LukaszJanczuk

COMTOG Interview with Lukasz Janczuk on ‘My Memory of Us’

Interviewed by Iván Escobar Fernández

Lukasz Janczuk is the co-founder and lead designer at Juggler Games and a former Design Manager at CI Games. Janczuk was ‘My Memory of Us’ lead designer. My Memory of Us is a narrative-driven puzzle-adventure video game developed by Juggler Games. The game is set in a fictional version of Poland during World War II and tells the story of a young boy and girl who must navigate through a city divided into two parts: one for Jews and one for non-Jews. The game features hand-drawn art, puzzle-solving, stealth elements, and a unique memory-manipulation mechanic that allows players to change the past to solve puzzles and progress through the story. The game received positive reviews for its story and art. Overall, My Memory of Us is a touching and emotional game about friendship, love, and survival during a war.

See the Report

 

AngusMol

COMTOG Interview with Dr Angus Mol on ‘Bury Me My Love’

Interviewed by Martin Galland

Dr Angus Mol is a Games Studies scholar from Leiden University. ‘Bury Me My Love‘ is a game about distance. It is a game which places front and centre relationships between humans, how they interact, and what drives people to take a leap into the unknown and risk their lives in the hope of reaching safety. The eponymous phrase, ‘Bury Me My Love’, is an Arabic expression to take care roughly meant to signify, “don’t think about dying before I do.” The game is inspired by but does not tell, the real-life story of Dana, a Syrian woman having left her country in September 2015. Both the journalist who wrote the article on Dana’s story and Dana herself working as part of the game’s editorial team (Le Monde, 2015). Developed by The Pixel Hunt in 2015, Bury Me My Love is a branching text-based narrative based around the story of people on the move during the 2015 Syrian refugee crisis. Its main characters are Nour and Majd, a young couple from Homs, Syria. The player takes on the role of Majd, having stayed behind in Syria to take care of his mother and grandfather, while his partner, Nour, goes on to attempt the journey to Germany in order to receive refugee status there. Much of the game is based on three core mechanics which impact the outcomes of choices made throughout Nour’s journey: Time; the itinerary; and finally, Nour’s own variables of morale, budget, her relationship with Majd, and what she has or does not have on her person in key moments. With this expansive and branching narrative, there are 50 different locations to go through and nineteen possible endings for Nour’s journey, with widely divergent outcomes.

See the Report

TigsLouisPuttick

COMTOG Interview with Tigs Louis Puttick on ‘Bury Me My Love’

Tigs Louis-Puttick, Communications and Advocacy Coordinator for Samos Volunteers, a non-profit organisation supporting refugees and asylum-seekers on Samos. ‘Bury Me My Love‘ is a game about distance. It is a game which places front and centre relationships between humans, how they interact, and what drives people to take a leap into the unknown and risk their lives in the hope of reaching safety. The eponymous phrase, ‘Bury Me My Love’, is an Arabic expression to take care roughly meant to signify, “don’t think about dying before I do.” The game is inspired by but does not tell, the real-life story of Dana, a Syrian woman having left her country in September 2015. Both the journalist who wrote the article on Dana’s story and Dana herself working as part of the game’s editorial team (Le Monde, 2015). Developed by The Pixel Hunt in 2015, Bury Me My Love is a branching text-based narrative based around the story of people on the move during the 2015 Syrian refugee crisis. Its main characters are Nour and Majd, a young couple from Homs, Syria. The player takes on the role of Majd, having stayed behind in Syria to take care of his mother and grandfather, while his partner, Nour, goes on to attempt the journey to Germany in order to receive refugee status there. Much of the game is based on three core mechanics which impact the outcomes of choices made throughout Nour’s journey: Time; the itinerary; and finally, Nour’s own variables of morale, budget, her relationship with Majd, and what she has or does not have on her person in key moments. With this expansive and branching narrative, there are 50 different locations to go through and nineteen possible endings for Nour’s journey, with widely divergent outcomes.

See the Report

JakubJablonski 

COMTOG Interview with Jakub Jablonski on ‘My Memory of Us’

Interviewed by Iván Escobar Fernández

Jakub Jablonski is the co-owner and co-founder, art director, and creative director of Juggler Games. ‘My Memory of Us‘ is a narrative-driven puzzle-adventure video game developed by Juggler Games. The game is set in a fictional version of Poland during World War II and tells the story of a young boy and girl who must navigate through a city divided into two parts: one for Jews and one for non-Jews. The game features hand-drawn art, puzzle-solving, stealth elements, and a unique memory-manipulation mechanic that allows players to change the past to solve puzzles and progress through the story. The game received positive reviews for its story and art. Overall, My Memory of Us is a touching and emotional game about friendship, love, and survival during a war.

BuryMeMyLove1

COMTOG Report on ‘Bury Me My Love’

Galland, Martin. (2023). “COMTOG Report on ‘Bury Me My Love’.” Never Again Initiative. European Center for Populism Studies (ECPS). April 3, 2023. https://doi.org/10.55271/rp0036

 

Bury Me My Love is a game about distance. It is a game which places front and center relationships between humans, how they interact, and what drives people to take a leap into the unknown and risk their lives in the hope of reaching safety. The eponymous phrase, ‘Bury Me My Love,’ is an Arabic expression to take care roughly meant to signify, “don’t think about dying before I do.” The game is inspired by but does not tell, the real-life story of Dana, a Syrian woman having left her country in September 2015.

By Martin Galland*

Introduction

Bury Me My Love is a game about distance. It is a game which places front and center relationships between humans, how they interact, and what drives people to take a leap into the unknown and risk their lives in the hope of reaching safety. The eponymous phrase, ‘Bury Me My Love,’ is an Arabic expression to take care roughly meant to signify, “don’t think about dying before I do.” The game is inspired by but does not tell, the real-life story of Dana, a Syrian woman having left her country in September 2015. Both the journalist who wrote the article on Dana’s story and Dana herself working as part of the game’s editorial team (Le Monde, 2015).

Developed by The Pixel Hunt in 2015, Bury Me My Love is a branching text-based narrative based around the story of people on the move during the 2015 Syrian refugee crisis. Its main characters are Nour and Majd, a young couple from Homs, Syria. The player takes on the role of Majd, having stayed behind in Syria to take care of his mother and grandfather, while his partner, Nour, goes on to attempt the journey to Germany in order to receive refugee status there. Much of the game is based on three core mechanics which impact the outcomes of choices made throughout Nour’s journey: Time; the itinerary; and finally, Nour’s own variables of morale, budget, her relationship with Majd, and what she has or does not have on her person in key moments. With this expansive and branching narrative, there are 50 different locations to go through and nineteen possible endings for Nour’s journey, with widely divergent outcomes. 

As part of the COMTOG project’s goal to bring together different but complementary voices of the field, three individuals were interviewed about the game Bury Me My Love and its subject matter. These included Florent Maurin, President of The Pixel Hunt and one of the game’s lead developers; Dr Angus Mol, a Games Studies scholar from Leiden University; and Tigs Louis-Puttick, Communications and Advocacy Coordinator for Samos Volunteers, a non-profit organisation supporting refugees and asylum-seekers on Samos. Keeping in mind the intent of the project – which was to “showcase the educational and social potential of video games relaying the realities of conflict” – I first formalised my approach towards Bury Me My Love and the interviews I conducted around two main themes. The first and most important which informed most of my questions as the interviews were conducted was the difference between authenticity and accuracy of the experience of people on the move. The second was the necessary emphasis on empathy towards people on the move and their experiences and the engagement of players in those narratives.

The discussion around authenticity is the one that is most discussed academically and theoretically in Games Studies. In this burgeoning field, scholars note that creative designers (big studios, indie developers, social media influencers) “design their versions of the past, purely or mostly, as entertainment products, where the focus is on making money through designing fun.” This becomes a three-fold issue when such actors “(1) have not traditionally been and are frequently still not taken seriously in their role in shaping our collective understanding of the past, (2) are not primarily (or at all) concerned with teaching about the past and (3), more and more, the connection many people have with the past is partly or even primarily shaped by video games, including how they learn or teach others about it” (Boom et al., 2020: 28-29). These challenges highlight the importance of bridging the gap between stakeholders beyond those in the video game-making sphere and including activists on the ground and researchers alike.

Authenticity vs Accuracy

In the interview with Dr Mol, an important theme which emerged from the conversation was the difference between authenticity and accuracy when it comes to portraying the experience of people on the move. For Dr Mol, what really interests players is this notion of an ‘authentic past’ more so than focusing on the accuracy of the past portrayed. Bury Me My Love strongly engages with the player’s sense of empathy, providing an experience that emulates the challenges, thoughts, and problems people face on the move. Of course, this experience can only go so far in accurately visualising these very issues which thousands of people faced and still face today. Part of the game’s intention, as explained by Maurin, was to replicate this sense of anxiety and distance through the text-message thread between Nour and Majd, with the player often left with information streaming in progressively, missing context until it is later explained, and no answers from Nour until a given time when she can respond back.  

In order to best showcase the sort of journey people on the move can undertake, the game developers went through numerous documentations on the subject: including testimonies, articles, news reports, and documentaries, and themselves interviewed people in refugee camps in France. Maurin comments that the first four months of production of the game were solely dedicated to documenting, reading, and watching different sources. This was in order to get a firmer idea of the game and story they wished to tell and to account for the different paths people on the move take to get to Europe. For Dr Mol, this sort of emphasis on research and fact-checking is something that has become more prevalent and noticeable in the industry in the past ten or so years. It also reflects a shift in academia with regard to video games. As Dr Mol attests, the ways to study video games and the medium, in general, have greatly advanced and evolved in recent years, and while there is still some level of disconnect between developers and academics, there is an increasing number of projects which try to bring both sides together in the research and development of games. 

One crucially important aspect brought up by Louis-Puttick is the game’s inability to truly replicate the sense of time that people on the move go experience. It is true that comparatively speaking, Nour’s (and Dana’s) journey is very short compared to the length of time now spent by people on the move in camps – where months and years go by with little to no change in their status. While the game does include both a path which discusses this major issue in the refugee camp, and an ending which does see Nour stuck in a camp indefinitely, the player does not experience these in real-time, and so this crucial part of the experience of people on the move cannot be passed on. However, the game does not shy away from portraying some of the intense hardships faced by people on the move during their journeys. Whether it is the cold realisation that death is always a possibility, or being antagonised, chased, and beaten up by a neo-Nazi group in Greece, or the lack of care shown by European authorities as they either condemn people to a camp or deport them back to Syria. 

Ultimately, what is missing the most from this report with regard to the authenticity of Bury Me My Love is a voice from people on the move and their testimony, and whether they feel as though the game reflects enough of their experience. While the game was inspired by and involved the editorial input of a person on the move, this project would have benefited far more from involving someone with the direct experience of travelling to Europe under difficult conditions. 

Empathy and Engagement

When it comes to a subject matter such as the one on the experiences of people on the move, it is difficult to discuss Bury Me My Love in terms of ‘enjoyment’ and ‘entertainment.’ Few would describe the journey undertaken by people on the move, even vicariously, as being ‘fun,’ and it was not at all in the intention of the developers to portray it as such. For Maurin, it was difficult to balance the stark tone that the game takes with the way people would cope with this experience through levity and humour. With several thousand lines of dialogue, much of the game’s focus was on the story and the characters and the ways in which they interact with the world around them as events unfold. From personal experience with the game, both main characters were truly well-fleshed-out and felt real in their emotions, thoughts, and worries for one another. Those who meet Nour along her journey also reflect a multitude of people and how they would act towards her plight.

It is difficult to assume how different players will engage with Bury Me My Love, as the game’s several endings make it so gameplay experience can wildly vary from person to person. Criticism of the game can be found on the game’s Steam (an online game distribution platform) page, where one particular comment lists that they found the game far too upbeat and treated with too much levity with regard to the subject material. When addressing feedback of that nature, Maurin comments that, while the commenter appears to be hyperbolising, it is entirely possible that they experienced the trek replicating Dana’s journey, which was comparatively easier and with fewer issues than other possible paths – which is an outlier. Dr Mol comments on this notion of making a game engaging enough for players to want to play it while respecting the subject matter enough to consider and internalise the message. In my experience with Bury Me My Love, the game is ‘entertaining’ in the sense that it does engage you with the challenges presented in front of Nour; it is also equally heart-breaking in the lowest lows of the story and does leave one with more awareness of the life of people on the move. 

Ultimately, the game is not one meant to be entertaining in the literal sense of the term. It provides a story, a human story, one that is anchored in reality, and pushes the player to learn about the hardships faced by people on the move. News cycles and mass information have been noted to desensitise individuals of distant (and not so distant) occurrences and Bury Me My Love works to try to fight that antipathy by providing a deeply empathetic experience about the Syrian Refugee Crisis and inspiring the player to do something with the feelings they feel and receive after having played the game.

Conclusion

In closing the interview, all three interviewees were asked whether or not they felt video games could contribute to helping address common memory of certain conflict-centric events, such as the Syrian Refugee Crisis. Maurin puts it best that the game and its themes of adversity, displacement, struggle, and distance, are still very much relevant today. There are still important migrant flows of people fleeing conflict and disaster, and as such, the game Bury Me My Love remains, unfortunately, relevant and contemporary. This sentiment is echoed by Dr Mol and Louis-Puttick, who both see potential in video games, though with addendums on the intent and the goals set out by the developers in making such charged games. 

This set of COMTOG interviews was designed to bring together different stakeholders and actors who have only to gain by interacting with each other. This project also placed front and center the importance of discussing and grasping the notion of ‘authenticity’ and how games can provide empathetic perspectives on still ongoing challenges for countless people. Maurin addresses it by humorously commenting on the ‘God-complex’ of developers and that their total control over the world in which the game is placed is misleading. If there was an attempt by developers to portray a very pointed perspective (in terms of values, convictions, etc.), it would feel very forced and could be spotted immediately by players. What developers like Maurin try to do is portray a collection of stories which are sourced from documentation; they do not provide a moral or a lesson but the tools for the players to internalise the experiences they have vicariously lived through and hopefully do something about it. 


ECPS’ Never Again initiative and COMTOG project

Our collective history offers stories of war, resistance, intolerance, and perseverance. ECPS’ Never Again initiative prompts us to look back at these memories of conflict and democratic backsliding so that we, citizens, can be better informed of their causes and realities. A wealth of research has highlighted how mainstream media, i.e., TV, film, radio & news, have shaped the collective memory of these conflict narratives. However, as media technology evolves rapidly, the research studying collective memory must evolve with it.

The Collective Memory Through Online Games (COMTOG) project has emerged under this Never Again initiative to showcase the educational and social potential of serious, transformative gaming (video games, LARPs, tabletop roleplaying games) relaying the realities of conflict through a nuanced, well-researched, and empathetic lens. COMTOG is set to publish a series of interviews exploring the research process, artistic direction, and dissemination of these conflict-centred games. The game creator’s insights are included in interviews alongside the experience of diverse experts in the field (i.e. historians, policymakers, activists), thus creating a resource improving historical serious games’ ability to aid active remembering.

Moreover, serious gaming can provide the population with an immersive experience that can be used for educational purposes such as raising awareness, boosting ethical values, and preserving collective memory. Existing research has found their integration into educational programmes promising and positively impactful. We aim to understand how serious games discussing and portraying the victims of the conflict were researched and developed to stimulate interest in creating similar kinds of games.


 

(*) Martin Galland is a Master’s graduate in both European Policy and History, from the University of Amsterdam and KU Leuven, after having done a Bachelor in International Studies at Leiden University. His most recent thesis analysed the presence of (banal) nationalistic discourses present in a historical theme park in France, and how a specific vision of a French identity emerges from the theme park’s various shows. His research interests lie in the banal nationalism of contemporary populist movements, and the strengthening of right-wing populist discourse in interpretations of the past and history.


 

References

— (2015). “Le voyage d’une migrante syrienne à travers son fil WhatsApp.” Le Monde. December 18, 2015. https://www.lemonde.fr/international/visuel/2015/12/18/dans-le-telephone-d-une-migrante-syrienne_4834834_3210.html (accessed on March 2, 2023).

Boom, K. H. J.; Ariese, C. E.; van den Hout, B.; Mol, A. A. A. and Politopoulos, A. (2020). “Teaching through Play: Using Video Games as a Platform to Teach about the Past.” In: Hageneuer, S. (ed.) Communicating the Past in the Digital Age: Proceedings of the International Conference on Digital Methods in Teaching and Learning in Archaeology (12–13 October 2018). Pp. 27–44. London: Ubiquity Press. DOI: https://doi.org/10.5334/bch.c. License: CC-BY 4.0.

Politopoulos, A.; Mol, A. A. A.; Boom, K. H. J. & Ariese, C. E. (2019). “History is our playground”: action and authenticity in Assassin’s Creed: Odyssey. Advances In Archaeological Practice, 7(3), 317-323. doi:10.1017/aap.2019.30.  

DavidKirschner

COMTOG Interview with Dr David Kirschner on ‘My Memory of Us’

Interviewed by Iván Escobar Fernández

Dr David Kirschner is an Associate Professor of Sociology and Chair of the Department of Human Services and Cultural Studies at Georgia Gwinnett College. My Memory of Us is a narrative-driven puzzle-adventure video game developed by Juggler Games. The game is set in a fictional version of Poland during World War II and tells the story of a young boy and girl who must navigate through a city divided into two parts: one for Jews and one for non-Jews. The game features hand-drawn art, puzzle-solving, stealth elements, and a unique memory-manipulation mechanic that allows players to change the past to solve puzzles and progress through the story. The game received positive reviews for its story and art. Overall, My Memory of Us is a touching and emotional game about friendship, love, and survival during a war.

FlorentMaurin

COMTOG Interview with Florent Maurin on ‘Bury Me My Love’

Interviewed by Martin Galland 

Developed by The Pixel Hunt in 2015, Bury Me My Love is a branching text-based narrative based around the story of people on the move during the 2015 Syrian refugee crisis. Its main characters are Nour and Majd, a young couple from Homs, Syria. The player takes on the role of Majd, having stayed behind in Syria to take care of his mother and grandfather, while his partner, Nour, goes on to attempt the journey to Germany in order to receive refugee status there. Much of the game is based on three core mechanics which impact the outcomes of choices made throughout Nour’s journey: Time; the itinerary; and finally, Nour’s own variables of morale, budget, her relationship with Majd, and what she has or does not have on her person in key moments. With this expansive and branching narrative, there are 50 different locations to go through and nineteen possible endings for Nour’s journey, with widely divergent outcomes.

See the Report

African american gamer girl surprised after winning online competition on gaming pc. Photo: Shutterstock.

ECPS COMTOG Project – Interview with Moyra Turkington on gaming and women fighting on the front lines of history

Historical game studies is a young, slowly expanding interdisciplinary field which must address the challenges of designing games about the Holocaust and conflict, as well as being a woman in the gaming industry. Only 30 percent of game designers are female which results in on-screen female characters which are underrepresented, have fewer lines, have stereotypical gender roles and are over-sexualised, while nearly half of the people who are playing video games are women and these women play games as well as men do.

By Anita Tusor*

In line with this year’s Women’s History Month theme, “Celebrating Women Who Tell Our Stories,” our first The Collective Memory Through Online Games (COMTOG) interview not only focused on youth radicalisation and its platforms, contemporary antisemitism, online hate and gaming, and historical memory of the Holocaust; but closely examined educational, roleplaying games with stories about women in WWII designed by an international team of women and non-binary writers led by Moyra Turkington.** 

The 21st century has seen an impressive and considerable evolution in the capability and popularity of gaming. With the expansion of its market, quality, and audience, COMTOG aims to uncover analog- and video games’ potential to raise historical consciousness. Nonetheless, the depiction of historical events in certain games has recognizable flaws. A common thread of criticism lies in the representation of war – most notoriously, World War Two – and how most games glorify conflict while neglecting the victims’ perspective, especially first-person shooter games (Glouftsis, 2022). Alternatively, some games avoid the mention or existence of tragedies from historical conflict. In this way, these games appear to contribute to misshaping and misconstruing the collective memory of the period.

However, it must be noted that a growing number of games published in the last decade have broached the topic of war and conflict in a far more nuanced and considerate fashion. These projects tend to stem from smaller game-publishing houses, where the artistic and creative choices undertaken by the game developers are often well-researched, portraying the historical past and conflict in such a way that does not obscure the horrible realities of war while remaining instructive but considerate to the victims’ experience. Turkington and her team’s project, War Birds, provides an anthology of games about women in World War II and a fine example of how to approach Holocaust game designing issues. 

Turkington’s latest publication (2021) addresses game-designing techniques to bypass serious issues in Holocaust-related historical role-playing games, such as the potential trivialisation of the Holocaust or players learning to blame the victims. Game design challenges are exemplified through the description of Rosenstrasse, a role-playing game in which players adopt the roles of Jewish and non-Jewish Germans in mixed marriages in Berlin between 1933 and 1943. In our conversation, Turkington mentioned Rosenstrasse as an explicitly transformational game specifically designed to be a deep emotional experience. Testplays and qualitative research study with eighteen subjects proved it to be a highly effective experience (AJS Perspectives, 2019).

Historical Game Studies and Women

Historical game studies is a young, slowly expanding interdisciplinary field which must address the challenges of designing games about the Holocaust and conflict, as well as being a woman in the gaming industry. Only 30 percent of game designers are female (Guardian, 2020), which results in on-screen female characters which are underrepresented, have fewer lines, have stereotypical gender roles and are over-sexualised, while nearly half of the people who are playing video games are women (Yee, 2017) and these women play games as well as men do (Shen et al., 2016). 

Furthermore, there is an existing and serious concern about the toxicity of not only how and by whom games are developed but the player cultures as well, not to mention the marginalisation of whole groups of people (namely women, LGBTQA+, people of colour) (Wright, 2022: 177; Heron et al., 2014). Women often feel uncomfortable, maybe harassed or excluded from communal gaming spaces (Fishman, 2022). Gaming girls and women are more likely to hide their gender using voice-changing headsets than their male counterparts (Hetfeld, 2021). Abusive players face few consequences; female players are more prone to withdraw from playing certain games (Fox & Tang, 2016).

The gaming industry’s refusal and slow progress in addressing misogyny and extremism (Compton, 2019) have resulted in a dire report by the leading anti-hate organisation; ADL (2022). The latest survey shows gender was the most frequently cited reason for identity-based abuse. “In broader national movements, it is typically antisemitism that lies at the root of white supremacy movements; in games, it is misogyny” (ADL, 2022: 9). The concept of “geek masculinity and networked misogyny” (EGRN, 2021) shows similarities with populism as it is “being entrenched in heteronormative and patriarchal ideas of gender and sexuality, and is threatened by the presence of those deemed to be ‘others’” (Peckford, 2020: 67). Pöhlmann (2021) coins the term ‘ludic populism’ while investigating video games that undermine their own populist aesthetic and argues that video games can both reinforce and challenge the idea of a unified group of “the people” by using populist imagination, often through implicit or explicit essentialist means.

Live-action role-playing games (LARPs) may also utilise populist imagination, as well as perpetuate and foster misogyny and antifeminist hate speech narratives. Karner (2019) and others (Moriarity, 2019, PuzzleNation, 2018) stress that inclusiveness and acceptance of female players are gradually moving in the right direction. However, it is only possible if change begins at the game development level. Games made by women include creative, political minds who “can help break the tide of prejudicial game design and writing” as well as may enable “roleplaying to become the next stage of feminist storytelling” (Cross, 2012: 84).


 

(*) Anita Tusor is a recent graduate of the Double Master’s Program of King’s College London and Renmin University of China in Asian and European Affairs. She also holds a M.A. in Applied Linguistics and a B.A. in Hungarian and Chinese Studies. Previously, she has worked with different think tanks and is currently working as a Research Assistant at the ECPS and the International Institute of Prague. Anita’s research interests include the processes of democratisation and de-democratisation, populist constitutionalism, political parties and their systems, and foreign malign influence operations.

(*) Moyra Turkington is an award-winning Canadian larpwright, game designer and theorist with a background in Cultural Studies and Theatre. She is also the founder of the indie studio Unruly Designs and the leader of the War Birds Collective — an international community designing political games about women fighting on the front lines of history. Turkington is interested in immersive, transformative and political games, particularly in creating a multiplicity of media, design, representation and play.


 

ECPS’ Never Again initiative and COMTOG project

Our collective history offers stories of war, resistance, intolerance, and perseverance. ECPS’ Never Again initiative prompts us to look back at these memories of conflict and democratic backsliding so that we, citizens, can be better informed of their causes and realities. A wealth of research has highlighted how mainstream media, i.e., TV, film, radio & news, have shaped the collective memory of these conflict narratives. However, as media technology evolves rapidly, the research studying collective memory must evolve with it.

The Collective Memory Through Online Games (COMTOG) project has emerged under this Never Again initiative to showcase the educational and social potential of serious, transformative gaming (video games, LARPs, tabletop roleplaying games) relaying the realities of conflict through a nuanced, well-researched, and empathetic lens. COMTOG is set to publish a series of interviews exploring the research process, artistic direction, and dissemination of these conflict-centred games. The game creator’s insights are included in interviews alongside the experience of diverse experts in the field (i.e. historians, policymakers, activists), thus creating a resource improving historical serious games’ ability to aid active remembering.

Moreover, serious gaming can provide the population with an immersive experience that can be used for educational purposes such as raising awareness, boosting ethical values, and preserving collective memory. Existing research has found their integration into educational programmes promising and positively impactful. We aim to understand how serious games discussing and portraying the victims of the conflict were researched and developed to stimulate interest in creating similar kinds of games.

Caricature of Italian politicians Beppe Grillo, Matteo Renzi and Matteo Salvini in carnival parade of floats and masks, on January 2018 in Viareggio, Tuscany, Italy. Photo: Kokophotos.

Prof. Pappas: We need creative leaders with realistic agendas against populism

Professor Takis Pappas: “I think that exactly as populism begins with some extraordinary leaders with radical ideas about how to reconstitute democratic societies, the liberal recovery requires creative leaders with realistic agendas of how to renew the liberal institutions and make them fit for contemporary political realities.”

Interview by Erdem Kaya   

Challenging ahistorical definitions Professor Takis Pappas, who is a professor and an associate researcher at the University of Helsinki, Finland, and works for the EU-funded Horizon 2020 project “Populism and Civic Engagement”(PACE), views modern populism as a phenomenon emerging against political liberalism in the post-war Europe and the Americas. Pappas referring to a minimalist definition of democracy takes modern populism simply as “illiberal democracy” which stands as an unstable category between liberalism and autocracy. Pappas designed a causal model based on a detailed comparative analysis of prominent cases to develop a theoretical explanation of modern populism. In his perspective, in order to counter populist politics, we need creative leaders with realistic agendas as well as the adaptation of liberal institutions to present-day political realities of the democratic world. 

The following is the excerpts from the interview. 

Your research underlines the necessity of the clarification of the basic concepts and exposes the conceptual and methodological errors in populism literature. To begin with, how do you outline the common problems within the growing literature on populism?

The literature on populism has grown fast but also in a haphazard way. As a result, the concept of populism is being stretched to a breaking point. It was several decades ago that Margaret Canovan, among others, warned that, the more flexible this concept would become, the more tempted political scientists and others would be to label “populist” anything that doesn’t fit into previously established categories. This is what has actually happened. Today, “populism” is everywhere and almost everything is “populist.” 

This highly problematic situation has two main causes: On the one hand, there is in the generic literature of populism a tremendous lack of empirical knowledge about the cases classified as populist and, on the other hand, there is by now a very large number of attributes, or features, that are commonly attributed to populism while in reality they are quite common in other political phenomena, as well. 

What is, therefore, necessary in order to get out of such an impasse and be able to make useful and meaningful theoretical propositions, is to first focus on the core properties that are unique to the concept “populism” and, second, to acquire detailed historical and political knowledge of the cases that fit the definition of the concept and, therefore, ought to be classified as populist.

Populism Is Time- and Space-specific

Your argument specifies the concept of populism focusing on post-war Europe and the Americas as a spatiotemporal realm instead of searching for a timeless, one-size-fits-all definition. Can you please unpack your approach and explain the rationale behind it?

Populism, like all other political phenomena, is time- and space-specific. Think about “democracy” and how this concept applies in three different spatiotemporal settings: ancient Greece, 19th century Europe, and our own times in still early 21st century. The concept is the same but the ways it materializes across historical eras and places is entirely different. The same happens if you try to compare the populism of, say, the Gracchi brothers in the late Roman republic, the 17th century Levellers in England, and Hugo Chávez in Venezuela. In more than one senses, all three are expressions of a generic populism. So what? To study them comparatively is as meaningless as studying together ancient Greek democracy and, say, Germany’s post-war and contemporary democracy! 

What my work brings into focus, instead, is modern-day populism. More specifically, my interest in populism stems from, and addresses, a real historical and political puzzle, namely, the transformation of post-war liberal democracies into populist ones. I ask why, and how, certain societies with a previous liberal tradition may allow into power populist leaders who subsequently establish illiberal democratic regimes. Obviously, my work finds empirical resonance precisely in those countries in which liberalism became established, however feebly, in the aftermath of World War II. With no exception, those countries are to be found either in Europe or in the Americas.

Modern Populism Is Synonymous to Illiberal Democracy

Your definition of modern populism as “illiberal democracy” and “the rejection of liberal democracy” is quite straightforward. Modern populism is still democratic and not autocratic though it is clearly against the liberal canon. But you also take populism as an unstable category in the liberalism-autocracy spectrum. When does a populist party cross the Rubicon and cease to be democratic in this spectrum? Should we then drop the title of populism for nondemocratic autocracies, such as the Orbán government in Hungary?

My theoretical work hinges on just two pairs of clearly defined opposites: democracy vs. nondemocracy and liberalism vs. illiberalism. Now, if you agree with me that modern populism is synonymous to illiberal democracy, then we end up with only three basic political systems, or regimes: liberal democracy, illiberal democracy, and autocracy. In this view, populism stands midway between democratic liberalism and the rejection of democratic pluralism. Which way it will go eventually depends on a large variety of reasons including structural and agentic factors, external crises, and other conjunctural events. 

Telling when a party passes from one type to another is easy when we have clear and easily operationalized definitions of the basic political systems. The United Socialist Party of Venezuela, for instance, which was conceived as a populist force under the leadership of Hugo Chávez has in more recent years transformed into an authoritarian party under its current leader Nicolás Maduro. Quite the opposite is, for instance, the case of Greece’s PASOK—a classic populist party that in more recent years (and amidst the financial crisis that befell on that country in the early 2010s) recast itself as a liberal force. There are many other similar cases.

In your recently published book, Populism and Liberal Democracy: A Comparative and Theoretical Analysis you argue that extraordinary or charismatic leadership plays a prominent role in the populist emergence. What does it take to be a successful populist leader in the first place?

Indeed, I know no case of successful populism that is not being led by a leader with charismatic qualities. To put it in a nutshell: No charisma, no successful populism. In contrast to ordinary, non-charismatic leaders whose rule is rather impersonal and procedural, charismatics display two different characteristics—the personal nature of their authority and the radicalism of the political goals they seek to achieve. Accordingly, I understand, and define, political charisma as a distinct type of legitimate leadership that is personal and aims at the radical transformation of an established institutional order. Under this definition, charismatic leaders are not identified as such by their electoral success, which would make for a tautological analysis, nor by any physical or personal characteristics, such as physical height, oratorial skills and the like. 

My definition of charisma requires leaders combining two characteristics: full personal authority and radical political aims. Come to think of it, this type of authority is both extraordinary and rare. For, in the reality of ordinary politics, most parliamentary democracies are ruled by collective decision-making processes in the pursuit of moderate and piecemeal reforms, not radical change. But then, when I looked at my cases of populism, I realized that, with no single exception, all had emerged out of extraordinary leadership action. Most typically, the charismatic populists have had founded their own parties (or, as in the case of Trump, taken full control over existing ones) and, by exercising full control over the party organizations, used them as their means to radically change liberal democratic systems into illiberal ones. 

Populist and Nativist Parties Constitute Different Classes

In your studies, you argue that nativism is often conflated or inaccurately identified with populism. What is the difference between nativism and populism? 

This question of yours takes us back to the quest for empirical data. Try to compare factually, for instance, Denmark’s Progress Party and Hungary’s Fidesz. Both parties are often classified as “populist.” But what makes them similar? The question is apparently rhetorical for the differences far exceed any similarities those parties may have. Simple comparison of the cases easily reveals that populist and nativist parties constitute different classes which should not be kept analytically separate. Populist parties depend on charismatic leaders, tend to develop in flawed liberal democracies and, when in office, pursue comprehensive illiberal political agendas. In contrast, nativist parties are mostly led by ordinary (non-charismatic) leaders, grow particularly strong in Europe’s most politically advanced and economically strong liberal democracies, aim at specific policies rather than entire political system overhauls, and, interestingly enough, have never won power singlehandedly. There are several other differences between populist and nativist parties, which I have presented in booksarticles but also in simple infographic form.

Your research on the theoretical and comparative study of populism fills a critical gap in the literature. What do you think is the main challenge in theorizing populism?

The real challenge is to understand what causes populism and how it then afflicts our liberal democratic systems. There are several gaps in our knowledge which my work tries to fill in logical order. You see, to establish causality, we need to do meticulous empirical research on the significant cases of populist occurrence. But to do so, we must previously have selected the cases carefully and organized them into coherent classificatory system. But this is a far from easy task, especially when our definitions are unclear and ambiguous. 

Everything Begins with a Charismatic Leader

You developed a causal model for the theoretical explanation of the populist emergence. How does your causal model work?

Yes, I have developed a model including the causal chain of populism informed by the detailed comparative analysis of significant cases over long periods of time. It is based on the interplay of three factors: political structures, individual agency, and the activation of micro- and meso-mechanisms that are absolutely necessary to produce the populist outcome. Everything begins with a charismatic leader who emerges against major crises of democratic legitimacy, often involving the collapse of entire party systems. That leader then is able to activate a chain of mechanisms including the politicization of resentment, the forging of “the people” as an inclusive social category, and active social mobilization against established constitutional legality. It is interesting to see how similarly this model works in ostensibly dissimilar countries with strong populism such as Italy and Venezuela or the United States and Hungary.

There is also the political significance element you refer to. You do not choose Japan or Australia as negative cases where populism has not turned into a major political force though these are liberal democracies. What makes Brazil and Spain negative cases and different from Japan and Australia?

Japan and Australia (which, not unimportantly, are island nations) are solid liberal democracies with no populism worthy of serious consideration. But Spain and Brazil present an altogether different but very interesting puzzle. Given the strong populism in other countries in their respective neighborhoods (Italy and Greece in Southern Europe, Argentina in Latin America) why did populism come so late in Spain and Brazil? Remember that the Spanish PODEMOS was founded as late as 2014 and had never had the success of contemporary populist parties in Greece or Italy. As of Brazil, it remained paradoxically free of populism at least until the 2018 election of Jair Bolsonaro in the presidency of this country. In my book, I dedicate separate chapters in each of these two countries trying to address this paradox. 

The historical phenomenon of modern populism in your perspective excludes the varieties of populism in non-Western parts of the world where liberal democracy has not turned into an overall political tradition. There are flawed but functioning democracies such as South Africa, India, Mongolia, South Korea that are outside Europe and the Americas but definitely meet Przeworski’s minimalist definition. Do you see a possibility to extend the comparative study of populism to include the non-Western cases where there is a steady progress towards liberal democracy? 

My research focus is, indeed, on western-type democracies that have already experienced modern liberalism but made a switch from liberal democracy to populism. My interest does not extend, therefore, to states which, even if they allow elections, lack any liberal tradition. Russia and Turkey are such representative cases. Also here belong the various pre-liberal faulty democracies examined by Fareed Zakaria in his 1997 essay on the rise of illiberal democracies. With the exception of South Korea, the other cases that you mention would belong in this group of non-western and non-liberal countries along with the cases mentioned by Zakaria including Belarus and Kazakhstan, Sierra Leone and Ethiopia, the Islamic republics of Iran and Pakistan, the Palestinian National Authority and Haiti. 

Liberal Democracy Needs to Remodel Itself

Liberal democracy in the post-war period has spread and gained global acceptance under the US hegemony. So, in a similar way, how do you think a possible unraveling of democracy in the US would affect of the fate of liberal democracy in the Western world?

Unsurprisingly, populism tends to grow strong where liberal democracy becomes weak or inefficient. After decades of continuous self-advancement and expansion, liberal democracy has reached a point at which it needs to remodel itself. Institutions need both to be respected and become more congruous with new social realities, including identity politics; politicians must find new ways for achieving consensus on critical issues rather than serving polarized policies; and markets also have to become more controlled by benevolent states intent to fend off inequalities. Populist leaders, like Trump and his political kin, thrive precisely in environments of institutional inefficacy, political polarization, and economic inequality. In such situations, liberal democracy may indeed unravel, as it happened in the US under Trump’s presidency. It is perhaps no coincidence that it was during his presidency that some of the biggest countries in the world—including India, Brazil, Turkey—saw their electoral democracies deteriorate and even turn to authoritarianism.

And, as my last question, I am wondering how you would define the best way to counter populist politics. Do you think “liberal mind” or liberal democracy the only antidote to modern populism?

Populism is not inevitable, of course. But nor has liberal democracy been carved in history’s marble. In fact, history has never ended and is full of surprising twists. I believe that today we are living through an era in which democratic states reconsider whether they want to stay liberal or take an illiberal path without abolishing their democratic semblance. I also believe that the liberal states are reconsidering their “liberalism.” Immigration has posed to them a real challenge, which is how to stay liberal while also accommodating within their national borders (and their societies, their economies, and their politics) significant numbers of illiberal others. In short, the real question is: What are the limits of liberalism? Or, put in another way: How much of illiberalism are liberal states able to bear? In all those cases, it would be naïve to say that the “liberal mind” or some liberal ethos would be sufficient to counter the foes of liberalism. I think, instead, that, exactly as populism begins with some extraordinary leaders with radical ideas about how to reconstitute democratic societies, the liberal recovery requires creative leaders with realistic agendas of how to renew the liberal institutions and make them fit for contemporary political realities.

Who is Takis Pappas?

Takis Pappas is a trained political scientist with a Ph.D. from Yale University and an expert on populism, democracy, and political leadership. Currently, he is a professor and an associate researcher at the University of Helsinki, Finland, and works for the EU-funded Horizon 2020 project “Populism and Civic Engagement” (PACE). Having extensively published on populism in English and Greek, Pappas is a frequent keynote speaker at many academic and non-academic events, and a regular op-ed contributor in Kathimerini, Greece’s major newspaper.

Pappas has authored five books, the last of which is Populism and Liberal Democracy: A Comparative and Theoretical Analysis (Oxford University Press, 2019) and coedited two. He has also authored Populism and Crisis Politics in Greece (Palgrave 2014; also translated in Greek), and co-edited European Populism in the Shadow of the Great Recession (ECPR Press, 2015). 

His articles have appeared in American Behavioral Scientist, Comparative Political Studies, Constellations, Government and Opposition, Journal of Democracy, Party Politics, West European Politics, and the Oxford Research Encyclopedia among others. 

CarlosDeLaTorre

Professor Carlos de la Torre: Populism is here to stay

“When populists included [others] it was under the condition of surrendering to the leader conceived as the embodiment of the will and aspirations of the people. Populist inclusion, therefore, needs to be differentiated from democratization as a long-lasting process based on the expansion of rights, the respect for pluralism, the right to dissent, and freedoms of expression and association. Populists did not create institutions and practices based on respect for civil rights. Those who did not accept the wisdom of the leader were branded as enemies, dissent became treason, and populist polarization transformed political rivals into enemies that need to be contained,” says Professor Carlos de la Torre.

Interview by Selcuk Gultasli

Professor Carlos de la Torre, who is director of Center for Latin American Studies at the University of Florida, believes populism is here to stay. Prof. De La Torre, whose new book Global Populisms will be published soon, argues that the task of citizens, students, and scholars is to understand populism’s complexities without demonizing it. He underlines that we need to understand why these parties mobilize citizens: “Populists rightly criticize the deficits of participation and representation of real existing democracies. Populists often point to problems and issues that other politicians overlook.” Yet he warns about the solutions populists present: “If populists are right in some of their criticism on the malfunctioning of democracy, their solutions are problematic.”

The following are excerpts from the interview. 

Do the policy makers and intellectuals in the North have anything to learn from the experiences of Latin America? Can you please elaborate?

The surge of populism studies in English has unfortunately relegated the Global South to a few marginal footnotes. Most scholars compare Europe and the US, and do not pay attention to the rich bibliography on populism written about Latin America and other regions of the Global South and published in English. For instance, most introductory volumes do not even mention the pioneering work of Gino Germani on populism and fascism. Even when scholars compare the North and the Global South, the categories that they use are derived from European experiences that are posed as the universal norm.

For instance, Cas Mudde’s concept of populism that was developed to explain right-wing extremist parties located on the fringes of the political system is used as the matrix that supposedly allows comparisons between the West and the rest. Yet his categories do not travel well to explain cases worldwide. As an example, Mudde does not consider that the leader is central to his definition of populism. His assertion makes sense if the object of his study is small extremist right-wing European political parties. But in other regions, populism revolves around powerful leaders. In Europe, successful populist mass-based parties like the National Rally, Syriza, or Podemos are leader-centric. 

The bibliography on the Global South might give answers to what to expect from populists in power, and how to better resist them. After all, in Latin America, populists got to power before [they did] in Europe and the US. 

Populism is based on interactions between two antagonistic camps. Populist attempt to be the centre of the social order and the media tends to obsessively focus on the leader allowing him or her to dominate the news cycle. When the opposition felt that all democratic channels were closed, they called the military to solve civilian problems. These irresponsible and undemocratic acts play into the hands of the populist that presents herself as a victim and the avatar of democracy. Not all populists will have the same effects on democratic institutions. 

People as Ethnic, Political, or Social Constructions

How do you compare and contrast Latin American populism with European populism? Do we find more similarities or more differences when it comes to these forms of populism?

To distinguish types of populism, it is important to analyse how they define “the people” and its enemies. The people could be constructed with ethnic or political criteria, and as a plural population or as a unitary actor. Ethnic constructs could be exclusionary, as when the enemies of the people are minority populations such as Muslims and non-whites in Europe and the US. “The people” as constructed by Donald Trump for example faces ethnic and religious enemies such as Mexicans and Muslims. He launched his presidential candidacy from Trump Tower in New York City asserting, “When Mexico sends its people, they’re not sending their best…They’re bringing drugs. They’re bringing crime. They’re rapists. And some I assume, are good people.” He expanded his racist platform by calling Muslims terrorists and promising to monitor Muslims within the US and banning those who want to enter this country.

Differently from Trump’s racist view of the people as white and its enemies as cultural, religious, and ethnic “others” fundamentally different and dangerous to the true white-Christian, and heterosexual people, Evo Morales and his political party, the Movimiento al Socialismo (MAS – Movement Toward Socialism), successfully used inclusive ethno-populist appeals. Given the fluidity of race and ethnic relations in Bolivia, they were able to create an inclusionary ethnic party grounded in indigenous organizations and social movements. The MAS and Morales were successful because they also incorporated non-indigenous organizations and candidates. The term indigenous was politicized to include all Bolivians who defended national sovereignty and natural resources from neoliberal elites. It was an embracive category that signified a claim to post-colonial justice, and for a broader political project of nationalism, self-determination, and democratization. Morales’ enemies were the neoliberal political and economic elites that served the interests of multinational corporations, supranational institutions like the IMF, and US imperialism.

Left-wing populists tend to construct the people with political and socioeconomic criteria as those excluded by neoliberal elites. Hugo Chávez framed the political arena so that he did not face political rivals, but instead an oligarchy that he defined as the political enemy of the people, “those self-serving elites who work against the homeland.” Left-wing populist parties in Southern Europe like Syriza and Podemos similarly construct the category of the people as the majorities in their nations who are excluded by neoliberal policies imposed by supranational organizations like the IMF or the Troika.

Democrats imagine the people as a plurality of actors with different views and proposals. By constructing the people as plural, democrats face rivals that have legitimate institutional and normative spaces. Populists like Donald Trump or Hugo Chávez on the contrary claim that they and only they represent the “true people.” Chávez boasted, “This is not about Hugo Chávez; this is about a ‘people.’ I represent, plainly, the voice and the heart of millions.” On another occasion he commanded, “I demand absolute loyalty to me. I am not an individual; I am the people.” Even though Chávez’s political and socioeconomic construction of the people was inclusionary, his view of the people-as-one was anti-pluralist, and in the end, antidemocratic because he attempted to become its only voice. 

When ethnic or religious views of the people are combined with constructs of “the people” as one, populism becomes exclusionary and antidemocratic. Under these conditions, populism can be a threat to the basic values of modernity such as a pluralistic, critical, and inclusive civil society. Because ethnic and religious enemies are seen as a threat to the purity and morality of the true and rightful people, they might need to be confined or expelled. Therefore, ethnic constructions of the people in the most extreme cases could lead to ethnic cleansing. Political and socioeconomic constructions of “the people” can lead to inclusionary policies. Yet when “the people” is viewed as one, as Chávez did, his populism was inclusionary and antidemocratic because he assumed that the part of the people that he embodied was the only authentic group. 

Light Populism versus Full-blown Populism

Populist not only differ on how they construct the people and on the right and left axis: light and full-blown populism should be differentiated. By light populism, I refer to political parties and politicians that occasionally use populist tropes and discourses, but that do not aim to rupture existing institutions. Under this criterion, Bernie Sanders, who did not break with the Democratic Party creating a third party in 2016 or 2020, is a light populist. Full-blown populists aim to rupture existing institutions by polarizing society and the polity into two camps of enemies and constructing a leader as the symbol of all the demands for change and renewal. Light populists are almost indistinguishable from other politicians in contemporary democracies that appeal to trust in their personas and use the mass media to bypass traditional parties. Full-blown populists often use democratic institutional mechanisms and mass mobilization to try to bring change. When seeking power, full-blown populists appeal to constituencies that the elites despise or ignore. They use discourses and performances to shock and disturb the limits of the permissible and to confront conventions. 

Despite their different constructs of who is “the people” and dissimilar politicizations of grievances and emotions, populists do similar things when in power. Populists aim to rupture exclusionary institutional systems to give power back to the people. They face enemies, not democratic rivals. They appeal to reason and emotion to reduce the complexities of politics to the struggle between two antagonistic camps. Regardless of its potential inclusionary promise, the pars pro totodynamic of populism is inherently autocratic because a part of the population claims to be its whole and pretends to rule in the name of all. A leader is constructed as the true voice and the only representative of the “real people.” Some populist leaders are represented as the saviours of their people. Other leaders become avatars of patriotism and claim to know how to make things right for their people. 

What can we learn from Latin American populism to explain its relationship with democracy worldwide?

Populism forces scholars to define what they mean by democracy not only as an analytical term, but also as a normative ideal. Whereas critics argue that it is a danger to democracy, populists claim to embody democratic ideals. Whereas some argue that populism is an anomaly of malfunctioning institutions, for others it is a permanent possibility in democratic politics. Three approaches about the relationship between populism and democracy can be differentiated: populism is democratizing; populism leads to autocracy; and populism is a sui-generis combination of inclusion and autocracy. 

i) Populism Is Democratizing

For scholars that understand democracy as policies that mitigate structural inequalities, the record of populism for democratization is positive. The sociologist Carlos Vilas argues that from the 1930s to the 1960s, populism in Latin America led to its fundamental democratization. During the first two terms of Juan Perón [Argentina] from 1946 to 1955, the percentage of voters surged from 18 percent of the population in 1946 to 50 percent in 1955, and women voted for the first time in the 1952 elections. The share of wages in the National Gross Domestic Product increased from 37 percent in 1946 to 47 percent in 1955. Similarly, Thaksin Shinawatra in Thailand (2001-2006) materially improved [the lives of] the poor by creating health programs, giving debt relief to rural cultivators, and introducing a loan system for low-income university students. Poverty fell and he led the political involvement of the informal sector, the rural poor, urban middle classes, and the northern small business and landowners. 

Populist material, political, and cultural inclusion was not accompanied by the respect for pluralism and dissent. Perón for example expropriated critical newspapers. His government created a chain of radio stations and newspapers and produced movies and other propaganda materials. Perón dominated the labour movement by displacing and jailing communist, socialist, and anarchist leaders, and by promoting cronies to the leadership of the powerful national labour confederation CGT.

When populists included it was under the condition of surrendering to the leader conceived of as the embodiment of the will and aspirations of the people. Populist inclusion, therefore, needs to be differentiated from democratization as a long-lasting process based on the expansion of rights, the respect for pluralism, the right to dissent, and freedoms of expression, and association. Populists did not create institutions and practices based on respect for civil rights. Those who did not accept the wisdom of the leader were branded as enemies, dissent became treason, and populist polarization transformed political rivals into enemies that need to be contained. 

Despite the historical record of populist power being at best ambiguous for democracy, Ernesto Laclau and Chantal Mouffe view left-wing populism as a normatively desirable democratizing alternative to stopping the xenophobic and racist populist right. Populism, Laclau argues, entails the renaissance of politics. It is a revolt against technocratic reasoning, the surrendering of national sovereignty to supranational institutions, and of the popular will to neoliberal political elites. With the global rise of neoliberalism, understood as a rational and scientific mode of governance, public debate on the political economy was closed and replaced by the imposition of the criteria of experts. When all parties accepted neoliberalism and the rule of technocrats, politics was reduced to an administrative enterprise. Contrary to social democrats that embraced neoliberalism, the populist right used nationalist and xenophobic arguments to challenge globalization and the surrendering of national sovereignty. To stop right-wing variants, the left must construct popular democratic subjects.

Laclau’s normative defence of populism is problematic because he relies on Carl Schmitt’s view of the political as the struggle between friend and enemy. Under these constructs, it is difficult to imagine democratic adversaries who have legitimate institutional spaces. Enemies, as in Schmitt’s view, might need to be manufactured and contained. Moreover, the historical record of left populists in power in Latin America does not support views of populism as democratizing tout court. The leftist governments of Hugo Chávez, Evo Morales, Ernesto and Cristina Kichner, and Rafael Correa were inclusionary. When the prices of commodities were high, for example, they reduced poverty. Yet their governments entered into war against the media, attempted to control civil society, and attacked freedoms of expression, association, and the inviolability of the individual. 

ii) Populism Leads to Autocracy

A second group of scholars argue that populism in power leads to authoritarianism. Kurt Weyland differentiates two routes by which populists erode democracy. The first is that when populists close all democratic institutional channels to the opposition, they provoke the most reactionary sectors to plot military coups. From the 1930s to the 1970s, the history of Latin America oscillated between populists in power being ousted by military coups. 

After the third wave of democratization, when the international community accepted elections as the only tool to name and remove presidents, coups became too costly. Nowadays, populism, Weyland argues, is leading to slow processes of democratic erosion. The systematic yet incremental confrontations between populist presidents with the media and with critical organizations of civil society, the instrumental use of laws to punish critics and to favour cronies, and the concentration of power in the presidency leads to what Guillermo O’Donnell conceptualizes as the slow death of democracy—or to competitive authoritarian regimes. 

iii) Populism Is a Sui-generis Combination of Inclusion and Autocracy 

For a third group of scholars, populism in democratizing contexts and when citizens were not incorporated into political parties is a unique mix of inclusion and autocracy. Populism in Latin America was simultaneously inclusionary and anti-pluralist. Populists’ democratic credentials were grounded in the premise that legitimacy lies in winning free elections. In the 1930s and 1940s, Juan Perón in Argentina and José María Velasco Ibarra in Ecuador fought against electoral fraud and expanded the franchise. In the early years of the twenty-first century, Hugo Chávez, Evo Morales, and Rafael Correa used elections to displace traditional neoliberal elites and to build new hegemonic blocks. Yet elections under populism are plebiscitarian, and rivals are turned into enemies. Populist inclusion is based on the condition of surrendering one’s will to the leader who claims to be the embodiment of the people and the nation.

If global populist trends continue, what sort of a world will we be inhabiting in 20-30 years?

I don’t know. But what we learned after Trump was voted out of office in 2020, and his attempts to stay in power at all costs, is that populism is here to stay. Our task as citizens, students, and scholars is to understand its complexities without demonizing it. We have to comprehend why these parties mobilize citizens without using stereotypes that label followers as irrational. 

Populists rightly criticize the deficits of participation and representation of real existing democracies. Populists often point to problems and issues that other politicians overlook. They, for instance, politicize anger at socioeconomic and political exclusions. If populists are right in some of their criticism on the malfunctions of democracy, their solutions are problematic. Populism can lead to processes of democratic disfigurement when the complexities of modern society are reduced to the struggle between two antagonistic camps, and when one part of the population claims to represent the population as a whole. Under these conditions, opponents do not have institutional or normative spaces to articulate dissent, becoming the hideous oligarchy or the anti-national other. The populist critique needs to be taken seriously, yet we have to interrogate whether their solutions will actually return power to the people or will lead to what Nadia Urbinati calls “the disfigurement of democracy.”

***

Who is Carlos de la Torre?

Carlos de la Torre is Director of the UF Center for Latin American Studies. He has a Ph.D. from the New School for Social Research. He was a fellow at the Simon Guggenheim Foundation, and the Woodrow Wilson Center for Scholars. His areas of interest are populism, democratization, and authoritarianism, as well as racism and citizenship in the Americas.

His most recent books are The Routledge Handbook of Global Populism (Routlege, 2019); Populisms a Quick Immersion(Tibidabo Editions, 2019); De Velasco a Correa: Insurreciones, populismo y elecciones en Ecuador (Universidad Andina Simón Bolívar, 2015); The Promise and Perils of Populism (The University Press of Kentucky, 2015); Latin American Populism of the Twenty-First Century, co-edited with Cynthia Arnson, (The Johns Hopkins University Press and the Woodrow Wilson Center Press, 2013); and Populist Seduction in Latin America (Ohio University Press, second edition 2010).