Islam’s Black Slaves: The Other Black Diaspora by Ronald Segal (2001)

al-asl huwa ‘l-hurriya
‘The basic principle is liberty’

Traditional Islamic jurisprudence assumes that everyone is free, based on the dictum: ‘The basic principle is liberty’ (al-‘asl huwa ‘l-hurriya). On this basis was slavery was an exceptional, and undesirable, condition.

Ronald Segal

Ronald Segal lived from 1932 to 2008. He was a white South African, born into a rich Jewish family. He became a committed socialist and anti-apartheid activist who fled South Africa after the 1960 Sharpeville Massacre. He was a political activist, writer and editor, founder of the anti-apartheid magazine Africa South and of the Penguin African Library. He wrote 17 books, including a biography of Leon Trotsky, though he is best known for The State of the World Atlas (first edition, 1981), co-founded with Michael Kidron. Islam’s Black Slaves was his last book. It was conceived as a companion to his previous book, 1995’s The Black Diaspora: Five centuries of the black experience outside Africa.

The link with McLynn and Jeal

I was moved to buy this rather expensive book because my reading of Frank McLynn and Tim Jeal‘s histories of European (mostly British) explorers in nineteenth century Africa sparked my interest in a number of issues, among them their repeated descriptions of the impact of the non-white Arab slave trade on East and Central Africa. (They also piqued my interest in a) the large number of white slaves captured by Islamic slave traders and b) the central role of the Royal Navy in quelling the sea-borne slave trade after 1833, both subjects I hope to explore soon.)

Islam’s Black Slaves

Both Jeal and Adam Hochschild‘s accounts show that the capturing of black slaves in East Africa was a bloody, brutal business, with entire villages laid waste and thousands murdered for every hundred or so slaves (mostly women and children) who were finally transported down the slave trails to the east coast of Africa (specifically to the slave trading island of Zanzibar, owned and run after 1840 by the Sultan of Oman on the Persian Gulf).

Eye witness descriptions of widespread devastation and the brutality of the slavers on pages 152 to 153, 156 to 157, 161.

The Atlantic slave trade

Slavery was probably part of pre-Islamic Arab life and economy.

Whereas the Atlantic slave trade only got going after 1500 as European explorers (at first mainly the Portuguese) visited the west coast of Africa, the slave trade in the realm of Islam existed since the 7th century, 900 years earlier. Whereas the British abolished the slave trade in 1807 and slavery itself in 1833, many Arab countries only formally banned slavery in living memory, Saudi Arabia and Yemen in 1962, Oman in 1970.

According to the BBC, Muslim traders exported as many as 17 million slaves to the coast of the Indian Ocean, the Middle East, and North Africa.

However 1) the Islamic trade in African slaves was always a lot smaller than the Atlantic slave trade, especially when the latter was at its height in the 18th century:

There was no extensive and long-sustained commitment of black slave labour to the scale of commercial plantation agriculture that absorbed so many millions of black slaves in the Americas. (p.42)

In part this was due to memories of the Zanj Rebellion (869 until 883) when black African slaves who were put to work draining the salt marshes around then present-day city of Basra in southern Iraq, rebelled, gathering more and more followers, slaves and free, and presenting a major threat to the Abbasid Caliphate (pages 43 to 44).

The rebellion had a lasting impact. The use of a large number of black slaves in plantation agriculture and irrigation schemes sharply declined; it was considered too dangerous. (p.44)

2) The Islamic attitude to black slaves was markedly different from that of white Europeans, in a number of ways.

The Atlantic slave trade, particularly as it escalated in the 18th century, was a key element in the development of industrial capitalism, generating the profits from sugar and tobacco plantations which was then invested in new technologies in Britain (p.106; cf Eric Hobsbawm in Industry and Empire). But what makes capitalism different from all other social and economic models is the relentless focus on profit. If you take this as the be-all and end-all of social effort, then human beings can quickly come to be seen as mere units of productivity or consumption, totted up on dry accounts books.

Thus, according to Segal, African slaves were treated as units of productions, like donkeys, horses or steam engines, stripped of any individuality, faceless drones whose lives and deaths meant nothing to their owners.

The treatment of slaves in Islam was overall more benign, in part because the values and attitudes promoted by religion inhibited the very development of a Western-style capitalism, with its effective subjugation of people to the priority of profit. (p.5)

He then discusses slavery’s place in Christianity, which is highly problematic. If Jesus meant what he said about the brotherhood of man and so on then slavery was an outrageous blasphemy against Christian teachings. This had two broad consequences.

1) Slave owners and their propagandists scoured the Bible to try and find justifications for slavery (blacks being the descendants of Ham, the son of Noah who cast him out and curses him after Ham, saw his father drunk and naked, etc); or they simply denied that blacks were fully human, using any pretext which presented itself to argue that Africans were animals, savages, lower down the evolutionary scale etc.

2) The other consequence was those brave Christians who applied Jesus’s teachings consistently and so opposed the slave trade, generally evangelical ‘low’ Christians who formed the backbone of the Abolitionist movement and whose story is told in Adam Hochschild’s moving book Bury the Chains: The British Struggle to Abolish Slavery.

Islam’s treatment of slaves

By contrast, slavery was accepted by the Prophet Mohammed and his successors but, being openly acknowledged, was provided for. Mohammed goes out of his way to insist that slaves be treated humanely. A slave’s master was enjoined:

  • not to show contempt for a slave
  • to share his food with a slave
  • to provide a slave as good clothes as his own
  • to set a slave moderate and achievable work
  • not to punish a slave excessively but forgive him ‘seventy times a day’

Of course slavery of any form is a wicked denial of the basic human rights of human beings as we now, in 2023, conceive of them. But Mohammed’s explicit insistence that slaves should be treated well established a venerable standard which all Muslim slave owners could be held to. Thus:

Slaves in the Ottoman empire were differently regarded and treated [than in the West]. In conformity with Islamic teaching and law, slaves were people who had stipulated rights. (p.106)

Two routes to slavery

According to the Prophet there were only two legitimate route to slavery: birth to a slave mother or capture in warfare (p.36). Warfare could only be against non-Muslims or infidels, as Muhammed assumed that Muslim would never fight Muslim, brother against brother. Enslavement of captives in war went some way towards repaying the losses of warfare but was also a means of assimilating and converting non-Muslims who could, ultimately, be freed.

Obviously these rules were flouted repeatedly through history, but at least there were rules, they were clear, and rulers could be held to account against them.

Islam’s anti-racism

There are other key distinctions between the two traditions. It follows from point 1) above, that the anxiety felt by European Christian slave traders and owners created and fuelled a vast ideology of racism. Christian slave owners could only square their consciences if they held to the view that black Africans were not fully human, less than human, or even a different species. Many, many commentators claim the legacy of these scandalous opinions lingers on today in numerous institutions and organisations and individuals.

The point is that the Prophet Muhammad explicitly forbade racism.

The Koran expressly condemns racism along with tribalism and nationalism. (p.6)

According to Arabist Bernard Lewis:

pagan and early Islamic Arabia seems to have shared the general attitude of the ancient world, which attached no stigma to blackness. (quoted p.46)

In his Farewell Sermon Muhammed said:

‘O people, your Lord is one and your father [Adam] is one. There is no superiority of an Arab over a non-Arab, nor a non-Arab over an Arab; no superiority of a white person over a black person, nor superiority of a black person over a white person – except in righteousness.’ (quoted p.46)

Indeed, the first official muezzin, personally appointed by Muhammed to proclaim adhan in Mecca, was Bilal ibn Ribah, an African slave who was emancipated when Abu Bakr (who was to be the first caliph or successor to the Prophet) paid his ransom on Muhammad’s instruction (p.46).

This, as I imperfectly understand it, is one of the great appeals of Islam through the ages. When a convert submits to Allah he or she joins the great international ulema, regardless of ethnicity or skin colour. This, as I understand it, explains the surge of interest in Islam among American black activists of the later 1960s such as Malcolm X, who thought the Christian tradition espoused by the Reverend Martin Luther King, was hopelessly compromised by its profound involvement in the slave trade for centuries.

Forty years later James Fergusson dwelled on the appeal of Islam to Somalis in his book ‘The World’s Most Dangerous Place: Inside the Outlaw State of Somalia’. He cites Gerald Hanley, a British officer who spent years among the northern Somali in the 1940s, who said:

‘Islam does wonders for the self-respect of non-white people.’ (quoted p.54)

Islam offers discipline, focus, purpose and self respect in people who feel themselves second or third-class citizens.

[Islam] continued to encompass slavery long after slaves had been freed throughout Christendom. But while slavery was practiced in Christendom and Islam alike, the freeing of individual slaves by their owners was much more frequent and widespread in Islam. This was of particular relevance to the social assimilation of blacks. As slaves, they were subject to no special racial discrimination in law; and, once freed, they enjoyed in law equal rights as citizens. (p.9)

Something very much not true of freed blacks in America and their descendants, arguably, to this day.

However, that was the theory, and Segal goes on to describe how Islamic social practice and attitudes often fell far short. He traces the emergence of anti-black attitudes which might be attributed to 1) the Zanj rebellion; 2) contempt for the mainly manual labour many black slaves were condemned to in a culture which prized intellectual achievement.

He then goes on to cite an impressive roster of medieval Islamic scholars who authoritatively declaimed a series of hair-raisingly racist generalisations against black Africans. A lot of this was repetition with elaboration of Galen’s founding racist generalisations from the third century of the Christian era.

By the Middle Ages the Arabic word ‘abd had come to denote black slave and mamluk to mean white slave (p.49).

A last point about the racism or absence arising from the Islamic slave trade. As mentioned, the Atlantic slave trade a) prioritised men, for hard manual labour and b) the European owners erected a severe race barrier, which involved legal and cultural denigration of Africans.

By contrast, the Islamic trade prioritised female slaves which led to greater miscegenation or inter-breeding. I wonder if anyone’s done research to discover how much ‘black DNA’ is present in the Arab population. I came across this website online: it claims the DNA of the typical Egyptian contains 3% of African genes, Kuwaitis are 7% African, Lebanese are 2% East African and so on. I’ve no idea if this is correct or scientifically meaningful.

But Segal definitely asserts that over 1,000 years of interbreeding between black Africans and Arabs produced a population many of whose members are racially indistinguishable – in stark contrast to the situation in North America where the visual distinction between black and white was fiercely enforced until well into the 20th century and so remains, to this day, much more prominent and problematic.

Islam’s slaves in the service sector

Slaves in the Atlantic system were, classically, regarded as units of production in a brutally capitalist system, worked to death on plantations. Thus it’s calculated that the slaves were transported in a ratio of 2 men to every woman, because sheer brute strength was required on the plantations.

Whereas slaves in the Islamic world tended to be employed in the name of consumption, often very conspicuous consumption, as Segal’s profiles of numerous immensely rich caliphs and Muslim rulers indicate. The very rich tended to have vast numbers of concubines, servants, attendants and whatnot, many of whom were slaves. Segal tells us that Ahmad b Tulun, the Tulunid ruler from 868 to 884, left at his death 24,000 white slaves and 45,000 black ones (p.54).

Essentially, the distinction between Western and Ottoman – indeed Islamic – slavery was that between the commercial and the domestic. (p.107)

Thus it is that the gender ratio was reversed, with an estimated two female slaves transported into the Islamic world for every male, as slaves were most commonly used for household work (most conspicuously, concubinage, which modern scholars might describe as sex slavery).

Lower down the social order, many slaves worked in the service sector as cooks, porters, secretaries and so on. There is much evidence that, although their capture in Africa was a violent and traumatic experience, once they ended up in Arab Muslim households, many slaves were treated well.

Slaves in Islamic armies

Some slaves were trained to serve as soldiers. This was the case with the Mamluks, an Arabic word which literally means ‘owned’ or ‘slave (p.31). These were non-Arab, ethnically diverse (mostly Turkic, Caucasian, Eastern and Southeastern European) enslaved mercenaries, slave-soldiers, and freed slaves who were assigned high-ranking military and administrative duties, serving the ruling Arab and Ottoman dynasties in the Muslim world.

Mamluks became a powerful military knightly class in various Muslim societies that were controlled by dynastic Arab rulers. Particularly in Egypt and Syria, but also in the Ottoman Empire, Levant, Mesopotamia, and India, mamluks held political and military power. In some cases, they attained the rank of sultan, while in others they held regional power as emirs or beys. Most notably, Mamluk factions seized the sultanate centred on Egypt and Syria, and controlled it as the Mamluk Sultanate from 1250 to 1517. The Mamluk Sultanate fought the Christian Crusaders in 1154 to 1169 and 1213 to 1221, effectively driving them out of Egypt and the Levant (p.31).

Segal’s discussion of slaves in Islamic armies pages 45 to 46.

Talking of one-time slaves rising to power, the longest reigning of the Fatimid Caliphs, al-Mustansir (1036 to 1094) was the son of a black Sudanese concubine, whose mother, because he only came to power when he was seven, was the real ruler of the Caliphate for the 15 years of his minority (p.51); and Segal gives other instances of Africans who rose to positions of high power, especially black eunuchs.

Islam’s releasing of slaves

The technical term in English is ‘manumission’, from the Latin, meaning simply ‘release from slavery’.

The Koran teaches that it is virtuous to free slaves. It says one of the uses of zakat, a pillar of Islam, which can be translated as ‘alms’, is to pay for the freeing of slaves:

‘Alms-tax is only for the poor and the needy, for those employed to administer it, for those whose hearts are attracted to the faith, for freeing slaves, for those in debt, for Allah’s cause, and for needy travellers. This is an obligation from Allah. And Allah is All-Knowing, All-Wise.
( Surah At-Tawbah 9:60)

Freeing your slaves can offset sins you have committed and hasten your entry to heaven.

‘The man who frees a Muslim slave, God will free him from hell, limb for limb.’ (quoted p.35)

The Koran describes a particular type of legal contract, the mukataba, which it encouraged slave owners to make with slaves, whereby they could work towards their freedom (p.36).

The Koran says slave owners can have sex with female slaves, but places on them an injunction to marry them off to male slaves, whereupon the husband has sole right. The Koran allots praise to a slave owner who educates his female slave, frees then marries her (p.36). Unlike America and other European colonies, it was expressly forbidden to separate slave mothers and their children.

Eunuchs

Islam expressly forbids mutilating the human body which is the image of God.

‘Whoever kills his slave, we will kill him; whoever mutilates (his slave), we will mutilate him; and whoever castrates his slave, we will castrate him.’ (Sunan an-Nasa’i 4736; Book 45, Hadith 31)

Nonetheless, eunuchs became an engrained part of wealthy Islamic culture and pious Muslims got around the ruling by having infidels do the castrating. Thus during the Middle Ages Prague and Verdun became castration centres supplying eunuchs to the Islamic market (p.40).

Possession of eunuchs was just one sign of the extraordinary conspicuous consumption which distinguished medieval Islam. Thus, Segal tells us, at the start of the 10th century, when Alfred the Great’s muddy successors were still fighting the invading Danes in East Anglia, the Caliph in Baghdad had seven thousand black eunuchs and 4,000 white ones, in his palace (p.41).

Vivid, stomach-turning description of castrating a boy (p.171).

Numbers and routes

There were three main routes of black African slaves into Islam:

  1. across the Sahara
  2. from Ethiopia across the Red Sea
  3. from East Africa

Segal cites the calculations of scholars like Ralph Austen and Paul Lovejoy who estimate that the total number of black Africans trafficked into the Islamic world between 650 and the twentieth century as 11 to 12 million. Raymond Mauvy calculates 14 million. This is directly comparable to the 11 or so million calculated to have been transported in the far shorter period of the Atlantic slave trade (pages 55 to 57). Scholar H.J. Fisher is quoted as saying the total number of black slaves transported in the Islamic slave trade was probably larger than the number involved in the Atlantic slave trade (p.61).

Segal points out that enormous though these numbers sound, the 14 million figure ‘only’ works out 10,370 slaves per year. All scholars agree that the 19th century saw a dramatic increase in volume in slave trading (in 1838 an estimated to 10 to 12 thousand slaves were arriving in just Egypt, each year), so the chances are that the figures for the previous 11 centuries are lower, a guesstimate of maybe 7,000 per annum (p.60).

Importantly, these numbers exclude the internal black-on-black slave trade, the intra-Africa slave trade. So, controversially, they don’t include the vast numbers of slaves captured in East Africa and transported to Zanzibar, owned by an Arab elite, to work on the clove plantations. Segal cites the figure of about a million black slaves set to work in Zanzibar during the nineteenth century. If you included the intra-African trade, the total would go up by at least 2 million.

If you add the Atlantic and the Islamic trades, you end up with a figure of around 25 million black Africans captured and taken off into slavery.

We will never know the precise numbers. All we can do, in this as so many other aspects of human history, is marvel, or reel, at the thought of so much human suffering.

Non-black slaves

Most of the above concerns black slaves. But Islamic rulers conquered and enslaved or bought slaves from many other ethnicities. Thus countless numbers of Turkish and Circassian people were enslaved, as were Slavs and others from the Balkans. Someone somewhere must have done research into this. Segal only mentions it in passing.

Chapters

The foregoing summarises the first 70 or so pages of the book, dealing in general principles, overall numbers and so on. Subsequent chapters deal with:

Chapter 5. The Farther Reaches

China

Segal brings together fleeting references to black people in medieval and early modern sources. Chinese porcelain has been found in ruined trading towns on the East African coast. There’s no records of an organised trade.

India

Islam expanded into north-west India through armed conquest. It brought black slaves, mainly for military service. They called themselves Sayyad, corrupted to Siddis who, when liberated, set up small kingdoms of their own, became employed as security on Muslim ships, some rose to become admirals. The story of the rise to power of Malik Ambar (1548 to 1626), a military leader who rose to the office of Peshwa of the Ahmadnagar Sultanate in the Deccan region of India, his military and cultural achievements.

Spain

North African Muslims invaded Spain in 611, overrunning almost the entire peninsula (apart from Galicia) by 620. The resulting kingdom of al-Andalus grew to legendary wealth. Black slaves were imported from Africa, but the realm was also famous for exporting white slaves from Gaul and Galicia. It became a centre for castrating male slaves to provide eunuchs (p.80). The career of the black poet and arbiter of taste, Ziryab (789 to 857).

Chapter 6. Into Black Africa

A very detailed look at the different routes of slave traders and the slave trade into the Islamic world, from Ethiopia across the Red Sea, from the coast of East Africa. Segal gives a long complicated account of the rise and histories of various black African empires in west Africa – the empires of Ghana, Mali, the Kanem and Songhai empires – many of whose rulers converted to Islam, and the complex history of black slaving along the major trans-Sahara slaving routes. It’s a complex, unfamiliar history.

Chapter 7. The Ottoman Empire

Of all the empires that rose and fell within the Islamic world, the Ottoman was the largest and longest lasting. Segal uses the Ottoman empire to really point the difference in attitudes to slavery between the Christian West and the Muslim East. Although many slaves may have held domestic positions in the Americas and some been released, the fundamental difference was the slaves in the West were used as units of production by fast-evolving capitalism. Whereas in the East, although some slaves were used in labour-intensive plantations and proto-factories, the majority were for domestic consumption. Plus the East had a more generous policy of freeing slaves. Many civil servants or soldiers who were, technically, slaves of the Sultan rose to become generals and governors (p.106).

He makes the simple crucial point that while the West pursued a model of nationalistic capitalism which encouraged aggressively competitive trade and enshrined in law the unbridled pursuit of profit, the Ottoman Empire cleaved to Islam’s disdain for trade, prioritising of military glory or scholarly achievement and its active discouragement, in law, of the kind of profit-seeking sought in the West. Merchants accumulated capital but their culture mandated them to use it charitably, to establish schools or hospitals. Lacking a central bank, or banks in general, which could be used to redistribute capital from its owners to speculative ventures, lacking the complex legal framework and definitions of property and company law which enabled Western capitalism, the Ottoman Empire condemned itself to slow decline.

While social, political and, above all, economic innovation swept the West, the Ottoman empire remained steeped in sterile ceremonial. (p.116)

Segal gives a lot of detail of Ottoman history, especially the role of black eunuchs at the highest level of the Ottoman court. As to general black slavery, there was a substantial and continuous trade but records are scanty.

He credits the British in particular for pressuring the Ottoman Turks to end slavery in their empire. In 1846 the slave market in Constantinople was closed. In 1855 moves to ban slavery throughout the empire led to a violent revolt in Arabia, led by an imam who declared the ban unIslamic. The revolt was put down but when the ban was promulgated, it made Arabia an exception, to the area continued to be a base for slavers. Slavery was banned in 1889 but kept its place in Sharia law. In 1923 the modern state of Turkey replaced the empire, with secular law banning slavery.

Chapter 8. The ‘Heretic’ State: Iran

Segal gives a thumbnail sketch of Persia’s resistance to Arab rule which came to be embodied in its espousal of a distinct brand of Islam, Shia Islam or Shiaism. There is scant evidence of black slavery in Iran; what there is suggests black slaves enjoyed good treatment and high status in households, especially of the wealthy. An English lady traveller speculated that between two and three thousand African slaves were imported each year (p.123).

A scholar estimates the number of slaves in mid-19th century Iran as 80,000. As late as 1898 the Anti-Slavery Society estimated up to 50,000 slaves in Persia. As with the Ottoman Empire, from the 1820s onwards the British brought pressure to bear to end the slave trade, but the exemption of Arabia allowed it to continue as a conduit of African slaves into Iran. Only in 1882 did the Persian government renounce slavery in a treaty signed imposed by Britain (p.126). Only in 1907 did the new National Assembly enact a law ensuring universal freedom.

Segal makes the interesting point that, as in the USA, colour prejudice might have intensified after the abolition of slavery.

Chapter 9. The Libyan Connection

The black slave trade into the semi-Ottoman state of Tripolitania. In 1818 a Royal Navy captain, G.F. Lyon, observed that the ruling Bey waged war on all his neighbours and carried away 5,000 slaves a year. Segal cites scholar Ralph Austen whose detailed calculations suggest that from 1550 to 1913 some 784,000 black slaves were transported through Libya. Given a 20% death rate on the journey from the South, this suggests 942,000 black Africans were kidnapped and enslaved by Arab and Muslim traders working the Tripoli route (there were numerous other routes).

In 1930 a Danish traveller to Libya reported that there was a slave market every Thursday in Kufra and a good adult slave cost £15.

Chapter 10. The Terrible Century

The nineteenth century saw an increase in volume and intensity of Islamic slaving across north and east Africa. In 1808 Britain withdrew from the slave trade and set about persuading other European nations to do the same. Britain also began to intervene in the Muslim world to abolish the trade, but tentatively, mindful of Muslim sensibilities.

East Africa

A European visitor stated that, around 1810, almost the entire income of the state of Oman derived from taxes on the slave trade. In 1840 the Sultan of Oman moved his court to the island of Zanzibar, main entrepot on the west of the Indian Ocean, principle outlets for black slaves captured in the interior.

By the 1840s up to 15,000 slaves a year were being trade. The Sultan himself needed huge numbers to work his clove plantations. In the 1850s it’s estimated that Zanzibar’s population included 60,000 slaves. A quarter of the Sultan’s income was said to derive from the trade.

The British protected the Sultan as their client but brought consistent pressure on him to abolish the trade. He signed a series of treaties to that effect but in the 1860s the British consul reported that 30,000 slaves were arriving annually at the coastal ports, some for Zanzibar, some shipped north to the Gulf. He also reported that for every slave who reached the coast alive, one had died en route. Other accounts claimed a far higher number.

Many of the slavers, the leaders of expeditions to attack and massacre African settlements, then take away prisoners in chains, were either Arab or, very commonly, of mixed Afro-Arab ethnicity. Segal, again, draws the distinction between the behaviour of the slavers, which was brutal and murderous, and slaves’ treatment in their destination households, which was often kind as per Islamic lore.

Sudan and Egypt

Khartoum was originally a small fishing village at the junction of the White and Blue Niles. After Sudan it was conquered by the Ottoman viceroy, Muhammed Ali, in 1840, it was turned into a major entrepot for African slaves. By 1838 12,000 black slaves were being imported into Egypt annually. Beyond the reach of the Egyptian authorities operated the Ja’aliyin, who raided west into Darfur and south into tropical Africa until well into the 1890s.

Huge enclosures for slaves were established in Cairo, where many died of smallpox and other infectious diseases. For every slave that made it to Cairo, it’s estimated that 5 died along the way (p.151). General Gordon calculated that in the area of Bahr el-Ghazal between 1875 and 1879, up to 100,000 slaves had been exported north. European explorers found entire areas which had been devastated and emptied of their populations by slavers (pages 152 to 153, 156 to 157, 161). Only in 1883, when Britain occupied Egypt, were they able to start cracking down on the trade. By 1904 the Viceroy, Lord Cromer, could claim that the systematic slave trade had been eradicated.

Ethiopia and Arabia

Slavery in Ethiopia thrived for centuries. Up to 500 slaves were sold at the market at Gallabat every day. King Menelik was alleged to take a 10% cut in the trade i.e. gifted one slave in ten. Most were sent across the sea to Arabia. After the Ottoman Sultan banned it, the trade increased because it was no longer taxed. A British reporter estimated in 1878 that 25,000 slaves a year were sold in Mecca and Medina and the trade continued into the early 1900s.

The trade through Kenya was ended when the British created the East Africa Protectorate in 1895. Slavery was only legally abolished in Zanzibar in 1897.

West Africa

Segal describes a confusing profusion of kingdoms and rulers, Muslim jihads, insurgencies, overthrows and new rulers, all across west Africa in the 18th and 19th centuries. The point is all of them engaged in the slave trade, sending slaves north into Muslim Arab lands, or collecting them for their own grandeur. As the nineteenth century raiding became more intense and destructive, not least due to growing access to Western arms, which resulted in the devastation of entire regions. It’s instructive to learn that black on black slave trading continued energetically right to the end of the nineteenth century and beyond. A French agent on the Senegal river reported that in 1889 some 13,000 slaves were transported along the river.

Chapter 11. Colonial Transactions

Northern Nigeria

The British claimed the former Sokoto Caliphate in 1906, naming it north Nigeria. Segal describes the economic, legal and social reforms which led to the erosion of slavery, not only the banning of the institution but the economic development of the colony which gave peasants paid work.

French Soudan

In 1848 the French National Assembly abolished slavery in all her colonies. But it wasn’t until 1905 that the Governor-General of French West Africa decreed an end to the slave trade and any person losing their liberty (p.181). The data suggests that slaves made their way back to their former towns and villages.

Mauritania

As the cost of accepting French rule (1905 to 1910), the leaders of inland tribes in this part of north-west Africa demanded that traditional tribal laws about slavery remain. Colonial attitudes and Islamic law favoured masters in this largely nomadic population. Drought and famine in the 1930s then again after the war, forced many to offer themselves as slaves in order to secure food.

Somalia

Italy seized part of Somaliland in 1892. They made noises about banning slavery but in 1903 a third of the population of Mogadishu were slaves. In 1906 when Italy took full control of the colony, they estimated the slave population at 30,000. When they freed the slaves in the city, the Italians discovered it led to unemployment and beggary, so were slower to act in the countryside. A complicated mesh of laws followed until the Fascists took power in 1922 and passed laws designed to liberate slaves but force them into low-paid labour on plantations.

Zanzibar and the Kenyan Coast

In 1890 the British declared the Sultanate a Protectorate but it wasn’t until 1897 that they passed legislation allowing slaves to claim their freedom and then take-up was patchy because for many ‘freedom’ meant loss of employment and home. Employers and ex-slaves had to negotiate new relations. Employers raised pay, many ex-slaves squatted on waste land or the edge of plantations. The authorities struggled with increased vagrancy, drunkenness and delinquency. The British supported the Arab minority, as small as 5% of the population, because they owned the land and the clove plantations. Resentment against this privileged minority would boil over at independence.

In Kenya Segal describes the long-running problem of ex-slaves who became squatters, had families, established squatter settlements, especially along the coast where there was likely to be more work, a problem which troubled the British authorities and carried on past independence in 1963.

In Zanzibar and along the coast anti-Arab feeling grew and in 1961 there were violent African-Arab riots which left 68 dead. In the election held after the British left, the Arab party won a majority through blatant vote-rigging. This led in January 1964 to an outbreak of politically-motivated African violence which massacred Arabs and seized property, overthrowing the Arab Sultan for good. As many as 4,000 Arabs were killed in the streets. President of Tanganyika, Julius Nyerere, offered the revolutionary leadership a union with their mainland neighbour and so the country of Tanzania was born.

Chapter 12. Survivals of Slavery

Stories of the ongoing existence of black slavery in Arab states such as Qatar, Oman, Saudi Arabia, Dubai and Muscat. As recently as 1982 accusations that black Africans travelling to Mecca are captured and sold. On the west coast, evidence that African girls are trafficked to Lebanon.

Mauritania

At the time of writing the secretive government of Mauritania kept up slavery, with as many as a third of the population of about 2.5 million enslaved. Segal moves into the present era with a description of the racist activities of the Arab Islamic Mauritanian government in deporting, arresting, executing and generally harassing Mauritanians of black ethnicity. Especially the 1989 Mauritania–Senegal Border War which led to the expulsion of some 70,000 sub-Saharan African Mauritanians from the country. Wikipedia:

Modern-day slavery still exists in different forms in Mauritania. According to some estimates, thousands of Mauritanians are still enslaved. A 2012 CNN report, ‘Slavery’s Last Stronghold’, documents the ongoing slave-owning cultures. This social discrimination is applied chiefly against the ‘black Moors’ (Haratin) in the northern part of the country, where tribal elites among ‘white Moors’ (Bidh’an, Hassaniya-speaking Arabs and Arabized Berbers) hold sway. Slavery practices exist also within the sub-Saharan African ethnic groups of the south.

Sudan

The civil war in Sudan between the Arab north and the African Christian or animist south lasted for 40 years after independence in 1956. In 1972 the south was granted regional autonomy. South Sudan finally became an independent country in July 2011. Segal masters evidence for the ongoing practice of slavery in Sudan, generally practiced by Arabs on black Africans (pages 216 to 222). He mentions Christian Solidarity International which undertakes missions to buy slaves their freedom. At the time of writing CSI had freed more than 20,000 slaves, at an average price of $50 each.

Epilogue. America’s black Muslim backlash

This was by far the easiest part of the book to read and for a reason I often remark on – because it’s about America and we in the UK are bombarded with American culture, history and values. So when he writes about racism in Detroit or Harlem, about the Civil Rights Movement and Martin Luther King, these are people and places and issues I feel superfamiliar with, from books and TV shows, documentaries and radio programmes and movies, exhibitions, art and photography.

Whereas the information about the trans-Sahara slave routes or the rise and fall of the various empires of west Africa or even the history of Islamic Spain were just some topics I knew next to nothing about and found very informative indeed, and all the more rewarding for being so radically unfamiliar.

Reading the stuff here about the Nation of Islam and Malcolm X reminded me of watching the movie starring Denzel Washington, plus documentaries, plus articles, all (over)familiar stuff. Whereas I know nothing about the Fulani or the Hausa kings, about the Oyo empire or the royal court of Bornu, about Usman dan Fodio or Muhammed al-Amin al-Kanami or Yusuf Pasha of Tripoli. Here is a huge subject (the history of north and west Africa) of which I am pitifully ignorant, and need to learn more.

Thoughts

The biggest, general thought prompted by the book is the ubiquity of slavery, among all nations and all ethnicities, throughout most of history. The chapter on the Ottoman Empire routinely describes the numbers of white slaves seized from the Balkans in the Sultan’s palace, or more broadly. The chapter on Iran mentions that Iranians were themselves taken as slaves by the Ottomans to the West or the Uzbeks to the north. Iranians in turn seized Christian Armenians or Circassians.

Next is the Big Idea that slavery in Islamic was qualitatively different than the Western and Atlantic form, as described above.

Third thing is the leading role played by Britain throughout the nineteenth century in trying to stamp out slavery, across North Africa, in the Turkish heartlands, in Iraq and Persia, and along the East African coast. In all these places British diplomats, backed up by the Royal Navy, tried to stamp out the Arab slave trade.

Lastly, and tangentially, Segal’s passage about West Africa and its empires (chapter 10) was illuminating in itself, but also made me wish I could find a good, affordable account of France’s empire in Africa, not just the well-covered Algeria, but countries like Mauritania, Senegal, Mali, Guinea, Ivory Coast, Burkina Faso, Benin, Niger and Gabon, French Congo, the Central African Republic and Chad, which we in the Anglosphere never hear about.


Credit

Islam’s Black Slaves: The Other Black Diaspora by Ronald Segal was first published by Farrar, Strauss and Giroux in 2001. All references are to the 2002 paperback edition from the same publisher.

Related links

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The Dissolution of the Austro-Hungarian Empire 1867-1918 by John W. Mason (1985)

This is another very short book, one of the popular Seminar Studies in History series. These all follow the same layout: 100 or so pages of text divided up into brisk, logical chapters, followed by a short Assessment section, and then a small selection of original source documents from the period.  It’s a very useful format for school or college students to give you a quick, punchy overview of a historical issue.

This one opens by summarising the central challenge faced by the Austro-Hungarian Empire as it entered the twentieth century: how to take forward a fragmented, multi-cultural empire based on traditional dynastic and semi-feudal personal ties into the age of nationalism and democracy where every individual was, in theory at least, a citizen, equal before the law.

On page one Mason locates four key failures of late imperial governance:

  1. the failure to solve the Czech-German conflict in the 1880s and 1890s
  2. the failure to develop a genuine parliamentary government in the late 1890s
  3. failure to solve the Austro-Hungarian conflict in the early 1900s
  4. failure to solve the South Slav conflict in the decade before World War One

PART ONE The background

1. The Hapsburg Monarchy in European History

The Hapsburg monarchy lasted 640 years from 1278 to 1918. It was a dynastic creation, never attached to a specific country. In 1867 (following Hungary’s defeat to Prussia in the war of 1866) the state was organised into the so-called Dual Monarchy, with the Hapsburg ruler titled the Emperor of Austria and the King of Hungary. This gave Hungary more autonomy and respect than it had previously had.

The name ‘Hapsburg’ derives from Habichtsburg meaning ‘Castle of the Hawks’, located in what is now the Swiss canton of Aargau. During the eleventh century the knights from this castle extended their power to build up a position of growing influence in south Germany.

Meanwhile, the eastern March – the Oster Reich – of Charlemagne’s massive empire was granted to the Babenberg family in the tenth century and they held it for the next 300 years.

In 1273 the electors of the Holy Roman Empire elected Rudolf of Hapsburg to the office of Holy Roman Emperor. In the 14th century the Hapsburgs acquired Carinthia, Carniola, Tyrol, Istria and Trieste to their domain. In the 15th another Hapsburg was elected emperor and from 1438 till the Holy Roman Empire was dissolved by Napoleon in 1806 the Crown remained almost continuously in their house.

When King Louis II of Bohemia and Hungary died without issue in 1526, both his crowns passed to the Hapsburgs. This marked a turning point because up till then all Hapsburg land had been German-speaking. Now the Hapsburg administration had to take account of various non-German nations with their own independent histories.

This leads to a Big Historical Idea: just as the countries of the West were beginning to develop the idea of the nation state, central Europe was going down a different path, towards a multi-national empire.

Even more decisive was the role the Hapsburgs played in defending Europe from the Turks. Twice, in 1529 and 1683, the Turks laid siege to Vienna, a very under-reported and under-appreciated part of European history.

The Turkish threat had effectively been repulsed by the start of the 18th century and the Hapsburgs embarked on their new role in Europe which was to act as a counterweight to ambitious France, starting with the War of Spanish Succession (1702-14).

The long rule of the Empress Maria Theresa (1740-80) saw her undertake reform and centralisation of the administration. But her power in central Europe was challenged by Hohenzollern Prussia under Frederick the Great (1740-86). During this period, Poland was partitioned and Austria was given from it the southern province of Galicia, which she retained right up till the end of the Great War.

The French Revolution and Napoleonic Wars (1789-1815) unleashed the ideas of nationalism and democracy across Europe, both of which struck at the heart of the multi-ethnic and hierarchical structure of the Empire.

Under Maria Theresa and her son Joseph II, Austria had arguably been part of the continent-wide movement of reform associated with the Enlightenment, take for example their legislation to remove many of the restrictions placed on the Jewish population.

But the twin forces of nationalism and democracy were such a threat to a multinational polity that from this point onwards the Hapsburgs and the empire they led, became a reactionary force, embodied in the machinations of their legendary Foreign Minister, Klemens von Metternich (foreign minister from 1809 to 1848).

In 1848 revolutions took place all across Europe, with no fewer than five in capitals controlled by the dynasty – in Vienna, Prague, Budapest, Croatia and in northern Italy (territory which the Hapsburgs had seized after the defeat of Napoleon). Hapsburg forces put down the revolutions in four of the locations, but it required the intervention of the Russian army to defeat the revolutionary Hungarian forces. The Magyars never forgot this bitter defeat.

In the Crimean War (1853-6) Austria kept neutral from both sides (Britain & France versus Russia) which weakened her role in Europe. In 1859 France supported the desire for independence of Piedmont, the north Italian state ruled by the Hapsburgs since the defeat of Napoleon, and hammered the Austrians at the Battles of Magenta and Solferino. In response the Hapsburgs introduced some administrative reforms, but in 1866 lost another war, this time against Prussia under Bismarck, decided at the Battle of Sadowa.

Seriously weakened, and now definitely deprived of all influence in a Germany unified under Prussian rule, the Emperor’s politicians were compelled to bolster the Empire’s authority be devising a new agreement with the large Kingdom of Hungary to the East.

2. The Austro-Hungarian Compromise

Hence the Compromise or Ausgleich of 1867 which recognised the sovereign equality of two states, Austria and Hungary, bringing them under the rule of one man, Franz Joseph, Emperor of Austria and King of Hungary. The dual monarchy wasn’t the same as a federation, constitutionally it was unique. But it bolstered the Hapsburgs a) territory b) manpower. Crucially it provided a bulwark against the Slavs in the Balkans, quelling pan-Slavic sentiment.

The drawback of the Compromise was that it was essentially a personal agreement between the Emperor Franz Josef and the Magyar ruling class. Even liberal and progressive German-speaking Austrians felt left out, and that’s before you consider the numerous other nationalities contained within the empire.

PART TWO Domestic affairs

3. The Nationality Questions

The Treaty of Versailles entrenched the idea of national self-determination preached by American President Woodrow Wilson, and resulted in the break-up of the empire into a host of new nation states based on ethnicity. Viewed from this angle, it looks as though the Austro-Hungarian Empire was foredoomed to collapse. But all the histories I’ve read there was no such inevitability. This one wants to scotch two assumptions –

  1. that all the nationalities thought they’d be better off outside the empire (many realised they wouldn’t)
  2. that all the nationalities were ‘at war’ with imperial authorities; many weren’t, they were in much sharper conflict with each other

In the West the state and the nation were closely aligned; but in the East you can see how they are in fact distinct ideas. The state is an administrative unit and in Central and Eastern Europe was based on ancient rights and privileges of rulers, often going back to medieval origins.

From the mid-nineteenth century these traditional ideas were challenged by a concept of ‘nation’ based on ethnicity, culture and language. Otto Bauer the Austrian Marxist made a famous categorisation of the peoples of the empire into ‘historic’ nations, those which had an aristocracy and bourgeoisie and an independent national history;

  • Germans
  • Magyars
  • Poles
  • Italians
  • Croats

and those who don’t:

  • Czechs
  • Serbs
  • Slovaks
  • Slovenes
  • Ruthenians
  • Romanians

Most modern commentators include the Czechs in the list of ‘historic’ nations.

The Germans

In the western half of the empire the Germans made up 10 million or 35% of the population of 28 million. Nonetheless the administration was thoroughly German in character. The official language of the empire was German. The great majority of the civil servants were German, 78% of the officers in the army were German. The cultural life of Vienna, the capitalist class and the press were overwhelmingly German. Three political parties dominated from 1880 onwards, which adopted the three logical policies:

  1. The Pan-Germans looked beyond Austria to a nationalist union of all German peoples under Bismarcks Prussia
  2. The Christian Socialist Party under Karl Lueger aimed to unite all the nationalities under the dynasty
  3. The left-wing Social Democrats aimed to unite the working class of all the nationalities, thus dissolving the nationalities problem

The Czechs

Third largest ethnic group (after the Germans and Hungarians) with 6.5 million or 12% of the population. In Bohemia roughly two fifths of the people were German, three fifths Czech.The Czechs were the only one of the minorities which lived entirely within the borders of the empire, and some they were bitterly disappointed by the Compromise of 1867, which they thought should have recognised their identity and importance. Czech nationalists thought the deal left them at the mercy of German Austrians in the West and Hungarians in the East.

From the 1880s the struggle between Czech and German expressed itself in the issue of the official language taught in schools and used in the bureaucracy. The Czech population increased dramatically: Prague was an overwhelmingly German city in 1850 but 90% Czech by 1910. Germans found it harder to dismiss the Czechs as peasants Slavs, as Bohemia rapidly industrialised and became the economic powerhouse of the empire.

The Poles

The Poles were the fourth largest group, in 1910 4.9 million or 17.8% of the western part of the empire, most of them living in Galicia. Galicia was a) a province of Poland which had been obliterated from the map when it was divided between Russia, Prussia and Austria in the 18th century b) at the north-east fringe of the empire, beyond the Carpathian mountain range.

The Austrians needed the support of the Poles to make up a majority in the parliament in Vienna, and so made so many concessions to the Polish Conservative Party in Galicia that it enjoyed almost complete autonomy, with Polish recognised as the official  language, Polish universities and so on.

The Ruthenians

Only three fifths of the population of Galicia was Polish; the other two-fifths were Ruthenians. The Ruthenians belonged to the same ethnic group as the Ukrainians but were distinguished by adherence to the Latin/Greek Uniat church. The Ruthenians were the most socially backward group in the empire and very much under the thumb of the politically advanced Poles, responding by setting up a peasants’ party.

Conservative ‘Old Ruthenians’ gave way to ‘Young Ruthenians’ in the 1880s, who sought union with the 30 million Ukrainians living to their East. The more concessions the central government made to the Poles, the more it alienated the Ruthenians. After 1900 Ruthenians and Poles clashed over electoral or educational issues, sometimes violently.

The Slovenes

1.25 million or 4.4 per cent of the population of the Austrian half of the empire, the Slovenes were scattered over half a dozen Crownlands, and lacked even a written literature in their own land. Even mild efforts at nationalism, such as setting up a Slovene-speaking school, were fiercely opposed by the German majorities in their regions.

The Italians

770,000, the smallest national group in the empire, with Italian-speaking areas in the Tyrol and along the Adriatic coast, which had quite different concerns. In the Tyrol the Italians fought against the dominance of the Germans. Along the Adriatic they were a privileged minority among a Slav majority.

In May 1915 Italy betrayed its treaty promises to Germany and Austria-Hungary and joined the Allies because Britain and France promised Italy possession of the Tyrol and the Adriatic Littoral (and money).

The Magyars

10 million Magyars formed 48% of the population of Hungary. The Magyars dominated the country, owning, for example 97% of joint stock companies. It was dominated by ‘Magyarisation’ meaning fierce determination of the magyar ruling class to impose uniformity of language across the territory. If minorities like Romanians or Slovenes agreed to teach their children Hungarian and support Magyar rule, they could become citizens; otherwise they were subject to fierce discrimination. The Magyars didn’t want to exterminate the minorities, but assimilate them into oblivion.

Budapest was three quarters German in 1848 and three quarters German in 1910. Mason tells us that all attempts to reform the Dual Monarchy ultimately foundered on Hungary’s refusal to abandon its unbending policy of Magyarisation.

The Romanians

The largest non-Magyar group in Hungary, about 3 million, their aspirations were ignored in the 1867 Compromise, and the Hungarians’ intransigent policy of Magyarisation drove more and more to think about joining the independent Kingdom of Romania, just across the border from Hungarian Transylvania, and the forming of a National Party in 1881, which slowly poisoned Austria’s relations with Romania.

The Slovaks

The Slovaks were the weakest and least privileged group in the Hapsburg Monarchy, 9% of the population, a peasant people who had lived under Magyar domination for a thousand years. The 1867 Compromise made the Czechs and Croats second class citizens but condemned the Slovaks to cultural eradication. From the 1890s they started co-operating with the Czechs and slowly the idea of a combined Czech and Slovak nation evolved.

The Croats

9% of the population of Hungary. They had a national history and a strong aristocracy and considered themselves in direct touch with the Hapsburg monarchy. By an 1868 compromise Croatia received autonomy within the Hungarian state, but the head of the Croat state was imposed by the Hungarian government and the rule of Count Khuen-Héderváry was so repressive that Croatia became the seat of a movement to unite all the empire’s South Slavs.

The Serbs

About 2 million Serbs lived in the empire, divided between Dalmatia, Hungary, Croatia and Bosnia-Herzegovina. They didn’t have an independent national history until 1878 when the Congress of Berlin created a small state of Serbia independent of the Ottoman Empire, from which point every perceived injustice against the Serbs prompted calls for a pan-Slave movement, and/or for a Greater Serbia. The biggest incident on the road to collapse was the Austrian annexation of Bosnia-Herzegovina in 1908, the majority of whose population were Serbs.

The Jews

The Jews made up about 5% of the population in both Austria and Hungary. From 1850 Jews moved in large numbers into Lower Austria, overwhelmingly from poor rural Galicia (Poland), a large number of them migrating to Vienna, where they came to dominate cultural activity out of proportion to their numbers.

The Jews became so prominent in the Hungarian capital that some called it Judapest. The Jewish journalist Karl Kraus joked that ‘the Jews control the press, they control the stock market, and now [with the advent of Freud’s theory of psychoanalysis] they control the unconscious’.

The success of Jews in business and the stock market and banking created an association between ‘Jew’ and ‘capitalist’ which complicated class conflict and led to an easy demonisation of the Jews as responsible for much of the exploitation, low wages and fat profits of capitalism.

4. The economy

The Hapsburg Empire was behind Germany, France and Britain in industrialisation. It didn’t have large stocks of coal, it had no large ports, parts of it (like Galicia) were split off from the empire by high mountains; the great Hungarian Plain was designed for agriculture not industry.

It was a predominantly agricultural economy: in 1910 agriculture made up 50% of the Austrian economy, two-thirds of the Hungarian. Most of the trade was between Hapsburg regions and nations; the 1867 Compromise established a free trade area throughout the empire.  Only a small percentage of GDP came from exports.

In Hungary serfdom was only abolished in 1848. For most of the period, Hungary was characterised by Magyar landlords, sometimes with very extensive holdings, lording it over illiterate peasants of the various nationalities. That’s one reason why nationalist grievances became mixed up in economic ones. Only in the decade before the war did Hungary begin to industrialise.

Industrialisation was funded by banks which remained firmly in German and Hungarian hands. The industrial heartland of the empire was the Czech Crownlands (Bohemia and Moravia) which developed a strong textiles industry and then iron and steel, metallurgy and engineering. This became another source of tension between Czechs and Germans, because many of the industries remained in the hands of German managers, backed by German hands.

(Remember the passage in Ernst Pawel’s biography describing the end of the Great War, the declaration of independence, and the way the new Czech government immediately a) renamed all its businesses and industries in Czech and b) undertook a wholesale replacement of all German bureaucrats and business men with Czech replacements.)

The late 1860s saw a mounting fever of speculation which led to a stock market crash in 1873 and a prolonged depression afterwards. This led to low growth, and poverty among the urban proletariat and among rural peasants, which led to the rise of nationalist and populist parties.

5. The politics of Dualism

The Austrian (i.e. German-speaking) Liberal Party ruled after the 1867 Compromise. But that compromise had alienated the Czechs whose MPs didn’t even attend the parliament. But it was the massive financial crash of 1873 which ruined the Liberal Party, associated as it was with business and the banks.

In 1871 there was an attempt by the conservative aristocrat Count Hohenwart to reform the monarchy and turn it into a federation, who drafted some ‘Fundamental Articles’ which were intended to give the Czechs parity with the Hungarians, but this was fiercely opposed by the Hungarian prime minister, Count Andrássy. The Czechs never trusted the dynasty after that, and boycotted the Vienna parliament.

In 1879 Franz Joseph asked his boyhood friend Count Taaffe to form a new government and Taaffe went on to govern till 1893, passing a series of reforms which echoed those of Bismarck in Germany, such as extending the franchise, workers health and accident insurance, limiting the working day to 11 hours etc.

But when he tried to tackle the German-Czech issue by breaking up Czech provinces into smaller units based along ethnic lines, his plans were scuppered by the Poles, the Clericals and the Feudals, and the German Liberals and he was forced to resign. Over the next twenty years three parties emerged:

The Social Democrats

This left-wing party emerged from the trade union movement in 1889 and its soft Marxist outlook focused on economic and social reform cut across ethnic lines and so was a force for keeping the empire together. At the Brünner Conference of 1899 they called for the transformation of the empire into a democratic federation of nationalities.

The Christian Socials

Founded in 1890 by the phenomenally popular Karl Lueger who became mayor of Vienna 1897-1910, based around a devout Catholicism which linked democratic concern for ‘the small man’, responsible social reform, anti-semitism and loyalty to the dynasty. Turning artisans and small shopkeepers into a strong anti-socialist, anti-capitalist, pro-Hapsburg bloc.

The Pan-Germans

The extreme anti-semitic Pan-German Party founded by Georg von Schönerer. Starting as a liberal he grew disenchanted and wanted a) to separate out the German-speaking areas from their Slav populations and b) unite with the Reich. In 1884 he led a battle to nationalise the Nordbahm railway which had been financed by the Rothschilds. He failed, but gained wide support for presenting the plan as a battle of the Jews versus the people. Although small in numbers, the Pan-Germans spread vicious racist ideas and their supporters were prone to violence.

The end of parliamentary governance

The next government of Alfred III, Prince of Windisch-Grätz, was brought down after two years because it agreed to allow a German secondary school in southern Styria to have parallel lessons in Slovene at which point the German National Party rejected it, voted against it, and brought down the government.

The next government was led by a Pole, Count Kasimir Felix Badeni. In 1897 he tried to settle the perpetual conflict between Czechs and Germans by moving a law that said that from 1901 no official should be employed in Bohemia or Moravia who wasn’t fluent in German and Czech. Since most Czechs spoke German, this was no problem for them, but hardly any Germans spoke Czech and there was uproar in parliament, with all kinds of tactics used to stall the passage of the bill, riots broke out on the streets of Vienna and then Prague. Franz Joseph was forced to accept Badeni’s resignation, and the Vienna parliament never had the same prestige or power again.

It couldn’t function properly and legislation was from 1897 passed only by emergency decree via Article 14 of the constitution. Government was no longer carried out by politicians and ministers but by civil servants. The Germans and the Czechs continued to obstruct parliament

Several more ministries tried and failed to solve the nationalities problem, while the emperor accepted advice that extending the franchise to the working class might help create a mood of social solidarity. So a bill was passed in 1907 giving the vote to all men over 24. But it was irrelevant. By this stage parliament didn’t govern the empire, bureaucrats did. Extending the franchise brought in a new wave of socialist parties, which combined with the nationality parties, to make governing impossible. During the parliament of 1911 no fewer than 30 parties blocked the passage of all constructive measures in parliament.

6. Vienna – Cultural centre of the Empire

Traditional liberal culture was based on the premise of rational man existing within as stable, civic social order. By the 1890s this society was beginning to disintegrate…

The political crisis in late nineteenth-century Austria-Hungary was caused by the bankruptcy of liberalism. The result was the sudden growth of a number of anti-liberal mass movements. In the cultural sphere the consequence of the breakdown of liberalism were no less dramatic…

Mason distinguishes three phases or artistic eras in this period:

1. The 1870s

In the 1870s students formed the Pernerstorfer Circle, seeking an alternative to liberalism, which they rejected and found inspiration in early Nietzsche, his writings about the imagination and the Dionysian spirit, leading to veneration of the music dramas of Wagner. The most famous member was the composer Gustav Mahler.

2. The 1890s – Young Vienna

Aestheticism and impressionism, focus on the fleeting moment, in-depth analysis of subjective psychology. A moment’s reflection shows how this is a rejection of rational citizens living in a stable social order, and instead prioritises the non-stop swirl of sense impressions. The leading writers of the Young Vienna literary movement were Hugo von Hofmannstahl and Arthur Schnitzler, with his frank depictions of the sex lives and moral hypocrisy of the Viennese bourgeoisie.

3. After 1900 – Kraus, Loos and Schoenberg

The Jewish journalist Karl Kraus published a fortnightly magazine, Die Fackel, in which he flayed all political parties and most of the writers of the day. He carried out a one-man crusade against loose writing, sentimentality and pomposity. Mason doesn’t mention something Ernst Pawl emphasises in his biography of Kafka, which is that plenty of Kraus’s journalism railed against the Jewish influence on German prose, criticising its importation of Yiddishisms and other impurities. It was this attitude which led Pawl to diagnose Kraus as a leading example of the ‘Jewish self-hatred’ of the period.

Adolf Loos was a radical architect who despised any ornament whatsoever. He designed a starkly modernist house which was built in 1910 opposite the imperial palace and was a harsh modernist critique of the wedding cake baroque style of the empire.

Arnold Schoenberg thought Western music had reached the end of the road, and devised an entirely new way of composing music based on giving each note in the scale an equal value i.e. leaving behind traditional notions of a home key or key tones, i.e. 500 years of tradition that a piece of music is composed in a certain key and will develop through a fairly predictable set of chords and other keys closely related to it. Schoenberg demolished all that. In his system all notes are equal and their deployment is based on mathematical principles. Hence his theory came to be known as ‘atonality’ or the ‘twelve tone’ system.

And looming behind these three was one of the most influential minds of the 20th century, Sigmund Freud, the conservative and urbane Jew who did more than almost anyone else to undermine the idea of the rational, citizen or the rational human being. In Freud’s theory most of the activity of the human mind is unconscious and consists of a seething mass of primitive drives and urges. For the early period, from his first formulation of psychoanalysis in 1895 through to the outbreak of the First World War, Freud concentrated on the sexual nature of many or most of these urges, and the psychic mechanisms by which human beings try to repress or control them (via psychological techniques such as displacement or repression).

But the experience of the Great War made Freud change his theory in recognition of the vast role he now thought was played by violence and a Death Drive, which matched and sometimes overcame the sex urge.

Whatever the changing details, Freud’s theory can be seen as just the most radical and drastic attack on the notion of the sensible, rational citizen which were widespread in this time, and at this place.

Leading not only Mason but countless other critics and commentators to speculate that there was something about the complexity of the Austro-Hungarian Empire, and something about the thoroughness with which it collapsed, which led to the creation of so many anti-liberal and radical ideologies.

All the art exhibitions I’ve ever been to tend to praise and adulate 1900s Vienna as a breeding ground of amazing experiments in the arts and sciences. Many of them praise the artistic radicalism of a Loos or Schoenberg or Egon Schiele as a slap in the face to boring old bourgeois morality and aesthetics.

Not so many dwell on the really big picture which is that all these artistic innovations were the result of a massive collapse of the idea of a liberal society inhabited by rational citizens and that, in the political sphere, this collapse gave rise to new types of political movement, anti-liberal movements of the extreme left and extreme right, to the Communism and Fascism which were to tear Europe apart, lead to tens of millions of deaths and murder and torture, and the partition of Europe for most of the twentieth century.

PART THREE Foreign affairs

7. The Dual Alliance

In international affairs the thirty-six years between the Congress of Berlin in 1878 and the start of the Great War in 1914 were dominated by the Balkan Problem or the South Slav Question.

In the 1600s the Muslim Ottoman Empire had extended its reach right up to the walls of Vienna. The Ottomans were held off and pushed back so the border between Christendom and Islam hovered around south Hungary and Bulgaria. But the Balkans contained many ethnic groups and nationalities. Slowly, during the 19th century, Ottoman rule decayed causing two things to happen:

  1. individual ethnic groups or nations tried to assert their independence from the Ottoman Empire
  2. each time they did so tension flared up between Russia, who saw herself as protector of all the Slavs in the Balkans, and Austria-Hungary, who feared that the creation of a gaggle of independent states in the Balkans under Russian control would inflame her own minorities and undermine the empire

The Congress of Berlin was held in 1878 to try and adjudicate between the conflicting claims of Russia and Austria-Hungary, and the host of little countries who wanted independence from the Ottomans.

This section details the long history of the complex diplomatic policies adopted by successive foreign ministers of the empire, which all had more or less the same goal – to preserve the integrity and security of the empire – but changed in the light of changing events, such as the Franco-Prussian War of 1870, the Russo-Turkish War of 1877–78, and so on through to the Russo-Japanese War of 1905, the Young Turk revolution of 1908 which led to the Bosnian Crisis of the same year, and the Balkan Wars of 1912-13.

What’s striking or piquant is that the three autocracies – Prussia, Austria-Hungary and Russia – had a really profound interest in maintaining their semi-feudal reactionary regimes, and this was highlighted by the fact that they periodically signed variations on a Three Emperors Alliance (1881) – but that they kept allowing this fundamental interest to be decoyed by the festering sore of countless little conflicts and eruptions in the Balkans.

So that by 1907 Germany came to see its interests as tied to a strong Austria-Hungary which would prevent Russian expansion southwards; while Russia came to see itself as faced by a Germanic bloc and so sought alliance with France to counterweight the German threat. And so Europe was divided into two armed camps, an impression cemented when Italy joined a pact with Germany and Austria-Hungary, despite historic antagonism to Austria, with whom she had had to fight wars to regain territory in the north.

8. The Drift to war

One way of thinking about the First World War was that the assassination of the Archduke Franz Ferdinand, heir apparent to the crown, was without doubt a scandalous event but that it gave the Austro-Hungarian Empire a golden opportunity to smack down cocky little Serbia and thus re-establish the empire’s authority in the Balkans, which had been steadily slipping for a generation as a) more Balkan states became independent or b) fell under the influence of Russia.

After all, the empire had intervened in 1908 to annex Bosnia-Herzegovina with a view to creating a South Slav bloc of nations under her protection. Seen from her angle, this was one more step of the same type. Although, admittedly, a risky one. Her annexation of Bosnia-Herzegovina in 1908 led to a six-month-long diplomatic crisis which nearly sparked a European war, and there had been further, limited, Balkan Wars in 1912 and 1913. Most people thought this was more of the same.

So Austria issued a fierce ultimatum which was impossible to fulfil and prepared for a quick brutal suppression of Serbia. But she hadn’t anticipated that Russia would mobilise in favour of what was, after all, a small nation, with the result that the German military weighed in giving Austria-Hungary a promise of unconditional support; and when both of them saw Russia proceeding with its war mobilisation, the Germans mechanically and unthinkingly adopted the dusty old plan which had been perfected decades earlier, a plan to knock France out of any coming conflict with a quick surgical strike, just as they had back in 1870, before turning to the East to deal with a Russia they were sure was enfeebled after its humiliating defeat against Japan in 1905.

But the quick surgical strike against France failed because a) the French were supported by just enough of a British Expeditionary Force to stall the German advance and b) the Russians mobilised, attacked and advanced into East Prussia quicker than the Germans anticipated so that c) the German Chief of Staff Moltke made one of the most fateful decisions of the 20th century and decided to transfer some infantry corps from the Belgian wing of the German attack across Germany to staunch the Russian advance. Thus contributing to the German sweep across northern France coming to a grinding halt, to the failure of the Schlieffen Plan, and to four years of grinding stalemate.

All the parties to the war miscalculated, but it was arguably the Germans – with their bright idea of a quick strike to knock France out of the war – who did most to amplify it from yet another in a long line of Balkan Wars to an international conflagration.

What comes over from this section is the hopeless inability of historians to come to a clear decision. Some historians, apparently, think Austria-Hungary’s foreign policy in the decade leading up to war was aggressive; others think it was impeccably defensive.

There is no doubt that the emperor was devoted to peace. Franz Joseph ruled the empire from 1848, when he was 18, to 1916, when he was 86, and if there was one thing he’d learned it was that whenever Austria went to war, she lost. And he was proved right.

9. War Guilt and the South Slav Question

On one level the problem was simple: about twice as many Slavs lived inside the empire (7.3 million) as outside (3.3 million). In the age of nationalism it was unlikely that the ultimate unification of these Slavs could be prevented. The question was: would this unification take place within the empire’s border i.e. at Serbia’s expense; or outside the empire’s borders, under Serbian leadership a) at the cost of the empire losing land (including most of its coastline in Dalmatia) and Slav population to Serbia b) the new Serbian state itself coming under the strong influence of Russia.

Mason discusses how this threat could possibly have been averted if the empire had made any sort of overtures to the Serbs, had courted the South Slavs. All Serbia wanted was better terms of trade and access to the sea. Refusal to countenance even this much resulted from the Austria-Hungarian Monarchy’s internal tensions, above all from the entrenched but anxious rule of the Germans and Magyars, nearly but not quite majorities in their own domains. Their inflexibility brought those domains crashing down around their ears.

10. World War One and the Collapse of the Empire

The book goes on to emphasise that, just because the empire collapsed suddenly at the end of the Great War, doesn’t mean it was doomed to. In fact for most of the four year war onlookers expected it to last, and spent their time speculating about the territorial gains or losses it would have made, but not that it would disappear.

He gives a military account of the war which emphasises the simple fact that the much-vaunted Austro-Hungarian army was simply not up to the task its politicians had set it. Chief of the General Staff Franz Conrad von Hötzendorf intended at the outbreak to take out Serbia with a lightning strike, then move his corps north to Galicia to face the Russians who it was expected would mobilise slowly. But the Austro-Hungarians were repelled by ‘plucky Serbia’ and Conrad moved his forces north too slowly to prevent disastrous defeats to the Russians, who seized Galicia and Bukovina before Christmas.

In the first few months the empire lost 750,000 fighting men and a high percentage of their best officers. It’s a miracle they were able to carry on which they did, but at the cost of taking injections of better trained, better-armed German troops (remember the proud, tall, well dressed, well-fed Reich German soldiers lording it over their starving Austrian allies in the final chapters of The Good Soldier Svejk) and coming more or less under German military command.

Amazingly, in spring the following year, 1915, combined Austrian-Germany forces drove the Russians out of Galicia and seized most of Poland, defeated the numerically stronger Italian army along the Isonzo River. By 1916 the Alliance powers controlled a substantial slice of foreign territory (Poland, Russia, parts of the Balkans) and seemed to be sitting pretty.

The Austrian Social Democrat Otto Bauer wrote a book about the collapse of the empire, The Austrian Revolution, in 1925 which argued that the empire defined itself by its opposition to Tsarist Russia and dependency on Hohenzollern Germany. Certainly when the Bolsheviks seized power in St Petersburg and sued for peace, half the reason for fighting – and even be scared of the Slav menace – disappeared at a stroke.

Internal collapse

As we’ve seen, the Austrian parliament ceased to function properly before 1910 and government was run by civil servants and made by decree (the background to the novels of Franz Kafka with their infinitely complex and incomprehensible bureaucracies). Parliament was suspended from March 1914 to May 1917 because the ruling classes feared it would simply become a forum for criticism of the Crown. In 1916 the prime minister Count Stürgkh was assassinated. On November 1916 the Emperor Franz Joseph died and the crown passed to his great-nephew Archduke Charles, aged 29. The change in leadership gave an opportunity for the central powers to approach the Entente with suggestions for peace in December 1916, which, however, foundered on Germany’s refusal to cede territory back to France.

When Charles was crowned in Hungary he missed the opportunity to force the Hungarian prime minister to consider reforms, to extend the franchise, to give more rights to the non-Magyar minorities, and generally to compromise. On one level, the failure to effect any reform at all in the basic structure of the Dual Monarchy, led to its collapse.

But the most important event was the overthrow of the Romanov dynasty. If the Romanovs, why not the Hapsburgs? When Charles allowed parliament to sit again in summer 1917 initially the calls weren’t for dissolution, but for reform which gave the nationalities autonomy and rights. But during the summer Czech radicals published a manifesto calling for an independent Czech-Slovak state.

The winter of 1917-18 was harsh with widespread food shortages. There were widespread strikes. In the spring Czech prisoners of war began returning from Russian camps bearing revolutionary ideas. But the Hapsburgs were not overthrown. Mason suggests this is because what in Russia were clear, class-based animosities and movements, in Austria-Hungary were diverted into nationalist channels.

Even when America joined the war in April 1917, the Allies still didn’t call for the overthrow of the empire but its reform to give the nationalities more say. According to Mason what finally changed the Allies mind was the German offensive in Spring 1918. It became clear Austria-Hungary wouldn’t or couldn’t detach itself from Germany, and so the Allies now threw themselves behind plans to undermine the empire from within i.e. supporting Czech, Polish and Slav politicians in their calls for the abolition of the monarchy. In the summer they supported the Czechs. In September 1918 they recognised a Czech-Slovak state. Unlike the other minorities the Czechs existed entirely inside the empire, to recognising their independent state was effectively recognising the dismemberment of the empire.

The failure of the German spring offensive in the West, and the Austrian summer offensive against Italy spelled the end. In September Bulgaria sued for peace. In October Austria and Germany asked President Wilson to intervene. At the end of October the Czechs and Yugoslavs proclaimed their independence, followed by the Magyars and the Poles. On 11 November 1918 Emperor Charles abdicated. The Hapsburg Monarchy ceased to exist.

PART FOUR Assessments

Mason recaps some of the arguments about the fate of the Austro-Hungarian Empire which, by now, I feel I have heard hundreds of times. For example, that right up to the end most commentators did not expect the empire to collapse but for the strongest minorities, such as the Czechs, to successfully argue for parity with the Magyars, for more rights and privileges. Karl Marx thought the nations without history needed to be tutored and guided by the more advanced ones i.e. the Germans.

One school sees the collapse as due to the internal contradictions i.e failure to address the nationality question i.e. failure for any serious politician at the top, even Franz Ferdinand, even Charles, to do anything to palliate the nationalities demands which would have meant diluting the stranglehold of the German-Magyar ruling elites. The elites never accepted the nationalities question as a fundamental issue, but always as a problem which could be temporarily dealt with by clever tactics.

A completely opposite view holds that it was the First World War and the First World War alone which led to the collapse of the empire. Supporting this view is the fact that even radical critics and keen slavophiles like the Englishmen Seton-Watson and Wickham Steed as late as 1913 thought the empire was growing, and simply needed to be converted into a federal arrangement of more autonomous states, maybe like Switzerland.

PART FIVE Documents

Nineteen documents kicking off with hardcore economic tables showing, for example, populations of the various nationalities, index of Austrian industrial production, Austria’s share of world trade, steel production, harvest yields.

More interesting to the average reader are:

  • Mark Twain’s eye witness account of the army marching into parliament to suspend the sitting discussing  the 1897 legislation to make Czech equal with German in Bohemia and Moravia, which spilled out into riots in Vienna and Prague
  • Leon Trotsky’s impressions of the Austrian socialist leaders i.e they are smug and self satisfied and the extreme opposite of revolutionary
  • an extract from the memoir of George Clare who was a Jew raised in Vienna and gives a vivid sense of the frailty of Jewish identity, the assimiliated Jews’ shame about his caftaned, ringleted Yiddish cousin but also his sneaking envy for their authenticity – this is exactly the sentiment expressed by Kafka in his reflections on the Jews
  • the impact of Vienna on the young Adolf Hitler, who lived in Vienna from 1908 to 1913 and a) hugely respected the anti-semitic mayor Karl Lueger and b) loathed the multi-ethnic culture and especially the ubiquity of Jews
  • memoirs of the Jewish socialist leader Julius Braunthal, who emphasises the peculiarly powerful fermenting role played by Jews in all aspects of Austrian life, society and culture
  • a society hostess describing the meeting in 1902 between Rodin and Gustav Klimt

And then excerpts from more official documents, being a letter from the leader of the 1848 revolution, the key articles from the Dual Alliance of 1879, prime minister Aehrenthal’s proposed solution to the South Slav problem, census figures about Slavs inside the empire, a report on relations between Serbia and Austria-Hungary,


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Manuel Álvarez Bravo: Photopoetry @ the Photographers’ Gallery

There are three main exhibition spaces at the Photographers Gallery, on the 2nd, 4th and 5th floors. The second and fourth floors are often used to hold two parts of the same show – they are currently hosting the exhibition of Latin American photography, Urban Impulses, which is split into two parts, while the fifth floor is currently hosting the TPG New Talent 19 show – both of which I’ve reviewed.

After taking in the wealth of images on these three floors it’s easy to miss the other, small, exhibition space in the building, down in the basement, next to the bookshop. This is the Print Sales room and here you can examine or order prints from a variety of photographers who licence their works to be sold via the gallery. But it is also where the gallery hosts temporary exhibitions of original prints by classic and contemporary photographers. The distinctive feature of the small displays in the Print Sales room is that all the work is for sale.

The Print Sales room is currently hosting a selection of rare platinum and silver gelatin prints by the great modernist Mexican photographer, Manuel Álvarez Bravo (1902 to 2002).

Forbidden fruit by Manuel Alvarez Bravo

Forbidden fruit by Manuel Alvarez Bravo © Archivo Manuel Álvarez Bravo SC

According to the curators:

Initially self-taught, Álvarez Bravo first picked up a camera as a teenager while working at a government job. His early style was influenced by studying international photographic journals particularly looking at the work of European artists such as Edward Weston and Tina Modotti both of whom he later met.

Through them, he was introduced to Mexico’s avant-garde scene, including Diego Rivera and Frida Kahlo. His work increasingly began to reflect the influence of homegrown movements such as the Mexican Muralists as well as an interest in identity politics. By the mid 1930s, Álvarez Bravo was being exhibited alongside contemporaries Henri-Cartier Bresson and Walker Evans and shown in such seminal group exhibitions as Twenty Centuries of Mexican Art (Museum of Modern Art, New York, 1940), and the worldwide tour of Edward Steichen’s Family of Man in 1955.

Note the compulsory reference to ‘identity politics’. That or gender or race had to come into it somewhere. They always do. In Bravo’s case gender and sexuality are most obviously present in several strikingly erotic nude studies (like the one above), which often feature the teasing reveal of a breast or a woman’s loins, while other parts of her body are obscured (by a large parasol, in one case).

But there are at least two other strands in his work. One is his discovery of pattern and significance in the everyday. Lots of the photos capture everyday moments in busy Mexico City, but in a way which isolates the motif and makes it feel full of meaning, creating a kind of latent symbolism.

La hija de los danzantes | The daughter of the dancers (1933) by Manuel Álvarez Bravo © Archivo Manuel Álvarez Bravo SC

This strand of his work is never quite abstract, but often hints at abstraction. The works take a scene from everyday life but capture it in such a way as to reveal a kind of hidden geometry, hinting at the modernist and constructivist sensibility behind his work.

The other pole of Álvarez Bravo’s work is a conscious social realism. The Mexican Revolution (which I’ve read and written about elsewhere) lasted from roughly 1910 to 1930, and brought about some social change to this backward, peasant country, but not nearly enough, and the 1930s was, of course, the decade of the global depression. Bravo didn’t have to look far to see signs of poverty, and the hard lives of the urban poor – street sellers, performers, vagrants.

Los agachados / The crouched ones (1934) © Archivo Manuel Álvarez Bravo SC

I think the curators hit the nail on the head when they describe Álvarez Bravo’s

sublimely lyrical, yet unsentimentalised images of his beloved Mexico and its people, and his exceptional ability to transform the rituals of everyday life into something fantastical and monumental.

It’s that monumentality which comes over in these photos. They feel epic. They feel as if they are saying something really profound about the human condition. There are only 15 prints on display but all of them seem more than just photos, but doorways into some deeper truth about the world.

All fifteen photos are extremely rare platinum and silver gelatin prints, some of them printed by Álvarez Bravo himself and signed by him. It has, apparently, taken years to get his estate to agree to this exhibition and to their sale, and their rarity explains the stunning cost. Prices vary a little, but all the ones I liked cost £6,500 plus VAT. But then – they are original, hand-printed masterpieces.

Muchacha viendo pájaros (1931) by Manuel Álvarez Bravo © Archivo Manuel Álvarez Bravo SC

The book

Also at the exhibition you can buy the comprehensive and huge hardback collection of Álvarez Bravo’s photography, Photopoetry, from which this little display draws its title. In this you can find out more about his role in Mexican and Latin American photography, his membership of Mexico City’s avant-garde, and enjoy his photos of close friends Diego Rivera and Frida Kahlo – not least a set taken during the strange period when they hosted the world’s most famous revolutionary, Leon Trotsky, at their Mexico City home, with the godfather of Surrealism, André Beton, tagging along.

Álvarez Bravo took photos not only of street people and street scenes, but of Mexico’s leading artists and writers until well into the 1990s, so the book offers not only the biography of a great photographer, and over 360 of his best photos printed on beautiful quality paper – but insight into the intellectual life of the great giant of Central America.

Contact the Photographers’ Gallery Print Sales


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Frida Kahlo: Making Her Self Up @ the Victoria and Albert Museum

Frida Kahlo (1907 to 1954) has a unique international appeal, as both an artist, personality and icon. Her image in oil paintings and photographs is instantly recognizable.

This is a beautifully curated and designed exhibition which left me with a much deeper understanding of Kahlo’s life, her work, her toughness in the face of terrible adversity, and the Mexican roots of her distinctive and powerful self-image.

Frida Kahlo in blue satin blouse, 1939, photograph by Nickolas Muray © Nickolas Muray Photo Archives

Frida Kahlo in blue satin blouse, 1939, photograph by Nickolas Muray © Nickolas Muray Photo Archives

The treasure trove

The pretext or premise or prompt for the exhibition was the discovery of a treasure trove. After Frida died at the horribly early age of 47, her mourning husband, the famous Mexican mural painter, Diego Rivera, ordered all her belongings in the famous ‘Blue House’ they shared together, to be locked up and sealed away.

Rather incredibly, it was only in 2004 that this room was re-opened, to reveal a treasure trove of Kahlo-iana – including her jewellery, clothes, prosthetics and corsets, along with self-portraits, diary entries, photos and letters. Together they shed a wealth of new light on her life, personality, illness and endurance, on her art and on her extraordinary achievement in fashioning herself into an iconic image and brand.

And this is what the exhibition is based on.

Self-portrait by Frida Kahlo (1941) © The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and The Vergel Collection

Self-portrait by Frida Kahlo (1941) © The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and The Vergel Collection

Biography

The show is smaller than some recent ones at the V&A. Not so much a blockbuster, as an intimate portrait. It starts with a corridor-like room divided into small recesses, each of which take us briskly through a chapter in her early life, using black and white photos, a few early paintings and some home movies.

The key elements for me were that:

  • Her father was German, emigrated to Mexico in the 1890s and set up a photographic studio. She helped him and learned photographic technique, how to compose and frame a subject. No accident, maybe, that she is best known for her painted and photographic self portraits.
  • Her full name was Magdalena Carmen Frida Kahlo y Calderón. She always preferred Frida because it her father’s name for her. I was mulling this over when I came to the section describing her marriage to the, by then, already famous Mexican mural painter, Diego Rivera, in 1928, who was a lot older than her, 43 to her 22. I.e. a big, reassuring father figure. Daddy.
  • When Frida was 6 she contracted polio and was seriously ill. She was left with one leg shorter than the other.
  • When she was 18 she was on a bus which was in a collision with a tram, resulting in her being both crushed against the window and having a piece of metal penetrate her abdomen. This accident and her long recovery put paid to the idea of studying to become a doctor. Confined to bed for months, she began to expand the sketching, drawing and painting she’d already been toying with.

In the late 1920s she developed a kind of naive, symbolic style, drawing inspiration from Mexican folk culture. After marrying Rivera, she accompanied him on a number of trips to the United States, where he had been commissioned to paint murals, socially conscious murals being a big part of 1930s American artistic activity.

Here’s a good example, from 1932. I don’t know if I like it. I understand the fairly simple ideas: on the left are images of Mexico, Aztec ruins and figurines, flowers and agricultural produce, with their roots in the good earth: on the right is Detroit, highly industrialised ‘Motor City’ (the name FORD is spelled out on the smoking chimneys), the American flag, skyscrapers, and growing out of the soil are not beautiful flowers but lamps and fans.

And in between is a self portrait of Frieda in a formal pink dress holding the Mexican flag. Between two worlds, eh? I get it.

Self-portrait on the Border between Mexico and the United States of America by Frida Kahlo (1932) © Modern Art International Foundation

Self-portrait on the Border between Mexico and the United States of America by Frida Kahlo (1932) © Modern Art International Foundation

Her naive symbolism matches the simple-minded ‘political’ attitude of Rivera’s murals. They both thought of themselves as communists and went on marches supporting strikers etc, but, nonetheless, liked visiting the heart of capitalism, America – or ‘Gringolandia’, as Frida called it. The money was good and there were lots of opportunities for Rivera to get commissions. And it was in New York, in 1939, that Frida held her first successful one-woman show. Capitalism is an awful thing – unless you can get money, commissions, promotions and sales out of it: the attitude of many 20th century artists.

One of the most interesting biographical facts is that Lev Davidovich Bronstein, known to the world as Leon Trotsky, having been exiled from the Soviet Union, was offered refuge by the revolutionary government of Mexico and came to stay with the Riveras, not for a few weeks, but for two years.

The exhibition includes a black-and-white film of Comrade Trotsky explaining, in English, how badly he has been treated by comrade Stalin. He insists he is really a man of honour – as anyone whose family was murdered by the Red Army he set up, would surely have testified.

Mexican roots

These early biographical roots are interesting but they are eclipsed by the power of the later rooms.

These start with the room on Kahlo’s Mexican roots. It explains that during the 1920s and even more so the 1930s, Mexico underwent a cultural renaissance. Part of this was the exploration and promotion of the country’s pre-Colombian culture, but it also included the first real appreciation of the folk customs and costumes of peasants and the poor around the country.

Interest in the country spread abroad, with American artists, photographers and film makers attracted to its sunny, bright and passionate culture. John Huston made films here. Even the young British writer Graham Greene made a tour of the country (he hated it) and then set his most powerful early novel here, The Power and the Glory. I’ve reviewed them both.

Frida and Diego were part of this revival of interest in Mexico’s culture and history. They both sought inspiration in the folk and workers culture of their country. In particular they were attracted to the area called Tehuantepec in the Oaxaca region. People here followed traditional ways, and the exhibition includes a whole wall of traditional icons of the Virgin Mary, establishing a link between these images of saintly femininity and Kahlo’s self portraits and explorations of her identity.

The dress room

The final room in the show is the biggest and I involuntarily exclaimed ‘wow’ as I walked into it.

Centre stage is a huge central glass case displaying some 20 of Frida’s dresses. Full length, made of colourful fabrics and bright designs, each one has been carefully displayed and annotated, giving a powerful sense of Frida’s sense of colour and dress.

Cotton huipil with machine-embroidered chain stitch; printed cotton skirt with embroidery and holaün (ruffle) Museo Frida Kahlo

Cotton huipil with machine-embroidered chain stitch; printed cotton skirt with embroidery and holaün (ruffle) Museo Frida Kahlo

There are only 10 or so paintings in the whole exhibition and six of them are in this room. They’re later works, when she had realised that she was her own best subject and that self portrait was her best medium.

Looking out at the viewer, flat and unemotional, her iconic features by now well established – the monobrow, the faint moustache on her top lip, her strong brown eyes, the sideways pose – she is flatly, unashamedly, blankly herself.

In the painting below even the tears don’t really affect the expressionless face. Or they appear as surreally detached embellishments of the fundamental design. Much weirder is the ‘ruff’ dominating the image. The exhibition explains that this is a huipil de tapar, a traditional Mexican item popular in Tehuantepec, designed to frame the face and extend over the neck and shoulders. There is another larger painting of her wearing the same outfit and a full scale example of a huipil de tapar on a display mannequin for us to compare and contrast reality with painted depiction.

Self-Portrait by Frida Kahlo (1948) © Private Collection

Self-Portrait by Frida Kahlo (1948) © Private Collection

Kahlo is, you realise, a perfect subject for the V&A because she was not only an artist, but someone with a fascination for clothes and costumes – in her case, of her native Mexico. The exhibition is less about the ar per se and more about how she drew heavily on these costume traditions and elaborated them into a highly colourful style of her own.

Hence there are more than twice as many dresses as there are Kahlo artworks. Hence, also, the display cases devoted to the heavy and ornate jewelry she wore, the elaborate ear-rings and thick heavy necklaces, set off against the bright and colourful hair ribbons.

In this respect it is fascinating to watch the 9-minute tourist film from the Tehuantepec region which is on view just next to the dresses and necklaces. Look at the colours and designs of the dresses, the heavy gold jewellery, and the brightly coloured ribbons in the women’s hair. In a flash you understand. Kahlo was a conduit for these traditional dresses, colours, fabrics and jewellery, into the international art world.

She gave it her own style. She combined it in her own way and, above all, gave it the imprimatur of her own face, of her very distinctive features (eyes, monobrow, moustache) and her unsmiling, detached, dream-like appearance.

But a great deal of her ‘look’ quite obviously stems directly from the traditions of the women of Tehuantepec.

Frida Kahlo on a bench, carbon print (1938) Photo by Nickolas Muray © The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and The Verge, Nickolas Muray Photo Archives

Frida Kahlo on a bench (1938) Photo by Nickolas Muray © The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and The Verge, Nickolas Muray Photo Archives

The sick room

The big dress room is the climax of the exhibition, in terms of dresses, design, jewellery, paintings and photos.

But arguably the biographical core of the exhibition is the room before it, entitled ‘Endurance’. In an imaginative but spooky display, the curators have commissioned the creation of six small four-poster beds and made each into a display case which, along with photos and text along the walls, give a quite harrowing account of Kahlo’s many illnesses, ailments, treatments, and lifelong suffering.

The polio left her with a limp. The bus accident left her with serious internal injuries. In the 1930s she began to experience back problems and underwent a series of treatments and operations to fix them. At the end of her life one foot became infected and then gangrenous, requiring the whole leg to be amputated. It’s gruesome stuff.

This room includes examples of the medical equipment she was forced to wear or endure. There are platform shoes for the shorter leg, a prosthetic leg made for her to wear after the amputation but, most evocative of all, a series of corsets, plaster casts and back braces to help support her failing spine.

Kahlo decorated, painted and embellished as many of these as she could. The plaster casts, in particular, are painted with abstract patterns. The most elaborate one carries a painted hammer and sickle of the Soviet Union and, underneath, an image of the foetus she was carrying before she had a miscarriage in 1932.

Frida Kahlo wearing a plaster cast, which she decorated with the hammer and sickle (c.1950) photo by Florence Arquin

Frida Kahlo wearing a plaster cast, which she decorated with the hammer and sickle (c.1950) photo by Florence Arquin

The record of her illnesses and, in her later years, the almost constant pain she endured, make for harrowing reading, but there are also two really powerful insights in this room.

1. Painting in bed

One is that she was, at various periods, confined to her bed, it being too painful for her to walk or even stand. (Imagine!) So she had a mirror rigged up in the canopy above her and an easel on the side of the bed. From here she could paint, but paint what?

The answer is dreams – surreal images based on dreamlike symbolism, repeated images of her or a body in a bed – and her face. Over and over again the face of someone in discomfort or pain, staring, blankly, inscrutably, down from the ceiling.

Photos show the actual set-up, with Frida lying in bed, beneath a big mirror, the easel right next to her, on which she is painting.

This sheds quite a lot of light on her subject matter, and lends a depth and dignity to the pictures. Modern critics, obsessed with feminism and identity, may well write about the paintings ‘transgressing’ this or that convention and ‘subverting’ ‘gender stereotypes’.

But they are also the image of someone in tremendous pain. Knowing this, getting the really deep feel for her physical suffering which the ‘Endurance’ room gives you – lends tremendous depth of character and meaning to the detached, slightly dream-like expression you encounter again and again in her paintings.

The Broken Column by Frida Kahlo (1944)

The Broken Column by Frida Kahlo (1944)

2. The construction of the self

The other insight is easy to miss. Off to one side is a set of three black and white photos taken of Frida topless. They were taken by Julien Levy, the owner of the New York art gallery where she had her first solo show in 1939 and with whom she had an affair.

The insight comes in the text underneath, where Levy is quoted describing Frida doing and undoing her braids. First she undid the braids, carefully removing all the objects which were in them and held them in place, arranging them all carefully and in order on the dressing table. Later, she remade the braids, carefully and meticulously taking the ribbons and clips and other elements from their place on the dressing table, and putting them back in just the right places to create just the right effect.

In the context of the ‘Endurance’ room, next to so much physical pain and discomfort and demoralising bad luck – this ritual takes on a whole new significance.

You realise it was a way of controlling and ordering her life, a life of illness and pain which might so easily slip into indiscipline, depression or addiction. Instead she maintained control by paying minute attention to every element of her self-presentation. There are several cases showing the lipstick, and makeup, and nail polishes and eye liner and other accoutrements she used to create her image. To make herself up. To control, create and bolster herself.

Might sound stupid, but this knowledge makes the dazzling inventiveness of her self-creation seem genuinely heroic.

3. Long dresses

That’s why she liked to wear long dresses – because they hid her polio limp. This explains why all twenty dresses in the dress room are full length, reaching right down to and covering the feet. It’s a very Victorian effect, in some of the photos every inch of her body is covered save for her hands and face. But a Victorian outfit on acid, blitzed with brilliantly coloured fabrics and designs.

Conclusion

If you like Frida Kahlo this exhibition is a dream come true. There was a long queue to get in and the rooms were quickly packed out.

That said, there is remarkably little about her art, as art. A few mentions of the influence of Rivera’s socialist murals, a bit about Mexican symbolism, mention that the Godfather of Surrealism, André Breton, heavily promoted her, writing at length about the more surreal and dreamlike of her fantasy paintings (none of which are on display here).

But all in all, surprisingly little commentary or analysis of the paintings as paintings, except for comments about the dresses she’s wearing in them, the hair, the jewellery, the way she presents herself in them.

Self Portrait with Braid ( 1941) by Frida Kahlo

Self Portrait with Braid ( 1941) by Frida Kahlo

A moment’s googling shows that Frida Kahlo painted hundreds of paintings. Only ten are on show here. This exhibition is much more about the creation of her image, all the exhibits inhabit concentric circles spreading out from that premise.

I found it hard to get very worked up about 70 or 80 year-old makeup sets (in the outer circle). Her dresses and fabrics are colourful and interesting but, at the end of the day, not really my thing – though I could see plenty of women visitors being riveted by their designs and fabrics. Kahlo’s mural-style, political or symbolic art is sort-of interesting – although murals aren’t a format I warm to – and I found them less compelling than comparable murals by Stanley Spencer or Thomas Hart Benton.

No, it’s only when I came to her paintings of herself that I felt a real power and forcefulness in the image, the way they bring out her stern, unsmiling expression.

But even more central than her self portraits, and – in my opinion – at the absolute heart of the exhibition are the contemporary photos of Frida. It is the photos which bring together all the elements mentioned above, her great taste for colourful fabrics, bright designs, adventurous headgear, stunning jewellery and vivid lipstick to match, her deep sense of Mexican folk art and culture – all this funneled, channeled and focused in a series of stunning and powerful photos.

Frida Kahlo with Olmec figurine (1939) by Nickolas Muray © Nickolas Muray Photo Archives

Frida Kahlo with Olmec figurine (1939) by Nickolas Muray © Nickolas Muray Photo Archives

Nickolas Muray

Thus it was often the photos which impressed me most in any given room. And looking closely, it quickly became clear that the photos we know, the ones we’re familiar with, and by far the best ones, were taken by Nickolas Muray.

There is almost no information about Muray in the exhibition, which is a shame because his images are iconic. According to Wikipedia, Muray had a ten-year-long affair with Frida, from 1931 to 1941. (During this period she divorced, then remarried Rivera. And sometime in there, she also managed to have the affair with Levy, which led to the nude photos. Those bohemian artists, eh?)

The only flicker of recognition of Muray’s role in helping to crystallise the Kahlo brand is a wall label next to one of the portraits. Here Muray is quoted as saying

colour calls for new ways of looking at things, at people

This struck me as pointing towards something very profound. Most of Kahlo’s paintings are striking in composition (and for their generally ‘naive’ style) but are surprisingly drab, especially the earlier, political ones. the later paintings are marvellously colourful and inventive. But in a way it is these photos alone which do justice to the tremendous colourfulness of her self-presentation.

According to Wikipedia, Muray was:

famous for his creation of many of the conventions of colour advertising. He was considered the master of the three-color carbro process. (Nikolas Muray Wikipedia article)

In other words, Muray wasn’t just quite a good colour photographer – he was one of the inventors of colour photography for the modern age.

This knowledge goes a long way to understanding why Muray’s photos of Kahlo stand out from the other contemporary photos of her, done at the same time, by other photographers. The coming together of Muray and Kahlo’s bodies in their long affair is trivial compared to the coming together of their shared understanding of colour and design – with phenomenal results.

The (admittedly black and white) photo of her by Florence Arquin makes her look like a person, an ordinary human being, squinting in the sun. But the three photos I’ve included by Muray give Kahlo a feeling of power, self-control, majesty, an almost goddess-like calm. In Muray’s hands Kahlo becomes an icon to be worshiped.

You can imagine these images of Frida Kahlo carrying on being iconic for a very long time. Iconic of what, exactly? Whatever you want: our current cultural obsessions are with gender, sexuality, race, identity and so on. But I think her image transcends any one set of ‘issues’ and lends itself to infinite reformulation. Which is one of the characteristics of great art.

The movie

A film of her life was released in 2002. According to the trailer, Frida was ‘one of the most seductive, and intriguing women, of ours or any time’, and it features numerous clips of her jumping into bed with men and women, with little of no mention of the physical disabilities and ailments.

The merch

Kahlo was an ardent communist. Today she is marketed as a fashion icon, feminist saint, and, more to the point, the inspirer of a whole world of merchandise.

In the shop you can buy some 134 items of merchandise including at least 20 books about her, notebooks, greeting cards, pencils, lapel badges, earrings, necklaces, brooches, jewellery, sunglasses, scarves and shawls, t-shirts, handbags, tote bags ( I counted 20 different design of bag), a Mexican cookbook and ingredients, pillows and socks – yes, Frida Kahlo socks. You too can ive the dream. Here’s the full list of Kahlo merch:


Related links

More V&A reviews

Frida, Diego and Mexico reviews

Red Star Over Russia @ Tate Modern

David King

In the 1970s British designer David King was sent to Soviet Russia by the Sunday Times to find old photos of Leon Trotsky to accompany a feature. The feature never materialised but, rummaging about in the archives, King began to uncover the vast scale of the stacks of photos, magazine and newspaper articles, posters and propaganda sheets chronicling the early years of the Russian Revolution, which had been lost or forgotten.

He bought and borrowed what he could to bring back to Blighty, and then made further visits looking for more. It turned into a lifelong project. By his death in 2016 King had accumulated a collection of over 250,000 Russian Revolution-related objects which were bequeathed to Tate.

What better way to display the highlights of this vast collection than during the centenary year of the Bolshevik revolution, and so this exhibition opened on 8 November 2017, commemorating the outbreak of the revolution, to the precise month and day.

Entrance to Red Star over Russia at Tate Modern

Entrance to Red Star over Russia at Tate Modern

Red Star Over Russia

The exhibition displays some 150 photos and posters chronicling the years 1917 to the death of Stalin in 1953, showing the changing visual and design styles of the Soviet Union, from the radical experimental days of the early 1920s through to the dead hand of Socialist Realism imposed in the early 1930s. It continues on through the nationalist propaganda of the Great Patriotic War and into the era of ‘high Stalinism’ between 1945 and 1953, which saw the start of the Cold War as the Soviet Union consolidated its grip on occupied Eastern Europe and aided the Chinese Communist Party to its successful seizure of power in 1949.

In obvious ways this exhibition echoes and complements the huge show about the Russian Revolution which the Royal Academy staged earlier this year (although that show included many contemporary paintings and works of art; this show is almost entirely about photos and posters, magazines and prints).

Photos

The old black-and-white photos are doorways into a lost world. Here are Lenin, Trotsky, Stalin looking bulky in their greatcoats, their penetrating stares, their unremitting antagonism.

One sequence chronicles the famous series of photos of Stalin surrounded by Party functionaries who, one by one, were arrested and imprisoned during the 1930s and, one by one, were airbrushed out of the official photo, until only Stalin is pictured. This famous photo is the subject of King’s book The Commissar Vanishes.

Related photos show Lenin shouting from a podium with Trotsky leaning against it. After Trotsky was exiled in 1928, he also would be airbrushed out of this photo. In an adjoining room are ancient silent movies of Trotsky haranguing the crowd and the early Bolshevik leaders milling about the stand in Red Square.

Lenin harangues the crowd while Trotsky watches

The Terror began within a year of the Bolsheviks taking power. It came to dominate the entire society, as shown by newspaper photos which have been retouched to remove politicians as they are arrested and liquidated. There are even private photos whose owners have cut out the heads of ‘former people’ in terror lest they be found and the owners themselves arrested.

There are evocative photos of the revolutionary poet Mayakovsky, looking particularly stunning when he shaved his head and became a revolutionary firebrand, demanding that opera houses and all previous art be burned to the ground. The Russian Taliban.

The communist poet Vladimir Mayakovsky

The communist poet Vladimir Mayakovsky

I’m familiar with these photos but I’d never before seen the official photo of his body after he killed himself in 1930, disillusioned by the way the revolution was going. The exhibition includes a photo of him lying on a divan with a big red stain round his heart, where the bullet entered.

Similarly, there’s a powerful little set of photos showing Marshall Mikhail Tukhachevsky, the man responsible for radically reforming the Red Army, before himself falling foul of Stalin’s paranoia. Here he is looking proud in his military uniform. Here he is with his wife and little daughter. And then he was gone – arrested, tried and executed by a shot to the back of the head on 12 June 1937. The confession to treason wrung from him by torture still survives. It is spattered with his dried blood. Thus the Workers’ Paradise.

Tukhachevsky was not the only one. I was stunned to learn from a wall label that no fewer than 25,000 officers in the Red Army were arrested, executed and sent to labour camps between 1937 and 1941! What a paranoid idiot Stalin was.

When Nazi Germany invaded Russia on 22 June 1941 a headless, leaderless Red Army found itself forced right back to the walls of Moscow, Leningrad, Stalingrad. If they’d only launched the invasion six weeks earlier – as initially planned – the Nazis might have captured all three cities and the history of the world would have been very different. But ‘General Winter’ came to the aid of the Communist leadership, just as it had against Napoleon.

The exhibition shows how, when war broke out, official Soviet propaganda quietly dropped a lot of Bolshevik motifs and refocused attention on patriotic feelings for the Motherland. Now Stalin was rebranded ‘Leader of the Great Russian People’ and the war was christened ‘The Great Patriotic War’.

One of the six rooms in the exhibition deals solely with wartime propaganda, including posters warning people to be discreet and not give away secrets. It’s immediately noticeable how earnest and serious these were, compared with our own stylish and often humorous wartime posters on the same subject.

Don't Chatter! Gossiping Borders on Treason by Nina Vatolina (1941) The David King Collection at Tate

Don’t Chatter! Gossiping Borders on Treason by Nina Vatolina (1941) (The David King Collection at Tate)

Not unwise or foolish – Treason. And every Soviet citizen knew what would happen to them if they were suspected of Treason. The midnight arrest, the five-minute trial and then transport to some labour camp in Siberia. Russian authorities had to terrify their population to get anything done. By contrast, British authorities had to coax and laugh the population into better behaviour.

Posters

All this about the war is looking ahead. In fact the exhibition opens with a couple of rooms showcasing the fantastic explosion of creative talent which accompanied the early years of the revolution.

Progressive artists, writers, designers, journalists and so on threw themselves into the task of building a new, perfect, workers’ society. The very first room houses a big wall, painted communist red, and covered with vivid and inspiring revolutionary posters. Down with the bourgeoisie, Up the workers, Freedom for emancipated women, Strangle international capitalism, and so on.

Installation view of Red Star over Russia at Tate Modern

Installation view of Red Star over Russia at Tate Modern

Early photos show the workshops of idealistic artists creating poster art for a population which was, of course, largely illiterate and so benefited from big, bold images.

The sheer size of this illiterate working population also explains the development of ‘agitprop’ propaganda, conveyed through really simple-minded posters, books and comics, plays, pamphlets, the radically new medium of film and even – as photos here show – via steam trains festooned with Red propaganda pictures and bedecked with red flags.

These revolutionary trains were equipped with cinemas, exhibition carriages, mobile theatres and classrooms, and spread the message of Revolution and Freedom to remote regions all around the vast Russian landmass.

Above all, these young artists, fired by revolutionary idealism, found a new way to create extremely dynamic images, using exciting new approaches to photography and graphic design.

Photo-montage

The Cubists had experimented with collage as early as 1910, and members of the Dada movement (notably Max Ernst in Zurich and John Heartfield in Berlin) had also cut up and pasted together incongruous images from newspapers and magazines. But these had been semi-private experiments in the name of avant-garde fine art.

By contrast the immediate post-revolutionary years in Russia saw an explosive exploration of the potential ways photos can be composed, cut up and montaged together with new styles of design, layout, fonts and wording, to create dynamic and exciting images designed for a mass public.

A set of photos by the genius Alexander Rodchenko shows how vibrant and exciting black and white photos can be when they follow a handful of simple rules. They must be:

  • of extreme clarity
  • taken from above or below the subject
  • of subjects themselves dynamically geometrical in nature
  • use diagonals to cut right across the picture plane.
Tashkent 1933 (The David King Collection at Tate)

Tashkent 1933 (The David King Collection at Tate)

But how much more powerful these already dynamic images become if you cut and paste them into a montage, designed to be read from left to right and convey a raft of patriotic, revolutionary and inspiring subjects.

Photomontage from the Union of Soviet Socialist Republics: Catalogue of the Soviet Pavilion at the International Press Exhibition, Cologne 1928 by El Lissitzky and Sergei Senkin (The David King Collection at Tate)

Photomontage from the Union of Soviet Socialist Republics: Catalogue of the Soviet Pavilion at the International Press Exhibition, Cologne 1928 by El Lissitzky and Sergei Senkin (The David King Collection at Tate)

In fact a montage of just the ‘Great Leaders’ alone turns out to be tremendously powerful, helping to change their images into timeless icons (in a country with a 1,000 year-long history of revering timeless icons). But important to the composition is the presence of the masses, smiling, marching, teeming, liberated, which are cut and pasted into the spare spaces of the composition.

Raise Higher the Banner of Marx, Engels, Lenin and Stalin! (1933) by Gustav Klutsis. The David King Collection at Tate

Raise Higher the Banner of Marx, Engels, Lenin and Stalin! (1933) by Gustav Klutsis (The David King Collection at Tate)

(By the way, Klutsis, who made this banner and many other inspiring works like it, was executed in 1938.)

The exhibition includes a wonderful set of prints of purely abstract designs by the great Constructivist artist El Lissitzky – if I could, these would be the one item I’d want to take home from the exhibition. I love the energy of lines and angles and abstraction, and I’m a sucker for the use of text in pictures – so I love El Lissitzky.

Beat the Whites with the Red Wedge (1920) by El Lissitzy. The David King Collection at Tate

Beat the Whites with the Red Wedge (1920) by El Lissitzy (The David King Collection at Tate)

When you combine all these elements – striking photos and text montaged onto apparently abstract backgrounds made up of vivid colours broken by lines radiating energy – you come up with one of the really great design and visual breakthroughs of this period – the balanced and creative use of abstract design and photomontage to create images which are still inspirational today. Take Alexander Rodchenko’s most famous work:

'Books (Please)! In All Branches of Knowledge' (1924) by Rodchenko

Books (Please)! In All Branches of Knowledge (1924) by Alexander Rodchenko

Or this 1928 poster by Gustav Klutsis: photos montaged onto an abstract pattern of dynamic diagonal lines.

Moscow All-Union Olympiad (Spartakiada) (1928) by Gustav Klutsis. The David King Collection at Tate

Moscow All-Union Olympiad (Spartakiada) (1928) by Gustav Klutsis (The David King Collection at Tate)

This is why the decade or so of artistic production in Russia after 1917 is the subject of so many exhibitions and books, and returned to again and again – because it saw such an explosion of experimentation in the visual arts, in theatre and cinema and literature, as extremely creative minds in all these spheres completely rejected the aristocratic and bourgeois, self-centred art of the past and tried to devise new forms and styles and genres to convey their exciting news that a New World was at hand.

Although their particular revolution deteriorated into repression and Terror, nonetheless their experiments captured general truths about the twentieth century as a whole, inventing completely new ways to harness the mass media of cinema and photography, popular magazines and consumer products, which could be equally well applied to the mass societies of the capitalist world.

Which is why, although they were created in a communist climate, Rodchenko, El Lissitzky, Klutsis and scores of others invented visual styles and techniques which film-makers, playwrights and directors, fine artists and graphic designers in the decadent West and right around the world have mined and plundered for ideas and innovations ever since.

Deinekin and the 1937 Paris Exposition

Of course it didn’t last, as we all know. By 1928, the Soviet government felt strong enough to put a decisive end to all private enterprise (which had been grudgingly reintroduced under Lenin’s New Economic Plan in 1922). This ended the possibility of any kind of independent funding for the arts, which now came under the iron grip of the state. Although the term Socialist Realism wasn’t officially used until 1932, its ideas were beginning to triumph.

Any experimentalism in the arts was increasingly criticised by the party for being ‘formalist’, which meant too avant-garde and experimental to be understood by the masses. By 1934 it was decided that ALL art must be Socialist Realist in nature, meaning:

  1. Proletarian: art relevant to the workers and understandable to them.
  2. Typical: scenes of the everyday life of the people.
  3. Realistic: in the representational sense.
  4. Partisan: supportive of the aims of the State and the Party.

One room of the exhibition is devoted to the triumph of Socialist Realist art in the form of the USSR’s pavilion at the 1937 ‘International Exposition of Art and Technology in Modern Life’ held in Paris.

The pavilion was designed by Boris Iofan and dominated by a vast stainless steel sculpture by Vera Mukhina titled Worker and Collective Farm Woman

(There is a model of this building and the statue at the Victoria and Albert Museum’s current exhibition about opera; it appears in the section about Shostakovitch and music in Soviet Russia.)

These were to be the kind of heroic, larger-than-life, super-realistic, happy proletarian figures striding forward which were to become commonplace all over the Communist world, not only in Russia but in the conquered nations of Eastern Europe and in Communist China after 1949.

Inside, the pavilion was decorated with a vast mural by the painter Aleksandr Deineka, Stakhanovites, a tribute to Soviet workers (from all the Soviet republics) who had exceeded their work quotas and thus were Heroes of the Soviet Union.

Stakhanovites: A Study for the Esteemed People of the Soviets' Mural for the USSR Pavilion, 1937 International Exposition Paris by Aleksandr Deineka (1937) Perm State Art Gallery, Russia

Stakhanovites: A Study for the Esteemed People of the Soviets’ Mural for the USSR Pavilion, 1937 International Exposition Paris by Aleksandr Deineka (1937) Perm State Art Gallery, Russia

Eerily bad, isn’t it? Comparing this with the thrillingly avant-garde photo-montages of a decade earlier, I realised how the earlier work really does use diagonal lines to create a sense of striving, reaching, stretching movement and dynamism – Lenin is always leaning out from the podium, in Klutsis’ poster the red flags behind Marx et al are always slanting, anything by El Lissitzky or Rodchenko is at an angle.

Compare and contrast with the Socialist Realist painting above, which is totally square, flat, straight-on and consists of vertical lines at 90 degrees to the horizontal. I think this goes some way to explaining why – although it is intended to be a dynamic image of ideal, smiling communist people striding towards us – it in fact feels remote and unreal, more like a spooky dream than an inspiration.

When the Great Patriotic War broke out, with Nazi Germany’s invasion of 1941, there was something of a return to earlier, rousing propaganda, reviving dynamic diagonals to convey strife, effort, heroism.

Fascism - The Most Evil Enemy of Women. Everyone to the Struggle Against Fascism (1941) by Nina Vatolina. The David King Collection at Tate

Fascism: The Most Evil Enemy of Women. Everyone to the Struggle Against Fascism (1941) by Nina Vatolina (The David King Collection at Tate)

The Great Patriotic War

The last room contains a number of works dating from the Great Patriotic War, including the ‘Treason’ poster (above). The wall label explains how the communist state deliberately changed the focus from Revolution to Patriotism. And, after all, we have evidence from the time that plenty of people fought bravely for the Motherland who wouldn’t have lifted a finger for Stalin or the Communist Party.

The best work in this last room is the immensely historic photo of Red Army soldiers raising their flag over Hitler’s ruined Reichstag in conquered Berlin.

It is interesting to learn that this photo – beamed around the world – was carefully staged by the Soviet photographer Yevgeny Khaldei. Makes sense when you really look at it.

Also (since this is one of the main things I’ve taken from the exhibition, visually) that part of the secret of its appeal is that it is yet another dynamic diagonal.

Soviet soldiers raising the red flag over the Reichstag, May 1945 (Printed 1955) by Yevgeny Khaldei. The David King Collection at Tate

Soviet soldiers raising the red flag over the Reichstag, May 1945 (Printed 1955) by Yevgeny Khaldei (The David King Collection at Tate)

As interesting as the knowledge that the famous photo of U.S. Marines raising the flag on the summit of Iwo Jima was a more complicated affair than it at first appears – as brought out in the Clint Eastwood movie, Flags of Our Fathers. I wonder if any Russians have made a film about this ‘historic’ moment?

The promotional video

Russian revolution-related merchandise

Tate offers some 55 items of Russian Revolution merchandise to satisfy all your needs for decorative Bolshevikiana. I particularly liked the Death to World Imperialism posters and prints, a snip at £25.

The Red Star over Russia 2018 calendar was tempting, inciting you to smash international capitalism and strangle the worldwide bourgeoisie while you sip a frappuccino and work on your next powerpoint presentation.

Death to World Imperialism (1920) by Dmitrii Moor (1883 1946) The David King Collection at Tate

Death to World Imperialism (1920) by Dmitrii Moor (1883 1946) (The David King Collection at Tate)

And I was particularly delighted to see that Tate has arranged a Red Star over Russia wine-tasting evening so that you can:

‘Discover how the Russian Revolution in 1917 changed the wine world, and how the influential figures of this time redefined the styles and quality of wines in other regions of the world.’

Merchandising like this really rams home the message that ‘the revolution’ is as dead as the Dodo. It has been bottled and sold to the super-rich as a fashionable perfume.


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