DC Week in Review: the significance of the politics of small things

Jeffrey C. Goldfarb

Democracy, social justice, freedom, cultural refinement and pleasure, all, along with their opposites, are to be found in the detailed meetings and avoidances, engagements and disengagements, comings and goings of everyday life. The politics of small things has been our theme of the week.

Adam Michnik and I decided to try to organize our friends in a common discussion. Despite the workings of the security police and his jailers, and despite the hard realities of the cold war, we created alternatives in our own lives, and this affected many others. Although I am not informed about the specifics, I am sure that such things are now happening in China.

But I should be clear. I am not saying that therefore, the People’s Republic’s days are numbered, or that liberal democracy is just around the corner. Escalation in repression is quite a likely prospect. Michnik’s life after receiving our honorary doctorate did at first lead to a prison cell. Shirin Ebadi is in exile today, as was Aleksandr Solzhenitsyn after his prize. But people continue to interact around the shared human rights principles to which these people dedicated their lives, and this has persistent effects, at least for those people, but beyond their social circles as well. As Michnik put it “the value of our struggle lies not in its chances for victory but rather in the values of its cause.” My point is that if people keep acting according to those values, they are very much alive and consequential.

And it is in this way that I applaud the Afghan Womens Soccer team and understand its significance. That these young women manage to play their game despite all the horrors of war and occupation, despite the persistence of harmful traditional practices and inadequate implementation of the law on elimination of violence against women in Afghanistan (this was the subject matter of the UN report that Denis Fitzgerald referred to in his reply to my post) is their great achievement. We have to pay attention to such achievements, and . . .

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Restrepo: A Constructive Public Airing of Back Stage Moments?

Restrepo movie poster

In recent posts, Jeff and Elzbieta have each commented on how revealing back stage moments can destroy understanding and meaningful action. I agree.

However, I also believe revealing the back stage is sometimes crucial for widening understanding and establishing the grounds for critique. An interesting example is the documentary Restrepo, winner of the Grand Jury Prize-Documentary at the 2010 Sundance Film Festival, produced, directed and filmed by Sebastian Junger and Tim Hetherington

From the director:

The war in Afghanistan has become highly politicized, but soldiers rarely take part in that discussion. Our intention was to capture the experience of combat, boredom and fear through the eyes of the soldiers themselves. Their lives were our lives: we did not sit down with their families, we did not interview Afghans, we did not explore geopolitical debates. Soldiers are living and fighting and dying at remote outposts in Afghanistan in conditions that few Americans back home can imagine. Their experiences are important to understand, regardless of one’s political beliefs. Beliefs are a way to avoid looking at reality. This is reality.

Restrepo is the name of a now abandoned U. S. Army outpost located in the six-mile-long Korengal Valley in the eastern province of Kunar, Afghanistan near the Pakistan border. The outpost was known as one of the most dangerous Army postings in the world.

Restrepo portrays the back stage and the front stage. Moments of human frailty, the boredom of a stranded soldier, the pain of a war wound are the back stage truths of military life, normally shielded from view. The well-publicized front stage: awards ceremonies, dedications to fallen soldiers, moments of valor. Understanding both parts of a soldier’s life is crucial to understanding their experience.

The back stage in this documentary (as opposed to the Wikileaks situation) was obtained with the explicit consent of the U. S. government. In fact, few limitations were placed on the project by the US military, and most concerned security and privacy. The filmmakers were sensitive to the way they depicted the wounded and dead–but they still did it. Restrepo is a dual-sided coin.

Anyone who has . . .

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