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FF Film Festival Venues in Google Maps

I’ve made a map of all the venues, listing the dates when the events are held, just to give you the idea, and you can follow the link to the FFFF website in each of the entries, to find out more. Some of the workshops are taking place at The Met (Bury), The John Rylands Library in Deansgate, the WFA Media & Cultural Centre, and Zion Arts Centre.

Family Friendly Film Festival Venues 2008 in Google Maps (allows you to copy the link).

 

Family Friendly Film Festival 2008

Two years ago, during the Late Summer Bank Holiday, the very first Family Friendly Film Festival hit a few venues across Manchester. Back in August 2006 I was doing The LOOK at QT Radio in the Northern Quarter, and jumped at the opportunity to cover this new event. It subsequently made the topic of one of the first blog posts here.

FFFF, curated by Arts About Manchester, has been taken off the ground by the infatigable Leah Byrne who, with the help of her assistant Rachel Witkin and a team of volunteers, is now in the third year of bringing the best in children’s film and animation to the parents and children of Greater Manchester. The screenings at the very first FFFF included some award-winning and nominated films and cartoons (you can find the full list if you follow the link to the 2006 post), but that was only a half of what the FFFF team had to offer. Recognising the importance of the visual impression, the festival organisers wanted to involve children – and their parents – in some hands-on activity, whereby they came up with an idea of creative workshops.
I edited some of the 2006 show – this is a good recap of the aims and programme of the first Family Friendly Film Festival. The first speaker is Leah herself, followed by the one of the WFA Media & Cultural Centre workers, followed in turn by one of the parents who with their children took part in the puppet animation workshop at the Zion Arts Centre. Naturally, because Leah is interested in film, we also got to talk about the Disney films vs. European and Japanese animation. The enthusiasm of the interviewees potently proves that at this event both children and parents learn new skills, and adults relive their childhood moments; and that cinema as a medium is wonderful for bringing the members of family together.
This year the festival has grown far and wide, and lasts not for a few days over a Bank Holiday weekend, but for over a week, from 8th until 17th of August. The venues are as diverse as Urbis, Zion Arts Centre, The John Rylands Library in Deansgate, and The Stockport Plaza. The best thing, as before, is that most of these events are free, drop-in-sessions for kids and parents, although there is a portion of events for which you need to book a seat or to buy a ticket. These are usually the workshops, and also some screenings, but all at £5 or less. The tickets are on sale NOW at www.quaytickets.com or by phone on 0870 428 0785.
This year FFFF also has some activities celebrating the National Year of Reading, and one of these will include the screening of Harry Potter and the Philosopher’s Stone in the Reading Room at the John Rylands Library in Deansgate. Other events that are part of the National Year of Reading will be taking place at the Central Library, Clayton and Chorlton Libraries, and The Met.

And one the festival’s highlights is doubtless Darius Goes West (dir. Logan Smalley, USA, 2007). To quote the short synopsis,

Darius Weems from Athens, Georgia, was born with Duchenne Muscular Dystrophy (DMD). In 1989, Darius watched his older brother, Mario, pass away from the same disease at age 19. Soon after, he lost use of the muscles in his legs and began using a wheelchair. A group of his friends felt there was no need for his quality of life to disintegrate along with his muscles. So, they decided to take Darius, who had never seen a range of mountains, never dipped his toes into an ocean, and never crossed a state line on the adventure of a lifetime. After raising $60,000, this “band of brothers” rented a wheelchair-accessible RV and hit the road. Their three-week cross-country journey had one major goal: to reach Los Angeles and convince MTV’s popular show, “Pimp My Ride”, to customize Darius’s wheelchair. Along the way, they evaluated wheelchair accessibility at many of America’s major tourist attractions and raised awareness of DMD by holding over a dozen press conferences. They also found joy, brotherhood, and the knowledge that life, even when imperfect, is always worth the ride.

Already the first FFFF was courageous in the choice of some of the screenings, and it goes further to help children of Greater Manchester to learn to see themselves and other children in perspective. Somehow here cinema and animation may be doing a better job for the youngsters who may not yet be able to experience the power of a written word, but are not hindered from learning lessons from film’s sight&sound. Hopefully, there will be many more years for FFFF to come.

View and download this year’s FFFF brochure.

Many thanks to Leah Byrne for information and images.

Schmap Liverpool for the iPhone

There has been much talk about iPhone. I particularly liked Robin Hamman’s documenting the growing queues outside the phone shop on 11th of July (left). I followed a few discussions on Facebook and elsewhere that centred on various aspects of iPhone, but then I received a Flickr mail from the Schmap team. Last year my photo of Liverpool’s Western Approaches was included in the e-version of Schmap Liverpool Guide, and now the photo is also available in Schmap for iPhone (right).

Schmap for iPhone has access to our full range of City Guides, plus a Local Search service powered by Yahoo!, and a unique Rotating Map feature that auto generates a map when you turn your iPhone sideways…

Interested? Go to Schmap for the iPhone to read more or to browse the city guides.

Break a Leg And Have a Break Using Google

I never thought that I would use the phrases “break a leg” and “have a break” to play on words, but here it goes. Just to let you know from the start, a series of pre-written posts will be appearing on my blog for some time in the future. As you might know, Blogger now allows you to schedule your posts, which I used a few times previously to test that the feature worked well. It did, and now I have no choice but to commit myself to it for a period of time – while I’m nursing my broken ankle.

Yes, playing on words. We use “break a leg!” when wishing luck to a person. (If I’m not mistaken, in German language they actually wish to “break a neck“). I suppose this is what my friends wished me when I left for Beck’s Canvas – and I did really well, as you may have read, seen and heard. Of course, they didn’t know that on my return, on my way into work, I’d actually break my ankle. I still cannot get my head around the fact that I did it, while wearing trainers and walking (not running) on the road that was perfectly plain (although it was a drizzly day). Then, of course, since this happened, I’ve been told at least three stories of really horrific accidents, one of which occurred in the kitchen. Also, in the news there was a story a couple of months ago of a Mexican donkey, who for whatever reason bit one man and kicked another, breaking the latter’s leg. The donkey was put into prison for misbehaviour; I suppose I could become the (wo)man who sued God, but that’s going to take too much of my energy. So, I console myself with the fact that my flat is not on the sunny side, it’s relatively shady here, and I am trying not to feel extremely gutted at how many things I am going to miss in 5 weeks of being off sick and in cast.

As I have to keep my leg up in the air all the time, and as I don’t use a Blackberry or suchlike for blogging, I thought I would be unable to blog. But, thankfully, I remembered about scheduling in Blogger, and was able to pre-write a few posts, to avoid disappearing for too long without a word.

Also, Google has recently rolled out their Knol: A Unit of Knowledge. I posted about Knol a year ago on the Russian blog, and I know a few readers there were interested in the financial opportunities of Knol (because, yes, you are going to be able to earn some money, provided you consent to the advertisement in your article). Back in 2007, Knol looked like an onslaught on Wikipedia. Indeed, all Knol articles have to be written under your real name, which is a welcome departure from a collectively (and not always well) edited people’s encyclopaedia. Having said so, one look at the Knol’s current home page makes you wonder if the whole feature may become an ex catedra space for medical professionals. Not that I don’t want to seek and find medical advice online… Thankfully, there are some reassuring Knols, e.g. Music in Capoeira by Johan Mengesha.

Yet the fact that Google allows advertising on Knols makes a prospective onslaught on Squidoo more plausible. You can use your Squidoo lenses to earn money for yourself or a charitable cause close to your heart, but now you can also do that through Google.

In short, in addition to diverse and sundry things from the past you can now use Google to: 1) pre-write and schedule your posts for future publishing; 2) write an authoritative article and earn money with it. I’m not sure how far Google has gone with Comments on the News feature they reported on planning to have back in August 2007, but surely there will be more Google-y things to come, anyway. May I suggest a personalised forecast for prospective leg-breakers, please?

Simon Cunningham: “Looking Is an Activity”

The opportunity to attend Beck’s Canvas 2008 and to see the work by four RCA graduates instantly prompted me to inquire about an interview with one of them. I was offered to choose. I studied the winners’ profiles and, bearing in mind my own interest in photography, requested a talk with Simon Cunningham.

You can now listen to Simon’s interview below. In 18 minutes we find out about Simon’s work, artistic practice, inspirations, his views as an artist on using the WWW space… There is some laughter (as well as tinkling of the bottles in the background, with the gallery space then being prepared for the event), and a mad wizardy question at the very end of the talk. Once again, thanks to Simon, and to James Fell from OnlineFire for organising the interview.

Originally from the Midlands, Simon has now been living and working in London for a number of years. We are told that he sold more work than he has been able to exhibit, mainly through group shows and to private collectors . His shows in 2008 included exhibitions at Galleria Civica di Modena (Italy), Bloomberg SPACE (UK), and Espai Ubu (Barcelona, Spain). The list needs now to be updated with the show of his work at the RCA in Kensington Gore in London at the launch of Beck’s Canvas. In a way, Beck’s Canvas and Cunningham’s work were practically made for one another. In his work, Simon often explores the other “side” or “angle” of an image – and this is exactly what Beck’s Canvas is: it is a beer bottle label that can become an artist’s canvas.

The cornerstone of Cunningham’s artistic practice is the act of looking. As he aptly observes in his interview, he takes “looking” in the broadest sense of the word: “it’s about looking, and seeing, and searching…” – and I think we all too often forget about these “other sides” of any activity we undertake. “Mollymuddle” (left) is exemplary in this sense because in this video Simon attempted to record, in the proper sense of the word, all the stages of looking at an object. True, at the first glance it does look like a guy is merely holding his leg and staring at it. But try and look at it closer, or a bit longer, or from a different angle, and you will realise suddenly that there is more to this image. There is attention and tenderness in the image akin to mother-and-child relationship, and “Mollymuddle” may instantly become the newest reverberation of a mother-and-child theme in art. Think about multiple Our Lady and Christ representations where the baby Jesus is placed on his mother’s knee or in her arms, and looking at Simon’s face I think Leonardo’s “Madonna Litta” (right) may be a good reference; or we can recall pietà images. At the same time, the presence of a male figure, even recorded in this position, from this angle, may bring to mind the depth of Rodin’s work and Rodin’s preoccupation with human emotions and reactions. Or it may remind one of Picasso’s “The Old Guitarist” (right). “Mollymuddle” and our own looking at it prove Simon’s faithful adherence to Wittgenstein‘s idea of perception: “the expression of a change of aspect is the expression of a new perception and at the same time of the perception’s being unchanged“. We can find many more references in “Mollymuddle”, while only looking at Cunningham’s solitary figure.

If it is possible to draw a quick conclusion from the above, it will be that Simon Cunningham is teaching us that there is a direct connection between looking, thinking, and envisaging. The actual physical activity becomes possible after all those stages, even if they are not strictly discernible. Not that this sounds totally new, but perhaps we expect – and are expected – to always be active, and hence “having a look” is dismissed as insufficient, one is urged to produce, to exert some effect upon the world. Simon’s work, quirky and poetic at once, proves that with looking there is more going on than meets the eye – to which his “Duckrabbit” is a perfect illustration. It suffices to say that after this work ducks and rabbits will never be as we knew them before.

Links for Simon Cunningham:

In Our World exhibition profile
.
RCA profile.
Personal website.

A few extracts from Simon’s interview:

About his work:

I am trying to make these images that are in a state of flux, that are kind of wrestling with each other, and I always try and force myself to see what I saw when I looked at the images as a whole, where I was trying not to see a duck, or a rabbit, but trying to see both at the same time…

About his art:

It’s about maybe trying and find my own practice and name it, and I’ve always had a problem with naming it. The work has become in a way outside of language, it’s what I can’t name, or meshing words together, like Duckrabbit. They’re all pushing things together to make new meanings.


About photography
:

Photography is fascinating! It’s a way of bringing you closer to something but always keeps you at distance, it’s quite like this frustrated things, it’s looking at the world, and my work in general is about looking in the broadest sense of the world. It’s about looking, and seeing, and searching… Photography was the most accessible way of pointing and not naming but saying “this has got something to do with that, but I’m not quite sure what it is”…

About the Royal College of Art:

That’s an experience. I came here very much aware of how precious it would be to have two years where you could just experiment. And maybe a lot of people get hung up on the show, but luckily what made it for me was getting a Paris studio residency for three months.., and it kind of liberated me. And it also made me understand that I never had a studio… The studio became a sort of architecture of the space, and that space swept everything together.

About Paris:

Paris is amazing, it’s just a dream space, and because I am not very good with languages, I could go down the street, and there was no noise. Not that I go around listening to other people’s conversations, but when I was there I would switch off and find my own space…

Beck’s Canvas 2008 at the RCA in London

Last year Los Cuadernos de Julia collaborated with Stella Artois, – and this year I was invited to Beck’s Canvas 2008 event in London. Like Illycaffe and Chateau Mouton Rothschild, so Beck’s have been supportng young artists for over 20 years by letting them use the Beck’s label as the canvas for their artwork. This year, however, is unique in that it saw Beck’s partnering with the Royal College of Arts to exhibit the work of the four RCA graduates.

As we are told,

2008 sees a landmark for the Beck’s art programme, with the launch of Canvas. For this very special project, we needed a very special partner. The Royal College of Art is a particular kind of ideas factory unlike any other. As the world’s only wholly postgraduate university institution of art and design, the college boasts a global reputation for artistic excellence and an unrivalled creative environment. College alumni and internationally admired artists Tracey Emin, Tim Noble and the Chapman Brothers all created Beck’s labels during the 1990s. Then, as now, Beck’s was striving to support those determined to express themselves creatively. A partnership with the College presents a great opportunity to achieve this goal.

I attended the event on 16 July at the Royal College of Art in Kensington, next to the Royal Albert Hall (see the image at the top of the post). The preparation, however, started already in June when I was contacted by OnlineFire PR who found me via Technorati.

Below is a short video I put together using promotional images supplied by OnlineFire, as well as the examples of art work by the winning artists. You can also check Beck’s Canvas 2008 photoset on Flickr. An interview with Simon Cunningham will be coming up shortly, that will include some transcribed excerpts.

I would like to thank OnlineFire for the invitation, and particularly James Fell, who has been a great help in providing information about the event and artists, setting up an interview with Simon, and supplying me with images.

Last but not least, congratulations to the artists!

Links and further information on the artists:

Riitta Ikonen

Originally from Finland, Riitta believes the Beck’s Canvas project resonates with her own belief of taking art out of the gallery for people to see in a wider context. In her mind individualism is a little space inside your head reserved just for you, like a private restaurant table that serves you anything you think to want.

Riitta takes inspiration from ‘the performance of images, through photography and costume design. Certain things, usually small and insignificant, excite me to the point that I have to wear them and then document that process.’

Key achievements for Ritta include featuring on the cover of a ‘mail art’ book published by Lawrence King Publishing and compiled by Flat 33 (RCA Alumni). She has also been interviewed by WWF for her ‘Snowflake’ project, which was funded by the RCA and addressed climate change in the Baltic. In November 2007, Riitta was commissioned by the Tate to produce an interactive costume experience and has most recently been shortlisted for the Adobe Creative Futures 2008.

Riitta is currently still working on producing a herring costume for a dive in the Baltic Sea – another attempt at raising the awareness of climate change in the area. She is also contributing to a campaign to encourage commuters in London to interact on the underground, as well as working with the Tate’s events programme. Plans for the future include travelling around the world to create artwork that highlights local issues for charitable use, “I’d love to take my work to Japan; go to Mongolia to work hard; go to Cuba for the amazing colours and people; learn new skills and share ideas with unique people.”

Tom Price

Tom Price, 26 is an alumni of Sculpture (2006). Subsequent to this, he received a First Class BA (Hons) Sculpture from Chelsea College of Art in 2004 and currently works from his South London studio, in Brixton.

In April 2008, Price exhibited a solo presentation of his art at the NEXT Art Fair, Chicago and will also be showing work at the ‘Personal Freedom Centre’ in October during Freeze Week at the Hales Gallery. Other awards include receiving the Sir John’s Cass Bursary, which allowed him to study at the Royal College of Arts.

Price is now working on new sculptures and continues to explore different materials and formats.

Simon Cunningham (his profile at RCA)

Simon Cunningham is an alumni of the MA Fine Art, photography course (2007) Cunningham lives and works in London.

Cunningham has sold more work than he has been able to exhibit mainly through his group shows and to private collectors. Cunningham is currently exhibiting film and photography work in Fragile at Espai Uba in Barcelona and also in Italy as part of ‘In our world’ at Galleria Civica de Modena.

Charlotte Bracegirdle

Charlotte Bracegirdle, 34, is an alumni of the Masters degree in painting (2006). Originally from Broardhembury, Devon, Charlotte spent seven years applying to art schools across the UK before accepting a place at the RCA.

Charlotte has previously been awarded the Davis Langdon award (2006) and was shortlisted for 2007’s New Contemporaries.

Plans for Charlotte’s future are to continue painting and exhibiting her work, she is currently working towards an exhibition for the Madame Lillies Gallery, Stoke Newington, running from 10 September 2008. Bracegirdle dreams to be an artist in residence at the National Gallery, she loves all the history in there and dreams to spend all her days painting.

A Perfect Fusion at Yang Sing Oriental Hotel

Update: Yang Sing Oriental Hotel has sadly closed in March 2009, just a little under a year since its opening.


You have undoubtedly heard of – if not dined at – Yang Sing restaurant in Princess St in Manchester. Founded in 1977 by the Yeung family of renowned Cantonese chefs, the restaurant went from strength to strength to become the epitome of Cantonese cuisine and to set a standard for all future ethnic restaurants. In over 30 years of Yang Sing history the founders and the staff have been seasoned with experience, which included a 1997 Christmas fire, but most importantly – many a rave review highlighting the impeccable service and inimitable food. Add to this the glorious awards and the fact that the restaurant, originally located in George St, subsequently moved to Princess St where in 2006 it has been refurbished in the 1930s Shanghai style – you will see that Yang Sing (this is a phonetic translation of the nickname of the city of Guangzhou in Southern China; it means “The City of Goats”) is clearly dedicated to be the best. As the diners say, “Yang Sing is about the only Chinese restaurant in England which doesn’t compromise on taste to suit a Western palate and at impressively affordable prices“. The prices are estimated to be £25-34 per person, and you can check their banquet menus and wine list, or have a look at the sample of à la carte menu.

The entrepreneurial spirit clearly runs in the Yeung family, which is the reason why several years ago Mr Kui Man (Gerry) Yeung OBE conceived of a Yang Sing Oriental hotel, also located in Princess St, next door to the restaurant. The multibillion venture started officially in 2007 and was a conversion of a cotton warehouse and a bank. In the words of Mr Yeung, “people have had 30 years of corporate hotels, where each Hilton, Holiday Inn or Marriott is the same, and they are looking for something a bit different“. With the boutique hotel market on the rise, the conversion plan for Yang Sing Oriental was a timely move.

The tagline for the new business is “East meets West, and service meets style“. I was invited to the opening ceremony of the hotel on 8 July, and I cannot really comment on service as yet (apart from that the staff were smartly dressed and very helpful). The rest, however, is perfectly true, especially where style is concerned. Hargreaves were contracted to convert the building into a landmark 48-room hotel. The interior retains some original features, like wooden beams and cast iron columns, as well as some marks in the rooms highlighting the places where the equipment used to stand. This certainly makes Yang Sing Oriental a boutique hotel with the difference, if only because it does not shun from exposing its working-class background (a cotton warehouse, that is).

The magic begins at the Oku Champagne Bar where you are being served a madly extensive champagne menu (I am scared to type in the number!), and the Orient-inspired bar menu is created by Robert Kisby and Harry Yeung, Gerry’s brother. Take a lift from there to one of the floors, and you are greeted with a tranquil corridor decorated with white orchids in floor vases. The doors with the portraits of ladies, whose faces reminded me of women in Wong Kar-wai’s films, lead you to individually decorated rooms.

I must be quick to admit that I do not stay in hotels very often (or as often as I would like), so I cannot say much about the facilities for disabled visitors in other places. In Yang Sing Oriental at least one room’s bathroom is designed specifically to accommodate someone who uses a wheel-chair.

With each room designed individually, you are spoilt for experience and are left craving for more – or rather wondering, what other rooms are like. I can tell that of all those I visited I was particularly captivated by the one with glass walls. Whereas we are more or less used to having a clear divide between the bedroom and the bathroom, in this room the two are practically not separated, except for the glass screens. The only drawback of this particular room may be the space, which is small. However, if you are looking for a weekend break with your second half, this room may be perfectly suitable. In the Emperor suite on the top floor you are treated to a telescope and a spiral staircase that leads to the meditation space. I found the lime-green and pink decor of one of the rooms modern and refreshing, and, like many visitors and members of staff, loved the sumptuous Oriental suite that overlooks the corner of Princess St and Portland St. The window opens the view on the Chinatown in the foreground and the Britannia Hotel in the background, and the Gay Village part of Princess St on the right.

The hotel boasts a gym and a spa (neither of which I tried, for obvious reasons), complimentary Wi-Fi, secretarial services, and a hi-tech meeting room. You can further “customise” your stay with a choice of Japanese silk duvets and a scent for your room. Finally, Sutra Lounge is a guests-only space, once again adorned with white orchids and featuring warm white, golden and brown shades in decor. Cue in pillows, candles, a rustic bed, drapes and “silks” (this is how they used to call Oriental fabrics in Tudor times), and here is your Yang Sing Oriental – a uniquely-Eastern hotel at the heart of one of Europe’s top business cities.

The opening event featuring the Dragon dance was hosted by Peter Aust, and I would like to thank Collette Walsh for the invitation. The hotel is officially opening for bookings at the end of July, and, being a Manchester resident, I will probably not book in for a stay – unless I have the reason to check into that glass-screen room for two (as a matter of fact, all rooms are sound-proof). But the memory of the visit is indelible, and I am sure it will transpire into some decor and comfort regeneration in my current abode.

For more pictures from the night, visit Yang Sing Oriental Flickr photoset.

Manchester’s Banyan Tree

The Banyan Tree, located in Moho Building in Castlefield, is the current hot-spot for all who live and work at The Box Works, Timber Wharf, and on St George’s Island. It stands right across the road from the converted church, and the glass wall that faces the road allows in generous heaps of light at all hours.

The Banyan Tree is named so after the banyans or banians; the Hindu traders seen resting or carrying out their business under the tree. Banyan trees have become important meeting places for many people who gather in its shade, to relax or chat.

Such has become this one of Manchester’s newest bars, and the fact that they brew the Illy coffee makes a welcome difference. A few weeks ago I had a cappuccino there, with a piece of chocolate cake, which were absolutely delicious. As a matter of fact, Illycaffe has been providing support for emerging talent, as well as collaborating with established artists, including Jeff Koons, Francis Ford Coppola, James Rosenquist, and Louise Bourgeois. I will expand in another blog post on the importance on this, although the intent of a well-known coffee brand to support the arts needs no explanation or excessive laudation. Still, it was also great to drink Illy coffee at the Banyan Tree in the year of the Illycaffe’s 75th anniversary.

The Banyan Tree Flickr photoset.

In the picture on the left – Quentin El-Bez, Juicy Shoot founder and vodka expert, with one his creations: strawberry vodka.

The Long and Winding Road to Urbis

On July 5, 2002 I landed in Manchester Airport for the first time. In fact, it was the first ever time I would visit England. I’d left in August, then visited briefly again in November, and the next time I’d arrive to Manchester would be in September 2003. As you know, I haven’t since been back to Moscow yet.

The reason for this short intro on my Manchester visits and stays is this. Bearing in mind that I came to Manchester for the first time six years ago, today was the first ever time I visited Urbis. Words cannot express my utter shame at the fact that I walked and rode past this Manchester museum hundreds of times and never – ever – pulled myself together to actually pay a visit. My only consolation is that back in Moscow there are still plenty of sites I never visited – despite the fact that I was born in the city!

This long wait before entering the Urbis doors was certainly worth of itself. At the moment, there are three amazing exhibitions taking place, the subjects vary from Japanese culture through city gardening to haute couture. As the Urbis’s website says quite correctly, this museum celebrates cities and people who live there – hence currently the entrance hall displays this giant photo of Manchester by Aidan O’Rourke (left). Read more about the photo and effort and costs involved. In the words of the Master himself, “the Manchester Mega-Photo is a gigantic photocollage of Manchester city centre and the conurbation beyond to the north and north east. It was taken from the roof of the Beetham Hilton Tower and consists of 285 overlapping poster size prints arranged in ‘Hockneyesque’ style“. On the right you can see my favourite part of the collage, featuring Town Hall and the Central Library.

Links:

Urbis Museum Flickr photostream

Urbis Museum Flickr channel

On the right is the Urbis photo by Steve Mayes.

Wrong on Russia

I have been writing about my home country every so often on my blog. I know that I have almost never reacted to either critical or positive comments in the media on Russian politics and economy. There is a personal reason to this, on the one hand. I was growing in Moscow in 1980s-90s. I suppose I can say frankly that my childhood ended in 1991. I spent my summer holidays with my grandmother’s youngest brother in his country house; my mother had left her job before going on a holiday. When we returned, Gorbachev’s Crimea exile had already begun, and a few days later the coup happened. Later, already a history student, I realised that I finished the previous school year in one country and started a new school year in another. Call it surreal or postmodern, this was definitely an out-of-this-world moment. Even if I didn’t realise the full scope of events then, I experienced them because at the time everyone – literally, everyone – was involved in discussing politics. Add to this the fact that I started my sixth form in a Moscow school with my Russian Literature and Language teacher being absolutely ecstatic about my writing potential. She was convinced I was a journo material (she wasn’t quite wrong, as you know). I fancied the idea – my very first notebooks were mostly filled with articles and sketches on Russian politics and politicians.

This fountain of juvenile political commenting dried up for a number of reasons. There were no blogs then, and I simply got frustrated because my “brilliant” sketches were destined to be buried in the bottom drawer – surely, there were enough staff at nationwide and regional newspapers who could drag on exactly the same topics I was dragging on (and I was only be 12-13 years old at the time). The frustration of not being able to publish work immediately was alleviated by discovering such authors, as Bulgakov, Chekhov and Kuprin. I realised that I wanted to write “serious stuff”, not those short-lived satires on domestic politics. Last but not least, I also realised there was more to life than politics. Possibly, this is what also defined the choice I made later at the University when I went to study Medieval and Early Modern History.

I remember this time and again today when I am occasionally asked to comment on Russia’s current affairs. Yet another reason why I stopped spending time writing political sketches was that it was not me who voiced them. I was essentially parroting whatever I thought I agreed with. I would usually agree with my family’s point of view, but as I was growing, I was obviously getting conscious that it was theirs, and not mine, point of view. And so today when it has been nearly five years since I left Russia (which did not happen for political reasons) I avoid commenting on Russian politics because I am not there. Being professionally qualified, I am well aware of the fact that each party – be that the Russian mass-media powered by the Kremlin, or the ill-fated independent Russian agencies, or the Western media – has its own agenda in the discussion, and I don’t want to share it by way of supporting one party or another. Having worked in the media, I am equally aware of the abundance of emotion in the modern press and broadcasting media; on occasion it seems that the proverbial witch-hunting is happening somewhere in the press room rather than in the “real” world.

The reason why I now write this post is the article by Stephen F. Cohen for International Herald Tribune, “Wrong on Russia. In a very succinct form, Cohen, who is Professor of Russian Studies at New York University, addresses the current state of affairs between the U.S. and Russia. Straight away he claims that America’s “greatest foreign policy concern” should be that of “Russia’s singular capacity to endanger or enhance our national security“:

Despite its diminished status following the Soviet breakup in 1991, Russia alone possesses weapons that can destroy the United States, a military-industrial complex nearly America’s equal in exporting arms, vast quantities of questionably secured nuclear materials sought by terrorists, and the planet’s largest oil and natural gas reserves.

In addition to this, Russia’s strategic position is between the West and the East, “at the crossroads of colliding civilizations, with strategic capabilities from Europe, Iran and other Middle East nations to North Korea, China, India, Afghanistan and even Latin America“. “All things considered“, Cohen concludes, “our national security may depend more on Russia than Russia’s does on us.

If a die-hard Russian chauvinist reads the beginning of this article, they will joyfully proclaim that America is so afraid of Russia that it does not feel ashamed to admit so. Thankfully, Prof. Cohen goes beyond the typical pro-American/anti-Russian approach to the problem and defines one of the true reasons for the growth of Russian nationalism since the fall of the Soviet Union – America’s own foreign policy. This very much conforms with the paper delivered by Robert Sakva on the problems of post-Soviet European integration. Sakva pointed out directly to the problem of the West having no idea of how to accommodate Russia, for which reason the West has repeatedly been failing – strategically, intellectually, and culturally. Strategically, the West (and the U.S., in particular) did indeed take the humiliating approach to Russia, which could not and would not result in anything less than a backlash of Russian national opinion against the “westernisation”.

Intellectually and culturally – and I can speak of these two – there is a huge stereotypisation of the country and its people which serves nothing but to set in stone some existing misconceptions. The problem starts with the language. A couple of years ago at Waterstone’s I saw a book on Ivan the Terrible written without recourse to the Russian-language sources. The translated works of Russian scholars listed in the bibliography were the classic books, but well outdated. Although I did not read the book I cannot see how it could present an unbiased view of the Russian state under Ivan the Terrible. The reason why I start from this “dawn” of Russian history is because the misconceptions about the country’s “historical inclination” to tyranny and authoritarianism take their root in the linguistic and academic barrier between the student and the subject of the study. Think of it in the same way as if you were trying to write the “unbiased” history of Iran without knowing the Persian language, thus articulating only one side of an argument. The extent of the knowledge of Russian culture and literature in the West once again boils down to the access to the original sources or the availability of translations. Overall, it somehow seems to be easier for a foreigner (a Russian for this matter) to bridge the gap and learn more about the West, than the other way around.

The result of those failures, however, is the possibility of yet another Cold War that both Cohen and Sakva admit. Cohen does not hesitate to say:

Such [humiliating – JS] U.S. behavior was bound to produce a Russian backlash. It came under Putin, but it would have been the reaction of any strong Kremlin leader. Those U.S. policies – widely viewed in Moscow as an “encirclement” designed to keep Russia weak and to control its resources – have helped revive an assertive Russian nationalism, destroy the once strong pro-American lobby, and inspire widespread charges that concessions to Washington are “appeasement,” even “capitulationism.” The Kremlin may have overreacted, but the cause and effect threatening a new cold war are clear.

And this is interesting, for Sakva, speaking about the problems of integration, says precisely the following:

In a strange way the notion of the Cold War has returned to haunt us once again. … the mere fact is that if you look at the newspapers, if you google the word “Cold War in modern debates”, in journalism, and so on, you’ll see it’s a huge guise in the way that we’re now once again, it seems, instead of transcending the conflicts of the past, we’re reinforcing and re-instituting them in new ways. That sets about an empirical question: are we entering into the new Cold War? And there is also a far more interesting one …: the understanding of why this notion of conflict – we can use “Cold War” or we can use other words – is so deeply embedded in contemporary international politics?

This is a valid and important question to answer. The answer, surprisingly, may assert the view that Realism is still the leading International Relations theory. As defined, realism “is a particular view of the world, defined by the following assumptions: the international realm is anarchic and consists of independent political units, called states; states are the primary actors and inherently possess some offensive military capability or power which makes them potentially dangerous to each other; states can never be sure about the intentions of other states; the basic motive driving states is survival or maintenance of sovereignty; states are instrumentally rational and think strategically how to survive“. There are many ways in which one can look at Russia, its culture, democracy and intentions these days, and not once have I heard the jokes about Russians who still believe in some “conspiracy theories”. But when articles, like the one by Prof. Cohen, appear, one cannot help wondering if a particular part of the world is indeed driving itself to survival and is attempting to maintain its sovereignty by instigating a conflict at any (assumed) instance of a potential danger.

I think I was able to distance myself sufficiently from all the parties involved, and there are things about Russia’s contemporary mentality, culture and sociopolitical discourse that I do not like. But as one of the problems the West (and the U.S., in particular) repeatedly encounters is the Russian take (or mis-take, in some observers’ opinion) on democracy, I cannot avoid making one important point. Having once written a long essay exactly on the definition of democracy in the work of Alexis de Tocqueville (who devoted four volumes to describing and analysing The Democracy in America), I can only agree with the Frenchman (who, as a matter of fact, was a monarchist) in his explanation for why in his time only two states, namely Switzerland and America, were able to build what could be described as “democracy”. Switzerland – because it conformed ideally with the Greek political philosophy’s view of a democratic state: it was small in size. America was able to build her democracy because it had very little historical, political and cultural baggage to deal with. The cultural (and ethical, to an extent) clash the West inevitably experiences in its advances on Russia and the East was out of question. The novelty of the land allowed for the novelty of a political regime where the latest developments in the European ethical and political thought could be applied without much resistance from the native population. To put it simply, back in the 18th c. America as a state that we now know had no solid political tradition. Unlike England, France and Russia, it was a tabula rasa, whereas the Old World countries had (and still have) to take into account centuries of political tradition and the sense of national pride tied to this.

Fortunately for today’s world, Russians are not the Native Indians. And, as I said, there are certain things about the current state of Russian thought that I observe through the LiveJournal blogs that, quite frankly, repel me. I still think Tocqueville’s work can be important and enlightening to us, provided we care to read it thoroughly, starting with the Preface. In the Preface he states clearly that he did not compose his treatise in order to provide France with a blueprint of a democratic state or society. He embarked on his work in order to show that democracy could be achieved, but that ultimately, it would have to be a French, and not American, democracy:

It appears to me beyond a doubt that, sooner or later, we shall arrive, like the Americans, at an almost complete equality of condition. But I do not conclude from this that we shall ever be necessarily led to draw the same political consequences which the Americans have derived from a similar social organization. I am far from supposing that they have chosen the only form of government which a democracy may adopt; but as the generating cause of laws and manners in the two countries is the same, it is of immense interest for us to know what it has produced in each of them“.

I dare say Russia has taken and learnt more from the West than either Russia or the West care to admit. If Russia is given space, while within the country itself people stop clinging on to a dream about the “glorious past”, either Tsarist or Communist (again, as Tocqueville wisely underlined elsewhere in his treatise, the old political regime is always better than the new one, and it is easy to see, why: because we already know what was good and bad about it, and so can make a choice to extol the better and to ignore or defy the worse traits of the old regime), then the worst thing that can happen is that we will end up with yet another, Russian, type of democracy. It may sound scary, but this is the only way to go for Russia and for the West, if indeed we want to avoid a new Cold War.

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