Why are there so many Israeli ex-soldiers in India?

A rite of passage.

They tower over the natives: martial torsos; arms with coiled-wire sinews and a combat-hardened stare. Goliath hands clutch nervously at the tote bags. These are ex-Israeli soldiers and they are in India. Haggard and weather-beaten, fresh from military conscription they come to Delhi, Goa and the Himalayas to party and regale each other with stories of past.

It is a rite of passage for many young Israelis to visit India after finishing their compulsory military service.

The shekel goes a long way, the locals are friendly, drinks cheap and hashish and ecstasy circulated freely. While interactions between the Indians and Israelis are largely genial, there is a growing concern among certain rabbis that many are straying from the righteous path. When I say genial, I mean there aren’t any obvious tiffs but there is a hint of uneasiness luring around the corner.

Imagine your young military conscript − patrolling check-points, a gun slung over their shoulder and on perpetual alert – let loose in a funfair of a country where there they might go about unmolested. According to the Jewish Post, around 90 per cent take drugs in India with up to 2,000 ex-soldiers “flipping out” each year.

Last year, I was trekking north of New Delhi in MacLeodganj at the foothills of the Himalayas. The roads snaked around bulging soft turf hills. Trucks, cars and tuk-tuk carcasses rusted on the wayside. All was moss and lichen and fluorescent green. As I trudged along in a foggy February, rain, ferns and wildflowers led to a lone stone cottage on a knoll overlooking a sheer thousand-foot drop, festooned in Hebrew signs and mosiach flags.

Why do such an enormous number of ex-Israeli soldiers go to India, I remember asking the rabbi at the makeshift Chabad. He just shrugged.

Later on I met Moshe, a fresh-off-the boat IDF soldier from the West Bank, and asked him how he saw the natives. He told me that Indians were childlike and uncomprehending, “like a flock of sheep”.

One of the largest Jewish movements in the world has set up chabads or religious outreach centres to ensure that the young do not lose their way. These have been set up in places like the hashish-rich Manali in the Himalayan north and by the ecstasy-popping beach-towns of Goa.

Meanwhile, beach shacks have been known not to serve Indians. Whole parts of Goa are being bought up surreptitiously by Russians and Israelis. The Indian government is concerned. Chief Minister of Goa, Manohar Parrikar, was emphatic about not tolerating Russian and Israeli enclaves in his state and accused them of concealing drug dens. An Indian MP Shantaram Naik, accused the Israelis of “occupying Goa” and indulging in shady business activities.

An exasperated branch of the Catholic Church in Goa issued a statement accusing young ex-Israeli soldiers in Goa of being “dehumanised” after their compulsory stint in the army.

Authored by 11 seminarians and totalling some 96 pages, the investigative Catholic Church publication titled Claiming the Right to Say No: A Study of Israeli Tourist Behavior and Patterns in Goa accused the ex-soldiers of “unbecoming” behaviour incompatible with local beliefs and customs including drug trafficking, prostitution, all-night rave parties and crime sprees. In my own conversations with dodgy beach shack owners, the best way to get a chillum filled with weed was to follow the Hebrew signs.

India has had synagogues for a long time and I have always felt a tinge of pride at the absence of any anti-Semitism. As India’s stock rises in the world, her people travel outside and see the sights, many will start questioning our pill-popping guests.

For the moment India and Israel are consorts, co-operating on things like space programmes, defence and trade. But the Israeli government needs to get its act together. India is no longer the docile nation of yesteryear, to be taken for granted by the west. Given the large number of ex-military Israelis in India, the country has the potential to become the next proxy-war playground, as was clear from the early 2012 incident. It would be a pity if a resurgent confident India were to start cracking down on these ex-IDF soldiers. A whole millennia of accrued reputation would be lost, although some might say that it has started already. In August this year, the Indian Central Bureau of Investigation arrested five Goan police officers for planting drugs on an Israeli citizen and claiming that he was a big time “drug dealer”.

Meanwhile, the sheer spectacle of an orthodox Jewish rabbi, clad in black, walking through the bustling bazaars, makes for a striking scene.

 

The beaches of Goa are particularly popular with ex-military Israelis. Photograph: Getty Images

Ritwik Deo is currently working on his first novel, about an Indian butler in Britain.

Calvert 22/Courtesy of the artist, Danila Tkachenko
Show Hide image

Ruin porn: the art world’s awkward obsession with abandoned Soviet architecture

Deserted fairgrounds, disused factories and forgotten military bases may look cool, but are we fetishising the remnants of such a cruel history?

Armenia, where one side of my family is from, was one of the first members of the USSR, annexed by Russia in 1922. A few years ago, when I visited this little country that perches precariously in the south of the Caucasus, I was struck most by its Soviet architecture.

Although its landscape is a hotchpotch of medieval Orthodox churches, a smattering of Persian-era domes, and brutalist concrete, it was the latter that particularly stuck out. From unfelled statues of Stalin to giant tower blocks spelling out the letters “CCCP” from a bird’s-eye view (well, half spelt-out – construction stopped partway through, with the fall of the Soviet Union), I’ve never forgotten it.

Perhaps it was so compelling because such stark physical symbols make recent history all the more tangible. A history still profoundly affecting the country of my ancestors (and all post-Soviet and communist states). But also, it just looked really cool.


Mixed air corps, Mongolia. Photo: Calvert 22/Courtesy of the artist, Eric Losito

It’s a bit passé now to mock the hipster obsession with reclaimed industrial detritus, exposed pipes and bare concrete. An aesthetic – that of a post-industrial wasteland, but a chic one – which has gripped western cities for years, and crept worldwide.

But it could be this tendency to find disused stuff visually intriguing, and a morbid fascination with cruel regimes, which has led to the art world’s obsession with abandoned Soviet architecture. A whole wave of artists and photographers have been poking around the eastern bloc’s architectural graveyard in recent years.

Late last year, we saw the hugely popular disused Soviet bus stop series by photographer Christopher Herwig, echoing photographer Sergey Novikov’s equally absorbing collection of abandoned Soviet cinemas from 2013.

Following Russian filmmaker and photographer Maria Morina’s “Atomic Cities” project four years ago, London-based artist Nadav Kander explored the “aesthetics of destruction” in his exhibition, Dust, in 2014, snapping “radioactive ruins” of secret cities on the border between Kazakhstan and Russia. The same year, Moscow photographers Sasha Mademuaselle and Sergey Kostromin travelled to the disputed region of Abkhazia, capturing fragments of its deserted infrastructure.


Fighter aviation regiment, Mongolia. Photo: Eric Losito
 

And photojournalist Anton Petrus’ now iconic pictures of Chernobyl’s abandoned amusement park have long been an internet favourite, as have numerous haunting images of Pripyet – the city famous for lying deserted following the nuclear disaster.

Jamie Rann, a lecturer in Russian at Oxford University, has written that the quality and technical accomplishment of most of this photography make the style more “ruin erotica” than “ruin porn” (the tag being used by some critics), but argues: “The enormous online popularity of this genre . . . combined with their voyeuristic, almost exploitative feel, certainly has something porny about it.”

The latest exploration of Soviet society’s skeletons can be found at the Power & Architecture season at London’s Calvert 22 Foundation. In an exhibition called Dead Space and Ruins, we see abandoned military bases and formerly mighty monuments, forgotten space ports freezing in the tundra, the ghost of an entire unused, unfinished city in Armenia lying derelict.



The unfinished "ghost city" built in Armenia to house earthquake survivors (water added by artist). Photo: Calvert 22/Courtesy of the artist, Vahram Aghasyan

The works are beautiful, but do they feed in to this zeitgeisty lust for Soviet ruins?

One of its curators, Will Strong, laments this trend. “I was keen that this didn’t become like a kind of ‘ruin lust’, ‘ruin porn’ thing; this slightly buzzwordy term that there is at the moment, this kind of fetishisation of dead space,” he tells me.

“This history is incredibly loaded, and it did not end in 1991. To sort of fetishise it in the very bourgeois western way of, ‘oh yeah, look at all this wonderful Soviet architecture, isn’t it fantastic?’ Obviously a lot of people who lived in that time hated it . . . a lot of people were very miserable under these regimes, so it’s important not to forget that.”


Gym at the Independent Radar Centre of Early Detection, Latvia. Photo: Eric Losito

He adds: “It’s more a point of reflection on how buildings were designed, what their legacy is, what their narrative is, and who the people are who live with that story. This show looks at the aftermaths of when utopia hasn’t been delivered.”

This view is echoed by the Moscow artist, Danila Tkachenko, whose work is featured in the exhibition. “It is rather a metaphor for the future, not the past,” he says. “It represents an image of a possible future. When there is a visualisation of this issue [utopia], it evokes a response in people; they see this utopia in their lives . . . There is disappointment in all utopias.”


The world's largest diesel submarine, in Russia's Samara region. Photo: Calvert 22/Courtesy of the artist, Danila Tkachenko

His Restricted Areas series explores great behemoths of European communism left to lie forgotten in the tundra of remote regions in and around Russia and Kazakhstan: the world’s largest diesel submarine, like a beached whale in the snow; a giant satellite, thatched with antennae, built to communicate with Soviet bases on other planets some day; the deserted flying saucer-like communist headquarters in a region of Bulgaria. The structures hover in blank, white space, making the photos appear black-and-white.


Deserted observatory, Kazakhstan's Almaty region. Photo: Danila Tkachenko
 

Anton Ginzburg is an artist who grew up in St Petersburg in the Eighties as the Soviet Union was disintegrating. He believes studies like his film, Turo, of disused modernist constructions in the post-Soviet bloc, appeal to people’s connection to history. After all, picking through the architectural carcasses of former societies isn’t exactly a new thing:

“Russian culture is still haunted by its Communist past, and constructivist architecture is a decaying shell for its ghosts. It is an active reminder of the recent history,” he reflects. “Perhaps [its appeal] is a mixture of memento mori, with its thrill of beauty and destruction, along with a Romantic tradition of contemplation of Greek and Roman ruins.”

(Anton Ginzburg Turo teaser from Visionaireworld on Vimeo.)

The Power & Architecture season is on at the Calvert 22 Foundation, London, from 10 June-9 October 2016. Entry is free.

Anoosh Chakelian is deputy web editor at the New Statesman.