Ten years ago, on October 5, 2000, hundreds of thousands of Serbian protesters descended on the streets of Belgrade and pushed past the indifferent security forces to seize control of the Parliament building, effectively ending the dictatorship of Slobodan Milosovic. It was the final act of a two-year nonviolent struggle led by the youth movement known as Otpor, or “Resistance,” whose iconic clenched-fist led the way toward free elections and newfound democracy.
One of the leaders of this movement was 27-year-old Srdja Popovic, who after Milosevic’s overthrow was elected to the Serbian Parliament. In 2004, Popovic left politics to found the Center for Applied Nonviolent Action and Strategies (CANVAS) in Belgrade, an organization that has trained activists in dozens of countries around the world – from those involved in the successful pro-democracy movements in Ukraine and the Maldives to the ongoing struggles in Burma and Iran.
We recently had the opportunity to sit down with Popovic and ask him about the role that humor played in the struggle against Milosevic, how they were able to win over his feared security forces and the ways in which Otpor lives on today.
Waging Nonviolence: Why was it important that resistance to Milosevic be nonviolent?
Srdja Popovic: Nonviolent discipline is one of the key principles of success in nonviolent struggle. Once violence is unleashed, a movement will lose numbers, momentum and credibility—putting the overall goals of a struggle in danger. It was crucial for Serbs, being labeled as “violent” during the 1990s, to prove to themselves and the world that we are more than capable of changing our government in a civilized manner, through elections and nonviolently protecting election results.
Also, if you look to the great Freedom House study published in 2005 called “How Freedom Is Won”, it analyzes political transitions covering 35 years of the last century—some by violent means, some by nonviolent means. It clearly proves that those transitions won by nonviolent struggle are far more likely to guarantee human rights, democracy and long-term political stability.
WNV: How important was creativity and humor in the struggle to bring down Slobodan Milosevic?
SP: Absolutely crucial. Humor and satire, trademarks of Otpor, were efficient in pushing a positive message, attracting the widest possible audience, making our opponents—those grey and square-headed bureaucrats—look stupid and ridiculous. Most importantly, it broke the fear and inspired the tired, disappointed and apathetic Serbian society at the end of the 90s.
WNV: How important was appearance and image for the movement in deflecting criticism from the regime and media?
SP: Spin-doctors say “perception is reality,” which is definitely not far from true. Having in mind that regime propagandists would try to portray Otpor as “mercenaries of The West”, “non-patriots” and “right-winged traitors,” we were able to prepare for this early in the process. We used the clenched fist, a leftist symbol deriving from the old communist times of our grandfathers, sound patriotic slogans, bright young faces as front-liners for Otpor, which were similar to what MLK was performing in his Nashville marches. The regime had spent a lot of time persuading the public that we were actually worse than real terrorists, but seeing young bright faces wearing Otpor t-shirts made this accusation look ridiculous and, in the end, it clearly backfired on them.
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