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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In defence of orientalism, the case against Twenty20, and why Ken should watch Son of Saul

My week, from Age Concern to anti-semitism.

Returning late from a party I never much wanted to go to, I leap up and down in the middle of the Harrow Road in the hope of flagging down a taxi, but the drivers don’t notice me. Either they’re haring down the fast lane or they’re too preoccupied cursing Uber to one another on their mobile phones. My father drove a black cab, so I have a deep loyalty to them. But there’s nothing like being left stranded in NW10 in the dead of night to make one reconsider one’s options. I just wish Uber wasn’t called Uber.

Just not cricket

Tired and irritable, I spend the next day watching sport on television – snooker, darts, cricket, anything I can find. But I won’t be following the Indian Premier League’s Twenty20 cricket again. It’s greedy, cynical, over-sponsored and naff. Whenever somebody hits a boundary, cheerleaders in cast-off gym kit previously worn by fourth-form Roedean girls wave tinsel mops.

Matches go to the final over where they’re decided in a thrashathon of sixes hit by mercenaries wielding bats as wide as shovels. Why, in that case, don’t both teams just play a final over each and dispense with the previous 19? I can’t wait for the elegant ennui of a five-day Test match.

Stop! Culture police!

I go to the Delacroix exhibition at the National Gallery to shake off the sensation of all-consuming kitsch. Immediately I realise I have always confused Delacroix with someone else but I can’t decide who. Maybe Jacques-Louis David. The show convincingly argues that Delacroix influenced every artist who came after him except Jeff Koons, who in that case must have been influenced by David. It’s turbulent, moody work, some of the best of it, again to my surprise, being religious painting with the religion taken out. Christ’s followers lamenting his death don’t appear to be expecting miracles. This is a man they loved, cruelly executed. The colours are the colours of insupportable grief.

I love the show but wish the curators hadn’t felt they must apologise for Delacroix finding the North Africans he painted “exotic”. Cultural studies jargon screams from the wall. You can hear the lecturer inveighing against the “appropriating colonial gaze” – John Berger and Edward Said taking all the fun out of marvelling at what’s foreign and desirable. I find myself wondering where they’d stand on the Roedean cheer-leaders of Mumbai.

Taking leave of the senses

My wife drags me to a play at Age Concern’s headquarters in Bloomsbury. When I see where she’s taking me I wonder if she plans to leave me there. The play is called Don’t Leave Me Now and is written by Brian Daniels. It is, to keep it simple, about the effects of dementia on the families and lovers of sufferers. I am not, in all honesty, expecting a good time. It is a reading only, the actors sitting in a long line like a board of examiners, and the audience hunched forward in the attitude of the professionally caring.  My wife is a therapist so this is her world.

Here, unlike in my study, an educated empathy prevails and no one is furious. I fear that art is going to get lost in good intention. But the play turns out to be subtly powerful, sympathetic and sharp, sad and funny; and hearing it read engages me as seeing it performed might not have done. Spared the spectacle of actors throwing their bodies around and singing about their dreams against a backdrop painted by a lesser, Les Mis version of Delacroix, you can concentrate on the words. And where dementia is the villain, words are priceless.

Mixing with the proles

In Bloomsbury again the next day for a bank holiday design and craft fair at Mary Ward House. I have a soft spot for craft fairs, having helped run a craft shop once, and I feel a kinship with the designers sitting bored behind their stalls, answering inane questions about kilns and receiving empty compliments. But it’s the venue that steals the show, a lovely Arts and Crafts house, founded in the 1890s by the novelist Mary Ward with the intention of enabling the wealthy and educated to live among the poor and introduce them to the consolations of beauty and knowledge. We’d call that patronising. We’re wrong. It’s a high ideal, to ease the burden of poverty and ignorance and, in Ward’s words, save us from “the darker, coarser temptations of our human road”.

An Oscar-winning argument for Zionism

Speaking of which, I am unable to empty my mind of Ken Livingstone and his apologists as I sit in the cinema and watch the just-released Academy Award-winning Son of Saul, a devastating film about one prisoner’s attempt to hold on to a vestige of humanity in a Nazi death camp. If you think you know of hell from Dante or Michelangelo, think again. The inferno bodied forth in Son of Saul is no theological apportioning of justice or deserts. It is the evisceration of meaning, the negation of every grand illusion about itself mankind has ever harboured. There has been a fashion, lately, to invoke Gaza as proof that the Holocaust is a lesson that Jews failed to learn – as though one cruelty drives out another, as though suffering is forfeit, and as though we, the observers, must choose between horrors.

I defy even Livingstone to watch this film, in which the Jews, once gassed, become “pieces” – Stücke – and not grasp the overwhelming case for a Jewish place of refuge. Zionism pre-dated the camps, and its fulfilment, if we can call it that, came too late for those millions reduced to the grey powder mountains the Sonderkommandos were tasked with sweeping away. It diminishes one’s sympathy for the Palestinian cause not a jot to recognise the arguments, in a world of dehumanising hate, for Zionism. Indeed, not to recognise those arguments is to embrace the moral insentience whose murderous consequence Son of Saul confronts with numbed horror. 

This article first appeared in the 05 May 2016 issue of the New Statesman, The longest hatred