Cheburashka

The origin story of Cheburashka goes like this: Cheburashka, “a creature unknown to science,” traveled from a thick tropical forest over the ocean in a box of oranges (see Figure 1). He climbed inside the box to eat breakfast, but after eating a few oranges, fell asleep and woke up in an unnamed Soviet city where he met new friends.[1] “Cheburashka” comes from the Russian verb “cheburakhnutsya,” which means to topple, or indicates a tilting doll. This is a nod toward the character’s habit of falling down in the cartoon and emphasizes his clumsy cuteness. From 1969 to 1983, he starred in his first role in episodes of a cartoon series: “Cheburashka,” “Gena the Croc,” “Shapoklyak,” and “Cheburashka Goes to School.” Cheburashka stole the hearts of Russian children with his brown hair, big eyes, and large, round ears and became the center of Soviet and Russian anecdotes and jokes.[2] While Cheburashka only starred in one book and four short films, millions of Cheburashka toys were sold across the Soviet Union, with at least one toy in each Soviet family. Just like it has been suggested that the Japanese character Hello Kitty might overtake the American Mickey Mouse,[3] Cheburashka became such a Soviet pop icon that he was touted as superior to Mickey Mouse, becoming a form of soft power for Russia.[4] In addition, Cheburashka highlights how cuteness can in fact represent violence and offer a way of escape from the real world into one’s childhood.

Origins and the Performance of Race

Lori Merish suggests that “cuteness is an aesthetic category saturated with racial, as well as class, meanings. It is also a historically, as well as a nationally, specific aesthetic…”[5] The creator of Cheburashka, Eduard Uspensky, grew up on the outskirts of Moscow in a family with ties to the Central Committee of the Communist Party and created Cheburashka to be open to interpretation to reach a wider audience. Throughout its history, the character has evolved to symbolize various aspects of Russian society. Most famously, during the production of the cartoon show, many of the Jewish artists who worked on the cartoon attempted to expose the hypocrisies that Cheburashka suffered, such as public humiliation and rejection by the state and its institutions.[6] In short, Soviet Jews saw themselves in Cheburashka’s outcast position in society. A few noticeable signs suggest Cheburashka’s Jewish identity within the cartoon. For example, Cheburashka is found inside a crate of oranges when he is first introduced to the audience (see Figure 2). Oranges are a symbol of Zionism and were Israel’s largest export in 1948. As early as 1952, Russia began to import Jaffa oranges. Rather than having Cheburashka want to leave the Soviet Union, his association with oranges causes people to question his position in Soviet society; even the zookeeper cannot identify him.[7] Overall, Cheburashka has embodied the ways some Soviet citizens felt shut out by the Soviet system. However, when they displayed acceptable behavior toward Soviet society, their social status improved. Just as Merish suggests that cuteness can be used to represent ethnic groups, cute objects like Cheburashka can also teach children how they should identify and act in a given society.

Cultural Significance and Scripting

Uspensky wanted children to be able to recreate his stories at home using any of their toys. The film does not focus on being the perfect Soviet citizen; instead, it shows how Soviet morals focused on resilience and  collectivism. Robin Bernstein suggests that children’s toys and books offer a predetermined script; according to her theory, “‘scripting’ actions is to suggest not that a thing possesses agency or that people lack agency but, instead, that agency and intention emerge through everyday engagement with the stuff of our lives.”[8] Cheburashka himself fits into this idea. Children are born under an imposing social structure that imprints language, values, and social norms onto them that help them fit into society.[9] Considering Cheburashka and his cartoons are aimed at children, Cheburashka would have inspired children to interpret the scripts of Soviet ideological roles and societal expectations. In one part of the cartoon, Cheburashka and his new friend Gena decide to build a new house that anyone can use to meet new friends. He decides to give the house to the children and work inside the house as a toy. In this instance, the values and script being shared are those of friendship and the way in which labor comprises the social cohesion of the Soviet Union. Moreover, the storyline works to show children that they must prove themselves to be considered a valuable part of society, teaching them the nature of Soviet societal structures.[10]

Cheburashka as a Soft Power

“Soft power” refers to a country’s power through cultural influence rather than force. Hello Kitty has prominently become the symbol of Japan’s soft power, and the Japanese government has capitalized on her cuteness.[11] Cheburashka, whom Uspensky had dubbed a “still-undiscovered orangivore animal,” would not only become Russia’s national treasure, appearing in shows, books, films, amusement parks, and exhibitions,[12] but also an international icon. The primary reason for his global popularity is the lessons on friendship he and his cartoon promote. Throughout the episodes, Cheburashka suggests that kindness is much more significant than where one comes from. The association of the Russian state with Cheburashka’s message of friendship acts as a form of soft power to increase Russia’s appeal to other countries and possibly help associate Russia with the concept of peace. Uspensky also copyrighted Cheburashka’s name and image and sold the rights to other countries.[13] In Russia today, Cheburashka’s image can be found on everything from matryoshka nesting dolls to T-shirts, and statues of him and Gena have been built in towns like Ramenskoye and Khabarovsk. From 2004 to 2010, Cheburashka was deemed the official mascot for the Russian Olympic team and had his fur changed to the white, blue, and red patriotic colors of the Russian flag. In July 2009, Cheburashka was “given to President Medvedev as he gave the official send-off to the Russian Olympic Team.”[14]

The enduring popularity and widespread adoption of cute characters such as Hello Kitty and Cheburashka demonstrates how cuteness, coupled with cultural resonance and messages of friendship, can serve as tools of soft power, shaping international perceptions and fostering connections between nations. The cultural exchange between Russia and Japan may also contribute to Cheburashka’s popularity in Japan, as the character offers a unique and charming representation of Russian culture that appeals to Japanese sensibilities. Cheburashka became popular in Japan in 2001, when Japanese people claimed that they loved the Russian character’s cute appearance and its cartoons. In terms of cuteness, Cheburashka’s appeal to the Japanese likely stems from his whimsical and endearing design, which aligns with Japan's kawaii (cute) culture (see Figure 3).[15] 

Japan, after all, has had a long history of embracing cute characters and mascots, which often evoke feelings of warmth, innocence, and nostalgia. Cheburashka’s adorable appearance, coupled with his show’s themes of friendship and kindness, resonates with Japanese audiences, making him a beloved character in Japan. Uspensky even approved the scripts for the Japanese productions of Cheburashka, which led to a legal battle over Cheburashka’s image.[16] Nevertheless, Cheburashka, nicknamed “Chebie” in Japan, can be found in Tokyo toy stores with his image plastered on lunch boxes, pencils, napkins, bags, and other items.[17] One shop assistant in Japan stated that the Japanese group who buys Cheburashka merchandise is young women between 20-25 years old.[18] The message and symbol of Cheburashka has continued to spread, and his fame has bolstered countries’ economies. However, in 2020, Russia and Japan were still struggling over Cheburashka’s place in the world, and Russia was trying to recover its rights to Cheburashka. Soyuzmultfilm and the Japanese company Cheburashka Project’s legal battle led to an impasse, and in 2018, a meeting between the two countries failed to come to an agreement.[19] This conflict shows Russia’s attempt to recover its sense of past glory and nostalgic pride. 

Symbols of Resistance and Violence

Cute objects in popular culture are often a target for mass media and for countries to transform into conceptual icons representing a given country. Cheburashka provides a form of soft power for Russia on a global scale, but his cute appearance is also associated with aggression, resistance, and violence. For instance, an An-72 jet was nicknamed Cheburashka after protests erupted in Armenia against the Armenian president, Serzh Sargsyan, who cut ties to the EU and looked toward Russia as an ally.[20] During the protests, the Armenians carried Cheburashka toys, with one person lighting it on fire. Ukrainian separatists in the Donetsk People’s Republic also named multiple rocket systems after Cheburashka (see Figure 4). At the same time, the military realm of Russian society condemns Cheburashka. Philosopher Alexander Dugin stated that “[w]e don’t need Cheburashka; this is some kind of weak-mindedness… With Cheburashka we won’t win [the war against Ukraine].”[21] Instead of being viewed as an innocent character, Dugin claims Cheburashka is a demon of the moon called Sherdbarsheotshertatan. Overall, the appearance of Cheburashka in the military field shows how a cute item, which has typically been described with phrases like “heightened fluffiness” and “incredibly energetic despite general cluelessness,”[22] can both be an act of resistance and be manipulated to symbolize acts of violence. From symbolizing soft power to embodying resistance and aggression, the multifaceted interpretation of Cheburashka’s cuteness underscores the complex role of cute objects in both popular culture and geopolitical contexts, revealing how they can be transformed into conceptual icons with diverse and sometimes contradictory meanings.

Reverting to Childhood

Interestingly, cute objects can also be a means of escaping reality or bringing a sense of comfort. According to Allison Page, the popularity of cuteness aligns with the collapse of wages, wealth gaps, environmental issues, increase in surveillance, and increase in corporatization. As a result, cute animals “provide cruel relief, a much-needed break from new norms of work and productivity that further bolster capitalism and erode anti-work resistance.”[23] Surveys reveal that adults sleep with plushies or toys because adulthood has become associated with less freedom. For many adults, “‘[i]n each of us, there is a young, suffering child.’”[24] Since the total invasion of Ukraine in 2022, Russians are often perceived as wanting to believe that their country is not at war and returning to a sense of childhood to escape a bleak reality. Like any cute object that can help a person cope, Cheburashka is that cute character for many Russians. In January 2023, a fairytale comedy film starring Cheburashka was released and became Russia’s highest-grossing local film.[25] Out of the long list of recent patriotic films Russia has produced, Cheburashka indicates the desire of many Russians to return to a familiar source of comfort. In the 21st century, the long-lasting impact and popularity of Cheburashka, who has resonated with children and adults, is still seen as a representation of what it means to be Russian.[26] The enduring appeal of Cheburashka as a symbol of escapism and comfort reflects a broader societal trend in which adults turn to nostalgic, cute objects to navigate the challenges of modern life, highlighting the intrinsic connection between cuteness and the human need for solace and reassurance in the face of adversity. 

Published: 8/29/2025

Notes

[1] Maria Finoshina, “Of Russian Origin: Cheburashka,” Russiapedia, accessed April 12, 2024, https://russiapedia.rt.com/of-russian-origin/cheburashka/index.html.

[2] Finoshina, “Of Russian Origin: Cheburashka.” 

[3] Christine R. Yano, “Wink on Pink: Interpreting Japanese Cute as It Grabs the Global Headlines,” The Journal of Asian Studies 68, no. 3 (August 2009): 683.

[4] Jacquelyn Richards, “50 Years of Cheburashka: Why the Soviet Union’s Best-Loved Cartoon Character Is Still Winning Hearts After Half a Century,” New East Digital Archive, accessed October 4, 2021, https://www.new-east-archive.org/features/show/13165/cheburashka-soviet-union-cartoon-fifty-years-animation-film-crocodile-gena.

[5] Lori Merish, “Cuteness and Commodity Aesthetics: Tom Thumb and Shirley Temple,” in Freakery: Cultural Spectacles of the Extraordinary Body, ed. Rosemarie Garland Thomson (New York: New York University Press, 1996), 187.

[6] Maya Balakirsky Katz, Drawing the Iron Curtain: Jews and the Golden Age of Soviet Animation (New Brunswick: Rutgers University Press, 2016).

[7] Katz, Drawing the Iron Curtain.

[8] Robin Bernstein, “Children’s Books, Dolls, and the Performance of Race; or, The Possibility of Children’s Literature,” PMLA 126, no. 1 (2011): 165. 

[9] Juan Miguel Valdera Gil and Francisco Javier Valdera Gil, “Ideological Socialization in Childhood: Cheburashka,” Mundo Eslavo 13 (2014), 89-90.

[10] Juan Miguel Valdera Gil and Francisco Javier Valdera Gil, , “Ideological Socialization in Childhood,” 92-3.

[11] Yano, “Wink on Pink,” 683-84. 

[12] “Mickey Mouse Getting Art Installation in Honor of 90th Anniversary,” ABC7 New York, August 20, 2018,https://abc7ny.com/mickey-the-true-original-exhibition-mickey-mouse-darren-romanelli-shinique-smith/3994045/.

[13] Jacqui Palumbo, “How Cheburashka, the Soviet ‘Mickey Mouse,’ Achieved International Fame,” Artsy, August 22, 2018, https://www.artsy.net/article/artsy-editorial-cheburashka-soviet-mickey-mouse-achieved-international-fame.

[14] Sennaya, “Cheburashka works for World Peace!” December 8, 2012, https://sennaya.com/tag/cheburashka/.

[15] Faces of Russia, “Cheburashka: Soviet Character-Turned-Russian Mascot Sweeps Away Japan,” http://meridian103.com/issue-5/faces-of-russia/cheburashka/.

[16] Palumbo, “How Cheburashka.”

[17] Faces of Russia, “Cheburashka.”

[18] Olga Savka, “Japanese Girls Love Russian Cheburashka,” August 9, 2003, https://english.pravda.ru/society/3505-cheburashka/.

[19] Robyn Dixon, “Cheburashka Was the Beloved Misfit of Soviet Animation. It’s Now a Missing Treasure for Russia,” The Washington Post, May 29, 2020, https://www.washingtonpost.com/world/europe/cheburashka-was-the-beloved-misfit-of-soviet-animation-its-now-a-missing-treasure-for-russia/2020/05/28/bc97283a-99cd-11ea-ad79-eef7cd734641_story.html.

[20] Palumbo, “How Cheburashka.”

[21] Mikhail Zygar, “What Does Popular Culture Reveal About Russians’ Feelings?” April 7, 2023, https://russiapost.info/culture/popular_culture.

[22] Palumbo, “How Cheburashka.”

[23] Allison Page, “‘This Baby Sloth Will Inspire You to Keep Going’: Capital, Labor, and the Affective Power of Cute Animal Videos,” in The Aesthetics and Affects of Cuteness, ed. Joshua Paul Dale et al. (New York: Routledge, 2016), 80. 

[24] Valerie Trapp, “Welcome to Kidulthood,” The Atlantic, April 10, 2024, https://www.theatlantic.com/family/archive/2024/04/adult-stuffed-animal-revival/678012/.

[25] “Russian Family Film ‘Cheburashka’ Becomes Highest-grossing Local Movie for Russian Box Office,” Celluloid Junkie, January 11, 2023, https://celluloidjunkie.com/wire/russian-family-film-cheburashka-becomes-highest-grossing-local-movie-for-russian-box-office/.

[26] Tom Parfitt, “Soviet Cartoon Hero Cheburashka Is Going Global,” The Times, October 16, 2020, https://www.thetimes.co.uk/article/soviet-cartoon-hero-cheburashka-is-going-global-sh693ghgg.