by Don Franks
(dedicated with respect to Pike River miners and their families)
On Mayday, get your old flag out
unwrap each dusty fold
pour the cold beer, find some young ear
to hear your stories told
how we used to put a blue on
how we boxed the place up tight
saw the scabs off, held the picket line
stood tall through all the shite
just remember while you party on
until the Read the rest of this entry »
by Yassamine Mather
Before the death of ayatollah Akbar Hashemi Rafsanjani on January 8 (an event that has dominated Iranian politics and news), Iranian clerics and leaders of Iran’s Revolutionary Guards had been competing with each other in making exaggerated claims about the significance of the fall of Aleppo: it was a victory against “heresy” and for the “ascendancy of Shia Islam”. One cleric called on Iranians (presumably he meant the Revolutionary Guards already in Syria) to clean up Aleppo, as the 12th Shia Imam would soon be paying a visit!
This, together with the triumphalism during the inspection of the ruins of east Aleppo by major general Qasem Soleimini (credited with commanding Iranian troops in Syria’s recent battles), should be condemned. The intervention of Iran and Russia in Syria has cost the lives of thousands of civilians. All such foreign intervention – be it by the US, Turkey, Saudi Arabia, Qatar, Iran and Russia – should be condemned, and Iran and Russia cannot be exempt from this on the basis that they were invited by the Syrian regime.
Having said that, we now have a clearer picture of the final days of the battles in and around east Aleppo. The latest round of ‘peace talks’ between some rebel groups and Turkey, Iran and Russia gives an indication of who backed the main armed rebel groups. Most of these groups, far from being democratic, secular forces, were close to Turkey’s Islamic nationalist president, Recep Tayyip Erdogan. The extended participation of Syrian Kurds on the same side as those fighting against ‘rebels’ in Aleppo (in other words, on the same side as Hezbollah and other Shia groups) demonstrates that accusations of Turkish involvement in arming and sponsoring a section of the rebels in east Aleppo should be taken seriously.
Free Syrian Army
By all accounts, at least since 2015, the claim that the Free Syrian Army represents moderate or secular forces has been untenable.
It is worthwhile repeating what Read the rest of this entry »
by Sarah Black
Art critic, novelist, writer and academic John Berger died last week, aged 90. Amid the media accolades, Suzanne Moore writes an opinion piece for The Guardian entitled ‘I do not recognise the stereotype of John Berger as a dour Marxist – his work embodied hope’. Though the headline is provocative, Moore’s piece does remember the man as kind, interested and warm.
Berger originally trained as a painter at the Chelsea School of Art, but stopped painting in the late 40s, as the post-war nuclear threat seemed to him to render his work trivial. Instead he threw his energies into writing. He managed to enrage the art and media establishment by his pro-Soviet stance, as well as his criticism of big figures in the art world, such as Henry Moore, Francis Bacon and Pablo Picasso (whose work he felt further mystified art). Berger wrote extensively throughout his career – not just criticism, but fiction and other non-fiction works. In 1972 he won the Man Booker prize for his novel, G. His 1975 book, The seventh man, focuses on the plight of the urban poor.
Berger’s warmth comes across in his most well-known work,Ways of seeing. Unlike contemporary programmes of the time, this 1972 BBC four-part series of films-turned-essays was not presented by a stuffy old man in an art gallery with a suit and a pipe. Filmed in an electronics workshop, Berger, sporting an Aztec-patterned shirt, talks to the viewers at home in a laid-back, conversational manner – the aesthetics of the production have a dynamism that transcends the very 1970s look. Berger places advertising images next to still lifes and soft porn beside nudes, in order to make the viewer interrogate the image, the artist and the subject. His aim was to demystify western European painting from its holy status (where criticism’s purpose was to help us pray) and instead find a different way of Read the rest of this entry »