Will TV debates bring Kenya peace?

Election debates in Kenya may help prevent the horrors of the last election.

It’s easy to be blasé about election debates in the UK. Our experience of them is limited to the short-lived, incongruous Clegg-mania of 2010. There is always excitement about American presidential debates – but when they start, boredom soon takes over. It can be hard to argue there’s much point to it all.

Kenyans may disagree.

On Monday night, Kenya hosted its first ever presidential debate. On a stage reminiscent of that seen in American debates – the joke was that it had been borrowed from the last Kenyan to win a presidential election, Barack Obama – eight candidates sparred over three and a half hours.

The hope is that political candidates debating each other will help prevent a repeat of the 2007 election’s violence, when 1500 people were killed and arguably only the intervention of Kofi Annan prevented a full-blown civil war. 

The notion might seem a ridiculous one, considering the webs of violence involved in 2007. Yet, helped by a strong and independent moderator, the debate forced the candidates to address some pertinent issues that they would have rather neglected – like the alleged role of several of them as puppet-masters orchestrating the violence for their own gain. Most memorably, Uhuru Kenyatta, deputy Prime Minister and leading Presidential candidate, was asked how he could govern "and at the same time attend trial as a crimes against humanity suspect" at the International Criminal Court. Kenyatta's trial for his alleged role in the 2007/08 violence is scheduled to begin in April, a month after the election. 

And Kenyans were certainly watching Kenyatta's response: an estimated 300,000 tweets were sent about the debate. What did it all mean? Charles Onyango-Obbo, the Executive Editor of Nation Media Group in Kenya, said it “promoted the notion that debate and public defence of ones’ positions and record are a basis on which election outcomes are decided - not just money and ethnic herding.” He also argued that the civil attitudes of candidates to one another, especially between the two front-runners, “might have gone a small way to reduce the possibility of violence” in the election.

Ultimately, focusing the electorate’s minds on policy issues may encourage people to cast their votes based on stronger reasons than simple ethnic divides. According to one poll, 34 per cent of the electorate said they had changed their mind after watching the debate: an encouraging sign that it could contribute to undermining ethnic polarisation in Kenyan politics.

The experiences of Ghana shows how emerging democracies can benefit from holding debates. Its last two elections were extremely tense – in 2008, the winning margin was only 40,000 votes – yet mercifully free of violence. The presidential debates held “were useful in promoting an issues-based politicking and electioneering campaign and minimising the unnecessary whipping up of ethnic sentiments”, according to Dr Ransford Gyampo, a Political Science lecturer at the University of Ghana. Just as debates have helped Ghana’s democracy to mature, so they could have a similar effect in Kenya and elsewhere.

There remains much for Kenyans to be fearful about ahead of polling day on March 4th. Over 400 people have already been killed in politically related violence since the start of 2012. And Ivory Coast’s first presidential debate in 2010 didn't prevent over 1000 people being killed after the disputed election.

Yet the introduction of a presidential debate this year may be a tentative sign that Kenya is moving towards a less destructive form of politics. David Cameron is certainly not alone in his dislike for election debates. But, for all their flaws, they can be powerful tools for democratic empowerment. The world needs more TV debates.

The eight candidates in Kenya's first presidential debate. Photo: Getty

Tim Wigmore is a contributing writer to the New Statesman and the author of Second XI: Cricket In Its Outposts.

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.