Putin’s Wars: from Chechnya to Ukraine by Mark Galeotti (2022)

This is a very military history. Seeing as it also covers the decade before Vladimir Putin came to power, and that it is very focused on the minutiae of the Russian Army, Navy and Air Force, as well as details of the various reforms and reorganisations they have undergone during the Putin years, the book could more accurately have been titled ‘A History of The Russian Army, Navy and Air Force, 1990 to 2022’.

Military units

Here’s an example of what I mean by military minutiae. This is Galeotti’s description of the Russian army’s invasion of Chechnya:

From the north Major General Konstantin Pulikovsky led a mechanised force drawn from the 81st and 276th Motor Rifle regiments and a battalion of the 131st Independent Motor Rifle Brigade. From the west Major General Valery Petruk led elements of the 19th Motor Rifle Division supported by two regiments and two battalions of paratroopers along the railway tracks to seize the central station and then advance on the presidential palace. From the east, the 129th Motor Rifle Regiment and a battalion each of the 98th and 104th Airborne Divisions under Lieutenant Colonel Nikolai Staskov would make a similar thrust along the railway line to Lenin Square in the heart of the city and from there take the bridges across the Sunzha river. From the north-east, Rokhlin himself would lead elements of the 255th and 33rd Motor Rifle Regiments and the 66th Reconnaissance Battalion of the 20th Motor Rifle Division to take the Central Hospital complex, while units of the 76th and 106th Airborne Division would secure the Lenin and Sheripov oil processing factories and chemical works to prevent the rebels from destroying these crucial economic assets. (p.61)

The accounts of all the wars feature lots of paragraphs like this, precise accounts of which units under which commanders went where and how they fared in the fighting.

There’s also a lot of analysis of organisational and administrative reforms from between the wars, as Galeotti gives detailed accounts of the attempts of successive Russian defence ministers, most notably Anatoly Serdyukov and then Sergei Shogai, to reform the Russian army against opposition and inertia from the military high command.

Hence the chapter titled ‘New Look Army’ (pages 142 to 152), which gives us detail of how the Defence Minister and head of the general staff implemented the 2010 plan for a new-look Russian army, half the size of its predecessor but better equipped and better trained, with better retention of conscripts, fewer but better quality senior officers.

Galeotti explains, with maps, the reorganisation of the army into half a dozen military districts, gives a detailed breakdown of what a new-look motorised rifle brigade consisted of (3,800 officers and men) plus a list of all its components (including 1 nuclear, biological and chemical company) and so on. And a similar level of description of the new-look air force and navy, followed by an organogram showing the chain of military command starting with the president and working down.

And then the last 90 or so pages of the original edition of this book (before he added a new chapter about the Ukraine War), pages 229 to 310, present a very detailed review of the current state of all Russia’s fighting forces, army, navy and air forces, along with special forces, paratroopers and black berets, nuclear weapons and so on, as of the time of writing (April 2022).

In this long final section the book turns into a version of ‘Janes Fighting Ships’ only about all aspects of the Russian fighting machine, giving mind-numbing details of the speed, size, range, design and latest versions of a wide range of military kit, from machine guns (the AK12 to replace the ageing AK74) to its sole aircraft carrier (the Admiral Kuznetsov), along with equally excessive detail of each service’s organisational structure, divisions, brigades and so on and so on. Take the opening of the Spetsnaz section:

The Spetsnaz comprise seven regular brigades of various sizes, in total constituting perhaps 19 battalion-size units called Independent Special Designation Detachments (OOSN) each with around 500 personnel. The relatively small 22nd Brigade has just two OOSN, the 173rd and 411th, for example, while the large 14th Brigade… (p.292)

And so very much on, for page after page after page of excruciating detail.

I was looking for a book about the geopolitics of Putin’s Wars and that’s certainly here, attached to his fairly brisk accounts of each conflict, and when he summarises it, Galeotti is very good. But his accounts of the political background to each conflict, and even the wars themselves, take second place to his forensic analysis of Russian fighting forces and how they have changed and evolved since 1990.

Military biographies

As for the key political and military players, as the book trundled on I realised Galeotti was devoting quite a lot of time to them. All the key players in the 30-year period of the Russian army which he covers are given potted biographies. Putin is the most obvious one, along with sometime prime minister Dmitry Medvedev, but all the defence ministers, the key generals in each of the wars, and the leaders of the respective nationalist or independence uprisings, all are given a half-page potted biography (for example, the extended profile of key defence minister Sergei Shogai on pages 155 to 159).

Slowly this builds up into a sort of indirect social history, because all of them grew up in the ’60s, ’70s or ’80s, their life stories include snapshots of their lives and careers during the late Cold War, the Afghan War, the chaos of the Yeltsin years and so on. It isn’t a collective biography but, taken together, the many individual biographies begin to sketch out a network of real lives, and so start to give a feel for the institutional life of the last years of the Soviet Union.

The 1990s

For Russia the 1990s were a decade of chaos at home and humiliating conflicts abroad. The army almost fell apart amid the chaos following the end of the Soviet Union and economic collapse: stories of soldiers reduced to begging in the streets and even dying of malnutrition. In February 1991 the Warsaw Pact, which had been the West’s bogeyman since its inception in 1955, was formally disbanded.

Prime example of the chaos was how nationalist President Boris Yeltsin inherited a Duma packed with communists who blocked his every move, the standoff escalating to a crisis in October 1994 when pro-communist crowds seized TV channels and the Duma building, which prompted Yeltsin, on 4 October 1993, to send in the army who shelled their own parliament building, starting a fire which ended up gutting it. Like some chaotic Third World country.

Putin was manoeuvred into power by the KGB and other forces who wanted social and political stability after a decade of chaos under Yeltsin. As you’d expect, there are pages detailing Putin’s non-descript career, how he came over as loyal, reliable and dependable to a series of powerful men, until shadowy forces in the KGB and military helped broker the deal whereby Putin was nominated by Yeltsin to be his successor as president, on condition that he passed an act of immunity freeing Yeltsin from prosecution for his umpteen acts of corruption. Putin was made president in December 1999 and his first act was to pass this immunity law for drunk Boris.

All this Russian drunkenness, chaos and corruption is amusing to read about but the point that matters is that Putin came to power determined to restore Russia’s status as a superpower. He and his sponsors wanted to Make Russia Great Again (p.169).

‘Near abroad’

Putin wants to restore the territory lost to Russia when all the other Soviet states declared independence. Galeotti quotes a Russian defence minister in 1995 talking about ‘Near abroad’, meaning the countries and territories adjacent to Russia which it dominated for over a century through its Tsarist empire, and then bossed around through the Soviet era. It’s a well enough known phrase for Wikipedia to have an article on it, defining Russia’s ‘near abroad’ as ‘the post-Soviet states (other than Russia itself) which became independent after the dissolution of the Soviet Union.’

This concept overlaps with the nationalist notion of a Greater Russia which transcends modern borders to include all the old Tsarist territories. Both of them justify Russia interfering in, invading and taking control of their neighbours.

Reuniting the Russian people

During the Soviet Union entire populations were moved around the different republics with little concern for the consequences. It didn’t matter in the borderless USSR but it became very important when all the former Soviet Republics became independent states. At a stroke no fewer than 20 million Russians found themselves stuck in ‘foreign’ countries. To put it another way, all the countries bordering Russia contain Russian minorities, sometimes quite sizeable minorities.

The most obvious examples are the large Russian-speaking communities in the Crimea and in Eastern Ukraine which gave Putin the excuse for invading both of them in 2014 but there are also vocal Russian minorities in, for example, all three Balkan states. At any moment Putin might stir them into protests and then use these protests as a pretext for invading, pretty much as Hitler invaded the Sudetenland in 1938, to reunite its protesting Germans with the Fatherland. Which is why the leaders of the Baltic states are so worried.

So Putin 1) believes Russia has total command over its sphere of influence which can be defined as 2) Greater Russia, Russia at its greatest extent under the empire and also, maybe, the Soviet Union, and 3) wants to liberate these Russian communities now in foreign countries and reunite them with the Holy Motherland.

Russian irredentism

Yet another way of describing the same thing is the term Russian irredentism:

Russian irredentism refers to territorial claims made by the Russian Federation to regions that were historically part of the Russian Empire and the Soviet Union, which Russian nationalists regard as part of the ‘Russian world’. It seeks to create a Greater Russia by politically incorporating ethnic Russians and Russian speakers living in territories bordering Russia. This ideology has been significantly defined by the regime of Vladimir Putin, who has governed the country since 1999. It is linked to Russian neo-imperialism.

Insofar as all the old republics of the Soviet Union are now independent nation states, the Putin Doctrine represents a permanent threat to peace in Europe.

Comparison with Hitler

In many ways it’s like the situation of the German people after World War One. When the victorious Allies imposed the punitive Treaty of Versailles on defeated Germany they redrew the map of Europe so that no fewer than seven million Germans found themselves stuck in countries outside Germany. This was partly what Hitler was about with his popular promise to reunite all ethnic Germans in an expanded Fatherland. This, for example – its large German population – was why Hitler demanded the area known as the Sudetenland back from the state of Czechoslovakia, a nation which was only created by the Treaty of Versailles and which Hitler refused to recognise as a real country.

Putin is very close to Hitler’s way of thinking. He, Medvedev, foreign secretary Sergei Lavrov, members of his political party (United Russia), commentators and intellectuals, have all been lined up to claim that Ukraine simply isn’t a country, it has no claim to be a nation state. It was, is and always will be part of Greater Russia.

In his 2021 essay ‘On the Historical Unity of Russians and Ukrainians’, Putin referred to Russians, Ukrainians and Belarusians as ‘one people’ making up a triune Russian nation. He maintained that large parts of Ukraine are historical Russian lands and claimed there is ‘no historical basis’ for the ‘idea of Ukrainian people as a nation separate from the Russians’.

It would be one thing if this was just the view of a particular clique or party but in fact these nationalist, neo-imperial views are very popular across Russia. That’s the real worry. That even if Putin and his entire clique were vaporised it wouldn’t change the fundamental neo-imperial irredentist mindset of the entire Russian ruling class and a large part of its population. Russia is committed to being a source of instability and conflict in Eastern Europe for the foreseeable future…

Russian paranoia

To which we must add Russian paranoia. The whole premise of the Russian forces in all services, of Russian military doctrine, of the vast amount spent on arms and men, is that everyone wants to attack and destroy Russia. All Russian officials toe the Putin line that Russia is permanently under serious threat. Former head of the FSB, Nikolai Patrusheve, is on the record as saying the United States ‘would very much like Russia not to exist as a country’ (quoted p.312). As Galeotti puts it:

We can never underestimate the paranoias and resentments of Putin and his circle… (p.307)

Paranoia is defined on Wikipedia as:

an instinct or thought process that is believed to be heavily influenced by anxiety, suspicion, or fear, often to the point of delusion and irrationality. Paranoid thinking typically includes persecutory beliefs, or beliefs of conspiracy concerning a perceived threat towards oneself i.e. ‘Everyone is out to get me’.

If it’s a mental illness or psychiatric condition then the entire Russian military-political establishment is mentally ill.

Weakness of the Russian army

However, when he came to power Putin faced a simple challenge which was the army left to the Russian Federation after the collapse of the USSR was in very poor shape and this book is very largely about the efforts of his successive defence ministers, and hand-picked senior military staff, to reform and improve it.

Early on Galeotti mentions all kinds of reasons for the Russian army’s weakness. Obvious ones were chaos, mismanagement and universal corruption. The tradition of building a mass army of over a million using reluctant conscripts. The way the conscripts were signed up in two waves, in the spring and autumn, ensured lack of overlap and consistency. Galeotti also says the Russian army has a long-standing problem because it lacks the rank of non-commissioned officer that the British army has, the rank of men who’ve risen from private, command the trust of and speak the language of the ordinary soldiers, can convert officers’ orders into do-able actions.

Another problem was the Russian army has a centuries-old tradition of hazing, dedovshchina or ‘grandfathering’. Like everything Russian this is the legitimisation of brutal bullying designed to turn raw recruits into ‘men’. But, as well as regularly actually killing them, it of course does nothing of the sort, turns no-one into ‘men, it just brutalises them, preparing them to rape, pillage and torture whatever foreign population is unlucky enough to be occupied by them.

Then there was the vast problem of out-of-date equipment. Galeotti has passages throughout the book detailing the shortcomings of all kinds of Russian military kit, from tanks to body armour. The lack of reliable radios and communications led to friendly fire incidents in all the wars he describes. Half the Russian planes and helicopters shot down in the short Georgian war (7 to 12 August 2008) were shot down by their own side.

Hence the central thread which the book comes back to again and again, which was the efforts of successive defence ministers to reform the army, navy and air force at all levels, in all ways. Maybe the book should have been titled ‘The Reform of the Russian Army 1990 to 2022′.

Bad advice

I was amused that Yeltsin was encouraged to embark on the First Chechen War (11 December 1994 to 31 August 1996) by his advisers and Minister of Defence, who assured him they would take Grozny and pacify the country in a matter of weeks, that it would be a ‘bloodless blitzkrieg’ (p.56). The Russian attack began in November 1994 and was dogged by failure of every kind – ‘The plan was doomed from the start’.

Compare and contrast the over-optimistic advice given to George W. Bush about the invasion of Iraq, ‘they’ll be welcoming us with open arms and throwing flowers’ etc.

Compare and contrast Britain’s defence staff telling Tony Blair they could easily cope with policing Basra and sending troops to Helmand Province in Afghanistan, no problem.

Compare and contrast the Russian military establishment assuring Putin they could invade Ukraine, overthrow the government and elect a Russia-friendly administration within a week.

These military advisers, eh? Maybe the beginning of wisdom is never trust anything your military advisers tell you.

The First Chechen war (December 1994 to August 1996)

The First Chechen War was a disaster for the Russian army. It has been outsmarted and outfought, even losing cities to a ramshackle guerrilla army. All the inefficiencies, brutality and corruption of the army had been put on public display. (p.67)

The Second Chechen War (August 1999 to April 2000)

This time the Russians had a better plan and knew to advance slowly, pacifying and securing territory as they went, rather than the strategy in the first was which was to race to the capital Grozny leaving all the territory outside under the control of insurgents.

The Russo-Georgian War (August 2008 Russo-Georgian War)

The underwhelming performance of the military in Georgia… (p.88)

In 2008 when mighty Russia took on tiny Georgia, more than a quarter of all the armoured vehicles deployed simply broke down before they even reached the battlefield. (p.239)

It only lasted a week but, according to Galeotti, it was a war of blunders, including the bombing of abandoned airfields, officers lost to friendly fire and advances halted by broken-down vehicles (p.120). From his point of view – concerned with the issue of military reform – this little offensive was important because it gave Shogai and Putin the ammunition they needed to push through their sweeping reforms against resistance from the Army staff.

Annexing Crimea

Crimea had been part of the Russian empire for centuries and only (rashly) given by Nikita Khrushchev to the Ukraine Soviet Republic in 1954. So it was a prime example of the Greater Russia argument, the argument that, at the chaotic collapse of the Soviet Union, many territories which had for centuries been part of Russia were abruptly included in what were suddenly newly independent nations, often against the wishes of their Russian minorities.

Thus Ukrainians in western Ukraine were thrilled when their popular Euromaidan uprising led to the overthrow of Russia-leaning president Viktor Yanukovych and the establishment of a western-friendly government, but the large Russian minority in Crimea was genuinely scared, especially when the Kiev government indicated that they were going to remove Russian as an official language, remove Russian street signs etc. All this played into Putin’s master narrative:

In his 2021 essay ‘On the Historical Unity of Russians and Ukrainians’, Putin referred to Russians, Ukrainians and Belarusians as ‘one people’ making up a triune Russian nation. He maintained that large parts of Ukraine are historical Russian lands and claimed there is ‘no historical basis’ for the ‘idea of Ukrainian people as a nation separate from the Russians’.

Reading Galeotti’s account of the annexation of Crimea, what’s impressive was the lack of violence and Russian brutality. Russia infiltrated special units (Galeotti, of course, gives minute detail of just what units, led by which commanders, were deployed where) to all the key command points before the Ukraine high command had cottoned on to what was happening.

Crimea was an extraordinary military success. (p.178)

Local support

A key point is that a lot of Crimeans are ethnic Russians and genuinely welcomed the annexation. Putin organised a quick referendum and claimed 97% of the population approved the annexation (p.177). Do they think the rest of the world is stupid? Or are they so trapped inside their chauvinist box that they think Soviet-era electoral fictions are viable? Maybe both. They might as well have claimed 200% of the electorate wanted reunification with Russia. This kind of thing brings down derision and contempt on the Putin administration but they don’t see it.

And all along, as Galeotti points out, it isn’t necessary. If they had held a free and fair referendum, chances are the pro-Russian vote would still have won. But the Russian political elite has no concept of what democracy is and how to use it. The heirs to 250 years of Mongol khans and 400 years of tsars and 75 years of communist totalitarianism, the Russian elite literally knows no other way of ruling except via top-down diktats.

Comparison of Russian nationalism and Islamism

A key point, and a running thread through the book, is that in all these conflicts – Chechnya, Georgia, Moldova, Ukraine – the situation was made messy and confusing by the involvement of local militias. Chechnya is fascinating because some of the forces fighting the Russians were straight nationalists but, given the era and the proximity to Afghanistan, many of them were Islamic groups fighting for something else entirely, for the creation of an Islamic Caliphate in the Caucasus.

In a sense this kind of Islamic ideology and Russia’s chauvinism have a lot in common in that 1) they both inspire a kind of messianic intensity of belief and, 2) on a more practical level, that they don’t believe in borders. Greater Russia chauvinism flies free of accepted borders, borders are the enemy, keeping good Russians trapped in foreign countries created by an alien settlement somehow engineered by the perfidious West. Russia will only be great when these invalid nation states are swept away and the borders redrawn to include all true Russians in the genuine Greater Russia.

Identically the same with Islamist ideology, which believes all the borders and nation states of the Middle East were created by Western imperialists and the region will only be strong and pure when all believers are united in the restored caliphate, free of the trappings of the imperial West.

It’s a match made in heaven.

The role of militias in near Russian countries

To come back to the role of local militias, something which makes all the Russia wars feel very distinctive is that they were and are fought in places which are already riven by ethnic and tribal and cultural division. To read about Chechnya and Georgia is to be impressed by how fissile those ‘nations’ already were. The authorities in Georgia’s capital, Tbilisi, had only nominal control over the entire region of South Ossetia which was packed with pro-Russian separatists or, over to the west, on the Black sea coast, with the region of Abkhazia, ditto.

These are ‘countries’ which 1) already featured a large pro-Russian community and 2) were and are characterised by a high level of clan and tribal attachment which converts into tribal politicians, tribe-based mafias and, by an easy extension, clan-based militias.

The complicated role played by local militias in very clan-based, feuding societies is a central feature of all these conflicts.

Donbas and beyond

And continued in the Ukraine. For even as he was infiltrating his troops into Crimea for what proved to be a surprisingly bloodless annexation (February 2014), Putin was also encouraging local pro-Russian militias in eastern Ukraine.

The fascinating aspect of Galeotti’s account is how the conflict in the Donbas region of eastern Ukraine began spontaneously, with coalitions of independence politicians, activists, and rag-tag militias taking on the Ukrainian authorities. It certainly wasn’t a carefully planned operation like the annexation of Crimea, the opposite, and for some time the Kremlin didn’t know how to react. To begin with they began to siphon military hardware to the more successful pro-Russian militias, followed, after some months, by military advisers.

Galeotti says that in these early phases the aim was to warn the new pro-western regime in Kiev of the consequences of allying with the West, no more. However, as the Ukraine army got its act together and, working with pro-government militias, began to drive the pro-Russia forces East, the Kremlin had to decide whether to acquiesce in their defeat or escalate. They chose to escalate and sent in regular Russian troops, breaching the sovereignty of a European nation (p.187).

Galeotti describes the two ceasefire treaties, Minsk 1 and Minsk 2, their predictable failure, and the settling down of the problem into a permanent low-level conflict. It reminded me of some of the civil wars I’ve read about in Africa, contested borders, governments relying on local militias, all sides using exemplary violence i.e. carrying out atrocities on unarmed civilians designed to warn other villages and towns to surrender without a fight.

As 2014 turned into 2015 and 2016 the Ukrainians reformed and reinforced their army with a huge recruitment drive, better training, new kit. They drove the rebels back but could never win because whenever they looked close to victory, the Russians deployed a regiment to block them.

So the pattern was one of on-off ceasefires, trench warfare, sporadic local fighting, mutual sniping and shelling, and equally mutual recrimination, until 2022 when Putin decided that it was time to break the stalemate. (p.191)

Syria, the unexpected intervention

We in the West think the Arab Spring was a spontaneous uprising of oppressed peoples across the Middle East to overthrow their corrupt old rulers. See my review of:

From the paranoid perspective of the Kremlin, though, it looked a lot like the uprisings were the work of a West systematically getting rid of traditional Soviet allies (Gaddafi, Saddam, Bashar al-Assad). At the UN, Russia acquiesced in the West’s bombing of Libyan forces but felt betrayed when this led not to a ceasefire but to the overthrow of Gaddafi. All of this, of course, was in light of America’s overthrow of Saddam Hussein in 2003 which led not to a pleasant democracy but the collapse of the Iraqi state and chaos within and beyond its borders.

So Russia had at least three reasons for stepping in to prop up the Assad regime:

  1. the Assad family had been a friend and ally in the region: why not make him really indebted to you by saving his skin?
  2. as a message to America that Russia, too, could throw its weight around / be a regional force in the Middle East
  3. genuine concern that if Assad, too, fell, the whole Syria-Iraq strip of territory would fall to ISIS or other Islamist groups, which Russia has genuine cause to fear

Regarding ISIS, see my review of:

Regarding the international aspects of the Syrian civil war, see my review of:

The events of the Syrian civil war are complicated. But for Russia its intervention was surprisingly successful. It showed itself and the West that it could project its power significantly beyond its borders. It saved an old ally, thus bolstering its credibility. It served as a useful blooding ground for large parts of the Russian army, navy and air force, which were rotated through the theatre. It allowed the military to road test new technology, especially new drones, and to road test new doctrines and strategies for different situations and types of engagement.

It also marked the high point and maybe eclipse of the Wagner group of mercenaries, who were vital in holding the line during some attacks alongside the prone-to-run-away Syrian army, but also taught the Russian high command to keep them in their place.

Invasion of Ukraine

The 2022 invasion of Ukraine and the poor performance of Russia’s troops… (p.89)

Requires a post of its own…

List of post-Soviet conflicts Russia has been involved in

  • Transnistria war – November 1990 to July 1992
  • First Chechen war – December 1994 to August 1996
  • Tajikistan civil war – May 1992 to June 1997
  • Yugoslavia – 1992 to 1995 Russian forces were part of the UN peacekeeping force
  • Second Chechen War – August 1999 to April 2009
  • Russo-Georgian War – 7 to 12 August 2008
  • Russian forces joined international anti-pirate patrols off the coast of Somalia
  • Annexation of Crimea – February 2014
  • Start of Donbas war – February 2014
  • Syrian civil war – from 2015 Russian forces supported the Assad government
  • Second Nagorno-Karabakh War – 27 September to 10 November 2020 –Russia sent peacekeeping force in 2021
  • Invasion of Ukraine – 20 February 2014 to the present

Table of contents

For your information, here is a straight copy of the book’s table of contents, from which you can see its comprehensive scope and level of detail:

1. Before Putin

  1. Born in chaos
    • The Soviet Disunion
    • The August coup
    • Boris Yeltsin: the man without a plan
  2. A military in crisis
    • An army gone bad
    • Nukes for sale?
    • Bringing the boys back home
    • Empty dreams
    • ‘Pasha Mercedes’
  3. The first Chechen war
    • Resistance and resentment
    • High hopes, quick defeats
    • The plan
    • Taking Grozny…
    • … and losing Grozny again
  4. The wars of Russian assertion
    • Moldova’s post-Soviet hangover
    • Central Asia: the Tajikistan contingent
    • Balkan dash

2. Enter Putin

  1. Putin’s priorities
    • Who is Vladimir Putin?
    • Putin in charge
    • Putin’s ministers
  2. The second Chechen war
    • Round two
    • Retaking Grozny
    • Operation Wolf Hunt
    • The creation of ‘Kadyrovstan’
    • Lessons learned
  3. Ivanov, the Initiator
    • My name’s Ivanov, Sergei Ivanov
    • The spy and generals
    • Ivanov’s reforms
    • Size does matter
  4. Sedyukov, the Enforcer
    • Enter the taxman
    • Serdyukov’s purge
    • And enter Makarov
    • The Georgian excuse
  5. Georgia 2008: Tblisi’s move…
    • Harbingers
    • Provoking a war
    • The Georgian advance
    • The battle for Tskhinvali
    • The Russian advance
  6. Georgia 2008: …Moscow’s counter
    • The tide turns
    • The Abkhaz front
    • The audit
    • Did anything work well?
  7. ‘New Look’ army
    • Command and control: unified battle management
    • The ground forces: divisions to brigade
    • The air forces: rationalised
    • The navy: integrated at last
    • The airborne: survival

3. The New Cold War

  • Shoigu, the Rebuilder
    • Who is Sergei Shoigu?
    • ‘A servant to the tsar, a father to the soldiers’
    • General Gerasimov
    • Rearmament and recruitment
    • Ready for action
  • Crimea, 2014
    • Russia and Ukraine
    • ‘Returning Crimea to Russia’
    • Taking Crimea
    • Enter the ‘little green men’
    • ‘Crimea is ours’
    • An audit of the operation
  • Donbas, 2014-
    • Strelkov’s spark
    • A war of irregulars
    • The ‘Northern wind’
    • The fixing of the conflict
    • Stalemate
  • Lessons of the Donbas war
    • Command and control in a proxy war is hard
    • Information warfare is a powerful force multiplier
    • Implausible deniability has its place
    • Drones are the next big thing
  • Syria 2015 (1): the unexpected intervention
    • A long, bloody war
    • A friend in need
    • Heading to Hmeymin
    • Hmeymin’s hammer
    • Turning the tide
    • Victory of sorts
  • Syria 2015 (2); lessons of the Syrian campaign
    • Airpower is not (usually) enough
    • Mercenaries have their place, but need to know it
    • Brutality can work, but hearts and minds matter, too
    • Frenemies can find themselves in battle
    • A nice little war is good for business

4. Rearming Russia

  1. Rumble for ruble
    • When comparisons fail
    • ‘Let us starve, but let us export’
    • The metal-eaters
    • Buyer beware
    • Modernising the military
  2. Armiya Rossii
    • The battalion tactical group
    • The return of the division
    • Heavy metal
    • Specialised forces for specialised operations
    • Logistics
    • Capabilities
  3. The sky is Russia’s!
    • Always in transition
    • The aerospace forces
    • Defence of the motherland
    • Fist of the motherland
    • Heavy lift
    • Drones
  4. Contesting the sea
    • Never a naval power
    • Rusted, rebuilt
    • Organisation
  5. Power projection: blue and black berets
    • ‘Nobody but us’
    • By parachute, plane or track
    • The black berets
    • ‘Black Devils’
    • ‘Where we are, there is victory!’
    • Underwater sentinels
  6. The Spetsnaz
    • Special people, for special tasks
    • Tip of the spear
    • Putin’s Spetsnaz
    • The special operations command
  7. The nuclear backstop
    • Post-Soviet armageddon
    • Rail, road and tube
    • Under the waves
    • Strategic aviation
    • Modernisation and magic
    • Why nukes matter so much [they bolster Russia’s sense of itself as still a superpower]

5. The Future

  1. Political warfare
    • The rise of the spooks
    • Hybrid, ambiguous, non-linear, political
    • Outsourced warfighters [the Wagner group]
    • Information warfare
  2. New generation warfare
    • Small wars
    • Limited deployments
    • Big wars
    • Escalation, de-escalation and lesser apocalypses
  3. The challenges of the future
    • The Western flank
    • … And the turbulent South Caucasus, too
    • Central Asia: instability and jihad
    • China, the great frenemy
  4. Ukraine 2022: Putin’s last war?
    • Not the generals’ war
    • A police action, not a war
    • From Kyiv to the Donbas
    • How hubris destroyed a military
    • Deadlock
  5. Conclusions: the Eurasian Sparta?
    • A nation under arms?
    • The military myth
    • The security state?
    • A weak hand played well
    • After Putin?
  6. Ukraine 2023: a dispatch on a war in progress
    • The paradox of reform
    • War Putinism
    • The mutiny
    • The war in Russia
    • The imagination race
    • Prospects

General conclusions

The whole spectacle confirms my strong feeling that human beings simply cannot govern themselves. The naive expect humanity to take some kind of concerted action against climate change. Really? With people like this in charge?

Are modern wars doomed to failure?

Are modern wars winnable? When was the last time either Russia or America actually won a war?

For the Russians – Afghanistan, Chechnya, Georgia, Yugoslavia, Syria, Ukraine.

For the Americans – Vietnam, Afghanistan, Iraq.

Russian lies

I watched the BBC TV series ‘Putin and the West’ in which French president Francoise Hollande and British Prime Minister David Cameron baldly stated that Putin is a liar. Hollande said not only is Putin a liar but his entire approach to diplomacy is to lie, his strategy is based on lying about everything.

The Russians even lie when the lie is so blatant and absurd it damages their own cause. Galeotti’s book contains some nice examples. In 1993 during the Georgian war the Russians broke a ceasefire agreement by bombing Sukhumi while it was still held by Georgian forces.

Russian defence minister Grachyov responded with the implausible and widely derided claim that these were Georgian aircraft painted with Russian colours, bombing their own positions as a provocation. (p.122)

In moments like that you can see how lying is such second nature to the Russian establishment that it can’t see how stupid and ridiculous it makes them look to the outside world. This was captured in a recent press event in Delhi where Russian foreign minister Lavrov claimed the Ukraine war started when Ukraine attacked Russia and went on to claim that Russia was trying to halt this unfortunate war.

This is Göbbels-level lying which is so absurd that it makes you worry about the sanity of the Russian leadership. Putin ordered the military invasion of Ukraine but, having read Galeotti’s book it’s easy to think that Putin and his circle genuinely believe that they invaded the territory of a neighbouring country because they genuinely see Ukraine’s defection to the West as a kind of attack on Russia, on Russia’s idea of itself, on the Russian nationalist belief that Ukraine and Belarus aren’t independent nations at all. They felt culturally, psychologically and strategically ‘attacked’ and so sincerely believe that the military invasion was a justified response to the Ukraine government’s insult and threat to Russian hegemony.

At moments like this you can see how the Russian elite inhabits a different mindset, in effect a different reality, from the rest of the world, utterly blinded by their Greater Russia nationalism and prepared to do anything to protect it.

But there is, of course, an alternative interpretation, which is that a lot of these lies uttered in public fora are for domestic consumption. Edited by Russia’s totally cowed and quiescent media, they can then be broadcast on the nightly news, with the laughter track removed and roars of applause edited in.

Yes, it’s important to remember that the Russian government lies to everyone including its own people, and that if anyone finds out the truth and starts broadcasting it they are quickly locked up or pushed out a window or die of mystery poison. But then being lied to by your government is another venerable old Russian tradition. This isn’t my prejudice, it is a factual point Galeotti makes over and over again:

Russians have decades’ or even centuries’ experience of being lied to by their governments, especially regarding wars… (p.375)

The Russian bearhug

There’s a hoary old proverb about Mexico, ‘Poor Mexico! So far from God, so close to the United States!’ How much more true this is of every nation which borders Russia today. China, Mongolia and Kazakhstan probably needn’t be too worried, too big, nothing to steal.

But poor Georgia, Belarus, Latvia, Estonia and Finland – the Putin Doctrine, the concepts of Greater Russia, near abroad, Russian irredentism, Russian neo-imperialism, Russian nationalism – all these variations on the same theme mean the leaders and peoples of those countries must be permanently anxious about whether Russia will attack and invade them next.

It’s unlikely, seeing as most of the Russian army’s resources are deployed to – and being consumed in – Ukraine. But in planning for the future, the next five, ten years, should they be factoring in invasion by Russia?

Thank God there’s the whole length of Europe between my country and the resentful, angry, permanently aggrieved Russian bear.

War with China?

Although I’ve spent my entire life worrying about a nuclear war, subjected to movies and novels and documentaries about the horror of a nuclear war with the USSR or Russia, and although Putin and his mouthpieces go on and on about the threat from ‘the West’, Galeotti disarmingly says Russia is never going to face the threat of an invasion by NATO. Do you think the people of Belgium or Italy or Austria would ever want to attack Russia? Why? Let its people stew in the repressive authoritarian culture which they seem to love and recreate in every generation.

Galeotti argues that the real threat is China. The majority and the best Russian armed and air forces are concentrated in the west of the country, all on high alert for the mythical invasion by Holland and Denmark and Lithuania which is never going to come. But what about the vast area of Siberia?

Galeotti explains that during the imperial nineteenth century Russia seized large bits of territory from China. In principle these borders were re-agreed by a treaty of 2008, but what if China wants them back? Russia’s border with China is 4,000 kilometres long and very thinly protected (p.339).

The relationship between China and Russia is set to become more asymmetrical with China increasingly becoming the economic master and Russia the vassal. Deprived of trade with the West because of Ukraine sanctions, Russia is increasingly forced to sell its oil and gas to China which is aware of its partner’s weakness. What if China’s demands for unequal trade deals slowly, steadily increase? And apparently there has been growing concern in the FSB, some of it expressed publicly, at the growth of Chinese cyber activity against Russia, spying and hacking. And what about China’s growing influence in the five vast ‘stan’ countries to Russia’s south, Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan, and Uzbekistan, where Chinese promises of investment and cash prove more attractive than Moscow’s penniless bullying? Likelihood is all these tensions will slowly ratchet up, the direction of travel is one way, with Russia contracting before an ever-growing China…

All of Russia east of the Urals is serviced by just two enormous train lines both of which could be easily ruptured and then none of its western forces could be redeployed. Any incursion could not be contained by forces which can’t reach the battlefield and so it is here, out East, that any escalation to battlefield nuclear weapons and beyond is most likely, or least unlikely. Discuss.

Over-optimistic?

The paperback edition of the book has a final chapter written in August 2023 covering the war in Ukraine up to that date and moving onto political conclusions. Galeotti’s account of the war (as of all the other wars he covers) is brisk and very readable, it’s his broader conclusions I question.

Writing in 2022, Galeotti pulls together a raft of evidence to suggest the war has been a disaster for Putin and Russia, it’s the end of the Russian army, public opinion is turning against him, draft dodging is up, there have been firebombing of draft offices, social media is awash with soldiers bitterly complaining about being used as cannon fodder, strongly implying that the president’s days are numbered and throwing in the old canard about him being ill, cancer, some immune disease etc.

It starts out sensible and maybe each of the strands are true, but life isn’t that sweet. There is no justice. Russia is an autocratic nation, ruled for its entire history by lying dictators. It’s not being pessimistic, it’s being coldly realistic, to assume that this will never change.


Credit

‘Putin’s Wars: from Chechnya to Ukraine’ by Mark Galeotti was published by Osprey Publishing in 2022.

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Boris Mikhailov: Ukrainian Diary @ the Photographers’ Gallery

From the press photos I wasn’t anticipating too much but ‘Boris Mikhailov: Ukrainian Diary’ turns out to be a really interesting and rewarding exhibition, fully deserving the two floors of gallery space given over to it.

First room of Boris Mikhailov: Ukrainian Diary @ the Photographers’ Gallery

One of the problems is the promotion web pages and images just show one photo at a time and some of them look a bit meh, don’t feel that good, as a group they don’t add up to a unified look’ etc. It’s only when you get to the exhibition that you realise a number of key facts which transform your understanding.

1. Amateur Boris Mikhailov got into photography by accident, had no formal training, and so was free to invent and make things up. A lot of these innovations are really interesting.

2. Articulate Mikhailov is a very good explainer of his own work, so the wall labels which explain it are not only informative but his explanations of his innovations are unusually inspiring and interesting.

3. Bad photography One of these was the simple idea of bad photography. In the Soviet Union photography was a profession like any other, heavily controlled by the state with approved styles and qualities to promote uplifting images of perfect life in the workers’ state.

Mikhailov opened up a whole new world when he realised that bad, out of focus, poorly framed, damaged images were themselves a valid aesthetic, and a political statement. Badly printed, damaged or poor-quality productions were, he realised, the appropriate response to the shabby reality of Soviet life: ‘lousy photography for a lousy reality’. This explains why some of the images, when seen in isolation on a web page are only meh, whereas seen en masse, and accompanied by an eloquent explanation, they gain so much more power.

4. Sets It also explains why Mikhailov’s images are conceived and designed to be seen in sets and the sets don’t just represent a new subject, but the best of them embody an entirely new technique and way of thinking about photography. As he explains:

‘The idea that a single picture contains maximum information is a lie; I don’t believe in absolute truth. Exploring something from many different angles gives you a heightened sense of the truth. I need the sum of the images, the sum of the sequences in order to cast doubt on the correctness of one single, possible perception. The vibration between the images expands their possibilities.’

Biography

Born in Kharkiv, Ukraine in 1938, Boris Mikhailov is a self-taught photographer. Having trained as an engineer, he was first introduced to photography when he was given a camera to document the state-owned factory where he worked. He took advantage of this opportunity to take nude photographs of his first wife – an act forbidden under Soviet norms – which he developed and printed in the factory’s laboratory. He was fired when the photographs were found by KGB agents. From then he pursued photography full time, using it as a subversive tool and operating as part of the underground art scene.

His work first gained international exposure in the 1990s with the series ‘Case History’, a shockingly direct portrayal of the realities of post-Soviet life in the Ukraine. Having learned of him via his post-USSR collapse photos, Western fans were then able to go back and review his subversive works from the 1970s and ’80s. This exhibition presents the complete body of his work in chronological order.

‘Ukrainian Diary’ brings together work from over twenty of Mikhailov’s most important series, including:

Slideshow: Yesterday’s Sandwich (mid-’60s to 1970s)

One day he threw a couple of slides onto his bed and they stuck together. When he held the stuck slides up to the light he realised they made a dramatically surreal image and hence was born the series ‘Yesterday’s Sandwich’. As he experimented with the technique he realised the juxtaposition of random images could be thought of as reflecting the dualism and contradictions of Soviet society.

His commentary is fascinating. He explains that the 60s and 70s were a time, in all the countries of the Soviet bloc, of hidden messages and secret codes. No-one took official propaganda seriously but all organs of free expression were ruthlessly suppressed. Hence codes and secret signs and hidden allusions. In actual fact no particular ‘message’ emerges from these images except a surreal subversion of the normal, logical, sensible everyday world.

Nearly 100 of these wonderfully funny, crazy, surreal images are here displayed as a slideshow projected onto the wall of a darkened space in the gallery. For some reason they are displayed to a severely edited version of the classic Pink Floyd album, Dark Side of the Moon’ which Mikhailov considers an ‘exaggeration of beauty’ conveying a kind of ‘paradise lost’. It makes it an even more surreal experience, watching images from a distant and vanished society accompanied by such a familiar homely soundtrack.

Installation view of Boris Mikhailov: Ukrainian Diary @ the Photographers’ Gallery showing one of the composite images in the Yesterday’s Sandwich slideshow (photo by the author)

Black Archive (1968 to 1979)

‘Black Archive’ documents everyday life in Kharkiv, often revealing the disparity between public life and private life in domestic spaces. Under Soviet rule it was forbidden to photograph everyday life and so Mikhailov was forced to hide his camera in order to take furtive snapshots, often taken from behind and at odd angles. By contrast, the private sphere of people’s apartments was a space of freedom, most vividly expressed in the carefree nudity of many of his subjects.

But in the series Mikhailov also deploys his concept of ‘bad photography’— the deliberate production of sloppily printed, blurred, and low-contrast images full of visible flaws — as a metaphor and a tool for social critique.

Red (1968 to 1978)

The set ‘Red’ brings together more than 70 images taken in Kharkiv in the late 1960s and 1970s, all of which contain the colour red. From the wall labels we learn that red was a powerful symbol of the Russian Revolution (1917) and of the Soviet Union (1922 to 1991). Its presence in these varied photos indicates the extent to which communist ideology saturated everyday life. As usual Mikhailov explains all this in his vivid and fascinating way:

‘The word “red” in Russian has the same root as the word for beauty, it also means revolution and evokes blood and the red flag. Everyone associated red with communism. But few people realised that red had permeated all our lives. Demonstrations and parades are an important part of this series. It’s a place where one of the main images of Soviet propaganda—the face of happy Soviet life, secure in its future—was created. They became absolutely kitschy and vulgar… I sometimes felt that I was surrounded by a herd of cynics, victims, and fools, followed by people wearing red ribbons as if they were policemen. As if the regime was using the people’s desire to celebrate for its own ends. And it was important to me to photograph them in such a way that you could tell the “Soviet” from the “human”.’

From the series ‘Red’ by Boris Mikhailov (1968-75) © Boris Mikhailov, VG Bild-Kunst, Bonn, Courtesy Boris and Vita Mikhailov

Luriki (Coloured Soviet Portraits) (1971 to 1985)

After losing his job as an engineer, Mikhailov managed to make a living as a commercial photographer, sometimes working on the black market, enlarging, retouching, and hand-colouring snapshots of weddings, newborns or family members lost in the war.

In what is considered the first use of found material in contemporary Soviet photography, Mikhailov then appropriated and reworked these manipulated photographs for his own practice. Often using vibrant or exaggerated colours, he made them more ‘beautiful’, staying within the law while simultaneously mocking the way Soviet propaganda glorified mundane events.

By means of these simple techniques, Luriki comically undermined the absurdity of the iconography of Soviet life. Grouped together, the pictures are like a Soviet family album, a collection of surreal, ridiculous situations.

Installation view of Boris Mikhailov: Ukrainian Diary @ the Photographers’ Gallery showing one of the Luriki images (photo by the author)

Dance (1978)

Apparently open-air dancing was a popular activity in Soviet Kharkiv. Mikhailov has a lovely set depicting people of all ages, sizes and shape, in 1970s Soviet clothes, sedately dancing, quite often women dancing with other women.

Installation view of Boris Mikhailov: Ukrainian Diary @ the Photographers’ Gallery showing some of the Dance photos (photo by the author)

Series of Four (early 1980s)

One wall is covered with these images grouped into sets of four. This came about by accident. Mikhailov set out to wander the streets of Kharkiv and take photos of nothing, of non-events, designed to capture the boredom and emptiness of Soviet life. But when he came to make contact prints he realised he didn’t have small-format paper so he put four images together on one sheet. At a stroke he realised he’d created something: the multiple points of view of the same scene creates complex effects. Suddenly a boring scene becomes part of a fragmented, multi-angled world. Presented in this way, they can also have a cinematic effect, telling a story in snapshots. And another effect is to create out of a mundane non-space a kind of cocoon, creating a compression of space, imbuing an anonymous nowhere with strange fugitive meanings.

Installation view of Boris Mikhailov: Ukrainian Diary @ the Photographers’ Gallery showing some of the Series of Four photos (photo by the author)

Crimean Snobbism (1982)

Mikhailov went to Gursuf, a seaside resort on the Crimean Peninsula and took portraits of himself, wife and friends frolicking by the seaside, adopting holiday poses etc. As with many of his sets, Mikhailov gave them a sepia tone, making them feel historic and detached from the present, and also suggesting their subversive intent. Because the entire set is intended as a parody of the kind of carefree, bourgeois lifestyle then associated with ‘the West’ and far beyond the reach of your average Ukrainian citizen, and which he satirises in phrases: ‘We’re so happy. We’re so beautiful. We’re so in love etc’.

Viscidity (1982)

In another interesting experiment, in the early 1980s Mikhailov started combining text and image together in a conceptual way: he glued his photographs carelessly onto sheets of paper, then scribbled thoughts—banal, poetic, or philosophical—in the margins. His fragmentary thoughts were not intended as captions, nor to illustrate or elucidate the photographs; they were often utterly unrelated to them and intended to be equally important, a composite reflection on the social stagnation of the Soviet Union.

‘Viscidity’ is the word he used to describe the period the country was living through at the time — ‘a peaceful, quiet, featureless, dull life, a time of deep political stagnation, a frozen day-to-dayness. There was no catharsis, no nostalgia, just grey, everyday life. Nothing was happening, nothing was at all interesting.’ Hence ‘lousy photographs with these lousy texts’, ‘unchanging ordinariness and timelessness.’

Unfinished dissertation (1984-5)

On the back of the tattered pages of a stranger’s university dissertation found in a rubbish bin, Mikhailov pasted poorly printed black-and-white photos of inconsequential moments and then jotted down his thoughts about art and life in the margins. The photos don’t synch with the text, neither shedding light on each other, except obliquely.

Salt Lake (1986)

Mikhailov’s father used to tell him about a salt lake in southern Ukraine where people went to bathe in the 1920s and ’30s, believing that the warm, salty water had healing properties. When Mikhailov went to visit himself he found the crowds of people on the beach near to a disused old factory, washing themselves in the factory pipes and smearing themselves with mud.

He found it ‘the quintessence of an average person’s life in the Soviet context. Despite the horrible, polluted, inhuman environment, the people were relaxed, calm, and happy.’ To the modern Western ye, this looks like a gallery of grotesques in a grim, squalid environment.

Later Mikhailov toned his images sepia, like photographs from another era and explains: ‘There was a kind of an interplay there, a fusion between the old and the new. Old, because it was something my father had seen, and at the same time a reality that still existed… An elaboration of an idea I’d explored before: we’re both there and not there, it’s both today and a long time ago.’

Installation view of Boris Mikhailov: Ukrainian Diary @ the Photographers’ Gallery showing some of the Salt Lake photos (photo by the author)

By The Ground (1991)

When the Soviet Union collapsed in 1991, Mikhailov took to the streets with his panoramic camera slung low around his waist. While the panoramic format is conventionally used for sweeping vistas and beautiful landscapes Mikhailov captured bleak street scenes which captured the shabby poverty of the streets.

Mikhailov also devised a protocol for installing the series: the prints are hung low on the wall, forcing the viewer to stoop down to see the images, as if to bring us closer to his subjects. As with previous sets, he also treated the images, toning the silver prints brown, imbuing them images with a sense of nostalgia. As always his own comments on his process are fascinating:

‘I “aged” the images by toning them in sepia… embedding the photos in layers of time to trigger parallel, photo-historical associations, to show that photography has become as elusive as existence itself.’

Installation view of Boris Mikhailov: Ukrainian Diary @ the Photographers’ Gallery showing some of the By The Ground wide-angle photos (photo by the author)

I am not I (1992)

A series of nude self portraits in which Mikhailov parodies traditional masculine stereotypes. The stereotypes he mocks are those promoted by the recently collapsed USSR but they are also recognisable as American stereotypes too. Thus he photographs himself in a range of comic or demeaning poses, wearing an absurd curly wig, holding a toy sword or, most strikingly, an artificial phallus. Like all the sets, these gain in meaning and humour when you see 20 variations next to each other.

From the series ‘I am not I’ by Boris Mikhailov (1992) © Boris Mikhailov, VG Bild-Kunst, Bonn. Courtesy Boris and Vita Mikhailov

Green (1991 to 1993)

In the early 1990s Mikhailov produced a series of hand-coloured photographs known as the ‘Green’ series. The images are suffused with a lingering, toxic green tint to reflect the environmental decay and societal collapse following the fall of the Soviet Union. The series is represented here by a monumental triptych showing a decaying junkyard in an overgrown landscape. The colour green has a particular resonance for Mikhailov who says it is the colour of a swamp and indicates the moss which had grown on Soviet life, a metaphor for Soviet decay.

In earlier sets he had had photographed people living in poverty, drug addiction and social degradation using a disposable camera and cheap gelatin silver paper to evoke awkwardness and fragility. Here, he takes the concept further, using stains and drips of paint on the thin, crumpled paper as if to embody the worn, impoverished landscape and lives he saw around him.

Installation view of Boris Mikhailov: Ukrainian Diary @ the Photographers’ Gallery showing ‘Green’ (photo by the author)

At Dusk (1993)

Shortly after the collapse of the Soviet Union Mikhailov wandered the streets of Kharkiv with a swing-lens camera that took in a 120-degree panoramic view, capturing the life of destitute people on the streets. He tinted all the images a heavy cobalt blue. Why? Several reasons: the colour (along with the title) indicate the transition from day to night. But blue also represents his boyhood memories of the Second World War, of fleeing with his mother on one of the last freight trains out of Kharkiv to escape the Nazi advance. Blue, he explains, is the colour of blockade, hunger and war. Tinting these images of street people the same colour a) indicates the severity of the crisis of poverty which hit his country and b) also produces images of intense and haunting beauty.

From the series ‘At Dusk’ by Boris Mikhailov (1993) © Boris Mikhailov, VG Bild-Kunst, Bonn. Courtesy Boris and Vita Mikhailov

Case History (1997 to 98)

A few years after the collapse of communism, Mikhailov realised that in his hometown of Kharkiv, not only had a new ruling elite of millionaires emerged, but a significant part of the population had also been plunged into poverty. The mid-1990s produced a new group of people, the bomzhes or homeless.

So Mikhailov set about photographing these pitiful people, right at the bottom of society. He produced a series of 400 raw portraits. As with other sets, he deliberately transgressed the codes of photojournalism by paying his subjects, and he and his wife Vita also often offered them hot meals in exchange for posing. Some of the poses are stage in the manner of the Pietà or the Descent from the Cross.

This exhibition shows one image of one abject couple blown up on the wall and a display case of 100 small test prints from his archive. They are pitiful to look at.

Installation view of Boris Mikhailov: Ukrainian Diary @ the Photographers’ Gallery showing the one blown-up image and 100 test prints from ‘Case Study’ (photo by the author)

Reflecting on these images the next day, I realised that their abjectness is emphasised by their nudity. What I mean is that, unless you have a buff toned body, most of us already look a bit embarrassing when naked and caught in everyday postures, in the shower, getting out of bed etc. Many (half?) of the shots in the Case History exacerbate the poverty and squalor of the subjects by showing old, ugly, maimed or ill people, naked or half-clothed. What I’m trying to convey is how this nudity powerfully amplifies the general air of degradation and humiliation.

The Theatre of War, Second Act, Time Out (2013 to 2014)

Euromaidan or the Maidan Uprising was a wave of demonstrations and civil unrest in Ukraine, which began on 21 November 2013 with large protests in Maidan Nezalezhnosti (Independence Square) in Kyiv. The protests were sparked by President Viktor Yanukovych’s sudden decision not to sign the European Union–Ukraine Association Agreement, instead choosing closer ties to Russia and the Eurasian Economic Union. Ukraine’s parliament had overwhelmingly approved of finalizing the Agreement with the EU but Russia had put pressure on Ukraine to reject it.

In late December 2013 Boris and Vita Mikhailov documented the protests, photographing protestors who had pitched their tents in the central square in Kyiv. Mikhailov comments that the situation was so tense that scenes felt like they had been staged. ‘The bonfires, the colours, the lights, the people sitting there exhausted — everything created a general feeling of tension. It was unclear how it would all end.’

The protests succeeded in forcing President Viktor Yanukovych to flee to Russia but soon afterwards, on 27 February 2014, Russian forces occupied the Crimea, starting the Russo-Ukrainian War which continues to this day.

Thoughts

Many of Mikhailov’s images are very strong in their own right, and display adeptness in an extraordinary range of styles, from the photojournalism of Salt Lake to the nostalgic surrealism of Yesterday’s Sandwich, the warlike intensity of the At Dusk series to the blistering poverty porn of the miserable Case Histories.

But as well as the appeal of individual images, or the impact of specific sets, the exhibition as a whole builds up into a powerful portrait of life in a Soviet state – to the shabby, unhealthy, stiflingly boring nature of life under communism – and then after 1990, to the catastrophic collapse in living standards for large swathes of the population in post-Soviet society.

It’s not only an impressive body of work by a consistently inventive and innovative artist, but a powerful portrait and indictment of life in Soviet and post-Soviet regimes.

Video

This is not the usual 30-second exhibition promotional video but an extended, 14-minute-long interview with Mikhailov which really brings over how articulate and interesting he is.


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Our Bodies, Their Battlefield: What War Does to Women by Christina Lamb (2025)

Warning: This review contains details of really disgusting and evil sexual violence perpetrated against women and girls that goes far beyond rape. If you’re of a sensitive disposition or prone to nightmares, don’t read it.

The more places I went to, the more prevalent I found rape was.

‘It is an everlasting nightmare.’
(Lola Narcisa Claveria, Filipino survivor of Japanese sex slavery, page 351)

This is a deeply upsetting but profoundly important book, often devastatingly depressing but sometimes genuinely inspiring. Christina Lamb is an award-winning journalist who has covered a variety of warzones in her career as well as writing 10 factual books. From early in her career she realised just how prevalent rape was as a weapon of war, not just as random outrages, but used systematically to demoralise enemy forces and terrorise entire populations. What she learned about the vicious sexual abuse of women in conflict after conflict was sickening and disgusting. But she also came to realise that the scale of the violence and abuse against women was often overlooked in journalism and history books overwhelmingly written by men (p.459); and by international bodies and courts more often than not run by men.

Everything has to start with the evidence and this means the first-hand testimony of the survivors. Telling their stories not only offers some form of closure for the victims, and the psychological validation of knowing someone believes them. It is also the start of gathering evidence, for use not only in possible court proceedings but to begin to be used in larger historical narratives, to begin to redress the gaping silence about one of the most overlooked and neglected parts of war and conflict – the unspeakable crimes, violence and abuse directed against women and girls, often on an industrial scale.

‘When I saw them laughing and humiliating us, I decided we needed to break the silence. If we didn’t talk about what we went through, and if they were not punished, what could we expect from their children but the same or greater evil?’ (Bakira Hasecic, founder of Association of Women Victims of War in Bosnia, p.167)

And so this substantial book (474 pages) records Lamb’s odyssey, over a seven year period, to track down, interview and record the testimonies of women who have suffered unbelievable horrors in conflict after conflict around the world.

Destinations

Lamb goes to:

2016 August: Leros, Greece The Greek island of Leros was used to house refugees from war in the Middle East including Yazidis who had been enslaved and trafficked by Islamic State.

2016: Baden-Wurtenberg The German province which took in 1,100 Yazidi women and children who had been treated as sex slaves by ISIS.

2016: Northeastern Nigeria: On 15 April 2014 the brutal Islamic terror group Boko Haram kidnapped 276 mostly Christian schoolgirls from the town of Chibok and carried them off into sexual slavery. #BringBackOurGirls or #BBOG went viral. Hardly any of the girls have been recovered.

2017 December: Bangladesh: Kutupalong To interview survivors of the 2017 massacres and mass rapes of Rohynga women by Burmese soldiers. In three months more than 650,000 were driven out of the west Burmese state of Rakhine, two-thirds of the Rohynga population.

Every single shack had terrible stories and I had never come across such widespread violation of women and girls. (p.75)

Bangladesh: Liberation War Museum, Dhaka and Sirajganj Up to 400,000 were women raped by Pakistani soldiers in Bangladesh’s war of independence as official Pakistan military policy. Lamb learns that the survivors were called birangonas from the Bengali word bir meaning war heroine (p.92).

‘Often when the women were raped the soldiers had grabbed their babies and stomped on them to death or thrown them so hard their brains had come out.’ (Safina; p.110)

Rwanda Aftermath of the 1994 Hutu genocide of Tutsis, itself the sequel to the 1959 Hutu Revolution, and pogroms of 1963 and 1973.

‘Of course they raped me… Wherever you were hiding under a tree a man would find you and rape you and sometimes kill you. There were lots of different men doing this and they used sticks and bottles into the private parts of many women right up to their stomach…’ (Serafina Mukakinani, p.132)

2018, March: Yugoslavia: Sarajevo The appalling atrocities of the Serbs in Bosnia, and the heroic efforts of Bakira Hasecic and her Association of Women Victims of War, founded in 2003, to bring the Serb torturers, murderers and rapists to justice.

Yugoslavia: Srebrenica Dragana Vucetic, senior forensic anthropologist at the International Commission of Missing Persons. On 11 July 1995 Serb militias took away about 8,300 Muslim men and boys, drove them out into fields or football grounds, then massacred them, shooting or bludgeoning them to death. Dr Branca Antic-Stauber who runs a charity for rape survivors and uses horticulture therapy.

2018, October: Berlin Stories of the vast mass rapes of German women and girls during the Red Army’s conquest of eastern Germany and Berlin at the end of the Second World War. In towns and villages every woman from eight to eighty was raped multiple times. ‘It was an army of rapists’ (Natalya Gesse, Soviet war correspondent, p.194) It is estimated that up to 2 million women and girls were rapes and scores of thousands of Germans committed suicide, and killed their children, rather than fall into the hands of the Russians.

2018, November: Buenos Aires In 1976 a military junta seized control of Argentina and rules for 7 years during which up to 30,000 leftists, trade unions and activists were kidnapped off the streets and ‘disappeared’. Estela Barnes de Carlotta, president of the Grandmothers or Las Abuelas (p.214).

2018, March: Mosul Lamb attends the hurried trials of a handful of the 30,000 or so people charged with being members of ISIS. Justice is a farce. The court doesn’t consider rape as a separate offence, all offences are grouped together as terrorism.

2018, April: Iraq: Dohuk The prevalence of suicide among Yazidi survivors of ISIS sex slavery.

2019, February: Democratic Republic of Congo: Bukavu In 2010 Congo was called the rape capital of the world. Lamb interviews Dr Denis Mukwege, founder of the Panzi Foundation, who has treated more rape victims than any other doctor in the world.

In the Second Congo War stories of women who were not only gang raped but then shot in the vagina, or had bayonets shoved in their vagina, or sticks soaked in fuel which was then set alight. Lamb discovers that Dr Mukwege’s clinic is seeing more and more raped babies. Some men believe that raping babies will give them magical powers; they are told this by witchdoctors (p.337).

In a gruelling book this chapter (chapter 13, pages 300 to 334) contains probably the worst atrocities (the 86-year-old who was raped, women’s vaginas set alight or hacked off, the mother who was forced at gunpoint to eat her own baby); but also the most inspiring moments. Lamb meets the inspiring Christine Schuler Deschryver, founder of City of Joy, a safe haven for survivors in Congo.

‘It’s about giving a woman value… I hug them and then they are healed and people say I have magic hands but it’s just love… I’m convinced you can change the world only by love’ (p.330)

It also contains the most telling evidence of the way rape used as a weapon of mass terrorisation is tied into broader economic and political structures. Because Deschryver points out that 1) Congo contains more of the rare metals needed to create mobile phones and batteries (cobalt, coltan) than any other country on earth; 2) if you drew a map of the rapes you’d see they cluster around mining areas, and so 3) rape is used as a strategy of terror by the militias and groups who control the mines and the regions around them. Which leads her onto her fourth point, 4) if the international community really wanted to end conflict in the Congo it could but, in Deschryver’s view, it suits multinational corporations to preserve Congo as an unstable mess the better to plunder the country of its cobalt, coltan and gold (p.331).

Democratic Republic of Congo: Kavumu Village where scores of babies and very small girls have been abducted, raped and their genitals destroyed, allegedly by the ‘Army of Jesus’, a militia controlled by a local warlord whose members have been told by a witchdoctor that the blood from raped and mutilated babies will make them invulnerable in battle (p.339). Although the warlord was eventually taken to court and convicted, the case went to appeal and none of the villagers knows whether he and his henchmen are in prison or not. Meanwhile, having lost all faith in the justice system, they have started to take the law into their own hands with lynchings and beheadings of suspect young men (p.348). Thus, chaos.

Manila Lamb meets surviving ‘comfort women’, enslaved by the occupying Japanese Army during the Second World War. They prefer to the term lolas which means grandmother in the local Tagalog language and which they use as an honorific, hence Lola Narcisa and Lola Estelita.

Concluding chapter 2020

Sexual violence against men

  • in eastern Congo a quarter of men in conflict zones have experienced sexual violence
  • in Afghanistan bacha bazi or the abuse of boys is common
  • in Syrian prisons under Bashar al-Assad, men and boys were submitted to horrifying sexual violence

The challenge of achieving justice Lamb jumps between a number of cases, showing the dedicated work of investigators, researchers, lawyers, prosecutors and judges, but how gruellingly slow it is and how pitifully few convictions are achieved. The Yazidis wait, the Rohingya wait for justice.

Guatemala During the 36-year-long civil war over 100,000 women were raped, mostly Mayans in an attempt to exterminate their ethnicity (p.387). In 2016 11 Mayan women secured the conviction of a retired army officer for sexually enslaving them.

Peru Over 5,000 women raped during the 11-year-long civil war with Shining Path guerrillas.

Colombia Sexual crimes have been included in crimes heard by the tribunal set up at the end of the 52-year-long civil war with the Revolutionary Armed Forces of Colombia (FARC).

Chad Successful conviction of Chad’s despicable sadist president, Hissène Habré, who ruled through a reign of terror till his overthrow in 1990. In 2000 he was arrested and put on trial in neighbouring Senegal. In 2016 he was convicted of crimes against humanity, torture and rape and sentenced to life imprisonment.

Women in charge Lamb makes the telling point that most of these convictions were only secured when women were judges or prosecutors in the case.

2025 update

2022, May, Ukraine: Berestianka The Russians are back and they’re raping again. And looting everything they can to take back to their pitiful slum of a country. Gang rapes, torture, rape in front of the rest of the family etc (p,409). Rewarded by Putin on their return home. According to Lamb domestic violence is not criminalised in Russia and widely accepted. Figures. Whenever I read about Tolstoy or Dostoyevsky despising the decadent West, this is what I think of. Russia, home of domestic violence, epidemic alcoholism and rapists.

For the first time Ukraine established a court and started prosecuting Russian war criminals while the war was still ongoing (as it is today).

2023, autumn, Tel Aviv On 7 October 2023 Hamas fighters broke through the wall dividing Gaza from Israel and went on a rampage at multiple sites, massacring 1,200 civilians and taking 251 others back to Gaza as hostages. Lamb meets survivors, and speaks to the many first responders, therapists and women’s activists regarding the widespread evidence of sexual violence against the women victims: gang rapes and sexual mutilation i.e. shooting women in the vagina. In her interviewees’ opinion the intention was the most primitive one imaginable of attacking your enemies’ procreative ability, plus the more modern one of spreading not just terror but horror. The barbaric cruelty was exemplary in the sense that it was intended to traumatise an entire nation (which, arguably, it did).

Hebron in the West Bank. Lamb meets Palestinians who live under extraordinarily tight Israeli supervision, and then survivors of sexual violence inflicted by the Israeli Defence Force, and lawyers and NGOs who have reported on it. Interestingly, the main targets have been men and boys, designed to cause maximum humiliation in revenge for 7 October. The accusations of sexual humiliation in captivity sound identical to the Americans at Abu Ghraib.

‘It was me and two other prisoners and three border police. They filmed us naked then began to touch our bodies and make jokes and insulted us. One of them had a metal detector which he tried to put in our anuses.’ (Palestinian Thaer Fakhoury, p.448)

Avignon, December 2024 Lamb is introduced to Gisèle Pelicot, the woman drugged by her  husband who then invited men from a website group to come to their home and rape her. The police found thousands of videos on her husband’s laptop clearly identifying the men which allowed a trial to go forward with 50 accused. The key thing is she waived her right to anonymity in order to speak out and so became a heroine to anti-rape activists, feminists and ordinary people around the world.

Summary When she completed the first edition in 2020 Lamb couldn’t imagine that sexual violence in conflict would return to Europe, in the form of Russian soldiers raping Ukrainian women, or the horrors of the Hamas attack on Israel, or the eruption of brutal civil war in Sudan. Every year the UN presents a report on conflict-related sexual violence. The 2024 report concluded that conflict-related sexual violence is increasing.

Historical retrospective

Spain The really systematic mass rape of large populations of women probably first occurred in the Spanish Civil War 1936 to 1939. It was carried out by General Franco’s Falangist forces. ‘Not just rape but appalling evisceration of peasant women of Andalucia and Estremadura’, including the branding of their breasts with fascist symbols (historian Antony Beevor, quoted p.203).

Nanking The rape of Nanking, December 1937 to January 1938, where the Japanese accompanied mass murder of Chinese civilians with mass rape of women and girls.

Comfort women Euphemism for the hundreds of thousands of women and girls, predominantly from Japanese-occupied Asian countries, who were forced into sexual slavery by the Imperial Japanese Armed Forces before and during World War II.

Vietnam War 1961 to 1973: My Lai massacre and Tet Offensive.

Khmer Rouge 1975 to 1979. Cambodians murdered 2 million other Cambodians accompanied by mass rape.

Turkish invasion of Cyprus 1974, triggered widespread Turkish soldier rape of Greek women.

Timeline

1863 Abraham Lincoln issues general order 100 making rape carried out by soldiers of the Union Army punishable by death.

1919 Commission of Responsibilities established with rape near the top of the list of 32 war crimes.

1946 but at the war crimes tribunals at Nuremberg and Tokyo not a single prosecution for sexual violence.

1949 Geneva Convention, Article 27:

Women shall be especially protected against any attack on their honour, in particular against rape, enforced prostitution, or any form of indecent assault.

1973 Bangladesh declares rape a crime against humanity.

1993 International Criminal Tribunal for the former Yugoslavia (ICTY):

Men and women came forward to recount evils beyond imagining – women and girls locked up in schools and suffering repeated anal, oral and vaginal rape, people having their tongues cut off, or being burned alive as human torches as they ‘screamed like cats’ (p.160)

1994 International Criminal Tribunal for Rwanda (ICTR) established in Arusha in Tanzania: Lamb interviews raped Tutsi women who testified in the first rape-as-war-crime trial. It was the first time rape was recognised as an instrument of genocide and prosecuted as a war crime.

‘I was raped countless times. The last group that raped me were so many people and one man shouted, “I can’t use my penis in that dirty place so I’ll use a stick.” I know many women who died like that. They sharpened the sticks and forced them right through their vaginas.’
(Cecile Mukurugwiza, p.141)

1998 first conviction for rape as a war crime.

1998 Rome Statute which established the International Criminal Court defined rape as a war crime.

2000 UN Security Council Resolution 1325 was the first formal and legal document from the Security Council that required parties in a conflict to prevent violations of women’s rights, to support women’s participation in peace negotiations and in post-conflict reconstruction, and to protect women and girls from wartime sexual violence; for ‘the greater inclusion of women in peace and security’.

2008 UN Security Council passed Resolution 1820 stating that ‘rape and other forms of sexual violence can constitute war crimes, crimes against humanity or a constitutive act with respect to genocide’.

2009 established the office of the Special Representative of the UN Secretary General on Sexual Violence in Conflict.

2010 Bangladesh sets up an International Crimes Tribunal. As of 2019 88 collaborators and party leaders had been tried for torture, murder and rape.

2011 In a video sent to a Nobel Women’s Initiative conference about sexual violence, Nobel Peace Prize laureate, Aung San Suu Kyi said:

‘Rape is used in my country as a weapon against those who only want to live in peace, who only want to assert their basic human rights. Especially in the areas of ethnic nationalities, rape is rife. It is used as a weapon by armed forces to intimidate the ethnic nationalities and to divide our country.’

2014 then UK Foreign Secretary William Hague organised a four-day conference calling for the end of sexual violence in conflict.

2016 International Criminal Court convicts Pierre Bemba of murder, rape and pillage carried out by his men during the 2002-3 war in the Central Africa Republic.

2018 Nobel Peace Prize awarded jointly to Denis Mukwege and Nadia Murad “for their efforts to end the use of sexual violence as a weapon of war and armed conflict”

2019 first conviction by the International Criminal Court for rape in wartime.

2019 report of the UN Special Representative listed 19 countries where women are being raped in war, by 12 armies and police forces and 41 non-state actors.

2019 Gambia took Myanmar to court over the Rohingya genocide, the first time one state had taken another to court over war crimes it had committed. Tried at the International Court of Justice in the Hague, resulting in orders against Myanmar carrying out any further genocide.

2020 first criminal trial of a member of Islamic State for crimes against the Yazidi, held in Germany, resulting in conviction and life imprisonment.

Learnings

Systematic mass rape, sexual violence, sexual torture and sexual mutilation are far more widespread than the bleakest pessimist could ever have expected.

Rape in conflict is rarely ad hoc, random and incidental. More often it is the result of encouragement or orders from the highest levels of military and political leadership, as in: mass rapes in Germany; mass rapes in Rwanda; mass rapes in Bosnia; mass rapes in Syria, and so on.

These kinds of mass rapes are now recognised, not as accidental by-products of the chaos of war, but as conscious war strategies, and as such, defined as war crimes. They are also associated with genocide, the conscious attempt to wipe out a people or group.

The genocidal intent is demonstrated in cases like the mass rape of Bangladeshi women and girls by the army of Pakistan, or the mass rapes of Bosnian Muslims by Bosnian Serbs, or the mass rape of Rohingya women by Burmese soldiers. In each instance the intent wasn’t sexual per se, the intent was to wipe out the victims’ ethnic group by breeding a new generation with the blood of the conquerors in them. In Bangladesh:

‘They had orders of a kind from Tikka Khan [Pakistan’s military governor in the East]… What they had to do was impregnate as many Bengali women as they could… so there would be a whole generation of children in East Pakistan that would be born with blood from the West.’ (p.97)

In Bosnia:

The victims ranged from between six to seventy years old and were raped repeatedly and often kept captive for several years. Many women were forcibly impregnated and held until termination of the pregnancy was impossible. The women were treated as property and rape was used with the intent to intimidate, humiliate and degrade. (p.156)

This same motive – ethnic triumphalism – explains why foetuses were cut out of pregnant women, babies were bludgeoned to death, and children were shot or had their throats cut.

Speaking about it helps. Sharing their stories in safe, supportive environments helps the survivors.

‘It’s all about giving them respect and them owning their stories. After a month, when they begin to tell their stories, sometimes OMG… and the transformation after six is huge. We turn pain into power and give victims strength to be leaders in their communities.’ (Christine Schuler Deschryver, founder of City of Joy, Congo, p.327)

But it never goes away. These women are profoundly damaged forever, as are their families, all their relationships, and their wider communities. And that was the intention.

‘That’s why rape really was a calculated weapon. The fellows who raped them and planned to rape them: they knew you either die now or die later but you’ll never be human again after this ordeal.’ (Rwanda Justice Minister Johnston Busingye, p.153)

As much or more healing comes from having the state formally recognise their plight, a formal recognition that it happened and that it was a crime.

‘It’s not possible to heal from this forever but it helps to speak about it as soon as possible and to share the story with someone compassionate. What I have seen definitely helps their healing is when perpetrators get punished because that gives the victim confirmation by authority she was not the one at fault for what happened to her and that she’s innocent.’ (Dr Branca Antic-Stauber, p.190)

‘Talking to the judges was the beginning of my rehabilitation. For so many years society did not want to listen… But now we could tell our side of the story… Seeing the life sentences at long last, after all they did to us, truly, it gives you your life back.’ (Graciela Garcia Romero, p.238)

In conservative societies state recognition can support recognition at local, village and family level. A striking example is the way the first president of Bangladesh, Sheikh Mujibur Rahman, who recognised the horrific scale of the mass rapes carried out by the Pakistan army and coined a term of praise for the victims, calling them Birangona, or ‘war heroines’.

Better still, though, is the healing effect of watching their perpetrators brought to justice, tried and convicted of their crimes. This validates the victims’ experiences and assures them that the world around them understands and values their suffering.

‘Their actions changed the law and criminal justice for every woman. The women showed you can take the worst trauma and turn it into a story of strength and victory.’ (Erica Barks-Ruggles, US ambassador to Kigali, on the rape survivors who travelled to the Rwanda genocide tribunal to testify against the perpetrators, p.149)

The only problem is it happens pitifully rarely.

Meanwhile, many of the women interviewed wanted their perpetrators to be killed (p.119).

‘I want the worst things to happen to the men that did this to me. I want them to die not in a quick or humane way but slowly, slowly, so they know what it’s like to do bad things to people.’ (Naima, a Yazidi enslaved by ISIS, p.264)

‘I feel so angry at what those Japanese did to me and my family, that if I saw them today I would kill them.’ (Lola Narcisa Claveria, Filipino woman enslaved by the Japanese p.357)

‘I hate them so much and wish death to all of them and Putin.’ (Vika, Ukrainian woman raped by Russian soldiers, p.403)

Charities have discovered that a good way to draw survivors out of their often disastrous mental suffering is to give them tasks, jobs, skills training and agency. Like the farm bought by Christine Schuler Deschryver, to be run by rape survivors in Congo (p.329) or Dr Branca Antic-Stauber’s idea of setting up a rose-growing business to employ survivors in Bosnia (p.185)

No index

There’s no index. Why?

Similarly no list of the organisations mentioned in each country, or organisations addressing sexual violence generally. I supply my own list below.

Human history

Well, I’ve explained my view of human history in a separate blog post:

History is an abattoir. What was written down is a tiny fraction of what happened, and it was written by the educated and privileged, mostly sucking up to kings and khans. The reality of human existence for most humans for most of human history has been unspeakably brutal.

Last thought

In his brilliant series of books about conflict and international order in the 1990s, Michael Ignatieff divides the world into zones of conflict and zones of safety. Every day I thank my lucky stars that I was born and lived all my life in what he calls a ‘zone of safety’. Way before you get to my white privilege or my male privilege, I give thanks for my safety privilege.


Credit

‘Our Bodies, Their Battlefield: What War Does to Women’ by Christina Lamb was first published by William Collins in 2020. I read the updated 2025 paperback edition.

Organisations mentioned in the text

Support organisations

At the end of the Unsilenced exhibition at the Imperial War Museum, the curators give a list of support organisations, which I repeat here:

Related reviews

Unsilenced: Sexual Violence in Conflict @ the Imperial War Museum

This exhibition includes cases of rape, sexual humiliation, torture and child abuse in conflict. Imperial War Museum advises that this exhibition is only suitable for those aged 16 or over.

This is a really important exhibition on a very important subject. Most exhibitions stimulate or entertain me but this one significantly changed my understanding and attitude towards a horrific and ongoing crisis.

‘Unsilenced: Sexual Violence in Conflict’ is the UK’s first major exhibition dedicated to describing, analysing and understanding sexual violence in conflict. It includes 162 objects which illustrate all aspects of the issue, from wartime propaganda posters to testimonies from women victims from the First and Second World wars, as well as more recent conflicts such as Yugoslavia, Darfur and Congo, Gaza and Ukraine.

Expert views

The first and last galleries house no objects, just video screens which feature interviews with experts in the field. In the first room they introduce key facts and concepts around sexual violence in conflict, including the term itself and its definition, what it means, who perpetrates it, and who the victims are. In the final room, the same experts suggest ways to bring about change. These experts are:

  • Charu Lata Hogg – founder and Executive Director of All Survivors Project
  • Dr Zeynep Kaya – Lecturer in International Relations, University of Sheffield
  • Dr Paul Kirby – Queen Mary University
  • Christina Lamb – Sunday Times journalist and author of ‘Our Bodies, Their Battlefield: What War Does to Women’
  • Sarah Sands – journalist and former Chair of the G7 Gender Equality Advisory Council

Why sexual violence in conflict has gone unreported

According to the experts, sexual violence has accompanied conflict and war for as long as we have records.

Wherever conflict erupts, sexual violence is present.
(Sara Bowcutt, Women for Women International)

For most of history it has been repressed and unrecorded, for numerous reasons.

  • Until the advent of photography and, nowadays, smartphones and social media, it’s been difficult to document and record.
  • This has led to sexual violence being under-reported at the time and so all but ignored in official records and historical accounts.
  • Perpetrators and the bodies they serve in (armies, militias, informal groups), wanting to preserve their ‘honour’ and prestige, suppress information.
  • But victims, families of victims, their communities and wider societies sometimes cover it up because of the ‘shame’ and social stigma attached.

But there are other occasions when sexual violence is the opposite of hushed up, when it is used to terrorise and demoralise civilian populations, with a view to depriving fighting forces of support or bringing pressure on them to surrender and end the abuse of their civilian communities. This was practiced in Darfur and more recently by Russian forces in occupied areas of Ukraine. In these situations incidents of sexual violence are widely advertised – but the challenge remains the same: of identifying the exact perpetrators, and trying to establish who in the chain of command gave authorisation for it. This can be frustratingly difficult to achieve.

Why it’s important to discuss sexual violence in conflict

The stance of this exhibition is that the subject must be directly addressed, discussed and aired, for a number of reasons:

  • Allowing victims to speak allows the crimes to be documented and so evidence gathered for legal proceedings.
  • But it also allows for something equally important, which is for the victims’ voices to be heard, their ordeals to be recognised, and so some kind of closure to be achieved.
  • Legitimating speech on the subject also helps to overcome social taboos around shame and keeping silent, which obtain in many if not most societies.
  • So: speaking out both helps victims recover and contributes documentary evidence to investigations and trials.

As a survivor explains:

‘To leave a little bit of what I had behind, that affected me, you don’t forget it but you learn to live with it, and by talking you take off a weight, a stigma, so I leave relaxed, free and happy.’

Four charities

With these aims in mind in mind, the penultimate room focuses on the ongoing work of four NGOs working in the field of sexual violence in conflict, namely:

  • Women for Women International
  • All Survivors Project
  • Free Yezidi Foundation
  • Waging Peace

There’s a panel on each of these organisations, alongside photos of the work they do, and moving testimonials from victims who have benefited hugely from being listened to and validated. As one of them wrote:

‘We all want to mean something to someone, that we matter. That we’re important.’

These testimonies are accompanied by objects:

  • a traditional cloth toub titled ‘Peace by Piece’, created by Sudanese women affected by the war in collaboration with Waging Peace
  • a handmade animal toy created by women through Free Yezidi Foundation’s programme to empower women through training, job opportunities and income generation
  • policy and testimony from All Survivors Project, the only international NGO dedicated to addressing acts of sexual violence in conflict against men and boys

Installation view of Unsilenced: Sexual Violence in Conflict @ the Imperial War Museum showing panels explaining the work of three of the four featured NGOs, including written and spoken testimony (via the headphones) © Imperial War Museum

Why an exhibition like this is part of the solution

Having explained all these processes you can see why an exhibition like this fits into the process of solution, by 1) documenting and recording abuses 2) allowing victims’ voices to be heard 3) increasing public awareness and understanding 4) making it easier to discuss abuses and, potentially, identify and target the patterns of behaviour which underpin or lead to sexual violence: the underlying attitudes which have made it ‘acceptable’ or ignorable in the past.

I would say that two major threads or themes run through the exhibition, one about gender, the other about justice.

Gender norms

Charu Lata Hogg is the most feminist or deploys the most academic feminist point of view. All I mean by this is that in her interviews she talks liberally about toxic masculinity and the patriarchy, two phrases which don’t appear in any of the other interviewees.

Hogg claims that sexual violence in conflict does not take place in a vacuum. It follows logically from the gender stereotyping widespread in peacetime society and then promoted in much wartime propaganda. She sees sexual violence in conflict as arising directly from ‘toxic gender norms’ i.e. the widespread perception in so many societies which associates masculinity with strength, power, dominance and violence, and women with passivity, domesticity, secondariness and victimhood.

This is why the first room of the exhibition, immediately after the introductory videos, is devoted to an impressively large number of images, posters and propaganda leaflets etc, from the First and Second World wars but also other conflicts, which play up to these gender stereotypes. They shows women as sexy spies, seducers, security risks, with a whole fleet of striking leaflets designed to be dropped over enemy troops depicting their beloveds back home having sex with non-combatants while they’re living in misery and fear at the front.

Installation view of Unsilenced: Sexual Violence in Conflict @ the Imperial War Museum showing posters promoting gender stereotyping in wartime © Imperial War Museum

In other words, the exhibition argues that the widespread deployment of sexual and gender stereotyping in peacetime society feeds into the propaganda accompanying a conflict, and both lay the foundation for the sexual violence which then occurs in the conflict itself.

In the final room of videos which addresses possible solutions, Hogg returns to this theme and says the only way forward is to target the patriarchy, to target ‘toxic gender norms’ and target ‘the patriarchal seeds’ that establish these gender stereotypes at such an early age, and so ubiquitously, that when conflict arises, men act accordingly, i.e. abuse the exaggerated positions of power which conflict gives them in order to rape, enslave, terrorise, mutilate and murder the vulnerable i.e. mostly (but not only) women.

You can see that this approach has a number of weaknesses. 1) It’s problematic knowing exactly what you mean by ‘patriarchy’ and ‘patriarchal seeds’; in a general way probably everyone could agree with the idea that, despite half a century of feminism, it’s still ‘a man’s world’, but can you be more specific? 2) ‘Targeting the patriarchy’ sounds fine as a slogan but, like ‘levelling up’ or ‘Make America Great Again’, the challenge is in formulating concrete proposals to make this happen.

3) But surely the biggest problem is that if you tie sexual violence in conflict to every type of gender stereotyping across all of society, and claim that you won’t be able to end the violence until you’ve ended all gender stereotyping, this means you’re going to be waiting a very long time. It is, in other words, a utopian wish rather than a practical solution.

Justice

This is why I was more attracted by Christina Lamb’s contribution in the final video room which discusses the way forward. Lamb says the solution is simple: hold the perpetrators to account. Encourage and support victims to speak out (as per the work of the NGOs listed above). Document the crimes. Empower international bodies such as the United Nations’ International Court of Justice to set up courts of enquiry into specific conflicts. Gather evidence, name names, and bring individuals to justice.

Although this has proven dismayingly difficult in practice, it is at least a practical agenda, and it harmonises with work already going on i.e. it can be based on the speaking out supported by the NGOs and also helps to validate the accounts of victims, make them feel that they’re not being ignored.

In this practical area of justice progress has been made over the last 30 years or so, which the exhibition describes.

Timeline

1919 Commission of Responsibilities established with rape near the top of the list of 32 war crimes.

1946 but at the war crimes tribunals at Nuremberg and Tokyo not a single prosecution for sexual violence.

1949 Geneva Convention, Article 27:

Women shall be especially protected against any attack on their honour, in particular against rape, enforced prostitution, or any form of indecent assault.

1993 International Criminal Tribunal for the former Yugoslavia (ICTY):

Men and women came forward to recount evils beyond imagining – women and girls locked up in schools and suffering repeated anal, oral and vaginal rape, people having their tongues cut off, or being burned alive as human torches as they ‘screamed like cats’ (p.160)

1994 International Criminal Tribunal for Rwanda (ICTR) established in Arusha in Tanzania and for the first time recognises rape as an instrument of genocide to be prosecuted as a war crime.

1998 First conviction for rape as a war crime.

1998 The Rome Statute, which established the International Criminal Court, defined rape as a war crime.

2000 UN Security Council Resolution 1325 is the first formal and legal document from the Security Council that required parties in a conflict to prevent violations of women’s rights, to support women’s participation in peace negotiations and in post-conflict reconstruction, and to protect women and girls from wartime sexual violence.

2008 UN Security Council passed Resolution 2008 stating that ‘rape and other forms of sexual violence can constitute war crimes, crimes against humanity or a constitutive act with respect to genocide’.

2009 Establishment of the office of the Special Representative of the UN Secretary General on Sexual Violence in Conflict.

2019 First conviction by the International Criminal Court for rape in wartime.

2019 Report of the UN Special Representative listed 19 countries where women are being raped in war, by 12 armies and police forces and 41 non-state actors.

Reconciliation

The comfort women

But it’s not only justice in the sense of arresting and charging individuals. Only by acknowledging the existence of sexual violence can any progress be made towards broader reconciliation.

The most striking example, and also an example of how difficult this is in practice, is probably the case of the ‘comfort women’ of south-east Asia. Before and during the Second World War the Japanese Army forced hundreds of thousands of women and girls into sexual slavery. They came from many different nationalities but the large majority were from Korea.

The exhibition describes the Wednesday demonstration, more fully the ‘Wednesday Demonstration demanding that Japan redress the Comfort Women problems’, which began to assemble outside the Japanese embassy in Seoul at noon on Wednesdays in 1992. Japan claims to have made a formal apology for the scandal and to have offered reparations but the wrangle goes on about precise details.

Meanwhile, the Koreans have erected several statues in memory of the comfort women, one outside the Japanese embassy in Seoul, another in front of the Japanese consulate in the southern port city of Busan. Here’s a newspaper article about it. The exhibition includes a miniature reproduction of this statue with an explanation of its symbolism.

Installation view of Unsilenced: Sexual Violence in Conflict @ the Imperial War Museum showing a tiny replica of the Korean Sonyeosang or statue of peace, and the panel explaining its symbolism © Imperial War Museum

My overview

I asked at the museum Information desk but there is, regrettably, no catalogue for the exhibition, so I intend to provide a public service and give a fairly thorough breakdown of its content. It is in six rooms. The headings are the titles of each room, the bullet points are sub-sections within each room.

1. Prologue

Video clips of the experts addressing the following questions:

  • What is sexual violence in conflict?
  • Who is affected by sexual violence in conflict? Mostly women but some men and boys, particularly homosexuals
  • Who are the perpetrators? Armies, militias, military police, armed bands
  • Does sexual violence in conflict still happen today? Yes, widespread in current conflicts including Ukraine, Sudan
  • Why are we talking about this now? It is bad now but with the stresses and displacements of climate change is only likely to get worse

2. Structures and representations

  • Wartime presentations: sexist imagery and propaganda (see photo, above) including a couple of unintentionally hilarious films from the 1940s informing soldiers about the risks of sexually transmitted infections
  • Power and accountability:

3. Acts and manifestations

  • Mass incidents:
    • Red Army: the mass rapes carried out by the Red Army as it fought its way across Germany at the end of the Second World War; Stalin notoriously commenting that he could understand why battle-scarred soldiers would want to have some ‘fun’ with enemy women; over 2 million German women were abused, leading to death and serious injury, infections and suicide
    • ISIS: in 2014 Islamic State authorities organised the enslavement and mass sexual abuse of Yazidi women and girls: the exhibition includes the guidelines ISIS published for its soldiers on how to capture and treat sex slaves
  • Power imbalance: the little-known stories of sexual abuse of evacuees, particularly children, including in Britain during the Second World War
  • Sexual humiliation and torture:
    • Abu Ghraib: the show includes the New Yorker magazine article by Seymour Hersh detailing the shocking abuse of inmates at Abu Ghraib prison in Iraq in 2003
    • les tondues: French women who, at the liberation of villages, towns and cities, were seized, displayed and had their hair shaven off as a form of punishment and social condemnation for alleged collaboration with the German occupiers – the show includes documentary photos of tondues taken by Lee Miller

Installation view of Unsilenced: Sexual Violence in Conflict @ the Imperial War Museum showing, on the wall on the right, the section about comfort women; on the wall in the middle evidence of the ISIS mass enslavement of Yazidi women; and in the glass cases letters and memoirs from child evacuees who were sexually abused © Imperial War Museum

4. Justice and reconciliation

  • Legal justice: history of attempts to set up courts and tribunals starting with the first arrest warrants for rape issued by the Yugoslavia tribunal in 1993; in 1998 the International Criminal Court recognised sexual violence in conflict as a crime against humanity
  • Children born of sexual violence in conflict: the work of TRIAL International and The Forgotten Children of War Association and how it took until 2022 for Bosnia and Herzegovina to acknowledge children born as a result of sexual violence during the Bosnian War 1992–1995 as civilian victims of war

5. Rebuilding

As described, a panel apiece on the four charities:

  • Women for Women International
  • All Survivors Project
  • Free Yezidi Foundation
  • Waging Peace

6. Final thoughts

Video room with the five experts listed above giving their thoughts on the following topics:

  • How are attitudes towards sexual violence in conflict changing?
  • Why is it important to listen to victims and survivors?
  • What does justice look like for victims and survivors?
  • How can we create change?

Installation view of Unsilenced: Sexual Violence in Conflict @ the Imperial War Museum showing the videos of expert opinion (photo by the author)

Niggles

On 2 November the exhibition ends and will be dismantled. Why? Surely an exhibition on such an important and universal subject as this should become a permanent display. Not least if it’s true, as the curators claim, that sexual conflict has always been a part of war and continues to be, right up to the present day. Well then, shouldn’t a key element of conflict be addressed in a permanent display in Britain’s leading museum of war and conflict?

In the same spirit, why is there no catalogue of the exhibition? I’ve been to hundreds of exhibitions, and even the most trashy or superficial have usually been accompanied by catalogues or brochures. Surely an important exhibition on such an important subject warrants a permanent documentary record.

Poster created by the Mansudae Art Studio, Pyongyang. The text, in Korean, can be translated as: ‘No! Rid the twenty-first century of sexual violence!’


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Support

At the end of the exhibition, there’s a list of support groups. For public information, I include it here:

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Ubu Enchained by Alfred Jarry

Executive summary of the Ubu plays

Alfred Jarry’s trilogy of absurdist, scatological plays about the grotesque cartoon figure, Père or Father or Pa Ubu, scandalised theatre-goers at the time (the later 1890s) but were to be revived and lionised by the Surrealists in the 1920s and ’30s, and to become a reference point for the Theatre of the Absurd long after Jarry’s premature death in 1907 at the age of just 34

Introduction

In his introduction to the 1968 Methuen edition of the three Ubu plays, translator Simon Watson Taylor makes the point that, whereas the first two Ubu plays (Ubu Roi and Ubu Cocu) derived from the stories Alfred Jarry and his friends wrote at school, Ubu enchaîné (‘Ubu Enchained’) was the product of a more experienced 26-year-old playwright and so feels like a more detached and consciously controlled exposition of his ‘ideas’. By this time Jarry had had the experience of having two plays staged so had a much better feel for the shape and design of a stage play. In other words, there’s more structure and shape to the nonsense.

What Taylor doesn’t mention but I noticed is that the characters now have a history to live up to and this changes the vibe completely. When you’re just making characters up and inventing preposterous things to happen to them, you can do anything. But when you’ve established some characters, their appearance, their catchphrases, even their tendency to behave madly becomes predictable. Although the ostensible events of ‘Ubu Enchained’ are new, the characters’ general behaviour, mannerisms and multiple catchphrases (‘By my green candle!’) have become formulaic.

This fact is acknowledged in the very first scene of ‘Ubu Enchained’ which has Ubu giving a recap of his and Ma’s adventures in the preceding plays as if by invoking them Jarry can free himself from them. But the effect is the opposite.

Act 1

Scene 1: After the sea voyage at the end of Ubi Cocu they ended up safe and sound here in Paris. Ma Ubu says that if he’s just say the word, Pa would be appointed Minister of Phynances. But Pa Ubu points out that ‘just saying the word’ didn’t prevent…and then launches into a long recap of all their misadventures in Ubu Roi. If he won’t say the word how are they going to survive? He’ll become a slave.

Scene 2: The parade ground with three free men. These soldiers insist that the nature of freedom means they must disobey all orders, march out of step, disobey all orders. This comprises their freedom drill.

Scene 3: Pa is looking for someone to offer his services to just as the Three Free Men pass by.

Scene 4: Ubu slips in among the free men as they do their drills using a toilet brush instead of a rifle. The corporal stops them to ask who it is who is doing the drills properly, for the first time ever. Ubu tells them his experience and that he wants to be a slave. The corporal’s name is Corporal Pissweet.

Scene 5: New characters, canteen girl Eleutheria and her uncle Pissale, who got her the job in the canteen of the Free Men. Every day he takes her to work, worried that the Free Men may take advantage of her. It is (apparently) the custom in this land for the free to go naked but uncle has managed to limit this to Eleutheria’s feet. We learn that she is engaged to the Marquis of Grandmeadow.

Scene 6: Abandoning the Free Men as possible employers Ubu approaches Eleutheria and her uncle offering free foot polishing.

Scene 7: Ubu asks Ma to fetch him his special foot polishing kit. When she points out that Eleutheria isn’t wearing shoes, he says nothing will prevent him carrying out his slavish duties, although old catchphrases keep slipping from his lips (‘Killemoff, debrain!’).

Scene 8: Eleutheria and uncle pass out and, while telling himself he is performing his slavish duty, Ubu steals their wallets. This theme of FREEDOM is belaboured in a variety of ways, for example now the coins Ubu’s stealing have a female figure on one side denoting Freedom. Eleutheria comes round and they call a horse and carriage to make their getaway in.

Act 2

Scene 1: In the coach Eleutheria regains consciousness as Ubu presses his services on her. When she says she never does anything without her uncle’s consent, Ubu pulls her uncle’s corpse out of the carriage boot and Eleutheria faints again.

Ubu considers ravishing Eleutheria but decides against as Ma Ubu is riding on the box just outside and will eviscerate him if she finds him misbehaving. Instead he will take Eleutheria home and imprison her in the confines of his undying service. ‘Hooray for slavery!’

Scene 2: In Uncle Pissale’s house Pa and Ma Ubu have made themselves at home. The bell is being rung, presumably by Eleutheria, but Ubu refuses to answer till he and Ma have eaten all the scoff they can. The ringing continues so Ma Ubu says maybe his mistress needs something to drink. Very angry Ubu stomps down to the wine cellar and comes back carrying numerous bottles. Ma is surprised since she thought she drank the wine cellar dry which Ubu confirms by saying if they scrape the last dregs form each bottle maybe there’ll be a glassfull for his mistress.

Scene 3: In the bedroom of Eleutheria who’s been locked in with the corpse of her uncle. She bewails the way Pa and Ma Ubu have moved in and taken over. She is lamenting her dead uncle when he suddenly sits up, she shrieks and faints.

When she comes round Uncle Pissale says playing dead was just an extension of his method of following her round as unobtrusively as possible. She asks him to eject the ghastly Ubu from their home but uncle says, on the contrary, he is an excellent servant which is why he’s invited Ubu to attend their big party tonight to announce all the guests.

Scene 4: In the hallway Ma points out the front doorbell is ringing. Ubu asks whether she’s balanced the vase full of poo over the front door fir anyone rude enough to want to visit.

Scene 5: The front door is smashed down and, it turns out, by Corporal Pissweet. He is surprised to discover the soldier who marched with his men earlier on. Pissweet says it is an excellent opportunity to try out his theory of indiscipline and gets out a bullwhip to thrash Ubu with. Ubu is delighted because being whipped only proves what a slave he has become!

In the event Ubu is so obese and covered by his ‘strumpot’ that Pissweet exhausts himself whipping him, then demands to be announced to his mistress. In the surreal inversion of values the play keeps harping on about, Ubu insists that in this household only slaves are free enough to give orders.

When Pissweet says that Eleutheria is his mistress, he is her slave, Ubu says that only he can be a slave in that household, in which case Eleutheria is his mistress, in which case he’s going to ravish her and Ubu runs upstairs hotly pursued by Pissweet and Ma.

Scene 6: Cut to that evening’s ball in full swing. Ubu is walzing with Eleutheria. Ma Ubu runs up and tells him he’s a fat pig who’s guzzled all the food and now is dancing with the mistress of the house under his arm. Ubu ignores her and tells Eleutheria that he saved her lots of time by not letting any other guests in, and fulfilled his slavish duties by dancing with her.

Scene 7: Pissweet and the Free Men burst in. the corporal orders them not to arrest Ubu so, to show how free they are, they arrest him and drag him off to prison with Ma Ubu running along behind, determined to share in what (with the inversion of values) she calls his good luck.

Act 3

Scene 1: Pa and Ma are in prison but, with the inversion of values, consider this a great achievement. Ubu congratulates himself on how thick and solid the walls are, how the doors are barred so they’re not subject to endless irritating visitors, and how convenient it is to be served two nourishing meals a day.

Scene 2: A travesty of a trial in the Great Hall of Justice. We learn Ma and Pa’s first names (Victorine and Francis), there’s some jokey counterpointing of the prosecuting and defence counsels who are handling Ubu’s prosecution for abducting Eleutheria.

But then Pa interrupts in order to give another recap of his career (as I said the history of the character hangs heavy by now), emphasising all his crimes and ending up by saying how much he deserves the ultimate punishment of condemnation to the galleys.

And indeed the judge condemns Pa to the galleys. He will be chained by the leg and sent off to the Sultan of Turkey. Ma and Pa go ‘Hurray for slavery!’ Pissweet delivers what could be the motto of the whole play:

PISSWEET: So there really are people who can’t stand the idea of being free! [paging Professor Sartre]

Scene 3: Enter Pa and Ma dragging the iron balls they’re attached to. Pa rejoices in wearing shackles. Ma calls him an idiot so Pa starts treading on her feet.

Scene 4: Cut to two old maids in a room at the academy (the Academie Francaise?) recapping the way a fat old gentleman (Ubu) arrived in this country (France) swearing that he intends to be everyone’s servant.

Scene 5: Brother Bung arrives in this scene to bed charity for prisoners and in particular Pa Ubu, who has barricaded himself into prison where he is enjoying manicuring his nails and eating 12 meals a day.

The two maids say they certainly won’t give any charity to such a slob but Brother Bung warns them that others are coming after him who won’t be so gentle. And indeed he is followed by policemen and wreckers who smash the room to pieces, cart away all the furniture, replace it with straw and generally turn it into a prison cell. Which is the setting for:

Scene 6: In this cell Ubu mocks Pissweet who is soon to marry Eleutheria, telling him how cosy his cell is, how he loves the ball and chain on his leg. Pissweet threatens to grab Ubu by the scruff of the neck and drag him out of the prison, but Ubu says no can do, as his shackles are glued to the wall.

Scene 7: One line, the gaoler announcing ‘Closing time’.

Scene 8: Cut to the Sultan’s palace in Istanbul where the Vizier tells the Sultan that the free Country (France) is ready to send the tribute it has long promised, namely 200 convicts, among whom is the celebrated Pa Ubu and his notorious wife.

The Sultan objects that Ubu eats pig meat and pisses standing up. The Vizier counters that he’s versed in the art of navigation. Good, says the Sultan, then he’ll row all the better in the galleys!

Act 4

Scene 1: The joke or conceit about the Free Men continues. The corporal told them not to bother turning up to parade so, to prove how free they are, they now all turn up for parade exactly on time. Similarly they’ve been told not to show up for sentry duty so they now do so like clockwork. Is this just a joke or making a more serious point that what many people call ‘freedom’ is just an obstinate or perverse inversion of slavery. It’s just as formulaic, ordered and unpredictable.

Scene 2: A caricature English milord, Lord Cornholer, and his valet Jack. They’ve arrived outside the big stone building the Free Men are guarding and ask them whether the King is in. One of the Free Men suggests that truth dictates they tell the English lord that their country has no king, but the second Free Man says I will take no orders ‘even from truth itself’ and so (lyingly) assures the milord that, yes, the king is at home. He gets his valet to knock on the door

Scene 3: The gaoler opens the door for this, it turns out, is the prison Pa Ubu is in. He tells them no entry. Lord Cornholer wonders whether the king can be persuaded to come to the door and greet him. There’s a good tip for anyone who can arrange this. One of the Free Men says, tell him we don’t have a king and the people inside aren’t allowed to come out. So the other Free Man tells Lord Cornholer the exact opposite, that the king regularly comes to the door to greet visitors.

Jolly good, says the Lord, orders his valet to rustle up some corned beef and settles down to wait. We can see the way this is going…

Scene 4: Inside the prison yard the prisoners cheer for Pa Ubu and for slavery. Ubu complains to Ma that his chains are in danger of breaking or slipping off and then he will lose the fine position he’s achieved after so much effort.

Ubu reminisces about the battle in the Ukraine which features in the first play, Ubu Roi, but then the gaolers come to take him and the other assigned convicts off on their journey to the galleys of the Sultan of Turkey. Ma Ubu bids him a fond farewell.

Scene 5: Front of the prison where Lord Cornholer, his valet and the three Free Men. The gaoler elaborately undoes all the locks and the drunkest of the Free Men begins cheering the king (there is no king) because he wants to get some of the tips Lord Cornholer has been freely mentioning.

Scene 6: Pa Ubu steps through the open prison door and is bemused to be greeted with cheers of Long live the king. It reminds him eerily of being back in Poland. Lord Cornholer approaches and asks through his valet for Ubu’s autograph. Ubu tells them all to shut up and piss off and so the other characters respectfully back away.

Scene 7: While this is happening the other convicts exit the prison and surround Ubu and start chanting Long live the king! Ubu tells them to knock it off but the leader of the convicts says his name will always be linked with kingship and they are demonstrating their love of his glorious past.

Touched, Ubu hands out a set of imaginary positions in his imaginary government, matching notorious criminals to various government offices, before appointing all the other convicts ‘gallant craptains’ in his Pshittanarmy.

Act 5

Scene 1: A bunch of the other characters led by Pissweet who makes the pseudo-philosophical speech bringing out the paradox which, as we’ve seen, underlies the whole play:

PISSWEET: We are free to do what we want, even to obey. We are free to go anywhere we choose, even to prison! Slavery is the only true freedom!

He rallies his followers to break into the prisons and ‘abolish freedom’. Is this the kind of satire on abstract philosophical concepts which only a French intellectual could make?

Scene 2: Inside the prison Pissweet and his followers find Ma Ubu in her cell. The gaoler won’t let them free her. Free Men debate whether to break her cell door down. Meanwhile, the reappearance of Eleutheria who we haven’t seen for a while and appears to be in the cell next door. She complains that she’s tugging the bell-rope but no servants have come (which she was doing in her uncle’s house when we last saw her, so this has a dreamlike and comic effect).

Eleutheria reaches through her cell bars, grabs a stone jug and bashes her Uncle Pissale on the head, splitting him in two (!) The two Pissales speak in unison and reassure her that they’ll protect her, come what may.

Ma Ubu emerges but her cell door slams shut trapping her ball and chain. Eleutheria cuts the chain with a pair of nail scissors.

Scene 3: Cut to the convoy of convicts walking across a place called Slaveonia. Ubu asks the guards to tighten his shackles.

Scene 4: The gaoler from the earlier scenes runs up and tells Pa Ubu that the Masters have revolted, the Free Men have become slaves, and Ma Ubu set free. He then brings up Ma Ubu’s iron ball in a wheelbarrow to prove it. The gaoler continues to explain that the Masters have invaded the arsenals and are fitting iron balls to their legs. All the guards cheer and announce that they, too, want to become slaves. All the convicts give in to the guards’ demands to be handed the former’s balls and chains.

A noise offstage signals the arrival of the Masters who wheel cannons onstage to surround the action.

Scene 5: Pissweet commanding the Free Men demands that Ubu throws off his chains. Ubu says ‘try and catch me’ but runs off. The Free Men try to fire their artillery but discover they have no cannonballs because they’ve attached all the balls to their legs in their ‘newly-won slavery’.

Ubu reappears and throws Ma Ubu’s ball at Pissweet, scoring a direct hit. Then he massacres the other Free Men by swinging a line of chained guards at them. The Free Men run off dragging their chains pursued by the now unencumbered convicts. From time to time Ubu amuses himself by yanking on the chain and making them all fall over.

At the back of the stage appears the Grand Sultan and his retinue.

Scene 6: In the Sultan’s Palace. The Vizier tells the Sultan he’s taken delivery of not 200 slaves, as promised by the Free Country (France) but 2,000 heads, all demanding to be sent to the galleys. Pa Ubu is furious that he’s been deprived of his ball and chain and is currently smashing up the galleys from sheer obesity.

The Sultan says he has been so impressed by Ubu’s ‘noble air and majestic presence’ that he made some enquiries and came to the astonishing revelation that Ubu is the Sultan’s long-lost brother who was kidnapped by French pirates, kept in various prisons but worked himself up to become King of Aragon and then of Poland.

The Sultan tells the Vizier to treat Ubu with respect but get him on the soonest possible ship out of the country. If he gets wind of his true identity he’ll overthrow the Sultan and gobble up all Turkey’s wealth.

Scene 7: P and Ma Ubu are being herded on board a ship. Ma points out that he wasn’t much good as a slave, nobody wanted to be his master. But Pa announces he will henceforth be slave of his own ‘strumpot’, a word which has appeared in all the plays and seems to refer to his stomach.

Scene 8: Cut to a galley slave where all the characters from the play are chained to their benches as galley slaves. Pa Ubu rhapsodises to Ma about the beautiful scenery. The galley slaves sing a song. Ma Ubu says they sound funny. The gaoler explains that he’s replaced the slaves’ muzzles with kazoos.

The gaoler asks Ubu if he’d like to give any orders. Ubu says no, he is determined to remain Ubu Enchained, Ubu the slave, and goes on, in the paradoxical manner which has characterised the whole play.

PERE UBU: I’m not giving any orders ever again. That way people will obey me all the more promptly.

Ma Ubu worries that they’re heading further away from France. Pa Ubu tells her not to worry her pretty little head as they have been granted such honour that the trireme they’re travelling in has four banks of oars not three!

And on that inconsequential notes the play, and the trilogy, ends!

Thoughts

Recap of the points I made at the start. The first two plays were schoolboy nonsense blown up to theatrical proportions. This third play is far more considered insofar as it is underpinned by a thesis, a proposition about freedom and slavery, although it’s a little difficult to say what the thesis is. Is it that there is no difference between freedom or slavery? Or that slavery is the only freedom? Certainly all this playing around with the notion of freedom kept reminding me of Jean-Paul Sartre who devoted his career to explicating notions of human freedom.

Second and more interestingly, the legacy of the preceding two plays acts to force meaning, or the appearance of meaning, onto the third play. It demonstrates how difficult it is to achieve the truly random and absurd. The human mind is constructed to find meaning in everything we say or hear or do or that happens. We blame cars, toasters, uneven paving stones, the weather for accidents and misfortunes; pretty much everything we encounter, we attribute meaning or agency to. Our minds are meaning-finding machines.

And I think that’s demonstrated in this third play. Pa and Ma Ubu were virgin figures when we first encountered them but after two long plays we now have a very good sense of what to expect from them. They have acquired a meaning, a depth and weight which I don’t think their creator intended simply by dint of having been around in our imaginations so long and having carried out so many actions and said so many things.

They have settled down to become as ‘real’ as the characters in fairy tales or nonsense poems or (as the literary scholars prefer to point out) the Renaissance classic ‘Gargantua and Pantagruel’. If impossible things happen in the narrative, the reader accommodates them by simply switching genre, by reading it as fantasy, dream fiction and fairy tale.

In other words, the Ubu plays demonstrate the near impossibility of writing genuinely random, absurdist narratives.

Ubu’s fatness

PISSWEET: That fat slab of galley-fodder, Pa Ubu…

PISSWEET: Fire on that big barrel of cowardice!

Ubu attracts top talent

Ubu has always attracted high calibre producers and associates. Jarry collaborated with the noted post-impressionist painter Pierre Bonnard on the ‘Illustrated Ubu Almanach’ which was published in 1899. You can search for Bonnard’s distinctive cartoon illustrations from this page.

A note tells us that Ubu enchaîné wasn’t performed until 1937, when the sets were designed by Max Ernst. Wow. Ernst had already created sketches and paintings of Ubu, whose absurd character suited the artist’s bizarre vision.

Ubu Imperator by Max Ernst (1923) Georges Pompidou Center, Paris, France

Exactly 30 years later, in 1967, the translation I read, by Simon Watson Taylor, was staged in Edinburgh, with Miriam Margolyes as Ma Ubu, with set design by Gerald Scarfe, and music provided by The Soft Machine. Wow again.

The Polish avant-garde composer Krzysztof Penderecki wrote a 2-hour opera based on Ubu Roi and titled ‘Ubu Rex’, which was premiered by the Bavarian State Opera on 6 July 1991, a valiant attempt to capture the play’s absurdity in music.

And rock music fans should have heard of the splendid American industrial band, Pere Ubu, formed in 1975 and highly influential in the later ’70s and ’80s. They combine fairly standard, if inventive, rock grooves with the witch-doctor madness of front man David Thomas. Remember how the first words of the first Ubu play, Ubu Roi – in effect its declaration of intent – are ‘Merdra, merdra’ – well, they’re refrain of maybe Pere Ubu’s best song.

Thus in hundreds of ways, obvious and more arcane, the influence of Jarry’s comic creation has echoed through the arts over the century since his birth.


Credit

I read ‘Ubu Enchained’ in the 1965 translation by Cyril Connolly, included in ‘The Ubu Plays’, first published by Methuen World Classics in 1968 and republished in a new paperback edition in 1993.

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Ubu Roi by Alfred Jarry (1896)

Executive summary of the Ubu plays

Alfred Jarry’s trilogy of absurdist, scatological plays about the grotesque cartoon figure, Père or Father or Pa Ubu, scandalised theatre-goers at the time (the later 1890s) but were to be revived and lionised by the Surrealists in the 1920s and ’30s, and to become a reference point for the Theatre of the Absurd long after Jarry’s premature death in 1907 at the age of just 34.

Introduction

Starting as a fairly sensible Symbolist writer when the movement was at its peak in the early 1890s, Jarry announced his own bizarre take on the movement in the 1895 play ‘Caesar Antichrist’ before departing the movement altogether, in 1896, with the work that made him immortal, Ubu Roi.

Since ‘roi’ is the French word for ‘king’ the title easily translates as ‘King Ubu’ but a lot of the rest of the play doesn’t translate easily at all. Its language is a unique mix of slang code-words, puns and near-gutter vocabulary, set to strange speech patterns. The tone is established in the very first words of the play – ‘Merdra merdra’ – which aren’t French words at all. They’re distortions of the French word ‘merdre‘ which means ‘shit’.

With its scatological language, its studied disrespect for all conventional language, and its wild absurdist plot studded with atrocities and mass murders, you can see why the first night of Ubu Roi resulted in uproar, the audience (allegedly) coming to blows between supporters and outraged opponents.

Schoolboy origins and puppet performances

Eventually the Ubu oeuvre would end up as three plays and a version with music and songs but it began as schoolboy jokes. In 1888 the 15-year-old Alfred Jarry arrived at the lycée in Rennes and became friends with another boy, Henri Morin. He discovered Henri was part of a group which took the mickey out of the heir well-meaning, but obese and incompetent physics teacher Physics teacher, Monsieur Hébert, known variously as P.H., Pére Heb, Ebé and other nicknames. Henri and his older brother had gone to the trouble of writing a short satire, ‘The Poles’, in which the cartoon figure of le Pere Ebé became King of Poland only to suffer various misfortunes and indignities.

Jarry threw himself into this fictional world and adapted it as a play for marionettes which was performed first at the Morin house then in the Jarry household. Jarry developed some of the themes and characters into a play entirely of his own, Onésime ou les Tribulations de Priou featuring ‘le PH’.

In 1891 the 18-year-old Jarry left Rennes and moved to Paris to attend the Lycée Henri IV to prepare for admission to the École Normale Supérieure. Here he carried on developing the material, rewriting the Morin brothers’ Polish play and his own Onésime, which became Ubu Roi and Ubu Cocu, respectively. These plays he performed with schoolfriends at his Paris lodgings and it was now that the chief protagonist’s name settled as ‘le Père Ubu’. But by now Jarry had his eye set on a literary career.

In 1893 young Jarry managed to get fragments of the plays published in a literary journal. Jarry was becoming known for his poems and short prose pieces. In October 1894 some of these were published in his first book, the ultra-symbolist Minutes de Sable Mémorial. At the end of the year Jarry was briefly called up for military service but his short stature caused ridicule and he was discharged for medical reasons. A year after Minutes his second book was published, César-Antéchrist (1895).

In January 1896 Jarry was introduced to the theatre director Aurélien-Marie Lugné-Poe. In June Lugné-Poe invited Jarry to become a writer-secretary at his theatre and in the same month the text of Ubu Roi was published. Then Ubu Roi had its first stage performance on 10 December 1896, to the accompaniment of shouting, screaming, cheers and jeers and fighting among the audience.

The controversy was picked up in the papers and journals and Jarry became a celebrity overnight. His friends took to jokingly calling him Père Ubu and he copied the manner and ambling walk of his character for their amusement.

As we’ve seen the plays always had a puppet version or equivalent right from their inception as a schoolboy prank. Jarry had it performed as a marionette play at his friend’s and his own house. What’s surprising that this puppet version lived on into the ‘adult’ world. In 1898 a performance by marionettes was given of Ubu Roi at a small theatre owned by none other than the artist Pierre Bonnard.

At this time Jarry finished a new version of Ubu Cocu but failed to find a publisher for it. In fact neither version of Ubu Cocu was published or performed during his lifetime. It was only half a century later, in 1944, that the second version was published. The English essayist and editor Cyril Connolly was the first to publish an English version, in his magazine Horizon in 1945 and went on to become a great promoter of Jarry’s work.

During 1899 Jarry worked on the third play, Ubu Enchaíné (‘Ubu in Chains’). Although published in 1900 this, also, wasn’t to be performed for a long time, not until 1937.

In 1899 and 1901 Jarry published the ‘Illustrated Almanac of Père Ubu’, illustrated by his friend Pierre Bonnard. He also devoted time to rewriting Ubu Roi as a two-act musical with songs. This version mutated sufficiently to be considered the fourth in the series, Ubu sur la Butte. Once again the puppet theme surface because this version was first performed by the marionettes of the Théâtre Guignol des Gueules de Bois in November 1901, although it wasn’t published until 1906, the year before his death.

As the summary shows, after the first scandal of the Roi premier wore off Jarry struggled to get his works either published or performed. He wasn’t exactly a one-hit wonder, because he did have novels, stories and a three-volume fictionalised autobiography published, and he was working all the time as a poet, journalist and literary and art critic. he was a busy bee. He also became a fixture of avant-garde circles, acting as a kind of court jester becoming increasingly reliant on alcohol to fuel his performances.

His other famous achievement was developing the nonsense science of pataphysics, which he defined as the ‘science of imaginary solutions’ which ‘will examine the laws governing exceptions and will explain the universe supplementary to this one’. References to this anti-science cropped up in various works and was given full bizarre expression in Exploits and Opinions of Dr. Faustroll, Pataphysician. But this, also, didn’t see the light of day till after his death, not being published till 1911.

King Ubu

Any prose summary can’t convey how absurd, nonsensical and caricature-like the characters and action are. The best short summary is to think of it as a kind of puppet parody of Macbeth, in which a lazy army officer is encouraged by his scheming wife to assassinate the King of Poland, usurp the throne, and then behave with appalling and wanton cruelty, butchering entire classes before declaring war on Russia.

Act 1

Scene 1: Ubu says he’s content with his position of captain of the dragoons and aide de camp to King Wenceslas while his wife (Ma Ubu) encourages him to assassinate the king and all his heirs and make himself king, plonk his bum on the throne and scoff as many bangers as he wants.

Scene 2: Dining room laid out for a feast. Ma Ubu tells him to wait till the guests arrive but greedy Ubu can’t stop himself tucking into the chicken then the veal.

Scene 3: Captain MacNure and his men arrive for the feast which, Ma Ubu explains, includes ‘Jerusalem fartichokes and cauliflower à la pschitt’. There’s not actually much to eat so Ubu exits and returns holding a toilet brush which he flings at the soldiers. Some of them taste it and collapse from poisoning (or poosening). He then forces all the soldiers out by throwing bison ribs at them.

Scene 4: After the scatological pleasantries:

PA UBU: Well, captain, how did you enjoy your dinner?
CAPTAIN MACNURE: Very much, sir, except for the pschitt.
PA UBU: Oh I didn’t think the pschitt was too bad.

Ubu asks the captain to join his conspiracy to overthrow the king. The captain enthusiastically signs up, revealing he is a mortal enemy of the king. Ubu promises to make him Duke of Lithuania.

Scene 5: A messenger arrives from the king requesting Ubu’s presence and he and Ma panic, thinking their conspiracy has been discovered. ‘Oh pschitt!’

Scene 6: Ubu at court, the king surrounded by his three sons and courtiers, in fact doesn’t suspect a thing, in fact he’s called him in to appoint him Count of Sandomir. Overwhelmed with gratitude (and relief) Ubu gives the king a fine decorated kazoo! The king gives it to his son Boggerlas and invites Ubu to the Grand Review tomorrow. As he turns to go Ubu trips and falls and the king helps him up. Won’t stop him from being ‘liquidated’ Ubu mutters.

Scene 7: A meeting of the conspirators discussing how to kill the king. Ubu suggests they lace his food with arsenic. Captain McNure suggests he cleaves the king from head to toe with his sword. Ubu is momentarily tempted to turn the conspirators in and claim a reward but they all boo so he suggests another plan. He’ll tread on the king’s foot, yell PSCHITT and that will be the signal for the conspirators to attack. Ubu makes them swear an oath.

Act 2

Scene 1: The day of the Grand Review. His queen and eldest son Boggerlas warn him against Ubu but the king insists he’s his most loyal servant. The queen describes a dream she had of the king being killed and thrown into the River Vistula. Irritated, the king says he will attend to the Grand Review without sword or breastplate to prove them wrong and sweeps out with his other sons. The queen and Boggerlas go to the chapel to pray.

Scene 2: The Grand Review. After a few preliminary comments Ubu treads on the king’s foot, shouts pschitt, and the conspirators attack him. Ubu grabs the crown and the king’s two sons flee.

Scene 3: From a balcony the queen and Boggerlas watch all the soldiers chasing the two sons and striking them dead.

Scene 4: The conspirators break into the chapel and confront the queen and Boggerlas. The latter defies them and kills quite a few of them. In face of this Ubu is a terrified coward but inches towards Boggerlas who takes a sword slash at him then escapes with the queen through a hidden passage.

Scene 5: A cave in the mountains where Boggerlas and the queen have retreated. She laments the death of her husband and sons and then collapses dead from grief. Then appear ghosts of the king, his brothers, and the founder of their dynasty (Lord Matthias of Königsberg) who tells Boggerlas to be brave and hands him an immense sword. It’s only during this scene that we’re told that Boggerlas is only 14 years old.

Scene 6: Ubu is now crowned in the king’s stateroom. He is arguing with Ma and the captain. They’re saying he must distribute largesse to the masses or they’ll overthrow him in his turn. He vehemently refuses till the captain explains that with no money the masses won’t pay their taxes. At which point Ubu orders the distribution of millions of gold pieces and the roasting of 50 oxen to feed the mob.

Scene 7: From his balcony King Ubu throws gold to the cheering mob. Captain Macnure suggests organising a race, which they promptly do, the winder winning a chest of gold pieces, the mob cheering and racing and falling over each other in their glee. Bread and circuses.

Act 3

Scene 1: In the palace Ma Ubu reminds Pa Ubu he promised to ennoble the captain. Ubu replies the captain can whistle for his dukedom and Boggerlas can go jump in a lake. Ma Ubu says he’s making a big mistake underestimating his enemies, so Ubu threatens to chop her into little pieces and chases her offstage.

Scene 2: Ubu calls together all the nobles of the land into the Great Hall of the palace and announces that he is going to liquidate them all and confiscate all their wealth. One by one they come forward, identify themselves and Ubu pushes them with a boathook through a trapdoor down into the bleed-pig chambers from where they’ll be led to the cash-room and debrained.

Ubu interrogates four or so, pushing each into the trapdoor, before having his own numerous titles proclaimed. Ma Ubu warns him he is being too brutal. Next he proposes to stop paying the judges and, when they protest, has them all pushed through the hole too, telling Ma Ubu that he will administer justice. Then he proposes a new range of taxes. When the financiers protest he has them all thrown down the hole.

MA UBU: Come, come, Lord Ubu, kings aren’t supposed to behave like that. You’re butchering the whole world.
PA UBU: So pschitt!

Scene 3: In a peasant’s house the peasants exchange the news that the old king’s been murdered, Pa Ubu is king. One of them has just come from Cracow where he saw the bodies of 300 nobles and 500 magistrates that Ubu had killed. At that moment there’s a great banging on the door and Ubu announces he’s come to collect their taxes.

Scene 4: Ubu enters the peasant’s house with ‘an army of moneygrubbers’ then orders his Lords of Phynance (a word which recurs throughout the Ubu oeuvre) to wheel in the phynancial wheelbarrow.

PA UBU: I’ve had it announced in the official gazette that all the present taxes have to be paid twice over, and all those I may think up later on will have to be paid three times over. With this system I’ll soon make a fortune, then I’ll kill everyone in the world and go away.

Goaded beyond endurance the peasants rebel but Ubu has his men massacre them all and burn the village to the ground.

Scene 5: Ubu visits Macnure who he’s had thrown in prison (specifically, ‘the casemate of Thorn’) for raising a rebellion against him. Macnure tells him that in just five days Ubu has more crimes than would damn all the saints in paradise but Ubu mocks him and warns him that the rats at night are very hungry.

Scene 6: Cut to the palace of the Tsar in Moscow. Somehow Macnure escaped the casemate of Thorn and has ridden for five days and five nights to beg the Tsar to come to the aid of the people of Poland. He offers his sword and a map of the city of Thorn. The Tsar accepts him into his service.

Scene 7: Ubu announces to his council that his plans to get rich are working. In every direction are vistas of burning villages and people suffering under his extortions. Now he is going to share a plan he’s conceived to keep rain at bay and bring good weather. Ma Ubu mutters that he’s gone mad and Ubu threatens her.

A messenger enters with a message from Macnure which announces that he is in the service of the Tsar and is going to invade Ubu’s land alongside Boggerlas. Ubu is thrown into a cowardly panic but Ma Ubu counsels war and all his advisers start chanting war war war.

Scene 8: The army camp outside Warsaw. Ubu’s soldiers cheer for him. He puts on a set of complicated armour pieces until he looks like an armour-plated pumpkin. He’s far too fat to get on a small horse and when they lead in a giant horse he keeps falling off. Ubu makes a series of bragging boasts then clatters off. Ma Ubu says that now that overstuffed dummy is out of the way she can kill Boggerlas and get her hands on the treasure herself.

Act 4

Scene 1: Ma Ubu is in the crypt of the kings of Poland in Warsaw cathedral searching for buried treasure. She eventually opens a tomb to find old bones and gold all mixed together and begins extracting it when ghostly sounds and then a voice from the dead terrifies her into running offstage.

Scene 2: In the main square in Warsaw Boggerlas has rallied the surviving nobles and the people to overthrow Ubu. Ma Ubu emerges with her guards and there’s a massive fight. During this her ‘Palcontent’, Gyron (who Jarry specified should be played by a Black man) at first wreaks havoc in the crowd and then is brought down. As the crowd makes to grab Ma Ubu she escapes.

Scene 3: Ubu at the head of his army which has been marching through the Ukraine seeking the Russian army. Ubu is so ludicrously over-armoured that even the big horse couldn’t carry him so he’s been walking and leading it by the reins. A messenger arrives to tell him that, in his absence, there’s been a rebellion in Warsaw, Gyron is killed and Ma Ubu fled to the mountains.

Now his army sights the Russians. Ubu issues fairly reasonable instructions for the order of battle based on the notion that the Polish army will remain on the hilltop and wait for the Russians to come up towards them at which point they’ll cut them down with their artillery. But, nonsensically, as it’s 11 o’clock, instructs the army to have lunch, saying the Russians won’t attack. At that moment a cannon ball goes whizzing by, crashing into the nearby windmill.

Scene 4: Confused melee of the battle in which Ubu is shot, thinks he’s dead but gets up again, while Captain Macnure enters cutting a swathe through the Polish troops till he comes face to face with Ubu. Ubu again shows his cowardice by thinking he’s been hit by another cannonball but Macnure laughs that it was just a cap pistol. Infuriated, Ubu tears him to pieces!

Encouraged by his lead general, General Laski, Ubu throws himself on the Tsar and they have a fierce hand-to-hand fight which the Tsar wins and proceeds to chase Ubu across the battlefield. There’s a trench and Ubu jumps over it while the Tsar falls in.

TSAR: Now I’m in the soup!

Ubu describes the scene of the Tsar getting massacred by Ubu’s soldiers and does it in an elaborately formal and periphrastic style quite unlike anything, deployed for comic or incongruous effect. He then admires his own eloquence. Despite this the Russian soldiers rescue their Tsar and pursue Ubu and his army off-stage.

Scene 5: Finds Ubu holed up in a cave in the mountains with a category of companions called ‘the palcontents’ and humorously named Head and Tails. They mock the way Ubu cowardly fled the battlefield while Ubu describes himself as the hero of the battle, struggling manfully against overwhelming odds.

Scene 6: A bear comes into the cave and attacks Tails while Heads attacks the bear. Ubu, obviously, climbs up a rock out of the way but says he is high-mindedly (and absurdly) offering a prayer to him. Heads and Tails finally overcome and kill the bear as Ubu comes down from his rock delivering another long pompous speech about how he saved the day with his prayers. He sends Tails off to fetch wood and orders Heads to carve up the bear, making sure he himself remains safely distant.

Throughout all this Heads and Tails have been muttering comments about Ubu’s cowardice and now, when he demands a share of the cooked meat, they come out into the open and call him a fat pig, saying he won’t get anything to eat unless he shares in the work.

Deprived of food Ubu beds down and goes to sleep. The other two wonder whether the rumours are true that Ma Ubu was overthrown, and decide to slip off and head for home while Ubu’s asleep.

Scene 7: Ubu talks in his sleep delivering a stream-of-consciousness monologue which includes elements of everything which has happened in the play up to and including the bear fight.

Act 5

Scene 1: It’s night time in the same cave and Ma Ubu enters, not noticing her husband asleep in the corner. She delivers a long monologue recapping her adventures since Ubu left Warsaw, namely: rummaging about in the kings’ crypt; exiting to discover Boggerlas leading rebels in the main square; the resulting fight in which her lover, the Black Gyron was cut down; how she made it to the River Vistula but all the bridges were guarded so she swam across; how she barely escaped the baying mob; how she has trudged through the snow for four days and arrived, starving, at this cave.

With allowance for some of the delivery, this isn’t absurd at all but is the language of the contemporary adventure novel.

At which point Ubu stirs and starts mumbling half awake, obviously starting Ma Ubu who quickly realises who it is, and then decides to take advantage of the situation, puts on a booming voice and pretends to be the archangel Gabriel! She then embarks on the comic enterprise of having the angel Gabriel tell Ubu what a beautiful, charming woman his wife is, an ‘absolute saint’, while Ubu, predictably and to comic effect, rebuts her at every point, describing her as a sexless old hag.

Ma Ubu goes on to tell Ubu he must forgive her for stealing a little bit of his money, but this backfires as it only confirms what Ubu suspected. Moreover dawn is coming up and it’ll soon be light enough in the cave for him to see and recognise her.

And that’s what happens. Ma Ubu tries to brazen it out but Ubu realises it’s her. He asks what happened back in Warsaw and she tells him about the rebellion and how she had to run away from the Poles. Ubu counters that he had to run away from the Russians, just goes to prove what they say, that ‘great minds think alike’.

MA UBU: They can say that if they want, but my great mind thinks it’s just met a pea-brained idiot.

Enraged Ubu throws the bear’s body over her which a) makes Ma Ubu scream that she’s being attacked, and the way her movements seem to be animating the bear b) makes Ubu scream that the bear’s come back to life.

When they both realise they’re wrong she launches a tirade of abuse at him which makes him jump over, force her to her knees, list the tortures he’s about to subject her to, and then start to tear her in pieces when…there’s a loud noise at the entrance to the cave.

Scene 2: Enter Polish soldiers led by Boggerlas who orders them to surrender. Instead Ma and Pa Ubu reply with volleys of abuse and start attacking him, the Polish soldiers attack them and it’s another general melee.

At which point there’s a cry of ‘Long live Pa Ubu’ and Heads, Tails and other Ubuists run into the cave, turning it into a real free-for-all. The Ubuists get the better of it, wounding Boggerlas. Two Poles are guarding the entrance to the cave but Ubu knocks them down with the bear corpse and they escape outside.

Scene 3: Just four lines long as Ma and Pa Ubu struggle across the snow-covered landscape, concluding that Boggerlas has given up chasing them and gone back to Warsaw to be crowned.

Scene 4: Suddenly we are aboard a ship in the Baltic. Pa Ubu makes a nonsensical little speech about the ‘knots’ a ship’s speed is measured in. The sea kicks up and the ship begins leaning. the captain issues sensible orders but Ubu insists on taking over himself and issues a stream of nonsensical, garbled orders to the sailors. In fact his orders are so nonsensical that some of the sailors literally die of laughter.

Several great waves break over the ship as Ubu continues his nonsense. In the last few lines Ma and Pa, Heads and tails all illogically say how they’re looking forward to returning to their native France, Spain, Paris, Germany, only for Pa to conclude.

PA UBU: Beautiful though [Germany] may be, it’s not a patch on Poland. Ah gentlemen, there’ll always be a Poland. Otherwise there wouldn’t be any Poles!

And with this inconsequential thought, the play ends.

Literary references

To augment the mock heroic vibe and absurdity the play contains a surprising number of references to ‘serious’ works of literature. The respected general overthrowing his own king and ruling like a tyrant comes from Macbeth. The various armies traipsing back and forth are reminiscent of Hamlet, a reference which is made explicit when, in the last scene, the ship rounds the Cape of Elsinore (where Hamlet is set). The involvement of a bear could be referencing the famous bear in The Winter’s Tale.

And behind all these smaller references looms the title, which echoes the primary tragedy in all European literature, Sophocles’ play ‘Oedipus Rex’ which translates into French as ‘Œdipe Roi’. This conforms to the very common view, at the end of the nineteenth century and which also informed the first modernists, that the present day is a pathetic echo of the greatness of the past, as Ezra Pound put it, a beer bottle on a pediment.

Thoughts

Well, it’s quite funny in parts and I enjoyed the schoolboy humour but:

1. ‘Ubu Roi’ shows how difficult it is to sustain absurdity. What struck me is how unabsurd most of it is. I mean there’s lots of swearing and made-up words and Ubu is made to sound like a megalomaniacal imbecile and the scenes with the bear and Ma pretending to be the angel Gabriel are farcical enough – but the basic narrative of 1) a coup, 2) the usurper leading an army against the neighbouring country, 3) a counter-coup in the capital city in his absence… Far from being absurd this sounds like the history of too many countries during the twentieth century and of too many post-colonial nations since independence. In other words, many passages of it felt all too realistic.

2. Unfortunately, Jarry’s vision of pointless barbarism was very much overtaken by the events of the twentieth century. Assassinations and coups and the coming to power of brutal tyrants who massacre their own subjects were dwarfed by the horrific regimes of Hitler and Stalin in the mid-century. But as I read the descriptions of Ubu combining real ignorance with terrifying brutality, I couldn’t help thinking of many of the African dictators I was reading about last year, specifically the terrifyingly stupid, cunning and sadistic Idi Amin.

Compared to the real world the Ubu plays come over as what they began as, schoolboy pranks.

Ukraine

Eerie that at the centre of the play is war in Ukraine, then, as now, contested borderlands. Ukraine was destined to be the scene of unbearable suffering in the first half of the twentieth century, long before its present tragedy unfolded.

Influences

I list a few of the artists, musicians and composers who’ve engaged with the Ubu texts in my review of the third play. But here I should mention the splendid American industrial band, Pere Ubu, formed in 1975 and highly influential in the later ’70s and ’80s. They combined fairly standard, if colourful rock grooves with the witch-doctor madness of front man David Thomas. Remember that the first words of Ubu Roi are ‘Merdra, merdra’? Well, they’re refrain of what is maybe Pere Ubu’s best song, Modern Dance (1978).


Credit

I read ‘Ubu Roi’ in the 1968 translation by Cyril Connolly and Simon Watson Taylor, included in ‘The Ubu Plays’, first published by Methuen World Classics in 1968, republished in a new edition in 1993.

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In the Eye of the Storm Modernism in Ukraine, 1900 to 1930s @ the Royal Academy

This is a thrilling, surprising, enchanting and worthwhile exhibition for four reasons:

One, although it is the most comprehensive UK exhibition ever devoted to modern art in Ukraine, it is still relatively small, with just 65 works. This gives you time to explore the whole thing, read all the captions, and then stroll back and forth focusing in on the ones you really like and/or discovering ones you didn’t really notice in your first go round. I.e. you can soak in it.

Two, most of us know nothing about Ukrainian art (or history) which means we come with few expectations. Entering an exhibition of Monet or Abstract Expressionism etc I’ve a) a good idea what to expect and b) feel a bit of pressure to live up to these Great Works. But I had no or low expectations for this show, and complete ignorance as to who the Ukrainian artists would be, and the result was that I was surprised and delighted by lots and lots of lovely paintings, drawings, theatre design, collage and (two) sculptures. Delight and surprise.

Three Female Figures by Alexandra Exter (1909-10) National Art Museum of Ukraine

Three, the period of art under review, the 1900s through to the mid-1930s, was the heyday of modernism. Ukrainian artists of these generations were fully aware of the modernist trends elsewhere in Europe (Germany, France, Italy, England) and copied and incorporated and innovated around the various movements of cubism, futurism, constructivism, simultanism, Orphism so it’s packed with works in these styles and, as this is probably my favourite period of art, what’s not to love?

Four, as doesn’t need much explanation, this is show in a good cause. We all support the Ukrainian people and Ukrainian army in their struggle against brutal Russian aggression. Simply getting them out of the country to England, presumably makes them safe. And 10% of the price of the exhibition’s handsome catalogues goes to the National Art Museum of Ukraine.

Brief history of Ukrainian art 1900 to 1935

Modernism in Ukraine unfolded against a complicated socio-political backdrop.

Geopolitically, Ukraine had for centuries been a borderland, with its territory divided between various empires and its people not perceived as a single nation until the late nineteenth century. Until the outbreak of the First World War the territory of Ukraine was divided between the Russian and Austro-Hungarian empires.

When the Russian Empire collapsed in 1917 Ukrainian nationalists declared independence. When the Austro-Hungarian Empire collapsed at the end of the war, Ukrainian politicians seized back control of traditional Ukrainian land from that, too. And so Ukraine declared itself an independent republic (the Ukrainian People’s Republic) in 1918 and excited nationalists set up the Ukrainian Academy of Art, the first institution of higher art education in Ukraine.

However, the Russian Bolsheviks proceeded to invade, which led to four years of brutal civil war (1918 to 1921). The Bolsheviks won and proceeded to absorb the Ukrainian lands into the new Soviet Union.

As far as art went, in the first phase the newly independent Ukrainians had set up the Ukrainian Academy of Art. However, in 1924, after conquest by the Soviets, this was turned into Kyiv Art Institute. For the rest of the 1920s the Soviet masters promoted a policy of Ukrainisation’, an ideological concession to appease local national sentiment.

Then, at the start of the 1930s, the Bolsheviks, now firmly controlled by Stalin, announced the new doctrine of Socialist Realism. All forms of modernism and experiment were denounced as ‘bourgeois formalism’. Artists and designers were rounded up in their hundreds, shipped off to prison and murdered. It was the Russian way.

And so the story of modernist Ukrainian art came to a dead halt in the gulag and the execution chamber. Obviously its art continue, but in the heroic Socialist Realist style and then came the Second World War and it was a whole new thing. Which is why the exhibition stops here.

The show is divided into seven sections, each fairly manageable (the last one only has three paintings in it) and they are:

1. Introduction

Emphasises Ukraine’s troubled history but especially the way it included diverse ethnicities, namely Ukrainian, Polish, Russian and Jewish communities.

Carousel by Davyd Burliuk (1921) National Art Museum of Ukraine © The Burliuk Foundation

This is a brilliantly vivid painting by Davyd Burliuk which features in much of the exhibition’s publicity. I was surprised to find it is quite small, probably not two feet wide. And the other thing is how the surface is clotted with thick lumps of paint, a physicality I always find exciting in modern art.

Compare and contrast with Merry-Go-Round by the English artist Mark Gertler, painted in 1916. Stylistically they have nothing in common, I was just struck by the common subject matter. Stylistically, this has more in common with some of the more over-vivid paintings of the Blue Rider artists in Munich.

2. Cubo-Futurism

Young Ukrainian artists were plugged into the trans-European excitement caused by the modern breakthrough in art, not least because, as a subject people no Ukrainian city was allowed to have its own art academy. As a result aspiring artists had to move elsewhere to complete their studies and travelled to all the other art capitals of Europe. Thus they learned on the spot about movements such as the Fauves in France, the Blue Rider in Germany, the fragmentation and geometric shapes of cubism in Paris, the energy and movement of Futurism in Italy, and so on, and began experimenting with all these new visual languages. New ways of thinking about art as abstract, patterns and shapes, bold unnatural colours.

Composition (Genova) by Alexandra Exter (1912) Alex Lachmann Collection

I was surprised to see a work by Sonia Delaunay, well-known in her Paris incarnation but included here because she was born in Ukraine, originally named Sofia or Sarah Stern.

The curators talk repeatedly about the influence of Ukrainian folk and decorative art but, to be honest, this isn’t particularly evident in the first, modernist, room where the works mainly look like the local version of the cubo-futurisms sweeping the continent.

  • Alexandra Exter
  • Davyd Burliuk
  • Oleksandr Bohomazov
  • Vadym Meller
  • Volodymyr Burliuk
  • Alexander Archipenko

The standout piece for me in his section wasn’t a painting but a wonderfully smooth vibrant sculpture of a nude, Flat Torso, by Alexander Archipenko which combines Epstein abstraction with Art Deco sensuality. It’s more captivating than this reproduction makes it look.

Flat Torso by Alexander Archipenko (1914) Sladmore, London © Kendzia © Estate of Alexander Archipenko / ARS, NY and DACS, London 2024

3. Theatre

Explores the role of theatre design as one of the most vigorous expressions of modernism in Ukraine. This section has the most images in it, 20 or so costume and set designs drawn by Ukrainian artists involved with the First Taras Shevchenko State Theatre, the Kozelets Theatrez, the Youth Theatre and so on. They’re in a variety of modernist styles but lots of these are charming and entertaining, many made me smile.

Two figures stand out as leaders in the new theatre: Alexandra Exter and Les Kurbas. Exter’s pioneering theatre designs translated Cubist and Futurist principles into scenography. In 1918, she opened a private studio in Kyiv with a separate course on stage design and among her students were some of the most acclaimed theatre designers of the next generation including Anatol Petrytskyi and Oleksandr Khvostenko-Khvostov. Here’s one of Vadym Meller’s costumes for Bronislava Nijinska’s dance performances.

Sketch of the ‘Masks’ choreography for Bronislava Nijinska’s School of Movements, Kyiv by Vadym Meller (1919) © Vadym Meller

I really liked Anatol Petrytskyi’s series of constructivist costume designs, like a modernist Tweedledum and Tweedledee, Constructivism being ‘a functional, abstract art that rejected decoration and used industrial materials.’ I particularly liked Oleksandr Khvostenko- Khvostov’s guards for the opera A love for three oranges, with their geometric step and their fine curly moustaches.

Here’s an article which includes a representative selection.

  • Alexandra Exter
  • Les Kurbas
  • Anatol Petrytskyi
  • Oleksandr Khvostenko-Khvostov
  • Vadym Meller
  • Vasyl Yermilov

4. Kultur Lige

The organisation Kultur Lige (the Cultural League) was founded in Kyiv in 1918 to promote the development of contemporary Jewish–Yiddish culture. It operated within a unique socio-political context shaped by the independent Ukrainian People’s Republic, led by the short-lived government of the Central Rada (Council) that recognized the multicultural and multilingual nature of Ukraine’s society. It brought together young Jewish artists such as El Lissitzky, Issakhar Ber Ryback and Sarah Shor, to foster a synthesis of the Jewish artistic tradition and the European avant-garde. The Kultur Lige ceased to exist by the mid-1920s following growing pressure from the Soviet regime.

In this section I very much liked ‘Horse Riders’ by Sarah Shor (1897–1981). It’s not just the vibrant blue and the name which relates it to The Blue Rider artists but the almost complete abstraction which still feels like it’s sourced in something in the real world. That duality is part of what gives it its tremendous energy.

Horse Riders by Sarah Shor (late 1910s) © Sarah Shor, Alex Lachmann Collection

The curators say it ‘captures the optimism of the new age, while reworking Jewish artistic traditions’. I can see how ‘optimism’ might be encoded in the dynamic rearing abstract structures, as for the architecture of a brave new world. The ‘Jewish artistic traditions’ not so obvious, to me at any rate.

  • Issakhar Ber Ryback
  • El Lissitzky
  • Sarah Shor
  • Marko Epshtein

5. Ukraine under the Soviets

After nearly five years of the bloody Ukrainian War of Independence (1917 to 1921), the Bolshevik Red Army defeated the national Ukrainian forces, and the Ukrainian Socialist Soviet Republic was established with Kharkiv as its capital.

In 1923, the Soviet authorities introduced the policy of ‘Ukrainisation’, an ideological concession to appease local national sentiment. This policy allowed for a level of cultural autonomy in the Republic, enabling the development of the Ukrainian language and culture. For the next decade, Ukrainian intelligentsia participated in the ambitious project of creating a new cultural identity that was both Ukrainian and Soviet.

During this period, Mykhailo Boichuk’s studio of monumental art emerged as the leading artistic group in Soviet Ukraine. Its members, known as ‘the Boichukists’, completed state commissions to create murals for public spaces and buildings. The school was short-lived, however. Labelled ‘Ukrainian bourgeois nationalists’, Boichuk and a close circle of his associates were executed during the Stalinist purges of the 1930s, with most of their public art subsequently destroyed. The Russian way. If it’s a neighbour, invade it. If they’re making art or literature you don’t understand, lock them up and execute them.

This room contained depictions of peasants – farming, apple trees, swineherds with their pigs – done not in a bracing modernist but in a folk naive style, that I found boring.

Women under the Apple Tree by Tymofii Boichuk (1920) National Art Museum of Ukraine

However, next to these were works by Vasyl Yermilov which I loved. I love the use of industrial materials like the copper here, and moulded into such an incredibly evocative shape, it was then also painted. It feels completely novel and wonderfully inventive.

Self-Portrait by Vasyl Yermilov (1922) Alex Lachmann Collection

Yermilov was extremely versatile and worked on propaganda art that combined agitational imagery with Ukrainian decorative traditions. There’s a great set of designs with a chessboard background he made for the Chess Room at the Central Red Army Club, Kharkiv. And alongside them, are some great constructivist magazine covers, featuring a modernist typeface he created for the Ukrainian script. Good man.

  • Anatol Petrytskyi
  • Mykhailo Boichuk
  • Mykola Kasperovych
  • Tymofii Boichuk
  • Ivan Padalka
  • Kyrylo Hvozdyk

6. Kyiv Art Institute

Soon after independence the Ukrainians had set up the Ukrainian Academy of Art, the first institution of higher art education in Ukraine’s history. However, once the Bolsheviks had conquered Ukraine, and in order to conform to the Soviet system of higher education, the Academy was restructured into the Kyiv Art Institute. The Institute became one of the USSR’s leading art schools. It also hired instructors from across the Soviet Union so that such progressive and well-known artists as Kazymyr Malevych, Viktor Palmov and Vladimir Tatlin joining its faculty.

The two works which grew and grew on me each time I came back to look again, are both by Viktor Palmov. From 1921 there’s his catchily cartoon-like group portrait. It’s big and a peculiar bend of naturalism and abstraction, with an odd colour palette i.e. the acid greens and yellows of the face on the right. Like the Burliuk it, also, has gobs and snags of oil paint sticking up from the surface in the semi-industrial way I always like.

Group Portrait by Viktor Palmov (1921) National Art Museum of Ukraine

His other painting is the big propagandist 1 May from the end of the decade (1929). Again with the vivid palette, dominated, now, by that vivid green, with secondary patches of yellow. And these big swathes of colour contrasted with the cartoon outline of, presumably, figures at a political rally, with anecdotes of a mother and child and two lovers at the bottom.

May the 1st by Viktor Palmov (1929) National Art Museum of Ukraine

Strange, isn’t it? The more times I looked the more I became entranced. I noticed the white bicycle at the bottom. And then I wondered why the worker standing in the middle left has his buttocks outlined quite so clearly in light green – which made me smile.

On the basis of these two works Palmov emerges as maybe my favourite artist in the show, alongside the more understandable constructivist Yermilov. Then again, Anatol Petrytskyi. Hmm. Tricky.

  • Viktor Palmov
  • Kazymyr Malevych
  • Oleksandr Bohomazov
  • Anatol Petrytskyi
  • Manuil Shekhtman
  • Vasyl Sedliar

The curators go big on the work of Oleksandr Bohomazov who taught at the Kyiv Art Institute from 1922 until 1930, when he died from tuberculosis. His final major work was intended to be a three-part cycle depicting the labour of sawyers, for which he completed two canvases – ‘Sharpening the Saws’ and ‘Sawyers at Work’. While retaining experimentation in the use of vivid, hyper-bright colour and the geometrised background, Bohomazov returns to figuration to make his art more accessible to a broader, proletarian audience. Fair enough, but I didn’t really like it. To make a punning reference to the saws, it didn’t have enough ‘edge’ for me.

Sharpening the Saws by Oleksandr Bohomazov (1927) National Art Museum of Ukraine

No, the other standout work in this room if Big Paintings, was The Invalids by Anatol Petrytskyi. We’ve already met Petrytskyi through his attractive constructivist theatre designs in the ‘Theatre’ section, and his excellent soft-cubist Portrait of Mykhail Semenko in the ‘Ukraine under the Soviets’ section. Here he appears in a new guise, with a monumental paintings, maybe three yards wide, in the kind of stylised realism which resurfaced as the modernist tide withdrew.

The Invalids by Anatol Petrytskyi (1924) National Art Museum of Ukraine

This reproduction is too bright and colourful, the original is more sombre. And it’s big, really big. The result is that the blotched hands and feet of these people really stand out and slowly, the faintly abstract angularity of their bodies and postures began, for me, to dominate the room. The mottled fleshtones reminded me of Lucien Freud. The depth and sombreness of the (original) colouring gives it real pathos.

7. The Last Generation

Just three big, big oil paintings by Oleksandr Syrotenko, Kostiantyn Yeleva and Semen Yoffe. The Yeleva is the most striking with its very 1930s worship of The Aeroplane going on in the background (plane at top right, windsock at bottom left), but obviously the great big mug of a Hero of Soviet Labour in the foreground.

Portrait by Kostiantyn Yeleva (late 1920s) National Art Museum of Ukraine

The last wall caption is tragic:

The policy of ‘ukrainizatsiia’ was curtailed in the 1930s amidst purges of the Ukrainian intelligentsia. Hundreds of writers, theatre directors and artists, including Mykhailo Boichuk, Mykola Kasperovych, Les Kurbas, Ivan Padalka, Mykhail Semenko and Vasyl Sedliar, were labelled as ‘bourgeois nationalists’ and executed. Many more were imprisoned and sent to labour camps. Manuscripts, books and artworks were destroyed. Murals were overpainted or scraped off walls. Canvases that were not destroyed were sent to secret repositories.

The great Russian soul in action.

And they end with a rationale for the entire exhibition which, arguably, should have been at the start:

In the 1960s and 1970s, Western countries rediscovered the revolutionary art of the late Russian Empire and early Soviet period. Since then, artists born or living in Ukraine have been considered under the catch-all mono-ethnic term ‘Russian avant-garde’, yet their artistic experimentation was integral to the development of Ukrainian culture. ‘In the Eye of the Storm’ seeks to contribute to evolving scholarship around this historical oversight, highlighting the complicated and little-known story of modernism in Ukraine, as well as its many links to European culture.

So the exhibition represents not only a collection of very good, charming, funny, inspiring, beautiful art, but also sets out to rewrite the art history books. Who knows what the outcome of the current war will be (a ceasefire line somewhere inside Eastern Ukraine?). Meanwhile this is a really good exhibition, full of wonderful surprises and really good works, and all in a noble cause.

Gaps and absences

You know what isn’t depicted in any of these images? War and famine. The curators tell us about the Soviet invasion of Ukraine and the ruinous civil war which ensued and yet…there are no images at all of this conflict, nor of the Great War which preceded it. Maybe paintings were made of these events but, I’m guessing, maybe in the older, realist style which is outside the scope of this show and explains, maybe, why they’re not included. Feels like a glaring omission, though.


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Peter Kennard: Archive of Dissent @ the Whitechapel Gallery

‘Visual attempts to dissect the newspeak that bombards us’
(Peter Kennard in an article about his photomontages)

Chances are you’ve seen one or more of Peter Kennard’s iconic photomontages, particularly during his heyday in the 1980s when the reign of Mrs Thatcher provided the perfect background for his brand of aggressively radical, satirical photomontages, published in a wide variety of left-leaning magazines and newspapers.

‘Protest and Survive’ by Peter Kennard (1980) Tate: Purchased from the artist

Throughout Thatcher’s premiership, and fired by her close partnership with Rocking Ronnie Reagan, there was widespread paranoia on the Left that the world stood on the brink of a catastrophic nuclear war and Kennard’s witty, bleak, mashed-up montages provided a perfect accompaniment to the mood of anxiety among concerned activists everywhere.

‘Haywain with Cruise Missiles’ by Peter Kennard (1980) Tate: Purchased from the artist 2007 © Peter Kennard

Photomontage

Photomontage is the technique of cutting, arranging and gluing together photos (or parts of photos) to make a new image, sometimes with text similarly cut and pasted from newspapers or other sources. As a technique it’s always been associated with politics and satire, from its origins in the Weimar Republic of the 1920s and 30s and the great pioneer of political montages, John Heartfield.

The Meaning of the Hitler Salute: Little man asks for big gifts.

‘The Meaning of the Hitler Salute: Little man asks for big gifts’ by John Heartfield, October 1932

As a student activist in the 196os, Kennard found theoretical underpinnings for photomontage in the critical writings of Marxist thinkers like Walter Benjamin and Bertolt Brecht who promoted photomontage and collage (among other strategies) as ways of puncturing, subverting and questioning the smooth lies of capitalist discourse and bourgeois culture. Indeed, one of newspapers on show here is a Guardian Arts supplement from the 1990s featuring a long essay about Benjamin by James Wood and illustrated by a photomontage of him (Benjamin) by Kennard.

‘Walter Benjamin’ by Peter Kennard (1990) as featured in ‘Archive of Dissent: Peter Kennard’ at the Whitechapel Gallery

Kennard at the Whitechapel

This new exhibition of Kennard’s work includes lots of golden oldies from the 70s, 80s, and 90s, witty, savage, sometimes very bleak visual protests against a world run by rich Western corporations who, in what is probably his central theme, make obscene amounts of money by selling arms, weapons, bombs, guns to disgusting regimes which then use them to repress, murder, massacre their own and neighbouring populations. Champagne-swilling capitalists win – unarmed civilians, women and children lose.

‘Stop’ by Peter Kennard as featured in ‘Archive of Dissent: Peter Kennard’ at the Whitechapel Gallery

However, this exhibition is not by any means a retrospective or dwelling on the past. Two of the three rooms contain very up-to-date works, completed in 2023 or this year, which show Kennard expanding his range in new and interesting ways. Having pondered all this a bit, I think the best way to 1) indicate what the show actually contains and 2) to indicate how the new stuff differs and expands on the old, is simply to describe it room by room.

Room 1

Room 1 is named the Archive Room and contains four elements. First there’s a plain table on which are ten books, publications from Kennard’s career from coffee table blockbusters to smaller, postcard-sized works. You could grab a coffee from the cafe downstairs, sit and browse through these for an interesting half hour or so.

On a shelf round two walls are 17 copies of one of these books – @earth – open to 17 different images.

On another wall is a hinged rack (the kind you see in art gallery shops) of 42 posters of Kennard images ranging from 1979 to 2019, made from photolithography and silkscreen on card.

Lastly, there are piles and piles of newspapers – or at least that’s what I thought they were till I looked closely and realised they are specially printed broadsheet-sized, newspaper-style folded versions of his images, accompanied by smatterings of text, which are FREE and we are encouraged to take away with us.

Installation view of ‘Archive of Dissent: Peter Kennard’ at the Whitechapel Gallery, showing the reading table, copies of @earth open on the shelf and piles and piles of free papers (photo by the author)

Room 2

Barely a room, really just an extension of the same space, the second gallery contains three elements. There is a display case which bears the title ‘Worktop, 1966–2024’ and is, as the name suggests, a junk shop-style collection of the kinds of materials that Kennard collects – magazines, books, photos – plus all manner of equipment used to make the works, such as a tape measure, rulers, paints, knives and tools and so on.

The artist’s bric-a-brac at ‘Archive of Dissent: Peter Kennard’ at the Whitechapel Gallery (photo by the author)

Above the display case are four large framed works titled ‘Stocks’ from 1994. These are four copies of the Financial Times which have been subjected to a dramatic transformation, namely a gaunt, ravaged, black and white arm and hand tearing its way down through the neat columns of stock market prices, in a gesture which manages to convey terrible despair.

©Peter Kennard Newspaper 8 (1994) Carbon toner, oil, charcoal, pastel on newspaper, wood

‘Stock’ by Peter Kennard (1994) as featured in ‘Archive of Dissent: Peter Kennard’ at the Whitechapel Gallery

Opposite these a sort of alcove has been filled with 25 poster-sized blow-ups pf his images to create a little forest of placards, each attached to a wooden post themselves secured in red vices. This is his newest work, created specially for this exhibition, is titled ‘People’s University of the East End’, and there’s a story behind it.

It turns out that the three ‘galleries’ in which the show is held were once part of the former Whitechapel Library (1892 to 2005). At the turn of the twentieth century this was a free resource to the poor inhabitants of the area who would have read books, magazines and newspapers here. Back then it was nicknamed the ‘People’s University of the East End’, hence the title of this installation which, as the curators put it, ‘reflects on the capacity for learning, community and activism in public spaces.’

The exhibition, we learn, was conceived to echo and reflect on this idea of a library, a place where ideas are made available, promoted and circulate. Hence the inclusion of the word Archive in the title of the show, for it brings together not just the images themselves, but includes actual copies of the original newspapers and magazines and posters, as well as the more recent books, in which his images were first published and continue to circulate.

Installation view of ‘People’s University of the East End’ in ‘Archive of Dissent: Peter Kennard’ at the Whitechapel Gallery (photo by the author)

This little copse of placards is quite a neat idea, and contains up-to-date works such as the barbed-wire tree from the civil war in Syria (centre right) and the image of Julian Assange intercut with the American and British flags at the bottom right, but it didn’t pull my daisy, I’m not sure why. In the same way, the notion of the Archive certainly explains the bringing together of all these formats – posters, newspapers, and the vitrine showing his bric-a-brac – but doesn’t really come off, as an idea.

The best bit, I thought, were the shiny red vices supporting the posts, like a little army of red crabs. ‘Red vices’, hmm, that could have been a witty alternative title for the exhibition and the right-on causes Kennard has spent a lifetime supporting…

Anyway, themes from these first two spaces are picked up in the third, biggest and best room of the show.

Room 3: the installations

The first wall of the third and final room displays no fewer than 40 of his classic photomontages, ranging from a piece commenting on British Army brutality in Northern Ireland in 1973 to the Free Julian Assange piece I mentioned above, made in 2023, via one of my favourites, the very funny Maggie Regina from 1983.

Maggie Regina by Peter Kennard (1983) in ‘Archive of Dissent: Peter Kennard’ at the Whitechapel Gallery (photo by the author)

It’s an impressive selection from fifty years of mostly stark and upsetting imagery designed to provoke the viewer into thinking again about the forces of violence and exploitation which underlie our shiny Western world.

But the big thing here is the installations which I think are brilliant. There are four of them and, remember the copies of the Financial Times with the gaunt arm tearing through it in the previous room? – they all rely on newspapers as their central material.

1. Reading Room

The simplest is ‘Reading Room’. Picking up on the Whitechapel Library motif, these are four old two-sided wooden lecterns, the kind that turn-of-the-century readers would have read their newspapers on. Each of them hosts an original edition of a newspaper or magazine where a Kennard work originally appeared. Most of the 8 newspapers in question were copies of the Guardian, the exceptions being two copies of The Workers Press and a vintage copy of the New Musical Express.

Installation view of ‘Reading Room, 1997 to 2024,’ in ‘Archive of Dissent: Peter Kennard’ at the Whitechapel Gallery (photo by the author)

The classic black-and-white photomontages address these issues:

  • 1973 scientists involved in torture (The Workers Press)
  • 1974 British investment in apartheid South Africa (The Workers Press)
  • 1981 nuclear weapons, a skeleton morphing into an atom bomb (New Musical Express)
  • 1989 reunification of East and West Germany (Guardian)
  • 1990 the Whites Only policy of South African apartheid (Guardian)
  • 1990 profile of Walter Benjamin (Guardian)
  • 1991 Gulf War, the attempt to stop Saddam Hussein (Guardian)
  • 1991 a centrefold collection of photomontages (Guardian)

2. World Markets (1997 to 2024)

‘World Markets’ is a set of 16 broadsheet newspaper double-spreads, most if not all from Kennard’s favourite target, the Financial Times, on which he has projected faces intended, presumably, to represent The Poor and Exploited. The aim is to remind us that behind the wall of numbers which is the faster-then-ever, digitally automated stock market, are the lives of the poor and downtrodden who suffer from the ravages of global capitalism.

Installation view of ‘World Markets, 1997 to 2024,’ in ‘Archive of Dissent: Peter Kennard’ at the Whitechapel Gallery (photo by the author)

Both these are straightforward in manner and material. The last two installations represent something completely new because they use electric lights and projections.

3. Double Exposure, 2023

‘Double Exposure’ covers a whole wall. It consists of three rows of 12 Financial Times pages with lights projecting images of war and conflict and poverty onto them. It was made in collaboration with Nigel Brown and is large and imposing. Part of the overall visual impact comes from the complicated spaghetti of electric cabling hanging from each projection and spooling along the floor.

Installation view of ‘Double Exposure’ in ‘Archive of Dissent: Peter Kennard’ at the Whitechapel Gallery (photo by the author)

The dynamic nature of this installation i.e. the lights continually changing, is appealing. And the notion of this magic lantern show revealing the ‘truth’ behind the blank walls of stocks and shares prices on the FT pages is also sort of interesting.

Kennard’s dualistic worldview

‘Double Exposure’ really just brings out the fundamental concept which underlies all Kennard’s work which is that there are two levels of reality – the smooth, plausible, ‘common sense’ world we inhabit, defined and described and promoted in the hegemonic discourse of neo-liberal consumer capitalism, the world of perfect people smiling down at us from advertising hoardings in the streets, on the sides of buses, on the Tube, on TV on our social media, the world of newspapers and TV assuring us that our values and our way of life, our pensions and investments in mega-corporations, are the only rational, practical ways to run the world – and the other world, the Dark Side, where the huge profits which keep the corporations afloat which our pensions and savings are invested in, the world of ‘shiny happy people’ is sustained by the ruthless exploitation of the poor and powerless, of indigenous peoples around the world, of peasants and workers forced to sweat in terrible conditions in Indonesian sweatshops or be psychologically destroyed in China’s suicide factories, and where, above all, the West maintains its hegemonic control of the world’s economic and financial systems through the ruthless elimination of anyone who stands in its way via wars of conquest dressed up as ‘liberation’ or ‘freedom’ – as in the deep need to control the world’s oil supplies which underlay the West’s adventures in the Gulf War and then the Iraq War.

Kennard’s works represent this Two World Hypothesis, this duality, via works which are themselves dualistic or dichotomous, in which (in his classic works) images from two different value systems are made to crash into each other, the startlingness of the disjunction intended to wake us from our complacent slumber.

‘Thatcher Unmasked’ by Peter Kennard (1986) A/POLITICAL

You can see how this duality underlies all his work, from duality of ‘The Haywain with Cruise missiles’ (where the self-deceiving bourgeois dream of some Old Englande is punctured by the modern reality of England being a lunch pad for American nukes) through to the dual image of copies of the Financial Times which have been ripped by the gaunt arm of the global poor (‘Stocks’) or have projected onto them the faces of the global poor (‘World Markets’ and ‘Double Exposure’).

There are, of course, a number of problems with this approach and with the whole radical worldview which underlies it, of which three spring straight to mind.

1. What’s the alternative?

One is, What else do you suggest? Forty years ago I read Class War and Socialist Worker and the kind of publications Kennard’s works appeared in and fondly imagined that the (Western) world could be subjected to a socialist transformation, but the collapse of the Soviet Union and of all the regimes around the world which it supported took all the steam out of those (wildly impractical) hopes and into the vacuum rushed the two flavours of neoliberalism which have ruled the West ever since, the Hard Neoliberalism of the Conservatives and Republicans, of Reagan and Thatcher, or the Soft Neoliberalism of Bill Clinton and Tony Blair, which promised a fairer world and a middle way but still deregulated the financial sector leading to the 2008 crash and enthusiastically promoted the War on Terror and invasion of Iraq, trashing Blair’s reputation forever.

Photo-Op by kennardphillipps (2005) © kennardphillipps

Photo-Op by kennardphillipps (2005) © kennardphillipps

Right up to the present day, activists on the Left are still trying to devise a new economic and social theory on which to base their policies, an ideological vacuum you can clearly see in Keir Starmer’s Labour Party, which is just the British wing of the general bemusement of left-of-centre parties across the West.

Which explains why the Left has so enthusiastically embraced identity politics – it’s an excuse, it’s a fig leaf, it covers for their lack of an economic theory. Certainly feminism and black rights and refugees and Palestine are worthy causes, but in all the Western nations the Left and progressives and activists have clustered round these causes because they don’t know what to do about the economy any more – should we nationalise all the utilities, should the government create an industrial strategy and support native industries?

The Right has won everywhere because it has a clear strategy – reduce the state, privatise everything, neuter trade unions, leave all economic decisions to the market, cut taxes on the rich – which it implements everywhere with total consistency, and has ideological allies in all the media owned by the rich who stand to directly benefit from these policies.

I take the pint that Kennard’s work is satirical commentary and like satire through the ages is under no obligation to propose its own alternative agenda, and yet at some point, during this review of 50 years of political engagement, surely every visitor is going to ask, ‘OK – you hate this universe of exploitation and warmongering – what’s your alternative?’

2. The post-Cold War multipolar world

The second objection to Kennard’s worldview is that it is too western and too parochial. If Reagan and Thatcher deserved mocking in the 1980s how much more so did the totalitarian regimes in Soviet Russia and Communist China?

In this century 9/11 crystallised the threat from radical Islam, a completely new force which entered the world with the 1979 Iranian revolution but none of us were really aware of in the 1980s and 90s (except for those plucky mujahideen Sandy Gall was always reporting on for ITN) and despite the mounting rhythm of Islamic terror attacks.

The point is that the radical or Marxist critique of the West which Kennard’s works seem to embody – his relentless criticism of the British state and army, from Ulster to Basra, and British arms and weapons suppliers making fortunes from murder – has been trumped or eclipsed by forces which are demonstrably more evil and wicked – ISIS in Syria, the Taliban in Afghanistan – and the great arc of instability across North Africa, through the Middle East, Iran-Iraq, up into Syria, countries which were destabilised by the uprisings of the Arab Spring and the chaos, civil wars (Libya, Yemen, Syria) or renewed repression (Egypt) they left in their wake. And of course the horrific Hamas raid on Israel followed by the brutal war on Gaza, with the constant threat of a second front opening against Hizbollah in the Lebanon.

And if you throw in the very real threat to Eastern Europe presented by Putin’s invasion of the Ukraine and the ever-present anxiety about China’s threats to Taiwan, then get a world in which even the most radical Left are hard put to argue that it’s the West who are the biggest threat to peace or the most violent culture or the most repressive regimes.

It’s quite clear to everyone that, even if you want to excoriate Western arms companies and rapacious corporations who are, for example, continuing to supply arms for Israel’s murderous assault on Gaza, the overall values of the West need supporting against the very real enemies threatening it from all sides (including, of course, from within – Trump, Reform and the maniac right of the Conservative Party). As in France, the Left needs to present a united front against the Right which, as I mentioned above, succeeds time and time again because it knows what it wants, in a way the fractured Left all-too-often doesn’t.

In summary, mocking the American and British state, big corporations and warmongering leaders made a lot of sense in the Reagan-Thatcher 1980s, and again in the light of the Bush-Blair Iraq War of 2003 – but now, in 2024, doesn’t feel like an adequate response to a far more complicated, and threatening, world. The iniquity of British arms manufacturers continuing to supply Israel or the Syrian government, profiting from conflict in Yemen or Sudan, remains deplorable.

Union Mask by Peter Kennard (2007) Courtesy the artist

3. How ‘radical’ can any contemporary artist be?

The third objection would be the familiar one levelled at all artists no matter how ‘radical’ or ‘subversive’, which is that their works, across all channels and media, fit smoothly inside the capitalist consumer culture they claim to critique, so smoothly as to have, in practice, zero effect.

The Whitechapel Gallery has a shop which, as always, devotes a section to merchandise from the exhibitions of the moment, in this case books and posters and postcards by Peter Kennard all available at very competitive prices. All artists are as tightly enmeshed in the system they wish to undermine as the richest stockbroker or wickedest arms dealer.

You know the old Leftie joke, ‘If voting changed anything, they’d abolish it’ – same here: Kennard, Banksy, any other political artist you care to mention, don’t change anything at all, so much as provide a kind of backdrop for certain kinds of lives, images certain kinds of student zealots and ageing activists identify with and enjoy looking at.

The richest man I know loves all kinds of art, including ‘radical’ stuff like Kennard, loved political photos in the Elton John photo exhibition, coos as Yoni Shinkobare CBE’s deconstruction of imperial statues and why shouldn’t he? None of them threaten him or his ample investments in the slightest. They’re lifestyle accessories, they’re one more set of consumer items to be flicked through while waiting for a plane or by the pool or in a pokey room in Whitechapel.

The man who made them, Kennard, has to believe in The Cause and is as fiercely committed to making works skewering the evil arms trade as he was 50 years ago, and his consistency and commitment is admirable. But strolling round this exhibition inevitably raises the question whether work like this changes anything at all, even in the minds of visitors who, half an hour later, are browsing in the shop or wedged onto a busy tube train.

4. Boardroom (2023)

The last of the installations in the third room is ‘Boardroom’ which dates from last year. I really liked these works because they use rough, industrial, derelict materials, the kind of thing which always lights my candle. On three big salvaged boards are suspended sheets of (as usual) newsprint. Onto these have been printed anonymous portraits of everyday people, The People, the masses. And onto these are projected the logos of oil and arms companies, of Shell and BP, BAE Systems and many others of the same ilk, the point being, of course, that it’s ordinary people, especially in developing countries, who pay the price for the rapacious exploitation of oil (in the Middle East or Nigeria) and the disgustingly indiscriminate use of weaponry (Syria, Ukraine, Gaza).

Installation view of ‘Boardroom’ in ‘Archive of Dissent: Peter Kennard’ at the Whitechapel Gallery (photo by the author)

Arms and the artist

On reflection, maybe it’s his hatred of state violence which is Kennard’s most consistent subject, from the US bombing of Cambodia and North Vietnam, the British Army’s use of rubber bullets in Northern Ireland in the early 70s, the threat of nuclear apocalypse during the 1980s, the West’s use of devastating firepower against Iraq in 1991 and then again in 2003, and western arms companies continuing to profit from conflicts in Ukraine and Israel.

Maybe, rather than critiquing capitalism per se, it would be more accurate to say that Kennard has spent a lifetime excoriating the ruinous products of Western arms companies and the bellicose leaders who support and encourage the militaristic worldview.

‘Sub-Trump’ by Peter Kennard (2018) Courtesy of the artist and Richard Saltoun Gallery, London, Rome and New York

As an intellectual position, this hatred of companies who profit from selling instruments of death and destruction is more viable than thoughts about overthrowing the entire capitalist system. Who doesn’t agree that we should be feeding starving children rather than building nukes and subs and drones? Except that we live in a world with a Russia in it, where even if Vladimir Putin miraculously dies of a heart attack, chances are he would only be replaced by an even more aggressive Russian nationalist – and a world which also has an increasingly nationalist China in it – not to mention a belligerent Iran which was the main beneficiary of the foolish war in Iraq.

With the result that we live in a world where the defence ministers of every country in NATO are calling for more to be spent on defence budgets in readiness for a war with Russia. Is that wrong? Is Kennard saying European nations should be winding down their defence budgets and sending a signal of passivity to Putin?

You look at Kennard’s powerful images and installations, you are touched by the images of starving children and with one part of your mind you strongly sympathise with criticism of arms companies (and the entire ‘system’) which profits from making and selling weapons of death… and yet… another part of your mind wonders – ‘OK, I get it, arms companies are immoral and wicked… but what would your policy be towards Ukraine and Russia? What would you be advising NATO leaders? Do you think this is the moment to reduce our military capability even further?’

The moral outrage of the works excoriating the killing of the innocent and profiteering from death… clash with a realistic assessment of the warlike world we live in… and so left me, literally, in two minds about all of these works.

New media

Putting their subject matter to one side for a moment, Kennard was keen to emphasise that these latter works – the ones using lights and projections, ‘Double Exposure’ and ‘Boardroom’ – are an interesting new strategy of his, an attempt to deconstruct the whole process of photomontage, the artistic practice which made his name.

I think I understand what he thinks he’s getting at but I’m not sure it’s really true. If you use a narrow definition of photomontage i.e. juxtaposing photographs from different sources on a flat surface to make a new photo image, then yes. But if you use the broader definition I attempted above, of juxtaposing objects from two different value systems (faces of people from the developing world with the sleek markets pages of the Financial Times) then this is fundamentally the same approach, the same way to get an effect.

Putting the idea of ‘deconstruction’ to one side, I still liked these works the best: 1) because I like the industrial paraphernalia of salvaged wood, clips and metal brackets and cabling which they involve, and 2) because they are fresh and new, in technique and aim, when set beside the yellowing montages from the 1970s and ’80s. I found them the most interesting as overall objects or sculptures in the same way that I liked the red vices (novel) more than the protest placards (familiar).

Summary

As you can tell, I’m conflicted. I really liked the photomontages because, in their deliberately scrappy mashed-up appearance, they actually display great visual taste. They’re like classic punk visuals and are almost all impactful and effective images, cousins of the political cartoons from the period, distant relations, maybe, of the savage satire of Gerald Scarfe. Despite being made out of other people’s material, their harsh juxtapositions have an immediately recognisable visual identity, much as you can instantly recognise a Banksy work of graffiti.

And I liked the four installations, and the efforts he’s been making with wood and placards and lights etc to broaden out his practice.

And yet I couldn’t help feeling that, at some level, it all comes from a bygone age. Even his response to the most recent events like the terrible civil war in Syria or the jokey photomontages featuring Donald Trump… they’re good but they signify a style and approach which comes from another era and doesn’t (as I’ve tried to explain) really reflect the complexity of our time, the troubled 2020s.

‘Syria’ by Peter Kennard (2018) Courtesy of the artist and Richard Saltoun Gallery, London, Rome and New York

Or am I being too harsh? Is this a man who has been impressively true to his radical beliefs through half a century of political turmoil and social change, an unflinching critic of corporate greed and political mendacity? As he himself puts it:

‘My art erupts from outrage at the fact that the search for financial profit rules every nook and cranny of our society. Profit masks poverty, racism, war, climate catastrophe and on and on…’Archive of Dissent’ brings together fifty years of work that all attempt to express that anger by ripping through the mask by cutting, tearing, montaging and juxtaposing imagery that we are all bombarded with daily. It shows what lies behind the mask: the victims, the resistance, the human communality saying ‘no’ to corporate and state power. It rails at the waste of lives caused by the trillions spent on manufacturing weapons and the vast profits made by arms companies.’

Is it a good thing that he’s still making images which highlight the violent exploitation lying behind the sleek corporate reports, the environmental destruction which pays for BP bonuses, the murderous blowing up of innocent bodies which underlies the profits of the arms manufacturers named in ‘Boardroom’?

Or is it both at the same time? I was conflicted.

Recommendation

It’s not a big exhibition, it’s not a major exhibition. The first two rooms are small, the second one little more than an alcove. If you’re already a fan you should go in order to see the installations and new pieces, but if you’re not, I’d hesitate to recommend it. You don’t get a lot more of a visual hit than you do from surfing the images on his website.

On balance, I think the wall of images of poor people and babies’ faces projected onto copies of the FT which makes up ‘World Markets’ is worth seeing in the flesh, but as to the rest…well, I’ve given a detailed description of what you see, so you can make your own mind up.

The good old days: a copy of the New Musical Express from 1981 featuring a page-size photomontage by Kennard on the left and reviews of recent gigs by Echo and the Bunnymen and The Cure on the right, on show at ‘Archive of Dissent: Peter Kennard’ at the Whitechapel Gallery (photo by the author)


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Losing Small Wars: British Military Failure in the 9/11 Wars by Frank Ledwidge (second edition, 2017)

‘You have the watches, but we have the time.’
(Taliban saying, possibly apocryphal, page 93)

Summary

This is a quite mind-blowing, jaw-dropping analysis of the incompetence, ignorance, narrow-mindedness, bad planning, profligacy, bureaucratic in-fighting, politicking, terrible leadership, lack of strategy, appalling mismanagement and ineptitude which characterised the British Army campaigns in Iraq (2003 to 2009) and Afghanistan (2004 to 2014). For the rest of my life, when I hear the words ‘British Army’ on the radio or telly or in movies, I’ll think of this devastating exposé and hang my head in shame and embarrassment.

All of the UK’s recent conflicts – Iraq, Afghanistan and Libya – have been total failures in spite of the efforts of our men and women…None of these conflicts has resulted in anything remotely resembling success. All have failed, and failed not badly, but catastrophically.

[Haven’t] the years of involvement in the post 9/11 wars [been], excepting the two world wars, the most expensive and least successful decade and a half in British military history?

The bulk of the responsibility for them [the failure] must be laid at the doors of our politicians who have little idea of conflict and consequences and no experience thereof…However, if Iraq in 2003 was Blair’s war the generals were complicit not only in its inception but also in its failure.

This book sets out to be one man’s reasonably well-informed view of why our forces, and our army in particular, have performed so badly in recent operations.

This isn’t a history of the British army campaigns in Iraq and Afghanistan so much as a sustained 250-page analysis of why they went so very, very, very wrong. Extremely wrong. Mind-bogglingly wrong. In the introduction Ledwidge writes that he is ‘calling the high command of the armed forces to account for what I regard as nothing less than a dereliction of duty‘ (p.11) and he proceeds to flay politicians, civil servants, advisers and senior military figures with a cat o’ nine tails.

Then, in the longer second half of the book, Ledwidge analyses half a dozen major themes which emerge from the failed wars (the real nature of counterinsurgency, the changing face of military intelligence, the need for a more self-critical and reflective culture in the army) and suggests practical reforms to create an army fit for 21st century combat.

Ledwidge’s qualifications

Ledwidge is formidably well qualified to discuss the issues. He has had an impressively wide ranging career both in and outside the military, and served in all the countries under discussion.

Ledwidge began his career as a lawyer. After qualifying, he spent eight years practising as a criminal barrister in his home city of Liverpool. He then worked for a decade in the Balkans and throughout the former Soviet Union in international human rights protection, criminal law reform, and institution building at the highest levels of government. He developed particular expertise in missing persons, human trafficking and torture prevention.

Ledwidge explains in the introduction that he fancied diversifying and volunteered to join the Royal Naval Reserve, learning navigation and seamanship on minesweepers in the North Sea. He was commissioned in 1993 and went on to serve for fifteen years as a reserve officer with extensive operational experience, retiring as head of the Human Intelligence branch (p.267).

In 1996 he went to Bosnia to serve alongside the military in a team tasked with identifying and tracking down war criminals. In 1998 he moved on to Kosovo as part of a military/civilian peacekeeping unit and was there during the actual war, 1998 to 1999. After the Balkans he served with the Organisation for Security and Co-operation in Europe, in states of the former Soviet Union, mostly Tajikistan.

In 2003 he was called back into regular military service and sent to Basra, in southern Iraq, leading one of the teams of the Iraq Survey Group, tasked with finding the mythical weapons of mass destruction. In 2007 to 08 he served as the first ‘Justice Advisor’ to the UK Mission in Helmand Province.

In 2009 he retired as a military officer. During and after the war in Libya (2011 to 2012) he performed a similar role at the UK Embassy in Libya. (He has also worked in Ukraine during the current war, a period obviously not covered in this book.)

Nowadays Ledwidge is an academic, a senior lecturer at the University of Portsmouth. He is the author of this and a number of other books about contemporary warfare, and regularly appears on the media as an expert.

The first three chapters of the book deal with 1) Iraq 2) Afghanistan and 3) Libya. They aren’t detailed histories of events such as you find in Jack Fairweather’s and numerous other chronicles. They cover just enough of the events to raise the issues and themes which he then addresses in the second, analytical, half of the book.

There are no maps. Shame. Obviously you can look it all up online, still… And it’s poorly copy-edited. Ledgewick repeats adjectives or adverbs in the same sentence. At one point he lists the countries involved in the Syrian conflict and includes Russia twice in the same list. Should have been better edited.

1. Basra

In the invasion of Iraq in March 2003 the Brits were assigned to take Basra, the second city of Iraq, close to the Gulf of Persia, sitting astride the Shatt al-Arab waterway which is formed from the junction of the rivers Tigris and Euphrates, and only 50k from the border with Iran. At one point he likens old Basra to cosmopolitan seaports like Liverpool or Marseilles (p.16). But the Islamic revolution in Iran, followed by 8 years of the Iran-Iraq War, followed by Saddam’s ill-fated invasion of Kuwait, followed by ten years of Western sanctions had made it a harder, poorer, bitterer place to live and brought out a fanatical strain in many of the mostly Shia Muslim population.

Once the invasion was complete the British Army was given responsibility for the occupation of Basra and the four southern provinces around it (Basra, Maysan, Al Muthanna and Nasariyah), the heartland of Iraq’s Shia community. However, almost immediately the city was taken it became clear that British politicians, the Ministry of Defence, the General Staff and senior planners had no idea what to do next:

‘It became very apparent to me shortly after crossing the border that the government and many of my superiors had no idea what they were doing.’ (Colonel Tim Collins, p.20)

‘There was no strategic planning or direction at all beyond the military invasion. There was no articulated strategic context nor end state. There was no campaign plan.’ (Major General Albert Whitley, adviser to the US commanding general)

‘[There was a] lack of any real understanding of the state of the country post-invasion. We had not done enough research, planning into how the country worked post-sanctions…None of this had been really thought through.’ (General Sir Freddie Viggers)

Numbers

In Kosovo NATO forces were able to secure order because they had the numbers to do so. In Basra and south Iraq British forces never had anything like enough boots on the ground to make society to secure, to ensure law and order. They lost control of the streets in the first few days when looters ran rampant, criminal gangs flourished, random street crime became endemic – and never recovered it.

The lack of any thought whatsoever as to how the army might deal with looters was to have disastrous consequences. (p.24)

George Bush and Tony Blair made speeches promising the Iraqis reconstruction of their country, peace and prosperity, a flourishing economy and democratic accountability. None of this was delivered and it turned out the invaders couldn’t even make the streets safe. Carjackings, kidnappings, rape, gang violence all flourished out of control within weeks.

More than any other factor, the restoration and maintenance of order requires numbers. (p.24)

On 26 June politicians and generals were woken from their dreams when six military policemen were killed in the town of Majar al-Kabir, due to failures of communication, malfunctioning equipment etc. The real point was that the town, and the whole area, had a proud tradition of resisting invaders including Saddam Hussein’s own security forces, something which the British forces simply didn’t know about or understand (p.27).

Ledwidge arrived in September 2003 after the first honeymoon was over. British soldiers no longer wandered the streets in soft hats, stopping off at cafes. They were coming under increasingly sustained attacks: roadside bombs, ambushes, snipers.

Meanwhile Shia death squads emerged, assassinating former members of Saddam’s regime, terrorising Sunni Muslims into leaving entire areas under threat of death (i.e. ethnic cleansing à la Bosnia), kidnapping, torturing and murdering any possible opponents, and imposing a strict Puritan religious orthodoxy on the street (mostly against women) (p.31).

Instead of addressing any of this, British forces had enough on their plate simply defending themselves. In fact this became their main aim. Ledwidge says his utterly fruitless efforts leading a team looking for WMDs crystallised the way the occupying forces were interested entirely in their own concerns and didn’t give a monkeys about the million Basrawis whose city was turning into hell.

The Geneva conventions

Is an invading or conquering army responsible for securing law and order? Emphatically yes. It is a fundamental principle of the Geneva Conventions. Apparently Colin Powell summed this up to George Bush as ‘You broke it, you own it.’ None of the invading forces acted on this legal basis. Donald Rumsfeld joked about the widespread looting days after the invasion, apparently unaware that the coalition forces had an internationally binding legal duty to prevent it.

For a year after the invasion Shia militias, backed by Iran, took control of the streets. In an example of their complete lack of understanding, the British project for training new corps of Iraqi police ended up recruiting many of these militias who then, wearing uniforms supplied by British taxpayers and wielding guns paid for British taxpayers, set about terrorising, extorting, raping and killing Basrawi citizens – who then wondered why their British occupiers were allying with murderers. The British hoped that they were ‘incorporating’ the militias into a new police force. Instead they were legitimising the militias (pages 35 to 36).

Rotations and reconstruction

The British Army had a policy of rotating units home every 6 months. The army saying has it that you spend the first two months learning the job, the next two months doing it capably enough, and the last two months hanging on and not getting injured, before rotating home for ‘tea and medals’.

This system guaranteed that just as any particular brigades or battalion and their senior officers was about to get an inkling of how local society functioned, had made important contacts and were building trust, they were abruptly whisked away. The system guaranteed a lack of continuity or consistency and prevented any kind of long-term planning.

Instead new brigades came in with senior officers determined to make a ‘splash’. Often they worked out one significant or ‘signature’ offensive, carried it out – some pointless firefight resulting in a hundred or so dead enemy militants and swathes of civilian homes and properties destroyed – then hunkered back down in their base till rotated home and a medal for the commander-in-chief. (p.90)

This happened every six months as the actual city the British were meant to be policing slipped further and further into Shia militia control.

Jaish al-Mahdi

The biggest Shia militia was the Jaish al-Mahdi (JAM), loyal to the figure who emerged as the head of militant Shiism, Muqtada al-Sadr. To cut a long story short, despite the British Army’s best efforts, the JAM ended up taking over Basra.

By the end of 2006, control of the city had essentially been lost to the Shi’a armed groups. In September 2006 Basra was to all intents and purposes the domain of one of them – the Jaish al-Mahdi (JAM), the military wing of the Office of the Martyr Sadr (OMS). (p.39)

Attacks on British outposts intensified until by 2006 they were on a war footing. Given the complete collapse in security on their watch, absolutely no reconstruction of any type took place. The rubbish piled up in the streets, many of which were open sewers, electricity was rare and erratic, water supplies were unsafe, bombed schools remained in ruins. Nothing.

‘Basra was a political and military defeat.’ (Commodore Steven Jermy, p.40)

‘I don’t know how you could see the British withdrawal from Basra in 2007 in any other light than as a defeat.’ (Colonel Peter Mansoor, p.41)

Operation Sinbad

In September 2006 the British launched Operation Sinbad which aimed to take on the most corrupt ‘police’ stations and clear them out. Some measure of clear-out was achieved, at the cost of ferocious firefights, but as soon as the operation ended in February 2007, the Shia militias and gangs returned.

On the same day the operation ended, 18 February 2007, Tony Blair announced a major ‘drawdown’ of troops in Basra, from 7,000 to 4,000. Many of the officers Ledwidge quotes consider this the moment of defeat. It signalled to friend and foe alike that the British were giving up and running away.

Withdrawal

The incoming commander, General Jonathan Shaw, decided to withdraw the British garrison in Basra Palace to the heavily fortified allied airfield 10 miles outside of town. It was dressed up in fancy terminology, but it was giving up. The British did a deal with JAM whereby they notified the militants whenever they were going to exit the airbase and were only allowed to patrol Basra with the JAM’s permission. British rule in Basra had produced:

‘the systematic abuse of official institutions, political assassinations, tribal vendettas, neighbourhood vigilantism and enforcement of [Islamic] social mores, together with the rise of criminal mafias.’ (Middle Eastern Report number 67, 25 June 2007)

‘The short version is that the Brits have lost Basra, if indeed they ever had it…’ (US officer close to General Petraeus)

‘The military’s failure to provide a safe environment for the local population represented a strategic failure for the UK in Iraq.’ (James K. Wither, author of Small Wars and Insurgencies)

In defence of the British position are the arguments that: a) British occupation couldn’t go on forever b) the political and popular will back in Britain had turned against a demonstrable failure; but most of all c) it was felt that it was time for the Iraqi government to step up to the plate and take responsibility for security in its second city. So Basra was ‘formally’ handed over to the Iraqi government in December 2007. But the Iraqi government didn’t have the wherewithal i.e. army or neutral and functioning police force, to retake it.

There was a fourth reason British troops were drawn down in 2008. The politicians and generals both wanted to refocus their efforts on Afghanistan. This was:

  1. a desert war i.e not mired in heavily populated cities
  2. a ‘good’ and moral war i.e. against a defined enemy, the Taliban
  3. offered the British Army the opportunity to redeem itself in the sceptical eyes of the Americans (stated in so many words by General Sir Richard Dannatt, p.62)

More sinisterly, 4) some officers are quoted to the effect that the general staff needed to find something for the battalions coming free in Iraq to do in order to justify the military budget. ‘Use them or lose them’ was the motto.

And so the British campaign in Afghanistan was motivated, at bottom, by not just domestic British politics (Blair’s ongoing wish to suck up to Bush), but Whitehall bickering about the Ministry of Defence’s budget. Well, a lot of British soldiers, and thousands of Afghans, were to die so that the British Army general staff could maintain its funding in the next budget round.

2. Helmand

History

The British had ‘form’ in Afghanistan. During the Victorian imperial era we fought at least two wars against Afghans plus innumerable skirmishes. Afghanistan was a loose bundle of tribal regions between the north-west frontier of imperial India and the Russian Empire and so the site of the famous ‘Great Game’ i.e. extended spying and political machinations against Russia.

We had our arses kicked in the First Afghan War of 1839 to 1842 which featured the largest British military disaster of the nineteenth century, when a force of 4,500 soldiers and 12,000 civilians were forced to abandon Kabul and retreat through the Khyber Pass on 1 January 1842. One man, one man, alone survived. In the Second Afghan War of 1878 to 1880 the British lost the battle of Maiwand to a coalition of tribal chiefs.

The thing about Maiwand is that it’s about 60 miles from Lashkar Gah, the capital of Helmand Province where the British now went. Although nobody in Britain remembers the battle, the Afghans do: it’s the great moment when they took on the might of the British Empire and triumphed. In Afghan history the battle holds something like the place of Agincourt in our national myth. The British were blundering into the heartland of Afghan pride and patriotism. Once again, colossal ignorance.

‘We knew very little about Helmand Province.’ (Air Chief Marshal Sir Glen Torpy, p.69)

British soldiers arriving to police the area where they lost a famous battle to the great-great-great-grandfathers of the present tribal leaders was, in effect, a challenge to a rematch. Which is why Ledwidge quotes president of Afghanistan Ashraf Ghani saying that, if there’s one country from the entire international community which emphatically shouldn’t have been sent to south Afghanistan, it was Britain (p.66).

Situation in 2007

Some Brits had been in place since 2001 when small units of US and UK special forces were infiltrated into the north of the city and directed the campaign to overthrow the Taliban. A small British unit helped secure Kabul, and one had been quietly operating a provincial reconstruction team in the north of the country.

Since the overthrow of the Taliban in 2001 American special forces had been holding Helmand Province from a base in the capital Lashkar Gah, which, under their relaxed supervision, was completely peaceful. It was the arrival of the Brits which triggered the violence which was soon to engulf them, characterise their 3 years in the country, and lead to another crushing strategic defeat.

Bosnia and a proper force

When the Brits took part in peacekeeping in Bosnia they were part of a force 60,000 strong, in a relatively benign security setup (no Kosavars or Serbs attacked patrols), close to the European countries with large NATO bases i.e. easily resupplied. Many officers apparently thought Helmand would be the same sort of thing because Helmand Province is the same rough size as Bosnia and has a similar population, around 1 million. Hence Defence Secretary John Reid confidently asserting that the army would spend its 3 year mission supervising reconstruction projects without a shot being fired. What an idiot.

The British deployed a small force of just 3,500 to cover an area two and a half times the size of Wales, with little or no infrastructure i.e. roads, 8,000 miles from home, with little or no knowledge about the local people, their ethnic or tribal makeup, culture or history (p.69).

Deposing the one man who held the province together

When the Brits arrived the chief power in the region was a warlord named Sher Muhammed Akhundzada or SMA for short (p.70). He practiced extortion and intimidation but he had suppressed all other rivals and so in effect kept the peace. SMA was also heavily involved in opium cultivation and heroin production, the leading component of the local economy. Well, in 2005 the British prevailed upon President Karzai to get rid of SMA, to the dismay of the Americans and aid workers.

The inevitable happened. With the local strongman who’d been keeping the peace removed, a host of smaller gangs and militias moved into the area, notably the once-cowed remnants of the Taliban. Removing SMA was the single act which triggered all the chaos which followed. It was the Brit equivalent of Bremer dissolving the Iraqi army and police (p.71).

Heroin

At international meetings British politicians had enthusiastically volunteered the British Army to lead on combating the drugs trade. Trouble was the British were also trying to mount a hearts and minds counterinsurgency campaign, and the two were diametrically opposed. Every time they shut down a poppy plantation and burned all the heroin, they made an angry enemy of the farmer and his workers and dependents. Worse, some operations were closed down while others continued to thrive, leading to the belief that the entire policy was just another form of extortion and corruption (p.71).

SAS advice

An SAS unit had been operating in the area in co-operation with the Americans for four years. They were tasked with writing a report ahead of the deployment of the 3,500 British forces. They advised we keep SMA in place, would need a significant increase in numbers and money in order to carry on the Americans’ effective hearts and minds campaign, and that the Brits should remain within the highly populated central part of the province (p.74).

Instead the Brits sent a small force with little money, got rid of the one man who could control the province, and then took the decision to ignore the SAS advice and disperse the troops to small barracks set up in each town. The fancy ambition was to ‘disperse and hold’. Maps in HQ showed ‘inkspots’ of pacification which would slowly join up till the whole province was pacified and reconstruction could crack on.

Platoon houses under attack

Of course that never happened. Instead, small forces found themselves trapped in what became known as ‘platoon houses’ in Helmand’s various towns, Lashkar Gah, Musa Qaleh, Sangin and so on. Ledwidge summarises the deployment in a devastating litany of mistakes. The force deployed:

with vulnerable Snatch Land Rovers, no real counter-IED capability, not enough helicopters, no air-to-ground fire capability, and only a limited ability to gather intelligence or carry out combat operations. This made it a very weak and blind force, and one that would depend entirely on the goodwill of the population and its leaders for its mobility beyond its bases and even its existence within them. (p.75)

The situation was made ten times worse by sacking the one man who knew and controlled the province and who they could have worked with, SMA.

3 Para

The 3,500 troops deployed to Afghanistan were 16 Air Assault Brigade, with one battle group of about 650 men based around the Third Parachute Regiment or 3 Para. These boys are trained to fight and were looking for a fight. Ledwidge thinks they were about the last possible troop you wanted to deploy to a region which required slow, subtle and careful relationship-building.

Testing new kit

The army had recently acquired some of the new Apache helicopters. These have awesome firepower and were designed for high intensity fighting against the invading Soviet Army on the North German plain. Army staff wanted to see them in action. So there was no hearts and minds strategy regarding the Afghan people. Planning was led not by long-term political or strategic considerations, but by operational considerations, which went: we’ve got these troops. We’ve got some new helicopters. We need to use them both or we’ll lose them in the next Treasury spending review. Let’s go!

Dispersing our forces

A long-term development plan for Helmand Province had been written but it was ignored in favour of faulty intelligence. Somehow the figure of 450 Taliban fighters came to the attention of the Brigade staff. This sounded like a number that 3 Para could eliminate. So, instead of concentrating their forces in the heartland as the plan and the small number of US troops who’d been quietly manning Helmand recommended, the decision was taken to deploy small, agile, light forces to each town ready to kill these insurgents (p.83). Ledwidge names the guilty general who took the decision to ignore the draft plan and all the best advice and split up his forces into small pockets scattered round small towns, but it’s such an indictment, such a fatally bad decision, that I am too cautious to name names.

Very quickly these little fortresses our boys were dispersed to became magnets for insurgents keen to show themselves worthy of their great-great-great-great grandfathers and their feats against the invading Angrez. Attacks on the platoon house began immediately and got steadily more intense. British troops found themselves fighting merely to hang on. All thoughts of pacification or security were abandoned. Plans for reconstruction and economic development were abandoned. The Brits proved unable to secure the peace let alone do any reconstruction. Barely able to supply themselves, all they could do was fight off continual attacks. This desperate plight was dignified with the title ‘force protection’. In reality it was hanging on for dear life.

It is this stressed and highly embattled situation which is chronicled in vivid accounts like ‘3 Para’ (‘Real Combat. Real Heroes. Real Stories’) and many other bestselling paperbacks like it. Ledgwidge has a humorous name for this entire genre – herographies, stirring accounts of our plucky lads, surrounded and fighting against the odds. He suggests there’s something in our national psyche which warms to the notion of the plucky underdog, the Battle of Britain, the Blitz. But it’s all rubbish. These embattled outposts were created by a commanding officer who went against the advice of the Americans and a handful of Brit SAS troops who had been quietly hunkered down in Lashkar Gah and kept the province void of violence from 2001 to 2006 when 3 Para arrived and stirred up a hornet’s nest.

Same with Sniper One, Sergeant Dan Mills’ vivid, Sun-style account of hanging on in a fortified base against sustained assault by ‘insurgents’ in al-Amarah, south-east Iraq. From the first page the account shows dazzling ignorance about the environment he’s been posted to. The entire narrative opens with the way that, on their very first day, on their very first patrol, of all the places to pull over their Snatch Land Rovers for a breather, they chose to park outside the local headquarters of the fierce and violent Shia militia, the Jaish al-Mahdi. The fiercely chauvinistic militants inside took this to be a calculated insult to their pride and manliness and so, with no warning, opened fire on the patrol and lobbed grenades at them, one of which severely injured a mate of Dan’s, leading to a sustained firefight. When relief vehicles were sent to ‘extract’ them, these were ambushed and proved unable to reach them etc.

It’s a dramatic story and would make the great opening scene of a movie but, having read Ledwidge’s high-level, strategic analysis, you could hardly come up with a clearer example of the blundering British ignorance of the situation on the ground, ignorance of the subtleties and dangers of local power politics, feuds and rivalries which condemned our troops to being surrounded and besieged both in Basra and Helmand. Same thing happened in both places. No lessons were learned. Nothing was understood.

Dan Mills’ intense and violent experience of being besieged lasted four months until the entire garrison of his particular fortress, Cimic House, was evacuated and ‘extracted’ back to the more defensible base at the local airport. Mills is at pains to tell us they left with honour. But really, like the British army as a whole in both Basra province and Helmand province, they were soundly beaten and ran away.

Only tiny numbers were actual fighting troops

A central and rather mind-boggling fact is that, of a deployment of 3,500 troops it may be that only a couple of hundred are available for actual patrols. In the Afghan chapter as in the Basra chapter, Ledwidge explains that a quite astonishing number of the ‘troops’ sent to these kinds of places have other roles to play apart from combat: from military police manning prisons, to cooks and engineers, from planners and general staff through the comms and media and press teams. There are the drivers who bravely bring in provisions and ammo to the central bases over long, exposed supply lines, there are the helicopter pilots and the scads of engineers and specialists required to keep them airborne. There are, of course, expert handlers, storers and maintainers of all the different types of ammunition, quartermasters and logistics specialists. The list goes on and on and explains the stunning fact that, out of a battalion of 3,500 men, only 168 were available for foot patrols (p.143). Thus the provincial capital, Lashkar Gah, a town of 200,000, was patrolled by just 200 British soldiers, of which only 20 were actually out on the street at any one time (p.83). Pathetic. Insignificant.

Ledwidge compares the British deployments in Basra and Afghanistan (8,000 and 5,000 in conflict zones with completely unreliable support from the ‘police’) to the well-known deployment to Malaya in the 1950s (which British officers never stopped boring their American colleagues with) which consisted of 40,000 troops working alongside a trustworthy local police force of 100,000. In other words a completely different situation.

The Taliban return

Ledwidge arrived in Afghanistan mid-2007, one year after the initial deployment, to find chaos on the streets and the Brits fighting for their survival in an archipelago of isolated, highly embattled strongholds (p.88). The army had completely lost the initiative and was reduced to hanging on in these forts, rarely able to leave them, their ‘presence’ and ‘authority’ non-existent more than a few hundred yards from the walls – all while the Taliban slowly re-established themselves among the general population as reliable providers of security and justice, albeit of a very harsh variety. Harsh but better than the random outbursts of extreme violence and destruction associated with the angry, frustrated British soldiers.

Sangin and the drugs trade

In Sangin, one of the world centres of the heroin trade, the Brits found themselves drawn into drug turf wars without understanding the complex power politics between rival drug gangs, ‘police’, regional and central government, tribal allegiances and religious motivations. The Brits just labelled them all ‘Taliban’ and thought they achieved something when they killed 5 or 10 or 20 of them in a firefight; when of course such firefights had zero impact on the actual situation. All they ever did was destroy the centres of the towns where these kinds of firefights took place (‘destroying and depopulating town centres’ p.84) and kill lots of innocent civilians; or else forced the populations to flee these new centres of violence, nobody knew where: off into the desert, to other towns, many to the slums of Kabul.

All this reinforced the ancestral perception that the ‘Angrez’ were unwanted invaders who brought only destruction and death – as they did. New insurgents were created whenever their families were injured or killed, new recruits stepped in to replace fathers or brothers. The potential supply of ‘insurgents’ was limitless.

‘Killing insurgents usually serves to multiply enemies rather than subtract them…[something which] is especially relevant in revenge-prone Pashtun communities…’ (General Michael Flynn, former US army chief of intelligence in Iraq, p.206)

This wasn’t helped at all by the adoption of a ‘decapitation’ strategy, increasingly adopted (out of desperation) in Basra and Helmand. It meant targeting supposed leaders of the insurgency and then killing them. There are four obvious objections to this policy. One is that for every ‘Taliban leader’ you kill, at least one if not more male relatives will step into the gap. Two is that almost certainly you will kill innocent civilians in the process, thus inflaming the general population and recruiting more enemy. Three, more than one serving officer raised fears that these decapitation forces degenerated into little more than ‘death squads’, not unlike the notorious death squads which existed in many Latin American countries (p.233).

The fourth objection is that the entire policy relies on accurate intelligence i.e. knowing who these alleged Taliban leaders are. Accurate intelligence was something the Brits never had in either Basra or Helmand. None of them spoke the language. They had to rely on local sources and Ledwidge gives some bleakly funny examples of one or other gang of businessmen or drug barons ‘tipping the British off’ about dangerous ‘Taliban leaders’ who the Brits then dutifully arrested in a violent and destructive raid but when they interrogated them, slowly and embarrassingly discovered that so-called ‘Taliban leaders’ were in fact heads of a rival business or drugs gang. In other words, the Brits were routinely played for patsies, useful idiots who could be twisted round the little fingers of savvy local drugs barons and warlords.

So decapitation doesn’t work, you lose the moral high ground, and you multiply your enemy. But it was this desperate expedient, the tactic of a force which has lost the battle, which the Brits resorted to in both Basra and Helmand.

And these counter-productive and sometimes farcical efforts were then publicised by army press and media officers as successful raids, listing the amount of weaponry captured and ‘insurgents’ killed, puff stories and completely meaningless figures which were then reported in the British press, and passed up the chain of command to eventually be shown to naive politicians in PowerPoint presentations which proved how we were winning the war and would bring peace and plenty to Iraq and Afghanistan any minute now, we’re just turning the corner, just give us another billion to finish the job, Prime Minister.

Cause of the destruction

So many civilian deaths were caused because the Brits would go out on a patrol, almost immediately be ambushed and surrounded and start taking casualties, and so radio in for air support. Up would come an Apache attack helicopter armed with guns firing high calibre rockets designed to penetrate Soviet tanks into urban areas packed with houses built of breeze blocks or mud bricks. The choppers might have fought off the attackers but they also devastated all the buildings in a large area (p.82).

This destruction of the centres of every town in Helmand was the direct consequence of not sending enough troops. More troops could have defended themselves better without calling in death from the air. Inadequate troops had to call in what was effectively heavy artillery. The shitty British tradition of trying to do it on the cheap ended up destroying Afghan towns and massacring Afghan civilians.

Imagine your house was completely destroyed in one of the Brits’ pointless ‘pacification’ exercises, maybe your wife or son or brother killed or injured, and the local resistance offered you a stipend to take up arms and help drive these wicked invaders out of your homeland. It would not only be your patriotic, tribal and family duty, but you’d want to do it, to be revenged.

And so the Brits spent years devastating and destroying the very towns they said they’d come to rebuild and ‘develop’. Madness. This pattern continued for four years, ‘an operation that was in a state of drift, chaotically bereft of credible strategy’ (p.91).

Six months rotations

Everything was made worse by the Army’s policy of 6 months rotations. Every 6 months battalions would be rotated home and an entirely new troop came in with new officers and men who didn’t have a clue about their surroundings. The system tended to incentivise each new commanding officer to devise and carry out pointless engagements known as ‘signature operations’ (p.90). British commanders, like middle managers everywhere, have to be seen to be doing something, even if their violent and entirely counter-productive little operations worked against the long-term aims of the deployment i.e. securing the population (p.99). None of the officers had long-term interests. They were only there for 6 months which leads to loss of knowledge, loss of continuity, and continual chopping and changing of plans (p.144).

Allying with a corrupt government

And yet another fundamental flaw: the Brits were meant to be defending ‘the government’ but it took senior Brits many years to realise the ‘government’ in Kabul was no better than a congeries of gangs and cliques and criminals carving up budget money and resources among themselves and their tribes. The mass of the people despised and hated the so-called ‘government’ and we…allied ourselves with them (p.95).

Allying with criminal police

On the ground the Afghan ‘police’ were even worse than the Iraqi police. Iraqi police were notorious for corruption – under Saddam their main occupation was stopping traffic at checkpoints and demanding bribes. But the police in Helmand Province were significantly more vicious; they extorted money with menaces and were notorious for raping women and boys. Every police station had a ‘fun boy’ or house catamite for the officers to sodomise (p.76).

Thus the British were seen to be supporting and helping murders, rapists and extortionists. Ledwidge quotes an aid worker getting a phone call from terrified civilians, after the British ‘secured’ an area of Sangin so that the ‘police’ could sweep through the area looking for the bad guys but, in reality, raping at will and extorting money at gunpoint (p.85). The British allied themselves to the most criminal element in Afghan society. Thus it is absolutely no surprise to learn that everyone, without exception, wanted the rapist-friendly, town-destroying ‘Angrez’ to leave as soon as possible (p.95).

The appeal of the Taliban

The British ‘strategy’ enabled the Taliban to present itself as the representatives of impartial justice and security. After all, that had been their achievement when they came to power in 1996: ending years of civil war between rival warlords. ‘The single most effective selling point of the pre-9/11 Taliban was justice’ (p.94). They could offer what the British couldn’t and slowly the majority of the population came to prefer rough justice to criminal anarchy.

‘The Taliban did not even have a bakery that they can give bread to the people, but still most people support the Taliban – that’s because people are sick of night raids and being treated badly by the foreigners.’ (Afghan farmer, quoted p.233)

Legacy

The deployment of 16 Air Assault Brigade had been nothing short of disastrous. Bereft of insight or perspective of any point of view except the most radical form of ‘cracking on’ they had left a legacy of destroyed towns, refugees and civilian casualties…They had set a pattern of dispersed forts, difficult to defend and even more difficult to support or supply. (p.87)

All this explains why, in 2010, the Americans had to bail the British out and come and secure Helmand, exactly as they had had to take over Basra after the British miserably failed there as well. The Yanks were cheered on arrival in Garmshir, not because they were American, but simply because they weren’t British.

A mission that had begun with high hopes of resurrecting Britain’s military reputation in the eyes of its American allies had resulted only in reinforcing the view that the British were not to be relied on. (p.105)

If Basra damaged the military side of the so-called ‘special relationship’, then Afghanistan destroyed it (p.106). The British ambassador to Afghanistan reflected that the entire campaign was ‘a half-baked effort’ (p.105).

In 2013 Prime Minister David Cameron declared ‘mission accomplished’ (these politicians and their lies) and by the end of 2014 almost all British combat troops had been withdrawn. What Ledwidge didn’t know as he wrote the second edition of this book in 2016 was that 6 years later Joe Biden was to withdraw the final US troops from the Afghanistan with the result that the country fell within a week to the same Taliban who the Brits cheerfully claimed to be eliminating in 2007 and 2008 and 2009. Was it all for nothing? Yes, except for the lasting legacy of bitterness and hatred we left behind. Ledwidge quotes journalist Jean Mackenzie:

I never met an Afghan who did not hold the view that the British were in Helmand to screw them. They hate the British viscerally and historically. Even if they had been competent there was no way the British were going to do well there. But when they came in with gobbledeygook about ‘robust rules of engagement’ and started killing Helmandi civilians, that was it. (p.107)

It is obvious what a huge gap separated the reality experienced by most Afghans and the story the Brits told themselves and, via their sophisticated Comms and Press teams, told the British people and the world. ‘Lies’ is the word that springs to mind. ‘Propaganda’, obviously. ‘Spin’ is the term that was used by New Labour and its media manipulators. But it’s maybe closer to the truth to say comprehensive ‘self deception’.

The weak point of counterinsurgency theory

Counterinsurgency can only work in a state with a strong or supportive government. What the Americans and British in Iraq and Afghanistan told themselves they were doing was supporting ‘government’ forces against insurgents. The problem was that the ‘government’ itself was highly partisan or weak or both, and its representatives on the ground were corrupt and violent and ineffective. Under those circumstances the native populations made the rational decision to opt for the only force which had in the past ensured basic security, the Mahdi Army in Iraq and the Taliban in Afghanistan (p.108). Backing weak governments tends to encourage ethnic nationalism as the only viable alternative.

Sucking up to the Yanks

Damningly, the conclusion Ledwidge comes to is the reason there was never any coherent strategy in either Iraq or Afghanistan, the reason the British generals and majors and soldiers never really knew what they were meant to be doing, is because both campaigns really, in essence, had only one aim: Tony Blair’s wish to suck up to the Americans. Blair wanted to be a player on the world stage, to secure his fame, to stand shoulder to shoulder with the Yanks in their War Against Terror, thought Britain could be the older wiser Athens to America’s bigger richer but unsophisticated Rome, blah blah blah, yadda yadda yadda.

The goal of being America’s best friend may be despicable or admirable according to taste, it doesn’t really matter, because the practical outcome was that the British Army was put to the test and failed, not once but twice, failing to provide security and anything like peace in both southern Iraq and southern Afghanistan. Both times the American Army had to move in and take over and did a much better job. So the net, high-level result was the exact opposite of Blair’s wish to be seen as America’s number one best friend. As Ledwidge puts it, if Basra damaged the so-called ‘special relationship’, Helmand destroyed it (p.106).

3. Libya

In 2011 the Arab Spring began in Tunisia and popular protests soon spread to Libya and Egypt. In Libya anti-government protests broke out in the eastern city of Benghazi. The West worried that Colonel Gaddafi was about to send armed forces to massacre protesters so France, the UK and US sponsored UN resolution 1973 justifying ‘intervention’ to save lives and establishing no fly zones, the concept pioneered in Iraq to protect the Kurds in 1991.

On this basis the French launched lightning air strikes against Gaddafi’s forces as they entered Benghazi and threatened to attack protesters, and in support of the rebel National Transitional Council. As usual, there was a lot of high-minded guff about protecting civilians and how regime change was the last thing on our minds, but there was steady slippage and the bombardments increased to actively support the rebels and quell the government forces.

In June 2011 Ledwidge was deployed to Libya as a ‘stabilisation officer’. On 20 October 2011, Gaddafi was tracked down to a hideout in Sirte, surrounded by the usual clamouring rabble, and beaten and shot to death. There’s grim, dispiriting footage of the event in this this American news report.

Anyway, the point is, you get rid of a long-ruling dictator who’s been holding his country together via repressive, feared security forces and… does it overnight turn into Holland or Vermont? No. It collapses into civil war between rebel factions and into the power and security vacuum come… Islamic terrorists. Exactly as happened in Iraq.

Thus, Ledwidge tells us, Libya under Gaddafi from 1969 to 2011 never harboured any Islamic terrorists. In the years since his fall it has become the North African base of Islamic State and other extreme Islamic groups who now use it as a base to launch attacks into neighbouring countries.

Ledgewick’s thematic critique

Part two of the book (pages 117 to 281) moves on to consider general points and issues raised by the three wars. These are so many and so complicated that I’ll give only a brief selection. They’re addressed in chapters titled:

  • Dereliction of Duty: the Generals and Strategy
  • Cracking On and Optimism Bias: British Military Culture and Doctrine
  • Tactics without Strategy: The Counterinsurgency Conundrum
  • Managing Violence: the Question of Force
  • Strangers in Strange Lands
  • Fixing Intelligence
  • Thinking to Win

The armed forces are top heavy. The army has more generals than helicopters. This in turn breeds groupthink. All senior officers are trained at one college where they are taught to think the same.

Another aspect of the overpopulation of generals is none of them stand up to politicians. Ledwidge gives examples from the Second World War and Malaya of generals demanding that politicians are absolutely clear about the goals and ends of campaigns. He also says generals from previous generations were blunt to politicians about risks. He describes the detailed explanation of the risks of failure give to Margaret Thatcher about the Falklands War. Whereas none of the umpteen senior generals overseeing the deployment to either Iraq or Helmand appears to have explained to the politicians (Blair, Brown) the very serious risk of failure. Trahison des généraux.

On the contrary, many suffered from optimism bias: ‘the tendency to overestimate our chances of positive experiences and underestimate our chances of negative experiences.’ Ledwidge gives examples of junior officers whose frank and candid assessments of situations were criticised as defeatist or even unpatriotic. Very quickly they learned to gloss over setbacks and accentuate the positive. If this pattern is repeated at every rung going up the ladder, then by the time it reaches the politicians military reports tell them we’re winning the war when we’re in fact losing it. Or encourage them to take further bad decisions on the basis of bad intelligence (pages 160 to 170). John Reid later testified that the generals said it would be no problem having a major troop deployment in Iraq and Afghanistan simultaneously (p.162)

Politicians don’t understand the army. Blair went out of his way to praise the army in his appearances before the Chilcott Enquiry by saying they have such a ‘can-do’ attitude. Except that it turned out that they can’t do. At all. But clearly that’s not what they told him. In the war, in Malaya, in the buildup to the Falklands, generals made the political leaders very aware of the risks. But ahead of Iraq and Afghanistan they appear not to have. The attitude was ‘Yes, Prime Minister’, kowtowing and acquiescing. Craven.

There are a number of reasons for this. 1) One is pusillanimity i.e. generals being scared a) about their own careers b) about funding for their service, if they appeared reluctant. 2) Another is groupthink: they all agree and fall in with political will.

3) Ledwidge explains another reason by quoting Max Hastings as saying that the British Army has a long and venerable tradition of failing to send enough men, of trying to do things on the cheap, with not enough troops – a policy which has resulted in a whole series of catastrophes, all of which are air-brushed out of history.

It’s connected to 4) the belief that the British Army is somehow special; that its role in World War Two, in various colonial pacifications, in Northern Ireland, then in Bosnia and Kosovo, somehow gives it a moral superiority, an integrity and decency and blah blah blah which don’t have to rely on banal details like having enough troops or the right equipment to do the job. British exceptionalism.

And this is itself connected to the long-held view that the British somehow won the Second World War, although the soldiers and logistics in the West were mostly American, and the war in the East was, obviously enough, won by the enormous sacrifices of the Russian Army. Yet somehow the belief lingered on through the generations that because we ‘stood alone’ against Hitler and suffered through the Blitz, we were the moral victors of the war. Which in turn leads to 5) the view that we’ll muddle through, that it will all come right because, well, we’re the good guys, right?

All of which explains why the narratives we tell ourselves (and government spin doctors and military press officers tell us) – that we are the good guys coming in to get rid of the terrorists and rebuild your country for you – are so completely at odds with the practical impact we actually had on the lives of people in Iraq and Afghanistan and, to a lesser extent, Libya. And why we couldn’t understand why so many of them came to hate us, tried to kill us, and rejoiced when they drove us out of their countries.

Red teaming

There is an established process to tackle this which is to deploy so-called ‘red teams’ which are simply a group of planners who you pay to think through everything that could go wrong and devise worst case scenarios. To think a plan through from the point of view of the enemy and consider what they’d do, where our weakest points are. In fact just before the deployment to Iraq the Defence Intelligence Staff did produce a red team report. It accurately predicted that after a short honeymoon period the response of the Iraqi population would become fragile and dependent on the effectiveness of the post-conflict administration, as indeed it did. But the report was ignored. As you might expect, Ledwidge recommends that ‘red teaming’ plans is made standard practice, as well as a culture of critique being encouraged at every level of the military hierarchy.

Clear thinking about counterinsurgency

Apparently the Yanks got sick of listening to British officers crapping on about what experts they were at counterinsurgency because of our great achievements in Malaya and Northern Ireland. So Ledgwidge devotes a chapter to extended and fascinating analyses of both campaigns, which demonstrates how they were both utterly different from the situations in Iraq and Afghanistan. Maybe the key difference in both was that Malaya and NI both had a functioning government and a large and reliable police force, neither of which existed in Iraq/Afghan. In Iraq and Afghanistan the army was tasked with fighting an insurgency and rebuilding a national government at the same time.

Divided aims

Having a functioning government in place meant that the military was free to concentrate on handling the insurgency and so were not distracted by requirements of state building or infrastructure reconstruction. Yet these were huge issues in both Iraq and Afghanistan and so split the priorities and distracted the strategies for dealing with the insurgency. The army always had two simultaneous but conflicting agendas, in fact three: 1) deal with the insurgency; 2) support the creation of a new functioning civil government, along with a new police force; 3) try to rebuild infrastructure, power stations and suchlike.

Dividing them into three separate aims like that helps you to understand that any one of those goals would have tested a military presence of modest size, but lumping all three together was an impossible ask. It was too much to ask of any army, but especially one that was undermanned from the start.

Because numbers: 40,000 troops in Malaya + 100,000 reliable police; 28,000 troops in Northern Ireland + tens of thousands of police; but in Afghanistan just 5,000 troops and useless corrupt police. Numbers, numbers, numbers.

More than any other factor, the restoration and maintenance of order requires numbers (p.24)

Ledwidge uses various experts’ ratios of troops to civilians to estimate that there should have been at least 50,000 British troops in Helmand, not 5,000 (p.205). At the height of the Troubles there were 28,000 troops in Northern Ireland (p.202).

In Malaya, contrary to myth, there was also a good deal of coercion, many rebels were shot, there were atrocities (village massacres) and something akin to concentration camps was used to round up the jungle population so as to starve the Chinese communist insurgents of support. I.e it was more brutal than rose-tinted legend depicts.

The importance of intelligence

In Northern Ireland the key was intelligence i.e. the British military and security forces got to know the enemy really, really well. This in-depth knowledge allowed them to contain IRA campaigns but more importantly, paved the way for negotiations. And the negotiations which brought the IRA in were carried out by civilians not military.

Ledwidge has an entire chapter explaining traditional definitions of military intelligence, along with ‘the intelligence cycle’ (p.232), a lengthy explanation of why it worked in Northern Ireland (stable government, large reliable police force, lengthy deployments – 2 years – similarity in background between army and IRA, same language), similar culture, values and experiences, down to supporting the same football teams (p.237). None of this applied in Iraq/Afghanistan, which triggers a chapter-long analysis of how modern intelligence seeking needs to be rethought and updated to apply to such demanding environments (pages 231 to 248).

With disarming candour, Ledwidge says sometimes the best intelligence isn’t derived from hi-tech spying but from just talking to journalists, especially local journalists; they often have far better sources than whip-smart intelligence officers helicoptered into a situation who don’t speak the language, have no idea of the political and social setup, and are asked to supply actionable intelligence within weeks. Read the local papers. Listen to the local radio stations. Meet with local journalists.

Ledwidge was himself an intelligence officer within the military, and then a civil rights worker for the Organisation for Security and Cooperation in Europe i.e. as a soldier and a civilian, so is well placed to make this analysis.

All wars are, at bottom, political and require political solutions

Maybe the most important point of all is that counterinsurgency is a political activity. David Galula the French counterinsurgency expert thought that counterinsurgency operations should be 80%/20% political to military (p.177). The military effort only exists to support what must first and foremost be a political strategy (ideally, of negotiating towards a peaceful settlement).

This was the most important point about the Malaya Emergency, that it was run by a civilian Brit, with civilian ends in view.

If [the great military theorist Carl von] Clausewitz tells us nothing else he tells us this: overriding all is the political element. No amount of military nostrums or principles will make up for the lack of a workable political objective, rooted in a firmly realistic appreciation of national interest. (p.188)

The great failure of the British campaigns in Iraq and Afghanistan was that they became entirely military, became narrowly focused on finding and killing the enemy. Ledwidge associates this with the failed American strategy in Vietnam. In Nam the Americans boasted at their daily press conferences about the number of enemy they’d killed. Military and politicians and public were all led to think that numbers of enemy dead equalled ‘success’. But of course it didn’t. The Yanks killed tens of thousands of the enemy but lost the war because it was a political struggle, for the allegiance of the people.

Thus Ledwidge says he knew the Brits were losing in Afghanistan when he arrived to find the army press conferences once again focusing on numbers of insurgents or ‘Taliban’ killed in each day’s skirmishes and firefights. Political engagement and discussion had been sidelined in favour of a purely military solution; but there was no purely military solution and so we failed.

Spiralling costs

Did you know it cost £400,000 per year to maintain one soldier in either of these countries? Or that one 1,000 kilo bomb dropped from a plane on a suspect target cost £250,000? Ledwidge says the campaign in Afghanistan cost some £6 billion per year (can that be right?). And for what? Ledwidge estimates the cost of both campaigns to the British government at £40 billion. For nothing.

Better education

The book ends with a chapter comparing the high education standards expected of American officers (and recruits) and the absence of such criteria for the British. He reviews the astonishing number of senior US generals with PhDs, something I noticed in Thomas Ricks’s book about Iraq, and which backs up Emma Sky’s experience that all the senior US officers she worked with are astonishingly well educated and erudite. Not only better educated, but more flexible in their thinking. Having attended civilian universities for several years they are used to free and open debate and to defending their opinions and analyses in open forums – something British army officers are actively discouraged from doing. Ledwidge gives names of British army officers who’ve written essays critical of the army whose publication has been blocked by MoD officials, or who have chosen to resign from the army altogether in order to publish their book.

Due to the US army’s encouragement and lavish spending on higher education for its officers, there are currently more American army officers studying for research degrees in British universities than British army officers (p.260).

With the ever-growing role of cyber warfare, Ledwidge cites a contemporary Chinese military theorist, Chang Mengxiong, who says that future wars will be about highly skilled, well-educated operatives – not clever but conformist generals promising they can do anything to naive politicians, then ‘cracking on’ and muddling through the dire situation they’ve got their men into, killing more and more innocent civilians, retreating to embattled forts and finally retreating with their tails between their legs. It’ll be about fighting smart. (From this perspective, the Russian invasion of Ukraine seems even more blundering, brutal and outdated.)

Ledwidge’s recommendations

Our generals were not up to the job. We need better ones. The number of one-star and above generals across all three services should be cut from 450 to 150. We don’t need 130 major generals or 800 full colonels.

Senior officers need to be drawn from a more diverse pool, not just in terms of gender and race, but expert civilians should be encouraged to join the army, and take officer training.

To reach the rank of general you must take an in-depth course in strategy (currently not necessary). Parts of this could be offered by senior business people and academics who specialise in logical thinking.

The savings from getting rid of hundreds of senior officers who do little more than fill committees and shuffle paperwork would generate savings which could be invested in training courses at civilian institutions, such as universities, such as the US Army pays for its senior generals to take, in order to produce soldier scholars.

The army keeps buying ridiculously expensive hardware which turns out to be irrelevant to the kind of wars we are now fighting. Part of that is down to the blatant corruption of the senior staff who make purchasing decisions and who, upon retirement, take up lucrative directorships at the very companies they’ve awarded billion pound contracts to. They should be forbidden by law from doing so for at least five years after leaving the services.

The chances are the next really serious threats we will face to our security come from either a fully armed massive Russian army, or from lethal cyber `attacks. Since successive governments have cut defence budgets and successive general staffs have frittered it away on expensive hardware, the more basic elements of a functioning military have been overlooked, most importantly the ability to think, process and adapt very fast to probably fast-moving threats.

Hence the need for a broad-based strategic education, and not the narrow, tradition and conservative fare dished up at Sandhurst or the Joint Services Command and Staff College (JSCSC) at Shrivenham.

Conclusions (mine, not Ledgwidge’s)

1. Never believe anything the British Army says about any of its campaigns.

2. Whenever you hear a preening politician or ‘expert’ journalist crapping on about ‘the special relationship’ between the UK and the US, remember the humiliating shame of the British Army having to be bailed out not once but twice by the American army from jobs it had volunteered to do and egregiously failed at. Remember the roster of senior US military figures Ledwidge lines up to testify that the Americans will never trust the British Army again.

3. Never, ever, ever send the British Army on any more ‘security and reconstruction missions’. They will not only miserably fail – due to lack of intelligence, planning, failure to understand the nature of the conflict, refusal to use modern intelligence approaches and above all, cheapskate paltry numbers and lack of resources – but they will make the situation worse, occupying wretched little platoon forts which become the epicentres of destructive firefights, devastating town centres, leaving thousands dead. And sooner or later they will have to be bailed out by the Americans.

In making and executing strategic decisions both senior officers and politicians should understand the basic limitations on capability and be fully apprised of potential failure. (p.138)

4. Dictators in Third World countries may be evil but, on balance, may be better than the alternatives, these being either a) the situation created by invading US and UK forces in Iraq and Afghanistan (insurgency, terrorism, devastation) OR b) the situation created by a failed attempt to overthrow a dictator, as in Syria, i.e. anarchic civil war, huge numbers of civilian deaths, millions of wretched refugees and the explosive growth of terrorism.

Maybe stick with the dictator. Evil, but limited and controllable evil, which is better than the other sort.

One-sentence conclusion

After the expensive failures in Iraq and Afghanistan and the hasty and counter-productive involvement in Libya (the 2011 bombing campaign to support Gaddafi’s opponents), two fundamental criteria must be applied to any thought of similar interventions in the future:

Before any military commitment it is essential that: 1) a clear political objective be set, and that 2) sufficient resources be made available to get the job done. (p.274)


Credit

Losing Small Wars: British Military Failure in the 9/11 Wars by Frank Ledwidge was first published by Yale University press in 2011. References are to the YUP paperback of the second edition (2017).

New world disorder reviews

Virtual War: Kosovo and beyond by Michael Ignatieff (2000)

Michael Ignatieff (born 1947) is a public intellectual, academic, journalist and, at one point, back in his native Canada, a high profile politician. Back when I was a student in the 1980s he was all over the British media, fronting thoughtful documentaries and high-end discussion programmes on Channel 4.

Ignatieff’s written a lot – novels, memoirs, histories, countless articles. One consistent strand of his output has been a series of books meditating on the nature and meaning of contemporary warfare. This began in 1993 with Blood and Belonging: Journeys into the New Nationalism and was followed by The Warrior’s Honour: Ethnic War and the Modern Conscience in 1998.

In the introduction to this volume, written in December 1999, Ignatieff says Virtual War is, in effect, the third in a trilogy about the nature of modern war – but this statement has been rendered redundant by the fact that he’s gone on to publish several more. As far as I can make out the sequence now runs:

  1. 1993: Blood and Belonging: Journeys into the New Nationalism
  2. 1998: The Warrior’s Honour: Ethnic War and the Modern Conscience
  3. 2000: Virtual War: Kosovo and Beyond
  4. 2003: Empire Lite: Nation-Building in Bosnia, Kosovo and Afghanistan
  5. 2004: The Lesser Evil: Political Ethics in an Age of Terror
  6. 2017: The Ordinary Virtues: Moral Order in a Divided World

His books contain extensive descriptions of contemporary conflict zones, fighting, wars and aftermaths. The first book in the series (‘Blood and Belonging’) contains riveting eye-witness reporting from the conflicts in former Yugoslavia; the second one has a chapter where he accompanies the head of the United Nations to Rwanda, Zaire and Angola; and the fourth one adds scenes from the conflict in Afghanistan. This one contains reportage from a Kosovar refugee camp and a description of a Kosovar village, Celine, where a disgusting massacre was carried out by Serb paramilitaries.

But Ignatieff is not a war reporter; there are plenty of those, filing daily reports from the front line of conflicts around the world. And similarly, he is not a military analyst; there are thousands of those, publishing papers in specialist journals analysing this or that aspect of the hardware or strategy involved in the world’s many conflicts.

Ignatieff stands aside from both those genres because his stance can perhaps best be summarised as ‘a moral philosopher considers modern conflict’. He goes into military and technical detail where necessary – for example, in this book he gives a detailed description of the command and control centres running the NATO bombing of Serbia in 1999, an extended explanation of how targets were established, confirmed and then the complex bureaucracy planners had to go through in order to get permission to bomb them. Very detailed, very informative.

But that isn’t where Ignatieff’s interest lies. He is interested in what this kind of conflict tells us about the nature of modern warfare and, above all, about the moral and political attitudes of the West – what it tells us about ourselves and the modern societies we live in. He is interested in trying to unpick the complex moral issues which the conflicts he covers raise or have created or are evolving or distorting. His aim is:

exploring the new technology of war and the emerging morality governing its use. (p.7)

Maybe it’ll help if I summarise the short introduction in which Ignatieff unpacks the different senses of the word ‘virtual’ which underpin this book and give it its title.

(If you want to know the historic and geopolitical background to the war in Kosovo read the relevant section of my review of Anthony Loyd’s book, Another Bloody Love Letter. Ignatieff devotes a fascinating chapter, ‘Balkan Physics’, to a detailed account of the recent history and complex power politics which led up to the conflict, paying special attention to the failure of American diplomacy in the region and then to the change of tone brought by new Secretary of State, Madeline Allbright, pages 39 to 67.)

Virtual warfare

Ignatieff thinks the Big New Thing about the war in Kosovo was that it was a virtual war. What does he mean? Well, he uses the word ‘virtual’ in quite a few senses or contexts.

1. The public

It was a war which most people in the West watched on their screens, in which they had little or no investment or commitment. For Ignatieff this is a worrying new development. For example, will ‘war’ slowly morph into a particularly gruesome spectator sport? Does this mean that the populations of the West no longer believe in their causes enough to slug it out face to face? Will this, over the long run, weaken our resolve to mount wars when we need to?

2. Air force screens

It was a ‘virtual war’ in at least two further senses. The ‘war’ consisted mostly of NATO’s 78-day-long bombing campaign carried out against Serbian forces inside Kosovo and against crucial infrastructure in Serbia itself, especially in the capital Belgrade. No ground forces were sent into Kosovo and this, apparently, confused NATO’s air force, whose doctrine and training leads all of them, from air commodores down to pilots, to be expect to co-ordinate air attacks with ground forces, to be called in by radio to support ground attacks. They were unused to an army-less war.

Instead, the pilots, and their controllers back in control and command centres in locations in the West (Italy, Germany, Belgium, the US, the UK) worked via computer readouts of target information and then by sharing the view of the in-plane cameras which the pilots were using.

Thus the people choosing the targets and guiding the pilots towards them had pretty much the same view as the viewers at home (who got to see selected plane or missile-based footage which NATO released to the press). Obviously they were deeply involved in actually making it happen, identifying, assessing, instructing and so on. But nonetheless, it was, for these technicians, also a ‘virtual’ war, fought or, more accurately, experienced, via screens.

3. No army

Let’s go back to that point about no army. There was no NATO presence at all in Kosovo during the 78-day bombing campaign. There had been Western observers and peacekeepers in Kosovo but overnight they became enemies of Serbia, liable to be arrested and used as hostages, and so they were all withdrawn. So there were no NATO soldiers on the ground at all. Which is why Ignatieff very reasonably asks, What kind of war is it which involves no army at all on our side?

And furthermore, no casualties. None of the pilots of the thousand or so NATO planes which flew nearly 100,000 sorties were lost. A couple were downed by ejected. So Ignatieff further asks, What does it mean that the West can now go to war without fielding an army and without risking the life of a single combatant? Surely this is the kind of war fought by people who don’t want any casualties, a kind of war without the physical risk.

Previously, wars have involved loss of life on both sides. Western leaders have been slow to commit to war (British Prime Minister Neville Chamberlain being maybe the most famous example) because they knew the bloody horror it entailed. But now there is no bloody horror. There is no risk. What, Ignatieff asks, does that do to the very definition and concept of war?

How does that change everyone’s perception of what a war is? How does it effect:

1. Policy makers Does it make them more liable to intervene if they think they’re risking less – financially, but above all in terms of casualties, with consequent minimal damage to their domestic reputation and ratings?

2. The public in Western nations Will it teach the public to become so risk-averse that as and when a serious commitment of soldiers on the ground is required, it will be unacceptably unpopular? Will old-style fighting become less and less acceptable to a public acculturated to watching everything happen on a video screen? Will we refuse to countenance any conflict in which we lose soldiers?

3. The enemy On the face of it, the use of laser-guided precision weapons ought to scare adversaries so much that they are put off ever triggering the intervention of the West and its high-tech weapons. In fact, as he reports in detail, the reality in Kosovo turned out to be the exact opposite: President of Serbia, Slobodan Milošević, cannily triggered the West and then, in defiance of all our best efforts, carried out his nation-scale ethnic cleansing.

Because Milošević knew that as soon as the bombing started NATO would withdraw its ground forces and so he would be free to do what he wanted to the Kosovar population. He intended to drive them right out of their own country using exemplary terror i.e. using his army and paramilitaries to massacre entire villages and burn them to the ground, thus terrorising populations nearby to flee across the border into Macedonia or Albania – and that is exactly what happened. Hundreds of thousands of Kosovar refugees were harried out of their own country, even as the NATO bombing campaign proceeded. According to Human Rights Watch, by early June 1999, more than 80 percent of the entire population of Kosovo and 90 percent of Kosovar Albanians had been displaced from their homes. Amnesty International estimated that nearly one million people were forced to flee Kosovo by the Serb terror campaign.

On the face of it, then, this new kind of hi-tech gee-whiz ‘virtual’ war let the bad guys get away with it, with genocide and ethnic cleansing. In other words, the first ‘virtual’ war undermined its own rationale: it seemed very much as if what was needed to force the Serbs to end their ethnic cleansing was precisely what had been so carefully avoided i.e. face-to-face clashes between NATO forces and Serb forces. In other words, traditional warfare.

4. No mandate

Lastly, Ignatieff claims it was also a virtual war in the sense that the forces involved weren’t technically at war. The NATO forces who bombed the Serbs for 78 days never actually declared war on Serbia, no UN resolution was passed to justify this attack on a sovereign state, and none of the legislatures of the European countries who went to war were called on to vote for it.

NATO lawyers cobbled together a justification in law but, like everything to do with the law, it is subject to endless interpretation and debate. Even the outcome was unorthodox, a so-called ‘military technical agreement’ which didn’t settle any of the issues but merely allowed the entrance of NATO ground forces into Kosovo to protect the population while the diplomats went back to the negotiating table. But the fundamental issue is simple: Was NATO’s bombing campaign against Serbia legal or illegal under international law?

I’m no lawyer but what I took from Ignatieff’s account was that the campaign was technically illegal but was morally and politically justified. NATO used force as a last resort, after all attempts at mediation and conflict resolution – mainly at the talks held between NATO, the Kosovo Liberation Army and Milošević at Rambouillet in France – failed to find a solution.

NATO’s aim was to save lives, to put an end to Serbia’s low-level policy of massacre and ethnic cleansing. But does a worthy aim – saving the lives of a defenceless population – justify breaking one of the fundamental principles of the UN and the post-war international consensus, namely that the integrity of the nation state is sacrosanct; that nobody has a right to intervene militarily in the affairs of another state. This is one of the central moral-political-legal questions which Ignatieff returns to again and again.

To intervene or not intervene?

Like its two predecessors and its successor, Virtual War is a) short and b) not so much one consistent through-written book, but a collection of articles, published at different times in different magazines, but with enough thematic unity to work as a book. And each article or chapter focuses on particular aspects of the Kosovo war which I’ve itemised above.

Thus the issue I just described – whether the West was justified in attacking Serbia – is dealt with in chapter three, which consists entirely of an exchange of letters between Ignatieff and the British lawyer and politician, Robert Skidelsky, three from each of them.

The chapter may be short (16 pages) but it gets straight to the point and is packed with argumentation on both sides. Skidelsky argues that respecting the integrity of states has (more or less) kept the peace since the Second World War. If we alter that fundamental premise, if – like UK Prime Minister Tony Blair – we argue that we are so convinced of our moral rectitude and our case that we are justified in intervening in other countries wherever minorities are threatened by oppressive governments – then the world will descend into chaos.

Ignatieff politely but firmly disagrees. He describes himself as an ‘internationalist’, meaning that he agrees that the basis of the international system is the integrity of the nation state, but he also believes in the human rights of individuals and of communities, and that this second principle can clash with the first and, in Kosovo, trumps it.

He’s our author, so the weight of evidence from the other chapters tends to bolster Ignatieff’s argument. But Ignatieff tries to present a fair fight, giving Skidelsky’s objections as much air time as his own views. I very much took Skidelsky’s point that the notion Tony Blair was promoting in various public speeches (particularly, apparently, one given in Chicago on 22 April 1999, pages 72 and 74), that the West not only has the power to intervene in rogue regimes, but is obligated to intervene, is a terrible precedent. The road to hell is paved with good intentions (p.73).

And indeed, we know what happened next, which is that, after the 9/11 attacks, the US, under President George W. Bush, bolstered by Tony Blair and his interventionist stance, decided to intervene in both Afghanistan and Iraq. Overthrowing the absolutely awful dictator, Saddam Hussein, sounded like a great idea. Liberating Iraq and rebuilding it as a modern democracy sounded like a great idea. And how did those interventions turn out? Catastrophic wastes of time, money and lives, which left the region more unstable than before.

In this respect, Virtual War is a snapshot in time, capturing a moment when the interventionist mindset was new and still being explored and worked through. This is a fancy way of saying that quite a lot of it feels out of date. Ignatieff’s subtle premonitions about a new type of warfare have been completely superseded by subsequent events in Afghanistan and Iraq.

Content

As mentioned, the book consists of chapters which bear a strong resemblance to standalone magazine articles. In his previous books these had each been based around particular issues or countries. Here each chapter revolves around a central figure. These are:

  • Richard Holbrooke, impresario of the 1995 Dayton Agreement which ended the Bosnian War, architect of US policy in the Balkans, who Ignatieff follows and interviews as he mounts frantic shuttle diplomacy in the runup to the outbreak of hostilities (December 1998).
  • Robert Skidelsky, British economic historian, crossbench peer in the House of Lords, and vocal opponent of the bombing campaign against Serbia who Ignatieff debates the legality of the NATO bombing offensive with (May 1999).
  • General Wesley Clark, Supreme Allied Commander Europe (SACEUR) from 1997 to 2000, who commanded Operation Allied Force during the Kosovo War, and is profiled as part of an extended description of how the bombing campaign was managed, not only technically in terms of selecting targets etc but at a diplomatic level (June 1999).
  • Louise Arbour, a Canadian, who was Chief Prosecutor of the International Criminal Tribunal for Rwanda in Arusha, and of the International Criminal Tribunal for the former Yugoslavia (ICTY) in The Hague. In this role she indicted then-Serbian President Slobodan Milošević for war crimes on 27 May 1999, the first time a serving head of state was called to account before an international court. Ignatieff interviews her at length on the tribulations of setting up the Tribunal and especially of getting enough evidence to prosecute Milošević (July 1999).
  • Aleksa Djilas, Yugoslav writer and dissident, friend of Ignatieff’s, opponent of the bombing campaign not only on general humane grounds but because he is a Serb and so imprisoned by the propaganda of the regime. He flatly denies that the massacres of civilians, whose bodies Ignatieff saw with his own eyes, were carried out by Serbs. claiming they must have been caught in the crossfire of battles with the KLA. He couldn’t accept the fact that his nation was carrying out a genocide using Nazi tactics. Refusal. Denial.

As in The Warrior’s Code, Ignatieff has fantastic access to the top dogs: he accompanies leading figures such as Holbrook and his cohort of other US negotiators (ambassador Richard Miles; liaison officer with the KLA fighters, Shaun Byrnes) in the fraught weeks leading up to the bombing campaign; he has lunch with US ambassador to Macedonia, Chris Hill; he is part of the press pack covering a visit of Arbour’s to the Kosovar village of Celine, scene of a typical Serb massacre of unarmed civilians (lined up and machine gunned in cold blood). He interviews Arbour at her headquarters in the Hague, a conversation he reports at length.

Ignatieff vividly conveys what life is like for these jet-setting international politicians and lawyers: 1) the hectic lives, the endless mobile phone calls, dashing for planes or helicopters, setting up meetings, taking more calls. He 2) acutely dissects the issues they have to grapple with. But where Ignatieff comes into his own is with his 3) insightful analysis of the themes or issues or moral problems arising from the challenges they face; the general issues which arise from trying to resolve ethnic conflict, from intervening in a sovereign state, from trying to achieve some kind of justice for the victims.

Critique

1. The idea of a screen war not so novel

For me the weakest part of the book was Ignatieff’s claim that watching a war via a TV screen was somehow a) new, b) morally degrading, c) fraught with perilous consequences. It shares the same tone of moral panic as the chapter in The Warrior’s Code about the ever-increasing power of television. Looking back from 2023 both concerns seem out of date and overblown. Since Ignatieff was writing (in 1999) screens have come to dominate our lives to an unimaginable extent, and this has had many social consequences which impact Ignatieff’s ideas and interpretations.

But I disagree that watching a war on the telly was something radically new in 1999. People in the UK had been watching war footage on telly at teatime ever since the TV news was established in the 1960s. I remember listening to punk songs taking the mickey out of it in the 1970s (5.45 by Gang of Four, 1979).

And, of course, in the UK we had a war of our own, in Northern Ireland, which was on the TV news almost every night for decades before Ignatieff started worrying about it. So I question Ignatieff’s claim that watching the Kosovo conflict on the telly was a radically new departure with worrying social implications.

2. Kosovo’s ‘virtual’ war in no way replaced conventional conflict

At a more serious level, the ‘virtuality’ Ignatieff wants to make such an innovation of Kosovo hasn’t changed the face of war as much as he claims. In his long final chapter Ignatieff claims the West is living through a revolution in warfare, and that the new technology of cruise missiles, laser-guided bombs, and remote control will change warfare for good, and he sets off worrying about the implications for all of us.

But it wasn’t true. The American invasion of Iraq in 2003 wasn’t carried out entirely by remote control, it required a conventional army with tanks and armoured cars and all the rest of it, and then degenerated into a counterinsurgency which was even less remote, very much requiring boots on the ground (as described in excruciating detail in Thomas E. Ricks’s two books about the Iraq War, Fiasco and The Gamble).

OK, so was Iraq just a blip, have other wars continued the radical new ‘virtual’ path worries about? No. Take the war in the Ukraine. A conventional army (accompanied by its disgusting mercenaries) has invaded a neighbouring country and is being repelled by an entirely conventional army and air force. No doubt lots of screens are being used by everyone involved, maybe drones are being deployed and maybe some of the missiles are cleverly targeted, but most are not, and the whole thing feels like a traditional boots-on-the-ground conflict.

So not only have a lot of his concerns about war and society been superseded by the events of the last 23 years, but his central concern about the perilous consequences of ‘virtual war’ can now be seen to be exaggerated and unwarranted. He worries that war via screens will end up being no more than a spectator sport, emptied of meaning, and lacking engagement or understanding by the wider population. That is not at all what happened with the wars in Afghanistan and Iraq.

Anticipations of ‘Empire Lite’

In scattered remarks through the book, and then more pithily in the introduction, Ignatieff draws the central conclusion which will go on to underpin the next book in the sequence, 2003’s ‘Empire Lite’.

It is based on the run of events during the 1990s in which the UN and the so-called ‘international community’ performed so abysmally. They let down the Marsh Arabs who revolted against Saddam Hussein in 1991 and were very slow to support the Kurds who Saddam drove up into the mountains to die of exposure. They abandoned the mission to Somalia after the Black Hawk Down incident in 1994; in the same year the member states of the UN failed to cough up enough troops to enable the peacekeeping force in Rwanda to prevent the fastest genocide in history. Then in July 1995 UN peacekeepers once again stood by helplessly while Serb militia rounded up some 7,000 boys and men in the Bosnian town of Srebrenica and murdered them all.

In his earlier books Ignatieff visited the sites of mass murder in Rwanda and of massacres in Bosnia. This book gives a stomach-turning description of the massacre of unarmed Kosovar women and children carried out by Serb paramilitaries at a village called Celine. Did those Serb soldiers think it was serving their country to shoot unarmed women and children point blank in the head? Did they think this is what soldiers do? That this is what makes you a man – murdering little children?

These experiences drive Ignatieff to his Big Conclusion, which is that the West needs to intervene more, more deeply, more extensively, with more troops and resources, and for longer, than it has hitherto done.

Sitting above the Stankovec 2 refugee camp, packed with Albanian Kosovars who have been hounded from their homes by the Serbian army, and reviewing the West’s dismal record of failing to prevent ethnic cleansing in Yugoslavia, Ignatieff’s conclusion is surprisingly blunt:

This must be stopped. Now. By persistent and precise military force. (p.45)

His humanitarian principles, his concern to protect the vulnerable, lead him to believe that the intervention of the West is vitally required, as here in Kosovo, to prevent yet another crime against humanity, and this is the nexus of his argument with Robert Skidelsky.

But he goes further. Ignatieff thinks that the only way to prevent these crimes happening in the first place is to help developing countries build stronger states. And the only way this can be done is by major intervention, supervisions and investment in failing states by the West. And that means, in practice, America. He shares the view he attributes to the roving American diplomat Richard Holbrook, that:

the Americans are the only people capable of replacing the Ottomans and the Austro-Hungarians – the only people with the character required for an imperial vocation. (p.35)

America needs to be more imperial, more prepared to intervene to stop states failing, to prevent genocides, to create more stable polities. And it’s this idea which was to be the central theme of the book which followed this one, Empire Lite, arguing for greater American commitment to places like Afghanistan and written on the eve of the US invasion of Iraq in March 2003.

In other words, Ignatieff’s fine and subtle humanitarian principles led him to support George Bush’s illegal invasion of Iraq, support he later came to bitterly regret. Seen from this perspective, Ignatieff’s books on foreign affairs are almost like a tragic novel, about a highly intelligent and deeply philosophical man who argues himself into supporting Bush and Blair’s idiotic invasion of Iraq.

The scale of the waste

Alongside Ignatieff’s brilliant descriptions and fascinating insights, one aspect which comes over really strongly is how extremely expensive it is to wage this, or any kind, of conflict in the modern world. The cost of one jet. The cost of maintaining it. The cost of training one pilot. The cost of training the small army of technicians and engineers required to maintenance the jets. The cost of housing and feeding them all somewhere far from home. And then the cost of the munitions, up to a million dollars per missile.

One of the problems which the bombing campaign encountered was that the Serbs turned out to be very good indeed at hiding from the planes. They were expert at camouflage, deception and the use of decoys. They learned to turn off the radar on their anti-aircraft guns so as not to be detected. They hid all their real armour and created fake tanks and trucks made of wood and canvas. Hence the accusation that NATO was dropping million-dollar missiles to blow up ten-thousand-dollar decoys (p.105).

But stepping back, for a moment, from the geopolitical, historical, military and diplomatic contexts which Ignatieff explains so well…My God, what a colossal, colossal waste of money! If a fragment of what the war cost had been invested in the economy of Kosovo and its million-strong population it could have been rich as Luxemberg by now. I know the waste of war is a cliché but given the extortionate cost of modern equipment, arms and infrastructure, modern war amounts to the expense of hyperwaste in a sea of need.

Pleasure

Hopefully, by now you can see where Ignatieff is coming from. As I said above, he is not a war reporter or a military analyst or a commentator on international affairs. He is fascinated by the moral issues thrown up by conflict in the modern age and by the way our understanding of those issues and their implications were changing and evolving during the 1990s and into the Noughties.

He is also a really beautiful writer. Ignatieff writes a clear, deceptively simple prose which fluently embodies his continual stream of sharp observations and acute analysis. The combination of lucid prose with measured analysis and thoughtful reflection makes him a tremendous pleasure to read.


Credit

Virtual War: Kosovo and Beyond by Michael Ignatieff was published by Chatto and Windus in 2000. References are to the 2001 paperback edition.

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