Is Vladimir Putin's adolescent Russia ever going to grow up?

It's now 21 years since the end of the Soviet Union, but Russia's politics are still strikingly teenage in nature.

That year, autumn sneaked up and ended a hot summer. By the end of August, the evenings were already damp and dark.

In many countries, the age of 21 is considered a time when you understand at least a little of who you are, and what you would like to be. 21 years after the end of the Soviet Union, Russia still seems to lack a clear idea of what it wants to be when it grows up.

One enduring symbol of that uncertainty is an absence which has persisted since the damp end to the summer of 1991. Then, as the Communist Party’s grip on power was loosened for the last time, demonstrators tore down the statue of Felix Dzerzhinsky, founder of the forerunner of the KGB. It was the ultimate insult to the secret police, for the monument had stood in Lubyanka Square in front of their headquarters.

The place where the statue stood remains empty. The country has not decided what it stands for. Russia is like the 21-year-old who has put away some childish things, but not abandoned adolescent uncertainty, or rashness.

The jailing of Pussy Riot is the most obvious recent example. Rashness persists in the Kremlin’s idea of news management, in spite of the highly-paid western PRs they have, for years now, hired to make themselves look good.

Should Pussy Riot have been sent down for playing up in the cathedral? Many western observers seem to think the punk protesters were hard done by. 

Whatever your opinion, it seems the Russian authorities made a mess of the way they handled it: show your mates how tough you are, and don’t worry until later about what anyone else things – almost a typical adolescent attitude. A lesser punishment would not have been nearly such big news.

The forerunners of this winter’s protests demanding fair elections were those led by the former world chess champion, Garry Kasparov, and a motley collection of other opponents of Vladimir Putin.

In the oil boom times of 2006-7, they struggled to attract even a couple of thousand demonstrators to their rallies in the heart of a city of millions.

Hugely outnumbering the protesters, riot police came by the busload. When not standing steely-faced behind their shields, they could be chatty – perhaps glad of the trip to the capital. "Do you get paid extra for working on a Saturday?" one asked me once on a sleety December afternoon.

"No," I replied.

"We do," he smirked, shoving his shield into the back of a van, his shift finished.

A senior member of the Presidential administration once asked me why western journalists bothered to cover such small demonstrations. I replied that it was not the demonstrations which were newsworthy, but the police response.

It was the same overreaction in the handling of the Pussy Riot trial. The lesson in how to turn a stunt into an international story would have dismayed any PR trying to make Russia look good.

As part of my research for a chapter in my new book, Reporting Conflict, on the role of PR agents in contemporary coverage of war, I sought out a former BBC colleague who had the insider’s knowledge. Angus Roxburgh was a former Moscow correspondent who later spent time advising President Putin’s administration on their international media image.                  

"They didn’t really understand it," he recalled. "We taught them what we could, but they came into it with strange ideas about how the western press worked. I think they felt that everybody else did do it, that all other governments had PR people working for them as well – but didn’t completely understand it."

They still don’t. The way that the Kremlin projects itself on the international stage frequently suggests an adolescent combination of "don’t know, don’t care".

President Medvedev may have left office mocked as his powerful mentor’s marionette, but  his presidency – even if Vladimir Putin remained in charge in reality – should be remembered for one important idea: "legal nihilism". More than once, Mr Medvedev identified this as the main problem facing his country – manifesting itself in massive corruption, and a total absence of principle in public life.

That’s why last winter’s protests were such a nightmare for the Kremlin. Here were people who believed in something – and it was not Russia’s leadership.   

Twenty one years into their new existence, at least part of the Russian electorate is growing up. The political elite still snarls like the punk youth they profess to despise.     

They will get away with it as long as people put up with it. "Russian armies can’t march into other countries while Russian shoppers carry on marching into Selfridges," David Cameron declared in 2008 when Russia went to war with Georgia.

Yet no one will do anything as long as British companies keep making money in Russia, or entertain the hope of doing so. Britain ended up looking impotent over the 2006 murder in London of Alexander Litvinenko; the west as a whole looked toothless over civilian casualties in Chechnya in the 1990s.

Change, if and when it comes, will have to come from inside Russia. Despite the coverage which the Pussy Riot case got outside the country, it did not inspire the same passions within – at least not on a wide scale.

Russians whose childhoods were the late Soviet period, and the bandit capitalism which followed, and who are now in their 30s, might be expected to be the revolutionary class. In some cases – those who are active in the protest movement - they are. In others, memories of the chaos of their early years makes them wary of radical change. Those with the education, skills, and contacts, seem often to have chosen to emigrate rather than demonstrate.   

21 years later, the events of 1991 still cast a shadow over Russia. The secret police remember losing the statue of their founder. In the shape of Mr Putin and others, they recovered their power, while remembering that it once vanished. That explains their reluctance to let any dissent – even a punk protest – go unpunished.

The anti-Soviet demonstrators of those years can reflect on their experience. The statue of Dzerzhinsky may not have returned – the strength of the security forces has. Their successors who marched against the presidential election result, and the imprisonment of punks, might look to Egypt for their lessons. The "Facebook revolution" has not brought a government of young activists.  

The lesson for them all, and for those of us outside Russia, is that in a time of legal nihilism, political tension, and economic uncertainty (Russia has never prospered in times of low oil prices) nothing can be counted on to last. As Reuters reported recently, President Putin’s long-standing popularity is on the slide.

Mr Putin’s recent role as saviour of the Siberian cranes is the latest of his hard man stunts which have been widely reported in Russia, sniggered at in the west, and satirized by the more subversive of his compatriots (on this occasion, by showing the former KGB man photoshopped atop a shark). 

As Russian politics move into adulthood, it may be the people who came up with the last one who eventually have the last laugh.

James Rodgers is Lecturer in Journalism at City University, London. He is the author of Reporting Conflict (Palgrave Macmillan, 2012), and for many years worked in Russia as a journalist for both Reuters Television and the BBC.

 

Opposition activists protest against the alleged mass electoral fraud in December 2011. Photograph: Getty Images
Getty
Show Hide image

Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

0800 7318496