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A tale of three parties: Laurie Penny sobers up over Labour

The British left is finally knocking back the Alka-Seltzer of humility and stumbling to its feet.

Manchester, 2008. With the financial edifices of Wall Street and the City of London tumbling like dominoes, the Labour Party faithful have gathered at the annual New Statesman conference reception at to soak away their panic. In the grand, high-ceilinged ballroom of the town hall, the old neoliberal certainties are dissipating like chill vapour: the one question on everyone's lips is whether David Miliband, a man who ideologically and personally resembles the banana-grasping voodoo corpse of Blairism left to rot in a pool of inertia for two years, will make a bid for the leadership and reanimate the only model of electoral success the left has known in the past generation.

Meanwhile, a young cabinet minister with an awkward haircut, who is at this point most famous for not being David Miliband, takes the platform to deliver some calming platitudes. Miliband minor's soothing quips about the humiliations of being a younger brother fall on dull ears. Everyone is more intent on drinking hard -- drinking with the cheery desperation that only the British can muster when the streets are on fire and the bar is free.

Fast forward to Brighton, 2009. In the dying days of the last Labour administration, the great and good of the British left have once more gathered at the New Statesman party to drown their sorrows. The recession has hit hard, and nobody now believes that Labour will win the next election; privately, there are many who suspect that it might not deserve to win. The corporate lounge at the soulless seafront hotel gradually fills with bewildered delegates, drifting through the glass doors in ones and twos with the shellshocked expressions of war refugees. The room is too bright, full of static and suspicion; knots of gossip and weary recrimination cluster in the corners of the party. It's like the disco at the end of the world.

The speaker this year is David Miliband, but unfortunately, just as he is ushered onto the stage, somebody brings out the booze. The party faithful charge across the crackling carpet towards the bar like victims of a natural disaster mobbing a Red Cross van, only with substantially less dignity. Nobody listens to Miliband Major, and why would they? The jaws of the credit crunch are snapping shut, and Torygeddon is approaching: not even Blairism can save us now.

Fast forward to this weekend: it's the 2010 Labour Party conference, and we're back in at the same party, in the same lofty setting as 2008 -- the decadent Victorian granite of Manchester Town Hall. And this time, everybody is waiting for Ed Miliband. The shy junior cabinet minister from 2008 has just been anointed leader of the Labour Party in a nail-biting victory over his elder brother, the heir apparent, we have watched his strange rubbery face on the front pages and ubiquitous television screens for 24 hours, and now we are waiting anxiously for Ed like schoolgirls waiting for their prom date to arrive.

When he finally does arrive, flanked by beaming young volunteers who have just been elevated to the status of political flunkies, a spontaneous cheer erupts: a triumphant, rather irreverent cheer, peppered with whoops and wolf-whistles. Ed Miliband is manifestly not the revivified corpse of Blairism -- instead, even with the heady flush of new leadership, he still calls to mind the dorky, swotty kid at the back of the class to whom, for some indefinable reason, nobody has paid much attention. Until now.

Ed takes the stage and tells us, with a rather sad smile and not a hint of swagger, that he wants the Labour Party to change. He wants the Labour Party to show humility over its past mistakes, and to "question old truths". He wants the Labour party to be the "natural home" for the next generation of activists, in part because it is young volunteers who have made his campaign such a success. He wants the party to unite, to abandon factionalism, and most of all -- more than anything -- he wants "change". Unlike the smooth, polished Anglo-American political salesmen of the post-crash era, you suspect that he actually means it.

It is perhaps a testament to how comfortable the Labour Party has become with hierarchy and privilege that the sudden leadership of Ed Miliband -- who is, after all, not an outsider but a son of leafy North London from a distinguished Labour lineage, whose only claim to political insurgency is that he is not the elder brother -- should have so shaken the party faithful. In a truly radical party, this would not have been so stunning a change of direction, but New Labour has not been truly radical for many years.

Expectations were low, and this is enough; it's enough to tremble the foundations of the British left and disturb its stagnant, hierarchial customs, so reliant on anointed heirs and settled successions of power. The gathering at the New Statesman party is suffused with panicked excitement. The delegates are behaving like a group of normally compliant school pupils in an empty classroom, when someone unexpected -- say, the dorky kid at the back of the class -- has just got up from his place and sat down in the teacher's chair. It's a scandalous, it's thrilling, it's surely against the rules!

The overwhelming impression is that anything could happen, and the room bubbles with breezy expectation and just a suggestion of naughtiness. Personal and political seductions are attempted; old friendships and alliances are rekindled. Delegates flirt, make eyes at one another and have meaningful discussions about the living wage and progressive taxation over glasses of orange juice, the boozing less frantic than in previous years.

It's been a long hangover, but this morning, the British left is finally knocking back the Alka-Seltzer of humility and stumbling to its feet. After all, there's work to be done.

 

 

Laurie Penny is a contributing editor to the New Statesman. She is the author of five books, most recently Unspeakable Things.

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What’s it like to be a human rights activist in post-Pussy Riot Russia?

It is five years since the feminist punk collective crashed Moscow’s Cathedral in a performance that got some of them jailed.

On 21 February 2012, five brightly-dressed members of Russian feminist punk collective Pussy Riot took to the alter of Moscow’s Cathedral of Christ the Saviour to protest links between the Russian Orthodox Church and its “chief saint” Russian President Vladimir Putin. “Virgin birth-giver of God, drive away Putin!” they shouted from beneath now-iconic balaclavas.

The “Punk Prayer” was both a political statement and a powerful feminist message. Six months later, a judge sentenced three of the girls to two years in prison (one was rapidly released) on a conspicuously apolitical conviction of “hooliganism motivated by religious hatred”.

These past five years, Russia’s involvement in crises in Syria and Ukraine has cast a dark shadow over relations with an increasingly cleaved-off West. The year 2015 saw opposition politician Boris Nemtsov murdered some 500 metres from the Kremlin walls.

Domestically, society has constricted people challenging the political status quo. However, low-key initiatives retain traction.

“Artists are simply silent,” says Russian curator and gallerist Marat Guelman, who left for Montenegro in early 2015. “It is better not to say anything about politics, it is better to bypass these issues.”

This is a major difference from five years ago. “Despite persecution against Pussy Riot, people were not afraid to defend them,” he says. “It was a better time.”

There are three topics artists and curators now avoid, says artist and feminist activist Mikaela. One is “homosexuality . . . especially if it involves adolescents”, she says, citing a 2015 exhibit about LGBT teens called “Be Yourself”. Authorities closed it and interrogated the galley owner. “Then the war in Ukraine,” she says. “Russian Orthodoxy is the third topic you cannot tackle.”

Marianna Muravyeva, a law professor at Moscow’s Higher School of Economics, says that aside from the government completely discarding human rights rhetoric, the most significant legal change is the “gay propaganda” law and “legislation against those who insult the feelings of believers”.

The latter came into force in July 2013. Since then, the Orthodox Church has made deeper societal incursions. Muravyeva says that the secular nature of the Soviet Union led to residual feelings of guilt towards the Church – and now it uses that “capital”.

Mikaela observes a “cultural expansion”, citing a new TV channel, radio station and three new churches in her neighbourhood alone.

Orthodox activist attacks on exhibits have increased. In August 2015, they targeted an exhibit at one of Moscow’s most prominent art galleries. Its perpetrators were found guilty of “petty hooliganism” and handed a 1,000 rouble fine (£14 by today’s rates).

“Any word written in Old Slavonic lettering is spirituality,” says Guelman. “Any work of art by a modern artist . . . depravity, sin, the impact of the West.”

Similar groups are active across Russia, and galleries err on the side of caution. Perpetrators, while self-organised, believe their actions to be state-sanctioned, says Muravyeva. They are influenced by “the kinds of messages” conveyed by the government. 

Nowadays, self-organisation is integral to artistic expression. Mikaela witnessed educational institutions and foreign foundations telling artists “we are with you”, “we know you are smart” but they cannot host political works for fear of closure. Not knowing where the “invisible line” lies foments uncertainty. “It’s self-censorship,” she says.

Dissident artist Petr Pavlensky, notorious for nailing his scrotum to the Red Square in late 2013 (“Fixation”) and setting fire to the doors of the FSB in 2015, advocates personal agency.

“Fixation” was about a sense of helplessness in Russia that must be overcome; he tried to convey the amount of power the castrated have. “Pavlensky says, ‘Look, I have even less than you’,” says Guelman. The artist and his partner Oksana Shalygina are now in France intending to seek asylum after sexual assault accusations.

Some rise to the opportunity, such as Daria Serenko. She rides the Moscow Metro carrying political posters as part of Tikhy Piket or “Silent Protest”. Her 12 February sign depicted a girl with her head in her arms inundated by the comments received if a women alleges rape (“she was probably drunk”, “what was she wearing?”).

However, as a lone individual in a public space, she experienced hostility. “Men, as always, laughed,” she posted on Facebook afterwards. Earlier this month an anonymous group pasted painted plants accompanied by anti-domestic violence messages around Omsk, southwestern Siberia.

Their appearance corresponded with Putin signing legislation on 7 February decriminalising domestic abuse that causes “minor harm”. While it doesn’t specifically mention women, Muravyeva says that the message “women can manage on their own” is a “disaster”.

On 27 January, after Russia’s parliament passed the final draft, pro-Kremlin tabloid Life released a video (“He Beats You Because He Loves You”) showing how to inflict pain without leaving a mark.

Heightened social awareness is aided by online networks. Since “Punk Prayer”, the proportion of people using the internet in Russia has exploded. In 2011, it was 33 per cent, while in 2016 it was 73 per cent, according annual Freedom House reports. Authorities have concurrently exerted stronger controls over it, eg. targeting individual social media users through broadly-worded laws against “extremism”.

Last July, the hashtag #ЯНеБоюсьСказать (“#IamNotAfraidtoSay”) went viral. Women documented experiences of sexual violence. Russian organisation Сёстры (“Sisters”), which helps survivors receive psychological support, receives “250-350” crisis calls annually.

“Over the past year, the number of applications increased,” because of the hashtag, it says. New media platforms Meduza and Wonderzine also emerged as more “socially aware” outlets. Previously “all we had was LiveJournal communities,” Mikaela says.

Bottom-up challenges are partially due to a generational shift. “Nobody bothered before,” says Muravyeva. “Those children who were born after ‘95 . . . they were already born in a very free society – they don’t know what it is to be afraid, they don’t know what it is to be self-censoring, what it is to be really scared of the state.”

Aliide Naylor is a British journalist and former Arts and Ideas Editor of The Moscow Times.

> Now read Anoosh Chakelian’s interview with Nadya Tolokonnikova of Pussy Riot