art

Art and Artificial Intelligence: A Pivotal Moment for Unions

[Pictured: Striking writers and actors picket outside Paramount studios in Los Angeles on Friday, July 14, 2023. Credit: AP Photo/Chris Pizzello)

By Bavand Karim

 

Last summer, the premiere episode of Marvel's Secret Invasion featured opening credits crafted by artificial intelligence. While reviews were mixed, the credits were objectively effective for exploring AI’s potential as a storytelling tool. Perhaps more importantly from the studio’s perspective, the production costs were likely much less than an agency like The Mill or an artist like Daniel Kleinman would demand.

It’s no coincidence that Marvel’s use of AI occurred amid union-led strikes by Hollywood’s writers and directors. And as studios were negotiating with creative unions, they were simultaneously rolling out the tools that might eventually replace many of those creatives. At the time of the negotiations, it was unclear what impact AI would have on the entertainment industry. But the prevailing wisdom seemed to support the general anxiety among insiders that an industry-wide shift was coming.

By November 2023, Dreamworks co-founder Jeffrey Katzenberg predicted that AI will replace 90% of artists on animated films within three years. It may even be sooner. In December, Google released Gemini, its most advanced AI tool to date. One of Gemini’s advancements is the ability to process up to an hour of video and 11 hours of audio in mere minutes. Although Google warns that processing times vary, their demonstration of long-context understanding analyzes a 44-minute video in under one minute. Earlier this month, OpenAI released Sora, a powerful new tool that generates one-minute video clips based on text prompts. Sora is what is known as a diffusion model. It converts text to videos that resemble static noise, and then removes the noise over several passes. While these emerging AI video tools are not perfect, they are compelling enough in their first-generation iterations to provoke meaningful questions about the future of all creative industries.

It was less than a year ago that we began speculating whether AI visualization tools would disrupt the artistic foundation of Hollywood. Now, it appears the event horizon is upon us.

Last year’s strikes were a watershed moment for unions who were forced to acknowledge the wide uncertainty that the looming threat of AI has introduced into Hollywood. The Association of Motion Picture and Television Producers’ (AMPTP) agreement with the the Director’s Guild of America (DGA) defines AI as “not a person” and clarifies that it will not replace the role of any DGA member. However, it allows studios to use AI as long as a “consultation” takes place with the director, which has stirred debate around the validity and integrity of the agreement.

The Writer’s Guild (WGA) similarly resolved their dispute with new guidelines prohibiting the use of AI in creating written source material such as scripts for films or TV shows.

No other artistic guild or technical union has yet defined how AI will be regulated within their respective domain. The Art Director’s Guild (ADG), which represents title and graphic artists, one of hundreds of International Association of Theatrical and Stage Employees (IATSE) chapters nationwide that could potentially be impacted by AI, released a statement expressing concern over AI video generators, but the path forward remains unclear. While animation industry professionals are unionizing at a record rate, IATSE Local 839 — the Animation Guild — still has fewer than 10,000 members, meaning that the vast majority of the animation industry’s workforce of more than 200,000 artists, assistants, coordinators, and managers are not unionized.

As more major studios utilize AI, the inevitable result will be a wave of disenfranchised and marginalized artists. This industry shift will produce a flood of new independent content as those artists attempt to find their own audiences. While studios like Dreamworks and Pixar are cutting costs in the short term by exploring the benefits of AI, they are also creating a new generation of pissed-off indie competitors.

It feels nefarious of Disney, which owns Pixar, to use the stories most beloved by audiences to sideline workers. The most popular tentpole story franchises like Marvel and Star Wars likely won't be impacted too seriously by viewer backlash. Diehard fans love those stories and they pass that love through generations. So audiences will continue to watch those films and TV series even if they incorporate AI. Disney is surely hoping so. And they probably don't consider those disenfranchised artists, taken independently or collectively, to pose any kind of real economic threat to their business model.

Can human artists use AI to produce their own creative work? Sure. But they can't sell it in the same way. The independent market is nothing like a studio job, which typically offers long-term stability, training, networking and advancement opportunities, health and retirement benefits, and — most importantly — an audience. Copyright laws prevent indie artists from accessing the most desirable story franchises without the impending doom of litigation, and the privatization and monopolization of distribution outlets prevent all artists, disenfranchised or not, from ever being compensated equivalent to the true value of their labor. 

The next three years will be pivotal for the entertainment industry and will test the power of America’s labor unions. Will Disney’s move toward AI produce a greater awareness of, if not a fully-fledged social movement against, these AI tools exactly because of the threat that they pose to human labor? Right now, there is little stopping major studios like Disney from engaging AI across the range of artistic disciplines involved in media production — titles, graphics, story generation, script writing, character design, 3D modeling, environment design and lighting design, editing, visual effects, sound design, music composition — potentially impacting hundreds of thousands of people around the globe.

Disney’s strategy is nothing new. Corporations have always primed consumers to accept socially deleterious but profitable change. During the Industrial Revolution, automobile manufacturers sold individuals on independence and freedom, and gave them an entire infrastructure built around private individual transportation with little regulation resulting in disconnected, unwalkable, traffic-plagued communities. At the dawn of the information age, technology companies promised us enhanced efficiency, connectedness, and socialization. Now it’s apparent how modern electronics and software invade our privacy, harvest and sell our personal information, micromanage our productivity, and erode democracy. The proliferation of AI into mainstream life — even through such an innocuous injection point as entertainment — has the potential for much more destructive erosion of our personal freedoms. Will society nonetheless embrace it, only to later realize the damage done? Or is Disney betting that, as in the past, we will grow to love the chains that bind us?

Make no mistake: once major corporations establish a model for displacing human labor with AI, it will be a global phenomenon. Workforce reduction will occur in every industry to satisfy capitalism’s demand for infinite growth. The Big Four consulting firms will justify it and The Wall Street Journal will report that it was great for the economy while thousands of Americans find themselves unemployed. As they have throughout history, the powers that be are reforming the economy to their own benefit. The rest of us will be left to deal with the consequences.

Multinational corporate monopolies determined to undermine workers’ and human rights in the name of profit must be met with equivalent, equally resolved multinational resistance. Indie artists should leverage as much power as possible and cooperate with unions across the globe to foster government support against the ongoing exploitation and oppression of the working class. Society’s hope may be that in the face of continued oppression, America is able to form a new political party that represents and protects workers, and promises them an equal share of a company’s revenue as if they were shareholders.

We must fight for a world in which technology, including AI, is liberatory — socially and economically — and not corrosive. AI must be a tool for the greater good, not for the profit of the few at the expense of the many.

For an industry that markets and congratulates itself for telling authentic human stories, the result of film’s shift to AI will ironically be narratives about humanity produced with minimal human input through a process that economically disenfranchised as many humans as possible for the sake of profit. This cataclysm will force us to question not just the impact of late-stage capitalism on human creativity but whether creation is a uniquely human trait at all.

Soon, audiences will pack theaters to watch a film produced exclusively by AI. On the screen, a long-deceased Harrison Ford will star as a young Indiana Jones. As he holds up a copy of the original Raiders of the Lost Ark, written by a human and produced with practical effects, the AI Indy flashes a sardonic smile and says, “This belongs in a museum.”

 

Bavand Karim is a creative executive and academic residing in Los Angeles, California. He is the founder and chairperson of CINE and Lost Winds Entertainment, and co-director of the film program at the College of the Canyons.

Ambiguity In An Art World Shaped By Capital

[Pictured: The author’s painting, entitled “The Bench Sitters”]


By Ian Matchett


“You can’t be Neutral on a moving train”

- Howard Zinn 


I am standing in front of an assemblage of found objects, culled from a midwestern city ravaged by capitalism and racism. The pile has been helpfully located here by an artist with support of the local billionaire’s philanthropic foundation, and a private art school in the suburbs. The artist’s statement informs me that the work is about the possible importance of these objects in the past, before they were abandoned, he wants me to consider how the objects were theoretically important to someone once. I’m confused because these are not trinkets from ancient Rome, many of the people who abandoned them are likely still alive, and the reason they were abandoned seems inextricably connected to the billionaire who paid for the show. I move along to a second piece, a display of books about the apocalypse. The artist's statement again offers insight, saying that they find the books interesting because the apocalypse has never come. I turn and look back at the shards of shattered lives that the artists had piled up with the help of the billionaire. It seems that the apocalypse came for those people. Their worlds ended and broke. Perhaps it doesn’t count if the apocalypse didn’t affect the rich people. Perhaps the next apocalypse will. The artist's statement assures me that the meaning is in the uncertainty, the billionaire’s logo bids me farewell as I leave.

Ambiguity is a key tool of the artist. The use of unresolved imagery and open metaphors allows for artwork to incorporate collaboratively constructed meaning, built by both the artist and the viewer. This allows the artists to deepen and expand their craft- developing a broad range of approaches to connect with an audience beyond direct literal representation. However when we look around at the post modern context, something seems to have gone wrong with this tool. What was once uncertain meaning has become in many cases intentionally oblique artworks, at best requiring an advanced degree to appreciate, and at worst offering little more than their own lack of clarity as a thesis. Today, the art world seems to have fetishized ambiguity: celebrating inscrutability for its own sake, regardless of the effect on the piece- and seem almost to value a failure to communicate with a mass audience as the highest form of work. It seems worth at least briefly investigating the effects of this trend, try to understand why it may be playing such a role at this moment in history, and offering a lens to understand and critique not ambiguity as such, but this trend of fetishized inarticulate artistic production.

In the modern art world, so completely dominated by capital: from foundations, to galleries, auction houses, collectors, tax loopholes, and media; excessive ambiguity seems to abdicate the construction of meaning not to the individual viewer, but to these very capitalist institutions. The artist allows capital to construct and guide the meaning of a piece far beyond any mythologized individual interaction between viewer and artwork. Taken from this perspective ambiguity risks creating art that simply allows the meaning of culture to be even more shaped by the rich and stamped with their world view. 

I am personally invested in the role of artwork in helping shape and transform the world, how it can support working class emancipatory politics, and inspire communities engaged in this struggle. This is obviously not the only goal of art, however, judging by present discourse in the art world, it appears to be a deeply undervalued one. Empowered by this broad indifference, I hope to offer not a complete conclusion, but to at least reassert a key avenue of critique.

To begin we must generally define what we mean by “Ambiguity.” For the purposes of this critique I identify ambiguity as the quality of uncertain meaning or subject in a piece of artwork, and the endorsement of this uncertainty by the creator. As stated above, at its best ambiguity allows an artwork to elevate beyond pure depiction, or a single viewpoint, and create a space where the perception of the viewer helps create the piece. Sometimes this creates a specific interpretation but just as likely it can make the uncertainty and quest for meaning a living part of the work. All of this is perfectly reasonable and indeed critical as a tool of the artist. A career of artwork that speaks in one voice and offers no space for engagement is less that of an artist and more of an advertiser. The quarrel then is not with ambiguity as such, but the more specific role it plays in the socio-economic context of the modern art world. 

It is difficult to define a clear line between the use of ambiguity by any one artist, and the more general trend of fetshized ambiguity. This is in part because the difference occurs not just at the level of the individual creator, but at the structural level- what works are purchased, funded, rewarded, and discussed by the broader art world. The break arises when ambiguity becomes not a tool for engaging an audience member, but to distance them from the artwork, to enforce a division between an elite who “gets” the piece, and the masses who are increasingly deflected from engagement. Rather than creating space for the audience to collaboratively craft meaning, fetishized ambiguity seems intent upon alienating or distancing a significant portion of the audience, in order to make what can often boil down to fairly shallow points about the uncertainty of modern life. Some of this is visionary complex work to be sure, but it seems worth questioning the inherent elitism of this approach, its widespread popularity among the institutions of the art world- and its intention in an art world already so deeply imbued with divisions class and power.

As with all aspects of cultural production, ambiguity functions in a matrix of several variables, and its meaning must be evaluated in this context. Key factors include: the relative visibility of the artist in society, the socio political system of artistic production and validation, and the overall reproductive system of the society at large. Thus, as the visibility of the artist in the society escalates, or the system artistic production is more captured by a specific class interest, or the political moment becomes more tenuous, the issue of ambiguity must be critiqued with more precision. In this context, the tool of ambiguity can overtake the overall mission of artwork- becoming fetishized into an end in it’s own right in order to serve specific class interests. This tendency is similarly conditioned by the very same social/political factors such as methods of display, popularization, materials costs, scale etc. that condition production as a whole. The question is not one why artists are creating ambiguous work, nor why their work is increasingly fetishizing ambiguity, this but why this tendency is being rewarded by the capitalists in control of the artistic sphere.  

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In our present moment then, we must engage with how the art world functions and the role that fetishized ambiguity might play in this system. The art world in capitalist society is controlled not by the public, artists, critics, or even curators- but by capital. This is a point made by many fabulous scholars, though I am most influenced by Mike Davis essays, and Chin Tao Wu’s book “Privatizing Culture.” Through this scholarship, we can understand the art world less as a site of artistic production than of capital accumulation, appreciation, and tax avoidance. As a site of capitalist production, it has faced the same escalating investment as any industry, with capital propping up key galleries, expensive artistic experiences or traveling shows, and private foundations as key value and taste making institutions. A huge amount of artistic labor is done on speculation, never rewarded by collectors/foundations uninterested in its output, or by communities too under resourced to support it. 

Under capitalism the “art market” is concerned with the production of commodities that meet the needs of it’s consumers — who, be it through the foundation, gallery, or direct patronage, are the rich. Art becomes less about expression and more about developing either speculative value on the art itself OR a variety of side benefits be it to increase the value of a real estate holding, improving the patrons’ image, or helping avoid taxes. There remains a portion of this that is artistic production, attempting to explore human experience, emotions, history etc. but this role is increasingly eclipsed by the role of accumulation and commodification that has developed to serve the broad goals and needs of the rich. While the rich may also patronize specific works of a radical, or particular voice, these exceptions prove the broader structural rule of the modern art world- creating imagery in the service of capital. It is in this context that the fetishization of ambiguity must be evaluated for it’s purpose and role in the art world- which is to say in the goals of the rich. 

So why does artwork that fetishizes ambiguity serve the goals of the rich? In the context of capitalist production, art is valued as a site of surplus value production, cultural capital, and to obscure value from the state. None of these goals is invested in the content of the work- and in fact many of them may be harmed by work with a specific viewpoint that makes it unappealing to other wealthy buyers, particularly when coming from new artistic voices without pedigree that can be banked upon. A Jackson Pollock painting thus is more easily sold and resold by various investors (the word collector here seems to give them too much credit) than is a piece with a more clear, enunciated, or challenging content. Particularly once key taste making foundations and funders have funded and popularized his work. Thus ambiguity serves to increase the transferability of an artwork- no just allowing the rich to control it’s messaging, but to complete the transformation of artwork into a transferable token of wealth- a goal potentially undermined by political stance and clarity of purpose of the artists.

This fetishization of ambiguity is even more particularly interested, not just in the ambiguity of message- but in an ambiguity of solutions. Political artwork has long proved perfectly capable of being incorporated as yet another commodity to be incorporated into the value circuits outlined above. While it may suffer some limitations as a commodity that more formalistic or abstract work does not (narrower market, negative reception etc.) it can still be metabolized to this system and its goals. Where the line of demarcation is more starkly apparent however, is on the ambiguity of solutions about the political problems we face. The reason for this is not overly complex- living as we do within a capitalist society characterized by the exploitation and oppression of the vast majority in order to benefit the wealthy- many solutions that fundamentally address the problems we face are tied up with doing away with this system, and by extension the rich as a class. Artwork that clearly asserts this fact and communicates with a working class audience not only doesn’t serve the goals of the rich, but actively inverts the distancing of modern art, alienating the primary force creating and shaping the art world: wealth, and reaching out instead to a mass audience. Criticism is acceptable, collectible, and profitable, so long as the artist does not begin to reach for solutions, and/or so long as those solutions remain unconnected from the working class. 

When a piece of artwork is created, it is not released into an abstract individualized world, but rather into a web of social relationships constructed by capital and history. To release an ambiguous piece, in a context where the audience, spaces, language, and reward structures are all inextricably linked to and shaped by capital, is to risk handing over the task of interpretation to the rich. What institutions frame the work, what “public” views it, and what interpretations are crafted and elevated all become conditioned by a specific capitalist class, race, and gender analysis. In this context, is a gallery that relies upon the Gilbert foundations likely to show work that points out the exploitative/feudal relationship he has built with the city and its people; and If it does, will the gallery prioritize this critical interpretation if given the space to avoid doing so by the ambiguity of the piece and the artist’s stance? 

The point is not that ambiguity is a bad tool- it is that constructing an art world around the fetishization of ambiguity does not put the artists into dialogue with an independent audience, but rather into a dialogue with a disproportionately rich, white audience in an art world shaped by the rich. Ambiguity then becomes a tool for the rich to shape meaning in such a way as to continue their primary goals of profit expansion, and shaping our understanding of reality so as to limit the alternatives to the status quo. What’s more, we should perhaps be more sketical of an ambiguity that repeatedly asks questions with researchable answers, or invite us to once more contemplate the complexity of life.

So if the problem is not with ambiguity as such, but with the broader structures of wealth, where does that leave us? I would hesitate to fully prescribe a solution to such a vast and structural issue- however the very scale of the forces involved does suggest a first step: enter into a community practice. Socially conscious art can not be made in isolation, and an individuals distanced observations will all too frequently retain a voyeuristic shallow quality. Join a party, an organization, a reading group, a union, your block club- the point is to enter into the life of the masses, not attempt to interpret your community in isolation.

Beyond this, it would be foolish to try and prescribe some sort of universal formula for how to approach ambiguity as an artist. It seems better to hold a few questions in tension as we produce work- a lens to critique how and why we are choosing to use ambiguity in our work. Why are you choosing to use ambiguity in your work? Are you uncertain about the question you are asking? Have you done enough research to make a meaningful statement? Does your work stop at asking “what is happening?” Or does it invite the viewer into a process of imagining and building the future? Who will see this work, and in what context? What readings of the work will be most empowered by that audience and venue? 

Finally, there is the issue of the artist who stands behind the work. While it is no substitute for creating work that is able to communicate, artists must use as much of their platform as possible to explicitly combat a softening or limiting of their work by the art world. This does not mean self martyrdom by refusing to ever make money, or ever have your work engaged with by the art world, but it does mean being explicit about your values when in these spaces- and not deriving our value as artists from these spaces. Again this approach becomes meaningful and possible only as the artist roots themselves in their community and the actual work of understanding the world. The struggle to produce impactful work does not end when the artist sends their work out into the world- it continues as long as capital dominates the institutions and structures that interpret culture.

Despite all of this ambiguity remains a critical tool. The future is full of uncertainty, and art has a huge role to play in helping us as we struggle toward a future that we do not yet know. Ambiguity, framed as a collaboration with a working class audience to develop new meanings for our work and our world- this is a key place for this type of artistic ambiguity and exploration in our world. What we must abandon, or at least interrogate far more critically, is the ambiguity of analysis, of alternatives, of struggle. Neither artists nor the working class more generally needs yet another discussion of “what does it mean to pay rent and live in a world of ruthless exploitation, imperialism, and ecological collapse,” rather we need artwork that is helping us all engage with what me must do about these facts: a decisive shift from endlessly reflecting “what is happening” and toward the new horizons of “what is to be done?”


Ian Matchett is an organizer and artist working in Detroit. His art can be found on his website.

Songs About Che

By Louis Brehony

Republished from Monthly Review.

Commodification of the iconic image of Ernesto ‘Che’ Guevara has failed to dim the revolutionary light that burned on after his CIA assassination on 9 October 1967. Heralded worldwide by liberation fighters, activists and working classes as the heroic guerrilla of the Cuban revolution, a leader of its first socialist government and a relentless Marxist thinker, Che became a central figure of leftist culture in Latin America and beyond. Embedding his principles of duty and aspiration to fight for the future, school children under Cuban socialism pledge daily, “Pioneers for Communism, we will be like Che.” In Hasta Siempre, Commandante, Cuban songwriter Carlos Puebla (1917-89) prophesied:

Your revolutionary love is taking you to new places,

where they await the strength of your arms in liberation.[1]

These words would be sung and translated worldwide, while musicians pledging to carry Che’s torch wrote their own songs to his life, death and the struggles he would inspire in future. From Havana to Santiago, Cairo to Bethlehem, singing about Che Guevara has unsettled elites, ruffled bourgeois feathers and kindled the flame of revolutionary tradition.

Written by Puebla in 1965, as Che parted Cuba to take part in revolutionary movements in Africa and Latin America, Hasta Siempre was, according to its author, “a song of farewell, not death,” and musical representation of Che’s relationship to Fidel Castro. Reading out Che’s parting letter to the Cuban people at the Chaplin Theatre in Havana, Fidel delivered the words written months earlier with characteristic poeticism:

I carry to new battlefronts the faith that you taught me, the revolutionary spirit of my people, the feeling of fulfilling the most sacred of duties: to fight against imperialism wherever it may be. [2]

The audience was in raptures and Puebla, once a target of the pre-revolution Batista regime, [3] was moved to pick up his guitar: “On the unforgettable night when Fidel read out Che’s farewell letter—that same night I wrote the song, Hasta Siempre, Comandante.” [4]

Over the years Hasta Siempre would be emblematic of a society building from the ashes of colonial exploitation and imperialist domination, and came to be sung by Cubans at revolutionary mobilizations, concerts, social occasions, and even at international sporting events. The simplicity of its bolero composition and clarity of identification with the revolutionary movement made Hasta Siempre a grassroots hit with many outside the country. In the Costa-Gavras film State of Siege (1972), Uruguayan police hunting Tupamaros guerrillas fail to silence student loudspeakers while the song blares out proudly during a demonstration. Dozens of cover versions span Buena Vista Social Club, jazz versions by Charlie Haden and Robert Wyatt, French leftist band Zebda and Venezuelan vocalist Soledad Bravo. A pop version recorded by Nathalie Cardone hit number 2 in the mainstream French charts in 1997, helping her to sell over 750,000 albums in the country alone.

Hasta Siempre would not be the only song Carlos Puebla would dedicate to Che. In Lo Eterno, the singer ascends the martyred guerrilla into immortality:

How you were more than a man

A light and example

You will live forever

In the heart of the people.

To Žižek, the words of Puebla wrap Che in Christian mythology, as a “sacred figure where the “normal” criteria of actual achievements no longer matter”. Distanced from Cuban socialism, which Žižek virulently opposes, [5] Che “had to die a miserable death in order to become the cult figure that he is.” [6] Yet those who embraced Che in life and death did so with awareness of the “actual achievements” that his journey of sacrifice and commitment enabled, not least in Cuba. Recorded in 1968, Silvio RodríguezFusil Contra Fusil (Rifle Against Rifle) predicted that, “All of the Third World will tell of his pain,” through the armed, anti-colonial struggle, with Che’s name collectivized for humanity.

That this process had begun before Che’s martyrdom was evident in 1967’s El Aparecido (The Apparition), as Chilean songwriter Victor Jara (1932-73) captured the relentlessness of a CIA-led manhunt for Che while he remained free among the socialist fighters in the Bolivian mountains. The song, which encapsulated renewed pride in indigenous instruments by Latin American progressives, features a breathless chorus of “córrele, córrele, córrela,” or “run, run, run,” while the overwhelming odds of Che’s mission are starkly put:

Over his head circle,

ravens with talons of gold

How he has been crucified

by the fury of the powerful.

Son of rebellion

he is pursued by battalions.

Because he offers life

they want his death. [7]

In a sign of how Che’s position would divide revolutionaries from social democrats, the song led Jara into criticism from the Chilean Communist Party, angered by emphasis on armed struggle over what it saw as the democratic road to socialism. Decades on from his own torture and murder at the hands of the Pinochet coup, Jara’s works remain popular.

With comparable status to Jara in another key region of anti-imperialist struggle, Egyptian resistance singer Sheikh Imam (1918-1995) was frequently pictured wearing Che Guevara insignia while he played oud and sang an intensely political repertoire. With lyricist Ahmed Fu’ad Negm (1929-2013), Imam offered stinging critiques of a supposedly postcolonial society. Coming both in the wake of Che’s murder and of the June 1967 defeat of Nasser’s Arab alliance by Zionist colonization, their song Gifara Mat (Guevara’s Dead) was dirge-like:

Guevara died, Guevara’s dead, on the radio that’s what they said.

On the street that’s all the news, and in the mosques and in the pews. [8]

The Imam-Negm alliance upset the balance for those apparently committed to keeping radical politics out of Egyptian music. Among these, composer Sayyed Mikkawi hit out at Imam’s stated commitment to “the path of revolution” as an “artist of the people,” asking whether the embrace of Guevara meant that Egypt had “abandoned its own heroes.” [9] Sheikh Imam had attacked the bourgeois pageantry of Mikkawi’s socialite existence and famously lived an austere life among the working class.

Sheikh Imam would be a direct influence on a new generation of Egyptian musical revolutionaries and appeared regularly in the 1980s household of a young Hazem Shaheen, [10] later to become a leading oud virtuoso and songwriter. During the period of struggle against the Mubarak dictatorship, Shaheen’s Iskanderella group took on Guevarist symbolism; Sheikh Imam covers were central to their development. They would sing Nagm’s lyrics a half-century after their composition:

So my dear slaves, here is the lesson. Guevara’s cry is always the same and your choices are but one.

There’s nothing for you to do, but to declaim, prepare for war or be done.

With the reemergence of the Palestinian revolution after 1967, many children in refugee camps in Lebanon and Gaza were adorned with the Arabized name “Gifara,” alongside other names referencing steadfastness and liberation. Speaking to Lena Meari, a former PFLP leader remembered that, “We were fascinated with the Guevarian path and it affected our thinking.” [11] Palestinians would sing for Che too. Among the Palestinian songs to Che included re-writing of national liberation anthems like Bektob Ismik Ya Biladi (I Write Your Name, My Country), with melodies set to new lyrics on Che and sung by communists in Bethlehem, and vocalist Amal Murkus’ Thawri ka-Che Guevara (Revolutionary, As Che Guevara), based on Puebla’s Hasta Siempre. 

This tradition continued with new, 21st Century intifadas. In 2002, Manhal al-Falastini and the Baladna group [12] of Lebanon-based Palestinian refugee musicians sang the lyrics of martyred fighter Abu Ali Talal, in Ughniyat Gifara (Guevara song):

Write your name, Guevara

with a red rose

Its body will become yours, Guevara

and make a revolution.

Following the mass uprising across Palestine in May 2021, the figure of Che appeared in Sawtoka Ya Shaabi (Your Voice, My People), a Palestinianized arrangement of Italian workers’ anthem Bella Ciao, by Palestinian artist Sanaa Moussa. In the song, the cry of patria o muerte, or “homeland or death,” appears between verses of My People Are Alive, by Palestinian poet Samih al-Qasim.

Che was a constant presence in the performing activism of Turkish revolutionary band Grup Yorum, whose vocalists sang Puebla’s Hasta Siempre with both Spanish and Turkish poetry. Before the banning of the group’s performances in 2016 and imprisonment of its members by the Erdoğan government, the musicians played concerts to tens of thousands of mostly leftist supporters. Among those who had sung for Che, leading members Helin Bölek and Ibrahim Gökçek were martyred in death fasts in April and May 2020 respectively. Intensifying repression for their commitment to socialist politics, the prosecution of Grup Yorum had been accompanied by right wing commentators suggesting that their fans’ wearing of Che Guevara-inspired clothing was proof of the musicians’ support for “terrorism.”

In the flash points of struggle against oppression and exploitation, Che remains present. Both a tenacious, enduring voice for the oppressed, and a reminder of the depths to which imperialism and reaction will sink to silence it. As in the songs and music of bygone and living revolutions, singing brings people together in common melody in the fight for a new future. Che once wrote,

The basic clay of our work is the youth; we place our hope in it and prepare it to take the banner from our hands. [13]

Carlos Puebla—Lo Eterno
https://youtu.be/7gXiYuGkNXg

Silvio Rodriguez—Fusil Contra Fusil
https://youtu.be/yEWO3lR99QQ

Sheikh Imam—Gifara Mat
https://youtu.be/tqnyhP7N0rs

Grup Yorum—Hasta Siempre
https://youtu.be/O3FmmnJX-VE

Notes

  1. Translation taken from Aviva Chomsky, A History of the Cuban Revolution (Wiley-Blackwell, 2010), p121.

  2. Che Guevara, “Farewell letter to Fidel Castro”, 1 April 1965. Marxist Internet Archive.

  3. Robin D. Moore, Music & Revolution (University of California Press, 2006), p53.

  4. Sue Steward, Musica!: The Rhythm of Latin America, (Diane Pub Co, 1999), p81.

  5. Slavoj Žižek, “Slavoj Žižek on Castro’s death,” 27 November 2016. Author website.

  6. Slavoj Žižek, Surplus-Enjoyment: A Guide For The Non-Perplexed, (Bloomsbury Academic, 2022), p180.

  7. Translation by Aliki Andris-Michalaros for the Inti Illimani 2 album, La Nueva Canción Chilena, 1974.

  8. Lyric translation by Elliot Colla.

  9. Andrew Simon, Media of the Masses, (Stanford University Press, 2022), p143.

  10. Conversation with the author, 20 June 2022.

  11. Lena Meari, “Reading Che in Colonized Palestina,” NACLA Report on the Americas, 50:1, 49-55, 2018.

  12. Not to be confused with the Jordan-based Palestinian band of the same name.

  13. Che Guevara, “Socialism and Man in Cuba,” March 1965. Marxist Internet Archive.

The Commercialization of Music: How Rock Lost Its Roll

By John Mac Ghlionn

For years now, the world of hip hop has received a lot of attention. From Kendrick Lamar’s lessons on humility, to Cardi B’s damp nether regions, to Lil Nas X’s molestation of Satan, hip hop is very much alive.

The same, sadly, can’t be said for the world of rock. It’s thirty years since the release of two of the finest rock albums ever created: The Black Album, Metallica’s magnum opus, and Nevermind, Nirvana’s work of existential art. In fact, 1991 was very much rock’s year. Pearl Jam released Ten, another thoroughly exceptional album; U2 released Achtung Baby; R.E.M released Out of Time; and Dinosaur Jr. released Green Mind.

Fans of rock were spoiled for choice.

Thirty years on, rock music is on life support, or maybe it’s dead. Who knows? A more gifted writer would surely insert a joke involving Schrodinger’s cat, but we have more pressing matters to discuss.

What happened to rock music? Well, to answer that question, one needs to ask another question: what are the ingredients needed to make great rock music?

Originality is a must.

Sadly, musicians are no longer awarded for originality. Today, as I have written elsewhere, an artist is more likely to be judged on the quality of their video, rather than the quality of their music.  Quality music takes time to write. Could the likes of “Sad but True” and “Nothing Else Matters,” two of the finest rock songs ever written, thrive in today’s market?

Perhaps, but I have my doubts, and these doubts are justified.

This is the attention economy, and our attention spans continue to shrink dramatically. To truly appreciate the artistry of a band like Metallica requires dedication and commitment. Most importantly, it requires a level of deep concentration. No distractions, just you and the band. Interestingly, songs are now well over a minute shorter in duration than they were two decades ago.

Furthermore, rock music requires an element of roguishness. The history of rock is replete with stories of musicians doing the wildest of things. Mötley Crue, Black Sabbath, Guns N Roses, to name just three bands, had reputations that preceded them, and these reputations, along with the music, helped cement their legacies.

Now, though, a “bad” reputation is no longer desirable, nor is it permissible. In March of this year, Mumford & Sons’ Winston Marshall announced that he would be stepping away from the band. Why? The banjoist praised a book authored by Andy Ngo, a controversial cultural commentator.

Today’s culture is tame and lame, and that’s a genuine shame.

However, there is also another factor at play, and it involves a dilution of authenticity. Let me explain.

In the world of rock, 1994 was the year things really started to change.  A handful of multinational companies took control of the music industry. Interestingly, the likes of Sony and EMD, two of the biggest players in the music industry, also had very close ties with the movie industry. All of a sudden, suit and tie executives were using different metrics to judge music.

In the animal kingdom, mutualism describes a type of mutually beneficial relationship between organisms of different species. By the mid-90s, mutualism was an integral part of the entertainment industry, with music and movies, and to a lesser extent TV, engaged in a symbiotic, commercially driven romance.

In 1995, Batman Forever became the highest grossing movie of the year. Of all the song’s to feature on the movie’s soundtrack, U2’s Hold Me, Thrill Me, Kiss Me, Kill Me was by far the most popular. Though it’s a fantastic song in its own right, it blurs the line between pop-rock and pure rock. Nevertheless, the success of the movie helped the song, and vice versa. This was commercial mutualism in its purest form. Movies and music had always enjoyed a relationship, but now they were inextricably linked.

However, what was good for profit wasn’t necessarily good for authentic artistry. The mid 90s, I argue, was when authentic artistry began to wither away.

It’s important to remember that moves like Mission Impossible (1996) and Independence Day (1996) were made with an international audience in mind.

This explains why soundtracks had a manufactured, generic sound. Nuance, the very thing that bands like Metallica and Pearl Jam prided themselves on, was rendered redundant. As music is a cultural carrier of sorts, it became much easier to sell movies with “safe” soundtracks.

The mid 90s also saw the explosion of manufactured pop groups; The Backstreet Boys, N-Sync, and The Spice Girls started to dominate the musical landscape. At the same time, the dilution of rock music continued. Bands like Sum 41 and Good Charlotte arrived on the scene, and it wasn’t long before they, along with Blink-182 and Green Day, became the representatives of rock. The unkempt rock stars of the late 80’s and early 90’s were replaced by young men who could have easily formed boybands of their own.

Yes, genuine rockers still existed, but the purification process was in full effect. A band like System of a Down, as popular as they were (and still are), simply couldn’t compete with Maroon 5. This was the age of colorful clothing, rollerblading, and Tamagotchis. Such inanity was incompatible with angst ridden lyrics. It became far more profitable to sing about generic things like “hooking-up” and finding “the one.” Why be serious when you could be silly?

Shows like Friends and The Fresh Prince of Bel Air dominated the airwaves, and movies like Dumb and Dumber and Happy Gilmore lit up cinema screens around the world. This was silly-season, and in many ways a negation of the early 90s, when the rawness of rock music truly resonated.

The erosion of rock music’s authenticity carried on from there. With the arrival of Snowpatrol and Nickelback, rock came in the form of catchy, radio-friendly tunes. Then, in 2005, with the creation of YouTube, the commercialization of music was complete. Videos now mattered just as much, if not more, than the music itself.

Some 15 years later, what are we left with?

Whatever it is, it’s nothing like 1991. Of course, rock music can still be found, but it’s a pale reflection of what it once was. If in doubt, just ask Winston Marshall, a man who had the audacity to read a book.

Revisiting the Paris Commune of 1871: “Glorious Harbinger of a New society”

By Sandra Bloodworth

Republished from Marxist Left Review.

Eleanor Marx wrote of the Paris Commune:

It is time people understood the true meaning of this Revolution; and this can be summed up in a few words… It was the first attempt of the proletariat to govern itself. The workers of Paris expressed this when in their first manifesto they declared they “understood it was their imperious duty and their absolute right to render themselves masters of their own destinies by seizing upon the governmental power”.1

Karl, her father, had addressed the International Workingmen’s Association (known as the First International) on 30 May 1871. He began with: “On the dawn of March 18, Paris arose to the thunder-burst of ‘Vive la Commune!’ What is the Commune, that sphinx so tantalising to the bourgeois mind?”2

Marx went on to describe why he was so inspired. The Paris Commune

was the first revolution in which the working class was openly acknowledged as the only class capable of social initiative, even by the great bulk of the Paris middle class – shopkeepers, tradesmen, merchants – the wealthy capitalist alone excepted.3

Many of the lessons Marx drew from this momentous event have in the last half century been largely lost to workers struggling to get control over their lives. But if we listen to the voices of the women and men of the Commune, if we examine the barbarous response of the National Government headed by the reactionary Adolph Thiers, we find that the lessons are just as relevant to our struggle many years later. As Walter Benjamin argued so poetically:

The class struggle, which always remains in view for a historian schooled in Marx, is a struggle for the rough and material things, without which there is nothing fine and spiritual… [The latter] are present as confidence, as courage, as humour, as cunning, as steadfastness in this struggle, and they reach far back into the mists of time. They will, ever and anon, call every victory which has ever been won by the rulers into question. Just as flowers turn their heads towards the sun, so too does that which has been turned, by virtue of a secret kind of heliotropism, towards the sun which is dawning in the sky of history. To this most inconspicuous of all transformations the historical materialist must pay heed.4

In paying heed I will attempt to capture the incredible atmosphere of joy, experimentation and creativity which flourished. But we cannot flinch from the horror of that terrible last week, known as la semaine sanglante, where at least 30,000 people were slaughtered by a government determined to crush not just the physical presence of this social revolution, but also its spirit. The preparedness of the ruling class to inflict such violence should be burned into the consciousness of every anti-capitalist activist. Any movement with a vision of a new society must confront the vexed question of how to win in the face of such barbarism.

The Commune established a more thoroughly democratic society than capitalism has ever seen before or since. The reforms introduced were far in advance of anything the capitalists had ever sanctioned, some of which still have not been won in many countries. The 150th anniversary of this marvellous event is a good time to revisit the inspiring first steps of the revolutionary workers’ movement, and draw the lessons that can be learnt from its successes and ultimate defeat.

The uprising

It all began as the sun rose over the radical working-class arrondissements5 of Montmartre and Belleville on 18 March 1871. Soldiers began seizing nearly 250 cannon deliberately placed in these working-class areas by the National Guard, a popular Parisian militia. The soldiers had been sent there by the head of the new republican government, Adolphe Thiers. Among other things, Thiers was widely despised for his role in the brutal suppression of workers’ rebellions in 1848.

But contrary to Thiers’ expectation of a swift exercise, the affair spun out of control. The incompetent army had forgotten to bring horses to drag the cannon, which gave the Guardsmen time to fraternise with soldiers. Expecting a treasonous crowd, the soldiers began turning their rifles up as the streets rang with declarations of Vive la République!

The London Times correspondent describes the scene as women came out to buy bread and prepare for the day: “Small savage groups of blouses [were] making cynical remarks upon everybody’s cowardice… ‘If they had only left them to us to guard they would not have been captured so easily’.” This militancy and self-assurance of the working women of Paris, convinced that they could fight better than the men, will reverberate through the whole revolution. Our witness, moving along to the suburb of Belleville, recorded soldiers and Guardsmen finding they had much in common. Let’s pause to witness a typical scene:

There was something intensely exciting in the scene. The uncertainty for a moment whether the men were meeting as friends or enemies, the wild enthusiasm of the shouts of fraternization, the waving of the upturned musket, the bold reckless women laughing and exciting the men against their officers, all combined to produce a sensation of perplexity not unmingled with alarm at the strange and unexpected turn things were taking.6

Fraternisation, courageous defiance by the masses of Paris and mutiny were the hallmark of the day. When troops blocked the entrance to the church of Saint-Pierre to stop anyone ringing the tocsin in order to alert the National Guard and citizens to the danger, workers got into other churches, climbing into the steeples. The tolling of the tocsins brought increasing numbers crowding into the streets.7

The correspondent described these areas as “rugged open spaces where the lawless crowds of these parts love to hold their meetings and park their cannon”. Belleville, side by side with Montmartre on the right bank, is described as “[t]he most solidly working-class district in all of Paris, and the most revolutionary”.8 These cannon were regarded as their cannon, financed by workers’ subscriptions to the National Guard since the revolution of 1848. And they were the only means of defence against the Prussian army shelling the city since Thiers had moved his troops to Versailles. When the Times correspondent queried a National Guardsman about possible fighting, he was rebuked: “Sacrebleu, do you suppose we are going to allow these Canaille to take our cannon without firing a shot?”9 After all, the National Guard had deliberately positioned their cannon to defend these key suburbs.

Hostile crowds quickly gathered to block the soldiers trying to move the cannon. Eyewitness accounts all draw our attention to the large numbers of women and children. Louise Michel, one of the most flamboyant and radical figures of the Commune, later recalled the events at Montmartre:

Montmartre was waking up; the drum was beating. I went with others to launch what amounted to an assault on the hilltop. The sun was rising and we heard the alarm bell. Our ascent was at the speed of a charge, and we knew that at the top was an army poised for battle. We expected to die for liberty.

It was as if we were risen from the dead. Yes, Paris was rising from the dead. Crowds like this are sometimes the vanguard of the ocean of humanity… But it was not death that awaited us… No, it was the surprise of a popular victory.

Between us and the army were women who threw themselves on the cannons and on the machine guns while the soldiers stood immobile.10

General Lecomte three times ordered the soldiers to fire on the crowd. “A woman challenged the soldiers: ‘Are you going to fire on us? On our brothers? On our husbands? On our children?’” Lecomte threatened to shoot any soldier who refused to do just that. As they hesitated, he demanded to know if they “were going to surrender to that scum”. Michel recalled:

[A] non-commissioned officer came out from the ranks and…called out in a voice louder than Lecomte’s. “Turn your guns around and put your rifle butts up in the air!” The soldiers obeyed. It was Verdaguerre who, for this action, was shot by Versailles some months later. But the revolution was made.11

Later, Lecomte and another General, Clément Thomas, were taken prisoner before being shot. This incident would become the centre of controversy for years to come, trotted out by enemies of the Communards to demonstrate their barbarism. Of course, the two men’s role in perpetrating mass violence to crush the revolution of 1848 and Lecomte’s repeated orders to kill women and children are rarely mentioned.

Hostile witnesses viewed events through the jaundiced eyes of those accustomed to wielding unchallenged authority, but the narrative is the same. A Versailles army officer recorded that where he was in charge they were

stopped by a crowd of several hundred local inhabitants, principally children and women. The infantry detachment which was there to escort the cannon completely forgot their duty and dispersed into the crowd, succumbing to its perfidious seductions, and ending by turning up their rifle butts.12

A proclamation by Thiers was posted around the city: the taking of the cannon was “indispensable to the maintenance of order”, the intention of the government was to rid the city of the “insurrectionary committee” propagating “communist” doctrines, threatening Paris with pillage. This slur that the rebels wanted to destroy Paris, issued by the reactionary who had abandoned Paris to be shelled and occupied by the Prussians, was the source of even more determined resistance.

Once the horses arrived, some soldiers succeeded in beginning to move some of the cannon in Belleville. Guardsmen and residents responded by building barricades to physically prevent their removal. The crowd swelled, transforming itself from a mass of spectators to increasingly angry and active participants. One observer wrote that they saw

women and children swarming up the hillside in a compact mass; the artillery tried in vain to fight their way through the crowd, but the waves of people engulfed everything, surging over the cannon-mounts, over the ammunition wagons, under the wheels, under the horses’ feet, paralysing the advance of the riders who spurred on their mounts in vain. The horses reared and lunged forward, their sudden movement clearing the crowd, but the space was filled at once by a back-wash created by the surging multitude.

In response to a call by a National Guardsman, women cut through the horses’ harnesses. The soldiers began dismounting, accepting the offers of food and wine from the women. As they broke ranks they became “the object of frenetic ovations”.13

Some time later the Times correspondent returned to Montmartre and visited the barricade, the first stone of which he had seen laid. It had now

grown to considerable dimensions by reason of the rule which is enforced that every passer must place a stone, a pile of which is placed for the purpose on each side of the street… New barricades were springing up in every direction… It was now midday, and the whole affair wore a most strange and incomprehensible aspect to one not brought up to making barricades… Instead of a government blocking every street as was the case in the morning, a hostile cannon was now looking down every street.14

The barricades would develop their own centres of activity, drama and tragedy which would become a focus for historians. Eric Hazan, in his book The Invention of Paris, a History in Footsteps, includes a history of barricades and their “theatrical role” with reference to the Commune’s use of them.15

Cordons of soldiers had been replaced by National Guards supervising barricade-building. The streets, so quiet first thing in the morning, were now “swarming with [Guardsmen], drums were beating, bugles blowing, and all the din of victory”.16

By midday, General Vinoy, assigned to capture the cannon, was fleeing Paris. A Commune sympathiser wrote in his diary:

Legally we had no more government; no police force or policemen; no magistrate or trials; no top officials or prefects; the landlords had run away in a panic abandoning their buildings to the tenants, no soldiers or generals; no letters or telegrams; no customs officials, tax collectors or teachers. No more Academy or Institute: the great professors, doctors and surgeons had left… Paris, immense Paris was abandoned to the “orgies of the vile multitude”.17

How to explain this seemingly spontaneous mass mobilisation over a few hundred cannon? Paris had been under siege by the Prussians since 19 September 1870 and shelled relentlessly since 5 January. Anger with Thiers was intense. He had gone to war with Germany the previous July for the glory of the French empire. Confronted with defeat by Bismarck’s army, he baulked at the idea of arming the population of Paris. And the bourgeoisie refused to support any defence of Paris while the National Guard, with its working-class membership, remained in control of armaments. It was clear that to win the war with Bismarck, all cities, especially Paris, needed to be mobilised under arms. But the history of France since the revolution of 1789 had been one of recurring social upheavals which terrified the bourgeoisie. An army general later summed up the problem: “the diplomacy of the government and almost all of the defence revolved around one thing: the fear of revolt”.18 So Thiers had conspired with Prussia’s Bismarck to crush radical Paris as a condition of a treaty to end the war. Removing the cannon was part of that process.

“Paris armed is the revolution armed”, remarks Marx. And so Thiers, “by surrendering to Prussia not only Paris, but all France…initiated the civil war they were now to wage, with the assistance of Prussia, against the republic and Paris”.19

Attempting to seize the cannon was in reality simply the trigger which unleashed a well of bitterness fed by poverty and squalor in the overcrowded working-class districts. The restructuring of Paris by Georges-Eugène Haussmann,20 appointed by Louis Napoléon Bonaparte, who ruled from his coup d’état in 1852 until September 1870, had been devastating. New, wide boulevards cut swathes through workers’ districts, destroying 100,000 apartments in 20,000 buildings. This displaced thousands from central Paris, with the poor crowding into Montmartre and Belleville. In the midst of a booming economy, it is estimated that a majority of the working class required government assistance.21 Alongside growing misery, the wealthy enjoyed glitzy arcades packed with elegant stores and cafés within walking distance of their magnificent private residences. As Merriman says, “the bourgeoisie’s day had truly arrived”.22 The rebuilding of Paris, which was meant to stave off social unrest, had instead stoked it for decades.

The victorious movement of March 1871 had brought to life what became known as the Paris Commune. Its task was now to reorganise life in the city, based on principles of justice, equality and freedom from tyranny.

The Commune – a new power

As we follow events over the next 72 days we will witness truly awe-inspiring achievements. Innovative democratic institutions were established. And the experience of taking control over their society inspired mass involvement in debates about all aspects of their lives. They replaced the state with one under their control. They vigorously attempted radical reforms in the family, the conditions of women, in the workplace, and education, well ahead of the times, as they debated the role of science, religion and the arts in society.

Edmond de Goncourt – co-founder of the naturalist school of literature in France and whose will established the Goncourt Academy which annually awards the prestigious French literary prize – left this testimony to the Commune’s proletarian character:

The triumphant revolution seems to be taking possession of Paris…barricades are being put up everywhere, naughty children scramble on top of them… You are overcome with disgust to see their stupid and abject faces, which triumph and drunkenness have imbued with a kind of radiant swinishness…for the moment France and Paris are under the control of workmen… How long will it last?… The unbelievable rules…the cohorts of Belleville throng our conquered boulevard.

He is disgusted by their “mocking astonishment” at their achievement, noting that they wear their shoes without socks! He admits that the “government is leaving the hands of those who have, to go into the hands of those who have not”.23

By midday on 18 March, the population had established a situation of dual power: radical Paris in a standoff with the government in Versailles. On one side was Adolph Thiers, a reactionary through and through. His government, elected as recently as February, had already fled to the decadent safety of Versailles, accompanied by the army and a stream of bourgeois and respectable middle-class figures. Now it operated from the Grand Château of the Bourbon monarchy in Versailles, the reactionary centre of the centuries-old alliance between the Catholic church and the Bourbons. Thiers, determined to crush the Commune, would be backed by all of respectable opinion, both in France and across Europe.

On the other side of the barricades, workers created the most democratic institutions known to humanity at that time. Marx would write of their achievements: “[t]he great social measure of the Commune was its own working existence. Its special measures could but betoken the tendency of a government of the people by the people”.24 Such a state of affairs was a direct threat to the repressive rule of Thiers, the monarchy and the church.

Whenever the oppressed rise up and fight for their rights, a sense of revelry inevitably follows. This is what inspires sympathetic witnesses of revolutions to describe such moments as festivals of the oppressed. Paris in 1871 was no different. Even bitter enemies of the Commune could not but convey the joyous atmosphere in the wake of the victory of 18 March. One recorded the experience of standing in front of the Hôtel de Ville, the Paris town hall now occupied by the Communards, while the names of those elected to form a Commune Committee were read out:

I write these lines still full of emotion… One hundred thousand perhaps, where did they come from? From every corner of the city. Armed men spilled out of every nearby street, and the sharp points of the bayonets, glittering in the sun, made the place seem like a field of lightning. The music playing was the Marseillaise, a song taken up in fifty thousand resolute voices: this thunder shook all the people, and the great song, out of fashion from defeats, recovered for a moment its former energy.

…An immense sea of banners, bayonets, and caps, surging forward, drifting back, undulating, breaking against the stage. The cannons still thundered, but they were heard only in intervals between the singing. Then all the sounds merged into a single cheer, the universal voice of the countless multitude, and all these people had but one heart just as they had but one voice.25

The elected Commune Committee was entrusted with the momentous responsibility of defending the city against Versailles, organising food supplies, care for the wounded; indeed, of reorganising the entire life of the city.

The state

The old state power had been demolished, a significant move Marx emphasised:

[F]or the first time since the days of February 1848, the streets of Paris were safe, and that without any police of any kind. “We,” said a member of the Commune, “hear no longer of assassination, theft, and personal assault; it seems indeed as if the police had dragged along with it to Versailles all its Conservative friends”.

To emphasise the significance of this, Marx puts it in a broader context:

The direct antithesis to the empire was the Commune. The cry of “social republic” [the popular slogan of the mass movement]…did but express a vague aspiration after a republic that was not only to supersede the monarchical form of class rule, but class rule itself. The Commune was the positive form of that republic.

Paris, the central seat of the old governmental power, and, at the same time, the social stronghold of the French working class, had risen in arms against the attempt of Thiers…to restore and perpetuate that old governmental power bequeathed to them by the empire. Paris could resist only because, in consequence of the siege, it had got rid of the army, and replaced it by a National Guard, the bulk of which consisted of working men. This fact was now to be transformed into an institution. The first decree of the Commune, therefore, was the suppression of the standing army, and the substitution for it of the armed people.26

This revolutionary move was the basis on which the new democracy that Marx celebrates could be built.

The majority of [the Commune Committee’s] members were naturally working men, or acknowledged representatives of the working class. The Commune was to be a working, not a parliamentary body, executive and legislative at the same time. The Commune was formed of the municipal councillors, chosen by universal suffrage in the various wards of the town, responsible and revocable at short terms.

This was a key point Marx emphasised: how elected delegates and government officials can be made accountable. But not just elected delegates. “Like the rest of public servants, magistrates and judges were to be elective, responsible, and revocable.”27

Work

Marx concluded that these innovative democratic structures were “the political form at last discovered under which to work out the economical emancipation of labour” and explained:

The political rule of the producer cannot co-exist with the perpetuation of his social slavery. The Commune was therefore to serve as a lever for uprooting the economical foundation upon which rests the existence of classes, and therefore of class rule. With labour emancipated…productive labour ceases to be a class attribute.28

The Commune Committee was not just left to get on with decreeing reforms while everything went back to the old normal. Historians have documented the incredible flowering of organisation, debate and social experimentation that took place, adding a tapestry of rich detail which illuminates Marx’s theoretical generalisations. Many of the organisations and their proposals were based on demands which had been discussed by socialists and worker militants for decades. The difference now was that they were not just topics for debate and protest. Now they became the expression of the poor and oppressed as they began to take control of their lives.

The Committee set up a range of Commissions to deal with specific areas. The Jewish-Hungarian worker, Léo Frankel, a member of the International and collaborator of Marx, was appointed minister of labour to deal with workers’ rights and working conditions. Night work by bakers was abolished; employers were banned from reducing wages by levying their employees with fines under any pretext, “a process in which the employer combines in his own person the parts of legislator, judge, and executor, and filches the money to boot”.29

Some issues were complicated due to conflicting priorities. Military supplies were obviously of paramount importance. But the Commune’s purchase of the cheapest equipment did not sit easily beside workers’ demands for decent wages. The commissioner for finance, Proudhonist François Jourde, baulked at rewriting contracts with employers, hardly surprising given the Proudhonists supported private property. But as Frankel pointed out, “the revolution was made exclusively by the working class. I don’t see what the point of the Commune is if we…do nothing for that class”. In response to the workers themselves, new contracts specifying a satisfactory minimum wage were agreed. The employers were not consulted.

An additional clause decreed by the Labour Commission stated that where possible contracts be awarded “directly to the workers’ own corporations”. Workers’ corporations can be understood here to refer to co-operatives, associations and trade unions. They were strongly backed by Frankel’s Commission as a vehicle for socialism. The Commission also decreed that the enterprises of any employers who fled to Versailles were to be taken over by its workers.30

Another of Marx’s collaborators in the International played a key role in influencing the Labour Commission.31 The Russian socialist Elisabeth Dmitrieff was central to establishing the Union des Femmes, or Women’s Union. It was the women’s section of the First International. A mariage blanc32 had provided Dmitrieff with an escape route out of Russia. She had spent the last three months in London, where she met with Marx almost daily, discussing theories of revolution. Prior to that she had joined the International in Geneva, where she had met the future Communards Eugène Varlin and Benoît Malon. According to historian Kristin Ross, the Union des Femmes became the largest and most effective organisation in the Commune.33 It met daily in almost every one of the twenty arrondissements. The membership was dominated by workers in the garment trades: seamstresses, laundresses, dressmakers and so on.34

The Union des Femmes’ discussions included theoretical questions about ending private property and the issues of gender-based inequality, as well as solving the day to day struggle to provide fuel and food to families. At the same time they participated in the defence of the Commune, maintenance of barricades, tending to the sick and wounded. Ross sums up: “In some ways, the Women’s Union can be seen as the practical response to many of the questions and problems regarding women’s labour that had been the discussion topic [for years]”.35

Another historian, Donny Gluckstein, argues: “[t]he Labour Commission’s work was shaped by, and depended absolutely on, the Women’s Union and the trade unions’ workers’ corporations, which in turn were empowered by the commission.”36 Spelling out their mission, the Union des Femmes declared: “We want work, but in order to keep the product. No more exploiters, no more masters. Work and well-being for all”. At their urging, the Commune set up cooperatives to make Guardsmen’s uniforms, which provided well-paid work under the women workers’ control.37

While women suffered special oppression, their working lives were also shaped by the broader conditions facing the working class. They made remarkable moves in the direction towards workers’ control, in spite of limited time and conditions of war: “There were a dozen confiscated workshops, above all those linked to military defence… Five corporations had begun searching out the available workshops, ready for their confiscation”. And state-owned establishments such as the mint and the national print shop were put under workers’ management. Even the café workers, given these leads, began to set up a trade union.38

The radical clubs

The tradition of radical political clubs, inspired by the 1789-92 revolution and revived in 1848, had emerged from the underground in the year leading up to the Commune. They discussed a wide range of issues: political strategy, which reforms to prioritise, women’s rights, attitudes to the church and science, how to better organise defence and strengthen the barricades and more. Previously these issues were confined to radical circles, but now the clubs attracted a wider audience and enthusiastic support for their proposals. Workers were the great majority of participants, but middle-class radicals also joined in. Between 36 and 50 clubs met daily, mostly in the working-class districts. Some were huge, involving thousands, with women playing a prominent role both in their own clubs and in mixed ones with men.39 Many discussions resulted in sending resolutions to the Commune Committee, and there was an ongoing debate regarding its relationship to the clubs.

An anti-Communard gave a sense of the spirit which made the clubs such a vibrant part of the new democracy:

From Rue Druout right up to the Montmartre district the boulevards had become a permanent public meeting or club where the crowd, divided into groups, had filled not only the pavements but also the road to the point of blocking…traffic. They formed a myriad of public assemblies where war and peace were hotly debated.40

Élie Reclus, an ethnographer given responsibility for the management and preservation of the Bibliothèque Nationale, called them “schools for the people”, where constructive debate flourished and a heightened sense of community was created. Ross describes the clubs as “a quasi-Brechtian merging of pedagogy and entertainment”.41

A week after the declaration of the elected Commune Committee, on the initiative of the club in the third arrondissement that was endorsed by the Commune Committee, churches across the city were commandeered as meeting places and organising centres. These venues, unlike street meetings, created a sense of seriousness and permanence in the clubs, even of high drama. Lissagaray, member of the International and author of one of the first books published about the Commune, penned a colourful description of one such meeting:

The Revolution mounts the pulpits…almost hidden by the shadow of the vaults, hangs the figure of Christ draped in the popular oriflamme. The only luminous centre is the reading desk, facing the pulpit, hung with red. The organ and the people chant the Marseillaise. The orator, over-excited by these fantastic surroundings, launches forth into ecstatic declamations which the echo repeats like a menace. The people discuss the events of the day, the means of defence; the members of the Commune are severely censured, and vigorous resolutions are voted to be presented to the Hôtel de Ville the next day.42

It is wonderful to imagine such revolutionary proceedings taking place beneath soaring ceilings and beautiful stained glass windows. Occupying these odes to privilege and power was a constant reminder of the momentous challenge the Commune had thrown down before the bourgeoisie, the monarchy and their ally, the church.

Separating church and state

Marx noted that once the state force was dismantled, the Commune

was anxious to break the spiritual force of repression…by the disestablishment and disendowment of all churches as proprietary bodies… The whole of the educational institutions were opened to the people gratuitously, and at the same time cleared of all interference of church and state. Thus, not only was education made accessible to all, but science itself freed from the fetters which class prejudice and governmental force had imposed upon it.43

Anti-church sentiment was not just the preserve of small numbers of radicals. The Catholic church had thrown its wealth and power behind Bonaparte’s dictatorship, never concealing its bitter hostility to republicanism. So the growing opposition to Bonaparte was organically anti-clerical, among both middle-class radicals and the urban poor. In the large cities, attendance at religious ceremonies had sharply declined before the revolution, especially among workers. It’s not difficult to see why. The church taught that the poor would be rewarded for their suffering by passing from this vale of tears to the glories of heaven. But to enter that heaven you had to silently endure endless misery. As well, the church, in this time of the Enlightenment and a rapidly changing world, was seen as a bastion of ignorance, summed up by the Syllabus of Errors in 1864 which denounced modern society.44 As Merriman writes: “[t]he church’s close association with people of means had long drawn popular ire; the birth of the Commune merely unleashed it”.45

State laws were strongly influenced by the church’s teachings about the family, women’s role and morality. So the programs for reforms raised in the clubs around such issues were more often than not entwined with anti-religious bitterness.

There were no bounds to the irreverence displayed once the churches were commandeered. Mock masses, holy water replaced with a pile of tobacco, statues of the Virgin Mary dressed in the uniform of women supplying provisions to the National Guard, sometimes with a pipe in her mouth. At the same time the Communards in many cases allowed ceremonies for the devout to go ahead in the mornings before the clubs met. As such the meetings would often take place amidst flowers, crucifixes and other religious paraphernalia left behind from morning mass and other religious events.

Church properties provided much needed venues, a practical issue which just happened to intersect with the anti-church sentiment. Notre-Dame-de-Lorette became a barracks at one stage, then a jail for those arrested for refusing to fight. The Women’s Union’s cooperative was housed in Saint-Pierre in Montmartre, also used as a storage place for munitions and a school for girls. Another became a medical facility.46 In a reversal of the old order, speakers in the clubs insisted that the clergy pay rent to the Commune for use of ecclesiastical spaces for “their comedies”. Proceeds were to go to the widows and orphans of the fighting. The club of Faubourg Saint-Antoine suggested that church bells be melted to make cannon.47

The hostility to the church is a theme in many records of the time. For instance, when the archbishop, who had been arrested, called the head of police and court officials “my children”, the sharp response was: “We are not children – we are the magistrates of the people!” Merriman cites a document in which the archbishop is described as “Prisoner A who says he is a servant of somebody called God”.48

While one third of all students attended religious schools, the church exercised a virtual monopoly over the education of girls, a fact directly related to the lower rates of literacy among women.49 In general, religious education was backward and stifling. A commission headed by a range of artists, teachers and songwriters instigated closing down the church schools and removing religious symbols.50 Where necessary, crowds took direct action to shut schools taught by religious figures, who had never been required to have the qualifications demanded of regular teachers. Many of them resigned, asking for lay teachers to replace them. By May religious teaching was banned in all schools.

Education

Members of the First International were prominent in debating and proposing innovations on a number of intersecting questions around education. The official journal of the Commune records that they were active in organising public educational meetings and reorganising education “on the largest of possible bases”. Ross puts well how central was the issue:

A lived experience of “equality in action”, the Commune was primarily a set of dismantling acts directed at the state bureaucracy and performed by ordinary men and women. Many of these dismantling acts were focused, not surprisingly, on that central bureaucracy: the schools.51

Discussions about education went well beyond secularisation. A third of children had no access to education at all, and the Commune would try to implement compulsory and equal education for both boys and girls. Teachers’ wages were raised, with women and men on equal pay. A school of industrial arts was established with a woman as director. Students would receive scientific and literary instruction, then use some of the day for the application of art and drawing to industry. One of the most enthusiastic supporters of the polytechnic schools was Eugène Pottier, member of the International and a supporter of the utopian socialist Charles Fourier’s concept of “attractive work”. A son of a box-maker, Pottier was a fabric designer and a poet. Unlike today, theoretical and practical debates about education were not carried out in the rarefied circles of academia, but in the clubs around the city. Declarations reflecting those debates were printed as posters and pasted on walls in the streets. One which bore Pottier’s name read in part:

That each child of either sex, having completed the cycle of primary studies, may leave school possessing the serious elements of one or two manual professions: this is our goal…the last word in human progress is entirely summed up by the simple phrase: Work by everyone, for everyone.52

“Secular nurseries” were also set up near workplaces employing women. They were guided by principles laid down by the utopian socialist Charles Fourier: caregivers were not to wear black or dark-coloured clothing, and were rotated to avoid boredom or tiredness setting in, “it being important that children should be looked after only by cheerful and young women, whenever possible”. Religious representations were replaced with pictures and sculptures of real objects such as animals and trees, including aviaries full of birds. Boredom was thought to be “the greatest malady” of children.53 We get a glimpse of some of what those children were taught in this anecdote from a gentleman who witnessed a “band” of 200 “toddlers” marching behind a drum and a small red flag. “They sing at the top of their lungs ‘La Marseillaise’. This grotesque parade celebrated the opening of a lay school organised by the Commune.”54

Marx’s collaborator, Benoît Malon, helped set up an asylum for orphans and runaways, where they could be offered basic instruction. Paule Mincke opened one of the first schools for girls. They requisitioned a Jesuit school, because it was endowed with the most advanced equipment and laboratories. Édouard Vaillant set up a professional school of industrial art for girls, occupying the École des Beaux Arts. This school introduced a new approach to teaching. Any skilled worker over the age of 40 could apply to become a professor.55

The emphasis on science as fundamental to the advance of society was a powerful theme. A young scientist from the US, Mary Putnam Jacobi, happened to be in Paris. Her experience in that spring “led to a political awakening” and inspired her to spend the next three decades campaigning against sexist assumptions about women’s biology. She became a powerful advocate for the equal contribution of women to medicine and developed the philosophy that the advance of science and the advance of women were one and the same objective. She depathologised menstruation by disproving the then widely held notion that rest was necessary in order to prevent infertility, one of the reactionary ideas of the Proudhonists.

Women’s rights and the family

Marx mocks “the absconding men of family, religion, and, above all, of property”, and writes:

In their stead, the real women of Paris showed again at the surface – heroic, noble, and devoted, like the women of antiquity. Working, thinking, fighting, bleeding Paris – almost forgetful, in its incubation of a new society, of the Cannibals at its gates – radiant in the enthusiasm of its historic initiative!56

As already discussed, women were involved in pushing many of the Commune’s most radical proposals. This is not surprising. Women – due to the specific nature of their oppression – can be the bearers of more conservative ideas in stable times, especially when trapped in the home. But when they challenge their chains of oppression, they often become the most dynamic element of mass movements, with less to lose and more to gain from a fundamental transformation of the status quo.

The Commune immediately made farsighted and fundamental improvements to women’s lives. The remission of rents and the ban on sales of goods deposited at the pawn shops lifted a huge burden from workers’ families. A decree on 10 April granted wives – legal or defacto – of Guardsmen who were killed defending the Commune a pension of 600 francs. Each of her children, legitimate or not, could collect 365 francs until they turned 18. And orphans would receive the education necessary “to make their own way in society”.57 As Edith Thomas, in her social history of women in the Commune, remarks: “This was an implicit recognition of the structure of the working-class family, as it really existed, outside the context of religious and bourgeois laws”. Unions libres were common among workers but not recognised by the church or the state, denying women their dignity, to say nothing of economic discrimination given that unmarried women were not eligible for any widow’s allowance. And “[i]n a city where about a quarter of all couples were unmarried, the church, which normally charged 2 francs to register a birth, demanded 7.50 francs [about two days’ wages for many] for an ‘illegitimate’ child”.58

Thomas comments that the widows’ pension was “one of the most revolutionary steps of its brief reign. That this measure outraged the bourgeoisie, and that it was received with jubilation by members of the Commune are indications of its significance”. 59

But women weren’t passive recipients of reforms. It was mostly women who dragged the guillotine into Rue Voltaire and burned it on 10 April. Women were some of the most militant in both women’s and mixed clubs. They were particularly strident in their denunciation of marriage. In a club in Les Halles, a militant woman warned that marriage “is the greatest error of ancient humanity. To be married is to be a slave. In the club of Saint-Ambroise a woman declared that she would not permit her sixteen-year-old daughter to marry, that she was perfectly happy living with a man “without the blessing of the Church”.60 At least one other club also voted in favour of divorce, a policy which was implemented by the Commune Committee. These kinds of discussions in the clubs were the catalyst for the kinds of reforms we have seen. They didn’t just come from the Commune Committee on high. And marriage ceased to be a formal contract, it was simply a written agreement between couples, easily dissolved.61

Michel’s Club de la Révolution, along with others, raised the right to abortion, which was endorsed by the Committee. At the Club of the Free Thinkers Nathalie Lemel – a book binder, and member of Marx’s group in the International who worked with that other comrade of Marx, Elisabeth Dmitrieff and her Union des Femmes – along with Lodoyska Kawecka, who dressed in trousers and wore two revolvers hanging from her sash, argued for divorce and the liberation of women.62

Many of the ideas about women’s liberation, just as those about education, did not originate in the Commune. Marx’s grouping in the International, along with feminists such as André Léo, had created a tradition of support for these attitudes among the most militant workers and socialists. But the revolutionary movement opened up a whole new opportunity for their ideas to win popular support.

The role of art

The anti-capitalist, anti-elitist orientation of the International naturally attracted artists, writers and other intelligentsia whose dependence on patronage and state subsidies curtailed their artistic and political expression.

Eugène Pottier has become famous for his authorship of The Internationale, a song imbued with all the internationalism and irreverence of the Commune. Before that he also wrote the founding manifesto of the Artists’ Federation in which he penned the term “Communal luxury”, adopted by Kristin Ross as the title of her book.63 The founder and president of the Federation was Gustave Courbet, later persecuted because he was accused of ordering the demolition of the Vendôme column.64 The Federation held debates about the role of art and the artist in society, the integration of art into everyday life and how to overcome the counterposition between beauty and utility. It attracted well-known artists such as Corot, Manet and Daumier, who scorned those who fled Paris for Versailles such as Cézanne, Pissarro and Degas. Émile Zola, who associated with the reactionaries in Versailles, disgraced himself with mocking attacks on Courbet for his participation in politics, a sphere considered foreign to artists.65

The Federation refused to deal with any artistic creations which were not signed by their creator. This was a response to the previous practice of artists having to sell their works unsigned so that a dealer could pocket the profits. The personal history of Napoléon Gaillard, another member of the International, demonstrates their theories. A shoemaker, Gaillard was appointed commissioner for barricades. But how to sign a creation as immense as a barricade? An enemy of the Commune explained how Gaillard solved this problem:

[He] appeared so proud of his creation that on the morning of May 20, we saw him in full commandant’s uniform, four gold braids on the sleeve and cap, red lapels on his tunic, great riding boots, long, flowing hair, a steady gaze…and with his hand on his hip, had himself photographed.66

In harmony with the theories developed in the Federation, Gaillard would write philosophical treatises on the foot and the boot, and invent rubber galoshes. There were people who would not wear any other shoe than those he designed, years after his death. From exile he wrote “[t]he Art of the Shoe is, no matter what one says, of all the arts the most difficult, the most useful, and above all the least understood”. He insisted that he be known as both a worker and an “artist shoemaker”. His stance and writings summed up the Artists’ Federation’s arguments for overcoming the counterposition of the useful to the beautiful, calling for the public to demand shoes made for the foot as it is, rather than as it is assumed it should be.67

The attempt to overcome the separation of art from industry and life in general became a subject of much debate and experimentation, strongly influencing the British socialist novelist and fabric designer William Morris.

The Commune’s internationalism

Marx and Engels had argued in The German Ideology decades earlier that workers could only become fit to create a new society through struggle against the old. Paris in March 1871 illustrated their point dramatically. France had been at war with Prussia since July 1870, yet the Commune was determinedly internationalist in spirit: “Within sight of that Prussian army, that had annexed to Germany two French provinces, the Commune annexed to France the working people all over the world”. A Jewish-Hungarian worker was appointed to the key position of minister of labour. They “honoured the heroic sons of Poland [J Dabrowski and W Wróblewski] by placing them at the head of the defenders of Paris”. And “to broadly mark the new era of history it was conscious of initiating, under the eyes of the conquering Prussians on one side, and the Bonapartist army…on the other, the Commune pulled down that colossal symbol of martial glory, the Vendôme Column”.68

This was not just a militant, spur of the moment act. Great thought and planning went into the removal of the statue that was on top of the column. There is a photograph of a pile of rubble in the Place Vendôme, all that remains of Bonaparte’s statue, surrounded by undamaged buildings: the Communards had employed their most skilled engineers and workers to bring it down. Indeed, their original goal was to move the monument to a museum, but it proved too fragile to survive the toppling. The Place Vendôme was renamed Place Internationale.69

Like many of the reforms being proposed, the ideas of internationalism had been developing among radical workers before March 1871. Lissagaray outlines the development of a combative working class, independent of the increasingly conservative liberal bourgeoisie. In 1870, as rumours circulated about the coming war with Prussia:

[T]he revolutionary socialists crowd the boulevards crying, Vive la paix! And singing the pacific refrain – “The people are our brothers/And the tyrants are our enemies”… Unable to influence the bourgeoisie, they turn to the working men of Germany… “Brothers, we protest against the war, we who wish for peace, labour and liberty. Brothers, do not listen to the hirelings who seek to deceive you as to the real wishes of France”.70

The Commune’s embrace of foreign militants in their midst and the demolition of the symbol of imperial might demonstrated that their internationalism was more than rhetorical.

Reorganising society democratically

Contemporary observers, both hostile and sympathetic, commented that the Commune’s elected leaders were unknown. That was not as true as it might seem; many of them had already made their name in debates in the popular clubs. To respectable society, then as now, such mass leaders were invisible. The other comment which recurs throughout the observations then and through all the histories is their inexperience. And how could it be otherwise? As Marx stresses, this was the first time workers had been sufficiently formed as a class to lead a movement for change. So even experienced activists were tackling new questions.

Donny Gluckstein looks at the way the democracy worked in some detail. He correctly puts it in the context of having to defend the Commune against Versailles with its trained army against the much smaller numbers of the rag-tag forces of the National Guard. Prisoners of war were released by Bismarck to help crush Paris. They were bombarded with lies and horror stories about the intentions of the Parisians, whipped into a frenzy of hatred that would be unleashed in the last week of May. But that murderous final stanza was merely the conclusion of growing bombardments and incursions into Paris by the army. These attacks killed scores of Guardsmen, with many others arrested.

Given these conditions, the humanitarian principles the Commune sought to live by often conflicted with the need for defence. For instance, the abolition of the death penalty distanced the idea of revolution from such cruelty. But in the face of massacres and hostages disappearing into the Versailles jails, it was reinstated. Only three were ever executed, but as we subsequently saw following the October Revolution in Russia, there is an unavoidable tension between honourable long-term goals and the immediate question of survival.

Gluckstein shows how the Commune Committee – headquartered in the Hôtel de Ville – related to the network of committees in the arrondissements, the clubs, and myriad other organisations which flourished. He argues that “the main living link between the mass movement and the Communal Council was the clubs”. 71

We cannot understand how democracy functioned in the Commune without grasping the vibrant life of those clubs. They argued for the creation of a stronger leadership in the form of a Committee of Public Safety, which provoked widespread debates. The name invoked the terror of the Great Revolution, which contradicted the image of remaining lawful and pacific which the leaders at the Hôtel de Ville had insisted on. Some women formed their own vigilance committees in spite of reluctance from the Commune Committee. The club Saint-Séverin, possibly where supporters of the International had some sway, asked the Commune to “finish off the bourgeoisie in one blow [and] take over the Banque de France”, a point Marx had made on multiple occasions.

A meeting of 3,000 at Louise Michel’s Club de la Révolution on 13 May, just a week before the final bloody week, unanimously called for the abolition of magistrates, the immediate arrest of priests and the execution of a hostage every 24 hours until the release of political prisoners by Versailles.72 These are the demands of some of the most radical Communards, which shows both the level of debate and how arguments made by organised militants could get a mass audience. This was partly helped by the indecision in the Hôtel de Ville, which inflamed popular impatience.

Clubs insisted they should oversee the actions of the Commune Committee. Eleven of them formed a federation to produce a bulletin, some summoned the Council members to attend their meetings so there was more of an exchange of views. These chaotic events reflected both the dynamism which had been unleashed, but also much confusion about how to win against the increasingly threatening Versailles troops. Gluckstein concludes that it was the “sections” which included organisations such as the Union des Femmes that most effectively worked with the Hôtel de Ville, establishing a “strong and reciprocal” relationship: “In education, for example, much of the momentum came not from the Commune’s commission but from the pre-existing bodies of educators”. And we have already seen the reciprocal role of the Union des Femmes in relation to the Commission of Labour and the Commune Committee.73

This issue of how the clubs pressured the Commune Committee, took initiatives and demanded that the Committee inform them of their decisions is important in understanding the role of women in the revolutionary process. Judy Cox correctly challenges Gay Gullickson who, like most historians, downplays the advances for women because they weren’t members of the elected Commune Committee. This is doubly mistaken. Firstly, like many feminists, Gullickson assumes that men can’t represent women’s interests. But support for women’s rights is not simply a question of gender, but of politics. As Cox points out, “The Marxist wing of the First International was the only political organisation in France which supported the female franchise. At least four socialist male members of the Commune – Eugène Varlin, Benoît Malon, Édouard Vaillant and Leó Frankel – took initiatives that promoted women’s equality in their areas of responsibility”.74

But it was not simply a matter of principled men standing up against oppressionAs already indicated, women’s voices were loud and clear in the clubs, on the barricades and in every activity of the Commune. To modern supporters of women’s liberation, the fact that women weren’t granted the right to vote in the elections seems shocking. But there is no evidence that women demanded it. As Ross says:

The [Women’s] Union showed no trace of interest in parliamentary or rights-based demands. In this its members were, like Louise Michel, Paule Mincke and other women in the Commune, indifferent to the vote (a major goal in 1848) and to traditional forms of republican politics… Participation in public life, in other words, was for them in no way tied to the franchise.75

This is true, but the National Committee of the New Guard assumed, when they found themselves at the head of a successful insurrection, that they should operate legally. So the elections for which they got agreement from the mayors were held under the government’s existing law, which only allowed for male suffrage. We don’t know what the outcome would have been if prominent women had led a fight for female suffrage, but it is clear that many would have backed them.

Gullickson takes the positions of the right-wing Proudhonists – against whom Marx campaigned relentlessly – as evidence of a general chauvinist male culture which sidelined women. But even the left of the Proudhonists, such as Lefrançais, supported women’s rights. And in spite of her feminism, Gullickson does not respect the voice of André Léo,76 a prominent feminist from well before the Commune and editor of the magazine La Sociale. To bolster her case Gullickson quotes an account Léo published of New Guard officers and a physician who acted disrespectfully towards women volunteers. Yet Léo concluded that very article with: “we noticed the very different attitudes present. Without exception the [middle-class] officers and surgeons showed a lack of sympathy that varied from coldness to insults; but from the National Guards came respect and fraternity”. And, because she aired the grievance against the officers, Louis Rossel, the Commune’s war delegate, asked her for advice about involving more women in the military campaign.77

Of course not everyone was immediately convinced of the most radical points described here. The point is that women were challenging backward views, agitating for the reforms they needed, and the Commune endorsed their demands. The majority of Léo’s articles in La Sociale dealt with issues not specifically about women. But when she did, she emphasised the need and the potential for solidarity between the sexes. One of her articles was titled “Toutes avec Tous” (all women and men together).78

We can add a further point. Gullickson can’t recognise the immense advances that women made, and the tradition they left for the working class to learn from because she, like other liberal feminists, focuses on elected leaders. While what happens at that level is not irrelevant, socialists should focus on the changes taking place below the surface, where workers were busy establishing democratic structures, raising new ideas and taking incredible initiatives. In the tumultuous events that characterise any revolution, the democratic character of the process cannot be fully understood simply by analysing constitutions or formal structures. It is about the dynamic of that process, and the incipient tendencies that emerge spontaneously through the struggle which can be developed further by conscious political intervention.

Much of the retrospective critiques of the Commune identify their failure to seize the wealth stored in the National Bank as a key mistake. Yet this itself was partly a product of the rigorous democracy that was the norm throughout the Commune. Raoul Rigault, a Blanquist and member of the International, was in charge of the “ex-Prefecture of police”. He was a colourful figure with a history of political agitation and organising, dubbed the “professor of barricades” by a magistrate in one of his many trials.79 He ordered some guards to seize the Bank of France to nationalise the wealth stored there. But prone to the elitism typical of the Blanquists, he did not consult with the rest of the Communal Council, and so the proposal was blocked by the Proudhonists. One of them insisted that the bank “should be respected as private property belonging to the shareholders”! By the time the Communal Council considered Rigault’s instruction, the opportunity had been missed.80

Engels maintained that “[t]he bank in the hands of the Commune – this would have been worth more than 10,000 hostages”. It is debatable whether this would have pushed Versailles to settle for peace as Engels asserted, but it is clear that the money within could have been used to deepen the Commune’s achievements. For instance, the Commune had to spend 21 million francs on defence, leaving just 1,000 francs for education, an issue dear to the heart of virtually all who participated. More to the point, such reluctance to take on a bastion of governmental power and the bourgeoisie reflected the constant desire to operate within the bounds of bourgeois legality and to avoid being cast as responsible for the civil war raging around them.81 While there are examples of a lack of accountability from some leaders, the weaknesses historians identify have to be seen in the context of the siege, the civil war, and social and economic breakdown. The significant achievement is that which Marx emphasised: the embryo of a workers’ democracy, with elected and recallable representatives, plus judges and officials at every level. This historical breakthrough warrants our main emphasis, rather than the understandable shortcomings.

A final point. The structures established by the Commune cannot be taken as a direct model for revolutionaries today. The working class in Paris was the largest group, numbering 900,000, surrounded by 400,000 petty bourgeois running 4,000 greengrocers’ shops, 1,900 butchers, 1,300 bakeries. However, Haussmann’s reconstruction of Paris had discouraged the establishment of large workplaces. Those that were established were mostly in the outer rim of Paris. The Cail plant in north-east Paris, employing 2,800 to produce steam engines and locomotives, was the exception rather than the norm. Workplaces of over 10 workers were only seven percent of the total, with 31 percent employing between two and ten. Gluckstein concludes:

The nature of production…had an influence on the organisational structure of the 1871 movement… Trade union action was difficult to mount and broad activities could not easily be built from tiny workplaces. Such units of production could not provide a collective focus for the working class. Instead that came from the National Guard and the clubs which offered a framework for collective expression and organisation.82

In the Russian revolution of 1905 workers would take another leap forward and create soviets, reflecting the huge growth of the industrial working class, brought together in workplaces massively larger than anything in Paris in 1871. This meant that the focus of organisation shifted to the workplace, even as the streets remained an important focal point for large and united protests that brought workers from across different industries together. This is profoundly important. As Rosa Luxemburg argued, “where the chains of oppression are forged, there they must be broken”. Nevertheless the principles of the Commune lived on in the soviets: all delegates and people in places of responsibility to be recallable at any time, accountable to the electors, paid workers’ wages and remaining at work where they experienced the conditions about which they made decisions. The Paris Commune is therefore best understood as a premonition, or a harbinger, of a future society. In Marx’s words:

The working class did not expect miracles from the Commune. They have no ready-made utopias to introduce par décret du peuple. They know that in order to work out their own emancipation…they will have to pass through long struggles, through a series of historic processes, transforming circumstances and men. They have no ideals to realize, but to set free the elements of the new society.83

Some aspects of the Commune have been superseded by subsequent developments, and we do not know precisely how the working-class revolution of this century might look. However the basic principles of collectivity and democracy it established remain vitally important to the modern working class.

Ruling class savagery – la semaine sanglante

Marx had argued that we make our own history, but not in circumstances of our choosing.84 The uprising which erupted on 18 March forced the Communards to reorganise society amidst a Prussian siege and a bitter civil war. These factors strongly contributed to the defeat of this heroic uprising.

On Sunday 21 May, troops from Versailles stormed Paris. New barricades went up in street after street, as the population mobilised for a final heroic attempt to maintain their Commune. An eyewitness described how one of the barricades was constructed and defended by “a women’s battalion of around a hundred and twenty. At the time that I arrived, a dark form detached itself from a carriage gate. It was a girl with a Phrygian bonnet over her ear, a musket in her hand, and a cartridge-belt at her waist. ‘Halt, citizen, you don’t pass here!’”85 We see how women have developed from pleading with soldiers not to shoot in March, to now playing a role as proud, fighting combatants in May, prepared to die with dignity and honour.

Just one week later, 30,000 or more people had been murdered by the counter-revolutionaries. The chapter headings used by Lissagaray in his book sum up the experience: “The Versailles fury”, “The balance sheet of bourgeois vengeance”. The essence of the events is captured in the title of John Merriman’s book, Massacre.86 Though there are debates about the death toll, I see no point in quibbling about the precise figures. Many casualties were never recorded, their bodies thrown into mass graves and later incinerated. Countless others disappeared into jails or colonial transportation, where who knows how many died. Others fled to seek sanctuary, and there are few records of who survived wounds inflicted in the fighting. This barbarity was at first cheered on in the respectable bourgeois papers of Europe, whose journalists had followed the army around “like jackals”. One journalist had called for “an end to this international democratic vermin” of Red Paris. But faced with “the smell of carnage”, swarms of flies on corpses, trees stripped of leaves, the streets full of dead birds, even some of these bourgeois commentators were repulsed. “Let us not kill any more”, pleaded the Paris Journal, “Enough executions, enough blood, enough victims” lamented the Nationale.87

But the upper classes who lived off the labour of those being massacred expressed no such limits to their savagery.88 Respectable women took tours of the dungeons where the arrested were incarcerated, holding their lace-edged handkerchiefs – made by the women at whom they gawked – to their noses against the stench of filth and dying Communards. In particular, they took delight in poking the women with their parasols. Many public figures, including judges and other respectable bourgeois and middle-class types, continued to bay for blood. To justify this frenzy, they invented lies which appealed to the prejudices of this scum. An anonymous Englishman described the Communards as “lashed up to a frenzy which has converted them into a set of wild beasts caught in a trap”. This, in his opinion, “render[ed] their extermination a necessity”.89 The ruling class especially hated the women Communards, whom they depicted as “vile”, “wild” and sexually depraved.

Their fury was stoked by hysterical stories of the infamous pétroleuses, supposedly prepared to burn down the whole of Paris. So the legend of the pétroleuses demands our attention. Edith Thomas titled her book on the women of the Commune Les Pétroleuses, translated as The Women Incendiaries. She examines the evidence and concludes that it’s not clear whether there were any pétroleuses in the way reactionaries used the term. At the same time, the Communards clearly did use fire as a weapon of war to destroy buildings from which the Versaillese could gun people down. Fire was also used as a form of barricade, a wall of flames to keep the soldiers back, set by the fighters who must have included women and possibly even children.90 Merriman documents orders given by the war delegate with the National Guard, Charles Delescluze, the ageing Jacobin, and others, including men in the Commune Committee, to blow up or set fire to houses. Delescluze, aware that it had become impossible to muster the kind of military response necessary to repel the soldiers, “adopted a strategy of mass popular resistance”. Generals of the National Guard specifically ordered “the burning of a number of monumental Parisian buildings, all in the fancy parts of town”, as well as official buildings. One of the Communard generals ordered the Tuileries Palace to be set ablaze. Gustave Lefrançais, the most left-wing Proudhonist, admitted that he was one of those “who had shutters of joy seeing that sinister palace go up in flames”. When a woman asked Nathalie Lemel what it was she could see burning in Montmartre, Lemel replied simply, “it’s nothing at all, only the Palais-Royal and the Tuileries, because we do not want a king anymore”.91

Marx was right to defend the burning of the city:

The working men’s Paris, in the act of its heroic self-holocaust, involved in its flames buildings and monuments. While tearing to pieces the living body of the proletariat, its rulers must no longer expect to return triumphantly into the intact architecture of their abodes. The government of Versailles cries, “Incendiarism!” and whispers this cue to all its agents…to hunt up its enemies everywhere as suspect of professional incendiarism. The bourgeoisie of the whole world, which looks complacently upon the wholesale massacre after the battle, is convulsed by horror at the desecration of brick and mortar!

…The Commune used fire strictly as a means of defence. They used it to stop up to the Versailles troops those long, straight avenues which Haussmann had expressly opened to artillery-fire; they used it to cover their retreat, in the same way as the Versaillese, in their advance, used their shells which destroyed at least as many buildings as the fire of the Commune. It is a matter of dispute, even now, which buildings were set fire to by the defence, and which by the attack. And the defence resorted to fire only then when the Versailles troops had already commenced their wholesale murdering of prisoners.92

The heroism of children, women and men as they fought to defend their “Communal luxury” would live on in the memory of the socialist movement and workers. Fighting and dying became a sign of revolutionary honour. Memoirs often recall scenes like this one from Lissagaray about the barricade of the Faubourg du Temple:

[T]he most indefatigable gunner was a child. The barricade taken, all its defenders were shot, and the child’s turn also came. He asked for three minutes’ respite; “so that he could take his mother, who lived opposite, his silver watch in order that she might at least not lose everything”. The officer, involuntarily moved, let him go. Not thinking to see him again; but three minutes after the child cried, “Here I am!” jumped onto the pavement, and nimbly leant against the wall near the corpses of his comrades.

Lissagaray concluded, “Paris will never die as long as she brings forth such people”.93 And Victor Hugo, who did not originally support the Commune, but responded in solidarity in the face of the massacre, wrote a poem about this incident. He ends with the wishful thought that the officer pardoned the child.94

Gustave Courbet recalled:

The drunkenness of carnage and destruction had taken over this people ordinarily so mild, but so fearsome when pushed to the brink… We will die if we must, shouted men, women and children, but we will not be sent to Cayenne.95

Louise Michel became famous for her confrontational stance at her trial:

Since it seems that every heart which beats for liberty has only right to a little lead, I too demand my part. If you let me live, I shall not cease to cry vengeance… If you are not cowards, kill me.96

Out of fear that she would become a martyr around which workers could mobilise, she was condemned to transportation to New Caledonia, where she met Nathalie Lemel. During the defence of Paris, Lemel had taken command of a contingent of the Union des Femmes. They marched, red flag in the lead, from a meeting in the mairie97 of the fourth arrondissement to defend Les Batignolles. There, the 120 women held back government troops for several hours. Those who were taken were shot on the spot, one of whom was the dressmaker Blanche Lefebvre, an organiser of the Union des Femmes and another member of Marx’s circle. Some held a barricade on Place Pigalle for a further three hours, but all were killed on what Lissagaray called “this legendary barricade”. Lemel cared for the wounded for hours. Her comrade Elisabeth Dmitrieff was at Montmartre with Louise Michel and Léo Frankel in the last hours.98

The mass of the poor had few options but to die bravely, which they did with pride. The more educated, if fortunate, found their way into exile. Frankel was smuggled out by a coach driver and escaped to Germany with Dmitrieff. They could be disguised as a Prussian couple because they spoke German fluently. Dmitrieff would return to Russia, only to go into exile in Siberia with a revolutionary with whom she had a genuine marriage. Because of her isolation, she never heard of the amnesty and so lived out the rest of her life in the tundra where so many revolutionaries perished. Michel kept her word and eventually returned to France under the amnesty, was arrested on a demonstration of unemployed workers in 1883 and sentenced to six years of solitary confinement, arrested again in 1890. She returned to France from England, to where she had escaped, and died of pneumonia in January 1905.99

A doctor commented on the bravery of the Communards:

I cannot desire the triumph of your cause; but I have never seen wounded men preserve more calm and sang-froid during operations. I attribute this courage to the energy of their convictions.100

And this is how the Commune’s supporters interpreted the courageous resistance. It inspired generations, illustrating why the sentiment “it is better to die fighting than to live on your knees” is the most principled response to ruling-class barbarism. If they had meekly surrendered in the name of avoiding violence, there is no evidence that lives would have been saved, and the revolution would surely not have inspired generations of working-class and socialist activists.

Political assessments

“We’ll change henceforth the old conditions” runs a line of Pottier’s Internationale. But how is it to be done? Which politics and theory related best to the needs of the Commune? When remembering workers’ struggles, assessing the political ideas tested in battle is an important part of honouring their memory. If the suffering of the masses in defeat is to be worth the blood spilled, it is the responsibility of those inspired by them to try to learn the lessons, lest their sacrifices be endlessly repeated. In the last article Rosa Luxemburg wrote before being murdered in January 1919, she made reference to the Paris Commune as a metaphor for the fate of the revolution unravelling around her. But, from the perspective of the historic mission of the working class, such defeats served a purpose:

Where would we be today without those “defeats”, from which we draw historical experience, understanding, power and idealism?… [W]e stand on the foundation of those very defeats; and we cannot do without any of them, because each one contributes to our strength and understanding.101

Again and again, in the intervening 150 years, workers have shown that if only they can take control, they would build a humane society, a socialist world. In every struggle we can celebrate the signs of this, and that inspiration unites those of many different politics on the left. Just think. One hundred and fifty years ago, when the fight for women’s rights was in its infancy, the more radical clubs in Paris demanded and got support for the right to abortion.

However, the question which has eluded workers so far is how to win control and hold it, how to defeat the powerful forces of capitalism arrayed against them. Proudhonists, Jacobins and Blanquists were the most influential political groups in the Commune Committee. Marx’s International had thousands of members, but was far from cohered around his theory and politics. None of these groups could offer the lead required.

The National Guard had elected a Central Committee only a couple of weeks before the uprising. Though inexperienced, they gathered to consider what to do in light of the spontaneous insurrection. By the end of the day the Hôtel de Ville was occupied as the headquarters of the insurgents. But they lacked the confidence to assert their authority and organise the necessary defence and reorganisation of the city. In their political confusion, they turned for leadership to the only constitutional body left in Paris, the mayors, who were appointed by the hated central government! The Central Committee of the National Guard insisted that only a newly elected body could take on all the urgent tasks the city confronted. It was eight days before negotiations with the mayors enabled the election of an authoritative body, in which valuable time was lost to the advantage of the Versailles soldiers threatening Paris. Élie Reclus asked on voting day: “What does legality mean at a time of revolution?”102

Virtually every historian who has written about it comments on the shambolic nature of the National Guard, which ensured that the Versailles government’s victory was easier than it should have been. Similarly, most make a point of discussing the Commune’s flat-footed response to the mass uprising. Few, however, draw any political conclusions or seriously explain what went wrong. Edwards sums up the reasons for the disaster: the main concern of the majority of the Committee “was to ‘legalize’ its situation by divesting itself of the power that had so unexpectedly fallen into its hands”. The Blanquists urged a march on Versailles, “a plan which might well have succeeded” following the fraternisation between the army and the Guardsmen.103 Gluckstein argues that Thiers and Co. would never be weaker than in those first hours and days after 18 March 1871. Military discipline had evaporated, and the French army was yet to be buoyed up by prisoners of war released by Bismarck. Supporting this view is the fact that Thiers rejected a request for troops to set up an anti-Commune outfit inside Paris: “Neither 5,000, nor 500, nor five; I need the few troops still available – and in whom I don’t yet have full confidence – to defend the government”. A Commune supporter reported that in Versailles the regular troops were not even trusted to patrol the streets.104

Auguste Blanqui shared with Marx the expectation that the war would create a situation ripe for revolution. But unlike Marx he did not see the working class as the agent to make that revolution, only as supporters for a coup. As a result, his supporters had not built roots in working-class organisations or communities, and he languished in jail throughout the revolution due to his involvement in an attempted insurrection just months before. “Blanqui’s own account of the debacle [of August 1870] is painfully honest”, Gluckstein explains. Blanqui wrote of the response of the workers of Belleville to these gun-toting strangers calling for them to rise up: “[t]he population appeared dumbstruck…held back by fear”. And he concluded “We can do nothing without the people!” In spite of their history of organising conspiratorial coups by tiny numbers, the Blanquists participated with great enthusiasm in the mass uprising and the institutions it threw up. Their strength was their preparedness to organise and respond with the necessary violence to defeat the murderous forces arrayed against the Commune.105 However, lacking their most authoritative leader, the Blanquists were defeated in the debate about marching on Versailles, and a critical moment was missed.

Despite their hostility to organisation, the Proudhonists took many of the leading positions in the Commune Committee. Their tradition had long cultivated a hostility to political organisation of all kinds, which manifested in a reluctance to give elected bodies of the Commune real authority. This then undermined the confidence of those bodies to act decisively, providing Versailles time to get on the offensive. The Proudhonists’ respect for private property was also responsible for the decision to leave the enormous wealth of the bourgeoisie safe in the National Bank, and informed a general reticence to take decisive measures in the field of economic and military policy.

Proudhonism today is dead as a political current; however, Proudhon’s disciple, Bakunin, still influences some activists. In a typical formulation, Bakunin wrote in his critique of the Commune: “the cause of [humanity’s] troubles does not lie in any particular form of government but in the fundamental principles and the very existence in government, whatever form it takes”.106 But this radical-sounding generality obscures the fact that the Commune’s troubles came not from an abstract category, but from the very real power of Thiers’ counter-revolutionary army. Only an equally organised power based on working-class democracy could have defended the Commune from the massacre that was to come. Bakunin’s abstract slogans – which live on in anarchist milieus today – provide absolutely no guide for what to do in the face of the threat posed by the brutal machine that is the bourgeois state. Workers could not – and still cannot – ignore politics and organisation.

But it wasn’t just the question of defence. The demand of the bakers to end night work raised a lot of debate because Commune Committee members, influenced by such ideas as Bakunin articulates, refused to issue a decree to abolish night work, even though they supported it. Bakers had been campaigning for two years, hampered by the tiny size of the bakeries which mitigated against effective organisation. The Committee’s response was ludicrous. They opposed any state action on principle, and argued that the workers should “themselves safeguard their interests in relation to the owners”. Benoît Malon represented the views of the bakers, 3,000 of whom marched to the Hôtel de Ville demanding a decree: “until now the state has intervened against the interests of workers. It is at least fair that today the state intervene for the workers”.107

Abstract shibboleths against all organisation are no guide to how the left should have related to the radical organisations such as the Union des Femmes, the Artists’ Federation, and the clubs. If you took these principles seriously you would boycott them, a completely sectarian and destructive attitude which would make you irrelevant, unable to contribute to developing people’s consciousness and winning arguments for strategies to win.

It was Marx and Engels who best generalised the lessons of the Commune. Marx had been committed to a view of working-class self-emancipation well before the Commune showed a glimpse of how it could be done. He had witnessed the radical workers’ societies and, critically, the Silesian weavers’ revolt of 1844, and had subsequently never doubted the creativity and organisational genius of the organised proletariat. His Theses on Feuerbach answered the question of how workers could be “educated” for a new society: they educate themselves through their own conscious activity. Marx and Engels developed this idea further in their German Ideology, where they argued that to build a socialist society, “the alteration of men on a mass scale is necessary, an alteration which can only take place in a practical movement, a revolution”.108

Now the Parisian masses had revealed the answer to the question of what to do about the repressive state. Marx had been grappling with this since he concluded in The Eighteenth Brumaire of Louis Bonaparte that the problem had been until then that “[a]ll revolutions perfected this machine instead of breaking it”.109 But what could take its place? Two days after la semaine sanglante, Marx gave his address to the International, emphasising the achievements of the Commune and its importance to the future of the workers’ movement. He had warned against such an uprising in the weeks previous, fearing it was premature, yet did not hesitate to leap to its defence. As with so much of his political work, his writings on the Commune emphasise its fundamental aspects. Unlike the bourgeois revolutions which primarily benefited a minority of capitalist exploiters, the potential of a workers’ revolution to liberate the whole of humanity was now shown in practice. He explains how the democratic structures, with the army and police disbanded and the population armed, were the foundation on which workers can be emancipated from the exploitation of their labour. In this way, the practice of the workers of Paris actually broke new ground; their heroism created the conditions for Marx and Engels to clarify and concretise their previous ideas regarding the self-emancipation of the working class. Overall, Marx’s writings on the Commune stand in sharp contrast to the abstract shibboleths in Bakunin’s work.

But it would be Lenin who brought all these elements together, transcending what is usually assumed to be a contradiction between spontaneous revolts and organisation.110 The counterposition between spontaneity and organisation abounds in Bakunin’s critique, and is taken for granted by many activists today. The issue is particularly fraught when women are involved. Women’s activities in rebellions like this are often portrayed as elemental, unplanned and not very political. This emphasis on spontaneity is often sexist and downplays the role of leadership, foresight and planning by the women themselves. The Commune perfectly illustrates Lenin’s arguments. To begin with, there can be no revolution without spontaneity. The radicalisation sufficient to generate the Paris Commune did not develop incrementally, it exploded and shocked the world. It’s true that the uprising that seized the cannon in Montmartre emerged in a context of rising discontent and bitterness, but the rebellion in turn radicalised and transformed the situation decisively.

The Commune shows how there is not some barrier between a revolutionary upsurge itself and the activities and politics that exist beforehand. For instance Eugène Varlin and Nathalie Lemel were involved in workers’ campaigns for women’s rights and equal pay in the 1860s. In the growing number of strikes before 1871, some workers had learnt from their experiences. A strike by 5,000 bronze workers in 1867 won with support from the International, which organised funds from workers in other countries. The lesson of international solidarity was not forgotten. And other workers – significantly in textiles from where women participated in Dmitrieff’s Union des Femmes – began to see the value of organisation and strikes in a number of cities. In a strike by miners in the Loire region workers’ wives had fought bravely against the gendarmes during a strike at Le Creusot in 1870. Ideas promoted by the Proudhonists, who argued that “women should stay indoors and avoid the physical and moral dangers of workshops”, were now rejected by working-class men. They declared that women should exercise their independence and “will march alongside us in the exercise of democratic and social cooperation”. Those ideas could most effectively be kept alive and popularised if taken up by organisations, rather than being left to the whimsy of individual happenstance.111

Lenin’s most significant theoretical breakthrough was to see that the task for revolutionaries is to prepare for the spontaneous outbursts before they happen. This preparation is not a purely intellectual exercise, but entails participating in every struggle, raising ideas which challenge participants to reject the ideas of capitalism. Not all workers will develop class consciousness at the same time; consciousness will always be uneven, as it was in the Commune. This means revolutionaries need to build a party which organises the most class-conscious and militant workers, the “vanguard” as Lenin called them. Such a revolutionary party needs to raise the level of class consciousness generally, by which Lenin meant the degree to which workers understand the role of their own class, and that of all other social layers, and how much they understand their class power. They need to understand that their class can and must lead other classes in a revolution if capitalism is to be overthrown. The party needs a history of participating in and leading struggles so they gain a wide understanding of the momentum of struggle, how to judge different strategies and the arguments of different political organisations. Only this offers the best chance that the arguments of those who always support compromise and moderation will be defeated.

The vanguard must have burned into their consciousness that if our side seriously challenges the ruling class and their state, there is no limit to their “undisguised savagery and lawless revenge”, in Marx’s words. Revolutions have time and again crashed against the seemingly timeless existence of the state, and the mistake of seeking to remain within the “rule of law”. Lenin’s solution was to organise the vanguard to be prepared to repeat the first acts of the Commune: to disband the police and army, and to arm the working class and poor. It must not shrink from responding to ruling-class violence in order to defend the revolution.

The Commune’s legacy

In the Paris Commune, the ruling class saw the shape of a new society. They understood that such a world of equality and justice could only be built on the ruins of capitalism. So they sought to systematically obliterate its memory.

In the Louvre today, images of the royal family overthrown in the Great Revolution are sympathetically portrayed. But a small collection from the Commune is hidden away in the basement. A collection of artefacts, documents and the like is included in the museum dedicated to the art of Paul Éluard in Saint-Denis. Ironically it is housed in an old Carmelite convent. It was originally set up by the Communist council of Saint-Denis.

In the 1870s the bourgeoisie set out to refashion Paris with monuments to the Republic. The last quarter of the nineteenth century has been referred to as “a golden age of monument building” as part of the effort at “self-definition” following the trauma of 1870-71. Restoring the Vendôme column was, of course, a huge priority. Sometimes the purpose of new monuments or buildings was made explicit. The church of Sacré-Coeur was built on Montmartre. When laying the foundation stone, architect Charles Rohault de Fleury declared that Sacré-Coeur reclaimed for the nation “the place chosen by Satan and where was accomplished the first act of that horrible Saturnalia”.112

It is easy to see the negation of the Commune in the grotesque splendour of the Sacré-Coeur. But a lot of the reconstruction was not so explicit. Much of the art which was promoted and the spaces reorganised were merely presented as celebrations of the Republic. But try as they may, the memory often reverberated in what was not said or built. One space allowed to socialists was the Mur des Fédérés (Wall of the Federals),113 located in the Père Lachaise cemetery where the blood of unknown numbers was spilled in the last days of the Commune. Presumably authorities thought this the most fitting memorial: calculated to sear our souls and to signal that attempts at anti-capitalist rebellions will always be drowned in unimaginable savagery. But they were mistaken. Visitors leave a constant sea of red roses, and leave with a renewed hatred of the bourgeoisie and a desire to fight for the promise of the Commune. In 1907, the Parisian municipal council planned to install Paul Vautier-Moreau’s Monument to the Victims of Revolutions, sculpted from the stones of the barricades, on which was engraved Victor Hugo’s clarion call to end the “vengeance”. There was such an outcry from supporters of the Commune, who preferred to keep that space simply for the Communards, that it had to be placed outside the wall of the cemetery.114

William Morris paid homage to the destruction of the Vendôme column in his novel News from Nowhere, published in 1890. The apricot orchard which replaces Trafalgar Square, dominated by the statue of Admiral Nelson is, as Ross says, a “symbolic revisioning [of] both the Place Vendôme and Trafalgar Square…their aesthetic of nationalistic and timeless monumentality become supra-national space”.115

In spite of the efforts of the descendants of the butchers who saturated Paris in blood, the memory of this first workers’ revolution cannot be completely suppressed. So a social history of Paris, published in English in 2010, revisits some of the accounts by its participants and supporters. Eric Hazan, the author, reminds us how modern day charlatans, rather than obscure the history completely, cynically attempt to co-opt the inspiration of the Commune for their own opportunistic reasons. A plaque in Paris has inscribed on it: “The last barricade of the Commune resisted in the Rue de la Fontaine-au-Roi. A hundred and twenty years later, the Socialist party and its first secretary Pierre Mauroy render homage to the people of Paris who sought to change their lives, and to the 30,000 dead of the Time of the Cherries”. Hazan, who documents the truth of those days, reminds us: “This trumpery makes short work of history, for Louis Blanc, the Mauroy of his day, maintained that ‘this insurrection is completely to be condemned, and must be condemned by any true republican’.”116 Le temps des cerises to which the inscription refers is a song written in 1866. It became popular during the Commune, with verses added as it was sung on the barricades and in the clubs. The title is a metaphor for the hope for a new life after a revolution, making the hypocritical inscription by the reformist party even more galling.

For decades workers remembered the Communards’ courageous defiance. On May Day 1901, thousands of mourners joined the funeral procession for Paule Mincke through the streets of Paris. They chanted “Vive la Commune!” and “Vive l’Internationale!” as more than 600 police, 500 soldiers and 100 cavalry guarded the streets against any possibility of a repeat of 1871.117 More than 100,000 attended Louise Michel’s funeral in Paris in 1905. Socialists and anarchists celebrated the Commune every March. The ghastly images of tortured women beamed around the world by the bourgeois press could not undercut the sense of pride and solidarity that their courage inspired. In the NSW outback mining city of Broken Hill, for at least a decade into the twentieth century, the Socialist Sunday School organised the annual anniversary commemoration of the Commune. In another piece I concluded that “[it] certainly was not portrayed as a celebration of male achievements, as is often claimed by feminist historians: ‘What greater and grander sublimity can be depicted than that of men and women who are prepared to sacrifice their lives for even a dream?’” An article in the socialist paper in the town “emphasised female bravery”, telling the story of when soldiers tried to force Communards to kneel before their guns: “one woman with a child in her arms refused to do so, shouting to her companions: ‘Show these wretches that you know how to die upright’.”118

An historian of the annual events which continued for decades writes:

They drew on the Commune as an example of international cooperation, drawing on their shared class identity. The Commune was rewritten annually, creating a palimpsest. Speakers drew on the Commune as a symbol of working-class government, or of revolution, a symbol of warning and hope, of past, present and future, something to learn from, and revere.119

In spite of so many efforts to obscure its history, the Commune is still invoked as a reference point for the idea of revolution, or challenges to authority to this very day. As I write, a post by Buzzfeed, “Stormings of History Ranked from Best to Worst”, appeared in response to the invasion of the Capitol by far-right Trump supporters. The Commune is their second-best example, second only to the October Revolution.120 Even the prestigious Lancet in the year of the one hundred and fiftieth anniversary pays homage to the Commune with an article about Mary Putnam Jacobi. The conclusion is a tribute to the power of the Commune to inspire hope for a better world: “The origins of her philosophy, a philosophy that provides the seed for an American renaissance today, lay in the blood spilt on the streets of Paris 150 years ago”.121

Conclusion

We began with the image of the “sphinx” conjured by Marx to convey how the Commune terrified the bourgeoisie and their hangers-on. We leave it as the world descends into ever more horrifying chaos which creates catastrophes one after the other. The World Bank warns governments around the globe to avoid making premature cuts to measures taken to prevent the economy from completely collapsing. This advice is not driven by humanitarian concern for those who would suffer from the cuts, but by fear of revolt. The sphinx haunts them still.

The Paris Commune reminds us of what Walter Benjamin said, that the fine and spiritual aspects of life we hunger for can only be won by the struggle for the rough, material things which make them possible. And that “they are present as confidence, as courage, as humour, as cunning, as steadfastness in this struggle”. That is why the Paris Commune still commands our attention, and is worthy of serious study. And why it still has the power to inspire our confidence in the working class to create a “Communal luxury” for humanity to this day.

References

Benjamin, Walter 1968, “Theses on the Philosophy of History” in Illuminations, Essays and Reflections, Schocken Books.

Bloodworth, Sandra 2005, “Militant spirits: the rebel women of Broken Hill”. https://sa.org.au/interventions/rebelwomen/militant.htm

Bloodworth, Sandra 2013, “Lenin vs ‘Leninism’”, Marxist Left Review, 5, Summer. https://marxistleftreview.org/articles/lenin-vs-leninism/

Buzzfeed 2021, “Stormings of History Ranked from Best to Worst”, January. https://www.buzzfeed.com/tessred/stormings-of-history-ranked-from-best-to-worst-dogxsiwtv3?utm_source=dynamic&utm_campaign=bfsharefacebook&fbclid=IwAR0Bm0V61HcfuBZsc6jth8J51i6z-enf8-N_WefnVp1pITFqvlRQoAa9_kI

Cox, Judy 2021, “Genderquake: socialist women and the Paris Commune”, International Socialism, 169, 5 January. http://isj.org.uk/genderquake-paris-commune/

Edwards, Stewart (ed.) 1973, The Communards of Paris, 1871 (Documents of Revolution series, Heinz Lubasz, general editor), Thames and Hudson.

Eschelbacher, Andrew 2009, “Environment of Memory: Paris and Post-Commune Angst”, Nineteenth Century Art World, 8 (2), Autumn. https://www.19thc-artworldwide.org/autumn09/environment-of-memory

Gluckstein, Donny 2006, The Paris Commune. A Revolution in Democracy, Bookmarks.

Hazan, Eric 2011, The Invention of Paris. A History in Footsteps, translator David Fernbach, Verso.

Horton, Richard 2021, “The Paris Commune and the birth of American medicine”, The Lancet, 397, (102070), 16 January. https://www.thelancet.com/journals/lancet/article/PIIS0140-6736(21)00086-6/fulltext

Landrigan, Aloysius Judas 2017, Remembering the Commune: Texts and Celebrations in Britain and the United States, MA thesis, University of Melbourne. https://minerva-access.unimelb.edu.au/handle/11343/198112

Lissagaray 1976 [1876], History of the Paris Commune of 1871, translator Eleanor Marx, New Park Publications.

Luxemburg, Rosa 1919, “Order Prevails in Berlin”, Die Rote Fahne, 14 January. https://www.marxists.org/archive/luxemburg/1919/01/14.htm

Marx, Karl 1845, Theses on Feuerbach. https://www.marxists.org/archive/marx/works/1845/theses/theses.htm

Marx, Karl 1852, The Eighteenth Brumaire of Louis Bonaparte. https://www.marxists.org/archive/marx/works/1852/18th-brumaire/

Marx, Karl 1871, The Civil War in France. https://www.marxists.org/archive/marx/works/1871/civil-war-france/index.htm

Marx, Karl and Friedrich Engels 1932 [1846], The German Ideology. https://www.marxists.org/archive/marx/works/1845/german-ideology/index.htm

Marx, Karl, Friedrich Engels, Mikhail Bakunin and Peter Kropotkin 2008, Writings on the Paris Commune, Red and Black Publishers.

Merriman, John 2016, Massacre. The Life and Death of the Paris Commune of 1871, Yale University Press.

Ross, Kristin 2016, Communal Luxury. The Political Imaginary of the Paris Commune, Verso.

Thomas, Edith 1966 [1963 as Les Pétroleuses], The Women Incendiaries, Secker and Warburg.

Tod, MK 2020, Poetry about the Paris Commune, blog, 10 September. https://awriterofhistory.com/tag/poetry-about-the-paris-commune/

* The phrase “glorious harbinger of a new society” is from Marx 1871. Thanks to the sharp eyes and insights of Omar Hassan and Mick Armstrong, the final result is vastly improved on the original draft.

1 Lissagaray 1976, introduction, p3.

2 This address would be published as part of the pamphlet, The Civil War in France.

3 Marx 1871.

4 Benjamin 1968, pp254-255.

5 An arrondissement is similar to a suburb in Australian cities.

6 Edwards 1973, pp58-59.

7 Merriman 2016, p41.

8 Edwards 1973, p15.

9 Edwards 1973, pp59-60.

10 Gluckstein 2006, p13.

11 Merriman 2016, p44. The government is often referred to as Versailles because it was ensconced there.

12 Gluckstein 2006, p13.

13 Merriman 2016, p43.

14 Edwards 1973, pp60-61.

15 Hazan 2010, pp236-245.

16 Edwards 1973, pp61-62.

17 Gluckstein 2006, p14.

18 Edwards 1973, p22. Italics in Edwards.

19 Marx 1871.

20 Usually known as Baron Haussmann.

21 Gluckstein 2006, pp68-69.

22 Merriman 2016, pp7-8.

23 Merriman 2014, pp46-7.

24 Marx 1871.

25 Gluckstein 2006, p53. Bold in Gluckstein.

26 Marx 1871.

27 Marx 1871.

28 Marx 1871.

29 Marx 1871.

30 All the examples and quotes about the Labour Commission from Gluckstein 2006, pp28-31.

31 The International included this grouping, but also Proudhonists, who dominated the French section, Blanquists and others.

32 Many revolutionary women escaped the stifling pressure from their families by entering a “white marriage” in which the man expected no sexual relationship.

33 Ross 2016, pp27-29.

34 Thomas 1967, pp62-63.

35 Ross 2016, p27.

36 Gluckstein 2006, p50.

37 Ross 2016, pp26-28.

38 Gluckstein 2006, p31.

39 Gluckstein 2006, pp48-49.

40 Gluckstein 2006, pp45-46.

41 Ross 2016, p17.

42 Quoted in Gluckstein 2006, p49. Lissagaray uses oriflamme for scarlet banner which, in its literary meaning, denotes a principle or ideal that serves as a rallying point in a struggle.

43 Marx 1871.

44 Merriman 2016, pp10-11.

45 Merriman 2016, p104.

46 Merriman 2016, pp107-109; Gluckstein 2006, p49.

47 Merriman 2016, p105.

48 Merriman 2016, p101.

49 Merriman 2016, p11.

50 Ross 2016, pp39-40.

51 Ross 2016, p40.

52 Ross 2016, p44.

53 Ross 2016, pp41-42.

54 Merriman 2016, p104.

55 Ross 2016, pp40-41.

56 Marx 1871.

57 Thomas 1967, p53.

58 Merriman 2016, p105.

59 Thomas 1967, p54.

60 Merriman 2016, pp105-106.

61 Gluckstein 2006, pp32-33.

62 Cox 2021.

63 Ross 2016.

64 See below for an explanation of this demolition.

65 See Ross 2016, pp42-65 for an account of the debates in the Artists’ Federation and the artists involved.

66 Ross 2016, pp55-56.

67 Ross 2016, pp55-56.

68 Marx 1871.

69 Ross 2016, p23.

70 Lissagaray 1976, pp10-12.

71 Gluckstein 2006, pp46-53.

72 Gluckstein 2006, p49.

73 Gluckstein 2006, p50.

74 Cox 2021.

75 Ross 2016, p28.

76 This was the pseudonym of Victoire Léodile Béra, under which she wrote several novels, and the name she is known by in the records of the Commune.

77 Gluckstein 2006, pp188-190.

78 Gluckstein 2006, pp185-191.

79 Merriman 2016, p16.

80 Gluckstein 2006 pp156-157. For an analysis of why Proudhonists were on the right of the Communards, see Gluckstein, pp71-76.

81 Marx et al 2008, p71.

82 Gluckstein 2006, pp69-71.

83 Marx 1871.

84 Marx 1852.

85 Hazan 2010, p238.

86 Lissagaray 1976; Merriman 2016.

87 Lissagaray 1976, pp307-11.

88 Lissagaray 1976, pp146-174; Merriman 2016, chapters 9 and 10. Their accounts give more detail than belongs in an article of this length.

89 Merriman 2016, p226.

90 Thomas 1966, pp140-159.

91 Merriman 2016, pp156-159.

92 Marx 1871.

93 Lissagaray 1976, p287.

94 Tod 2020.

95 The notorious penal colony in French Guiana. Merriman 2016, p147.

96 Lissagaray 1971, pp343-344.

97 Local town hall.

98 Thomas 1966, p132.

99 Merriman 2016, p245.

100 Lissagaray 1976, p238.

101 Luxemburg 1919.

102 Edwards 1973, p26.

103 Edwards 1973, p26.

104 Gluckstein 2006, p130.

105 Gluckstein 2006, pp76-80.

106 Bakunin, “The Paris Commune and the idea of the state”, in Marx et al 2008, p78.

107 Gluckstein 2006, pp28-29.

108 Marx and Engels 1932, p60.

109 Marx 1845.

110 For my assessment of Lenin, see Bloodworth 2013.

111 Gluckstein 2006, pp68-71 for details of strikes and the maturing of working-class activists.

112 Eschelbacher 2009.

113 As the Guardsmen were often referred to.

114 Eschelbacher 2009.

115 Ross 2016, p60.

116 Hazan 2010, p291.

117 Cox 2021.

118 Bloodworth 2005.

119 Landrigan 2017, p78.

120 Buzzfeed 2021

121 Horton 2021.

The Short, Tragic, and Instructive Life of Anarcho-Punk

By Jackson Albert Mann

“I don’t think that the politics of anarcho-punk had that much to do with anarchism anyway… more like militant liberalism.”[1]

 

This is how Ramsey Kanaan, ex-vocalist of the Scottish punk band Political Asylum and founder of left-wing publishing houses AK Press and PM Press, characterized the politics of anarcho-punk, the wave of anarchist punk rock bands that washed over the United Kingdom in the early 1980s. His reflection comes from the final section of Ian Glasper’s colossal anarcho-punk oral history, within which similar sentiments are expressed by many former anarcho-punk musicians. They are right to feel ambivalent. In the first years of Thatcher’s rule, anarcho-punk developed into a surprisingly dynamic politico-cultural movement. Yet, by the end of the decade the movement had disappeared just as quickly as it had emerged, leaving behind a few catchy hooks, some memorable graphic design, but virtually no coherent political culture. For all of its bluster about political commitment, anarcho-punk was a spectacular failure.

Reading through Glasper’s numerous interviews, one is tempted to locate the origins of anarcho-punk’s aimless demise within the movement itself. Indeed, this is what many participants, fans, and scholars believe. According to Punk graphic design scholar Ana Raposo, it was competing “claims for authenticity” within the movement that generated the “cliquey, insular, and negative” attitudes which led to its downfall.[2][3] I would argue, however, that anarcho-punk’s eventual anticlimactic decline was a symptom of something external to the movement; the dire position of left-wing politics in the 1980s UK. To dismiss anarcho-punk without a proper analysis of its full politico-historical context is to do the contemporary Left a great disservice. An exploration of the movement’s rise and collapse holds important lessons for socialist cultural activists now aiming to construct what William Harris recently called “working-class cultural institutions.”[4]

 

A Political Economic Perspective

Alastair Gordon is one of the very few punk scholars to have analyzed the anarcho-punk movement from a political-economic perspective. In his short monograph on legendary anarcho-punk band Crass, Gordon proposes that the historical material foundation of anarcho-punk’s emergence was the UK’s rising youth unemployment rate combined with the effects of the country’s still comparatively generous welfare state.[5] At the turn of the decade, the UK unemployment rate doubled from six to about thirteen percent and remained around this level until 1987.[6] Lack of jobs created a state of enforced idleness for tens of thousands of young people and due to the welfare state’s material support, they had no compelling reason to protest or change their condition. This produced a social environment in which large numbers of youth began to pursue full-time their interests in a whole host of cultural activities, including music-making. It was this free time and disposable income, more than anything else, that formed the foundation of anarcho-punk’s most compelling structural feature; its economic independence from the UK music industry. Accordingly, the nature of anarcho-punk’s opposition to the music industry went far beyond the rhetorically subversive gestures of its first-wave predecessors such as the Sex Pistols or the Clash, who were branded as sell-outs by anarcho-punks for signing major label deals.

The early 1980s saw an explosion of anarchist-flavored independent, often band-run record labels, venues, and recording studios, as well numerous band- and fan-edited magazines. Punk scholars are correct to attribute much of the impetus for this explosion to Crass. Using the financial resources they gained from their unexpectedly successful 1978 debut album, Feeding of the 5000, the band established their own record label and press at Dial House, an informal artist colony and collective living space north of London, which drummer Penny Rimbaud had been running for almost a decade. It goes without saying that Crass’ do-it-yourself approach to cultural production was an inspiration to many young people in the UK. But, what made the early 1980s unique was the material reality of mass youth unemployment. It was these conditions that allowed the widespread replication of the Crass model by hundreds of young Punk musicians.

Indeed, Crass Records became merely the first in a vast patronage network of loosely-affiliated band-run record labels independent of the music industry proper. Anarcho-punk groups such as Conflict, Flux of Pink Indians, The Mob, Poison Girls, and Chumbawamba, all of which got their start on Crass, went on to form their own labels. Despite the excessive amount of ink that has been spilled to interrogate anarcho-punk’s subversive aesthetics, it was the sustained economic independence of this expanding patronage network that was the truly defining feature of anarcho-punk as an oppositional politico-cultural movement. The movement’s emphasis on its structural-economic autonomy and hostility to the capitalist music industry as the primary elements of its authenticity were in fact its most salient connections to anarchist ideologies, resembling a form of cultural syndicalism. These were advantageous conditions for an emerging oppositional movement of politically committed musicians. So why did nothing much come of anarcho-punk?

 

The Patronage Network Needs a Patron

In a recent article I co-authored with art historian Patricia Manos on Nueva Canción Chilena, the political folk music revival that swept Chile during Salvador Allende’s tumultuous socialist administration, I claim that for a politically committed culture to blossom, it must be actively mobilized by political groups.[7] In the case of Nueva Canción Chilena, a musical movement that already possessed a certain level of internal organization was actively courted, supported, and finally incorporated into the structure of the Communist Party of Chile (PCCh) and later on, into Allende’s Unidad Popular (UP) socialist coalition government. In both instances this was done through the establishment of political record labels run semi-autonomously by members of socialist and Communist youth organizations.

Anarcho-punk emerged in very different circumstances. The early 1980s were a disastrous moment for left-wing politics in the UK and no militant left-wing organization capable of courting, supporting, and absorbing this wave of young, politically committed musicians existed. The Labour Party, never a bastion of radical leftism, was, nevertheless, entering the first years of a decades-long crisis, a catastrophic period during which the Party was thoroughly neoliberalized by a hegemonic, Thatcherist Toryism. Despite this, individual anarcho-punk musicians and bands did attempt to forge formal connections with issue-based political organizations such as the Campaign for Nuclear Disarmament (CND), the Animal Liberation Front (ALF), and numerous anti-fascist and anarchist splinter groups. However, these organizations found themselves in a similar position to anarcho-punk: that is, the lack of an ascendant progressive movement left them atomized, often ineffective, and in no position to be the patrons of a nationwide cultural movement.

Attempts were made to mobilize the anarcho-punk movement for political action independent of organizations. Working through the structure of environmentalist NGO Greenpeace’s London office, a coalition of anarcho-punk musicians and fans organized the Stop The City (STC) protest of September 29th, 1983, during which several thousand activists occupied London’s financial district and severely impacted its normal operations. A second STC took place on March 29th, 1984. Notably, while a large trade union demonstration in support of the 1984 Miners’ Strike was held in London on the same day, no effort was made to integrate the two events. Punk scholar Rich Cross believes that anarcho-punk’s inability to develop a meaningful relationship with a trade union movement in the midst of a historic strike “highlighted not only the weaknesses in the culture’s ability to broker alliances, but also… its lack of interest [in] a wider common cause.”[8]

 

A Lesson In Tragedy

Cross may be right that by 1984 anarcho-punk musicians' interest in building coalitions with left-wing organizations was waning rapidly. A deeper analysis, however, reveals this developing apathy as a consequence of external factors. It was the declining UK Left’s inability to court this musical movement, a clear expression of general political, economic, and cultural discontent within the mass of young people, that led to anarcho-punk’s inward turn. Without the patronage and momentum of an ascendant Left, anarcho-punk became an insular world and its most negative aspects, such as competing claims of ideological purity, fracturing cliques, and anti-political apathy, became its defining features.

Reduced to its angry rhetoric and subversive aesthetic, anarcho-punk may appear as a utopian farce, in which masses of idealistic youths screamed truth to power over crunching chords and pounding drums, but took little interest in real political action. In context, however, the anarcho-punk movement represents something very different; a cultural expression of mass discontent emerging just as the political forces necessary for its development were entering full retreat. Anarcho-punk’s very lack of direction constitutes yet another profound tragedy that took place during a period of British history already filled with bitter setbacks for the working class. In the dark Thatcherist years following the National Union of Mineworkers’ devastating defeat in the 1984 strike, anarcho-punk’s cohesion as a unified politico-cultural movement disintegrated, and what could have been the soundtrack of a heroic left-wing resurgence became the last thing the British working class heard before lapsing into a decades-long neoliberal coma.

 

Notes

[1] Ian Glasper, The Day The Country Died: A History of Anarcho Punk 1980-1984 (Oakland, CA: PM Press, 2014), 446.

[2] Ana Raposo, “Rival Tribal Rebel Revel: The Anarcho-Punk Movement and Sub-cultural Internecine Rivalries,” in The Aesthetic of Our Anger: Anarcho-Punk, Politics and Music. Edited by Mike Dines and Matthew Worley (New York, NY: Minor Compositions, 2016), 89.

[3] Glasper, The Day The Country Died, 410.

[4] William Harris, “Why We Need Working-Class Cultural Institutions,” Jacobin Magazine, July 18th, 2020, https://jacobinmag.com/2020/07/social-poetics-working-class-culture.

[5] Alastair Gordon, Crass Reflections (London, UK: Active Distribution, 2016), 89-90.

[6] James Denman and Paul McDonald. “Unemployment Statistics from 1881 to the Present Day.” Labor Market Trends 104, no. 15-18 (Winter 1996).

[7] Jackson Albert Mann and Patricia Manos, “The Case for a Culture International: Learning from the 20th Century Latin American Left,” Socialist Forum 2, no. 1 (Winter 2020).

[8] Rich Cross, “‘Stop The City Showed Another Possibility’: Mobilization and Movement in Anarcho-Punk,” in The Aesthetic of Our Anger: Anarcho-Punk, Politics and Music. Edited by Mike Dines and Matthew Worley (New York, NY: Minor Compositions, 2016), 143.

 

Further Reading

Berger, George. The Story of Crass. Oakland, CA: PM Press, 2009.

Beastly, Russ; Binns, Rebecca. “The Evolution of an Anarcho-Punk Narrative, 1978-1984.” In Ripped, Torn, and Cut: Pop, Politics, and Punk Fanzines from 1976. Edited by the Subcultures Network, 129-149. Manchester, UK: Manchester University Press, 2018.

Cross, Rich. “‘There Is No Authority But Yourself’: The Individual and the Collective in British Anarcho-Punk.” Music & Politics 4, no. 2 (Summer 2010).

Donaghey, Jim. “Bakunin Brand Vodka: An Exploration in the Anarchist-punk and Punk-anarchism.” Anarchist Developments in Cultural Studies 1 (2013): 138-170.

Gosling, Tim. “‘Not For Sale’: The Underground Network of Anarcho-Punk.” In Music Scenes: Local, Translocal, and Virtual. Edited by Andy Bennett and Richard A. Peterson, 168-183. Nashville, TN: Vanderbilt University Press, 2004.

Ignorant, Steve; Pottinger, Steve. The Rest Is Propaganda. London, UK: Southern Records, 2010.

Lake, Steve. Zounds Demystified. London, UK: Active Distribution Publishers, 2013.

Robb, John. Punk Rock: An Oral History. Oakland, CA: PM Press, 2012.

Rimbaud, Penny. Shibboleth: My Revolting Life. Oakland, CA: AK Press, 1998.

Rimbaud, Penny. The Diamond Signature & The Death of Imagination. Oakland, CA: AK Press, 1999.

Rimbaud, Penny. The Last of the Hippies. Oakland, CA: PM Press, 2015.

Savage, John. England’s Dreaming: The Sex Pistols and Punk Rock. London, UK: Faber & Faber, 1991.

 

Art Without a Place, Labour Without an End

By Petar Jandrić

New roads and old milestones

When the coronavirus hit the world, many of us dusted our high-school or college sciences. What is a virus? What are the main differences between linear and logarithmic curves? What does it mean to flatten the curve? We also remembered our history. Spanish Flu, Black Death… how did our ancestors deal with these threats? We suddenly rediscovered movies such as Contagion, and ‘relaxed’ ourselves from horrifying news reports with equally (and often more) horrifying fiction. Those locked in their homes, without access to work, found themselves thinking how to pay the next rent. Those who could transfer their work online, such as teachers and computer programmers, faced various challenges pertaining to working from home. Those whose work was deemed necessary, such as doctors and firemen, found themselves working 24/7 while isolated from their families. We all discovered how to home-school our children, and we all faced the challenge of retaining our sanity locked between our four walls in an increasingly insecure world. We re-learned how to wash our hands. The world, according to social networks and news reports, seemed to breathe as one.   

While we collectively discovered new realities pertaining to our specific positions within the society, an ‘old’ reality just waited to be rediscovered. Those working from lush homes have it much better than those working from cramped apartments. Those working in companies with strong social provisions have it much better than freelancers. Those working in Third Wold countries face dilemmas such as ‘corona or hunger’ (Sanjai and Naqvi 2020). Class matters. Property ownership matters. Social provisions matter. Race matters. On our brand-new road towards discovering what is now popularly termed as ‘a new normal’, we found a good old milestone – Karl Marx.

The coronavirus has created the biggest social science experiment in our lifetimes (and I do hope that it will not be replaced by an even bigger one in near future). Diverse, contextual, and nuanced global experiences of lockdown will surely be described, classified, and neatly foldered in journals, book, project reports, and other academic formats. Together with this painstaking analytic breakdown of the pandemic into it smallest detail, we also need some ‘grand’ over-arching theories to help us make sense of all this. And here I don’t aim at old-concepts-new-clothes semi-prepared attempts such as Žižek’s (2020) Pandemic! Covid-19 shakes the world, but something along the lines of Struggle in a Pandemic: A Collection of Contributions on the COVID-19 Crisis (Workers Inquiry Network 2020). Of course, the latter “collection of short summaries and critical reflections of the policies taken in different countries to deal with the coronavirus pandemic that affect workers and the unemployed” (dВЕРСИЯ 2020) is just an initial take on the problematic. Yet we do need a combination of top-down and bottom-up approaches and theories; it is only at their intersections, that we can make sense out of this global pandemic mess.  

Canary in a coal mine

I am an academic researcher in a transdisciplinary field which is hard to pin-down, epistemologically and practically. Yet my transdisciplinary approaches, just like many others, still pretend towards ‘science’ – while many of us understand that the arts are just as important as the sciences, it is a well-hidden fact that even the most open transdisciplinary approaches often do not give enough importance to the arts (Jandrić and Kuzmanić 2020). At a very personal level, however, I am blessed with a partner who is an active artist. We share our ideas, topics, and interests; our works often intersect at some level which is invisible to our audience but formative for our works. At the very beginning of the Covid-19 pandemic I wrote an urgent editorial for Postdigital Science and Education (Jandrić 2020) and invited post-digital scholars to engage with our present crisis. I issued calls for 500-word testimonies, for shorter commentary articles, for full-length original articles… And at the same time, Ana Kuzmanić issued her own call. She had a previously signed contract to do an artist book for her forthcoming exhibition, and she decided to base her book on testimonies by artists, curators, and cultural workers about the future of the cultural sector after Covid-19. Her call, entitled Art Without Place, starts with following words:   

While the Covid-19 pandemic spreads all over the world, the ban of public gatherings has drastic consequences to many occupations including arts and culture. This is a frightening situation; our lives are endangered directly, but also our material and political existence has quickly become uncertain. Reality has become more fiction than fiction, and the idea of the arts in concert halls, cinemas, and white cubes, has become uncertain. Our profession as artists and cultural workers face major challenges. The idea of radical change in the political economy of the arts is no longer merely a utopian construction; it has become a real and urgent question. In this collective project, we would like to hear about the ways in which you—artists, curators, art critics and all workers in the cultural sector—experience this shift in the moment here and now. (Kuzmanić 2020)

Reading the call, one cannot help but recall conditions in the cultural sector before the pandemic. Artists in precarious positions, moving from one project to another, mostly without permanent employment or social security. Curators, some institutionalized and some not, fighting at the battlefield of commodified ‘cultural industry’. Steep winning curve, in which only a few can make a living from their work. Already before the pandemic, workers in cultural sector were amongst the most exposed to global capitalism. To add insult to injury, some of the strongest sources of income for these people, such as live performances (theatre, music…), exhibitions and showings (visual arts, film), and so on, are heavily place-based. Immediately after lockdown, many of these precarious workers have been left without income. While it is impossible to speak of exact numbers at this stage, global lockdown has put a large percent of the cultural sector on its knees. This can be depicted in a very simple equation:

No music, film, exhibition + no social security = quick bankruptcy   

Ana, and other workers in the cultural sector, are personally interested in their own futures. But for the rest of us working in other fields, it would be foolish to think that we are exempt from their fate – our world is too global, too connected, too intertwined. With their extremely high level of exposure to corona-related disruptions, workers in the cultural sector are not merely an unlucky group to be pitied. More importantly, for all of us, they are canaries in the corona-mines – when the artists stop singing, that means that breathing air for the rest of us is getting thinner and thinner.

Art without a place, labour without an end

All over the Internet, those who are lucky to still have access to paid labour report unimaginable levels of stress, fatigue, and overwork. Artists frantically polish their funding bids; researchers publish more than ever, teachers’ workloads have gone over the roof. While we do all that in our homes, using often inadequate equipment in often inadequate workplaces, employers – who admittedly suffer from significant drops in income – are paying less and less. Only few months into the pandemic, it has become clear that the ‘new normal’ for most of us consists of more work for less pay. For those interested in social justice, the pandemic is an opportunity to rethink our society towards more social solidarity. For those interested in profits, the pandemic is an opportunity to add even more to their already unbelievably large piles of money. Unfortunately, this is not my paranoia but our global reality – as the likes of Amazon now see their profits increase at an incredible speed (Evelyn 2020), billions of people lose their sleep over paying next months’ rent and groceries.

While we try to imagine the new post-corona normal, social sciences should finally expand its scope to take the arts seriously. Our friends and family from cultural industries are more than victims of collateral damage from the coronavirus pandemic – they are also the corona-mine canaries who clearly point towards our global future. There is some truth in these social media memes that we are all in the same social, political, and economic storm of the coronavirus pandemic – and this is where this naïve truism ends. Some of us ride fancy new boats which can sail the current storm smoothly, while others ride old rickety barges suitable for ship scrap-yards. But the sea is always stronger from the strongest boat, and effects of our current crisis are stronger than any protection offered by luckier labour niches (such as tenured positions at state universities). Taking care of cultural industries is taking care of all of us. So let us hear our canary friends’ song, and let us join together in a struggle against those who want to turn word’s increased misery into their profits.

Submissions to Arts Without Place project will be open by the end of May 2020. Please click here to leave your submission: http://artwithoutplace.com/.

References

dВЕРСИЯ (2020). Covid-19: Workers archive. https://dversia.net/5757/covid-19-workers-archive/. Accessed 11 May 2020. 

Evelyn, K. (2020). Amazon CEO Jeff Bezos grows fortune by $24bn amid coronavirus pandemic. The Guardian, 15 April. https://www.theguardian.com/technology/2020/apr/15/amazon-jeff-bezos-gains-24bn-coronavirus-pandemic. Accessed 11 May 2020. 

Jandrić, P. (2020). Postdigital research in the time of Covid-19. Postdigital Science and Education, 2(2), 233–238. https://doi.org/10.1007/s42438-020-00113-8.

Jandrić, P., & Kuzmanić, A. (2020). Uncanny. Postdigital Science and Education, 2(2), 239-       244. https://doi.org/10.1007/s42438-020-00108-5.

Kuzmanić, A. (2020). Art Without Place. http://artwithoutplace.com/. Accessed 11 May 2020. 

Sanjai, P.R., & Naqvi, M. (2020). ‘We will starve here’: Why coronavirus has India’s poor fleeing the cities. The Independent, 3 April. https://www.independent.co.uk/news/long_reads/coronavirus-india-poor-fleeing-cities-starvation-a9438401.html. Accessed 28 April 2020.

Workers Inquiry Network (2020). Struggle in a Pandemic: A Collection of Contributions on the COVID-19 Crisis. Workers Inquiry Network.

Žižek, S. (2020). Pandemic! Covid-19 shakes the world. New York: OR Books.

Sorry to Bother You with Twelve Theses on Boots Riley's "Sorry to Bother You": Lessons for the Left

By Bryant William Sculos

Originally published in 2019 in Class, Race and Corporate Power.

1.   Films thus far have merely interpreted the world; the point however is to change it….

This would be more appropriate as thesis eleven, but it is a crucial starting point for what follows. No matter how radical, no matter how popular, a critical film is, a film by itself, not even one as prescient and valuable as Sorry to Bother You is, is enough to change the world. Not that anyone would suggest that it could be, but radical films can serve important purposes in the struggle against capitalism and various forms of oppression. A good radical film can inspire and even simply entertain those engaged in struggle—or those thinking about becoming more active. Sorry to Bother You will not change the world, but it can be an important basis for motivation, critical conversation, and necessary enjoyment for those in struggling to do just that.

2.   Tactics should always be informed by an organized strategy.

Sorry to Bother You highlights the difference between pure subversive tactics and an organized strategy for resistance. In the film there is a group of anarchist-types, of what size or of what degree of organization the audience never sees, whose primary role in the film is to highlight the impotence of pure tactics (in this film, this amounts to clever vandalism) disconnected from a coherent strategy for organized opposition. Juxtaposed to these tactics we see the hard work of organizing a workplace and an eventual strike. While the strike may not have heralded the end of capitalism, the audience bears witness to the clear difference in results (including both the response of the capitalist class and their police force as well as the ability of the strike to bring new layers of people into struggle).

3.   As important as the superiority of tactics informed by an organized strategy is, it is perhaps as important how those on the left address their internal disagreements about strategies and tactics.

There is a subtle scene between Squeeze (the labor activist attempting to organize the workers at the telemarketing firm, played by Steven Yeun) and Detroit (perhaps the best radical feminist of color ever seen in a popular US film, played superbly by Tessa Thompson). Squeeze becomes aware that Detroit is part of the anarchist group doing the anticapitalist vandalism and instead of criticizing Detroit’s tactics, Squeeze takes the opportunity to appreciate that they are both on the same side of the struggle. This solidaristic interaction serves as the basis to build deeper, more active solidarity in the future (some of which we see later in the film). It is often difficult for those on the left to ignore or at least put aside disagreements over tactics and strategy, and sometimes it is important that the Left not leave disagreements unaddressed, but Sorry to Bother You provides some insight into how the Left can deal with internal, and interpersonal, disagreements in ways that do not further alienate us from one another. After all, the Left needs all the comrades it can get. What makes someone a comrade is a contentious issue to be sure, but it is an important one that the Left should continue to reflect on.

4.   Solidarity across identities is crucial.

Perhaps one of the most obvious—though no less important—lessons from Sorry to Bother You, with its awesome diverse cast and characters, is that class has colors and genders and a variety of other identities that come with their own unique oppressions that condition the experience of class in diverse ways. Not only does the film illuminate the intersections of racism and capitalism (the “white voices” are the stuff of film legend here), but we also see cross-racial, cross-gender, and even cross- (fictional) species solidarity. If Sorry to Bother You does one thing well (and it does way more than just one thing well), it is expressing the importance of building this kind of intersectional solidarity, as well as how the variable experiences of class can be navigated without chauvinism or exclusion. While the treatment of non-fictional racial and gender solidarity is powerful in its own right, Boots Riley’s use of the (for now…) fictional equisapiens drives the point home. Ending the exploitation of some group at the expense of others can never be an acceptable Left position.

5.   Art can be radical, but not all subversive art is radical, at least not on its own.

Detroit, in addition to her day job as a sign twirler and then as a telemarketer, is an artist. Beyond the politics of Sorry to Bother You, the film also delves into the difficulty of being a subversive artist within the confines of capitalism, which demands that all art be commodifiable in order to be of any value. Despite Detroit’s best efforts to resist this pressure, we see her engage in a powerful and uncomfortable piece of performance art where her audience is asked to throw things at her, including broken electronics and blood-filled balloons. The scene is a bit of a parody of ostensibly “radical” art that is consumed by a primarily bourgeois audience. Subversive art that challenges the commodity-form can itself become commodified, but it can still be useful as a foundation to challenge artistic norms and social conventions, break down the barrier between performer and audience. However, even at its best there is no guarantee that anything will fundamentally change because of these dissensual elements. Sorry to Bother You is a better example of what radical, subversive art can be than the artistic performances it portrays—though neither one is the basis for revolutionary activity. While the critical theorists and postmodernists of the late twentieth century are right to emphasize the importance of aesthetics in radical politics and resist the temptation, embodied most noticeably in socialist realism, to use art strictly instrumentally, art disconnected from organized struggle is bound to be as ineffective as any tactic disconnected from organized struggle. Sorry to Bother You does not provide a clear alternative, but it does provide a powerful basis to think through the question of how art can relate to radical politics, and radical politics to art, effectively.

6.   Material conditions are shaped by ideological conditions, which in turn affect our psychologies.

As the protagonist Cassius “Cash” Green (portrayed by Lakeith Stanfield with incredible complexity and skill to make the audience cringe in every instance they are supposed to) moves up the ladder at the telemarketing company, after living in poverty for years, his perspective on poverty and the plight of workers shifts in perverse but predictable directions. Consciousness is never one-to-one with class position, something that is perhaps still too obvious for the Left to effectively grapple with, but the radical beauty of Sorry to Bother You is how well Boots Riley is able to show how consciousness changes as wealth (though not always identical to class position) increases. Capitalism as a whole dehumanizes even those who benefit from it, though workers and the poor and oppressed should have little patience or sympathy for those who benefit unequally from the exploitation they reproduce. As difficult as it is, it is important to remember this, that even as capitalists and the defenders of capitalism come to personify the evils of capitalism, they too are driven by the heinous psycho-social incentives of the system. While this is, in itself, important to be cognizant of, it is more important to be aware of the process through which this happens to middle class people, and even workers fortunate enough to escape the dregs of poverty wages.

7.   Contacting your elected officials is not nearly enough and can actually be demoralizing and demobilizing.

One of the best scenes in the film, enhanced by the speed with which is begins and ends, is when Cash decides to make public the genetic alteration plans of Steve Lift (CEO of the Amazon-like WorryFree, played by Armie Hammer). Cash goes on an absurd reality TV show and various news programs to tell the world about the equisapien experiments and implores people to contact their elected officials. The montage ends with WorryFree’s stock rising and the general public excited about the new technological developments. Nothing changes. The lesson here is that Cash was relying on the representatives of the system that encourages the kinds of perversity that Steve Lift represents to solve the problem. Cash encouraged people to place their hope in decrepit politicians. The audience experiences the results too quickly. The montage is powerful as it stands, but it is worth questioning whether the full range of critical points here might be lost on even a well-focused self-reflective audience (though I noticed so perhaps I’m the one being too cynical). Cash placed his hope in the automatic negative reactions of people—people who have been conditioned by capitalism to view all technological developments as progressive and liberating—to resist those changes. Back in the real world, while there are some instances where outrage may seem (or even actually be) more or less automatic, there is often unseen or unacknowledged organizing and propagandistic work being done to produce an effective public reaction. The best recent example of this is from the 2017 airport protests/occupations in reaction to President Donald Trump’s Muslim ban. While some of the people showed up at the airports spontaneously, there were also a number of left-wing groups, of diverse politics, working to make these actions effective. It is likely we would not have witnessed the positive results we saw from these actions had it not been for the quick, organized work of activists on the ground. And yet, it all appeared rather spontaneous.

8.  The truth is not enough, and it will not set us free. Truth is not irrelevant, but it is not enough for the Left simply to be “right.”

Related to thesis 7, Cash relies on his exposing the truth to the world to be the catalyst for widespread resistance to the practices of WorryFree. Mind you, this is all taking place in a world where all of the other dehumanizing practices of WorryFree, such as: lifetime contracts for workers, with all room and board provided but without pay, are deemed acceptable. Why would artificially producing human-horse hybrid workers be any different? While there is a vital educational role for the Left to play in providing the factual basis for the need for organized resistance and building an alternative to racist, patriarchal, imperialist capitalism, these facts are not enough. Facts can be interpreted in various ways and perverted by the mouthpieces of capitalism, often most egregiously by the ostensibly liberal vanguard of “progressive” capitalism. The Left needs to not only be “right” but it also needs to provide deeper context and present viable options to pursue. Put differently, in addition to having the truth on its side, the Left needs to be persuasive.

9.   Automation is complicated and likely will not take the forms or have the effects the public are often led to believe it will have.

The world has been browbeaten into thinking that the worst consequences of increased automation in the twenty-first century will be mass unemployment. Sorry to Bother You, believe it or not, provides a glimpse at one more realistic alternative—as well as a basis for a more honest look at the effects of automation. First, as we have seen throughout the history of capitalism, workers themselves, both physically and psychologically, are made into automatons. Second, the worst consequences of automation is not joblessness but deskilling. Part of the automation of human beings is the decreased cognitive and creative labor that more and more jobs will require or allow. Companies, whether it is WorryFree or Amazon, would much prefer the less expensive route of encouraging society, primarily through culture and schooling, to produce less thoughtful, more compliant workers, rather than spend huge sums of money on automation technologies that could become obsolete within a few years. Automation technology under capitalism is expensive. On the flipside, people under capitalism have been made to be quite inexpensive. Maybe we all will not be turned into human-horse hybrids, but given the trajectory of undemocratic automatic in the early years of the twenty-first century, we will not likely be looking at a Jetsons-esque lifestyle for everyone. People will likely continue to be subjected to intense pressures to physically, psychologically, and chemically alter themselves in order to acquire even slightly higher wages.

10.  People, especially workers within capitalism, are willing to accept very little money or benefits in exchange for their labor and even their lives.

Capitalist exploitation and oppressions degrade people. Capitalist ideology convinces people that they are merely worth whatever some boss is willing to pay them—and they are fortunate to have what little they have. After all, there are plenty of people with less. This reality puts impoverished workers in a terrible situation when bosses try to buy them off to undermine labor organizing or threaten a worker with firing for talking about politics at work. This reality is also part of the root cause of conservative labor union practices, which often sacrifice anything beyond moderate gains in wages and benefits for worker compliance. The promise of a more lavish lifestyle, new clothes and a new car (or really just a car that is reliable) is what motivates Cash to sell-out. Scabs may indeed be the scum of the Earth from a labor organizing perspective (and there’s no reason to think otherwise), but they are motivated by the very same things that motivate workers to sell their labor for a wage in the first place. So really, besides the immediacy of the betrayal, what is the difference between a scab and worker who refuses to join their union or a worker who does not vote to support a strike? The results and the motivations are fundamentally identical. This is not a defense of scabbing (as if such a defense were actually possible), but it is a lesson that needs to be learned. Capitalist ideology is extremely powerful, and it compels us all in various ways to become subjects of our exploitation and the exploitation of others. Scabs and other types of non-class-conscious workers are as much a product of capitalism as the credit card is.

11.  Sorry to bother—and even betray—you, but apologies and forgiveness matter.

Even after Cash betrays his fellow-workers and friends by crossing their picket lines multiple times, once he realizes his grave error and is determined to join them in struggle, his friends forgive him. They accept his apology. The apology does not change what Cash did, but it reflects his commitment to doing the right things moving forward. This might be one of the hardest lessons for the Left to learn from this movie. How does one forgive someone who has betrayed them, especially when it was not just a friendship that was betrayed but an entire movement? However, put differently, how can the Left ever be successful moving forward without the capacity to forgive and work alongside those who have actively worked against the Left in their past? Where is the place for former liberals (or even former conservatives or reactionaries)? Where is the place for former scabs? Sorry to Bother You argues that despite the awfulness of one’s past positions and actions, the answer to these two preceding questions is: among the Left. Very few people are born into radical politics, and almost no one holds the right views from the start, and so people need time to learn and grow. Sometimes it is a very longtime filled with egregious beliefs and behaviors—but if the Left is to ever be effective, it will be populated mainly by these kinds of people.[1]

12.  The first win (or loss) is only a beginning…

Sorry to Bother You ends with a victory of sorts. A small one. Without spoiling too much, the lesson here is that strikes, whether successful or not, can only ever be the start of a revolutionary movement. Same for protests. Protests in and of themselves are not going to bring down a government or a political-economic system. Strikes will not either. There is plenty of debate on the Left about whether a mass general strike could do that, but even with something as powerful as a general strike (which is really only practically imaginable with preliminary strikes and protests preceding it) it would be unlikely on its own to replace capitalism with socialism (or whatever your preferred label for a democratic, egalitarian form of postcapitalism is). Revolutionary transformation is not something that can be won or lost overnight, with one victory—nor can it be lost with one loss, by one strike that fails or never happens, by one protest that has low turnout or fails to motivate further actions. Hope is crucial, but it must be tempered by a realistic pessimism regarding the struggle ahead. There will be many loses and hopefully many more wins—but the struggle continues. Even if capitalism were successfully dismantled, what replaces it will also be an object of struggle, one that will require that we learn as much as we can from all the struggles that precedes it.

 

Bryant William Sculos, Ph.D. is Visiting Assistant Professor of global politics and theory at Worcester State University. He was formerly a Mellon-Sawyer postdoctoral fellow at the University of Massachusetts Amherst and 2019 Summer Fellow at the Institute for Critical Social Inquiry at the New School for Social Research. Bryant is the Politics of Culture section editor for the open-access journal Class, Race and Corporate Power and contributing editor for the Hampton Institute. Beyond his work for the aforementioned outlets, his work has also appeared in New PoliticsDissident VoiceTruthoutConstellationsCapitalism, Communication, & Critique (tripleC), New Political Science, and Public Seminar. He is also the co-editor (with Prof. Mary Caputi) of Teaching Marx & Critical Theory in the 21st Century (Brill, 2019; paperback forthcoming July 2020 with Haymarket Books).

Notes

[1] Although she was writing about how socialists should deal with liberals at Women’s Marches, Keeanga-Yamahtta Taylor’s writings served as crucial inspiration for this point. See: “Don’t Shame the First Steps of a Resistance” in Socialist Worker, Jan. 24, 2017. Available online at: https://socialistworker.org/2017/01/24/dont-shame-the-first-steps-of-a-resistance.

The Question of Art: An Interview

By Devon Bowers

In a written portion of my series "The Question of Art," I talk to artists Johnny Bentanamo and Kelly Ann Gonzales Boyle about art and its importance to society. Part 1 is can audio portion and can be listened to here .



What kind(s) of art do you do? What/who got you into art in the first place?

Johnny: I specialize in musical recording & performance art as well as mixed media visual arts.

Essentially, I write music on an acoustic guitar as well as accompanying lyrics that I perform live as a soloist, I also compose noise records {that I refer to as "grind-pop"} which I release online. As far as the visual arts go, I mostly use found items to create impressionistic & abstract paintings.

When I was 8 years old, I was downstairs at my Grandparents house & put on the MTV where I saw the music video for Guns N' Roses "Welcome to the Jungle"...that was the moment when I knew what I wanted to do with my life & it's been a struggle ever since. Besides that important moment in my life, I've had many great friends that have doubled as teachers over the years & I own to them much thanks.

Kelly: I am a writer. I have been a writer since I first learned to read and write. Since I was a child, I loved nothing more than curling up and getting lost in a great book, and when you get lost, you often find yourself. My father always encouraged me to be an avid reader, writer, and lover of art. Each time he got me a book, he'd sign it, "Never stop leaning. Love, Papa."

I grew up in New Jersey, and my dad grew up in NYC, and he always wanted me to experience the city by bringing me to art museums. I tried my hand at drawing and painting, but while it's a medium I love and appreciate, I never quite honed my talent into it unlike writing which came much more naturally.


Why do you think that people nowadays seem to devalue art? We seem to live in this paradox where people will argue that art isn't important, yet they enjoy music, movies, theater, and the like.

Johnny: I think art is largely devalued by many because they don't see the most popular mediums as art. Things like that popular tv show, big budget films, & major label musical releases are made to make money & have little to no artistic value because they lack the intention to invoke emotion or challenge contemporary ways of thinking. The people that seek out art for the sake of art can find it, but it takes research & I think that that's a little bit too much work for the common person who is consumed w/ work, school, family, etc.

Kelly: Art is a series of contradictions. It's like life. Moving, terrifying, strange, and sometimes just downright boring. Art, like life, is misunderstood. We can hate art like we can hate our lives, but we can choose to say, "You know what? Not for me today. Not for me right now. Let me try again tomorrow." The same art I may have passed by in a museum ten, five, maybe even one year ago, can have a totally different impact on me today. Just based on new experiences or my mood for the day.

I don't think that people devalue art. I think people value and crave art more than ever before. People want to be connected and to feel something. The advent of social media is an example of this. We can sit here and lament the dehumanizing aspects of social media, or we can appreciate its ability to teach us something about each other, even if it's just parts of each other.

We all make choices each day to say to others and to ourselves whether or not we want to live our lives to the fullest. Art helps to enrich our lives through music, movies, theater, and so forth.


What does art do for you, if anything, on a emotional and psychological level?

Johnny: For me, art is therapy, plain & simple. If I didn't have a creative outlet I would be a miserable person to be around. I grew up in a physically & emotionally abusive house so I have some "demons" that I battle on a daily basis & whenever I'm feeling lost or overwhelmed I can just pick up my guitar or paint brushes to wash away those negative feelings...I've become a much calmer & centered person since I began creating more consistently about 7 years ago. Art is also a way to supplement my income since working a full-time job is not conducive to my medical disabilities, which are extensive.

Kelly: We are all part of a grand universe, and art is a means of connecting our selves to the world around us. Whether it's a fresco painting on the ceiling of a chapel or a black square on a large, white canvas, art speaks. It can speak a loud and grandiose volume for all to know its behemoth presence, or it can simply murmur and let its nearest passerby know that it's standing on the corner, too.

Art makes me feel everything. It has made me laugh and cry. It has angered me and plainly disgusted me. It keeps me begging for more and I find myself seeking out stranger and grander things. To better myself. To learn. To be a part of something greater than myself.


What is the most fun and most difficult part of being an artist?

Johnny: The most difficult part of arting for me is also the most fun part...performance. I give everything I have in me during a live performance, it's like some otherworldly entity is channeled through me. It is the most cathartic thing I have ever experienced but w/ that said, afterwards I hurt & usually need to sit or lay down for a hour or more. The most rewarding part of performing is not what it does for me though, it is what it does for others. I'm a naturally open & overtly expressive person, which most people are not, so when attendees approach me after I'm off stage & express to me how the things I did or said spoke to them or made them feel like they weren't alone, I know I did something good...even if it comes from a place of selfishness as I do not make art for anybody but myself.

Kelly: I once argued with someone I dated--and I suppose you can already guess that the brief relationship ended quite rapidly--about whether or not writing was an art. He believed writing was simply a skill that could be taught and refined. I believe it was both an art and a skill. You learn the skills of the grammar, punctuation, and the nuisances of the language. The art of writing is a different and impatient beast.

The most difficult part of being a writer is like exercising. To get up each day and committing yourself to doing it continuously. You can write or exercise in private and no one will know the wiser, but eventually you may find yourself stepping out into the world where a stranger may glance at your open notebook or laptop. You coworker will comment on your new weight loss. You are flattered.

Then you are also terrified. You want the compliments, but with compliments come expectation and criticism. The opportunity and the realization that there is more. There is always more.

The fun part is also the terrifying part. Recognizing the difficulty of putting yourself out there and keeping up that momentum. The thrill of jumping out of a plane at 30,000 feet only to hurtle downwards with a parachute. That is writing. That is art. It's all part of the process.


In your opinion, what is the purpose of art, if any?

Johnny: Art has many purposes & can mean different things to many different people. For me, as I stated earlier, art is therapeutic. I create so that I can tolerate living but for many others it is simply something to decorate your house with or wear out to a fancy restaurant.

In The Picture of Dorian Gray, Oscar Wilde says "We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless." Now I don't agree w/ this sentiment but that's not the point, the point is that, what art is or what it does is completely up to the observer, it's relative to the person that is beholding the creation. In summation I would say that the purpose of art is to create something that was never there so that all of existence can become a richer & more evolved place. Art is life & just like all things, the individual works eventually cease to be.

Kelly: The purpose is to exist. The definition is up to the artist. Same thing with life. Don't think too hard about it.

Examine life in its present moment, but then move on. Don't overthink it. Just do. Keep going. Don't stop. Go live your life. Stop reading this and go make some art.


Mr. Bentanamo's art can be viewed here and here .

Mrs. Gonzales Boyle is the author of the novel Video Games and is readying a forthcoming novel tentatively titled, Through An Opaque Window.

Young, Gifted, and Black: Art's Power for the People

By Corinna Lotz

Outside the door opening up to the Soul of a Nation exhibition at Tate Modern screens offer vintage news footage of Black leaders Martin Luther King, Stokely Carmichael, James Baldwin, Malcolm X and Angela Davis.

These men and women - two of whom were assassinated - shaped the political landscape of the 1960s and 1970s. The echo of their voices lends resonance to Nina Simone's call for artists to reflect their times.

In the wake of white supremacist brutality in Ferguson and Charlottesville, revisiting the Black power movement in America has gained a new urgency.

Soul of a Nation shows how artists were swept up in the struggle against the oppression of the institutionally racist US state. Through determined resistance, self-organisation, self-education and study of revolutionary theory, the movement and its artists asserted the possibility of a non-racist and revolutionary culture.

Support for Black power arose out of frustration with the pacifist orientation of the Civil Rights movement led by Martin Luther King. Leaders like Malcolm X called for justice "by any means necessary".

Bobby Seale and Huey Newton founded the Black Panther Party in October 1966 to defend victims of police violence. The party championed Black self-determination. At the same time, its 10-point programme was distinctly anti-capitalist and socialist. It appealed to all oppressed and working class people to unite against the ruling classes and the state.

But the US state struck back. Under its chief, J Edgar Hoover, the FBI's counter intelligence programme (COINTELPRO) targeted Black Panther leaders. Police backed by FBI agents murdered Black Panther leaders around the country. Amongst the first to be killed in this way was the BPP's 21-year-old deputy chair, the talented and popular organiser, Fred Hampton. After being drugged by an FBI agent, Hampton was shot whilst asleep in his bed. It was an act of extreme brutality commemorated by artist Dana C Chandler in his reconstruction Fred Hampton's Door.

David Hammons' multi-media Injustice Case (1970) leaps out of the wall: shadowy body marks move around like ghostly x-rays on a white background, framed by the Stars and Stripes. Hammons used imprints of his own body on paper in this cry of anger against the treatment of Black Panther Party co-founder Bobby Seale. Seale was bound and gagged by the trial judge when he was accused of conspiracy after anti-war demonstrations during the 1968 Democratic Convention in Chicago.

Emory Douglas became the Panthers' Minister of Culture designing a remarkable series of propaganda posters and back covers for The Black Panther newspaper. Large-scale outdoor murals gave artists a chance to reach out to large numbers of people. The famous Wall of Respect, which 14 artists painted on a derelict building in Chicago's South Side in 1967, commemorated Black heroes and heroines including Muhammad Ali, Aretha Franklin and Martin Luther King. It was part of a nation-wide mural movement.

Black and Asian photographers made a special contribution. They celebrated the streets and inhabitants of Harlem as well as engaging in more abstract and lyrical subjects - musicians and singers in performance, still lives and nudes. Just waiting to be re-discovered is a 1955 photo book, The Sweet Flypaper of Life. It is a miniature gem of a story by Langston Hughes accompanied by Roy DeCarava's photographs.

Controversies arose about whether Black art had to be figurative or openly propagandist or whether the artist could work in an abstract idiom. Some like Jack Whitten used abstraction to pay homage to Malcolm X and African American history. British-Guyanese painter, Frank Bowling, took part in these debates. His magisterial Middle Passage features in the second to last space. A superb display of his work is currently at Munich's Haus der Kunst .

The last space at Tate Modern takes on a new spirit of joy in the inventiveness of Lorraine Grady who involved hundreds of people on a parade celebrating Harlem's African American Day Parade.

This is a knock-out show. Go and see it.


Soul of a Nation: Art in the Age of Black Power will be on display at the Crystal Bridges Museum of American Art in Arkansas at the beginning of 2018 and at the Brooklyn Museum in New York from September 18, 2018.


This article was originally published at the Real Democracy Movement