How the Taliban is having a chilling effect on the Pakistani election

As the country gears up for its first ever democratic transition, the secular liberal parties have been threatened into silence.

One of the first things to strike any foreign observer of Pakistan’s political scene is the sheer scale of public gatherings. In a highly politicised population of 180 million, protests and campaign rallies can easily attract people in their tens – if not hundreds – of thousands.

But as the country gears up for its first ever democratic transition, with the election date set for 11 May, the campaign has been tense and one-sided. The reason? The ramped up threat from the Tehreek-e-Taliban Pakistan (TTP) and associated extremist groups.

In a 24 hour period this week, there were nine bomb blasts in three different provinces. Karachi, Pakistan’s economic hub, situated in the province of Sindh, was targeted, as was neighbouring Balochistan, and several places in the northern province of Khyber-Pakhtunkhwa. More than 75 people have been injured and at least 11 killed.

This is far from being the start of the violence. Since the election campaign kicked off in March, 28 people have been killed in 14 separate attacks. The TTP claimed responsibility for five of those, and the remainder are most likely the work of associated groups.

The biggest targets are the liberal, secular parties that are outspoken in their criticism of the Taliban. Before the campaign got underway, the TTP announced that they would target politicians from the leading coalition – the Pakistan People’s Party, the Awami National Party (ANP) and the Muttahida Qaumi Movement (MQM) – warning voters to stay away from their rallies. They have made good on their threat.

The ANP, which is predominantly made up of Pashtuns, the same ethnic group that the Taliban is drawn from, has been relentlessly targeted. Ruling the provincial government in Khyber-Pakhtunkhwa, the party represents the secular tradition in the TTP’s heartlands, and has been one of the loudest voices against extremist violence. According to the ANP, 750 members have been killed by the Taliban in the last five years. During this campaign alone, there have been at least six attacks on the party. The MQM’s election camp, too, was one of the targets in the recent 24 hours of bloodshed.

These attacks on party offices, supporters, and candidates, are having a serious effect on the way the campaign is playing out. Those huge scale rallies are a key characteristic of Pakistani politics – but they also leave leaders incredibly vulnerable to attack.

The outgoing PPP, which saw its leader Benazir Bhutto assassinated in the 2008 election campaign, is breaking with tradition by not holding any major rallies at all. Instead, its election campaign is focusing on videos, social media, pamphlets, and smaller gatherings. The ANP, too, is being forced to keep its campaigning on a small scale and frequently at a distance. For some politicians, such as the ANP’s Mian Iftikhar Hussain, who has been vociferous in his criticism of the Taliban, is it too dangerous to even visit their home constituencies, so campaigning is being done over the phone.

Of course, this is expected to have a knock on effect. On 4 April, the anniversary of the hanging of Zulfikar Ali Bhutto, the PPP was supposed to kick off their election campaign with a major rally at the Bhutto mausoleum in Larkana. At the last minute, it was cancelled and replaced with a closed gathering, leaving many supporters – who have a deeply emotional connection to the Bhutto dynasty – feeling angry and betrayed. If politicians do not dare to set foot in their constituencies, how can they convince the electorate they care?

This is not to say that no big-scale campaigning is happening at all. Far from it, the PPP’s main rivals, Imran Khan’s Pakistan Tehreek-e-Insaf (PTI) and current frontrunner Nawaz Sharif’s Pakistan Muslim League Nawaz (PML-N) are both engaged in a frenetic round of rallies, frequently drawing tens of thousands of people out. Critics point to the fact that both parties occupy a centre-right, socially conservative space, and that neither leader has condemned the Taliban by name. For the most part, both prefer to stay away from the subject of terrorism at their rallies, in what some have painted as a cynical bid to stay safe.

Further to the right, hard line Islamic parties have also been free to campaign. One striking contrast was last Tuesday, when a suicide bomber blew himself up outside a meeting of the ANP in the north-western city of Peshawar, killing 16 people. Hours before, a candidate from one of the Islamic parties, Jamiat Ulema-e-Islam, campaigned freely in the same city. Maulana Jalil Jan, who has questioned whether the Taliban are terrorists and said that attacks in Pakistan are an attempt by foreign powers to “malign religious leaders”, walked around the city without guards.

Traditionally, religious parties rarely get more than about 5 per cent of the vote, but there’s a chance that could change, since rightist parties are disproportionately free to campaign.

While many, particularly in the ANP, have decried this chilling effect as “pre-poll rigging”, it is worth remembering that there was already a strong anti-incumbent feeling. The PPP, and other outgoing parties, are struggling to defend their time in power, with allegations of corruption and incompetence as the country’s economy flounders, the security situation continues to spiral, and the energy crisis deepens.

Yet there is a limited amount they can do to fight against this perception given the safety risks. There is no doubt that the backdrop of violence is having an impact on how parties campaign. A big political assassination has been prevented so far – though many are waiting with bated breath. It’s also likely that the security situation will impact voter turnout on 11 May. With half the polling stations in mega-city Karachi declared sensitive, as well as many in other areas, it’s questionable how many people will take the risk of going out to cast their vote. The TTP may not be fielding candidates in the election, but that certainly does not mean it is not playing a part.

Supporters of Pakistan's Islamist party Jamiat Ulema-e-Islam Fazl (JUI-F) hold flags during an election meeting in Quetta on April 25, 2013. Photograph: Getty Images

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

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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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