Desperate to keep the police on side, is the Greek government overlooking violent abuses?

Golden Dawn is having a field day while MPs from other parties are assaulted.

Desperate to keep the police on side, is the Greek government overlooking violent abuses?

On Monday night, Nikos Dendias, the Greek Minister of Public Order, was a guest on New Folders, a well known Greek TV show, presented by journalist Alexis Papachelas. A relaxed and slightly ironic Dendias, seemed to be having a good time deflecting all the serious questions D Tsoukalas, the SYRIZA MP who was also a guest on the show, threw at him. By carefully avoiding  answering  any and all questions, Dendias only looked anxious for two things: To not allow Tsoukalas to sidetrack him from his  immigrant-bashing  agenda , and to not displease the very same police force that stood by while a man was attacked outside a theatre, and , according to the Guardian, allegedly tortured 15 detainees after an anti-fascist demonstration a few weeks ago.

Dendias defended the police in every turn, going as far as to say that the detainees were lying and the truth would shine once the coroner’s report was out. That he was in fact in possession of that knowledge. “Why haven’t they filed for lawsuits if they are telling the truth? These are lies and I will bring the Guardian to justice for slandering the Police force and our country. The police is there to protect our citizens and is loyal to the state. Isolated cases of violence might exist, but they will be brought to justice”. He repeated the same claims in the Parliament the next day.

Little did he know:  on  Friday  afternoon, the coroner’s report was made available to the lawyers of the victims according to Avgi newspaper. Heavy bodily harm, extensive abuse, injury by pointed object (allegedly one of the detainees was “stubbed” with a taser, electrocuted to submission and then brutally beaten while still on the ground). The 15 people arrested two weeks ago stated that they were simply waiting for these reports, and of course they will file a lawsuit against the Greek Police.

A silence has befallen Dendias since. Trying to appear sympathetic towards the Greek police is not working well for him since they hang him out to dry  at every opportunity . By declaring that he will establish  a new task forces to “confront heavily armed criminals” (translating to extra pay for anyone who joins) and that he will try to deal with the fact that “their wages are stuck in the 60s”, he is trying to show that he and PM Samaras are there for them. He knows he has to, as  police officers' support is fast shifting from the government to the  far-right movement Golden Dawn. But the police is by now well beyond his control.

“50, maybe 60% of the police are with us now” Illias Panagiotaros (an MP with the Golden Dawn who participated in the attacks outside Corpus Cristi last week) admitted to Newsnight’s Paul Mason last Wednesday. Dendias, desperately trying to outflank the neo-nazi party from the right and win over the police at the same time, is failing miserably. His empty anti-immigrant rhetoric and his sucking up to the police, leads nowhere but to the complete loss of his ministry’s status.

There is no better indication of this than what happened this Sunday in Skouries Halkidikis. A  demonstration was called  to oppose the opening of a gold mine that would destroy much of the ancient forest the area currently enjoys, permanently gut the mountain and pollute the area extensively, essentially ending any hope of sustainable tourism growth, ended up being violently attacked and dispersed by riot police. The demonstrators were no hooded “anarchists” and “far left elements”, but concerned locals, who don’t want to see the natural environment around their houses destroyed. 

Reports started coming in late in the evening: Police had blocked the road cars carrying demonstrators up the mountain used. Passing between the cars, they started breaking windshields with their batons, and in some cases shooting chemicals inside cars. If this sounds like an exaggeration, this “isolated incident” should serve as an example: An elderly man was arrested (after being driven to the hospital with heart issues) and charged with attempted manslaughter. The reasoning behind this charge? When the tear-gas canister was shot in his car, the man lost control of his vehicle and rammed a tree, thus endangering other drivers. In another “isolated incident” confirmed by multiple eye-witnesses, a 55 year old woman was forced out of her car, made to kneel and then kicked to the point where she had to be driven to the hospital by other demonstrators as her knee had sustained severe injury.

Later that night, when people tried to help those detained at Polygyros police station, a police officer in plain clothes attacked Katerina Igglezi, an MP with SYRIZA, pushed her and hit her with his baton. When she told him she was an MP he shouted his name with defiance and asked her what does she think she can do about it, as can be seen in the video of the incident. She went on to state that she will in fact sue him.

But he, like every police officer willing to go the extra mile, knows very well that probably nothing will happen to him. Dendias will not seek punishment, as in other similar cases.  The police now operate well above the “laws of men”. The fact that Golden Dawn supporters reportedly attempted to intimidate locals  during an earlier set of demonstrations, is telling. Their excuse the fact that SYRIZA and other left wing factions support the locals, is of no significance. That they were present to defend capitalist interests once again, is.

El Dorado, the Canadian mining company, might be strangers to such controversy, but Greece certainly isn’t. For months Keratea resisted the opening of a dumping field next to their houses and the ancient monuments that populate the area. For months, riot police intimidated them, attacked them, brutalized them and made their lives a living hell. In one of the worst incidents, a pregnant woman lost her baby when tear-gas was used right outside her house and caused her to pass out.

In the meantime, Golden Dawn is having a field day while MPs from other parties are assaulted and common citizens are charged with extraordinary charges after being attacked themselves. Their own MPs enjoy impunity, never heard of before in a functional democratic state. Mr Dendias will speak again about “isolated incidents” if you put this question to him. But the reality of the situation leaves no doubt, and our government looks comfortable with what’s happening. Their unwillingness to reform the police is now more than obvious.

In the past few days, there have been rumours of a Greek cabinet reshuffle. In a decent, functional government, there would be no place for Mr Dendias. But in our current state as a country and as a people, Dendias will remain where he is. If he doesn’t, I am really afraid of who might take his place, and what  they would do.

Yiannis Baboulias is a Greek investigative journalist writing on finance, politics and pop culture

Members of the Greek extreme-right party Golden Dawn sing the national anthem out of the party's office in Thessaloniki. Photograph: Getty Images.

Yiannis Baboulias is a Greek investigative journalist. His work on politics, economics and Greece, appears in the New Statesman, Vice UK and others.

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Bertie Carvel's diary: What would the French think about infidelity to Doctor Foster?

The joy of debuting a new series, Rupert Murdoch's squeamishness and a sting in the tail.

According to the adage, the first thing an actor does when he gets a job is to go on holiday. And so, having finished our sold-out run of James Graham’s Ink at the Almeida and with the show (in which I play a young Rupert Murdoch) about to transfer into the West End, I’m packing my bags.

But before I can skip town, I’ve one more professional engagement: the press launch of series two of the BBC drama Doctor Foster, which we finished filming at Christmas. I’ve now seen the final cut of all five episodes, and I’m excited to share it with an audience. There’s no substitute for seeing other people’s reactions at first hand, especially with a show that got people talking so much first time around, and it’s electric to sit in a cinema full of expectant journalists and commentators and feel the room respond. Nothing beats this: to put so much into making a thing and then experience an audience’s unmediated, reflexive reaction. When it goes well, you feel that you’ve shared something, that you’ve all recognised something together about how things are. It’s a unifying feeling. A sort of bond.

Cheating spouses

Handling the interviews has been tricky, when there’s so little one can say without giving the plot away. (The first series began with Suranne Jones’s character Gemma, a GP, suspecting her husband Simon of having an affair.) What’s more, lots of the questions invite moral judgements that I’ve tried my best to avoid; I always think it’s really important not to judge the characters I play from outside, but simply to work out how they feel about themselves, to zero in on their point of view. There’s a sort of moral bloodlust around this show: it’s extraordinary. People seem to want to hear that I’ve been pilloried in the street, or expect me to put distance between myself and my character, to hang him out to dry as a pariah.

While I’m not in the business of defending Simon Foster any more than I’m in the business of attacking him, I am intrigued by this queer mixture of sensationalism and prurience that seems to surface again and again.

Shock horror

Oddly enough, it’s something that comes up in Ink: many people have been surprised to find that, in a story about the re-launch of the Sun newspaper in 1969 as a buccaneering tabloid, it’s the proprietor who considers dropping anchor when the spirit of free enterprise threatens to set his moral compass spinning.

I’ve never given it much thought before, but I suppose that sensationalism relies on a fairly rigid worldview for its oxygen – the SHOCKERS! that scream at us in tabloid headlines are deviations from a conventional idea of the norm. But what’s behind the appetite for this sort of story? Do we tell tales of transgression to reinforce our collective boundaries or to challenge them?

For me there’s a close kinship between good journalism and good drama. I’m reminded of the words of John Galsworthy, who wrote Strife, the play I directed last summer, and who felt that the writer should aim “to set before the public no cut-and-dried codes, but the phenomena of life and character, selected and combined, but not distorted, by the dramatist’s outlook, set down without fear, favour, or prejudice, leaving the public to draw such poor moral as nature may afford”.

So when it comes to promoting the thing we’ve made, I’m faced with a real conundrum: on the one hand I want it to reach a wide audience, and I’m flattered that there’s an appetite to hear about my contribution to the process of making it; but on the other hand I think the really interesting thing about the work is contained in the work itself. I’m always struck, in art galleries, by how much more time people spend reading the notes next to the paintings than looking at the paintings themselves. I’m sure that’s the wrong way around.

Insouciant remake

En route to the airport the next morning I read that Doctor Foster is to be adapted into a new French version. It’s a cliché verging on racism, but I can’t help wondering whether the French will have a different attitude to a story about marital infidelity, and whether the tone of the press coverage will differ. I wonder, too, whether, in the home of Roland Barthes, there is as much space given to artists to talk about what they’ve made – in his 1967 essay, “The Death of the Author”, Barthes wrote that “a text’s unity lies not in its origin but in its destination”.

No stone unturned

Touring the villages of Gigondas, Sablet and Séguret later that evening, I’m struck by the provision of espaces culturels in seemingly every commune, however small. The French certainly give space to the work itself. But I also notice a sign warning of a chat lunatique, so decide to beat a hasty retreat. Arriving at the house where I’m staying, I’ve been told that the key will be under a flowerpot. Lifting each tub in turn, and finally a large flat stone by the door, I find a small scorpion, but no key. I’m writing this at a table less than a yard away so let’s hope there won’t be a sting in this tale.

Ink opens at the Duke of York Theatre, London, on 9 September. More details: almeida.co.uk

This article first appeared in the 17 August 2017 issue of the New Statesman, Trump goes nuclear