple working-class people. But the partition walls were usually built from samana, it’s when you mix clay and hay and brick it into a special mould afterwards. It’s called a warm partition wall. There was also a moulded partition wall. It’s when you put a wooden carcass, and fill the insides with zhuzhalka. Do you know what zhuzhalka is? The trains used to run on coal and the leftovers from the engine were dropped to the side of the railways. People took it and made partition walls in their houses. And then they would cover it with clay and lime paint. It was quite warm, but the main problem was that you couldn’t even hammer a nail into it, because it would simply crumble.[31]
My grandmother could not say for sure where the plans for our house came from. She explained that each owner chose a design, submitted it for government approval, and then built according to their own budget. According to Sophia Hryhorieva, any construction in the Soviet Union was regulated by certain legislation:
It needs to be agreed with the local authorities who are responsible for architectural control. For private construction, it’s quite simple. You need to bring the most primitive sketch, that is, a plan with sections and a facade of the building so that people can have an idea of what you are going to do on your site. If we’re talking about Soviet times, people simply didn’t have the resources and I don’t think the Soviet government supported any sort of rich or fancy private projects. Most likely, standard series were developed. There were a lot of typical two-storey houses, so I think there were some typical solutions for the private one-storey houses as well.[32]
Here is how our house was built:
There was not much money. First, what you know as the summer kitchen was built. So it only had two rooms and quite a low ceiling. And then they started to build a bigger one. And then they divorced. Nikolai departed. When we started living there, we had built an extra room and a porch. There was no specialist. What’s there to build?! Just put it and align everything. All done by us alone. Our house wasn’t that big. Around 60sqm. And we painted the windows blue because it was considered beautiful. And the paint we just bought at the village market.[33]

According to Sophia, some parts of machines or equipment in heavy industries was usually painted either green or blue. Gas pipelines were yellow. She assumes that people either stole from there and later resold the paint, there was a barter and, for example, salaries could be paid in paint cans.
Conclusion
3 January 2024
Hello!
How are you?
Can you let me know when you’re going to visit grandma next time?
I want to ask her about our house in Niu-York again.
Five minutes later, without answering the message, my mom calls me back. This is how I found out that our house was destroyed. A Russian mine fell in the backyard. I checked the last reports, but our house is nowhere. She sent me a photo taken by some neighbours. When I saw the picture, I did not feel anything. I had just one thought: “Well, it has happened”. In summer 2024, Russian troops and aviation started to storm Ukrainian positions in Niu-York. At that time, our relatives who remained in the village had to evacuate. Their house is gone, as well as many historical, industrial and civilian buildings of the pre-Soviet era. By the time of autumn 2025, the frontline moved 10 km beyond Niu-York, leaving it deeper in occupation.

From the first glimpse, the orange clay brick houses do not match classical Ukrainian housebuilding traditions. Yet their history reveals much about the colonial conditions imposed on the region. Examining both types together broadens our view of Ukrainian life and helps decolonise its history. However, the ongoing destruction of these houses erases family histories and makes this work harder.
We can see how Russia’s war against Ukraine creates various effects: Firstly, on a personal scale, it destroys people’s property, forcing them to migrate out of the region. Thus, it disconnects people from the region and their history. Secondly, on the wider scale of the village, Russia is not only destroying centuries of building traditions but also making it impossible to preserve and reproduce them. Such cultural erasure belongs to one of the descriptions of a genocidal crime outlined in the early works of Raphael Lemkin.[34] Thirdly, Russia’s war has forced a wave of image production of the region across platforms and media: from Oscar-winning films[35] to everyday news reports. Nowadays, the image of both the Donbas and the Donetsk regions is inseparable from the war, which provides Russia another point of control over the region’s identity. The Donetsk region is no longer seen through its people, their bodies, culture, and stories, but as one of war, destruction, and aerial drone footage – thus dehumanising the region’s population even further, providing no visual representation of ordinary human life.
Our family house was destroyed, the ability to return there every summer taken away, and this article is an attempt to resist further dehumanisation and erasure. I tried to dig as deep and wide as I could in order to find out anything possible about why and how our house was built in such a specific way and to preserve it in written form. This purpose made me ask my grandmother questions I had never asked before, to learn histories I did not know as a kid, and I hope that by sharing them with other people I can spark curiosity toward other aspects of Ukrainian culture that are now being erased.
With love and warmth
Anton Dorokh
Notes
[1] Sitnikova, Irina, “Russians dropped a FAB-250 bomb on New York, Donetsk region,” Hromadske TV, May 26, 2023, https://hromadske.ua/posts/rosiyani-skinuli-bombu-fab-250-na-nyu-jork-doneckoyi-oblasti-ye-poranenij.
[2] Panasenko, Valeria, “The story of a cultural centre in New York that was destroyed by a Russian bomb,” NewYorker.City, June 30, 2023, https://newyorker.city/articles/296765/malenkij-versal-yakij-zrujnuvala-rosiya-cikava-istoriya-budinku-kulturi-fenolnogo-zavodu. Socmisto is the name of residential areas built in the early decades of the USSR in various cities, according to a single plan.
[3] Ebd.
[4] Dorokh, Anton, Russian shellings of Donetsk regions from 01/09/23 till 30/11/23, https://docs.google.com/spreadsheets/d/1v2kvW01ryvA9lXle4_VqsBVfXOPYGBa0YOi6ZtkWJss/edit?pli=1&gid=0#gid=0, 2023.
[5] Transit Filmfest, “KLONDIKE | Trailer | Transit Filmfest.” Movie Trailer, YouTube, October 2022, https://www.youtube.com/watch?v=T8F8y6nuDcQ.
[6] Khaschi, „NEW YORK under Russian shelling | Ten years of war | History and present.“ YouTube, January 2024, https://www.youtube.com/watch?v=RIdcxQvDeyY.
[7] „ЕКСПОЗИЦІЇ“, National Museum of Folk Architecture and Life of Ukraine, https://www.pyrohiv.com/exposition [accessed September 25, 2025].
[8] “‘Proves that Luhansk Region Is Ukraine’: What the Houses of Slobozhanshchyna Looked Like in the 19th Century,” https://v-variant.com.ua/, accessed September 25, 2025, https://v-variant.com.ua/article/khaty-luhanshchyny-v-khikh-stolitti-2/.
[9] E. P. Kovalevskii, “Geognosticheskoe obozrenie Donetskogо gornogo kriazha” [Geognostic Review of the Donets Mountain Ridge], Gornyi zhurnal [Mining Journal], 1829, pp. 1–3.
[10] Teliuk, Oleksandr / Menzelevskyi, Stanislav / Onufriienko, Anna Kinematohrafichna reviziia Donbasu 2.0 [Cinematographic Revision of Donbas 2.0]. Dovzhenko Centre, 2017.
[11] Defachel, Clara / Donovan, Victoria, “Welsh Migration and Industrialisation in Donbas, Eastern Ukraine (Former Russian Empire): The Foundation of Hughesovka”, University of St Andrews, Scotland, People’s Collection Wales, pp. 2–6. https://www.peoplescollection.wales/sites/default/files/documents/Hughesovka_St_Andrews_English_2.pdf [accessed October 31, 2025].
[12] Haukman, M. V., “Karl Gascoigne,” Encyclopedia of the History of Ukraine: Additional Volume – Book 1: A–Z, ed. V.A. Smolii (chair) et al., National Academy of Sciences of Ukraine, Institute of History of Ukraine, Kyiv: Naukovа Dumka Publishing, 2021, http://resource.history.org.ua/cgi-bin/eiu/history.exe?&I21DBN=EIU&P21DBN=EIU&S21STN=1&S21REF=10&S21FMT=eiu_all&C21COM=S&S21CNR=20&S21P01=0&S21P02=0&S21P03=TRN=&S21COLORTERMS=0&S21STR=gaskojn_k [accessed September 25, 2025].
[13] “Who Founded New York? Why Was It Renamed Novgorodskoye?,” NewYorker.City, September 30, 2021, https://newyorker.city/articles/167618/kto-osnoval-nyu-jork-pochemu-ego-pereimenovali-v-novgorodskoe-.
[14] Kuromiya, Hiroaki. Freedom and Terror in the Donbas: A Ukrainian-Russian Borderland, 1870s–1990s. Cambridge University Press, 1998, pp. 1–9, 53–54.
[15] Ebd. | G. Sokolovskyi, The History of a City Made of Bricks, 2023, pp. 7–16, 162–163, 186–187.
[16] The Stakhanovite movement created a special type of culture around heroes of labour. It became a social role. Eventually, even outside of mining, people who worked extra hard and productive would be called Stakhanovites, emphasising personal sacrifice for a greater collective good during the labour. Valerii Vasyliev, Stakhanovskyi rukh (Stakhanovite Movement), Institute of History of Ukraine, http://www.history.org.ua/?termin=Stakhanovskyj_rukh [accessed October 10, 2025].
[17] Kuromiya, Freedom and Terror in the Donbas, pp. 213–215.
[18] Sokolovskyi, The History of a City Made of Bricks, pp. 158–163.
[19] Kuromiya, Hiroaki, Freedom and Terror in the Donbas: A Ukrainian-Russian Borderland, 1870s–1990s, Cambridge University Press, 1998, pp. 336–337.
[20] Interviews with Sofia Hryhorieva were conducted between January and May 2024.
[21] Mineralni resursy Ukrainy [Mineral Resources of Ukraine], State Service of Geology and Mineral Resources of Ukraine, 2014, P. 164. / Concise Mining Encyclopedia Vol.1, Edited by Dr. Eng Volodymyr S. Biletskyy, Donetsk: Donbas, 2004, pp. 288–289.
[22] “Glina vognetrivka [Refractory clay],“ Data Portal of the Extractive Industry of Ukraine, https://eiti.gov.ua/resursi-rozvidka-ta-vidobuvannya/glina-vognetrivka_2022/ [accessed September 25, 2025].
[23] Mysteries of the Ekaterinoslav Brick Style, April 4, 2019, https://gorod.dp.ua/news/158302.
[24] Sokolovskyi, The History of a City Made of Bricks, p. 4.
[25] Wikimapia, “Ruins of a brick factory”, https://wikimapia.org/29429150/Ruins-of-the-brickyard-of-Jakob-Unger [accessed October 31, 2025]. See also Ukrainian Institute, Postcards. “Peter Dick’s Steam Mill”, https://ui.org.ua/en/postcard/peter-dicks-steam-mill/ [accessed October 31, 2025], and Strelnikov, Aleksander. “Ukraynskyy Nyu-York. Otkuda na Donbasse vzyalsya horod-tezka amerykanskoho mehapolysa” [Ukrainian New York. Where the namesake of the American metropolis came from in Donbas].” The New Voice of Ukraine, March 2, 2021. https://nv.ua/ukraine/events/nyu-york-v-ukraine-otkuda-vzyalsya-gorod-tezka-amerikanskogo-megapolisa-na-donbasse-video-50145265.html.
[26] Sokolovskyi, The History of a City Made of Bricks, pp. 130–131.
[27] Ebd., p. 130.
[28] Strelnikov, Aleksander. “Ukraynskyy Nyu-York. Otkuda na Donbasse vzyalsya horod-tezka amerykanskoho mehapolysa” [Ukrainian New York. Where the namesake of the American metropolis came from in Donbas].” The New Voice of Ukraine, March 2, 2021. https://nv.ua/ukraine/events/nyu-york-v-ukraine-otkuda-vzyalsya-gorod-tezka-amerikanskogo-megapolisa-na-donbasse-video-50145265.html.
[29] Interviews with my grandmother.
[30] Interviews with my grandmother.
[31] Interviews with Sofia Hryhorieva were conducted between January and May 2024.
[32] Interviews with my grandmother.
[33] “Generally speaking, genocide does not necessarily mean the immediate destruction of a nation. It is intended rather to signify a coordinated plan of different actions aiming at the destruction of essential foundations of the life of national groups, to annihilate the groups themselves”; Raphael Lemkin, Axis Rule in Occupied Europe, 1994, p. 79. Pobereżny points out that Lemkin was interested in “finding a way to punish crimes against cultural diversity. He defined genocide as a colonial crime”, see Gennadiy Poberezhnyi, “The Issue of Genocide as a Colonial Crime Was Removed from the UN Convention,“ espreso.tv, June 10, 2018, https://espreso.tv/article/2018/06/10/gennadiy_poberezhnyy [accessed September 25, 2025].
[34] 20 Days in Mariupol, Experience over nine decades of the Oscars from 1927 to 2025, oscar.org, accessed September 25, 2025. https://www.oscars.org/oscars/ceremonies/2024.
[35] Panasenko, Valeria, “The story of a cultural centre in New York that was destroyed by a Russian bomb,” NewYorker.City, June 30, 2023, https://newyorker.city/articles/296765/malenkij-versal-yakij-zrujnuvala-rosiya-cikava-istoriya-budinku-kulturi-fenolnogo-zavodu. Socmisto is the name of residential areas built in the early decades of the USSR in various cities, according to a single plan.
References
Data portal of the extractive industry of Ukraine, „Glina vognetrivka [Refractory clay].“ Accessed October 31, 2025. https://eiti.gov.ua/resursi-rozvidka-ta-vidobuvannya/glina-vognetrivka_2022/.
Defachel, Clara / Donovan, Victoria, “Welsh Migration and Industrialisation in Donbas, Eastern Ukraine (Former Russian Empire): The Foundation of Hughesovka,” University of St Andrews, Scotland, People’s Collection Wales. Accessed October 31, 2025, https://www.peoplescollection.wales/sites/default/files/documents/Hughesovka_St_Andrews_English_2.pdf.
Dorokh, Anton, Russian shellings of Donetsk regions from 01/09/23 till 30/11/23, https://docs.google.com/spreadsheets/d/1v2kvW01ryvA9lXle4_VqsBVfXOPYGBa0YOi6ZtkWJss/edit?pli=1&gid=0#gid=0, 2023.
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Teliuk, Oleksandr / Menzelevskyi, Stanislav / Onufriienko, Anna Kinematohrafichna reviziia Donbasu 2.0 [Cinematographic Revision of Donbas 2.0]. Dovzhenko Centre, 2017.
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About the Author
Anton Dorokh (they/he) is a Ukrainian theatre and film director residing in Berlin. They study Theatre and Social and Cultural Anthropology at the Free University of Berlin and work as a student assistant at the research program Prisma Ukraїna.
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Citation: Anton Dorokh, A Body of Clay: The Vanishing Tradition of House-Building in the Donetsk Region, in: TRAFO – Blog for Transregional Research, 23.12.2025, https://trafo.hypotheses.org/63427
OpenEdition suggests that you cite this post as follows:
Forum Transregionale Studien (December 23, 2025). A Body of Clay: The Vanishing Tradition of House-Building in the Donetsk Region. TRAFO – Blog for Transregional Research. Retrieved January 23, 2026 from https://doi.org/10.58079/15eth


