The glittering lights of Christmas and New Year often symbolize joy, unity, and renewal in European cities. Yet, these luminous displays can contrast starkly with the shadows of unrest, becoming a stage where civic grievances and state narratives coexist in tense juxtaposition. For weeks, Tbilisi has borne witness to this paradox: residents braving sub-zero temperatures and water cannons in protests for a European future, while the city’s streets are meticulously adorned with light bulbs, stars, and Christmas trees, as if to shield life from the disruptions of dissent. Such scenes evoke broader questions about the cultural, political, and psychological dimensions of festive urban decorations during periods of societal unrest.
Historical Context: Festivities in the Face of Adversity
The tradition of decorating cities for the Christmas season has roots in religious, social, and economic practices. Originating in the Christian liturgical calendar, public displays of lights and evergreen trees became widespread in Europe during the 19th century. The rise of urbanization and electric lighting transformed these rituals into modern spectacles, fostering civic pride and offering moments of shared beauty. However, these traditions have not always unfolded in times of harmony.
During the First World War, for instance, cities like London and Paris maintained modest Christmas illuminations despite air raids and rationing. Similarly, the Cold War saw divided Berlin illuminated in contrasting narratives: the capitalist West emphasizing festive abundance, while the socialist East framed its decorations as a celebration of the workers’ triumphs. In both cases, decorations were used as tools of narrative construction, projecting resilience, continuity, and ideological identity amidst conflict.
Christmas Lights as Political Instruments
The act of decorating cities during protests or crises is not a neutral gesture. In contemporary Europe, festive decorations have often coincided with civil unrest, highlighting the tension between state control and citizen dissent. Take the 2018 Gilets Jaunes (Yellow Vests) protests in France, for instance. As Paris’ Champs-Élysées shimmered with its iconic Christmas lights, weekly protests against economic inequality and government policies continued just blocks away. Many citizens questioned the allocation of funds for such extravagant displays, while social grievances remained unresolved. Yet, others interpreted the decorations as necessary symbols of normalcy and unity in trying times.
Similarly, during Spain’s 2019 Catalunya independence protests, Barcelona’s festive decorations became entangled in political debates. The city government, led by Mayor Ada Colau, faced criticism for spending public resources on lights while residents clashed with police over issues of regional autonomy. The decorations, though ostensibly apolitical, became an inadvertent symbol of the state’s priorities and its attempt to maintain control over public spaces.
Scientific Perspectives: The Cognitive Dissonance of Festivity amidst Unrest
From a psychological standpoint, the simultaneous presence of festive decorations and protests creates cognitive dissonance—a state of mental discomfort caused by conflicting attitudes or realities. Urban decorations are designed to evoke happiness, nostalgia, and a sense of belonging, while protests disrupt these emotions by confronting citizens with the harsh realities of inequality, injustice, or repression.
Research in environmental psychology suggests that festive lighting can serve as a coping mechanism during periods of stress. In her study on the socio-psychological impact of Christmas lights, environmental psychologist Linda M. Holle found that urban decorations can provide temporary relief from collective anxiety by fostering shared positive experiences. However, this relief is often superficial and does not address underlying grievances, leading to polarized perceptions of such displays as either escapist distractions or cynical manipulations.
The Urban Stage: Protest and Decoration as Performative Acts
Cities function as stages for both celebration and dissent, with each competing for public attention. In times of unrest, urban decorations can be perceived in two opposing ways:
Aesthetic Normalization. Decorations may symbolize continuity, suggesting that the city remains functional and life goes on despite discord. For governments, this approach can project an image of control and stability. However, for protesters, such displays can feel like a denial of their realities, fueling further frustration and accusations of indifference.
Subversive Reappropriation. Protesters often subvert festive spaces to amplify their messages. During the 2013 Euromaidan protests in Ukraine, activists transformed Kyiv’s central Christmas tree into a towering monument of resistance, adorning it with protest banners and flags. This act not only challenged the state’s narrative, but also redefined the symbolic function of the tree, turning it into a rallying point for democratic aspirations.
Case Study: Tbilisi’s Dual Realities
In Tbilisi, the tension between festive decorations and ongoing protests encapsulates this duality. For many residents, the city’s lights and ornaments may offer fleeting comfort amid political uncertainty, evoking a sense of European identity and cultural continuity. Yet, for others, the decorations starkly contrast with the state’s use of water cannons and tear gas against peaceful demonstrators, highlighting a dissonance between public celebrations and private suffering.
This phenomenon is not unique to Tbilisi. In Belarus, during the 2020 pro-democracy protests, Christmas markets and decorations in Minsk continued under heavy police surveillance. Activists criticized these displays as attempts to distract from government crackdowns. Similarly, in Istanbul, holiday decorations have often coexisted with political demonstrations, reflecting the city’s complex interplay of tradition and dissent.
Cultural Interpretations: Lights as Symbols of Hope or Hegemony
From a cultural perspective, festive urban decorations can be understood through two lenses:
As Symbols of Hope: The lights, trees, and ornaments serve as reminders of shared cultural heritage and the possibility of renewal, even in difficult times. In this sense, they act as a form of collective resilience, offering communities a sense of agency and continuity.
As Symbols of Hegemony: Decorations can also reinforce state narratives, masking societal fractures and promoting a superficial sense of unity. This interpretation aligns with cultural theorist Guy Debord’s concept of the “society of the spectacle,” where public displays distract from systemic issues and placate dissent through controlled aesthetic experiences.
A Reflection on Contradictions
The juxtaposition of festive city decorations and civic unrest is a complex phenomenon, reflecting the contradictions inherent in urban life. While lights and ornaments symbolize joy and renewal, they cannot obscure the realities of inequality, repression, or resistance. In Tbilisi and beyond, this tension reveals the dual role of public spaces as arenas for both celebration and dissent.
Ultimately, how such decorations are perceived depends on the viewer. For some, they may represent hope and continuity; for others, they may underscore the disparities between government priorities and citizens’ struggles. As cities across Europe continue to light up for the holidays, they also illuminate the unresolved tensions that define modern urban life—a reminder that beneath the glow of festivity lies the enduring demand for justice and change.
By Ivan Nechaev
