"Hungary is being held hostage by an outdated tyrant"

Viktor Orban’s government is returning the country to totalitarianism.

Hungary is a country on the edge. In the last twelve months it has undergone profound political reform and economic collapse but has been given almost no profile in Britain. 

The Constitution has been amended ten times in one year and then replaced all together. The Constitutional Court has been expanded and packed with allies of the Prime Minister. 200 judges have been forced to retire whilst a former party official now gets to decide which judge hears which case.

Election boundaries have been redrawn to ensure the ruling party would have won the last three elections (even the two they lost). Abortion and gay marriage is banned, whilst 238 churches were “de-recognised”, leaving only 14 behind. The multi-party Election Commission has been removed and replaced with five party officials. An ominous Media Board has been given draconian powers to keep the press in check and impose vast fines for ambiguous offences.

To top it all, the President’s private bodyguard is now the head of a new "anti-terror" force with unlimited powers to conduct secret surveillance, demand financial and medical records, and listen into phone calls without a warrant. All of this in contravention of a landmark 1989 court ruling that marked the end of the Communist secret state.

It was a cold dark day in late December and the clocks were striking thirteen.

In the name of tackling government inefficiency and the legacy of Communism, Prime Minister Viktor Orban’s constitutional reforms undid two decades of democratic progress on 1st January 2012. In the heart of Europe, the rights and norms that underpinned the politics settlement have changed beyond recognition. 

Orban’s Fedesz Party won a super-majority of seats in the 2010 elections as the result of popular frustration and a disproportionate electoral system. But they used their position to systematically remove checks and balances, install political cronies, and ensure that such a sweeping popular change could never happen again.

Hungary has a proud tradition of democratic progress and the changes did not go unmarked.

There had been relatively few protests during the two decades of democracy, and so tens of thousands of people marching through the bitter winter cold demanded attention. Orban smiled and waved his hands.

Dissidents who led the underground movement against dictatorship and who helped the country transition to democracy pleaded with the EU not to “sit back and watch as [Hungary] is being held hostage by an outdated, provincial tyrant”. Orban smiled and turned away.

Typically softly spoken Brussels bureaucrats issued sweeping denunciations and Hilary Clinton voiced grave concern. Orban smiled and carried on as before.

When Fidesz was swept to power in 2010, their campaign effectively channeled popular frustration. The economy was deep in recession and relied on IMF support to avoid bankruptcy, unemployment was soaring, and even the beleaguered euro was preferred to the forint.

The far-right ultra nationalist Jobbik party used similar campaign tactics. Their leaders railed against the EU, Roma, and Jews. Far from being shunned by the electorate, they were returned as the second largest party in Parliament and boasted one of the highest youth membership rates.

In 2010, Hungary was clearly demanding a dramatic change. However, in exchange for two years of sweeping reforms and stringent cutbacks, they have not said goodbye to hard times, merely their right to demand better. The economy is in such bad shape that last November the vehemently anti-IMF Orban was forced to go cap in hand to the very institution he derided. Not coincidently, his dramatic constitutional changes distracted attention from the stumbling pirouette.

This is the Hungary of today; constitutional manipulation, bubbling extremism, and economic crisis. However, the EU and IMF are in a strong position to promote change. In January, Orban dared the EU to act on their criticisms of the constitutional manipulation. On 6th September, this political brinkmanship was repeated with his rejection of a 15 billion euro IMF deal. But the economy is falling and popular frustration is rising.

Orban famously points to ghosts in the system – conspiracies outside, Roma within, and Communists everywhere. Rather than searching behind for the pantomime villain, Hungarians need to see the one right in front of them.

The EU and IMF are just prolonging the Orban charade by demanding cuts to pensions without making a tough stand for transparency, accountability, and the constitutional integrity of Hungary. They have the leverage to lift the curtain, but do they have the courage? 

The far-right Jobbik party marches in Budapest. Photograph: Getty Images
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Serebrennikov's arrest is another step in the erosion of Russia's cultural freedom

The detained director is widely known for challenging more conservative forms of theatre.

“The play opens amid scenery which has already become, it seems, painfully familiar: a room with official furniture and a cage, to which they lead a man in handcuffs.” Thus reads a RIA Novosti review of Russian director Kirill Serebrennikov’s staging of Lars Von Trier’s The Idiots in Moscow in 2013.

On Wednesday, it was the 47-year-old Kirill Serebrennikov who was led to the cage in handcuffs. Crowds gathered outside chanting “Kirill, Kirill” and “freedom” as he took the stand in a Moscow courtroom after being detained on suspicion of embezzling 68 million roubles (£900,000) of government funds, according to reporters at the scene.

Serebrennikov was placed under house arrest until 19 October awaiting trial. If found guilty, he could face up to ten years in jail. The investigation alleged that house arrest was necessary as Serebrennikov has a Latvian residence permit and real estate abroad. However, authorities had already confiscated his passport at the beginning of August, the director said. Travel abroad would be impossible.

The investigation into Serebrennikov reflects the incremental – yet cumulatively extremely effective –  erosion of freedom of expression that has pervaded Russian cultural politics in recent years. Russia’s legal system implicates vast swathes of its residents, and some have suggested that the processes involved in securing funding for the theatre are near-impossible to navigate.

“The laws governing Russian theater financing are so arcane and contradictory that even a mathematical genius could not run a theater and abide by the law,” theatre critic John Freedman wrote in The Moscow Times in June, as the case started to develop. The investigation is also an example to others who continue to challenge the status quo; locals have spoken of “an atmosphere of fear and hysteria” among (what’s left of) the country’s leading liberal cultural figures.

Serebrennikov was initially remanded on Tuesday by the Russian Investigative Committee’s special investigations department. He has himself previously been critical of artistic censorship and called the accusations against him “absurd”. Supporters are now beginning to draw parallels with Stalinist-era crackdowns.

“Director Meyerhold was not arrested by the NKVD, but by Stalin. Director Serebrennikov was not arrested by the Investigative Committee, he was arrested by Putin,” renowned author Boris Akunin wrote in a public Facebook post on Tuesday. “Russia has moved into a new state of existence with new rules.”

Other key cultural figures have stood by Serebrennikov to support freedom of expression and grimly reflect on present-day realities. Writer and director Viktor Shenderovich told television station Telekanal Dozhd (TV Rain) that even global fame cannot “save you from the interests of a repressive state if it decides that it is in its interests to put you on the ground face down.”

Thousands of people signed a petition demanding his liberation. “Artists should have the right to express their opinion freely. That is guaranteed by our country’s Constitution,” the letter signed by more than 14,300 people as of midday on Wednesday said.

The case, in theory, revolves around funding awarded to a theatre project known as Platform between 2011 and 2014. Three other former colleagues of the director were also detained in connection with the case. However, Serebrennikov’s supporters believe there is more to the story.

Serebrennikov is widely known in Russia for challenging more conservative forms of theatre. He is the head of the Gogol Centre – one of Russia’s more avant-garde institutions. It was here that The Idiots was staged. His originality and talent is widely hailed on the Moscow theatre scene.

At the beginning of July, Serebrennikov’s staging of a ballet exploring the life and work of gay or bisexual ballet dancer Rudolf Nureyev was postponed. The ballet, according to the New York Times, explored homosexuality in Nureyev’s art and his battle with AIDS, which killed him in 1993.

In a subsequent press conference, the Bolshoi confirmed the postponement of the ballet, with the theatre’s director general Vladimir Urin saying “the ballet was not good” and that he and others were “very depressed” by what they saw. Urin did not state that the homosexual themes played any part in the decisio,n.

On 7 August, Serebrennikov told German newspaper Sueddeutsche Zeitung that his passport had been seized by authorities. At the same time, he said Urin had contacted him to say that Nureyev would be shown in December this year.