R. Breeze
(Reading time: 3 mins.)
On July Tuesday evening, a number of uniformed police officers watch the people in the road outside their police station on Via Laietana in Barcelona, the Catalan capital, many in the crowd holding placards protesting torture and impunity and a number carrying a banner.
The MC, a slim elderly woman, approaches the microphone stand, her back to the police station. Speaking in Catalan she reviews the reason for their rally which is to renew the historical memory of the Spanish State’s repression of dissent through torture with impunity.
A number of torture survivors address the crowd, sometimes experiencing difficulty in reading some passages of their notes. The crowd, mostly middle-aged or elderly, listen in silence. Some of them were victims too, many knew victims personally, many of the latter now dead.
For the past three years, the campaigners have been coming here every two weeks, renewing the historical memory and campaigning for a change of use in this building on one of the main roads of their city.
REPRESSION AND TORTURE HEADQUARTERS
During the Franco fascist Dictatorship (1936-1975), this police station was the Barcelona HQ of repression and torture, its victims ranging from democrats to anarchists, republicans and communists. The Resistance methods were also varied: unarmed, industrial or armed.
The crowd takes to the street in front of the police station
After Franco’s death, repression continued through the period known as the Transition with torture as a standard police practice continuing for decades afterwards. Claims of torture were routinely ignored by judges who sentenced activists on the basis of their retracted admissions.1
On the few occasions when torture claims were investigated, it was done cursorily and on the much rarer occasions of trial and conviction for torture, the perpetrators as a rule saw no jail time.
The methods are known by police and military torturers across the world: punches, slaps and baton blows through towels (causing pain but leaving no marks), forced stress positions, electrical shocks of particularly sensitive areas, simulated asphyxiation through plastic bags, simulated drowning …
In the past these included suspending victims upside down by their ankles or upright balanced on toes. Of course all tortures are also accompanied by threats to the victims and their families, humiliation (including nakedness), sometimes sexual threats and even actual penetrations.2
IRISH SONG IN THE STREET
The MC returns to the microphone at the conclusion of the witness testimonies and asks the crowd to welcome an activist, writer and singer from Ireland. The Irishman says he is honoured to speak at a location of struggle and even more so to bring solidarity from one nation’s struggle to another.
Though the fact is routinely overlooked or even denied, he says there are political prisoners in Ireland and because of the recent mistreatment of one of those in a prison in the British colony, all his comrades protested and were in turn supported by political prisoners in the Irish state jail.
Wearing a Palestinian scarf, speaking in Spanish, having apologised for his lack of anything but a few words in Catalan, the Irishman highlights the role of police stations as local centres of repression on behalf of the bourgeoisie, the repression all too often including torture.
The Irishman applauds the protesters’ upholding of historical memory and also their campaign to have the building reappointed as a social centre, before continuing to introduce his choice of two short songs of resistance from his homeland, one in English and the other in Irish.
The first song he sings is Four Green Fields,3 which he has explained symbolises the four provinces of Ireland, the nation represented by an elderly woman. This is followed by Gráinne Mhaol,4 the nation again represented by a woman but younger, a warrior and pirate clan chieftain.
Following the applause, the MC returns and begins to read out a long list of known police and military individuals, after each one the crowd roaring “Torturadors!”
The event concludes with the singing of L’Estaca (The Stake – a song of resistance composed by Catalan Lluis Llach during the Franco dictatorship), many doing so with clenched fists raised. Soon afterwards, the crowd begins to break up, the road open to traffic once more, shoppers and tourists going by.
End.
FOOTNOTES
1A number of cases alleging torture found their way to the European Court of Human Rights but the Spanish State has never been found guilty of torture there (although in the case of one Basque woman, awarding her damages payment for failure of the State to investigate her allegations, the judges concluded almost in an aside that she had probably been tortured). It seems that the Strasbourg Court required the kind of evidence that could not reasonably be produced by the alleged victims. A number of judgements and payments have been recorded against the Spanish State on failure to investigate allegations of torture against political activists.
2 In the latter category two cases are well known, each suffered by Basques, one a woman and the other a man.
3 Composed by Tommy Makem who regularly performed with the Clancy Brothers folk group.
4 Composed by Pádraig Mac Piarais/ Patrick Pearse but structurally based on a much older Irish traditional song welcoming a bride to her new home. The heroine of his song is Gráinne Ní Mháille, a 17C clan chief in Co. Mayo.
SOURCES AND USEFUL LINKS
The campaigners may be followed on X (Twitter)
@comissdignitat
@p_represaliades
Torture in the Spanish state: https://www.amnesty.org/es/wp-content/uploads/2021/06/eur410011993en.pdf
https://www.omct.org/en/resources/blog/spain-reversing-the-long-lasting-impunity-for-torture
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