Pussy Riot's protests threaten more than just the Putin regime

The treatment of Pussy Riot says much about the close relationship between Church and Kremlin in Putin's Russia.

The arrest and prosecution of three members of the Russian female punk collective Pussy Riot looks to many foreign observers as a purely political event, and one that reveals the increasing authoritarianism and intolerance of the Putin government. 

Maria Alyokhina, Nadezhda (Nadia) Tolokonnikova and Ekaterina Samutsevitch were arrested in March after footage of Pussy Riot protesing at Moscow's Cathedral of Christ the Saviour was posted on YouTube. On 21 February the group had invaded the cathedral's sanctuary (an area normally off-limits to worshippers) and sung a satirical "prayer" to rid Russia of Vladimir Putin, who was then seeking re-election. The performance lasted under a minute. The three women, all of whom are in their twenties and two of whom have young children, have been in prison ever since, forbidden even from seeing their partners. Their trial began yesterday, when once again they were denied bail. They face up to seven years in jail if convicted, and acquittals in Russia are rare.

Pussy Riot's cathedral stunt was one of several public protests the group staged against Putin in the run-up to this year's presidential election, and their treatment fits a pattern of official clampdowns on consent. In June, for example, Putin signed into law new and stronger penalties for public order offences that many saw as aimed at frustrating peaceful and legitimate political protest. There's little faith, either inside or outside Russia, in the independence of the judiciary. The arrest and unusually harsh treatment of the three women, many believe, must have been ordered from the very top and thus reflect the personal vindictiveness of the president who was, after all, the target of the protest.

But the case also throws a spotlight on the leadership of the Russian Orthodox Church and especially its head, Patriarch Kirill. According to Peter Verzilov, husband of one of the imprisoned women, it was only after the Patriarch saw the video that any move was made to identify and arrest the women involved.  Originally, the police had taken no action, but on seeing the footage the patriarch had personally contacted both Putin and the head of the Moscow police. 

Kirill has certainly been vocal in his condemnation of Pussy Riot, describing the group's action as "blasphemy" and telling a rally in April that the church was "under attack by persecutors". He objected strongly to "derision of the sacred" being "put forth as a lawful expression of human freedom which must be protected in a modern society." The church leadership has demanded that the three women be punished severely for their act of desecration.

Western reporting has downplayed the sacrilegious nature of the women's performance, seeing it primarily as a political stunt. Perhaps it was. But it was also genuinely shocking in a religious culture that still retains (unlike much Western Christianity) a sense of the numinous and of sacred space. Russian Orthodoxy is a religion rooted in experience rather than doctrine. Its founding myth concerns a delegation sent by Prince Vladimir of Kiev to Constantinople which returned awestruck by the beauties of the Byzantine church: "We knew not whether we were on earth or in heaven." Ever since, Russian Orthodox churches and services, with their icons, clouds of incense and intense, deep-voiced choruses, have represented an attempt to recreate heaven on earth.

Kirill's spokesman, Archpriest Vsevolod Chaplin, has compared Pussy Riot's action and its effect on believers to the burning of the Koran and said that he was "deeply concerned about the future of any society in which extremely divisive actions are ignored." 

Not all the Russian Orthodox faithful agree. Many have protested against the harshness of the church's official position - one seemingly uninformed by Christian ideals of forgiveness and turning the other cheek - and called for the women's release. It's no doubt convenient for Putin to leave it to the church hierarchy to condemn the protests. By ensuring that the women are treated harshly he is not merely reinforcing the message that no dissent is to be tolerated but also burnishing his neo-Tsarist credentials as defender of Orthodoxy.

When he was elected in 2009, Kirill was initially seen as a more moderate figure than his predecessor Alexy II, a former KGB agent whose strident nationalism had, on occasion, embarrassed even Putin. But he has been both politically and personally close to the president. He is often seen at the president's side, sometimes sporting an expensive-looking watch, while for his part Putin (oddly, perhaps, for an ex-KGB man) has regularly been photographed taking part in religious ceremonies. In the run-up to this year's election Kirill even praised Putin as "a miracle from God",  sent to deliver Russia from the "horrible, systemic crisis" of the Yeltsin years.

I can't imagine any British prime minister getting such an endorsement from any Archbishop of Canterbury. But then the Russian Orthodox Church is not the Church of England. In Tsarist times, it was the sacred embodiment of the state, completely subordinated to the ruling dynasty. Even under a Communist regime that, at its height, bulldozed churches or turned them into Museums of Atheist Thought, the leadership of the Orthodox Church remained politically docile. A former dissident priest, Gleb Yakunin - who spent five years in a detention camp and was later elected to Parliament - was shocked by the extent of church-state collaboration when he gained access to the archives in the late 1990s.  The church, he concluded, had been "practically a subsidiary of the KGB".

Nevertheless, the end of communism marked the political rehabilitation of the Orthodox church and has seen it steadily grow in influence - a change symbolised by the rebuilding of Christ the Saviour which had been bulldozed by Stalin to make way for a swimming pool. This is partly why Pussy Riot's protest caused such a scandal: it was aimed not just at the authoritarianism of the Putin regime but at the privileges that the church has enjoyed for giving it unquestioning religious and moral legitimacy.

 

Nadia Tolokonnikova inside a defendants' cage in court. Photograph: Getty Images
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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.

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