Written Interview with Alena Aissing

Here is my interview with Alena Aissing. Aissing is a Librarian and Curator at UCLA's Charles E. Young Research Library for Slavic, East European, and Eurasian Studies. I discussed with Aissing her work as a librarian and curator. Read the interview below to find out more!

1. What first drew you to focus on regions like Eastern Europe, Central Asia, and the Caucasus in your library and archival work?

My interest in these regions is deeply personal and rooted in my own lived experience. I was born and raised in Eastern Europe, where I witnessed how political systems can suppress cultural memory and marginalize entire communities. From an early age, I understood the importance of preserving stories, documents, and histories that were often erased or distorted.

As I moved into academia and eventually library work, I realized how underrepresented these regions were in Western institutions—not only in terms of materials but also in nuanced understanding. The richness and diversity of Eastern Europe, Central Asia, and the Caucasus—spanning countless ethnicities, languages, religions, and historical experiences—felt like a critical gap in global scholarship that I could help address.

Working in a major research library like UCLA gave me both the platform and responsibility to ensure that voices from these regions are collected, preserved, and made accessible to future generations of researchers. It’s not just about materials; it’s about equity, inclusion, and cultural continuity.

2. Can you describe how your background, whether academic, personal, or professional, has shaped the way you approach curating materials related to these underrepresented regions?

As someone born in Eastern Europe, my personal experiences deeply inform how I approach curating materials. I understand firsthand how historical narratives can be distorted or marginalized, especially under authoritarian regimes. Academically, my training in Slavic, East European, and Eurasian Studies—and my professional work at UCLA—has allowed me to build bridges between these regions and the global academic community. My goal has always been to ensure that complex, diverse voices from places like Central Asia, the Caucasus, and Eastern Europe are preserved and made accessible in a respectful, nuanced way.

3. What are some of the challenges you’ve encountered in collecting and preserving materials about Eastern Europe, Central Asia, and the Caucasus, especially within a Western institutional context?

A major challenge is access—both in terms of physical access to materials from conflict-affected or politically restrictive countries, and in terms of navigating linguistic and logistical barriers. Budgetary constraints and institutional priorities can also make it difficult to advocate for lesser-known or non-Western collections. Additionally, Western academia sometimes undervalues resources that don’t fit dominant narratives, so part of my work involves not just collecting, but also educating and advocating for the significance of these materials.

4. How do you define your approach to collection development when it comes to regions that are often overlooked by mainstream academia? What frameworks or goals guide your selection process?

My approach is both strategic and responsive. I stay in close contact with faculty, students, and researchers to understand evolving academic interests, while also monitoring political and cultural developments that may not yet be reflected in scholarship. I use a framework grounded in inclusivity, authenticity, and long-term preservation. I aim to fill historical gaps, amplify silenced voices, and offer a wide spectrum of viewpoints—from dissident literature and indigenous publications to materials reflecting diaspora experiences.

5. How have you worked to make materials about/from these regions more accessible to students, researchers, and the public? Are there any outreach programs, digital initiatives, or collaborations you’ve been particularly proud of?

I’m especially proud of the Opening the Doors to Contemporary Literature series I founded at UCLA, which brings international authors—including from Eastern Europe and the Caucasus—to speak with our students and community. I’ve also collaborated on digital exhibitions and guides that promote open access and multilingual content. Events like our Ukrainian literature talks, Armenian history workshops, and outreach to diasporic communities in Los Angeles have brought these materials to life far beyond the library stacks.

6. Are there other geographic regions or subjects you believe deserve similar attention and care in academic library collection building?

Absolutely. The Balkans, the Baltics, Central Asian indigenous cultures, and diasporic Middle Eastern communities are just a few. Themes like exile, memory, and censorship transcend regions and deserve cross-regional, interdisciplinary attention. There's also a pressing need to center women’s voices, queer histories, and non-dominant linguistic traditions in global library collections.

7. Have you seen increased interest or demand for resources about/from Eastern Europe, Central Asia, or the Caucasus in recent years? If so, what do you think has contributed to that shift?

Yes, interest has grown significantly, especially in the context of the war in Ukraine and shifting global power dynamics. Students are seeking to understand the roots of current conflicts, as well as broader themes like imperialism, resistance, and cultural resilience. Social media and access to translations have also helped generate awareness. There’s a hunger for more authentic, decolonized narratives—and I believe librarians can play a key role in meeting that need.

8. Can you share a specific project, collection, or item from your work that has stuck with you or felt particularly meaningful?

One project that stays with me is curating materials on the Armenian diaspora for a UCLA Library workshop. We featured rare 19th- and early 20th-century publications and manuscripts, and students were visibly moved to see their heritage reflected and preserved. These kinds of projects remind me why cultural preservation matters—not just academically, but emotionally and communally.

9. What kinds of interdisciplinary research have you seen emerge from the collections you’ve supported? Have any particular scholars or students used the materials in unexpected or innovative ways?

I’ve seen everything from political science dissertations that trace Soviet propaganda to art students using archival photographs in creative installations. Some scholars are using our collections to study the intersection of folklore, resistance, and environmental memory in the Caucasus, while others are exploring language loss and preservation among Central Asian diasporas. I love seeing how one rare document can spark ideas across disciplines—from history to literature to digital humanities.

10. What do you hope your work helps others understand about these regions and their histories?

I hope it encourages people to move beyond stereotypes and see the complexity, beauty, and resilience of these cultures. These regions are not monolithic—they are home to countless ethnicities, languages, faiths, and histories. I want students and researchers to engage critically, compassionately, and curiously, and to recognize the interconnectedness of global histories.

11. What is the importance of studying topics that are under-researched?

Under-researched topics often reveal hidden power dynamics and neglected voices. They allow us to challenge dominant historical narratives and open new ways of thinking. When we study the margins, we not only expand the historical record—we also humanize it. That is essential in today’s world, where disinformation and cultural erasure are real threats.

12. Finally, what kinds of projects are you currently working on?

I’m currently preparing a presentation for the ICCEES World Congress in London on how libraries adapt to disruption, including war, censorship, and digital transformation. I’m also curating an event series on Eastern European food traditions and working on a panel about the impact of political disruption on library services. These projects combine cultural diplomacy, digital access, and archival storytelling—three threads that define much of my work.