Brazil's protests have subsided - for now

The nationwide protests of the summer have mostly petered out, but Brazil's police and government still have a lot to answer for.

At the end of August, as Brazil’s population reportedly passed the 200-million mark, the hashtag #OGiganteAcordou (“the giant has awoken”), used during June’s wave of protests, flickered briefly to life again online. The tag, a reference to the national anthem, in which Brazil is imagined as a colossus reclined on a tropical shore, was the strapline of a striking 2011 Johnnie Walker TV ad, in which Rio’s dark coastal mountains stirred into life and rose up to form a giant.

Over two months on from the protests, the suggestion that Brazil's historically placid population was finally stirring into action now seems hopelessly optimistic: less an insurrectionary “Brazilian spring” than an ephemeral June bug. Small, sporadic protests smoulder on, including a spate of actions by a newly emerged anarchist black bloc, but the majority of June’s protesters have now dispersed.

Despite historic inequality, Brazilians have tended towards non-confrontation. It’s one of the things that makes Brazil such a thoroughly pleasant country to live in; but it also means that in the years since the end of the 1964-85 dictatorship, although smaller, under-reported protests over issues such as police violence, indigenous rights and housing have been a fact of life in the country's marginalised periphery, the social peace has mostly remained undisturbed.

The last time Brazilians took to the streets in large numbers was in 1992, when thousands marched against President Fernando Collor de Mello, who resigned as his trial for corruption was about to commence. Corruption was again an issue this June, as the protests’ initial focus on the cost of public transport broadened to include it along with such things as perceived over-spending on the 2014 football World Cup.

Corruption is a sensitive subject in Brazilian politics, since it apparently touches every party. In the “mensalão” trial currently taking place in the Supreme Court, a string of leaders from the governing Workers Party (PT) has been convicted of paying monthly bribes to opposition Congress members, in return for support for Lula's government. Politicians routinely appear to close ranks to protect their own. In a secret ballot held on 28 August, Congress voted against impeaching the incarcerated congressman Natan Donadon, notwithstanding his 13-year sentence for stealing £2.6m in public funds. (A week later, Brazil’s lower house, assailed by criticism after the Donadon vote, rushed through a proposal for a constitutional amendment to ban secret ballots in government. The amendment will now make its way through the Senate.)

In the Senate, Renan Calheiros currently presides as leader of the house, despite his forced 2007 resignation in a corruption scandal. And at state level, in July, a multimillion-dollar racket came to light when the German company Siemens provided details of its part in a 20-year price-fixing scheme around contracts for metro construction, supply and maintenance. Those implicated include the powerful current and former governors of the state of São Paulo.

A nationwide day of action against corruption and impunity in public office was called for Brazil’s Independence Day, on 7 September. But low turnouts on the day, despite a blast of sound and fury from the black bloc protestors, seemed to confirm that it will take more than corruption to stir Brazilians back to the level of outrage that fuelled June’s largest protests. Those were triggered by a night of ill-judged police violence against a peaceful demo on 13 June, which burst onto TV screens and Facebook, scandalising the watching multitude. While the usual victims of police violence - a problem throughout Brazil - tend to be the poor, the difference this time was that many protesters were better off, well-educated and media-savvy.

The protesters were widely described by international as well as local media as being mainly “middle-class” Brazilians - and many of them were, in the sense of the term as most often used in Britain and other rich societies. Yet these people should not be confused with Brazil’s much-feted “new middle class” - workers who have recently emerged from poverty and gained access to credit, a slightly higher income, or a job in the formal economy. Although their prospects have improved as Brazil’s economy has grown, they do not benefit from access to a decent education (in Brazil, private schooling) and the kind of well-connected background that gives access to the best jobs.

Such people are Brazil's real “sleeping giant”, but it remains to be seen whether  the effects of the current economic slowdown will finally bring them on to the streets. It might. A rampant crime rate and sharp rises in the cost of living  affect those at the lower end of the income scale most acutely, and if something has changed since June, it's a new sense that street protest is valid, possible behaviour for ordinary citizens. And more than ever it is being reported, including by a flourishing new strata of independent media collectives such as Mídia Ninja, whose members routinely make their way to places such as Grajaú, an immense neighbourhood on São Paulo’s periphery that is currently experiencing a wave of occupations and protests.

The government, under the leadership of Dilma Rousseff, has kept a relatively low profile since the start of the protests. This stance, coming from a nominally  left-wing administration, has made it look increasingly out of touch. In an interview published in Folha de S.Paulo last week, the head of Goldman Sachs in Brazil, Paulo Leme, raised concerns about serious problems in the Brazilian economy - and about the government’s ability, political capital o r will to tackle them: “It’s not hard to conclude,” said Leme, “in the light of the protests, that orthodox economic adjustment would not be a welcome sight on people’s TVs on the eight o’clock news.”

Demonstrators protest in Rio de Janeiro during the national strike day this summer. Image: Getty

This article first appeared in the 09 September 2013 issue of the New Statesman, Britain alone

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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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