Proper Gander – Being informed about informers
It was probably a coincidence that a BBC documentary about the tyrannical Russian state was released on the same day as the government’s Defence Secretary John Healey announced increased investment to move the UK to ‘war-fighting readiness’, especially against Russia. While its timing gave the programme a propagandist tinge, it doesn’t consider how the Russian state may be a danger to those of us in the UK, but rather how it oppresses those living under its rule.
The threat of being ‘denounced’, to the extent it exists in Russia, isn’t something easy to empathise with elsewhere. Aspects of what it means to be ‘denounced’ are found in any country, as all have legislation covering what politically-motivated acts are deemed unacceptable, and anyone risks the consequences for their employment, for instance, of being publicly ‘shamed’. However, in Russia, the laws are especially strict and the state monitors dissent from its decrees closely, and so to be ‘denounced’ for transgressing them can mean particularly harsh punishments. One way which supposedly subversive activities come to the state’s attention is through informers. The two featured in the documentary Informers: Hunting The Enemy Within aren’t employed in this role, which they’ve taken on like an enthusiastically-pursued hobby. They gather up information online and in the media about would-be dissenters and often alongside targeting them directly, notify the state regulator, who may then further investigate and prosecute.
One of the informers is Valentin Botzvin, an armed forces veteran who has become ‘self-appointed guardians of Russia’s soul’, as the narration puts it. He targets those who he says ‘are forming an anti-peace system with different values’, including Alisa Gorshenina, who contributed to the design for a video by activist band Pussy Riot. The other snout featured in the programme – Anna Korobkova – is more prolific, claiming to have written 1,000 denouncements. One victim was Alexandra Arkhipova, a social anthropologist at a Russian university. In 2022, Anna sent Alexandra’s employers a letter about her ‘immoral act’ discrediting the military through her academic work, and some of her friends and colleagues were also similarly accused. Alexandra fled to France and began investigating Anna’s real identity, such as by looking for patterns in their style of writing and comparing them with other texts. The camera used for photos on Anna’s Wikipedia entry was tracked to a man called Ivan Abaturov. Alexandra found a written denouncement signed by Ivan which resembled one sent by Anna, and both were traced back to one computer IP address. When challenged, Ivan replied denying he was Anna, in the same writing style. He is described as having been a troublemaker while at university and as himself has posted on social media talking about denouncements.
While revealing ‘Anna”s true identity gives the documentary a narrative and an air of espionage, Valentin the veteran is quite open about informing. As a member of Russia’s military, he had already developed a loyalty to the state, which no doubt gave him the drive to snitch in his retirement. That there are younger people, such as Ivan, who are as keen to denounce others shows how this creed has permeated out. While they may sincerely believe that what they are doing is morally right, this is because they have adopted a belief system which just so happens to align with that of the ruling elite, even if it is against their class interests.
The mindset of those who are at risk of being informed upon is different. As Alisa explains, the threat of retribution for expressing nonconformist views makes her fearful and paranoid. Alexandra felt she had to leave Russia, as did Noize MC, a rapper who was being monitored for his ‘sharp, socially conscious lyrics’, with some of his gigs being cancelled by officials. Alisa chose to remain in Russia, saying that to leave would be to have something else taken away from her, along with her rights. A caption at the end of the programme says that she was arrested, detained and found guilty of displaying an ‘extremist’ rainbow emoji and insulting the army, for which she was fined. We’re also told that by the end of 2024, almost 3,000 critics of the war against Ukraine were being prosecuted, while almost 300,000 denunciations were registered with the state regulator in the first year of the conflict.
When a state criminalises disagreement with its ideology, this shows a weakness in any arguments for it. But this weakness is eclipsed by the strength wielded by the state through its legislation and punishments. These are applied randomly in Russia, as Alexandra explains, in that one person may avoid any sanctions for writing a provocative social media post, while others may get prosecuted just for clicking ‘like’ on one. This may be due to gaps in the resources available to the state, but as Alexandra says, this inconsistency contributes to the threat. For those who question the way they have to live, anxiety about being denounced adds pressure to self-censor. Music acts such as Pussy Riot and Noize MC bravely attempt to express some anti-state sentiment, which represents a little optimism. Unfortunately, at the moment, state oppression and limited class consciousness would make any movement for genuine change in Russia difficult to establish.
According to its iPlayer page, the BBC Eye strand offers ‘high-impact investigations and in-depth reporting from our award-winning World Service team’. With a running time of only 22 minutes, there’s a limit to how in-depth Informers: Hunting The Enemy Within could be. So the documentary doesn’t consider the context much beyond saying that denouncers threaten to ‘bring back ghosts from Russia’s past’, particularly during Stalin’s rule. Throughout the decades between then and now, the state has remained, and even when it has been less autocratic it has still enforced and engendered acceptance to maintain itself. These ‘ghosts’ may now be more active, but they’ve always haunted those living under the regime.
MIKE FOSTER