Robert W. H. Seely
When St. Petersburg’s renowned Mariinsky
Theatre Orchestra performed
Bach in the ancient ruins of
Palmyra in Syria in early May, days after Syrian and Russian forces had forced
Islamic State fighters to retreat, the Kremlin pulled off a media masterstroke. Millions
of TV and Internet viewers around the world saw Russian power — military and
cultural — defeating the barbarism of the Islamic State. Before
the Islamic State’s expulsion, the terror group destroyed parts of the UNESCO World Heritage site and used its
Roman ruins as a backdrop for beheadings and executions.
On May 14, however, that same Russian regime was
musically mugged at the Eurovision Song Contest by Susana Jamaladinova — known
as Jamala — a Crimean Tatar who won by singing about Moscow’s oppression of her kin.
Music and culture are increasingly important tools in conflict
Eurovision is a kitschy and popular
Europe-wide TV talent show in which one artist or band from every participating
country performs an original song and viewers cast votes. About 200
million viewers watched Jamala perform “1944,” an emotional lament that mixes
Turkish-style harmonies with a cool, Western beat and tells how the Soviet
Union deported Tatars from their Crimean homeland during World War II.
“The
strangers are coming,” Jamala sang. “They come to your house. They kill you
all, and say, ‘We’re not guilty, we’re not guilty.’ ” Her song, sheadmitted, was openly political. And while it referred to
the Stalinist-era exile, it also implicitly referred to Moscow’s 2014
annexation of the peninsula from Ukraine.
In this
confused era of unconventional confrontations, can music be anactive tool of conflict? Music has been part
of warfare for a millennium, whether it was medieval trumpeters, Scottish
bagpipers or military parades with marching bands. But there may be reason
to argue that music, and culture more generally, are increasingly important in
conflict.
Why? First, the importance of “soft” power is rising.
Joseph Nye defined this as “the ability to get what you want through attraction,” and described culture, popular culture,
commerce and governmental policy as soft-power instruments. Whether one
believes this — and plenty of international relations “realists” don’t — nation-states think soft power is important and are
investing in it and linking it to other forms of power for what one might call
full-spectrum effects.
Second, many fighters in unconventional or irregular
wars are not professional soldiers, especially those who fight for non-state actors. Think
of terrorist groups and insurgencies, such as al-Qaeda, the Islamic State and
the Taliban. Music and other cultural products help sell a cause and
recruit and motivate fighters.
Both the Islamic State and al-Qaeda make extensive use of “nashids” — anthems sung without instruments — as well as
traditional-form Arabic poetry to appeal to tribal populations, themes explored
by Oxford University’s Elisabeth Kendall. On the Arabian Peninsula, Kendall argues, poetry and nashids reassure militants that they are soldiers of God in
anapocalyptic battle that reverberates through history. The art
demonstrates that their lives — and deaths — serve an epic purpose and
will be celebrated alongside famous warriors of early Islam.
Third, music helps deliver and reinforce political messages to
non-political audiences. That’s true particularly in our media-saturated age, when a
single event can be transmitted globally in real time. The musical
spoonful of sugar helps the political medicine go down.
Those audiences have always been important. Half a
century ago, Roger Trinquier, a scholar of irregular warfare, argued that
civilian support was the sine qua non of modern warfare. However, the diffusion of political
power — albeit uneven — and the growth of the Internet are turbocharging that
trend, giving more power to more people than ever before, not only to receive
news but also to shape and comment on it.
Russia uses culture’s soft power — often and effectively
Few nations — or rather few nations’ leaderships — have attempted to combine as many levers
of power and influence as
Russia has. The Palmyra concert was arguably the most successful soft-power
event that Russia has orchestrated in recent years, in part because it reached
non-political audiences. Although Western
news reporters cautioned
listeners that the event had been managed by Russian PR, the pictures and music reached audiences at an emotional level. It
was be the sort of thing that would have moved my apolitical, Bach-loving
mother.
The Mariinksy and its gifted conductor,
Valery Gergiev, have engaged in politics before. In August 2008, the Mariinsky
performed a victory concert in South Ossetia after Russia seized the tiny
Caucasus area during its five-day war with Georgia. Gergiev, who hails
from the area, is an associate of
Russian President Vladimir Putin. The orchestra
played Shostakovich’s
Seventh, the “Leningrad Symphony,” which was dedicated to the city — now St.
Petersburg — that endured a long German siege during World War II. It is a
piece of music with clear political overtones, evoking the memory of the
half-million people who died.
Yet in Ossetia, the overtones became arguably linked
to a more partisan Russian political agenda. The Leningrad Symphony
subliminally supported the Kremlin’s narrative that its opponents are extremists, a trope that Russia has used against governments of
the former Soviet republics seeking to align with the West.
Scholars of contemporary Russian warfare argue that
culture is just one tool used by the Russian state to achieve its goals. The
internal security service of the tiny Baltic republic of Estonia, for instance,
has accused the Russian government agency
Rossotrudnichestvo of establishing cultural and historical societies
designed not to aid but rather to prevent Russians and Russian speakers from
integrating into Estonian society.
Russian
messages — that Estonia supports Nazism, that Russians are discriminated
against and that Estonia is a failed state — can be seen as forms of information
warfare delivered through culture.
In some ways, this tactic mirrors the
complex disinformation campaigns of the Cold War, known by the
euphemism “Active Measures,” run jointly by the KGB and the U.S.S.R.’s
Communist Party.
Russia won a cultural battle at Palmyra
The message from Palmyra — reinforced by a video link
to Putin — was that Russia, unlike the West, was defeating the Islamic
State. And it was a useful foil for hiding a more complex Russian agenda. This
includes targeting and attacking “moderate” Syrian fighters who oppose Syrian
President Bashar al-Assad, a longtime ally of Russia, as well as the Islamic
State. It also includes allegedly bombing civilian areas of territories held
not by the Islamic State but by those moderate rebels, driving tens of
thousands of people toward Turkey and the European Union, both of which Putin
vehemently dislikes. That tactic has been called the “weaponization
of refugees.”
When RT
(Russia Today), the global broadcaster funded by the Russian state, ran the
headline “Concert Held in Ruins of Palmyra to Honour
Victims of Syrian War,” it
failed to mention that the Syrian government, Russia’s ally, had slaughtered
the majority of those victims. Anyone interested in where Russian bombs have
actually fallen should download the Atlantic Council’s Distract, Deceive, Destroy report.
These alleged tactics, while morally depressing and possibly illegal,
show an extraordinary meshing of violent and nonviolent methods and tools:
military, cultural, political and economic, going well beyond the standard
Western conception of “hybrid” war.
But Russia lost the next one, at Eurovision
Less than two weeks later, Russia
received a cultural dressing-down from Jamala.
After her victory, some Russian politicians
predictably complained. Konstantin Kosachev, chairman of the Foreign Affairs
Committee at the Federation Council, called it a victory for geopolitics and for war in a 15 May Facebook post. Equally predictable was the
Ukrainian government’s reaction: President Petro Poroshenko declared that
Jamala had spoken to the world — on behalf of Ukraine.
“The truth, as always, prevailed,” he tweeted, calling for Jamala to be made a United Nations goodwill ambassador.
The political/cultural battle continued during the
week. RT reported that a petition was circulating demanding a
review of the competition’s
voting rules and broadcast a news report on its English-language channel criticizing Ukrainian
treatment of the Tatars before Russia’s 2014 annexation “rescued” them.
However, like the Palmyra concert,
Jamala’s music was the handmaiden for a political message — in this case, one
of claimed injustice and oppression. The song delivered that message outside
the narrow worlds of policy wonks, academia and activists, to hundreds of millions
in Europe and globally. Winning Eurovision put Crimea’s Tatars back on the map,
and Russia, softly, in the dock.
Robert W. H. Seely is a research associate at the Changing
Character of War Program, University of Oxford. His area of study is irregular,
unconventional and full-spectrum warfare. Find him on Twitter
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