Young voters know Britain's future lies in the EU

New polling by the Fabian Society shows that 18-34 year olds are significantly more pro-European than the previous generation.

Oftentimes, the greatest strength of opposition is to say little and commit to nothing. But so too can there be huge political advantage in a government decisively using the bully-pulpit of power. Thus it was last week when David Cameron committed his party to hold an in-out referendum on the EU after the next election. In so doing, he left the Labour party in a bit of a pickle.

Stewart Wood, Ed Miliband’s chief consigliere, said recently, "we've found being courageous works for us …We err on the side of boldness much more nowadays." But boldness can work for Cameron too and Labour finds itself caught between supporting a referendum it doesn’t want or going into an election on a platform of ‘denying the people their say’. Neither position holds obvious appeal. Ed Miliband tried to get on the front foot at PMQs, but it was hardly his ‘no, no, no’ moment, and post-match briefings suggest we could be in for a drawn out period of nuancing before Labour arrives at its final destination.

But as right-wing Tories celebrate and the left prevaricates, is Cameron’s referendum necessarily the first step on the road to a British exit?

New polling by the Fabian Society and Friedrich Ebert Stiftung shows a fascinating – and stark – generational divide on the question. Two-thirds (67 per cent) of voters aged 18-34 say they would vote 'yes' to EU membership in a referendum. While nationally there is a 12-point lead for those who wish to leave the EU, among those aged 18-34, there is 32-point lead in favour of remaining part of the EU. In contrast, among the over 60s, leaving the EU has a 23-point lead.

Young people are also far more likely to identify personal benefits from Britain’s membership of the EU. Only 19 per cent of 18-34 year olds said they did not personally benefit from Britain’s membership compared to 51 per cent of people over 60. Forty six per cent of 18-34s cited freedom to travel in Europe as a benefit and 18 per cent mentioned social and employment rights.

Young people also see the benefits of the EU on the global stage. Fifty nine per cent of 18-34 year-olds who expressed a view found the argument that "co-operation between EU countries is the best way to tackle the big issues of our time, like climate change, the global financial crisis and international terrorism" convincing, compared to 43 per cent of people over 60.

Many young people also expressed concern about Britain’s standing on the international stage if the UK were to leave the EU. Forty per cent of those aged 18-34 agree that if the country were to withdraw, "Britain may become isolated in a world of big power blocs such as the United States, the European Union and China", compared to 34 per cent who believe that "Britain could use its own historic international links to punch above its weight in the world". Among over-60s the split was 29 per cent to 47 per cent in the opposite direction.

Europe, we are repeatedly told, is in crisis: economic, political and existential. This era of crisis has hit the left particularly hard, with the economic turmoil – originally heralded as the opportunity for a ‘progressive moment’ which would tame the ravages of capitalism – morphing into a crisis of debt and fiscal imbalance. 

 

This presents a profound challenge for the pro-European left which Cameron’s announcement has made much more urgent. What is clear is that the positive case for the EU would be easier to make if the EU was better. The left risks further setbacks in Europe without a compelling explanation of what is wrong with the Europe we have and what is better about the Europe we want.

The EU was founded on a 'never again' spirit following the second world war, yet the arguments the first generation of European leaders made for closer integration resonate less and less as time goes by. A growing proportion of the electorate are too young to remember the fall of the Berlin wall, let alone the despair of post-war Europe. For a new generation, the EU is a way of life rather than a political project. It’s not necessarily a cause to fight for. But it is clear that young people are culturally and instinctively comfortable with the European project, and see clear benefits of membership. The task for EU advocates is to harden this soft support.

For New Labour, explicit pro-Europeanism was a core part of creating a modern progressive party, which looked to Europe to deliver on its promise of economic efficiency intertwined with social justice. But Europe is far from integral to Labour’s rethink in opposition, despite the current vogue for the German economic model in Labour policy circles, not to mention Fabian polling which shows the public understand all too well that the major political challenges of the day – climate change, financial reform, fighting terrorism – can only be solved through closer European co-operation.

Miliband needs to remember he’s best when he’s boldest and should not shy away from making a stand against Cameron’s politically motivated and economically disruptive act. Our polling shows that should a referendum become a reality, the state of public opinion is more subtle than many surveys suggest. There is a wide coalition of support that could be constructed, from younger people to business leaders; pro-Europeans should approach any campaign guided by a sense of hope, rather than fear.

Ed Wallis is the editor of Fabian Review

The European Union flag is seen next to flags of members of the EU on January 15, 2013 at the European Parliament in Strasbourg. Photograph: Getty Images.

Ed Wallis is the editor of Fabian Review

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What’s it like to be a human rights activist in post-Pussy Riot Russia?

It is five years since the feminist punk collective crashed Moscow’s Cathedral in a performance that got some of them jailed.

On 21 February 2012, five brightly-dressed members of Russian feminist punk collective Pussy Riot took to the alter of Moscow’s Cathedral of Christ the Saviour to protest links between the Russian Orthodox Church and its “chief saint” Russian President Vladimir Putin. “Virgin birth-giver of God, drive away Putin!” they shouted from beneath now-iconic balaclavas.

The “Punk Prayer” was both a political statement and a powerful feminist message. Six months later, a judge sentenced three of the girls to two years in prison (one was rapidly released) on a conspicuously apolitical conviction of “hooliganism motivated by religious hatred”.

These past five years, Russia’s involvement in crises in Syria and Ukraine has cast a dark shadow over relations with an increasingly cleaved-off West. The year 2015 saw opposition politician Boris Nemtsov murdered some 500 metres from the Kremlin walls.

Domestically, society has constricted people challenging the political status quo. However, low-key initiatives retain traction.

“Artists are simply silent,” says Russian curator and gallerist Marat Guelman, who left for Montenegro in early 2015. “It is better not to say anything about politics, it is better to bypass these issues.”

This is a major difference from five years ago. “Despite persecution against Pussy Riot, people were not afraid to defend them,” he says. “It was a better time.”

There are three topics artists and curators now avoid, says artist and feminist activist Mikaela. One is “homosexuality . . . especially if it involves adolescents”, she says, citing a 2015 exhibit about LGBT teens called “Be Yourself”. Authorities closed it and interrogated the galley owner. “Then the war in Ukraine,” she says. “Russian Orthodoxy is the third topic you cannot tackle.”

Marianna Muravyeva, a law professor at Moscow’s Higher School of Economics, says that aside from the government completely discarding human rights rhetoric, the most significant legal change is the “gay propaganda” law and “legislation against those who insult the feelings of believers”.

The latter came into force in July 2013. Since then, the Orthodox Church has made deeper societal incursions. Muravyeva says that the secular nature of the Soviet Union led to residual feelings of guilt towards the Church – and now it uses that “capital”.

Mikaela observes a “cultural expansion”, citing a new TV channel, radio station and three new churches in her neighbourhood alone.

Orthodox activist attacks on exhibits have increased. In August 2015, they targeted an exhibit at one of Moscow’s most prominent art galleries. Its perpetrators were found guilty of “petty hooliganism” and handed a 1,000 rouble fine (£14 by today’s rates).

“Any word written in Old Slavonic lettering is spirituality,” says Guelman. “Any work of art by a modern artist . . . depravity, sin, the impact of the West.”

Similar groups are active across Russia, and galleries err on the side of caution. Perpetrators, while self-organised, believe their actions to be state-sanctioned, says Muravyeva. They are influenced by “the kinds of messages” conveyed by the government. 

Nowadays, self-organisation is integral to artistic expression. Mikaela witnessed educational institutions and foreign foundations telling artists “we are with you”, “we know you are smart” but they cannot host political works for fear of closure. Not knowing where the “invisible line” lies foments uncertainty. “It’s self-censorship,” she says.

Dissident artist Petr Pavlensky, notorious for nailing his scrotum to the Red Square in late 2013 (“Fixation”) and setting fire to the doors of the FSB in 2015, advocates personal agency.

“Fixation” was about a sense of helplessness in Russia that must be overcome; he tried to convey the amount of power the castrated have. “Pavlensky says, ‘Look, I have even less than you’,” says Guelman. The artist and his partner Oksana Shalygina are now in France intending to seek asylum after sexual assault accusations.

Some rise to the opportunity, such as Daria Serenko. She rides the Moscow Metro carrying political posters as part of Tikhy Piket or “Silent Protest”. Her 12 February sign depicted a girl with her head in her arms inundated by the comments received if a women alleges rape (“she was probably drunk”, “what was she wearing?”).

However, as a lone individual in a public space, she experienced hostility. “Men, as always, laughed,” she posted on Facebook afterwards. Earlier this month an anonymous group pasted painted plants accompanied by anti-domestic violence messages around Omsk, southwestern Siberia.

Their appearance corresponded with Putin signing legislation on 7 February decriminalising domestic abuse that causes “minor harm”. While it doesn’t specifically mention women, Muravyeva says that the message “women can manage on their own” is a “disaster”.

On 27 January, after Russia’s parliament passed the final draft, pro-Kremlin tabloid Life released a video (“He Beats You Because He Loves You”) showing how to inflict pain without leaving a mark.

Heightened social awareness is aided by online networks. Since “Punk Prayer”, the proportion of people using the internet in Russia has exploded. In 2011, it was 33 per cent, while in 2016 it was 73 per cent, according annual Freedom House reports. Authorities have concurrently exerted stronger controls over it, eg. targeting individual social media users through broadly-worded laws against “extremism”.

Last July, the hashtag #ЯНеБоюсьСказать (“#IamNotAfraidtoSay”) went viral. Women documented experiences of sexual violence. Russian organisation Сёстры (“Sisters”), which helps survivors receive psychological support, receives “250-350” crisis calls annually.

“Over the past year, the number of applications increased,” because of the hashtag, it says. New media platforms Meduza and Wonderzine also emerged as more “socially aware” outlets. Previously “all we had was LiveJournal communities,” Mikaela says.

Bottom-up challenges are partially due to a generational shift. “Nobody bothered before,” says Muravyeva. “Those children who were born after ‘95 . . . they were already born in a very free society – they don’t know what it is to be afraid, they don’t know what it is to be self-censoring, what it is to be really scared of the state.”

Aliide Naylor is a British journalist and former Arts and Ideas Editor of The Moscow Times.

> Now read Anoosh Chakelian’s interview with Nadya Tolokonnikova of Pussy Riot