Interview mit Diana Burkot von Pussy Riot

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Climate change and war, racism, hate, and exploitation—every day, we are bombarded with negative news from around the world. As important as it is to confront these issues, it is just as crucial to keep an eye on the positive. Alongside the often desperately needed “escapism through music,” the metal scene (despite its undeniable problems) offers plenty of inspiring projects.

In our interview series “HEAVY … but heartfelt!“, we introduce you to socially, ecologically, or politically engaged organizations, events, and individuals who give us hope and help make the world a better place.

In part 8 of this special, we spoke to Diana Burkot about the political activism of PUSSY RIOT, post-Soviet Russia, her project SWEAT AND BLOOD and music in general as a form of expression for criticizing the system.

For more information about PUSSY RIOT and Diana, visit www.pussyriot.love and follow them on Facebook (Diana Burkot / PUSSY RIOT) and Instagram (Diana Burkot / PUSSY RIOT).

Please tell us a bit about yourself! Who are you, and how did you get into music?
My name is Diana Burkot. Around the age of 6 or 7, I started listening to music more consciously – it became the most emotional way for me to explore and understand the world. At first, my taste wasn’t exactly refined; I listened to rather bad music, like late ’90s Russian pop – early Tatyana Bulanova, for example. It was all about sorrow and tears, really cheesy stuff, but it stirred strong emotions in me. Back then, and even later, crying to music became a part of my life. Not long after, I knew I wanted to make music and become a musician. I never had any doubts about what I wanted to do in life – guess I’m lucky in that regard. But I could only start studying music at 18, which felt quite late. I come from a working-class family, and at some point, my parents probably just didn’t have the time, energy, or money to support my requests for piano, guitar, or vocal lessons. I would attend the first two or three classes, tell the teacher I had forgotten to bring money from my parents, and when the situation became too awkward, I’d stop going.

When I turned 18, my father took me to work with him as a sort of assistant – it was just a part-time job. Around the same time, my boyfriend, a very talented musician, encouraged me to pursue music. I thought I had already missed my chance to start learning, but he pushed me to study. With the money I earned, I was able to enroll in a jazz college for improvisational music, majoring in drums. I still felt like it was too late for me, but drums were bold and cool – and unlike other instruments, I didn’t need perfect pitch, which was a relief since my ear for music was far from ideal. Music has always been a part of me – it’s my passion. Of course, there’s math, concept, and technique in it, but for me, it remains something abstract and beautiful – an endless world I could explore forever. The only regret I have is that my lifetime won’t be enough to discover it all.

I’m currently continuing my education at the Art University of Iceland, where I’m finishing my master’s degree in NAIP (New Audiences and Innovative Practice – This Music Master provides future professional musicians with the knowledge and skills to become artistically flexible practitioners, able to adjust to a wide range of societal contexts). It has provided me with a wealth of new inspiration and broadened my horizons. I’m completely open to new ideas and possibilities. One day, I hope to develop projects focused on the sonification of information and complex technical audio installations – though I must admit, my knowledge of math, physics, and other exact sciences isn’t the strongest. Academic music has opened up a whole new perspective for me. There are so many incredible composers in Iceland, where I live now, and I hope that one day I’ll be able to create something truly impressive in this field.

You were born in 1985, six years before the collapse of the Soviet Union, in Lyubertsy, a suburb of Moscow. How did you experience your childhood and early teenage years in the 1990s, a time of great upheaval?
It was a very dark time. At one point, my family didn’t have enough money for food. My parents got involved in a gang conflict during my early childhood, which was sadly common at the time, and then they divorced. I spent time hanging around abandoned houses, drinking the cheapest alcohol and smoking cigarettes – back then, it was easy for kids to buy these things openly in stores. At a party back then, my friend was raped by three guys who were supposed to be our friends. Eventually, her grandparents died under mysterious circumstances, and then her father disappeared. He was a ‘Lyuber’ – that’s what they called gangsters in Lyubertsy. It was a dangerous area, where you could get beaten up just for wearing the wrong clothes or having an unconventional hair color. I sniffed glue, wandered the streets, and out of sheer boredom, I once threw a stone at a window. I didn’t know who lived there, I just broke the window and ran away. I was a punk, a tough teenager. But there was light, of course – though it was all quite melancholic and sad. One of my biggest fears was spending my whole life there, dying in the same place I was born, in Lyubertsy. The 90s in Lyubertsy were scary, but I’m glad I made some amazing girlfriends starting around 5th or 6th grade. It was so much better to go through all of that with them. It was a school of survival, and like many people looking back, sometimes I wonder how I didn’t die.

You were originally the drummer for the feminist punk collective PUSSY RIOT. Could you briefly explain what PUSSY RIOT is and what the project is about. How and why was PUSSY RIOT founded, how is it structured, and how did you get in touch with the activists?
The group was formed in 2011, thanks to Nadya and Katya. Soon after, they decided that expanding was necessary – broadly speaking, this included collaborating with musicians. Originally, when Katya and Nadya conceived PUSSY RIOT, it was part of a larger oppositional political movement, the 2011 protests. They wanted to carry out political protest through artistic actions with a strong feminist focus. At that time, I was often hanging around Elektrozavod, a massive, old factory building with several gothic-style sections. By then, the building was mostly rented out for various purposes. It housed a rehearsal space and a studio called ‘Destroy the Humanity.’ At some point, someone from the community of that place asked if I could help the girls by writing and playing drums for a song. I had plenty of free time at that stage in life, so I thought, why not? We recorded a song for the Red Square action, ‘Putin Pees His Pants,’ but soon after the rehearsals and recording, Katya and Nadya invited me to participate in the action – not just as a musician, but also as an activist. So I got involved in the activist process right away, but it was my first experience. That PUSSY-RIOT-action was my first, just like it was for Maria Alyokhina (one of the three other women later involved in the Punk-Prayer-action), for example, and some of the other girls – some of whom later chose not to participate in future actions due to issues with the police.

PUSSY RIOT is not just a band: It’s a feminist art activist collective, that supports women’s rights, LGBTQ+ rights, freedom of speech, the foundations of democracy, support for sex workers, and much more. But everything is interconnected, and a key element is the active political stance we take. Everyone has their own tools and strategies, and our worldviews can vary greatly. It’s a community of activists, musicians, artists, filmmakers, and more. This may sound basic, but I still sometimes have to explain to organizers that no, it won’t be me, Nadya, and Masha on stage together – we don’t perform as a musical band. As a member of PUSSY RIOT, I’ve been inspired by the suffragettes (in this case russian feminists who, in the early 20th century, advocated for women’s suffrage and political participation, particularly during the February Revolution of 1917. Women’s suffrage was introduced that same year). Did you know that the hunger strike as a political gesture was created by them? Over 100 years have passed, and it’s still one of the tools of activism. The suffragettes also used the courts as a political weapon, demanding a jury trial because it gave them the opportunity to present their position to society, expose the injustice of the laws, and influence public opinion. They used the courts as a platform to spread their ideas. For example, when the girls were in court because of the action at the Cathedral of Christ the Savior, they used their ‘last word’ as a political statement. But this is just one example – there are many other movements, individual activists, and artists who influence PUSSY RIOT.
So, no matter how pompous it may sound, PUSSY RIOT’s mission is to fight for rights and freedoms in all possible ways and forms.

On December 24, 2011, around 100,000 people protested against Putin on Red Square – something that seems unimaginable today. Can you tell us more about the first Pussy Riot actions back then? Were you involved in these performances, and how do you think the possibilities for expressing protest in Russia have changed since then?
The first PUSSY-RIOT-action took place in 2011 with the song ‘Death to Prison, Freedom to Protest,’ performed on the roof of a garage opposite the police station where the same activists and independent politicians were being held after the Bolotnaya Square protests you mentioned. This action didn’t receive much public attention, but it is incredibly important to me personally because it represents solidarity and mutual support. At that time, Navalny (A Russian opposition politician who was allegedly poisoned with the nerve agent Novichok by the Putin regime in 2020, imprisoned in 2022, and passed away in custody in 2024 under unclear circumstances ) was in that police station, along with Yashin (Russian opposition politician) and many other brave people who weren’t afraid to boldly and openly declare their political views. I didn’t participate in that action, but I hold it very dear, which is why I created a new arrangement of the song and perform it as part of my SWEAT-AND-BLOOD-program. And of course, everything has changed since then. If in 2011 you could get away with 5-6 hours in a police station for an action on Red Square, now, for something similar, you would likely be sentenced to 10 years in prison. The repressive machine in Russia now devours everyone in its path, grinds them down, and spits them out. I’ve noticed how people like to separate Russia from supposedly democratic countries. Just look around: Individualism in 2025, viewed through the lens of political ambitions, breeds ruthless narcissists and sociopaths, who run politics according to the laws of capitalism and the entertainment industry, or, alternatively, neo-fascists – fanatics. It’s complete madness, incredibly contagious, spreading across the world. No one knows what tomorrow will bring for all of us.

What other actions, which may not have been noticed in the West, were you involved in?
For example, ‘Why does a hungry old man need your Victory Parade day?’
This is incredible hypocrisy. There are elderly people in Russia, including veterans of World War II, who barely have enough money for food. They live in terrible conditions because the state does not support them. Many are forced to sell their medals just to pay for electricity, while every year, on May 9, Russia holds the so-called ‘Victory Parade’ to celebrate the defeat of fascism in World War II. It’s a massive budget, and that money would be much better spent on pensioners, who survive on nothing but bread, cabbage, and potatoes. I completely reject any display of weapons – all these tanks and military aircraft on Victory Day. Of course, it’s nothing more than propaganda – a way to make exploited workers believe they are somehow special, that suffering is a virtue. In collaboration with Katrin Nenasheva and Sasha Starost (both artists and activists, among other things raising awareness of the lack of mental health support in Russia with the collective „PsychoActive“), we created the actionist performance-art-piece ‘Rave 228’. It’s not really an action, but more of a form of activism.

In the context of falsified criminal cases in Russia, particularly those involving planted drugs, Article 228, often referred to as „the people’s article“, of the Criminal Code of the Russian Federation is often cited. This article – ‘Illegal acquisition, storage, transportation, production, or processing of narcotic drugs’ – has become notorious for its widespread misuse. According to human rights activists, up to a quarter of all prisoners in Russia are serving sentences on drug-related charges. Many of them are victims of fabricated cases, where the police plant drugs to meet arrest quotas. Unlike real drug traffickers, ordinary citizens – especially young people—are the primary targets. They are often framed by law enforcement, pressured into signing confessions, and sentenced without fair trials. In Russia’s judicial system, acquittals under this article are virtually nonexistent. Even when clear violations occur, defendants are sent to prison instead of being acquitted. This article is also used as a tool of political repression. The Russian authorities frequently apply it to discredit activists, journalists, and opposition figures.

In 2019, Russian journalist Ivan Golunov, known for his corruption investigations, was framed with planted drugs and detained in Moscow. He was accused of intent to distribute, a charge that could have resulted in up to 20 years in prison. This fabricated case sparked a massive wave of protests across Russia. The campaign #ЯМыГолунов (‘We are Golunov’) united journalists, activists, and citizens in demanding his release. Under intense public and media pressure, the case ultimately collapsed, and Golunov was released after five days. It was a rare instance where mass solidarity led to the charges being dropped. However, this case remains a powerful symbol of the Russian government’s repressive tactics and the ongoing persecution of independent journalists.
And this is just one example – there are countless others.

How do you perceive Russia and the Russian people today?
Like poor, scared people who are ready to believe in the Russian Orthodox god mutilated by Patriarch Kirill, or esoteric laws and so-called egregors (other spiritual entities), the strong hand of a tyrant, or anything to escape from reality. An incredibly beautiful culture and country, nature, history, and amazingly talented people rotting alive – it’s all very sad. And I’m one of them. I want to say that I don’t see myself as separate from others – we all have much more in common than it may seem. I truly believe that a lack of love is at the root of both the worst and the best things people do. I hope that one day, we will all have the courage to stop hurting ourselves and each other.

In 2012, you were part of the probably most internationally famous action by PUSSY RIOT, the ‘Punk Prayer’ in Moscow’s Cathedral of Christ the Saviour, the center of Russian Orthodox faith, and managed to escape undetected. It wasn’t until 2020, when the offense had expired, that Nadya Tolokonnikova revealed your identity in an interview. How did you manage to escape, and how did you spend the eight years that followed?
The PUSSY-RIOT-action in the church was the fourth one. I was part of that action. After Katya, Nadya, and Masha were detained by the police, Katya received a 2-year suspended sentence, while Masha and Nadya served their sentences in prison. I was hiding separately from the girls when the police caught them; they were all together. I didn’t ask for trouble, I tried to be very careful and remained anonymous for eight years due to the criminal case. Once the statute of limitations expired, my name was revealed. What saved me wasn’t excitement or a thirst for adventure, but rather my instinct for self-preservation. I can only speak for myself – each of the girls experienced and lived through that moment in their own way. I can say that it was very difficult for me. I took a different path, which led to a lot of mental trauma. My phone was tapped, I was followed at certain moments in my life, and I lived in constant anxiety and paranoia.

Repression takes many forms. You can physically imprison someone, or you can destroy their mental health. I was terrified and barely able to share my experiences with anyone. My boyfriend at the time laughed at me and downplayed the emotional turmoil I was going through. I’m glad that’s all behind me now. Although all of this seems small compared to what others are enduring, torture has become the norm in Russia… Oh yes, you can also turn to sublimation and internal emigration. I remember having a very realistic dream that the police came, opened the door with a master key, looked at me sleeping, and decided to play a joke by eating one of the cutlets in the kitchen. It was like a scene from a gaslighting movie, where you start to doubt your own sanity. I woke up completely convinced that this was true. I even told one of my teachers at art school, and he laughed at me. Now, I find it funny too, but at the time, I was completely out of my mind. And I watched a lot of zombie apocalypse movies back then (laughs). For 8 years, I did a lot of things: I was involved in activism, studied video art at an art school, played drums in various bands, made electronic music, sang, made videos, went on tours, worked in various jobs, fell in love, and got disappointed… I made many mistakes in my youth, just living my one and only life.

PUSSY RIOT in its original incarnation no longer exists. The sale of music, among other things, seems to have been particularly problematic for the more anti-capitalist members. How exactly should we imagine PUSSY RIOT today compared to its early years?
I was among those members who decided to make an anti-capitalist critical statement about the band itself through the action ‘Action, Action, Pussy Riot Liquidation.’
At one point, I held very radical leftist views, and that’s how PUSSY RIOT began. I’m really glad that this statement exists, because the gray area is far broader than it might seem. I find myself asking many ethical questions, both of myself and those around me. Now, the collective is evolving in different directions, and yes, sometimes that involves working for money. I don’t see anything wrong with that anymore. As long as you act in accordance with your views and conscience, there’s nothing wrong with being able to buy food or pay rent. Today it’s encompassing theater, concerts, DJ sets, videos and films, music, exhibitions, public talks, actions, and performances. It all depends on the unique skills and passions of each participant, some members focus more on political activism, others on documentation and filmmaking, and some are musicians. Every individual brings their own creative energy and political focus to the collective, shaping its ever-evolving expression and activism. Now there are more ways to realize this concept, simply because new opportunities have emerged and circumstances have changed. Just to be clear, even an interview is a form of activism.

The members involved back then are now spread all over the globe and are pursuing different projects under the name PUSSY RIOT. Do you stay in regular contact and coordinate your actions?
I can only speak for myself, but yes, I try to stay true to my ethical principles and coordinate my actions with the other members. That said, to be honest, I’m now striving for more independence. As I mentioned before, PUSSY RIOT is not a cult, but a code of honor should always be there, no matter how things evolve.

In general, the videos released under the name PUSSY RIOT are highly professional and media-effective productions. How do you finance such releases?
You’re probably referring to Nadya’s videos. I think she just wanted to create high-quality visuals and experiment with them.
As for the ‘Swan Lake’ video, which I was involved in, for example, the budget was quite small. I actually edited the video myself, which helped keep costs low. We had some wonderful people who helped bring the project to life – they were incredibly understanding and supportive, which made it easier to minimize expenses.
From my experience, creativity doesn’t always require a big budget. Right now, I spend half of my earnings on the SWEAT-AND-BLOOD-project and the rest on basic living expenses. I invest what I earn into what I believe in, not into comfort.

In recent weeks, you were on tour in Germany with your own project SWEAT AND BLOOD. Originally, it was a series of video statements that were exhibited, among other places, at the Multimedia Art Museum in Moscow in 2018. Now, there is also music involved. Can you explain the concept behind it in more detail?
The very first appearance of the project was at the „Garage Museum of Contemporary Art“ in Moscow, where it was presented as video installations. Sometimes, I’m fully immersed in it, while other times, I step away and return after a year or so when I have new ideas or artistic directions to explore. Right now, I’m working on the album „Sweat and Blood“ and also developing the project as an exhibition.
The SWEAT-AND-BLOOD-project is an artistic methodology for understanding everything. I am the author, collaborating with others who are co-authors, to explore social, political, economic, cultural, technological (including interactions with technologies that may surpass human understanding, such as AI), and philosophical phenomena. Separately, yet connected, forming a unified ecosystem – or one ecosystem. Sometimes the focus of attention is quite narrow, other times it shifts to different aspects depending on the project’s goals, and at times, it expands to cover a broader context. This includes exploring the interaction of these phenomena with each other, with humans, with groups of people (such as nations), and with concepts like time, memory, power, imagination, the laws of physics, and other undefined yet important aspects that may emerge or be discovered during the process. The foundational principle of the project: “The idea is primary, followed by form; material is secondary, if felt needed.”

The project has been realized (but I hope it continues to evolve) as video art, music, performances, contemporary art within museums or galleries, visual AI generation, texts, public talks and poetry. You can think of this as my version of the Marvel universe (laughs).
If we’re specifically talking about the album, its concept is rooted in the feminist political theory, „The Personal is Political“. This idea gained prominence during the second-wave feminist movement in the 1960s and 1970s. Carol Hanisch, one of the key figures associated with this concept, wrote an essay titled „The Personal is Political“ in 1969. While she didn’t coin the phrase, her work cemented it as a crucial part of feminist discourse. This concept argues that personal experiences – especially those of women and other marginalized groups – are not isolated but instead deeply intertwined with social and political structures. Personal struggles, therefore, are not individual failures but the result of systemic issues like patriarchy, discrimination, and repression.

„The Theory of Small Deeds“ (or „The Small Acts Theory“) is rooted in ethical and political philosophy, particularly concerning the individual’s responsibility to society. This concept posits that significant societal changes are not only brought about by revolutions or large-scale movements, but also through the small, consistent actions performed by individuals. While it’s challenging to pin this theory to a specific author, it closely aligns with the philosophy of Hannah Arendt (1906–1975), who delved into civil responsibility and participation in public life. It also connects with the works of Albert O. Hirschman (1915–2012), who examined strategies for social change.

Michel Foucault (french philosopher) introduced the concept of „biopolitics“ to describe how power governs people’s lives at the population level. Unlike traditional forms of power focused on punishment and repression, biopolitics regulates life by controlling factors like birth rates, mortality, healthcare, sexuality, and other aspects of biological existence within society. This power manifests in institutions such as medicine, statistics, and state policies, shaping behavioral norms and establishing standards for what is considered a “healthy” population. Foucault linked biopolitics to the concept of „biopower“ – a form of power that doesn’t rely on coercion but instead manages the processes of life. States and institutions use biopolitics to optimize labor resources, control citizens’ bodies, and shape individual subjectivity. In today’s world, biopolitics is evident in issues like vaccination policies, reproductive rights, quarantine measures, and even digital surveillance, highlighting how power regulates not only behavior but the very biology of individuals.

These songs explore both personal and collective trauma, drawing from life experiences that reflect broader societal repression and restrictions on freedom, particularly in Russia, though the themes resonate globally. The concept of inner emigration – where individuals feel alienated from their government and culture – is central to the project. The goal is to highlight individual lives, showing how each person’s experiences contribute to broader democratic values. The project intentionally shifts the focus away from well-known figures or activists, instead spotlighting “ordinary people” simply living their lives. It seeks to emphasize the significance of everyday experiences and the unique stories of those who might otherwise remain unseen. The project stresses personal responsibility and everyday activism, placing importance on civil society, solidarity, community, and the Do-It-Together (DIT) principle – rather than inventing heroes or relying on prominent figures. At this point an important clarification: This project is an artistic statement, where real-life facts form the foundation, but they are woven together and shaped primarily through the artist’s vision.

How was your show received by the German audience?
Incredibly warm. I gained so much confidence and support that it moves me to tears. People came without knowing what to expect, and the guys from NEW AGE DOOM and I gave everything we had to ensure no one was left disappointed. In general, I always approach my performances as if it were my last show, so there’s nothing to regret. But, of course, I always strive for more – a cooler, more high-quality show. I’m constantly working on it, in the process of improving. And I’m deeply grateful to everyone – without them, none of this would have mattered.

What would you like to achieve with SWEAT AND BLOOD?
Change the world (laughs). Seriously, there was a time when I used to avoid politics myself, but now it’s so unavoidable that there’s no escaping it. It’s impossible to ignore – politics is everything, whether we want it to be or not. I envy those who can live in the illusion of a beautiful, blissful world outside of time and political reality, so comfortable and serene. That’s why I strive to blend the beauty of art with political activism.

On your tour in Germany, you were accompanied by the Canadian progressive rock band NEW AGE DOOM. How did the contact come about, and what connects you?
We met in Vancouver, Canada, when PUSSY RIOT was there for an exhibition and concert as part of our tour across Canada and the United States. Eric reached out to me on Instagram, inviting me to play a concert with my solo project. I had a couple of days off, so I agreed. We met, hit it off, and now, we tour together, collaborate, and became and remain great friends. There are many talented people out there, but truly good and grounded ones, especially among artists, are rare. I’m incredibly grateful to have found real friends – people you can work with and trust. Thank both God and Satan for that.

The music you present as part of SWEAT AND BLOOD is electronic in nature and has little in common with the original punk style of PUSSY RIOT. What musical influences do you incorporate into the music?
When I first joined PUSSY RIOT, I played punk and post-punk drums. Over time, I developed a love for electronic music as well, so for me, that transition was very natural. The style of music itself doesn’t really matter; what’s important is the message and the energy. When I was younger, I also spent a lot of time at concerts, mostly at the trendy nu-metal shows of the time. If I had money, I loved getting drunk and having fun with stage diving. Most girls were afraid to jump, but for me, fear quickly turned into excitement – I absolutely loved it! Sometimes I went to concerts with friends as part of the social scene, other times I went alone. That’s how I ended up at a Björk concert, which completely changed my perception of music. At home, I listened to everything: jazz, rock, indie electronic, experimental, pop, noise. I remember discovering Merzbow, and it completely changed my world. Then came Arab on Radar, Lightning Bolt, and Black Pus – and my world shifted again. Psycho folk, minimal wave, post-punk – I don’t care much about genre, but I am selective. Not every album or every track resonates with me.

I have many memories and associations tied to artists or songs. One of my cats is named Ian, after Ian Curtis from Joy Division, because I found him on the street right after watching „Control“ in the cinema. Once, heartbroken, I tried to cut my veins while „Man That You Fear“ by Marilyn Manson played on repeat. Back then, rock culture unfortunately romanticized self-destruction and violence.
Salem is a fully electronic project, but in a way, it feels more grunge to me. I really enjoy witch house as a genre and aesthetic.
Kllo is a kind of neo-R&B, also an electronic project with very soft, subtle vocals. I love listening to them when I’m feeling anxious or stressed; it really helps me relax.
Have you heard of Nouvelle Vague? They do bossa nova-style covers, and it’s amazing. Their versions of “A Forest” and “In a Manner of Speaking” are particularly great. I also love old-school music, especially trip-hop, like Massive Attack. It’s one of the most incredible genres, and I keep hoping it will make a comeback.
Wolves in the Throne Room are a great melodic band. I played black metal drums for a while, and that was a cool experience. As for jazz, I’m a huge fan of John Coltrane, Thelonious Monk, and Nina Simone. “Wild Is The Wind” has made me cry so many times. „Threnody for the Victims of Hiroshima“ by Penderecki is a masterpiece. I also love Erik Satie – he was a real punk! He’s that brilliant student who’s too much of a genius for mediocre teachers to appreciate. If I had to sum it up: I’m the kind of person who, at 12 years old, set records for not showering, thinking it was part of the grunge aesthetic and rebellion, Kurt Cobain was my hero (laughs). I proudly wear a dress I found in the trash instead of buying ripped jeans from a store. Or I’m a teenager, completely in love, kissing my boyfriend to the soundtrack of Smashing Pumpkins – such incredibly romantic music, just like The Cure.

What are the lyrics about?
In the album „Sweat and Blood“, the songs reflect the lives of my friends – how vibrant and amazing they are, and the audacity they have to live life on their own terms. It takes real courage to be free.
For example, the song “Audrey” is about a trans person who cannot openly express their identity due to Russia’s extreme restrictions on LGBTQ+ rights. The 2022 law expanded the ban on so-called “gay propaganda”, making even neutral representations of LGBTQ+ individuals in media, art, and literature criminal. This law leads to fines, censorship, and social exclusion. Human rights organizations have condemned these laws for fostering discrimination and legitimizing violence against LGBTQ+ people. One of the key questions is what it’s like to be outside the law simply because of who you are.

A striking feature of your performance is the visual accompaniment. In addition to large-scale projections showing wanted posters of politically persecuted individuals in Russia, the name ‘Egor’ also appears repeatedly. What can you tell us about the visuals?
There are videos from my SWEAT-AND-BLOOD-performances and the videos from the “Riot Days” show. In “Riot Days,” most of the videos are documentary-style, created by Vasily Bogatov and Taisiya Krugovykh, who filmed and edited PUSSY RIOT’s classic actions into music videos. One notable part of the show is an eight-minute segment dedicated to political prisoners. On the other hand, my SWEAT-AND-BLOOD-performances feature videos that I generate through AI, with collaborations from Anastasia Gvozdeva, who created the animations, and Sima Piterskaya, who worked on 3D visuals. Sima is an amazing activist and musician. My program primarily focuses on “just people,” individuals like you and me. One of them is Egor, my best friend. Right now, he’s taking care of my three cats. Since my move abroad, I still haven’t been able to bring them with me. The process is complicated. My oldest cat is 17 years old, and I worry that the long flight to Iceland, where I currently live, followed by quarantine, would be too stressful for him. If something were to happen to his health, I might not have the financial means to take care of him. It’s a tough situation. Besides that, Egor is an incredibly kind and wonderful person and I would love for more people to know about him and his story. He left Russia because of the mobilization – he found it unacceptable to go to a foreign country with a weapon. He’s a true pacifist, and in many ways, he’s like a cat himself. (laughs).He’s also an independent booker who brought countless musicians to Russia, often at great personal and financial risk, simply because he wanted to experience their music live and share that experience with others. There are many ways to love music. You don’t have to be a musician; you can be a booker, supporting independent artists. Egor invited me to perform many times, which really helped and supported me during crucial moments in my musical journey. Maybe his story could inspire others. You don’t have to be a full-time activist to do something good. There are so many different ways to make a difference.

What difficulties or challenges have you faced since launching SWEAT AND BLOOD?
With all the challenges I’ve faced, I’ve had to start everything from scratch. Collaborating with new people in a foreign country, finding the strength to step out of my comfort zone, and continuing to grow and evolve – that’s been a journey. Technical difficulties are a constant, but I keep learning to make my performances more high-quality and interesting, even without big budgets. Pirating music production plugins might be risky, and equipment costs money. For example, right now, I can’t even record vocals for an album simply because I can’t afford a decent studio microphone, which, to be honest, frustrates me a bit. SWEAT AND BLOOD is me and the people who are willing to collaborate with me, but ultimately, the responsibility falls on my shoulders. It’s tough because, at the core, what I love most is writing songs and sharing them with others. What I can say, very seriously, is that you shouldn’t romanticize the life of an artist. The reality will definitely bite you (laughs).

Will there be a film about SWEAT AND BLOOD?
I’d love to make a video, but I’m not deluding myself. Do you know the Russian proverb, “If you want to make God laugh, tell him about your plans”?

What other musical or political projects and actions are you involved in?
Right now, I’m really focusing on doing at least one thing well. As you’ve noticed, the SWEAT-AND-BLOOD-project has a pretty complex form and structure, and it’s not easy to find the time and energy to implement it properly. But there’s another project I’m working on – it’s a Popera about a purple werewolf. Think of it as almost a Disney musical with classical instruments, but with a very queer twist.
We still need to finish 2-3 tracks to complete the project. The main character is my good friend Michael, an incredibly charismatic person who draws everyone’s attention in such an organic way. He’s one of those talented people who truly deserves it all, but hasn’t found the success he deserves yet. Success, you know, is often a survivor’s mistake. I really hope all his dreams as an artist come true.

Are there any special moments or achievements in your life as an activist that you are particularly proud of?
Yes, I haven’t gone crazy, I survived without losing myself, and I still believe in humanity. But I haven’t let myself become jaded either.

Can you give specific examples where your projects have made a noticeable impact?
It’s not for me to judge – you’d have to ask other people.

How can the music community get involved? What do you need – volunteers, donations in kind or money, attention?
If we’re talking about me, just come to the concerts, please. And if I’m lucky enough to release an album, give it a listen. Music and art are my way of life; I don’t know how to do anything else, nor do I want to, nor can I. It’s important for me to share this with others.
And it’s also my only job (laughs).

The last words are yours: What would you like to share with the people out there?
The hardest thing is working on yourself – being a humanist, but not a victim. Please take care of yourself, your mental health, and strive for a better position in life, but not at the expense of others. And don’t be afraid to stand up fiercely to the bastards – karma needs some help.

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All other parts of this series can be found here: