Can lefties do Britishness?

We shouldn’t be afraid to ground our political vision in an idea of Britain, of who we are and what kind of society we want to build.

Like most good teenagers, I had a lot of dramatic political revelations. This was one of them: we all have multiple identities. I might be a Londoner, a Brit, English and European. But the identity that matters most is our humanity. If everyone could realise that we’d all be ok. No more wars, prejudice or inequality. Everything would be great. Think kum ba yah with logic.
 
Now I’m older, I’m not so sure. Try loving everyone, and you’re in danger of loving no-one. There’s something cold about working from an abstract moral equation rather than natural affection. Reduce people to statistics, and we lose something important. So now I’m not ashamed of feeling a greater connection with the person next to me on the bus in Britain more than the stranger on a coach abroad; I’m proud that I do.
 
The left has always been wary of nationalism. Owen Jones tweeted last week “The more that nationalism rears its head, the less we talk about the tidal wave of austerity hitting working people across Britain”. People are worried about past atrocities we’ve committed in the name of the nation. About people carrying the flag for the wrong reasons. About the apologies we never made. There are good reasons to be skeptical.
 
But there are also good reasons to be positive about Britain. If you’re a lefty, you have to give people a reason to care for one another, to vote and pay their taxes even when times are tough. A collective national identity is one reason to do that. It’s a story we tell to bind us together. It wasn’t a coincidence that the National Health Service was born out of the spirit of the war. We wanted to care for each other. We continue to volunteer thousands of hours. It’s part of who we are.
 
If you want an example of positive nationalism, look at the picture Obama has painted in the United States. To him, national identity wasn’t bigoted or irrational; it was a reason to believe in green energy, health care and hard work (the Chrysler advert still sends lovely shivers down my spine). Nor was it about being introverted. To know what role you want to play on the world stage, it helps to know who you are and why you care.
 
So what is it that unites us? I’m not pretending the answer is easy. But there’s something about sharing space and time on an island in the middle of the Atlantic that pulls us together. Watch Britain in a Day, and you’ll see what I mean. You get this powerful sense of us living together, eating at the same time, sharing the same sunsets, the same holidays and working hours. Then there are our institutions. Our parliament, our football, our NHS. We’re struggling together.
 
And there’s something British about the way we approach this struggle. It’s not simple or easy to articulate, but there’s the gentle way we don’t give up. The quiet determination and common decency, the “caring as well as competing”, as Ed Miliband put it last week. The tolerance, the awkwardness, and the humour.
 
We’ve made great global contributions too. We continue to invent and innovate way above what our population and landmass might predict. We were the first country to industrialise. We invented the rubber band, the pencil and the combustion engine. We created the lawn mower, the jet engine, crosswords, water desalinisation, the magnifying glass. We unveiled the typhoid vaccine and the structure of DNA. Football. Hell, we even discovered Uranus.  
 
Today, our creative industries continue to inspire the world and our universities to educate it. We still touch and influence the world from our tiny corner. Even if we don’t always get it, the people outside do, as Rebecca Omonira-Oyekanmi so eloquently explained earlier this week.
 
The left worries that putting one nation above another is immoral. But that’s what we do with family. Someone once told me that family is not who we share blood with, but who we’d give up blood for. In Britain, we share blood for one another, whether that’s through the army or donating through drips on the NHS. It doesn’t mean we’re justified in treating others badly. It just means there are bonds we just can’t break.
 
And people care. Do we really want to dismiss the 6 million people who participated in the Jubilee as suffering from false consciousness? Or the military wives that got to number one? They brought more people together than politics has recently. Dismissing the thousands turning up in the rain at the Thames doesn’t sound like the love and respect the left should show others. The Olympics. Team GB. The Euros. We should try and understand and work with it.
 
I don’t know what my teenage self would say to all this, and I’m not saying anyone who disagrees with me is naïve. I’m not even advocating a list of policy prescriptions. What I’m saying is that we shouldn’t be afraid to ground our political vision in an idea of Britain, of who we are and what kind of society we want to build. Maybe then we can have a Britain that lefties can be proud of.

National pride? A royal supporter waits outside Buckingham Palace for the Jubliee concert. 4 June 2012. Photograph: Getty Images

Rowenna Davis is Labour PPC for Southampton Itchen and a councillor for Peckham

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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