All posts by Toni Tileva
Crossfade Roulette–My Weekly Music Column
The Square Documentary Review
The Square, a documentary by Egyptian-American filmmaker Jehane Noujaim (Control Room) is a heady tour-de-force look at the Arab Spring and its aftermath. Initially covering only Mubarak’s ouster in 2011, Noujaim continued filming throughout the summer and the next tumultuous two years, capturing the the Egyptian Army’s removal of the elected President Mohammad Morsi. The theme of the film is unequivocally revolution, a loaded word that has inched its way towards meaningless and obsolescence, yet here comes roaring into vibrancy. The Square is an engrossing look at the lives of several activists who remain doggedly staunch in their quest for change despite increasingly harrowing circumstances and a constantly changing political landscape. Perhaps surprisingly, the film, while grounded in realism, is unapologetic in its idealism. These activists, although fighting for political change, are actually about as soured on politics and politicians as one can be – the change they seek out and their motivations are universally human and refreshingly not power-centered.
The main character in The Square is “the people,” a word referenced many times and one with an actual significance very unlike the cynical, hollow place it holds in Western parlance. Instead of merely a cheap ploy used by grandiloquent politicians to play upon the emotional heartstrings of a vulnerable public, it is something very much of an undeniable reality. The sight of literally millions of people lining Tahrir Square is moving beyond measure and illustrative of what “we are united,” can precipitate. It’s impossible not to wonder why this has yet to happen in the US and makes palpable to the viewer how a dictator in power for over 30 years can be deposed by a mass protest of such unbridled will.
The “star” of the film, if there is one, is 20-something Ahmed Hassan, an impossibly ebullient working-class youth. Facing increasing disillusionment and personal danger, he remains optimistic even as the regimes change but the circumstances of the people do not. The Square eloquently shows how impossibly fraught and elusive that very concept is and how revolution is hard to come by in a world mired in politics. As he poignantly puts it in regard to the Muslim Brotherhood’s maneuvering into power, “while we were dying in the streets, they were making deals.”
The Square also does an excellent job of demystifying the headlines for a Western audience and untangling a very complex political situation without relying on pundits for commentary. Ultimately, it drives home the point that figure heads nary make a country – all the country’s institutions are the regime. It also portrays the strong role that the military plays in Egypt, especially in their ability to turn a revolution into a war, as Ahmed explains. The fact that the protestors all come from really different backgrounds – for example, actor Khaled Abdalla is foreign-born and of an activist background and Magdy is a member of the Muslim Brotherhood – serves to underline that divisions were not present during the initial protests against Mubarak. “We were united…one hand.”
Despite what seems to be a political quagmire with nothing immediately positive to offer to the people of Egypt, The Square will leave you feeling uplifted by what “the people” can do to effect change. Ahmed explains that they, ”created a conscience, not a political force. We created a culture of protesting and gave the people ownership of their freedom.” The Square is really about something fundamental inside people that moves them to fight injustice. Tahrir Square remains a symbolic peace of land not because of what circumstances it brought about but because it showed what a people united can do. While this may sound incredibly simplistic, The Square proves that it is still something that can take place.
Crossfade Roulette–My Weekly Music Column
Old Rivalry, New Age
On December 12, 2013 the World Affairs Council-Washington, DC hosted an event on Russia’s role in the international community entitled “US-Russia Rivalry: Old Rivalry, New Age?” moderated by Anya Schmemann and featuring Dr. Fiona Hill of Brookings and Dr. Donald Jensen. Four years later, the reset in U.S.-Russian relations has been reset many times over to a much icier territory with issues like Russia’s support for Syria and a crackdown on opposition creating an increasingly tense atmosphere. Ms. Schmemann began by posing the question of how the U.S. should view Russia, in light of the American media’s frequent portrayal of Russia as a rather recalcitrant rival. Dr. Jensen responded that Russia’s primary goal is to reassert itself as a great power. “Russia is neither a friend nor an enemy, but it is not a partner either. It is a country we can cooperate with on issues of common interest.” Russia often defines itself by taking the “non-American position,” he continued. Russia respects strength and this makes the task of diplomacy very complicated but not impossible. “While they respect the U.S., they have taken the measure of the man and feel they can maneuver the U.S. in positions to Russia’s advantage. The national security/great power preoccupation of the Kremlin parallels the realist approach of many U.S. foreigner affairs thinkers so in a sense there is a natural fit between the two countries’ agendas, but there is also a disconnect.”
The discussion then turned to Russian domestic affairs and how much influence, if any, the United States has on them. Dr. Hill believes that that influence is little if not entirely none. “What we have with Putin is that the Russian political system is highly personalized, somewhat of a “one boy” network—everyone at the top is in one way or another related to Putin. There is a very tight web of informal networks.” While Dr. Jensen agreed with this, a small point of contention was on whether there is a growing ideological divide between the U.S. and Russia. Dr. Hill believes that Putin is promoting a return to traditional family values. She noted that Putin’s recent poslanie was very much an indication of the conservative direction in which Russia is moving. “In his poslanie, Putin very much admitted he is a conservative politician who believes in a conservative agenda to move the country forward. That means an anti-Western, anti-individualist, communitarian point of view with a strong role for the Russian Orthodox Church.” Dr. Hill suggested that Putin has been contextualizing Russia as an unique civilization in his speeches—and that a return to traditional Russian Orthodox family values is what would move the country forward. “The Russian Orthodox Church has proven to still be an entity that can mobilize hundreds thousands of people on the streets. In a place that still has a great deal of discomfort with same sex relations, Putin is, in a sense, expressing what is already in place and reaching out to other European countries with similarly conservative stances.” Dr. Hill suggested that this new ideological stance, which Dr. Jensen does not believe is present, is a stand that is a reaction against the decadence of the West and that Sochi is a battleground of sorts for this ideological divide.
Dr. Hill identified three trends in place in Russia that are affecting domestic affairs at the moment. First, the Russian economy has slowed down. For over 10 years, the Russian economy has been growing at 7-8 percent, creating a lot of expectations for the continuation of this burgeoning; these expectations now have to be seriously tempered in view of the current 1-2% rate growth. Russia is across the board a commodities and natural resource-based economy, Dr. Hill suggested. This also makes Russia very vulnerable to commodity price fluctuations. The big problem is moving into “value added products.” “Putin keeps laying out that Russia wants to diversify its economy, but they cannot do that, in fact, it would be foolish to do so as this is not their comparative or competitive advantage. All that would happen would be to subsidize industries that would not have a long term success.” Russia’s trade relations tend to be dominated by energy and there is growing concern that the Gasprom-model is changing and grinding down, which is why the thrust is moving away from Europe and courting China. Dr. Hill pointed to the armaments industry as still one of Russia’s most vibrant manufacturing sectors. “7 million people still depend on the industry for jobs. This is why we see Putin really trying to push this forward and find more buyers for Russia’s arms. He addressed this in the poslanie—in a sense, making himself personally responsible for finding markets to sell these products.”
The second trend is the rise of Russian nationalism–anti-immigrant and anti-migrant sentiments are taking hold, much as they are in the rest of Europe. The anti-migrant feeling is also directed towards people moving into Moscow from other cities, more specifically toward the Muslim population from the Northern Caucus area. The third trend is the decline of Putin’s popularity. Dr. Hill stated that Putin’s approval ratings have plunged from the high marks of 80% to 60% to now as low as 40% in terms of actual voter turnout strength. Both panelists opined that Putin’s tightening of power is spurred by fear of rivals and insecurity. Dr. Hill asked the question of whether it is possible to have Putinism without Putin. She suggested that a political re-entrenchment is taking place to put the political instruments in place for the successful continuation of the system. The highly-personalized/charismatic leader model of the Russian political system necessitates that public approval does not ebb as this is what bestows the leader legitimacy, she added.
Assistant Secretary Barton Says Diplomacy Matters
Dean’s Discussion
Frederick Barton, Assistant Secretary of State for Conflict and Stabilization Operations, told an SIS audience that the United States is entering a “golden era of American diplomacy” as it moves away from a “terrorist-heavy narrative to an understanding that conflict resolution has an extremely heavy political, diplomatic element.”
Dean Jim Goldgeier explained in his introduction that the Bureau Of Conflict And Stabilization Operations that Barton heads was created in November 2011 in an effort to bring a more systematic approach to conflict prevention and response. The bureau’s mission is “to advance U.S. national security by driving integrated, civilian-led efforts to prevent, respond to, and stabilize crises in priority states, setting conditions for long-term peace.” The talk was facilitated by SIS Professor Charles “Chuck” Call, who is on a two-year sabbatical from AU to serve in Ambassador Barton’s office.
Barton explained that the increasing complexity of conflicts precipitated the creation of the new bureau. “Bosnia, Iraq, and Afghanistan underlined to us the complexity of all of these cases,” he said. It seemed that a lot of smaller conflicts were becoming bigger and thornier, so it became crucial to bring together policy and practice.” The bureau’s work is mostly focused on Syria, Kenya, and Honduras, with additional efforts in Burma, Nigeria, and Bangladesh.
He summarized the tri-fold strategy of his bureau as: “1. Where—make a difference in two to three places of strategic importance to the United States; 2. People—create a team; 3. The nature of the work—bring agility to the U.S. response.”
Barton conceded that the State Department did not yet have the agility to move into conflict situations as quickly as humanitarian organizations. “We have tried to be much more agile and build a strong, reliable civilian response network. We also work closely with the military community, who are eager to find civilian partners,” he said.
Barton outlined five elements to successful conflict resolution: “1. Sophisticated understanding of places and an advanced level of analysis; 2. A common view of the problem—for example, the United States would get involved only in areas of strategic importance; 3. Being opportunistic about who does the work; 4. Real-time evaluation; and 5. Improved public communication.”
Politics are also important to conflict prevention and resolution efforts. Namely, which conflicts the United States chooses to involve itself in is a strategic and political decision. “Basically, we are concerned about whether the place matters to the United States, whether there is that moment of ripeness for an intervention, and whether there is something we can actually do,” he concluded.
Crossfade Roulette–My Weekly Music Column
Dirty Wars Film Blurb
Blurb on the film Dirty Wars for BYT’s Top 13 Movie Superlatives of 2013
Jeremy Scahill, a veteran war journalist and the national security correspondent for The Nation, shines a light on the shadowy outfit known as JSOC, Joint Special Operations Command, better known as the people who killed Osama bin Laden in this especially timely and weighty documentary, with the recent controversy over the drone program. JSOC, in place for decades, was created to essentially function outside the purview of any legal or military rule, but Dirty Wars makes a strong and shocking case for it reaching the apogee of its power during Obama’s terms, enjoying a level of impunity unheard of before, targeting assumed terrorists, launching drone attacks, and killing innocent civilians in countries with which the US is not even officially militarily engaged. Having chanced upon the very concept of JSOC in 2010, Scahill is stunned to see it come defiantly into the spotlight, taking credit for bin Laden’s capture, and turning its previously-camera-shy commanders into heroes. Ultimately, Dirty Wars, as the title indicates is about global war being waged in the name of national security by an organization with almost no accountability, except to the President, and one prone to night raids and “kill lists” without regard to nationality or legality. This was the case with American-born Islamic cleric Anwar al-Awlaki and his 16-year-old son, Abdulrahman al-Awlaki, who were both killed by drones. Dirty Wars is the grotesque flipside of Zero Dark Thirty: piles of bodies do nothing to make this kind of warfare seem just and blow the concept of “collateral damage” to smithereens.
Let The Fire Burn Movie Review
My Review Of Let The Fire Burn
Let The Fire Burn is an incendiary documentary on the tragic standoff between MOVE, a “radical” black group and the city of Philadelphia in the early 80s. Director Jason Osder eschews narration in favor of weaving together archival news footage, city hearings footage, and a MOVE film to create a visceral, eloquent, yet even-handed portrayal of events on the day of May 13th, 1985.
The film is a trenchant look at how a series of incredibly bad political decisions resulted in a fiery fiasco that claimed the lives of six adults and five children and led to the destruction of 61 homes in West Philadelphia. Let The Fire Burn is a subtle exploration of race tensions, police action, and terrorist labeling—the audience is left to draw its own conclusions, although answers as to how something so egregiously grievous came to pass are hard to come by.
MOVE’s first incarnation in the mid 70s is as progressive political organization concerned with issues impacting the black community. They do not espouse violence; they are not a religious cult. In fact, they come across as benign as any other hippy-dippy commune with their rhetoric of unity, love, and harmony. Their kids do not wear clothes and only eat raw food and the community does not believe in using modern luxuries, but that might well be the extent of their singularity. The heavily dogmatic component is definitely not present, especially in a religious sense. They all take the last name of their leader, John Africa, and while concerned with “the system” and its corruption, they are a far cry from the militant organization the city seems hell-bent on portraying them as. One cannot help but feel that had conservative Mayor Frank Rizzo not made it his tenure’s goal to dismantle MOVE, this story would have read rather differently.
In a particularly chilling interview, he says “we’re backing off too much,” clearly referencing and the handling of the Black Panther movement, which he derides as not being authentic. He openly mocks its members who upon moving to Africa, Cuba, and China, he claims, were all too quick to want to return back home, where they would still have more freedom than elsewhere. Rizzo’s bellicose stance culminates in a raid on the MOVE compound in 1978 that claims the life of one police officer and as a result nine of MOVE members are convicted for murder. Three police officers go on trial for brutally assaulting one of the MOVE members and are found innocent, despite evidence to the contrary. It is not hard to see that MOVE’s claims of police persecution and brutality are not merely victim-posturing and hold a good deal of truth—in fact, much of the rhetoric employed by city officials in the movie will have you scratching your head, feeling like you have fallen into some sort of an anachronistic time warp back to the 50s.
MOVE soon regroups in a new compound in West Philadelphia and they are radicalized as a result of events in 1978 and the now escalated all-out-war between them and the city. They build a “bunker” on the roof of a house, which the police keep referring to as some sort of a “tactical advantage,” though one would be hard pressed to see that in a structure more akin to a ramshackle wood cabin. They set up speaker systems and harass the neighbors by blaring messages day and night—as one neighbor ruefully points out, “we are pawns, caught in between.” On May 13th, 1985, the police and Philadelphia’s first black mayor, Wilson Goode, move in on the group. What happens next is unfathomable—after dropping explosives on the roof of the house and water-cannoning it for days (a water cannon drops thousands of gallons of water *a minute*) and pumping tear gas, a 10 story high blaze erupts. This is when we get to the most macabre quote of the film: “There was a decision to let the fire burn.”
Let The Fire Burn does not offer any explanations for how things went so cataclysmically out of control, but MOVE’s story is as relevant today as it was two decades ago. How a city could wage war against its own citizens and endanger the lives of adults and children with so little consideration is shocking but also not as outlandish of a possibility as one would think, the film shows. The painful public self-appraisal Philadelphia went through in the aftermath of the tragedy was necessary, yet the audience is able to understand how the perfect storm of truculent politics precipitated volatility and ensuing violence of immeasurable magnitude.