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Over the years, in my line of work, there was a conviction, that logic as the prevailing force allows us to see social situations around (im)passionately, impartially and fairly. Principles most important especially for anyone who dwells in social sciences. We were “raised” on the ideologies that promote inclusivity, justice and solidarity. As a kid, I remember when we marched as a family against nuclear proliferation, and later as an adult I marched and protested for civil rights on the basis of sexuality, nationality and class. I took part in anti-war marches and protested and took part in strikes when fees were introduced in higher education.
All of these were based on one very strongly, deeply ingrained, view that whilst the world may be unfair, we can change it, rebel against injustices and make it better. A romantic view/vision of the world that rests on a very basic principle “we are all human” and our humanity is the home of our unity and strength. Take the environment for example, it is becoming obvious to most of us that this is a global issue that requires all of us to get involved. The opt-out option may not be feasible if the environment becomes too hostile and decreases the habitable parts of the planet to an ever-growing population.
As constant learners, according to Solon (Γηράσκω αεί διδασκόμενος) it is important to introspect views such as those presented earlier and consider how successfully they are represented. Recently I was fortunate to meet one of my former students (@wadzanain7) who came to visit and talk about their current job. It is always welcome to see former students coming back, even more so when they come in a reflective mood at the same time as Black history month. Every year, this is becoming a staple in my professional diary, as it is an opportunity to be educated in the history that was not spoken or taught at school.
This year’s discussions and the former student’s reflections made it very clear to me that my idealism, however well intended, is part of an experience that is deeply steeped in white men’s privilege. It made me question what an appropriate response to a continuous injustice is. I was aware of the quote “all that is required for evil to triumph is for good men to do nothing” growing up, part of my family’s narrative of getting involved in the resistance, but am I true to its spirit? To understand there is a problem but do nothing about it, means that ultimately you become part of the same problem you identify. Perhaps in some regards a considered person is even worse because they see the problem, read the situation and can offer words of solace, but not discernible actions. A light touch liberalism, that is nice and inclusive, but sits quietly observing history written in the way as before, follow the same social discourses, but does nothing to change the problems. Suddenly it became clear how wrong I am. A great need to offer a profound apology for my inaction and implicit collaboration to the harm caused.
I was recently challenged in a discussion about whether people who do not have direct experience are entitled to a view. Do those who experience racism voice it? Of course, the answer is no; we can read it, stand against it, but if we have not experienced it, maybe, just maybe, we need to shut up and let other voices be heard and tell their stories. Black history month is the time to walk a mile in another person’s shoes.
 A very rough translation: I learn, whilst I grow, life-long learning.
Some time ago, I wrote ‘A Love Letter: in praise of poetry‘, making the case as to why this literary form is important to understanding the lived experience. This time, I intend to do similar in relation to visual art.
Tomorrow, I’m plan to make my annual visit to the Koestler Arts’ Exhibition on show at London’s Southbank Centre. This year’s exhibition is entitled Another Me and is curated by the musician, Soweto Kinch. Previous exhibitions have been curated by Benjamin Zephaniah, Antony Gormley and prisoners’ families. Each of the exhibitions contain a diverse range of unique pieces, displaying the sheer range of artistic endeavours from sculpture, to pastels and from music to embroidery. This annual exhibition has an obvious link to criminology, all submissions are from incarcerated people. However, art, regardless of medium, has lots of interest to criminologists and many other scholars.
I have never formally studied art, my reactions and interpretations are entirely personal. I reason that the skills inherent in criminological critique and analysis are applicable, whatever the context or medium. The picture above shows 4 of my favourite pieces of art (there are many others). Each of these, in their own unique way, allow me to explore the world in which we all live. For me, each illustrate aspects of social (in)justice, social harms, institutional violence and the fight for human rights. You may dislike my choices. arguing that graffiti (Banksy) and photography (Mona Hatoum) have no place within art proper. You may disagree with my interpretation of these pieces, dismissing them as pure ephemera, forgotten as quickly as they are seen and that is the beauty of discourse.
Nonetheless, for me they capture the quintessential essence of criminology. It is a positive discipline, focused on what “ought” to be, rather than what is. To stand small, in front of Picasso’s (1937) enormous canvas Guernica allows for consideration of the sheer scale of destruction, inherent in mechanised warfare. Likewise, Banksy’s (2005) The Kissing Coppers provides an interesting juxtaposition of the upholders of the law behaving in such a way that their predecessors would have persecuted them. Each of the art pieces I have selected show that over time and space, the behaviours remain the same, the only change, the level of approbation applied from without.
Art galleries and museums can appear terrifying places, open only to a select few. Those that understand the rules of art, those who make the right noises, those that have the language to describe what they see. This is a fallacy, art belongs to all of us. If you don’t believe me, take a trip to the Southbank Centre very soon. It’s not scary, nobody will ask you questions, everyone is just there to see the art. Who knows you might just find something that calls out to you and helps to spark your criminological imagination. You’ll have to hurry though…closes 3 November, don’t miss out!