Massacres 1981 and 2011

Thirty years ago last week, on December 16 1981, nine striking miners were killed by the state at the Wujek Coal Mine in Katowice. Three days previously martial law had been declared in Poland by General Wojciech Jaruzelski and the miners were on strike against military rule. Tanks, water cannon and then live ammunition was used in the clashes between police, troops and strikers.


The repression successfully pacified the movement in the short term, but the memory of the massacre fired up the next big wave of strikes in 1988, and within ten years of the killings most of those responsible were out of power. Some of those directly implicated in the massacre later went to prison.

Still the collapse of the Soviet Bloc precipiated by the Polish strikers and similar movements elsewhere did not unseat all the generals, secret policeman and bureaucrats in these countries. Some just changed their badges and got on with business as usual, nowhere more so than in Kazakhstan where the former head of the local 'Communist' Party Nursultan Nazarbayev became President of the newly independent country in 1991, holding on to power ever since.

Thirty years to the day since the Wujek massacre, on December 16 2011, tanks and military forces were used in battles in Kazakh city of Zhanaozen. More than 3,000 people assembled in the city in support of oil workers who have striking and protesting since May in support of better living conditions. Police and special forces attacked the meeting and opened fire on the strikers and their families. At least 10 people are reported to have been killed.

According to this report at libcom 'the Kazakh oil field workers established a “tent city”, in Zhanaozen’s main square, in June. When police tried to break it up in July, 60 of them covered themselves with petrol and threatened to set themselves on fire. Friday’s massacre took place in the same square'.

Say what you like about Sting, but to his credit he cancelled a performance at a government-sponsored festival earlier this year in solidarity with the strikers, saying 'The Kazakh gas and oil workers and their families need our support and the spotlight of the international media on their situation in the hope of bringing about positive change'.

Other UK interests have been less choosy:

' - The companies where most of the protesting oil workers work are partly owned by Kazmunaigaz Exploration and Production, which is listed on the London stock exchange and has often raised loans from London-based institutions;
- The UK is the third largest direct investor in Kazakhstan (after the USA and China);
- Tony Blair, the former prime minister, is being paid millions of pounds to lobby in the Kazakh government’s interests. Many other British businessmen and politicians help, too. Richard Evans, the former chairman of British Aerospace, is chairman of Samruk-Kazyna, a state-owned holding company that controls a big chunk of the Kazakh economy.
- The oil produced in Kazakhstan is traded in the offices of big oil trading companies and international oil companies in their London offices'.

Tomorrow - Wednesday 21st December 2011, 12 noon - there's a solidarity picket at the Kazakh-British Chamber of Commerce, 62 South Audley Street, Mayfair, London W1K 2QR.

Jiddish Partizan Marsh: Song of the Partisans

Yesterday's post on mandolins and anti-fascist resistance in Warsaw has prompted this response from Ruin Gebirk in Berlin:

"I read your story about the mandoline, it was interesting, I too have a strong interest in the jewish resistance history and I am specially fascinated by the "little" stories. When I was young we were singing the jiddish songs of Hirsh Glik and others... since I know about your electronical music background I wanted to share my new track with you: I called it jiddish partizan marsh, it's based on the melody of Sog nit kejnmal als du gejst den letztn".

Nice one, check out the track here: http://soundcloud.com/gebirk/jiddish-partizan-marsh

There's more detail on the song from which this track's melody comes in this article on Music of the Holocaust: 'News of the Warsaw ghetto uprising of April 1943 inspired the Vilna poet and underground fighter Hirsh Glik (ca. 1921–ca. 1944) to write Never Say That You Have Reached the Final Road (the Yiddish title is often shortened to Zog nit keynmol). With a melody taken from a march tune composed for the Soviet cinema, the song spread quickly beyond the ghetto walls and was soon adopted as the official anthem of the Jewish partisans. Glik was later deported to an Estonian labor camp and is presumed to have lost his life during an escape attempt. His song remains a favorite at Holocaust commemoration ceremonies worldwide'. This site also includes a recording of the track - which is also known as the Song of the Partisans - by Betty Segal.

This Mandolin Kills Fascists

Posted last week on Marek Edelman and the 1943 resistance in the Warsaw Ghetto. Surviving this, he later took part in the following year's wider anti-nazi uprising in the city. From the latter episode I have come across this interesting tale in 'The Recollections of Witold Górski – 1944 Warsaw uprising' (for some reason there is a mistake on the webpage and it says 1994 - but clearly it's about 1944):

'I was involved in transporting guns, in a mandolin.., a stringed instrument vaguely similar to a guitar. The notes it produced when played under such circumstances were atrociously off key. The conductor of the streetcar I was riding with my illicit cargo was in on the secret. When he sensed that the streetcar was about to be stopped and searched by the Germans, my dreadful playing gave him an excuse to grab me by the scruff of the neck and throw me off the vehicle. That way, while the Germans were searching the streetcar passengers for weapons and contraband, I was able to walk calmly by. Further on, there would be a street musician playing a similar mandolin. It was to him that I was to deliver the gun by somehow swapping mandolins'.

I love this as it combines my interests in both militant anti-fascism and mandolins, and adds further credence to my slightly romantic but not unfounded 'notion of the portable, guerrilla instrument... a hidden history of itinerant strollers, refugees, prisoners, wobblies and other malcontents making music on small stringed instruments like ukuleles, fiddles, mandolins and the Greek baglamas' (see earlier post on the ukulele underground).

Marek Edelman, Ghetto fighter

Marek Edelman died last week in Poland, a last link with the Jewish fighters who fought against the Nazis in the Warsaw Ghetto. Edelman was a member of the Jewish socialist Bund movement, and became a key member of the ZOB (Jewish Battle Organisation) which it established with other Jewish groups to stage armed resistance against the Nazis (not to mention the Polish, Ukrainian and Latvian forces who assisted them, and indeed the Jewish police whose leaders the ZOB accused of collaboration).

Edelman's own account of the struggle was first published in 1945 as The Ghetto Fights. One of the striking things for me is that amidst the terror and fighting, they managed to maintain a rich cultural life. In the early days of the occupation, Edelman writes,

'the Bund was quite a large organization, considering the clandestine working conditions. More than 2,000 people participated in the festivities occasioned by the Bund's 44th anniversary in October 1941. These meetings were held in many places simultaneously. On the surface nothing was discernible, and it was difficult to realize how great the number of small groups - dispersed "fives" or "sevens" meeting in private apartments -really was...

In 1941 a Youth Division was established at the Jewish Social Mutual Aid Organization and the Zukunft became one of the Division's important contributors. We were able to reach large numbers of young people. Our lecturers took charge of numerous youth groups, which were at that time established under the House Committees in every apartment house. There was the choir with its active programme (public concerts were given in the Judaistic Library). School-age youth was also being organized. The SOMS (Socialist School Students' Organization) was re-established, and numbered a few hundred members after a very short time. Comprehensive political education and cultural activities were carried out. At the same time the Skif, whose activities were until then limited to securing financial help for its pre-war members, started large-scale work among children of school and pre-school age. A so-called "corner" was established in every house, where children found a home for a few hours every day. The Dramatic Club, led by Pola Lipszyc, gave performances twice a week. During the 1941 season 12,000 children attended these performances

Even in the last days of the Ghetto in May 1943, as they fought in the ruins of buildings burnt down by the Nazis, they found time to celebrate May Day:

'The partisans were briefly addressed by a few people and the Internationale was sung. The entire world, we knew, was celebrating May Day on that day and everywhere forceful, meaningful words were being spoken. But never yet had the Internationale been sung in conditions so different, so tragic, in a place where an entire nation had been and was still perishing. The words and the song echoed from the charred ruins and were, at that particular time, an indication that socialist youth was still fighting in the ghetto, and that even in the face of death they were not abandoning their ideals'.

Edelman was one of the few survivors, and went on to be a cardiologist and later a member of the Solidarity movement in Poland in the 1980s. His death represents a lost connection not only with the heroism and tragedy of the Polish Jews during the Holocaust, but with the whole Jewish culture of central Europe more or less wiped out in that period. Few of the Jews from that part of the world who survived stuck around, most not unreasonably preferring to take their chances in Israel, the United States or elsewhere.

With every witness that passes away, perhaps the danger grows that the memory of these events will be distorted, if not lost. The hard revisionist 'Holocaust never happened' line is pretty much universally discredited, and held by only a few far right fruitcakes (in both their Anglo-Saxon Nazi and Islamist incarnations). Much more widespread is a kind of soft revisionism which seeks to relativise the Holocaust, downplay its specific horror, and deny the role played in it by right wing nationalists of many countries, not just Germany. Just look at some of the UK Conservative Party's friends in Poland and Latvia.

As Edelman concluded in The Ghetto Fights: 'On May 10th, 1943, the first period of our bloody history, the history of the Warsaw Jews, came to an end. The site where the buildings of the ghetto had once stood became a ragged heap of rubble reaching three storeys high. Those who were killed in action had done their duty to the end, to the last drop of blood that soaked into the pavements of the Warsaw ghetto. We, who did not perish, leave it up to you to keep the memory of them alive - forever'.

Dancing Questionnaire (15): Piotr from Warszawa

Our first dancing questionnaire from Poland:

1. Can you remember your first experience of dancing?
I was probably 6 and had rhythmic lessons in kindergarten I went to. I was told (or my mother was) that I had no sense of rhythm and cannot attend the lessons. Actually I didn't enjoy them because I was a very very very calm (and even sad) child. The second one is when I was on a wedding of my parents' friends and I was dancing with a girl my age (I was 7 or 8) to a Polish wedding music - it's called disco polo (keyboard melodies and pre-programmed rhythms + cheap folk melodies and sentimental lyrics). The third time I was 10 - and I went to a summer camp and I was dancing to stuff like Ace Of Base, Guns'n'Roses, Metallica (slow dance to "Nothing Else Matters") - basically early 90's eurodance and rock stuff popular in Poland.

2.What’s the most interesting/significant thing that has happened to you while out dancing?
Nothing at all, just pure physical joy. Recently I noticed I'm a better dancer and am more open to sounds when completely sober than after 5 or 6 beers, however I have a feeling of absolute joy and fulfillment while being on booze and hearing Fleetwood Mac "Everywhere". I just can't help it ;) . I never did any drugs to dance.

3. You. Dancing. The best of times…
Many times. Moshing to Polish pop-punk bands in the age of 15. Joe Strummer tribute nights after he died in 2002 and dancing like mad to all rockabilly stuff put between Clash songs Moshing like mad to Pixies in 2004 in Berlin. Indie-pop parties in Warszawa few years ago. Hearing Fleetwood Mac "Everywhere". Hearing MIA "Jimmy". Hearing "You Spin Me Like A Record" and "Last Night The DJ Saved My Life". House party in a club in Prague from about 7 to 10 in the morning after a night of wandering through the city (my friends took xtc I was just on alcohol) .

4. You. Dancing. The worst of times…
Anytime when you act as if you are having a good time and for whatever reason you keep pretending

5. Can you give a quick tour of the different dancing scenes/times/places you’ve frequented?
1990's - eurodance, Spice Girls, Babylon Zoo, Scatman John, Chumbawamba, George Michael, Michael Jackson - this is what we were dancing to in our school parties.

1999-2002 - rock and punk, mainly live music in Warszawa, not caring about danceability of the music I listen to and bands that I watch

2004-2009 - internet era: indie gone electro gone BLOG HOUSE gone dubstep, bassline and even hiphop or ironic eurodance etc. (everything melted together), started going to clubs in 2004 when I began earning money, before I didn't go to clubs on weekends; sometimes I choose more strict styles - go for a techno show, when the guy like Redshape from Berlin comes but usually local DJs blending many styles

6. When and where did you last dance?
Last Saturday in an awful (from musical point of view) place called Klubokawiarnia in Warszawa - they play very bad housed-up versions of biggest dance hits like Blue Monday or rhytmically numb housed up r'n'b (you have 4x4 + r'n'b vocals), and all djs play almost the same set and cannot really mix well. Awful place, but my friend from London came and she chose this club.

Picture of clubbers at Klubokawiarnia by Twisted Karolina at Flickr

7. You’re on your death bed. What piece of music would make your leap up for one final dance?
Probably I could pick something more energetic, but "One For The Heads Who Remember" by Skream seems appropriate.

All questionnaires welcome - just answer the same questions in as much detail as you like and send to transpontine@btinternet.com (see previous questionnaires)