Summary of Pussy Riots in Translation by Sophie Pinkham and The Birth of Puzzy Riot by Masha Gessen

          Is Pussy Riot a band, a feminist art form, or an expression of bravery in the face of tyranny? From reading these articles, it is obviously all of these.  The original members of Pussy Riot had been schooled in political protest by their prior membership in VOINA (http://en.free-voina.org/about), an activist, performance art group aimed at drawing attention to injustice and discrediting corrupt practices of the establishment. From Masha Gessen’s article on The Birth of Puzzy Riot we know that Nadya Tolokonnikova became involved in feminism from her readings and research, presenting these to a gathering of Russian opposition groups in fall 2011.  The empowerment and values of feminism appealed to the splintered factions gathered at that presentation and further fueled Nadya and her colleague Kat Samutsevich.  Combining VOINA’s activist techniques with punk-rock performance flair and re-dubbed, anti-government empowerment lyrics, Pussy Riot found a method and venue to communicate its beliefs.  However, Pussy Riot’s “punk prayer” in early 2012 at Moscow’s Orthodox Cathedral, which was brief and interrupted by security guards, did not directly stimulate recognition or publicity.  What did prompt their notoriety was international media’s attention to the trial of Pussy Riot’s members Kat, Nadya, and Maria Samutsevich and the severe judgment exacted by their two-year prison sentences.  The trial became the medium for Pussy Riot to become known as a force for change – speaking out against the conditions, tyranny, and gender inequality in Russian society.
          Kat Samutsevich and Nadya Tolokonnikova were not newcomers to social transformation having devised earlier protests, including one against Russian police violence.  Targeted at highlighting corruption and oppression, the campaign was called Buss the Buzz; it involved kissing an unsuspecting member of the police, which was filmed.  The resulting video went viral.  With the success of this campaign to fuel her, Nadya wanted to advance with a movement that was simple, accessible to the masses, and mocking of the strictures of the Russian establishment.  When she spoke at a 2011 summit of other groups opposed to Russian conditions, Nadya presented feminist art, history and theory, compelling the assembly to recognize that feminism had never taken root in Russia but would be a worthy movement to organize further social and political change.  Given the lack of feminist background in Russia to build upon, Masha Gessen asserted in The Birth of Puzzy Riot, that “If they wanted to show something radical, feminist, independent, street-based and Russian [Nadya and Kat] would have to make it up.”  That was the fledgling beginning for Pussy Riot, which began to challenge civil rights violations and gender inequality in Russia.
          At first the group was called Pisya Riot, rooted in the children’s word pisya, which is a non-specific reference to either male or female genitals. They added band members and instruments, and then sought a proper venue to perform – identifying Moscow’s Metro stations as an appropriate stage.  Recognizing the need to add showmanship to their performances, Pisya Riot added bright makeup and costumes, including colorful balaclavas (knitted ski masks) to conceal their identities, and props. Since they were not capable of creating their own music, Nadya and Kat added lyrics to an existing song, creating an original piece they called “Kill the Sexist.”  Armed with its only song, Pisya Riot was on its way to becoming a feminist punk rock group.  Its most notorious performance, however, was in 2012 when members stepped-up to the alter at Moscow’s Cathedral of Christ the Savior church.  Their performance last only a minute, but as Sophie Pinkham asserted in Pussy Riots in Translation, the impact of their protest – played out in the courtroom and later in prison – allowing Pussy Riot’s message to be heard in the international arena.