Imran Khan's peace march: the main issues

The Taliban, drones, tribal areas and the destination.

Imran Khan’s much-publicised peace march to South Waziristan has got underway. A large convoy, which includes Clive Stafford Smith, the head of Reprieve, and Cherie Blair’s sister, Lauren Booth, began the 270 mile journey from Islamabad to Waziristan yesterday morning. On Saturday night, it reached the town of Dera Ismail Khan, where the Pakistan Tehreek-e-Insaf (PTI) chief congratulated the crowds for managing to defy expectations and get so far. The rally continues today towards the final destination of Kotkai, although in his speech, Khan was cautious about how far they’d get.

The march has been the subject of intense publicity and scrutiny for months, both internationally and within Pakistan. Here’s a short guide to some of the main issues.

Entering the tribal areas

Pakistan’s federally administered border areas have always been a lawless, tribal region. For years, access to the area has been restricted because of the complex war being fought between the Pakistani military and the Tehreek-e-Taliban Pakistan. While this means that Khan’s decision to march through the area at all is a bold one, it has also meant wrangling over security and access with the military and the Taliban. Khan is optimistic, saying that the people of Waziristan will provide security.

But there is always the risk that Khasadars (tribal policemen) could refuse access to villages at the last minute: forced entry would be a PR disaster, so there’s a question mark over how far the convoy will get. Stopping along the road yesterday, Khan said: “We are not going to fight anyone in Waziristan. The basic aim is to bring peace in that area. If we are asked to halt, we will stop.” This was notably more cautious than an earlier impromptu address at Mianwali, when he said that nothing would stop them from reaching South Waziristan.

Some of the more cynical local commentators have noted that the march is not venturing into North Waziristan, although it’s likely this would have been nigh on impossible.

The Taliban

The question of how the Taliban would respond to the march has dominated discussion. Would they bomb it? Provide security given the common cause? Prevent access altogether? A spokesman yesterday dismissed the suggestion by Khan and other members of his PTI party that the Taliban would provide security for the march. Ehsanullah Ehsan said: "Our mujahideen are not so priceless that we deploy them to protect a westernised and secular personality." He did not reveal whether the group planned to attack the convoy or not.

Although some commentators in Pakistan suggested that the Taliban’s dismissal of Khan as a pro-western stooge seeking only to further his own career would be damaging, it may be a blessing in disguise that the group has distanced itself. Nicknamed “Citizen Khan” and the “clean-shaven mullah”, many are suspicious of Khan’s dealings with the Taliban. He has picked up on this contradiction, saying yesterday that he’s been accused of working with the militants, “But now some people are saying that I am working for the west.”

Destination

The march is going to end in the South Waziristan town of Kotkai. Yet some have questioned whether this was the appropriate choice. The Dawn newspaper explains:

It was at Kotkai that Ustad-i-Fidayeen had established his first camp to train suicide bombers who would unleash a reign of terror on the Pakistanis. Killed in a drone strike in North Waziristan in October 2010 — much to the relief of Pakistan’s intelligence agencies — Qari has left behind a faculty that will continue to churn out devout followers to haunt Pakistanis for many, many years to come.

So, had Imran thought about the political significance of choosing a venue for his peace rally to protest drones, he would certainly not have chosen Kotkai.

The Mahsud heartland is the birthplace of the TTP [Pakistani Taliban] which has waged a relentless war against the Pakistani state, both within and from its sanctuaries in Afghanistan’s Kunar and Nuristan provinces.

While organisers have claimed there will be 100,000 people at the final rally in Kotkai – and there were certainly huge crowds at Dera Ismail Khan last night – the procession could still end at an earlier point.

Drones

Amid all these controversies and logistical questions, let’s not forget the issue in hand. The stated aim of the peace rally is to highlight the impact of drone warfare and express solidarity with the population of Waziristan, although it is of course being viewed as part of Khan’s election campaign.

Drones have increasingly become a huge flashpoint within Pakistan, where they are seen as yet another assault on sovereignty by the US, and internationally, due to the grave human rights issues. I covered the issue for the NS earlier this year: an estimated 10 civilians are killed for every militant, while prescriptions of anti-depressants have exponentially increased in the area. The negative impact was laid bare by a recent report by Stanford and New York law schools which concluded that drones kill large numbers of civilians and increase recruitment to militant groups. Working with Reprieve, Khan has done a significant amount towards getting the world talking about the impact of unmanned aircraft and the human side of the war on terror.

Pakistan cricketer turned politician Imran Khan waves to supporters at the start of a rally on the outskirts of Islamabad. Photograph: Getty Images.

Samira Shackle is a freelance journalist, who tweets @samirashackle. She was formerly a staff writer for the New Statesman.

Calvert 22/Courtesy of the artist, Danila Tkachenko
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Ruin porn: the art world’s awkward obsession with abandoned Soviet architecture

Deserted fairgrounds, disused factories and forgotten military bases may look cool, but are we fetishising the remnants of such a cruel history?

Armenia, where one side of my family is from, was one of the first members of the USSR, annexed by Russia in 1922. A few years ago, when I visited this little country that perches precariously in the south of the Caucasus, I was struck most by its Soviet architecture.

Although its landscape is a hotchpotch of medieval Orthodox churches, a smattering of Persian-era domes, and brutalist concrete, it was the latter that particularly stuck out. From unfelled statues of Stalin to giant tower blocks spelling out the letters “CCCP” from a bird’s-eye view (well, half spelt-out – construction stopped partway through, with the fall of the Soviet Union), I’ve never forgotten it.

Perhaps it was so compelling because such stark physical symbols make recent history all the more tangible. A history still profoundly affecting the country of my ancestors (and all post-Soviet and communist states). But also, it just looked really cool.


Mixed air corps, Mongolia. Photo: Calvert 22/Courtesy of the artist, Eric Losito

It’s a bit passé now to mock the hipster obsession with reclaimed industrial detritus, exposed pipes and bare concrete. An aesthetic – that of a post-industrial wasteland, but a chic one – which has gripped western cities for years, and crept worldwide.

But it could be this tendency to find disused stuff visually intriguing, and a morbid fascination with cruel regimes, which has led to the art world’s obsession with abandoned Soviet architecture. A whole wave of artists and photographers have been poking around the eastern bloc’s architectural graveyard in recent years.

Late last year, we saw the hugely popular disused Soviet bus stop series by photographer Christopher Herwig, echoing photographer Sergey Novikov’s equally absorbing collection of abandoned Soviet cinemas from 2013.

Following Russian filmmaker and photographer Maria Morina’s “Atomic Cities” project four years ago, London-based artist Nadav Kander explored the “aesthetics of destruction” in his exhibition, Dust, in 2014, snapping “radioactive ruins” of secret cities on the border between Kazakhstan and Russia. The same year, Moscow photographers Sasha Mademuaselle and Sergey Kostromin travelled to the disputed region of Abkhazia, capturing fragments of its deserted infrastructure.


Fighter aviation regiment, Mongolia. Photo: Eric Losito
 

And photojournalist Anton Petrus’ now iconic pictures of Chernobyl’s abandoned amusement park have long been an internet favourite, as have numerous haunting images of Pripyet – the city famous for lying deserted following the nuclear disaster.

Jamie Rann, a lecturer in Russian at Oxford University, has written that the quality and technical accomplishment of most of this photography make the style more “ruin erotica” than “ruin porn” (the tag being used by some critics), but argues: “The enormous online popularity of this genre . . . combined with their voyeuristic, almost exploitative feel, certainly has something porny about it.”

The latest exploration of Soviet society’s skeletons can be found at the Power & Architecture season at London’s Calvert 22 Foundation. In an exhibition called Dead Space and Ruins, we see abandoned military bases and formerly mighty monuments, forgotten space ports freezing in the tundra, the ghost of an entire unused, unfinished city in Armenia lying derelict.



The unfinished "ghost city" built in Armenia to house earthquake survivors (water added by artist). Photo: Calvert 22/Courtesy of the artist, Vahram Aghasyan

The works are beautiful, but do they feed in to this zeitgeisty lust for Soviet ruins?

One of its curators, Will Strong, laments this trend. “I was keen that this didn’t become like a kind of ‘ruin lust’, ‘ruin porn’ thing; this slightly buzzwordy term that there is at the moment, this kind of fetishisation of dead space,” he tells me.

“This history is incredibly loaded, and it did not end in 1991. To sort of fetishise it in the very bourgeois western way of, ‘oh yeah, look at all this wonderful Soviet architecture, isn’t it fantastic?’ Obviously a lot of people who lived in that time hated it . . . a lot of people were very miserable under these regimes, so it’s important not to forget that.”


Gym at the Independent Radar Centre of Early Detection, Latvia. Photo: Eric Losito

He adds: “It’s more a point of reflection on how buildings were designed, what their legacy is, what their narrative is, and who the people are who live with that story. This show looks at the aftermaths of when utopia hasn’t been delivered.”

This view is echoed by the Moscow artist, Danila Tkachenko, whose work is featured in the exhibition. “It is rather a metaphor for the future, not the past,” he says. “It represents an image of a possible future. When there is a visualisation of this issue [utopia], it evokes a response in people; they see this utopia in their lives . . . There is disappointment in all utopias.”


The world's largest diesel submarine, in Russia's Samara region. Photo: Calvert 22/Courtesy of the artist, Danila Tkachenko

His Restricted Areas series explores great behemoths of European communism left to lie forgotten in the tundra of remote regions in and around Russia and Kazakhstan: the world’s largest diesel submarine, like a beached whale in the snow; a giant satellite, thatched with antennae, built to communicate with Soviet bases on other planets some day; the deserted flying saucer-like communist headquarters in a region of Bulgaria. The structures hover in blank, white space, making the photos appear black-and-white.


Deserted observatory, Kazakhstan's Almaty region. Photo: Danila Tkachenko
 

Anton Ginzburg is an artist who grew up in St Petersburg in the Eighties as the Soviet Union was disintegrating. He believes studies like his film, Turo, of disused modernist constructions in the post-Soviet bloc, appeal to people’s connection to history. After all, picking through the architectural carcasses of former societies isn’t exactly a new thing:

“Russian culture is still haunted by its Communist past, and constructivist architecture is a decaying shell for its ghosts. It is an active reminder of the recent history,” he reflects. “Perhaps [its appeal] is a mixture of memento mori, with its thrill of beauty and destruction, along with a Romantic tradition of contemplation of Greek and Roman ruins.”

(Anton Ginzburg Turo teaser from Visionaireworld on Vimeo.)

The Power & Architecture season is on at the Calvert 22 Foundation, London, from 10 June-9 October 2016. Entry is free.

Anoosh Chakelian is deputy web editor at the New Statesman.