RECONNECTING TO UKRAINIAN HERITAGE - THE POLOVTSIAN STATUES

The scenarios on this page are imaginary narratives, taking real-life examples of 3D models as a starting point to illustrate XR storytelling opportunities. We are not currently developing this into an application; rather, we want to inspire you.

The following Polovtsian Statues scenario was developed by the Netherlands Institute for Sound and Vision and the Ukrainian NPO Pixelated Realities in spring 2026.

The NPO Pixelated Realities is specialised in 3D scanning of cultural heritage. Since 2022, they have made 3D models of Ukrainian sites that are threatened by Russian attacks. This conflict-documentary project has become the ''The Museum of Ukrainian Victory''. All their work is to be seen online, but they do not have their own physical exhibition space. 

Pixelated Realities mission is to emphasize the importance of preserving and protecting Ukrainian heritage against the Russian invasion. They want to make a storytelling oriented Virtual Reality (VR) experience focusing on the unique Polovtsian statues. Putting the statues at the centre of their experience highlights the rich history of Ukrainian culture and connects Ukrainians in the diaspora to their heritage.

Pixelated Realities want to reach individuals of the Ukrainian diaspora as a means to help them reconnect with their cultural heritage. To make the experience accessible at home using low tech equipment, they want to make something that runs on smartphones and cardboard VR.

The Polovtsian Statues, also known as Polovtsian Babas, are monuments of Ukrainian sacred art of the Middle Ages of the IX-XII centuries. They were damaged during the Russian occupation in 2022. After Ukraine regained parts of the city of Kharkiv, the statues were 3D scanned. You can find the model here. https://pixelatedrealities.org/en/portfolio/polovtsian-statues-izyum/[1] 

Pixelated Realities decides to make a VR experience that can be run on a smartphone and fits the requirements to run cardboard VR. This makes the experience accessible to many people while still affording a level of immersion and a rich, narrative-driven story. However, they have to sacrifice interactivity of the experience, as this would require a VR-headset equipped with controllers.

Users begin their journey outside of VR by launching the application on their smartphone. They select one of the Polovtsian statues, which will serve as their personal guide throughout the experience. Before entering VR, they can explore a map showing who else is online and where they are connecting from, represented by small avatars, fostering a sense of connection with fellow Ukrainians in the diaspora. Once ready, users are prompted to place their smartphone into a cardboard VR headset to fully immerse themselves in the experience.

Who were the Polovtsians? Users are first transported to the hill in Izium, in the Kharkiv region, where the statues stand. They can look around freely to take in the full landscape. After a few moments observing the present-day environment, with the statues shown in their weathered and partially damaged state, the scene gradually transforms into a reconstruction of what the area might have looked like during Polovtsian times in the Middle Ages. A voiceover guides users, providing historical context and insight.

Their chosen statue starts talking to the users, telling them about the specifics of its appearance giving context, for example on the social status of who they represent, their profession and the meaning of the items they are carrying with them. While this happens, the view zooms in on the relevant parts of the 3D model.

The story continues by the statue explaining how Polovtsian influences are still present in Ukrainian culture today. The statues are viewed as an important part of the multi-ethnic history of the Ukrainian steppes, which is crucial for defining Ukrainian self-awareness and national identity in the face of Russian claims that the territories are historically "Slavic" and belong to them.

When the voiceover of the previous section finishes, the users go back to the location of the statues in present day and we see a reconstruction of the evacuation of some of the statues. The users see people packing the statues and making them ready for being transferred to a safe location. This preservation has become a more than just symbolic act of cultural resistance against the Russian invasion.

Finally, the users are instructed to take out their phones from the cardboard VR. Now they see a screen where they can connect with each other, especially across different places in the diaspora. Their conversation is prompted with questions such as: How do you keep connected to your heritage while far away from home?

There is a real-time chat space but also the option to leave a voice note next to the chosen statue for people who join later.