History is the subject of a structure whose site is not homogeneous, empty time, but time filled by the presence of the now [Jetztzeit].
- Walter Benjamin -
 
On 28 October 1923, dining with his friends, Mustafa Kemal Atatürk, is said to have declared ‘Gentlemen! We are going to announce the Republic tomorrow.’ The next day, he proclaimed the following law: ‘The form of government of the Turkish state is the republic.’[1] Once the law passed by the Turkish Parliament later the same day, the State of Türkiye as republic, which is now a century old, came into being. From one perspective, that date—29 October 1923—is just a place on the calendar, ‘chronos’, or quantitative time. However, as Benjamin argued, calendars are also ‘monuments of historical consciousness,’[2] marking out moments of what rhetoricians call ‘kairos’—measuring not quantity of time but a quality of timely action.

Kairos points to the ‘interpretation of historical events’ because it is about the significance and meaning assigned to them.[3] It is also about the opportunity to be grasped now for action that cannot be grasped under different conditions or situations. Thus, kairos always has an argumentative character since the significance given to historical events are always contested and temporarily decontested in specific ways. In this respect, due to the significance and meaning assigned to it, the foundation of the Turkish Republic can be understood as a moment when ‘chronos is turned into kairos’.[4] Now, 100 years since its foundation, the country’s incumbent President Recep Tayyip Erdoğan is seeking to create a moment of kairos again, using it to reinvent the idea of ‘Turkishness’ itself and to turn it into a time of action in the service of continuity of his rule. This is a rhetorical act that requires ideological analysis.

In this article, I examine how Erdoğan fulfils such a rhetorical act through Rhetorical Political Analysis (RPA) of the speech he delivered on 28 October 2022. This speech was intended to set forth his vision for the future of the country on the day that the Turkish Republic entered its centenary and was entitled a ‘Vision for a Century of Türkiye’. I will begin by providing some historical and theoretical background, followed by a rhetorical analysis of his political thinking around the centenary. My argument is not only that his ideological thinking shapes his actions but also his understanding of Turkishness in the context of the centenary is shaped by his strategic action, aiming at winning the elections in Türkiye in 2023 and consolidating his and his party’s leadership position in the future.

Background

As 29 October 2023 marks the centenary of the foundation of the Turkish Republic, Erdoğan, as both President of Türkiye and leader of the Justice and Development Party (AKP), delivered a speech on 28 October 2022 to set out the ‘Vision for a Century of Türkiye’. The gathering was held in the capital Ankara, in Ankara Sports Hall which accommodates 4,500 people. 11 political parties were invited to the event. The only party that was not invited was the People’s Democratic Party (HDP), the Kurdish-led, left-wing party which has been denounced by Erdoğan as a ‘terrorist’ entity due to its alleged connection with PKK, the Kurdish paramilitary organisation. Alongside the political parties, AKP Members of Parliament, mayors, party members, and supporters were invited to the event—as well as some artists, NGOs, academics, and journalists (unusually including notable dissident journalists). The event, at which Erdoğan spoke for 1 hour 40 minutes, lasted 2 hours overall.[5]

Like the morphological approach to ideological analysis pioneered by Michael Freeden,[6] rhetorical approaches to ideologies start from the position that political ideologies are ubiquitous, and a necessary part of political life. However, unlike morphological analysis, they focus on ideological arguments rather than ideological concepts, on the grounds that ideologies are ‘shaped by and respond to external events and externally generated contestation from alternative ideologies’.[7] Accordingly, Alan Finlayson suggests using RPA to analyse ideologies, in order to pay attention not only to the semantic and structural configuration of ideologies but also to political action, such as the strategies that political actors develop to intervene in specific situations. Further, RPA focuses on the performative aspect of political ideologies by drawing attention to how performativity becomes part of the morphology of the ideology in-question through foregrounding specific political concepts.[8] Alongside the concepts provided by the rhetorical tradition, RPA also draws on kinds of proof classically categorised as ethos, pathos and logos.[9] Whereas ethos indicates appeal to the character of the speaker with whom the audience is invited to identify, pathos is about appeal to the emotions. Lastly, logos indicates appeal to reason by political actors in their attempt to have the audience reach particular conclusions by following certain implicit or explicit premises in their discourse. Overall, RPA commits to the analysis of politics ‘as it appears in the wild’.[10]

The rhetorical situation

Analysis of political speeches begins with the analysis of the rhetorical situation, since every political speech is created and situated in a particular context. In this respect, every political speech, alongside its verbal manifestation, performs an act by intervening in a particular situation.[11] Those situations are characterised by both possibilities and restrictions for the orator, and it is one of the primary characteristics of skilled orators to know how to employ the opportunities and overcome the restrictions embedded in the situation. In such situations, political ideologies are not only deployed by political actors to intervene in and shape the situation, but they are also shaped through the act of intervention when addressing the challenges or trying to persuade others of a particular action.

In the case of Erdoğan’s ‘Vision for a Century of Türkiye’ there are two exigencies: first, for him, it is a moment of kairos to be grasped and put in the service of his strategic aim of winning the upcoming presidential and parliamentary elections in 2023. For this, evidently, he needs to prove to the people beyond his supporters that he is the leader of the whole country who can carry it into the future. Thus, it is an opportunity for him to amplify his rule as President of Türkiye, which is a position that he gained as a result of regime change in Türkiye 2017. On 16th April 2017, Turkish voters approved by a narrow margin constitutional amendments which would transform the country into a presidential system. This was followed by the re-election of Erdoğan as the President of the country on 24 June 2018 with the support of MHP (Nationalist Movement Party). Since then, AKP and MHP work together under the alliance called People’s Alliance. The new system has been widely criticised on the grounds that it weakens the parliament and other institutions and undermines the separation of powers through politicisation of the judiciary and concentration of executive power in a single person. Overall, this has led to an increasingly authoritarian governance.[12]

The second exigency for Erdoğan is the enduring economic crisis from which the country has been suffering since June 2018. In that year, as a result of Erdoğan’s insistence on lowering interest rates, Türkiye experienced an economic shock, resulting in a dramatic loss in the value of Turkish Lira against Dollar. Since then, three Turkish Central Bank governors have been successively dismissed by Erdoğan. For example, in March 2021, Erdoğan fired then governor Naci Ağbal after he hiked the interest rates against Erdoğan’s persistence on not increasing them no matter what. Erdoğan replaced him with Şahap Kavcıoğlu, known for his loyalty to Erdoğan. Such a move made the economic situation in Türkiye even worse. One of the economic commentators in the Financial Times wrote, ‘Erdoğan’s move leaves little doubt that all the power in Türkiye rests with him, and this will result in rate cuts. This will simply make Türkiye’s inflation problem even worse.’[13] The overall consequence of this turmoil has been rising prices as the Lira collapsed and wages remained stagnant, causing a dramatic drop in people’s purchasing power. By August 2022, according to research, 69.3 percent of the Turkish population were struggling to pay for food.[14] In November 2022, after Erdoğan delivered the ‘Vision for a Century of Türkiye’, the inflation rate reached 85.5%.[15]

Erdoğan had to address these two exigencies while he was under heavy criticism not only from international actors and his national opponents but also from the rank and file of his own party about Türkiye’s economy and democracy. His leadership has also been weakening for some time. Erdoğan’s loss in the two big municipalities—Ankara and Istanbul—in the local elections in 2019 exposed the myth that he is a leader who never loses an election. This was the context in which the ‘Vision for a Century of Türkiye’ event was held. It was a kairological moment for Erdoğan, where he attempted to reinvent Turkishness and decontest its meaning through an ideological speech-act manifested through various rhetorical moves to position him and his party as the only option in the upcoming elections.

The arrangement of the speech

Political speeches are significant for the analysis of ideologies not only because of what political leaders say but also because they provide us with the opportunity to observe how the political leader in-question, the nation, and the audience are positioned both in the speech and on the stage. Therefore, paying attention to the arrangement of the speech is as important as the text of the speech. ‘Vision for a Century of Türkiye’ begins with a performance including video clips with narrations, dance performances, songs, and poems. The decoration of the hall can also be thought of as part of this performance. This part of the event can be considered as what is called the ‘prologue’ of the speech in the rhetorical tradition and is also part of ideological analysis.

The second part of the event consists of Erdoğan’s speech, where he begins by saluting people in the hall and then praising the Republic and those who fought in the War of Salvation for five minutes. He talks for 35 minutes about the significance of the AKP in the context of the centenary by explaining what it has achieved so far. Following this, he drones on about his party’s achievements by marshalling the services provided by the AKP under his leadership, which lasts for about 20 minutes. After that, he talks about his promises for the ‘Century for Türkiye’ for 20 minutes. In the closing section of the speech, he asks everyone in the hall to stand up and take a nationalist oath with him by repeating his words: ‘One nation, one flag, one homeland, one state! We shall be one! We shall be great! We shall be alive! We shall be siblings! Altogether we shall be Türkiye!’ In sum, the whole speech consists of two main parts of which the first is about glorifying the Turkish nation and the second part is primarily concerned with the AKP and Erdoğan himself. The speech is therefore arranged in a way which conflates the nation with AKP and Erdoğan and argues for an indispensable bond between them.

History without contingency

The event begins with a narration by a male presenter accompanied by sentimental music, speaking about the ‘limitless’ and ‘mystical’ universe that operates with self-evident ‘balance’ and ‘order’. We are told that all we do is ‘to find our place within this universe’, and ‘whatever we do, do it right’. Then, around 25 people representing different age groups, genders, and occupations stage a dance performance, embodying the Turkish nation: comprised of a variety of people yet performing the same movements harmoniously under the same flag.

In this part, first and foremost, the Turkish nation is situated in its place in time and history. We only hear a narration without seeing the actual person speaking and this narration is accompanied by a video show. The voice asks us to commence history with ‘the moment that the horizon was first looked at’; with the moment that ‘the humanity became humanity’. Within this transcendental history whose origin is undeterminable, the beginning of the Turkish nation is also rendered ambiguous. We are told:

If you are asked when this journey began, your response should be ready: When the love of the homeland began!

Thus, the origin of Turkish nation is situated into a self-evident kairos without chronos as if its existence is free from the contingent flow of events throughout history. This arrest of contingency is further amplified through the topos of a ‘nation who always does the right thing’:

You had forty paths, and maybe forty horses too. If you had not chosen the right thing, you would not have been able to arrive at your homeland, today, now. You chose the right thing even if it was the hard one.

Moreover, according to the narration, Turkish nation is a nation which acts now through considering the future; thus, its now is always oriented to the future:

You have always envisaged tomorrow. Your history has been written with your choices. Hence, the future also means you.

Here we see a nation that always knows what it is doing, always does the right thing and has the power to shape history through the choices it makes. Its actions are always determined by its vision for the future and its future is not contingent but is destiny; a ‘journey’ with its own telos.

Then, the narrator asks, ‘when does the future begin?’ and adds, ‘this is the biggest question. The most important question is where the future begins.’ But, this time, we are not left in ambiguity. We are told that it begins ‘here,’ ‘today,’ ‘now’. Strikingly, today is only meaningful as a point of beginning of the future. Hence, our present is also arrested by both our past and our future. We do not have the right to choose our own kairos­—our right time for action for a future that is designated by us—but are destined to conform to the already designated kairos for us within, again, already designated chronos: our possibility to have alternative ‘now’ and alternative ‘future’ is taken from us.

The ethos of Turkishness

Such an articulation of transcendental Turkishness with time and history is amplified with the further delineation of the ethos of the nation. Accordingly, for Erdoğan, the Turkish nation consists of ‘siblings’ who are united under and through the same ‘crescent’—the crescent on the Turkish flag. This is a nation who has the courage and strength to challenge the entire world. Connoting the lyrics of Turkish National Anthem, the lyrics of one of the songs that performed in the event reads:
 
Who shall put me in chains
Who shall put me in my place.
 
Then the song continues by saying:

There is no difference between us under the crescent
We are not scared of coal-black night
We are not scared of villains

Nevertheless, nowhere in the speech are we told who those ‘villains’, or people who want to ‘put us in chains’ are. Although they cannot stop us from our way, we are expected to consider their existence when we act. Here, we see the manifestation of the ethos of Turkishness through its association with the concepts of freedom, understood as sovereignty, and the Turkish flag. Türkiye is presented as a nation where differences between its members perish under the uniting power of the Turkish flag, and when acting, it always prioritises the protection of its sovereignty.
 
Furthermore, it is argued, the most definitive characteristic of the Turkish nation is that it never stops; it is always in motion, walking towards the future. Thus, the current Turkish Republic constitutes just a small part of its ‘thousand years of life’ so far. However, the Republic is important because it proves what the Turkish nation is capable of: it can achieve the unachievable, and it can overcome the toughest obstacles. But Turkish nation’s ambitions cannot be limited to the current Republic, and no matter how much it suffers now it must keep moving towards the future. In his speech, Erdoğan also uses the metaphor of a bridge, which can be thought together with this topos of ‘nation in motion’. He says, ‘We will raise the Turkish Century by strengthening the bridge we have built from the past to the future with humanistic and moral pillars’. Here, the ‘bridge’ signifies the uninterrupted continuity between past and future built by Erdoğan and his party, where the present is only characterised as a transition point in the ‘journey’ of the Turkish nation towards the future.

The performative construction of Turkishness is also accompanied by its articulation with its state, flag and homeland which are the core concepts of Erdoğan’s nationalism that he summaries with the motto ‘one nation, one flag, one state, one homeland.’ For example, in the middle of the hall, there is a huge sundial hanging from the roof, and there is a huge star and crescent on the floor under it that represent the Turkish flag and the homeland. Furthermore, there are 16 balls hanging around the sundial, representing the 16 states founded by Turks throughout history. In Erdoğan’s political thinking, ‘one nation’ signifies indivisible community where the nation is characterised by its ethnic and religious origins- namely being a Turkish and Sunni Muslim. ‘One flag’, on the other hand, signifies the Turkish flag, consisting of red representing the blood of martyrs killed in the Turkish War of Independence, and the white crescent and the star representing the independence and the sovereignty of the country. While ‘one homeland’ represents the land of Türkiye, ‘one state’ signifies the powerful and united Turkish state.

The role of the Justice and Development Party (AKP)

​So far, we have been told who we are, where we are coming from and where we are going, and now, the stage is Erdoğan’s. Erdoğan’s speech consists of three points: situating his party and himself within the history of the Republic by explaining what they have done so far, emphasising his role in this process, then, explaining his promises for the next ‘Century for Türkiye’.

​For Erdoğan, the AKP is the guarantee of continuity between the past and the future. Accordingly, after beginning his speech by praising Atatürk and the people who fought in the War of Independence, he continues by saying:

Of course, there were good things initiated in the first 80 years of our Republic, some of which have been brought to a conclusion. However, the gap between the level of democracy and development that our country should have attained and where we were was so great.

Then AKP came into power, his story goes on, and ‘made Türkiye bigger, stronger and richer’ despite all the ‘coup attempts’ and ‘traps’. It was the AKP who actualised ‘the most critical democratic and developmental leap with common sense, common will and common consciousness going beyond all types of political or social classifications’ by including everyone who has been oppressed and discriminated in Türkiye, from Kurds to Jews. Hence, we are told, it is the AKP who will build the Century for Türkiye through the ‘bridge that it establishes from the past to the future’.

The ethos of Erdoğan

Erdoğan also positions himself as the leader who has brought Türkiye up to date and, thus, the person who can take it into the future. Erdoğan claims that today he is there as a ‘brother’, ‘politician’, and ‘administrator’, as someone who has devoted all his life to the service of his country and the nation. He emphasises that he is there with the confidence that stems from his ‘experience’ in running the country. He then situates himself within other significant or founding leaders in Turkish history by saying,

I am here, in front of you with the claim of representing a trust stretching out from Sultan Alparslan to Osman Bey, from Mehmet the Conqueror to Sultan Selim the Stern, from Abdulhamid Han to Gazi Mustafa Kemal.

Thus, he is not only one of the leaders in the 100 years of the Turkish Republic but is part of a line of leaders beginning with Sultan Alparslan who led the entrance of Turks to Anatolia with the Battle of Malazgirt in 1071. Moreover, for him,

We are at such a critical conjuncture that, with the steps that we take, we are either going to take our place in the forefront of this league or we are going to be faced with the risk of falling back again.

This is the task awaiting the leader, one that is so crucial and important that it cannot be undertaken by just any leader. It requires, first and foremost, experience. As proof of his and his party’s level of experience and ability to undertake big and important tasks, he reels off a lengthy list of services provided by the AKP under his leadership in the last 20 years. He gives detailed figures from education, health, transportation, sport etc., such as how AKP has increased the number of classrooms from 343,000 to 612,000, or the number of airports in the country from 26 to 57, or the gross domestic product from 40 billion Lira to 407 billion Lira. Thus, he seeks to close the debate around his way of governance and leadership by depoliticising the discussion through relying on inarguable statistics. Then, he again draws attention to the experience when at the same time emphasising the inexperience of the opposition in running the country and warns, ‘if we do not continue our way by putting one work on top of another one, it is inevitable that we are going to vanish’. Consequently, as happened during the process that led to the independence of Türkiye and the foundation of the Turkish Republic 100 years ago, we are put in a position of choosing between two options, this time presented by Erdoğan: either we are going to do the right thing, or we are going to disappear.

Concepts of the ‘Vision for a Century of Türkiye’

Then, Erdoğan moves onto explaining the ‘spirit’, ‘philosophy’, and ‘essence’ of the ‘Vision for a Century of Türkiye’ that he suggests as a vision for future not only to Türkiye but to the entire world and humanity. He summaries the Vision with 16 core concepts—namely, sustainability, tranquility, development, values, power, success, peace, science, the ones who are right, efficiency, stability, compassion, communication, digital, production, and future. At the core of those 16 concepts lies the claim and promise to make Türkiye a great regional and global power. Such an assertion consists of two dimensions: first, liberal economic developmentalism, which has a prominent place in the Turkish neoliberal conservative political tradition and is structured around the adjacent concepts such as growth, progress, investment, and enhancing competitive power. For example, Erdoğan says,

We will make Türkiye one of the largest global industrial and trade centres by supporting the right production areas based on advanced technology, with high added value, wide markets, and increasing employment.

According to Erdoğan, the second dimension of making Türkiye great consists of security and stability. For him, Türkiye has become a global and regional power under his rule thanks to the stability and security guaranteed by the presidential system that came into force in 2017. The continuation of this power, he argues, depends on the maintenance of this security and stability, which is also the guarantee for a continuously prosperous economy and the provision of more work and service to the country. When doing this, for him, we are also responsible for the protection of the values belonging to the whole of humanity—not only the Turkish nation—thus we will also ensure ‘cultural and social harmony’.

When considered together with the whole speech, this section conforms with Erdoğan’s understanding of Turkishness articulated with himself and his party. According to the reasoning that we are asked to follow throughout the event, instead of being occupied with the present infrastructural problems of the country that have led to the deterioration of the economy and democracy, our thinking and actions must always be future-oriented. In this respect, for example, what matters is not the present economic situation but the economy in the future as presented in the Vision. We might be starving and struggling to continue our daily lives yet still we should continue growing, competing with our rivals, and building bridges and airports. And such a shining future cannot be arrived through change and but only through security and stability ensured by the leadership of the ‘right man’.

Then, he makes a call to ‘everybody’ to contribute to the ‘Century for Türkiye’, to ‘discuss’ it, to ‘put forward proposals’, and to ‘create’ and ‘build’ the vision for a Century of Türkiye together. However, it is not clear how people are to contribute to the ‘Vision for a Century of Türkiye’ when our past, present, and path to the future are turned into a destiny where we are not agents but prisoners. In fact, such a tension between the closure and opening of the political space can be witnessed throughout the whole speech. For example, Erdoğan says,

Today we have come together for the promise of strengthening the first-class citizenship of the 85 million, except the ones committing hate crimes, crimes of terror and crimes of violence.

Here, he draws his antagonistic boundaries around who is included and excluded from the nation. When doing this, he uses tellingly vague terms such as ‘crimes of terror’, which can potentially include anyone depending on how far the definition of ‘terror’ becomes stretched. However, despite this, he promises ‘to put aside all the discussions and divisions that have polarised our country for years and damaged the climate of conversation that is the product of our people's unity, solidarity and brotherhood’. This should be understood as part of his effort to secure his existence in the future of the country as the leader of the whole nation, yet still seeking to do this by persuading people of his way of doing politics. Here, the art does not lie in the total closure and opening of the political space but in the ability to convince people that he is the leader who can do both any time he sees convenient—this is a crucial dimension of Erdoğan’s leadership style.

Finally, he ends the speech with an oath as he usually does. He asks around 5,000 people in the hall stand up and repeat his words after him: ‘One nation, one flag, one homeland, one state! We shall be one! We shall be big! We shall be alive! We shall be siblings! Altogether we shall be Türkiye!’ This is his signature; thus, the speech has been signed.

Conclusion

Erdoğan’s nationalist political thinking in the context of the centenary of the Turkish Republic is shaped by his particular way of intervening in the political situation and has become part of his strategic action. Erdoğan employs the centenary to assert the continuity of his and his party’s leadership by establishing an analogical continuity between the foundation of the Turkish Republic 100 years ago and his leadership today. He turns the kairological moment in the past into his kairological moment for himself. He does this by articulating Turkishness, time and history in a way that enables him to situate himself and his party as the only figure that can guarantee such continuity on which the existence of Turkish nation depends—otherwise, we are going to ‘vanish’. Returning to Benjaminian analysis, Erdoğan takes a ‘tiger’s leap into the past’[16] to establish such continuity, however, as history has also shown us, there is a limit for every jump.
 


[1] I quoted this phrase from the amended version of the Turkish Constitution in 1923 known as Teskilat-i Esasiye Kanunu. The Constitution can be reached from: TESKILATI_ESASIYE.pdf (tbmm.gov.tr), p. 373.

[2] Benjamin, W. (1970). ‘Thesis on the Philosophy of History’, in Arendt, H. (ed.) Illuminations, pp. 264. Jonathan Cape.

[3] Smith, J. E. (2002). ‘Time and Qualitative Time’, in Sipiora, P. and Baumlin, J. S. (eds.), p. 47, Rhetoric and Kairos: Essays in History, Theory and Praxis, pp. 46-57. State University of New York Press.

[4] Ewing, B. (2021). ‘Conceptual history, contingency and the ideological politics of time’, in Journal of Political Ideologies, 26:3, p.271.

[5] Cumhurbaşkanı Erdoğan "Türkiye Yüzyılı" vizyonunu açıkladı - YouTube

[6] Freeden, M. (1996). Ideologies and Political Theory. Clarendon Press.

[7] Finlayson, A. (2012). ‘Rhetoric and the Political Theory of Ideologies’, in Political Studies. 60:4, p.757.

[8] Finlayson, A. (2021). ‘Performing Political Ideologies’, in Rai, S. (ed.) et al, The Oxford Handbook of Politics and Performance, pp. 471-484. Oxford University Press.

[9] Finlayson, A. (2012). ‘Rhetoric and the Political Theory of Ideologies’, in Political Studies. 60:4, pp. 751-767.

[10] Finlayson, A. (2012). ‘Rhetoric and the Political Theory of Ideologies’, in Political Studies. 60:4, p.751.

[11] Martin, J. (2015). Situating Speech: A Rhetorical Approach to Political Strategy. Political Studies, 63:1, pp. 25-42.

[12] Adar, S. and Seufert, G. (2021). Turkey’s Presidential System after Two and a Half Years. Stiftung Wissenchaft und Politik (SWP) Research Paper 2.

[13]  Erdogan ousts Turkey central bank governor days after rate hike | Financial Times 

[14] 70 percent of Turkey struggling to pay for food, survey finds | Ahval (ahvalnews.com)

[15] Turkey's inflation hits 24-year high of 85.5% after rate cuts | Reuters

[16] Benjamin, W. (1970). ‘Thesis on the Philosophy of History’, in Arendt, H. (ed.) Illuminations, p.263. Jonathan Cape.

Emily Katzenstein: You describe your own work in terms of ‘decolonising urban spaces’ through artistic interventions. Can you tell us what that decolonisation means in this context? What projects are you currently working on?

Yolanda Gutiérrez: At the moment, I have two different kinds of projects. One is the Urban Bodies Projects. That’s a project that deals with the colonial past of European cities. I am working with local dancers in each city. The next one will be in Mexico City, and then one, next year, in Kigali. My second project is the Decolonycities Project. That’s a project about dealing with the German colonial past in the city of Hamburg, through the eyes of those who were colonised. I am planning to do five projects in five countries—Togo, Cameroon, Tanzania, Namibia, and Rwanda [countries Germany colonised in the late 19th and early 20th century—eds.]

And then I have the Bismarck-Dekolonial Project, which I started when this Bismarck controversy arose. In Hamburg, they are renovating the Bismarck monument for €9 million. It became a big controversy and overlapped with the Black Lives Matter protests in the U.S., and here in Germany. Here in Hamburg, activists started to paint or graffiti all kinds of colonial monuments and symbols of white supremacy. Suddenly, overnight, these monuments had been altered. But you can’t really do that with the Bismarck statue because they’re currently renovating it and it’s surrounded by protective walls. So, we’ve been having a two year long discussion about what should happen with the Bismarck monument.

The discussion in Hamburg was driven by a lot of activists, especially people of colour. For me, however, it was important to see what would happen if we brought in the perspectives of artists from former German colonies (Namibia, Cameroon, Togo, Burundi, Rwanda and Tanzania—eds.) who are living with the consequences of Bismarck’s role in Germany’s colonial past. So I acted as a producer and curator, and I invited artists from the countries that Germany colonised in Africa to stage their own performances in Hamburg, at historical sites that are linked to Germany’s colonial past. The artists who participated were Isack Peter Abeneko[1], Dolph Banza, Vitjitua Ndjiharine, Stone, Moussa Issiaka, Fabian Villasana aka Calavera, Sarah Lasaki, Faizel Browny, Samwel Japhet, and Shabani Mugado.

That’s a political statement. When the invited artists put themselves in the spaces that have some significance in Germany’s colonial history, they appropriate those spaces. The artists put on performances that reinterpreted the meaning of the places in which they performed. During the International Summer Festival, when the invited artists from Bismarck-Dekolonial put on their performances, for example, the audience could participate in what I call a decolonising audio-walk: you could see the artists’ performance while simultaneously listening to an audio track that plays the sounds of German troops leaving the Hamburg port, for example—a huge event at the time. So, the audio of German troops leaving from the Hamburg port is juxtaposed with the performance of the artists from Namibia, Rwanda, Tanzania, and Cameroon. You are listening to an audio track about the event of German colonial troops leaving from the Hamburg port, and, simultaneously, you see the performances of artists who are descendants of those who were most directly affected by Germany’s colonial policy.

We often tend to think of history as something stale, dead—something that belongs in the past, that we don’t care about. In discussions of Germany’s colonial past, that is a reaction that you encounter quite often. People say: That’s in the past and there is nothing that we can do about it. The past cannot be undone. And my reaction is: Yes, the past cannot be undone but we can change the perspective of how we look at history.

EK That is something that brings the different contributions of this series together—the sense that the past is, in a sense, contemporaneous, and that the stories that we tell about the past are crucial to our sense of who we are today. Can I come back to the question I asked earlier? What does decolonisation mean when it comes to artistic interventions? How do you conceive of decolonisation in your own work?

YG: Yes, my work reflects on the fact that history has been written by the colonisers. For hundreds of years, the colonial gaze has shaped our understanding of the societies that Europeans colonised. For example, during the Spanish conquest of Latin America, Spanish priests often took on the role of historians. Their impressions of the societies they encountered was heavily influenced by the own cultural presuppositions. For example, they had certain notions about the role of women in society, notions about gender roles, etc. That coloured and distorted their view of the societies they tried to describe. In the case of women in Aztec society, for example, they confused expectation and reality, and described what they expected to find—they portrayed Aztec women as unemancipated and occupying a predominantly domestic role, because that’s the way they saw the role of women in Catholic Spain. But now there are new histories of indigenous societies. There was an amazing exhibition in the Linden Museum Stuttgart on Aztecs culture, for example, that reflected very critically on the ways of seeing that have shaped European impressions of Aztec society over generations. That is what I am trying to do in terms of my artistic interventions—to publicise and communicate ‘unwritten’ histories, untold stories, and marginalised historical perspectives.

To do that, I work closely with historians. For example, my most recent project is situated in Namibia, which was colonised by Germany in the late 19th and early 20th century. From the beginning, I’ve collaborated with Jan Kawlath, a doctoral student in history at the University of Hamburg. His PhD investigates how the departure of German colonial troops was publicly celebrated to performatively construct images of Germany as a colonial power. And when we visit the historical sites at which we will stage performances, we listen to his writings about events that took place there, and his writing about these places and sites informs our choreography.

In that sense, my work is influenced by Gloria Wekker’s work on the cultural archive.[2] Wekker writes so powerfully about the importance of the cultural archive. There’s also a James Baldwin quote that captures it well: “History is not the past, it is the present. We carry our history with us. We are our history. If we pretend otherwise, we literally are criminals.”[3]

EK: In your work, you’ve experimented with different modes of presentation and media to stage decolonising artistic interventions. You already mentioned the ‘decolonising audio-walk’. Can you explain the concept of a decolonising audio walk?

YG: Yes, I use the concept of decolonising audio walks in all my projects. The audience has head-phones, and walks to historical sites that have some significance in the colonial past of the city. When you arrive at a site, you see the performance while listening to the audio soundtrack. It is a combination of different types of information, historical facts, interviews with experts, statements by artists, music, etc. etc. Afterwards, you walk to the next site, and so on. It is a way to incorporate a lot of different elements: Dance, audio—it’s an embodied experience for the audience because they walk through the city. Walking through the city allows you to see familiar places with new eyes. I mean, normally, once you’ve lived in a city for a while, you assume you know the place and you’re not going to go on a tour of the city. But then, during the decolonising audio walk, you experience yourself not knowing the city that you assumed you knew, and that allows you to uncover the histories that are normally not talked about.

EK On the website of the Bismarck-Dekolonial Project, you raise a question that I found fascinating, and that I wanted to put to you: namely, what kinds of artistic interventions are effective in contributing to decolonising urban spaces? How do you think about the different artistic strategies and interventions one can stage, and about the differences in the impact they have? With regards to the ‘decolonising audio-walk’, is there a tension between this momentary performative intervention and the monuments that embody permanence? Can performances effectively contest the built environment?

YG: Performances in urban spaces are a way to reach people easily. By contrast, universities have, for a couple of years, been doing a lot of “Ringvorlesungen” (series of lectures by different speakers), where you have artists and academics talk to each other about decolonisation. I have been following all these discussions, and I think that’s also an interesting approach, but they don’t reach a broad audience. Similarly, in the arts, there are many exhibitions that deal with decolonisation, but they are framed in a very particular way, and it’s for a particular audience; they don’t reach as many people. And what I really love about dance is that it allows me to juxtapose different temporalities and sensory impressions—historical accounts or sounds from the past are juxtaposed with a performance that’s very much in the moment. You can connect the history to which you are listening to what you see. In that sense, it’s a way to demonstrate the contemporaneity of the past. It’s like puzzle pieces coming together.

But audio walks, and performances more generally, are ephemeral, and that is my big challenge. You can put on as many performances as you like—for example, during the International Summer Festival 2021 in Hamburg, we put on five performances every day, which was already a lot. But even if you do a hundred performances per day, it doesn’t change the fact that it is ephemeral. So right now, my big question is how we can turn this into something more permanent. Because it’s all about memory, right? It’s about memorials and historical sites that need to be decolonised. And the challenge for me is: How can I, as an artist in the performing arts, leave a print that’s permanent? I am trying to get ‘into memory’ and I am still trying to figure out how far we can go with these performances and audio-walks in historical sites, what their impact is.

So that’s my big next challenge. I always say that the fact that the artists who participated in the Bismarck-Dekolonial Project—Isack Peter Abeneko, Dolph Banza, Vitjitua Ndjiharine, Stone, Moussa Issiaka, Fabian Villasana aka Calave, Sarah Lasaki, Faizel Browny, Samwel Japhet, and Shabani Mugado—put on these performances around the Bismarck monument means that the space has been altered. It is no longer the same space, no longer holds the same meaning. The traces they left are ephemeral but they are there, nonetheless. There is a trace. That’s why I want to work on putting up a QR code or something similar. At the moment, my idea is to combine it with a visually appealing sculpture or something else that attracts passers-by, so that they say: “What’s that? I want to know more.” And then they can use the QR code to watch the performance that happened in the space.

EK: One of the questions that always structures debates about contested monuments, it seems to me, is how we should think about the relationship between meaning and monuments. As an artist, how do you think about this relationship between monuments and meaning? Can we speak of a ‘hegemonic’ meaning of particular monuments or should we think about a multiplicity of meanings? Should we oppose hegemonic meanings with counter-hegemonic meanings, or prioritise showcasing the diversity and multiplicity of possible interpretations and meanings? What’s your approach to this?

YG: In Germany, we haven’t spent enough time reflecting Germany’s colonial past. The Second World War is obviously a horrific part of Germany’s history, and it tends to overshadow everything else, including Germany’s colonial past. But that means that you miss crucial connections, and that people don’t know Germany’s colonial past. For example, that the idea of the concentration camps was first developed during the genocide of the Herero and Nama in Namibia, camps that were built in the beginning of the 20th century. For me, the representation of Bismarck is a symbol of the power that Germany had in the world at that time. In the case of Bismarck, this is dangerous, because it works as a magnet for the right-wing, and we experienced that in a very, very bad way. During the performance of Vitjitua Ndjiharine, a visual artist from Namibia, one person in the audience suddenly went up to her and gave the Hitlergruß. He was facing the Bismarck monument, and stood in front of her, and gave the Hitlergruß.

So, trying to deal with this statue and with what it represents is exactly where the power is, for me. I mean, just look at it. The sheer measure of the monument is so imposing. And I think that’s the way that Germans were feeling when they colonised Namibia. If you read the writings of German colonial officials at the time, there is this feeling of supremacy. And that’s difficult to deal with, especially now, when they are polishing the Bismarck monument and literally making it whiter.

EK: There have been many proposals as to what should happen with the Bismarck monument. Some have argued that the monument should be removed altogether, others have argued that it should be turned on its head, and yet others propose letting it crumble. I assume letting it crumble is not really an option for safety reasons, but I’ve always liked the symbolism of it. What do you think should happen with the monument?

YG: I think if you vanish the Bismarck monument that doesn’t mean that you’ve vanished the meaning of Bismarck in the minds of people; what his figure means for people. And you can’t simply let the monument crumble—the size of the monument means that that is unfeasible. There were issues with the static of the monument, that’s why they’re renovating it. I mean with some monuments, you can let them crumble, no problem, but given the size of the Bismarck monument that’s not feasible.

But you know what? I could see it happening in a video, a video that’s then projected unto the Bismarck monument. That’s something that we have experimented with, too. We didn’t pull the statue down but we did what we call ‘video mapping.’ We did it at night, and that’s when I really felt like an activist. I had a generator, and it was midnight, and we had to set everything up. That’s the first time where I had to inform the municipality and said: Hey, I'm going to do this at the Bismarck monument. And they said, OK, that’s fine. You're going to destroy it. Nothing is going to happen. But I mean, you could see the change—suddenly the Bismarck monument became the canvas instead of the symbol it usually represents.

Of course, that’s a temporary intervention. But I am also convinced that we need a permanent artistic intervention. I think we need an open space for discussions. For example, I could imagine a garden around the monument, a place where we can keep this dialogue and this discussion going once the renovation is done.

I am not a visual artist, obviously, but I was on a podium discussion[4] about decolonising and recontextualising the Bismarck statue with several other artists. There were two very interesting women, Dior Thiam, a visual artist from Berlin, and Joiri Minaya, a Dominican- American artist based in New York. Joiri Minaya has already covered two colonial statues at the port of Hamburg, a statue of Vasco da Gama and a statue of Christopher Columbus, with printed fabrics of her own design[5]—it’s very interesting work. As I said, I am not a visual artist, but I think that a permanent art intervention is necessary. Because what I do is so ephemeral, and I have the sense that we need to reach as broad an audience as possible.

EK: The discussions about what to do with the Bismarck monument have been ongoing for the last two years. What impact has the debate had? Do you get the sense that the debate has contributed to a broader political awareness of Bismarck’s role in Germany’s colonial past in Hamburg? Or is this largely a debate amongst a relatively narrow set of actors?

YG: Yes, the question about impact. What I got tired of were all these discussions on advisory boards, and advisory committees: People discuss a lot. I am a maker, and I sat at a lot of these discussions and said, yes, we can keep discussing but we also need to do something now. And people had a lot of reasons for why we couldn’t do anything until later. But to me it seemed wrong to wait until the renovations are finished. It seemed like a strange idea to stage an intervention once Bismarck’s shining in all his glory, you know. The discussions are good and all, but they are not enough. They don’t reach enough people; they don’t reach communities. I think it would be fantastic to have something like the project Monument Lab in the United States here in Germany. Monument Lab is combination of different layers of communities—they bring together artists, activists, municipal agencies, cultural institutions, and young people. That’s precisely what we need to do around the Bismarck statue. We need a multilayered participatory process that includes different groups in society.



[1] Due to pandemic-related travel restrictions, Isack Peter Abeneko could only participate remotely from Dar es Salaam.

[2] Gloria Wekker, White Innocence: Paradoxes of Colonialism and Race. Durham, 2016.

[3] As cited in I Am Not Your Negro, directed by Raoul Peck (2016; New York: Magnolia Pictures, 2017), Netflix. (1:26:32).

[4] Behörde für Kultur und Medien Hamburg, “(Post) colonial Deconstruction: Artistic interventions towards a multilayered monument”, 16.09.2021, https://www.youtube.com/watch?time_continue=6215&v=hRFzASv_ea4&feature=emb_logo

[5] For images of the covered statues and an explanation about the symbolism of the printed fabrics, see the link above at 1:25-1:30.

The roots of Russian President Vladimir Putin’s invasion of Ukraine are to be found in the elevation of Tsarist imperial nationalist and White Russian émigré views, which deny the existence of Ukraine and Ukrainians.[1] The Soviet Union recognised Ukrainians as a people separate but close to Russians. Russian imperial nationalists hold a Jekyll-and-Hyde view of Ukraine. While denigrating Ukraine in a colonial manner that would make even Soviet-era Communist Party leaders blush, Russian leaders at the same time claim to hold warm feelings towards Ukrainians, whom they see as the closest people to them. In this light, ‘bad’ Ukrainians are nationalists and neo-Nazis who want their country to be part of Europe; ‘good’ Ukrainians are obedient Little Russians who know their place in the east Slavic hierarchy and want to align themselves with Mother Russia. In other words, ‘good’ Ukrainians are those who wish their country to emulate Belarus. In practice, during the invasion, cities such as Kharkiv and Mariupol that have resisted the Russian incursion have been pulverised irrespective of the fact they are majority Russian-speaking. In turn, the fact of this resistance means to Russia’s leaders that these cities are inhabited by ‘Nazis’, not Little Russians who would have greeted Russian troops—and who should therefore be destroyed. 

Without an understanding of the deepening influence of Tsarist imperial nationalism in Russia since 2012, and especially following Crimea’s annexation in 2014, scholars will be unable to grasp or explain why Putin has been so obsessed with returning Ukraine to the Russian World—a concept created as long ago as 2007 as a body to unite the three eastern Slavs, which underpinned his invasion of Ukraine in 2022.

Putin’s invasion did not come out of nowhere, but had been nurtured, discussed, and raised by Putin and Russian officials since the mid-2000s in derogatory dismissals of Ukrainians, and in territorial claims advanced against Ukraine. Unfortunately, few scholars took these at face value until summer 2021, when Putin published a long 6,000-word article[2] detailing his thesis about Russians and Ukrainians constituting one people with a single language, culture, and common history.[3] Ukrainians were a ‘brotherly nation’ who were ‘part of the Russian people.’ ‘Reunification’ would inevitably take place, Putin told the Valdai Club in 2017.[4]

The overwhelming majority of scholarly books and journals have dismissed, ignored, or downplayed Russian nationalism as a temporary phenomenon.[5] Richard Sakwa claimed Putin was not dependent upon Russian nationalism, ‘and it is debatable whether the word is even applicable to him.’[6] Other scholars described it as a temporary phenomenon that had disappeared by 2015–16.[7] A major book on Russian nationalism published after the 2014 crisis included nothing on the incorporation of Tsarist imperial nationalist and White Russian émigré discourse that dismissed the existence of Ukraine and Ukrainians.[8]

Russia’s invasion of Ukraine backed by Russian nationalist rhetoric has led to many Western academics suggesting that the Russian forces have ended up—or will end up—with egg on their faces. Why they felt the need to take this angle has varied, ranging from elaborate political science theories popular in North America about the nature of the Russian regime to the traditional Russophilia found among a significant number of Euro-American scholars writing about Russia.[9] As Petro Kuzyk pointed out, in writing extensively about Ukrainian regionalism, scholars have tended to exaggerate intra-Ukrainian regional divisions. [10] This has clearly been seen during the invasion, when Russia has found no support among Russian-speakers in cities such as Kharkiv, Mariupol, Odesa, and elsewhere. Furthermore, the prevailing consensus prior to the invasion among scholars and think tankers was eerily similar to that in Moscow; namely, that Ukraine would be quickly occupied, President Volodymyr Zelenskyy would flee, and Kyiv would be captured by Russian troops. That this did not happen again shows a a serious scholarly miscalculation about the strength of Ukrainian identity, and an overestimation of the strength of Russian military power.[11]

Nationalism in Putin’s Russia has integrated Tsarist imperial and Soviet nationalisms into an eclectic ruling ideology that drives the invasion. Putin, traditionally viewed as nostalgic for the Soviet Union, has also exhibited some pronounced anti-Soviet tendencies, above all in criticising Soviet leader Vladimir Lenin for creating a federal union of republics that included ‘Russian lands’ in the south-east, and artificially creating a ‘fake’ Ukrainian people. Putin’s invasion goal of ‘denazification’[12] aimed to correct this mistake by destroying the ‘anti-Russia’ nurtured by the West.[13]

Both scholars and Russian leaders have been baffled as to how to understand and explain the tenacity of Ukrainian identity that has fought the Russian army to a standstill, and is now in the position of launching counterattacks. What is particularly difficult for Russian political leaders and media journalists to explain is how a people that supposedly does not exist (Ukrainians) could greet the ‘special military operation’ (Putin’s dystopian term for the invasion of Ukraine) not with bouquets of flowers but met it with armed resistance.
 
Instrumentalism: Russian Nationalism as a Temporary Phenomenon

Sakwa[14] writes that ‘the genie of Russian nationalism was firmly back in the bottle’ by 2016. Pal Kolstø and Marlene Laruelle, along similar lines, write that the nationalist rhetoric of 2014 was novel and subsequently declined.[15] Meanwhile, Henry Hale[16] also believes Putin was only a nationalist in 2014, not prior to the annexation of the Crimea or since 2015. Laruelle[17] concurs, writing that by 2016, Putin’s regime had ‘circled back to a more classic and pragmatic conservative vision’. Laruelle describes Putin’s regime as nationalistic only in the period 2013–16, arguing that ‘since then [it] has been curtailing any type of ideological inflation and has adopted a low profile, focusing on much more pragmatic and Realpolitik agendas at home and abroad.’[18] Paul Chaisty and Stephen Whitefield write, ‘Putin is not a natural nationalist’ and ‘[w]e do not see the man and the regime as defined by principled ideological nationalism.’[19] Sakwa[20] is among the foremost authors who deny that Putin is a nationalist, describing him as not an ideologue because he remains rational and pragmatic—which sharply contrasts with an invasion that most commentators view as irrational. Allegedly, moreover, there has been a ‘crisis’ in Russian nationalism.[21] Other scholars, meanwhile, believed that Putin ‘lost’ nationalist support.[22] 

In reality, the opposite took place. Russian imperial nationalism deepened, penetrated even further into Russian society and became dominant in Putin’s regime during the eight years between the invasions of Crimea and Ukraine. Russian imperial nationalist denials of the existence of Ukraine and Ukrainians became entrenched and have driven the invasion of Ukraine.
 
Patriots and Conservatives - Not Nationalists

Scholars described Russian nationalists as ‘patriots’ and western-style ‘conservatives.’ In the same year that the constitution was changed to allow Putin to remain president until 2036,  Laruelle writes ‘the Putin regime still embodies a moderate centrist conservatism.’[23] Petro, Sakwa, and Robinson analogously describe a ‘conservative turn’ in Russian foreign policy.[24]

If contemporary British conservatives annexed part of Ireland and denied the existence of the Irish people, “conservatism” would no longer fully capture the ideology they represented. By the same token, the Putin regime’s annexation of Crimea and denial of the existence of Ukraine and Ukrainians has sharply steered Russian conservatism towards the conceptual centrality of imperial nationalism.

In their analyses, Sakwa and Anna Matveeva could only identify ‘militarised patriotism’ or elites divided into ‘westerners’ and ‘patriots.’[25] Following his 2012 re-election, Sakwa writes that Putin only spoke of ‘Russian identity discourse’ and Putin’s ‘conservative values’ which he believes should be not confused with a Russian nationalist agenda.[26]

Sakwa has generally avoided using the term ‘nationalist’ when discussing Russian politicians. This created problems in explaining why a ‘non-nationalist’ Putin might choose to support a wide range of far-right and a smaller number of extreme left political movements in Europe and the US, ranging from national-conservatives, populist-nationalists, irredentist imperialists to neo-Nazis in Europe. Sakwa[27] attempts to circumvent this conundrum by relying on a portfolio of euphemistic alternatives, describing these far-right and extreme left movements as ‘anti-systemic forces,’ ‘radical left,’ ‘movements of the far right,’ ‘European populists,’ ‘traditional sovereigntists, peaceniks, anti-imperialists, critics of globalisation,’ ‘populists of left and right,’ and ‘values coalition.’
 
Putin’s Imperial Nationalist Obsession with Ukraine

The Soviet regime recognised a separate Ukrainian people, albeit one that always retained close ties to Russians. The Ukrainian SSR was a ‘sovereign’ republic within the Soviet Union. In 1945, Joseph Stalin negotiated three seats at the UN for the USSR (representing the Russian SFSR), Ukrainian SSR, and Belarusian SSR. In the USSR, there was a Ukrainian lobby in Moscow, while this has been wholly absent under Putin.[28]

Soviet nationality policy defined Ukrainians and Russians as related, but nevertheless separate peoples; this was no longer the case in Putin’s Russia. In the USSR, Ukraine, and the Ukrainian language ‘always had robust defenders at the very top. Under Putin, however, the idea of Ukrainian national statehood was discouraged.’[29] Although the USSR promoted Russification, it nevertheless recognised the existence of the Ukrainian language. For a decade prior to the invasion, the Ukrainian language was disparaged by the Russian media and political leaders as a dialect that was artificially made a language in the Soviet Union.[30]

Russian nationalist myths and stereotypes underpinning the February 2022 invasion of Ukraine had been raised, discussed, and threatened for over a decade prior to the ‘special military operation’. When Putin returned as president in 2012, he portrayed himself as the ‘gatherer of Russian [i.e., eastern Slavic] lands.’ Ukraine’s return to the Russian World, alongside Crimea and Belarus, was Putin’s unfinished business that he needed to accomplish before entering Russia’s history books. Ukraine, as a ‘Russian land’, should fall within the Russian World and remain closely aligned to Russia. Ukrainians, on this account, had no right to decide their own future.  

Russia sought to accomplish Ukraine’s return to the Russian World through the two Minsk peace agreements signed in 2014–15. Ukrainian leaders resisted Russian pressure to implement the agreements because they would have created a weak central government and federalised state where Russia would have inordinate influence through its proxy Donetsk Peoples Republic and Luhansk Peoples Republic.

The failure of Russia’s diplomatic and military pressure led to a change in tactics in October 2021. Early that month, former President Dmitri Medvedev, now deputy head of Russia’s Security Council, penned a vitriolic attack on Ukrainian identity as well as an anti-Semitic attack on Jewish-Ukrainian President Volodymyr Zelenskyy, ruling out further negotiations with Kyiv.[31] Medvedev claimed Ukrainian leaders were US puppets, and that therefore the Kremlin needed to negotiate directly with their alleged ‘puppet master’—Washington. Meanwhile, Russia would ‘wait for the emergence of a sane leadership in Ukraine,’ ‘who aims not at a total confrontation with Russia on the brink of war…but at building equal and mutually beneficial relations with Russia.’[32] Medvedev was revealing that Russia’s goal in any future military operation would be regime change, replacing an ‘anti-Russia’ leadership with a pro-Kremlin leader.[33]

In early November 2021, Russia’s foreign policy machine mobilised and made stridently false accusations about threats from Ukraine and its ‘Western puppet masters.’ Russia began building up its military forces on the Ukrainian border and in Belarus. In December 2021, Russia issued two ultimatums to the West, demanding a re-working of European security architecture.

The consensus within Euro-American commentary on the invasion has been that this crisis was completely artificial. NATO was not about to offer Ukraine membership, even though Ukraine had held periodic military exercises with NATO members for nearly three decades, while the US and NATO at no point planned to install offensive missiles in Ukraine. The real cause of the crisis was the failure of the Minsk peace process to achieve Ukraine’s capitulation to Russian demands that would have placed Ukraine within the Russian sphere of influence. After being elected president in April 2019, Zelenskyy had sought a compromise with Putin, but he had come round to understanding that this was not on offer. The failure of the Minsk peace process meant Ukraine’s submission would now be undertaken, in Russian Foreign Minister Sergei Lavrov’s words, by ‘military-technical means’—that is, the ‘special military operation’ that began on 24 February 2022.
 
Russian Imperial and White Émigré Nationalism Captures Putin’s Russia

Downplaying, marginalising, and ignoring Russian nationalism led to the ignoring of Russian nationalism’s incorporation of Tsarist and White Russian émigré denials of the existence of Ukraine and Ukrainians. Marginal nationalism in the 1990s became mainstream nationalism in Russia in the 2000s under Putin when the ‘emergence of a virulent nationalist opposition movement took the mainstream hostage.’[34] The 1993 coup d’état against President Boris Yeltsin was led by a ‘red-brown’ coalition of pro-Soviet and far-right nationalists and fascists. The failure of the coup d’état and the electoral defeat of the Communist Party leader Gennadiy Zyuganov in the 1996 elections condemned these groups to the margins of Russian political life. At the same time, from the mid 1990s, the Yeltsin presidency moved away from a liberal to a nationalist foreign and security approach within Eurasia and towards the West. This evolution was discernible in the support given to a Russian-Belarusian union during the 1996 elections and in the appointment of Yevgeny Primakov as foreign minister. Therefore, the capture of Russia by the Soviet siloviki began with the Chairman of the Foreign Intelligence Service (SVR), Primakov, four years before the chairman of the Federal Security Service (FSB), Putin, was elected president. Under Primakov, Russia moved from defining itself as part of the ‘common European home’ to the country at the centre of Eurasia.

Under Putin, the marginalised ‘red-brown’ coalition gradually increased its influence and broadened to include ‘whites’ (i.e., nostalgic supporters of the Tsarist Empire). Prominent among the ideologists of the ‘red-white-brown’ coalition was the fascist and Ukrainophobe Alexander Dugin, who has nurtured national-Bolshevik and Eurasianist political projects.[35] In the 2014 crisis, Dugin, then a professor at Moscow State University, stated: ‘We should clean up Ukraine from the idiots,’ and ‘The genocide of these cretins is due and inevitable… I can’t believe these are Ukrainians. Ukrainians are wonderful Slavonic people. And this is a race of bastards that emerged from the sewer manholes.’[36]

During the 2000s the ‘red-white-brown’ coalition came to prominence and Putin increasingly identified with its denial of Ukraine and Ukrainians.  Tsarist imperial nationalism was integrated with Soviet nostalgia, Soviet traditions and symbols and historical myths, such as the Great Patriotic War. Since the mid 2000s, only five years into his rule, Putin spearheaded the rehabilitation of the White Russian émigré movement and reburial of its military officers, writers, and philosophers in Russia. These reburials took place at the same time as the formation of the Russian World Foundation (April 2007) and unification of the Russian Orthodox Church with the émigré Russian Orthodox Church (May 2007). These developments supercharged nationalism in Putin’s Russia, reinforced the Tsarist element in the ‘red-white-brown’ coalition and fuelled the growing disdain of, and antipathy towards Ukraine and Ukrainians that was given state support in the media throughout the two decades before the invasion.[37]

Putin personally paid for the re-burial of White Russian émigré nationalists and fascists Ivan Ilyin, Ivan Shmelev, and General Anton Deniken, who called Ukraine ‘Little Russia’ and denied the existence of a separate Ukrainian nation. These chauvinistic views of Ukraine and Ukrainians were typical of White Russian émigrés. Serhy Plokhy[38] writes, ‘Russia was taking back its long-lost children and reconnecting with their ideas.’ Little wonder, one hundred descendants of White Russian émigré aristocrats living in Western Europe signed an open letter of support for Russia during the 2014 crisis.

Putin was ‘particularly impressed’ with Ilyin, whom he first cited in an address to the Russian State Duma as long ago as 2006. Putin recommended Ilyin to be read by his governors, senior adviser Vladislav Surkov, and Prime Minister Dmitri Medvedev. The intention was to use Ilyin’s publications in the Russian state programme to inculcate ‘patriotism’ and ‘conservative values’ in Russian children. Ilyin was integrated into Putin’s ideology during his re-election campaign in 2012 and influenced Putin’s re-thinking of himself as the ‘gatherer of Russian lands;’ that is, integrating Belarus and Ukraine into the Russian World, and specifically his belief that the three eastern Slavs constituted a pan-Russian nation.[39]
​
Laruelle has downplayed the importance of Ilyin’s ideology, writing that he did not always propagate fascism, and that Putin only quoted him five times.[40] Yet Putin has not only cited Ilyin, but also asked Russian journalists whether they had read Deniken’s diaries, especially the parts where ‘Deniken discusses Great and Little Russia, Ukraine.’[41] Deniken wrote in his diaries, ‘No Russian, reactionary or democrat, republican or authoritarian, will ever allow Ukraine to be torn away.’[42]

In turn, Tsarist imperial nationalist and White Russian émigré denials of Ukraine and Ukrainians were amplified in the Russian media and in its information warfare for over a decade prior to the invasion. Ukraine and Ukrainians were mocked in the Russian media in a manner ‘typical in coloniser-colonised relationships.’[43] Russia and Russians were cast as superior, modern, and advanced, while Ukraine and Ukrainians were portrayed as backward, uneducated, ‘or at least unsophisticated, lazy, unreliable, cunning, and prone to thievery.’ As a result of nearly two decades of Russian officials and media denigrating Ukraine and Ukrainians these Russian attitudes towards Ukraine and Ukrainians ‘are widely shared across the Russian elite and populace.’[44] This is confirmed by a March 2022 survey conducted by Russia’s last remaining polling organisation, the Levada Centre, which found that an astronomical 81% of Russians supporting Russian military actions in Ukraine. Among these supporters, 43% believe the ‘special military operation’ was undertaken to protect Russophones, 43% to protect civilians in Russian-occupied Donbas, 25% to halt an attack on Russia, and 21% to remove ‘nationalists’ and ‘restore order.’[45]
 
Russian Imperial Nationalist Denigration and Denial of Ukraine and Ukrainians

Russian imperial nationalist views of Ukraine began to reappear as far back as the 2004 Ukrainian presidential elections, when Russian political technologists worked for pro-Russian Viktor Yanukovych’s election campaign, producing election posters designed to scare Russian speakers in south-eastern Ukraine about the prospect of an electoral victory by ‘fascist’ and ‘nationalist’ Viktor Yushchenko. This was when Russia revived Soviet ideological propaganda attacks against Ukrainian nationalists as ‘Nazi collaborators.’

Putin’s cult of the Great Patriotic War has been intricately linked to the promotion of Russia as the country that defeated Nazism in World War II (this is not true as all the Soviet nations contributed to the defeat) and which today is fighting contemporary Nazis in Ukraine, Poland, the three Baltic states, and beyond. Ukraine’s four de-communisation laws adopted in 2015 were despised in Moscow for many reasons. The most pertinent to this discussion was one law that equated Nazi and Soviet crimes against humanity (which contradicted Putin’s cult of Stalin[46]) and another law that moved the terminology of Ukraine’s wartime commemorations from the 1941–45 ‘Great Patriotic War’ to ‘World War II’ of 1939–45.[47]

One of the 2004 election posters, reproduced below, imagines Ukraine in typical Russian imperial nationalist discourse as divided into three parts, with west Ukraine as ‘First Class’ (that is, the top of the pack), central Ukraine as ‘Second Class’ and south-eastern Ukraine as ‘Third Class’ (showing Russian speakers living in this region to be at the bottom of the hierarchy).
 
Poster Prepared by Russian Political Technologists for Viktor Yanukovych’s 2004 Election Campaign

A lot can be said about the relationship between utopianism and ideology, and Gregory Claeys covered much of it in his comprehensive and detailed contribution to this blog.[1] As with all discussions of utopianism, however, participants cannot help but acknowledge the roots of the concept in the originator of the term, Thomas More’s masterfully enigmatic Utopia (full title: On the Best State of the Commonwealth and on the New Island of Utopia). Whether it was More himself who coined the term (it has been suggested it was in fact Erasmus), and acknowledging the longer (and global) history of imagined ideal states, any consideration of utopianism must at some point trace itself to More’s sixteenth-century text.

This can make for some awkward anachronistic connections, especially for anyone concerned particularly with the importance of contextualism in the analysis of historic texts (as I am). Even the question of whether there is an ‘ideology’ present in More’s text can immediately be countered with the charge of anachronism. This is, of course, an issue with the term itself. However, much like we might acknowledge utopias (or utopian thinking) prior to 1516, we might also entertain the suggestion that ideology as a concept (if not a term) might have existed prior to the Enlightenment, and that various contemporary ideologies might also have their roots in the Renaissance, even if More would have been perplexed—but likely intrigued—by the term itself.

The purpose of this piece, then, is to explore two interrelated questions. First, whether we can think about ideology and Utopia without giving ourselves entirely over to anachronism and thus a reading of the text that cannot be substantiated. Second, in a similar vein, to test the waters with a variety of ‘ideologies’ with which Utopia has been associated: republicanism, liberalism, totalitarianism/authoritarianism, socialism/communism, and, of course, utopianism. In this ‘testing’, the first criteria will be consistency within the text itself, but in establishing this, I will be reading the text in the context of More’s times and other works. Utopia is too frequently read as a stand-alone text despite—or perhaps because of—More’s substantial oeuvre. It is an intentionally ambiguous work, which is why so many different and even opposed ideologies can be read into it. In order to test the legitimacy of these readings, we must understanding Utopia in the context of More’s work more widely.

A short caveat: none of this, of course, precludes the use of Utopia as an inspiration or foundation for a variety of ideological arguments, and Claeys has repeatedly made an impassioned and vitally important argument for the role of utopian thinking in meeting the environmental challenges of the twenty-first century (along with another contribution to this blog by Mathias Thaler)[2]. Political theorists and philosophers have—often very good—reasons for playing harder and faster with the ‘rules’ of historical contextualism (for more on this, see in particular the work of Adrian Blau).[3] There are, however, also good reasons to want to be attentive to the particularities of an utterance in its historical context, which I will not rehearse here, but which I hope are evident in what follows.
 
Ideology and Utopia

Does the idea of ‘ideology’ fit with a sixteenth-century intellectual mindset? More was not unfamiliar with the notion of ‘-isms’, often seen as the shorthand for identifying ideologies (though not in the explicitly modern sense).[4] Most of these ‘-isms’ were religious, not just less ‘ideological’ words like baptism, but those that more accurately fit the definition of a ‘system of beliefs’ such as ‘Judaism’, which More used in his Confutation of Tyndale’s Answer (1532).[5]











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It was the Reformation, Harro Höpfl has noted, which saw the widespread use of ‘isms’ to refer to ‘theological or religious positions considered heretical, and also to refer to the doctrines of various philosophical schools’.[6] Indeed More used the term ‘sophism’ (see the excerpt from the concordance above) in a way that arguably had ideological connotations, and not expressly or necessarily religious ones.[7] That being said, Ideology’s association with political ideas as wholly distinct from religious ones might have not squared with More’s worldview. Any religion can fit the definition of an ‘ideology’ and religious ideas permeated every aspect of More’s world, including—and especially—politics.

The way in which Utopia can and has been read as an especially secular text is part of what makes it an enduringly popular text to study, certainly more than More’s other—obviously (and vehemently) religious—writings. There is something attractively secular about More’s pre-Christian island, which is based more obviously on classical pagan influences than medieval Christian ones. For this reason, it is temptingly easy to read a series of ideologies into this short book. The interesting question for a historian like myself becomes whether these were ideas available and attractive to More himself.

Republicanism

The island of Utopia is obviously and expressly a republic, and the neo-classical humanist More would have fully understood what this entailed. Both books of the text articulate, as Quentin Skinner has demonstrated, arguments for a Ciceronian vita activa, on which republicanism is based.[8] Although each Utopian city is ruled by a princeps, they are elected, and rule in consultation with an assembly of elected ‘tranibors’. The island as a whole is ruled by a General Council, made up of representatives elected from each city. This description of Utopia is framed by a discussion about the merits of the active life in the context of a monarchy, echoing similar discussions in Isocrates, Cicero, Erasmus, and others.[9]

Does this align Utopia with ‘republicanism’ as an ideology? Certainly, the text deserves an important place in the development of that ideology from its ‘Athenian and Roman roots’, especially when read in the context of More’s other writings, which express a conciliarism that clearly has overlaps with classical republicanism. In his Latin Historia Richardi Tertii, More writes that parliament, which he calls a senatus, has ‘supreme and absolute’ authority, and in his religious polemics, he is keen to draw a connection between the parliament and the General Council.[10] The latter, he writes, has the power to depose the Pope and, whereas the Pope’s primacy can be held in doubt, ‘the general councils assembled lawfully… the authority thereof ought to be taken for undoubtable’.[11] Both parliament and the General Council are authorised representatives of the whole community, whether the church or the realm.[12]

More also expresses ideas in line with what has come to be known as ‘republican liberty’: ‘non-domination’ or ‘that freedom within civil associations’, impling the lack of an ‘arbitrary power’ which would reduce ‘the status of free-man to that of slaves’.[13] In his justification of the importance of law, More writes, that ‘if you take away the laws and leave everything free to the magistrates… they will rule by the leading of their own nature… and then the people will be in no way freer, but, by reason of a condition of servitude, worse’.[14] This aligns with the Renaissance view of tyranny as ruling according to one’s own willful passions, rather than right reason. More certainly saw unfreedom in the rule of licentia (or license) over reason.[15] This could be found both in the rule of a single tyrant and in the anarchy of pluralism, a situation he feared would arise from Lutheranism.[16] As such, a firmly established structure of self-government, like that in Utopia, was the ideal way to ensure his notion of freedom, one that was largely in accordance with the republican tradition.

Liberalism

This is in contrast with notion of freedom advanced in Utopia by the character Raphael Hythloday, which we might think of as more in line with a ‘liberal’ perspective. He does not want to ‘enslave’ himself to a king and prefers to ‘live as I please’, certainly more ‘license’ than ‘liberty’ in More’s perspective.[17]

There is an inherent contradiction between republican and liberal notions of liberty. In so far as More can be said to express something of the former, he is deeply against the latter. Individualism sits at the heart of liberalism; it is, as Michael Freeden and Marc Stears have suggested (though not without qualification), ‘an individualist creed’, seeking to enshrine ‘individual rights, social equality, and constraints on the interventions of social and political power’.[18] Liberalism was a product of the Enlightenment, and so More could not properly be said to be its opponent, but he did powerfully critique what we might see as its nascent constitute parts.

In his other works, More often repeats a distinction between the people (populus) and ‘anyone whatever’ (quislibet), to the derision of the authority of the latter.[19] This lies at the heart of his fear of anarchy and Lutheranism, which he accuses of transferring ‘the authority of judging doctrines… from the people and deliver[ing] it to anyone whatever’.[20] In Utopia, we can see this critique of proto-individualism in his central message about pride, which he (with Augustine) takes to be the root of all sin, as it necessarily cuts across the bonds that should unite the populus. Pride is not just self-love, but self-elevation, a form of comparative arrogance that seeks to mark one out from others (a sin he associates with the scholastics, vice-ridden nobility, Lutherans, and indeed most of his opponents).

Utopia has thus been read as a repressive regime which quashes—rather than upholds—freedom. This is from the perspective of post-Enlightenment liberalism, and takes Utopia perhaps more literally than it is meant. Read as a critique of the pride which we might associate with a sort of proto-individualism, it offers a powerful critique of an ideology which is—it must be acknowledged—in need of a reassessment.

Totalitarianism/Authoritarianism

It is for its anti-liberal qualities that Utopia has ended up associated with some of the darkest ideologies of the 20th century. More’s biographer, Richard Marius, called his views about education—certainly present in Utopia—‘an authoritarian concept, suitable for an authoritarian age’. Others have associated Utopia explicitly with totalitarianism.[21] Of the two, authoritarianism might be the more likely. There is a very clear desire in the setting out of the Utopian political and social system to have laws inculcated. The emphasis on what is referred to as ‘education’ or ‘training’ [institutis] might make 21st century readers think instead of socialisation or, more pessimistically, indoctrination. Priests, for example, are responsible for children’s education, and must ‘take the greatest pains from the very first to instil into children’s minds, while still tender and pliable, good opinions which are also useful for the preservation of the commonwealth.’[22] For this, not only are laws and institutions employed, but also public opinion. In a land where everything is public, nothing is private, and thus all is subject to public opinion: ‘being under the eyes of all, people are bound either to be performing the usual labor or to be enjoying their leisure in a fashion not without decency’.[23] This ‘universal behaviour’ is the secret to Utopia’s success.

What I think More wanted to draw attention to in Utopia is the way in which this happens anyway, and to reorient the inculcation of values (or ‘opinions’) towards ‘truer’ or more ‘eternal’ (of course even ‘divine’) values. Utopians laugh at gems and precious metals because they associate them with fools and chamber pots. We value them because we associate them with the wealthy and powerful. The Utopians are ‘made’ to be dutiful citizens. As Book One suggests, ‘When you allow your youths to be badly brought up and their characters, even from early years, to become more and more corrupt, to be punished, of course, when, as grown-up men, they commit the crimes from boyhood they have shown every prospect of committing, what else, I ask, do you do but first create thieves and then become the very agents of their punishment?’.[24] In both cases, More suggests in Utopia and elsewhere, these values (or opinions) are built on a sort of ‘consensus’.

The suggestion that this is authoritarian stems from a post-Enlightenment perspective that looks to see the liberal individual protected (as set out in part III above), of which More is many ways presenting a sort of ‘proto-critique’. While the republicanism of Utopia would, to some minds (and I would suspect to More’s), prevent it from being accurately labelled authoritarian—the citizenry is, after all, involved in its governance—to others this would not suffice. Would More have minded an ‘authoritarian’ society, if the values it inculcated with the ‘right’ ones? Perhaps not. More’s point, however, that we all submit to and are shaped by various sources of authority, and that the power to reorient the values cultivated by these authorities has been and continues to be a powerful one.

Socialism/communism

The early socialist thinkers were inspired by More to think that they might make people better through their organisation of society and its institutions (primarily education). In this historical context, we also have to contend, at least for a moment, with utilitarianism, and the Utopian’s ‘hedonism’ (or more properly Epicureanism). Jeremy Bentham, of course, held stock in the factory of utopian socialist Robert Owen. Helen Taylor (stepdaughter of J.S. Mill) wrote that in Utopia More ‘lays down a completely Utilitarian system of ethics’ as well as an ‘eloquently and yet closely reasoned defense of Socialism’. More was not an Epicurean (nor, of course, a utilitarian), though was interested to get back to more ‘real’ or ‘true’ pleasures over those false ones (we might think again of Utopians’ views of gems and precious metals). What I have called his republicanism might have also meant he was more interested in the good of the many over the few, though perhaps not quite in those terms (instead, the common good over any individual good).

This emphasis on ‘common good’, of course, translates into ‘common goods’ in Utopia, where everything is held in common. This abolition of anything private (and thus private property) has led him to be read as a socialist and/or communist thinker, the latter not least by Marx and Engels. Beyond Utopia, however, More does make some very un-socialist comments. Through the central figure of Anthony in his Dialogue of Comfort (1534), More suggests in an Aristotelian vein that economic inequality is essential for the commonwealth; there must be ‘men of substance… for else more beggars shall you have’.[25] The golden hen must not be cut up for the few riches one might find inside. The larger point More wants to make in this text, however, is that even the richest do not ‘own’ their property. Property is a fiction and needs to be seen as such. Thus a rich man can keep his wealth so long as he recognises it is only his by the fictions of the society in which he lives, and ought (therefore) to be used to benefit the commonwealth. Wealth, position, and so on, More advocates, ‘by the good use thereof, to make them matter of our merit with God’s help in the life after.’

This is not a socialist nor a communist position, and it is certainly not materialist. More’s entire argument seeks to cultivate a conscious neglect of material realities in favour of the decidedly immaterial. Utopia, then, serves as a reminder of the immaterial realities underneath the social fictions generated in Europe (property, money, social hierarchy, etc). Living in that—shall we say—‘fictive reality’, however, means using those falsities towards the higher ends. As More’s friend John Colet put it: ‘use well temporal things. Desire eternal things.’

Utopianism

Utopianism is at once an ideology, has characteristics similar to ideology, might encompass all ideologies, and is entirely opposed to it.[26] I will not rehearse the arguments of Sargent and Claeys here, but the three ‘faces’ that they speak of: utopian literature, utopian communities/practice, and utopian social theory are of course drawn from More’s 1516 text, and Sargent even suggests that ‘the meaning of [utopia] has not changed significantly from 1516 to the present’. So can we accept the obvious, then, that utopianism, as an ideology, is present in More’s text?

Unfortunately, this question would seem to hinge on the fraught question of More’s sincerity in setting out the merits of the island of Utopia and the extent to which it is a community that he intended his readers to emulate. In many ways, our answer to this question has the power to overturn the very notion of any ideology being present in at least a surface reading of Utopia. If we were to conclude that Utopia is pure satire, and that the only arguments made in it are negative deconstructive ones, we would be hard-pressed to find any ideology within it at all.[27]

I have made my own arguments about the central argument of Utopia, which I will not rehearse here, but the good news is that we can engage with the issue of utopianism in Utopia without answering this seemingly unanswerable question. Say what you will about the difficult question of More’s intentions, it would be difficult indeed to suggest that he was putting forward a blueprint of any kind for the construction of a practical community or endorsing the direct adoption of any of the practices exhibited in Utopia. The idea that Utopia exhibits—to use the words of Crane Brinton—‘a plan [that] must be developed and put into execution’ creates a sense of unease, to say the least. Afterall, More famously ends his text with the conclusion that ‘in the Utopian commonwealth there are very many features that in our own societies I would wish rather than expect to see’.[28]

Despite the consensus that this passage is central to our understanding of Utopia, scholars have generally not attempted to read this statement in the context of More’s other works. When we do, we see that More applied this phrase elsewhere as well, and provided more of an explanation than he does in Utopia. In his Apology of 1533, More tells his reader that it would be wonderful if the world was filled with people who were ‘so good’ that there were no faults and no heresy needing punishment. Unfortunately, ‘this is more easy to wish, than likely to look for’.[29] Because of this reality, all one can do is ‘labour to make himself better’ and ‘charitably bear with others’ where he can. It is an internal reorganisation of priorities, drawn in large part from More’s reading of Augustine; what is common and shared must be prioritised over that which is one’s own. This, I have argued elsewhere, is what sits at the heart of More’s oeuvre, and we should be unsurprised to find it in Utopia as well. It is not the case, then, that More is advocating for what we might recognise as utopianism, but rather than Utopia is re-enforcing the arguments he makes elsewhere: the destructive power of pride and the personal need to prioritise the common over the individual.
 
Conclusion: Moreanism?

Does this mean, at last, we have come to an ideology in Utopia? A sort of republicanism-light, a proto-communitarianism, an anti-liberalism? I leave it to political theorists to hash out what More’s view might be termed—or indeed if a label is useful at all. Utopia can, indeed, be read in a variety of ways, which support a diversity of ideological positions. It becomes more difficult, I think, to read these positions into More’s thought as a whole. When we examine his corpus, we see a preoccupation with the common good, expressed through representative quasi-republican institutions, and the eternal/immaterial, but also a pragmatism (even ‘realism’?) about the artificialities of the world in which we live. It is the work of a much larger piece to flesh this out in whole, and this small article has instead focused largely on what More cannot be said to be. Hopefully, however, this is in itself a utopian exercise. In understanding Not-More, we might better understand More himself.



[1] ‘Utopianism as a Political Ideology: An Attempt at Redefinition’, IDEOLOGY THEORY PRACTICE, accessed 8 February 2022, http://www.ideology-theory-practice.org/1/post/2021/04/utopianism-as-a-political-ideology-an-attempt-at-redefinition.html.

[2] ‘“We Are Going to Have to Imagine Our Way out of This!”: Utopian Thinking and Acting in the Climate Emergency’, IDEOLOGY THEORY PRACTICE, accessed 8 February 2022, http://www.ideology-theory-practice.org/1/post/2021/09/we-are-going-to-have-to-imagine-our-way-out-of-this-utopian-thinking-and-acting-in-the-climate-emergency.html.

[3] Adrian Blau, ‘Interpreting Texts’, in Methods in Analytical Political Theory, ed. Adrian Blau (Cambridge: Cambridge University Press, 2017), 243–69, https://doi.org/10.1017/9781316162576.013.

[4] H. M. Höpfl, ‘Isms’, British Journal of Political Science 13, no. 1 (January 1983): 1–17, https://doi.org/10.1017/S0007123400003112.

[5] Thomas More, The Yale Edition of the Complete Works of St. Thomas More: The Confutation of Tyndale’s Answer, ed. Louis A. Schuster, Richard C. Marius, and James P. Lusardi, vol. 8 (New Haven: Yale University Press, 1973), 782.

[6] Höpfl , ‘Isms’, 1; most of these do not appear in More’s work, though ‘papist’ does (24 times), which is a derivation of ‘papism’; likewise ‘donatists’ (26 times) from ‘donatism’ see https://thomasmorestudies.org/concordance/. Of course, this discussion is of English ‘isms’, and Utopia, along with a handful of More’s other writing, is Latin. Ism itself is a Latin (from Greek, and into French) derivation, for the suffix ‘-ismus’ (masculine). However, text-searches and concordances did not turn up many of these either, nor do ‘isms’ appear in the text of translations consulted.

[7] ‘Concordances’, Thomas More Studies (blog), accessed 8 February 2022, http://thomasmorestudies.org/concordance-home/.

[8] Quentin Skinner, ‘Thomas More’s Utopia and the Virtue of True Nobility’, in Visions of Politics: Volume 2: Renaissance Virtues (Cambridge: Cambridge University Press, 2002), 213–44.

[9] Joanne Paul, Counsel and Command in Early Modern English Thought (Cambridge: Cambridge University Press, 2020), chapter 1.

[10] More, Letters, 321. In the Confutation, 287 he justifies this approach, suggesting that ‘senatus Londinensis’ could be translated ‘as mayor, aldermen, and common council’.

[11] More, Letters, 213.

[12] More, Confutation, 146, 937.

[13] Quentin Skinner, Hobbes and Republican Liberty (Cambridge: Cambridge University Press, 2008), ix-x. This is not inconsistent with the fact that free-men could indeed become slaves in Utopia. In fact, the presence of slaves only highlights the emphasis on the sort of freedom enjoyed by law-abiding Utopian citizens.[13] Slaves are drawn from either within Utopia - those condemned of ‘some heinous offence’ - or without – captured prisoners of war, those who have been condemned to death in their own country or, thirdly, those who volunteer for it as a preferable option to poverty elsewhere.[13] Notably, in none of these cases is slavery hereditary and slaves cannot be purchased from abroad; Thomas More, More: Utopia, ed. George M. Logan and Robert M. Adams (Cambridge: Cambridge University Press, 2002), 77.

[14] More, Responsio Ad Lutherum, 277. All references to More’s works taken from the Yale Collected Works series, unless otherwise indicated.

[15] Skinner, Hobbes and Republican Liberty, 30-1.

[16] Joanne Paul, Thomas More (Cambridge: Polity, 2016), 98-9.

[17] More, Utopia, 13.

[18] Michael Freeden and Marc Stears, ‘Liberalism’, in The Oxford Handbook of Political Ideologies (Oxford: Oxford University Press, 2013), https://doi.org/10.1093/oxfordhb/9780199585977.013.0020.

[19] Paul, Thomas More, 99.

[20] More, Responsio, 613.

[21] Richard Marius, Thomas More: a biography (Cambridge, MA: Harvard University Press, 199), p. 235; Wolfgang E. H. Rudat, ‘Thomas More and Hythloday: Some Speculations on Utopia’, Bibliothèque d’Humanisme et Renaissance 43, no. 1 (1981): 123–27; J. C. Davis, Utopia and the Ideal Society: A Study of English Utopian Writing 1516-1700 (Cambridge: Cambridge University Press, 1981); Hanan Yoran, Between Utopia and Dystopia: Erasmus, Thomas More, and the Humanist Republic of Letters (Lexington Books, 2010), 13, 167, 174, 182-3.

[22] More, Utopia, 229.

[23] More, Utopia, 46.

[24] More, Utopia, 71.

[25] More, Dialogue of Comfort, 179.

[26] Lyman Tower Sargent, ‘Ideology and Utopia’ in The Oxford Handbook of Political Ideologies (Oxford: Oxford University Press, 2013), https://doi.org/10.1093/oxfordhb/9780199585977.013.0020.

[27] This leads me to address the Erasmus-shaped elephant in the room: what about humanism? Even if Utopia is entirely critical, then the ‘ism’ that might be left standing would be humanism. It’s important to note, however, that humanism has been rather unfortunately named, as scholars agree that it is most definitely not a defined or coherent system of beliefs, but rather a curriculum of learning, an approach to the study of texts and at most a series of questions to which ‘humanists’ provided a variety of answers. One of those question does indeed address the best state of the commonwealth, to which Utopia is a – thoroughly enigmatic – answer.

[28] ‘in Utopiensium republica, quae in nostris civitatibus optarim verius, quam sperarim.’

[29] More, Apology, 166. 

​In an old textbook on populism, the psycho-sociologist Alexandre Dorna described the phenomenon as a 'volcanic eruption': a surge of the repressed impulses, instincts and fantasies of the masses onto the political scene.[1] This analysis is very common today, especially in relation to the so-called 'far-right populisms', such as the governments of Trump, Bolsonaro, or Orbán. We will not be talking here about the fantasies (in a Freudian sense) of which populism would be the political vector, but about those that it expresses in the speaker who speaks about it. What exactly are we saying when we categorise something as 'populist'? It is well known that the word is used more to stigmatise than to designate positively. Its proliferation in public debate over the past decade has been unprecedented: in 2017 the Cambridge Dictionary awarded it 'word of the year'. Its inflation in the public debate points to the undeniable re-emergence of the ‘people’ as political operator, especially since the subprime crisis of 2008. On the extreme right, this resurgence is expressed in xenophobic nativist movements that oppose the national people to immigration and to ethnic and sexual minorities. On the far left, it appears in plebeian movements that oppose the ‘people’ as a democratic subject to a ruling class, judged to be in collusion with neoliberal economic elites, and accused of corrupting democracy. Both renewals emerge in the global political space. While the former may be compatible with a neoliberal economic orientation, as in the cases of Trump and Bolsonaro, the latter is in frontal opposition.
 
The fantasies of populism
 
Contemporary uses of populism, whether they see it as a threat or as a chance to radicalise democracy, assume that both phenomena lie in the same direction; that they are politically and historically univocal. This is the fantasy I am talking about: in the Freudian sense, the main imaginary production by which those who speak of populism today escape from reality. Here, the historical and sociological reality is that the 'people' of the extreme right have very little to do with the 'people' of the far left. Each of us can easily see that their projects, situated on opposite sides of the political spectrum, have more differences than similarities. In spite of this, the majority of studies in political science persist in seeing in these two phenomena some variants of the same reality: populism. This would be anchored in the extremes, which would therefore be strictly comparable in terms of their political use of the ‘people’. With a touch of irony, I call 'populology' the scholarly discourse structured around this thesis, which takes up the old 'horseshoe theory' in French political science.[2] A thesis that seems to describe, in a clear and transparent way, our political actuality in the 21st century. But its simplicity tends to oversimplify it to the point of obscuring its real socio-political dynamics for at least three reasons.
 
The first reason is that the only thing in common between the extreme-right and the far-left 'populists' is nothing other than the opposition between the 'people' and the 'elites'. However, this opposition takes on such different and even opposite meanings in its two ‘variants’ that it is no longer sufficient to qualify something common. The 'people' is an extremely polysemous concept, since classical Greece, where there are about twenty words used to describe it: dèmos or the whole of the citizens, laos or the whole of the individuals sharing a common culture, ethnos or the whole of the members of a clan, genos or the whole of the individuals sharing a common ancestor, hoi polloi (‘the most numerous’) or the social majority of a population, ochlos or the people in tumult, ekklesia or the assembled people, etc.
 
Each of these terms designated this intangible and ineffable entity that was the ‘people’, based on a specific property or operation that it is supposed to perform in the polis. This definitional difficulty has been further complicated by modern political ideologies, all of which have more or less adopted this central word of democratic modernity. This is why the term is now invoked to designate political projects that have more differences than similarities between the extreme right and the radical left. Unless we consider, as the vast majority of contemporary theorists of populism do, that it is an essentially discursive phenomenon. That it is therefore extremely plastic, reflecting the emptiness of the word ‘people’ and the appeals that invoke it. But are the affects and political behaviours that these populist appeals aggregate really comparable? In reality, if populism is discursive by nature, all politics is discursive; in the same way, liberalism would be a political discourse centered on the word 'freedom', which is also fundamentally ambiguous. Would we then be ready to assert that all political actors who have claimed or are claiming today 'freedom' against a regime that deprives them of it, whatever the political project defended, are comparable? Are we ready to compare feminists, socialists, Berlusconi, the Austrian FPÖ, and so many others? We should recognise that almost all the political phenomena of our modernity are 'liberal' in this sense. Just as today we end up thinking that everything is potentially populist, when we talk about the 'people' against the 'elites'.
 
The second reason is that behind this idea that populism refers to any appeal to the ‘people’, we are in fact confusing distinct political phenomena: social movements, such as Occupy Wall Street, the Indignados or the Gilets jaunes, all structured by the opposition ‘people vs. elites’; political organisations, such as the Rassemblement national, Podemos, and the Labour-affiliated group Momentum, all calling for the ‘people’ against the establishment; modes of appealing to the electorate by the ruling class, more or less demagogic, such as those of Silvio Berlusconi, Nigel Farage, or Donald Trump; finally, political regimes based on the principle of the embodiment of the people by the Head of State, such as those of Erdogan, Putin, or Orbán. These phenomena are ontologically heterogeneous. Here the concept of populism is more confusing than elucidating, because it leads to abandon more precise historical concepts, such as demagogy, neo- or post-fascism, Bonapartism, and authoritarianism, in favour of a vague and fuzzy word. In other terms, there is more in common between authoritarian regimes, whatever their modes of legitimation, than between an authoritarian regime claiming to represent the people against corrupt elites, and a social movement claiming to constitute one against the ruling elites. Similarly, if populism describes modes of appealing to the electorate based on proximity, illusion, and overpromising, it would be more correct to speak of demagogy; it would then be necessary to question the reasons for its rise in contemporary political communication, as much among the establishment parties as among the anti-establishment ones.
 
The third reason is that behind the idea that populism is a plastic discursive construction, there is a tendency to confuse positive and value judgements. The ‘people’, like all our political terms, is a controversial normative word: as a synonym for collective sovereignty, it can be seen as the quintessence of democracy, or as a symbol of an oppressive totality, representing a threat to individual freedoms. If we do not empirically observe the concrete practices that this 'people' produces in the social space, we can be led to take our own value-judgments about 'the people' as science. Depending on the different ways of defining democracy (this concept which is also inseparably descriptive and normative), one will thus make a different case for populism.[3] If, like Jan-Werner Müller, we define democracy as a procedural horizon for safeguarding individual liberties, the 'people' inevitably becomes suspect, both in the political discourse of the extreme right and the far left.[4] If, like Chantal Mouffe, we define democracy as an agonistic horizon of conflictuality, the ‘people’ becomes the very quintessence of the democratic dynamic, because it is always constructed by opposing groups claiming democracy against the elites.[5] Thus, on Müller's side, we lose sight of certain emancipatory uses of the ‘people’, which can radicalise a democracy conceived in a strictly procedural way. But on Mouffe's side, we lose sight of the fact that certain conflictual constructions of the ‘people’ are actually anti-democratic, such as those proposed by the neo-Nazi movement FPÖ in Austria or by the ‘Golden Dawn’ in Greece, because they challenge the liberal foundations of our democracies.
 
A new genetic approach
 
In fact, before we can even discuss whether populism is progressive or regressive for our democracies, we need to agree on what we are talking about. We need to clear up the many ambiguities to which contemporary uses of populism give rise: ambiguities in the classification and in the comparison that is proposed. In reality, we still do not know what populism is: not only do we not really know how to explain it, but we continue to disagree, among scholars, on what it encompasses empirically.
 
Despite the huge inflation of books and articles on the subject, we are still at the first steps of a scientific method. This makes the enterprise questionable for those who consciously choose not to use the concept. But it also makes it exciting and thrilling for those who take the problems posed by the concept seriously, seeking new solutions to its enigma. I propose a new 'genetic' approach, which consists in going back to the founding experiences of populism: the Russian narodnichestvo (between 1840 and 1880), the American People's Party (at the end of the 19th century) and the national-popular regimes in Latin America (between 1930 and 1960).[6] Why them and not others? Why this return to the past when populism is such a current phenomenon? For one simple reason: these three historical experiences are defined by the entire scientific community as populist; they do not carry the ambiguities of what is too broadly called populism today. It is therefore a solid starting point for a new analysis. This is all the more true since historical distance makes it possible to look at current events in a more complex way. If there is one lesson of social sciences since Max Weber, it is this: we must analyse the present from the past, and not the opposite. Yet, concerning populism, we often move between presentism (the idea of the radical newness of our present, disjointed from the past) and anachronism (the distorted reading of past populisms from our present).
 
By comparing these founding experiences of populism, we obtain an ideal type: in the sense of Max Weber, a 'logical utopia' resulting from the stylisation of reality and the deliberate accentuation of certain features, which help to understand empirical reality by comparison with the model. The first recurring feature, which will be accentuated, is that populism always appears within the crisis of governments claiming to be legitimated by the people, but excluding them socially, economically, and politically.
 
The second recurring feature is that populism is structured by the opposition between the 'people' and the 'elite', but it gives an ideologically singular interpretation of this opposition, which defies any comparison between the far left and the extreme right. The 'people' appears as the name of a utopia: a democracy restored to its sovereign subject, involved in a dynamic of radicalisation of both freedom and equality. Populist democracy is conceived against the reduction of democracy to representative governments: an ‘elective aristocracy’ that is always potentially oligarchic.[7] The 'elite' is the force that opposes this project of founding a populist democracy. The 'people' and the 'elite' thus do not define two concrete social groups, but two forces of democratic modernity: the 'people' is associated with the insides, with life and tradition; the 'elite' with the outsides, with reason and modernisation. This idea is central to the writings of the founder of populist ideology, the Russian Alexander Herzen (1812–70), who provided a systematic version of it at about the same time as Marx and Engels were working on the idea of communism. The Russian populists (narodniki), who were to deeply influence Lenin (his brother had been one of them), were convinced that the peasantry, the social majority of the people, could provide the organisational forms on which the future democracy could be built.
 
As a radical political ideology, populism is accompanied by the expression of a certain revolutionary charisma. This is the third recurrent feature of the phenomenon. In the Russian and American cases, this charisma is ‘available’ to the actors of the social movement, who can all aspire to embody the mobilisation: it is an ‘acephalous’ charisma. When the American farmers created their own party, the People's Party, this charisma was gradually personalised: the party acquired two brilliant charismatic leaders, James B. Weaver and William Jennings Bryan.
 
The latter, a great critic of the financial system of the Gold Standard, deemed responsible for the American social crisis, gave a speech in 1896 with eschatological connotations: the ‘Cross of Gold’ Speech. This young lawyer from Nebraska attacked the idle holders of capital in the ‘great American cities’, accusing them of strangling the working classes and draining the country's ‘broad and fertile prairies’. ‘The humblest citizen in all the land’, he said, ‘when clad in the armor of a righteous cause, is stronger than all the whole hosts of error that they can bring. I come to speak to you in defense of a cause as holy as the cause of liberty, the cause of humanity’. ‘You come to us’, he replied to the supporters of the Gold Standard, ‘and tell us that the great cities are in favor of the Gold Standard. I tell you that the great cities rest upon these broad and fertile prairies. Burn down your cities and leave our farms, and your cities will spring up again as if by magic. But destroy our farms and the grass will grow in the streets of every city in the country’. ‘If they dare to come out in the open field and defend the Gold Standard as a Good thing’, he concluded, ‘we shall fight them to the uttermost, having behind us the producing masses of the nation and the world. Having behind us the commercial interests and the laboring interests and all the toiling masses, we shall answer their demands for a Gold Standard by saying to them, you shall not press down upon the brow of labor this crown of thorns. You shall not crucify mankind upon a cross of gold’.
 
In the Latin American case, populism had powerful charismatic leaders too: Juan Domingo Perón in Argentina, Lázaro Cárdenas in Mexico, Getúlio Vargas in Brazil, Jorge Eliécer Gaitán in Colombia, Rómulo Betancourt in Venezuela, Victor Raúl Haya de la Torre in Peru, Víctor Paz Estenssoro in Bolivia, Carlos Ibáñez del Campo in Chile.
 
Finally, a last recurring feature of populism is the socially heterogeneous nature of the mobilisations. They involve alliances between impoverished working classes and middle classes made precarious by the economic crisis: they all share the view that the ruling class is disconnected from the needs of the population's majority. Moreover, these mobilisations have no real class basis: they bring together different democratic causes carried by ‘subaltern groups’ in the sense of Antonio Gramsci, whose relations of domination go from class, to gender, to race.[8]
 
Populism is therefore an ideology of crisis. It appears in a context of socio-economic crisis which becomes a legitimacy crisis of a government which, claiming to rule in the name of the people, appears collectively as the expression of an oligarchy's interests. Because of this context, populism operates as a crisis phenomenon. Thus, we can speak of 'populist moments' because populism can hardly survive beyond the crisis that institutes it. Despite its mobilising potential, because of the revolutionary charisma it brings to the stage and its capacity to federate several social demands, it is not sustainable. Why is this so?
 
The Latin American case provides some answers to this tricky problem. From the outset, it is difficult to achieve a programme as ambitious and vague as founding a radical democracy. On the one hand, such a programme should cover all spheres of social life, from culture to education, employment, citizenship. Let's think of Perón's Partido Justicialista, founded in 1946 and charged with democratising Argentinian society in the areas of education, university, civic and social rights, work and social inequalities, gender, culture ... A project that can lead to many disappointments among the mobilised popular base once populism is in power. The radical wing of Peronism—the Montoneros—and the communist left constantly deplore public policies that do not meet the democratic expectations of the Argentinian people. On the other hand, such a maximalist project runs the risk of removing all obstacles to State intervention in society: an intervention which, adorned with the noble objective of radicalising democracy, may end up subjecting to it the preservation of certain freedoms, such as those of the press or the unions.
 
In short, as much as populism is useful and necessary as a protest ideology, it is not very effective as an ideology in power. This is all the more the case because, by giving a central place to charisma, it leads, in the conditions of the organised competition for power, to a strong personalism. The mobilisation's leader who becomes the charismatic Head of State tends to introduce into populism a strongly vertical dimension, which is opposed to the horizontality of the social movement. The opposition between the 'people' and the 'elite' also tends to change once it is transformed into an ideology of public action: from a radically democratic opposition (deepening democracy by injecting more popular sovereignty), it tends to polarise society between 'friends' of the people and 'friends' of the elite. During my fieldwork in Venezuela (2007-11), one of the countries of the populist revival in the twenty-first century, I was confronted daily with the harmful effects of such polarisation, which ultimately undermines democratic communication.[9] In institutional politics as well as in ordinary life, people had stopped debating, and instead fought each other in the name of imaginary plots attributed to one part of society against the other. This logic, combined with personalism and statism, finally legitimated an authoritarian turn within the State that began in 2005 and was reinforced with Nicolas Maduro's election.
 
What is left of populism?
 
As the Latin American case shows, this is the main problem with populism in power: an ideology that aims to re-found or radicalise democracy quickly comes into conflict with the logic of the State. This reflection is useful when considering what to do with populism today.
 
What remains of this historical ideology? What is left is clearly left-wing populism. From an ideological point of view, the so-called 'right-wing populism' refers to a completely different historical matrix: that of ethnic nationalism (or nativism), with strong antisemitic connotations, which was born in Europe at the end of the 19th century, irrigated the fascist movements, and was rebuilt in the 1980s against the migratory globalisation and the emancipatory struggles of the 1970s. Left-wing populism, by contrast, emerged in Europe and the United States after the Latin American ‘left turn’ in a similar context to that of past populisms: a socio-economic crisis, the subprime crisis, which revealed the disconnection of neoliberal elites from the social needs of the majority. The democratic socialism of Bernie Sanders and Alexandria Ocasio-Cortez, the Labour Momentum, Podemos, the Five Star Movement, Syriza, La France insoumise: they have canalised the new populist mobilisations.
 
For those of them that have come to power, the same structural problems of Latin American populisms can be observed, even if the danger of an out-of-control statism is less pronounced there, due to the smaller role of military elites in the socio-historical construction of States. Like past populisms, populisms of our time are very ephemeral: none of them are in the same place as they were three years ago. The concessions made to the establishment have almost erased some of them from the electoral map, like Syriza. All of them have strong internal cleavages. One is the opposition between a ‘pragmatist’ wing and a ‘radical’ wing, as in the Italian Five Star Movement during Mario Draghi's government. The other is the split between 'populist strategy' and 'leftist strategy', as in Podemos (between Íñigo Errejón and Pablo Iglesias) and La France insomise (between Jean-Luc Mélenchon and Clémentine Autain). In short, populism still appears as a singular political moment; a moment that already seems, in part, to be behind us. If the populist moment of 2008 has closed, with the disappointments that populist parties in power have generated in their falling electorates, another one may arise in the future.
 
Two points should then be borne in mind. Firstly, populism does not remain the same between the destituting, contesting phase and the reinstituting phase in power; it changes politically. It is therefore necessary to control this mutation. Secondly, it is becoming urgent to separate the destiny of the extreme right and that of the radical left: the idea that there would be a populist dynamic common to both prevents us from thinking about the necessary renewal of a left-wing populism. On the contrary, this idea causes systematic haemorrhaging of left-wing voters who see in a supposedly common strategy with the extreme right a legitimate reason for disgust. Thinking about a left-wing populism for the years to come can only be done on the basis of these two analytical and strategic observations.

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[1] Alexandre Dorna, Le populisme (Paris : PUF, 1999).

[2] Federico Tarragoni, L’esprit démocratique du populisme. Une nouvelle analyse sociologique (Paris : La Découverte, 2019). On the 'horseshoe theory', see Jean-Pierre Faye, Le siècle des idéologies (Paris : Press Pocket, 2002). For a critical point of view, cf. Annie Collovald and Brigitte Gaïti (eds), La démocratie aux extrêmes. Sur la radicalisation politique (Paris : La Dispute, 2006).

[3] Quentin Skinner, ‘The Empirical Theorists of Democracy and Their Critics’, Political Theory, 1, Issue 3 (1973), pp. 287-306; John Dunn, Setting the People Free. The Story of Democracy (New York: Atlantic books, 2005).

[4] Jan-Werner Müller, What is Populism? (Philadelphia: University of Pennsylvania Press, 2016).

[5] Chantal Mouffe, For a Left Populism (London: Verso, 2018).

[6] Federico Tarragoni, « Populism, an ideology without history? A new genetic approach », Journal of Political Ideologies, 26, Issue 3 (2021). DOI : 10.1080/13569317.2021.1979130.

[7] Bernard Manin, The Principles of Representative Government (Cambridge: Cambridge University Press, 2010).

[8] Antonio Gramsci, Prison Notebooks [25 §4, 1934] (New York: Columbia University Press, 2011).

[9] Federico Tarragoni, L’Énigme révolutionnaire (Paris : Les Prairies ordinaires, 2015).