The eloquent and defiant closing statement from band member Yekaterina Samutsevich in the Pussy Riot trial explains the meaning (which Americans might not have understood) behind the punk band’s acts of art. Via chtodelat, translated:
I now have mixed feelings about this trial. On the one hand, we now expect a guilty verdict. Compared to the judicial machine, we are nobodies, and we have lost. On the other hand, we have won. Now the whole world sees that the criminal case against us has been fabricated. The system cannot conceal the repressive nature of this trial.
During the closing statement, the defendant is expected to repent or express regret for her deeds, or to enumerate attenuating circumstances. In my case, as in the case of my colleagues in the group, this is completely unnecessary.
The fact that Christ the Savior Cathedral had become a significant symbol in the political strategy of our powers that be was already clear to many thinking people when Vladimir Putin’s former [KGB] colleague Kirill Gundyaev took over as head of the Russian Orthodox Church. After this happened, Christ the Savior Cathedral began to be used openly as a flashy setting for the politics of the security services, which are the main source of power [in Russia].
Why did Putin feel the need to exploit the Orthodox religion and its aesthetics? …The need arose to make use of the aesthetics of the Orthodox religion, historically associated with the heyday of Imperial Russia, where power came not from earthly manifestations such as democratic elections and civil society, but from God Himself.
In our performance we dared, without the Patriarch’s blessing, to combine the visual image of Orthodox culture and protest culture, suggesting to smart people that Orthodox culture belongs not only to the Russian Orthodox Church, the Patriarch and Putin, that it might also take the side of civic rebellion and protest in Russia.
