Sixty years after Cheburashka first tumbled over an orange crate and into the imaginations of children across the Soviet Union, the creature is still looking for a place where he belongs.
Russia marks Cheburashka’s 60th birthday on August 20 amid indications officials in the country may be set to disown the beloved character over claims he represents a dark force corrupting Russia’s children, along with debate over the creature’s “ethnicity.”
Amid the record-breaking success of an eponymous 2023 film about Cheburashka and its 2026 sequel, Aleksandr Dugin, a prominent pro-Kremlin political theorist, has repeatedly railed against the character, whom he has variously described as a “lunar demon” and “rootless cosmopolitan“ (a pejorative Stalin-era term for a Jewish person) responsible in part for the collapse of the Soviet Union.
In December a lawmaker sparked debate by declaring “Cheburashka is a Jew” during a discussion on state funding for a domestic Russian toy.
Cheburashka first appeared as a character in the 1966 children’s book Crocodile Gena And His Friends by Eduard Uspensky. The creature lived in a “distant tropical forest” and arrived by accident in the Soviet Union after falling asleep inside a crate of oranges being shipped to the USSR.
After the crate was delivered to a fruit shop in a Soviet city, a mystified sales clerk placed the creature onto a table, but, with its paws numb from his long journey, the animal flopped onto the floor. In a play on the archaic Russian verb “cheburakhnutsya” (to fall down), the shopkeeper exclaimed “Good grief, look at this Cheburashka!”
The storekeeper attempted to hand Cheburashka to the local zoo, but he was refused as as no one knew where to place a creature “unknown to science.”
That theme — of a misfit seeking friendship and belonging in a cold world — became a core motif of a 1969 stop-motion animation based on Uspensky’s book. The film was produced by Soviet animation studio Soyuzmultfilm and visually established Cheburashka as the big-eared brown animal he is represented as today. The animation was followed by three further short films that added up to just over an hour of screen time but were replayed countless times on Soviet television.
“Cheburashka was used everywhere in my childhood,” Hungarian-based academic Oleh Shynkarenko, who has written extensively on the character, told RFE/RL, adding that the animated films reinforced the idea that any outsider could be assimilated into Soviet culture.
Uspensky’s book pokes fun at Soviet bureaucracy, shortages, and deceitful journalists, but the animated series shies away from the original story to toe the party line, with Communist children’s group the Young Pioneers featuring in some stop-motion scenes.
Debate over Cheburashka’s “ethnicity” first emerged following a 2016 book by Soviet-born academic Maya Balakirsky Katz. She expanded on the theory that Cheburashka hailed from Israel in a 2018 article that focused on the source of oranges imported into the Soviet Union and the Jewish animation team behind the stop-motion films. The Yiddish-speaking director, puppet designer, and cameraman, she says, “drew upon their personal experiences of life as members of a species of unknown origins” in making the animations.
Katz claims Israel was the “main source” of oranges for the Soviet Union, suggesting Cheburashka is therefore likely to have come from the Middle Eastern country. While Israel did import oranges to the Soviet Union, there were several other major suppliers, and trade records show that in the year before Uspensky’s 1966 book was released no orange exports arrived from Israel, amid turbulent relations between the two countries.
Through 1965-1966, most imported oranges arrived to the USSR from Morocco, Algeria, Spain, and Greece.
Uspensky was not Jewish, and his ex-wife recently dismissed claims that Cheburashka represented the ethnicity as “nonsense.” Cheburashka’s origin story describes his home as a “dense tropical forest,” which does not obviously align with Israel’s climate or landscape.
The current controversy over Cheburashka’s “morality” among the Kremlin’s culture warriors marks a departure from previous decades when the character was viewed as an inoffensive, semi-official symbol of Russia wielded by olympians, cosmonauts, and sports fans.
In a bleak addition to the character’s story, Cheburashka has also been deployed as an informal symbol of the Russian invasion of Ukraine. His adoption by those involved in the war has led to at least one lawsuit from Soyuzmultfilm and pushback from some Russians who point out the gentle, foreign-born creature is an unlikely nationalist foot-soldier for the Kremlin.
In the years before he died in 2018, Uspensky described Russia’s annexation of Crimea as “disgraceful” and in 2011 he openly supported anti-Putin protests.
In a 2012 interview Uspensky responded to a question on why Cheburashka has proven such an enduring character in Russia and abroad, most notably in Japan, by telling a reporter: “My friends and I think it lies in the image and personality of this touchingly defenseless creature — someone whom anybody could hurt. It seems he won the enormous love of the public through his disarming tenderness.”
The late author added that “none of the things observers are trying to ‘hammer’ into the story are actually there.”
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