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2022 has been a turbulent and challenging year for many. Social inequalities and disadvantage are rife, with those in power repeatedly making bad, inhumane decisions and with very little, to no, accountability or consequences (insert your favourite example from the sh** storm that is the Conservative Party here). Union after Union, across sectors, engage in industrial action in response to poor working conditions and pay, amidst a cost-of-living crisis. And although seemingly unconnected, as the year comes to a close, the Sentencing Guidelines (2022) report on Public Confidence in the Criminal Justice System (CJS) has got me feeling frustrated. My previous blog entries have often been ‘moans’. And whilst January is often dubbed the month of new beginnings and change for the year ahead: we’re not quite there yet so true to form here is my latest moan!
The report exists as one of many conducted by Savanta to collate data on public confidence, in terms of effectiveness and fairness, in the CJS and public awareness of the sentencing guidelines. The data collected in March 2022, was via online surveys given to a “nationally representative sample of 2,165 adults in England and Wales” (Archer et al., 2022, p.9). Some of their highlighted ‘Key Findings’ include that confidence levels in CJS remains relatively stable in comparison to 2018, on the whole, respondents viewed sentences as ‘too lenient’ however this varied based on offence, the existence of the sentencing guidelines improves respondent’s confidence in the fairness of sentencing, and that engagement with broadcast news sources was high across respondents (Archer et al., 2022). It is not the findings, per se, that I take umbrage with, but rather the claim it is a “nationally representative sample of adults in England and Wales” (Archer et al., 2022, p.9).
I take issue on two fronts. The first being that the sample size of 2,165 adult respondents is representative when the demographic factors included are: gender (male and female), age (18-34yo, 35-54yo and 55+), region, ethnicity (White, Mixed, Asian, Black and Other) and socio-economic grade. Now considering we are, thankfully, at the end of 2022 we should all be able to recognise that a sample which only includes cis-gendered options, narrows ethnicity down to 4 categories and the charming ‘other’, and does not include disabilities is problematic. There has been a large body of research done on people with disabilities and their experiences within the CJS, the lack of representation, the lack of accessibility to space and decisions, potentially impacting a defendant’s right to a fair trial, and a victim’s right to justice (Equality and Human Rights Commission, 2021; Hyun et al., 2013 ). So I ask, is this not something which needs considering when looking at public confidence in the CJS of a “nationally representative” sample?
In addition to this, I take issue with the requirement that the sample be “nationally representative”. We have research piece upon research piece about how Black men and Black boys experience the CJS and its various agencies disproportionately to their white counterparts (Lammy, 2017; Monteith et al., 2022; Parmar, 2012). Their experiences of stop and search, sentencing, bail, access to programmes within the Secure and Youth estate. There is nothing representative about our CJS in terms of who it processes, how this is done, and by whom. According to Monteith et al., (2022) 1% of Judges in the CJS are Black, and there are NO Black judges on the High Court, Court of Appeal of Supreme Court: this is not representative! Why then, are we concerned with a representative sample when looking at public confidence in CJS and the sentencing guidelines, when it is not experienced in a proportionate manner?
Maybe I’ve missed the point?
The report is clear, accessible, visible to the public: crucial concepts when thinking about justice, and measuring public confidence in the CJS is fraught with difficulties (Bradford and Myhill, 2015; Kautt and Tankebe, 2011). But this just feels like another nail being thumped into the coffin that is 2022. Might be the eagerness I possess to leave 2022 behind, or the impeding dread for the year to follow but the report has angered me rather than reassured me. As a criminologist, I am hopeful for a more inclusive, representative, fair and accountable CJS, but I am not sure how this will be achieved if we do not accept that the system disproportionately impacts (but not exclusively) Black men, women and children. Think it might be time for another mince pie…
Happy New Year to you all!
Archer, N., Butler, M., Avukatu, G. and Williams, E. (2022) Public Knowledge of Confidence in the Criminal Justice System and Sentencing: 2022 Research. London: Sentencing Council.
Bradford, B. and Myhill, A. (2015) Triggers of change to public confidence in the police and criminal justice system: Findings from the crime survey for England and Wales panel experiment, Criminology and Criminal Justice, 15(1), pp.23-43.
Equality and Human Rights Commission (2021) Does the criminal justice system treat disabled people fairly? [Online] Available at: https://www.equalityhumanrights.com/en/inquiries-and-investigations/does-criminal-justice-system-treat-disabled-people-fairly [ Accessed 4th November 2021].
Hyun, E., Hahn, L. and McConnell, D. (2013) Experiences of people with learning disabilities in the criminal justice system, British Journal of Learning Disabilities, 42: 308-314.
Kautt, P. and Tankebe, J. (2011) Confidence in the Criminal Justice System in England and Wales: A Test of Ethnic Effects, International Criminal Justice Review, 21(2),pp. 93-117.
The Lammy Review (2017) The Lammy Review: An independent review into the treatment of, and outcomes for, Black Asian and Minority Ethnic Individuals in the Criminal Justice System, [online] Available at: https://assets.publishing.service.gov.uk/goverment/uploads/system/uploads/attachment_data/file/643001/lammy-review-final-report-pdf [Last Accessed 14th February 2021].
Monteith, K., Quinn, E., Dennis, A., Joseph-Sailsbury, R., Kane, E., Addo, F. and McGourlay, C. (2022) Racial Bias and the Bench: A Response to the Judicial Diversity and Inclusion Strategy (2020-2025), [online] Available at: https://documents.manchester.ac.uk/display.aspax?DOCID=64125 [Accessed 4th November 2022].
Parmar, A. (2012) Racism and ethnicity in the criminal justice process, in: Hucklesby, A. and Wahidin, A. (eds.) Criminal Justice, 2nd ed, Oxford: Oxford University Press, pp.267-296.
TW: mentions of rape, child rape, racism, and misogynoir.
Alice Walker’s novel The Color Purple is a story loved around the world. So, when I saw that it was adapted to stage and touring the UK, my interest was peaked just enough to consider a visit to my local theatre the Royal & Derngate in Northampton. A Curve and Birmingham Hippodrome co-production, it came to Northampton in the first week of October. Largely, audiences that frequent my local theatre are overwhelmingly white – thus, watching The Color Purple it was a joy to my heart to hear Black people in my community engaging with the arts, because the last time I heard so many Black people attended, was for Our Lady of Kibeho as part of the R&D’s Made in Northampton season. This dates back to 2019, a production I reviewed for The Nenequirer showing that Northampton(shire) arts has work to do.
Social media platforms like Twitter and Instagram showed me the pretty unanimous positive praise for the Leicester-Birmingham co-production, while local critics also enjoyed it – including reviews from The Chronicle & Echo and The Nenequirer as well as further reviews by The Real Chris Sparkle and Northampton Town Centre BID. However, there were elements of the show that caused me great distress, no less than the perpetuation of misogynoir and racist stereotypes against Black men. It was deeply triggering, showing how historical trauma and vicarious trauma are ever present, including when white organisations have not done the work of protecting Black mental health when producing “Black-centred media.”
At the head of this cast, Me’sha Bryan gives a knockout performance as Celie (previous played by Whoopi Goldberg in the film) accompanied by Aaliya Zhané as Nettie, with Bree Smith as Shug Avery, and brilliant musical numbers grounded in the traditions of blues music that finds its origins in the trauma of enslaved Africans in the American South. They sang when “they got the blues” … and as far as performance and the commitment from the cast, I couldn’t ask for better.
However, whilst I have praised the musical numbers above, I did not believe it fitted with the tones of The Color Purple curating a rift between what the actors were saying and doing on stage, and the intonations of the music – as well as the lighting design. And despite the directorial position deciding the rape of a child wasn’t musical material (rightly so), the choice to have it as a passing detail with no further discussion, I found particularly off-key. This is one of the moments that highlights that The Color Purple may not have been musical material and better considered as a serious drama. I did not walk away feeling that bleak, much ado with contradictory lighting choices to character moods. The characters were feeling one away and lights did something else. By the by, rather than skip over the rape to maintain “the musicalness”, it may have been more effective to have done this story as a stage drama (with musical elements, if at all). The horrors depicted at the beginning of the novel are pretty nonexistent in musical.
So, this recent adaptation was a disappointment. Not from an acting point of view but behind-the-scenes pre-production elements like direction. The start of story includes a fourteen year-old who births two children after being raped by her father. So, the amount of trauma that exists around child sexual abuse and rape appear unconsidered when they glossed over these parts of the story. Furthermore, I do question if they consulted with any survivors when doing research for this adaptation. A ‘sensitivity consultant’ would not have gone amiss either, further to considerations of intersectionality and how cultural nuances in global, but still different Black communities, will be interpreted by white people, especially in provincial Little England.
Blown away by the musical abilities of the cast, stage productions (like much art) are often labelled as “escapist” so is not afforded the same criticality as for example – policing, education, sport and so on – we are all guilty of this and we can do better. This may be art; there were no redeeming Black characters, and Black men calling Black women “ugly” (written into the script) in full face of a white audience is cultural violence. In Northampton, the large white audience laughed at this example of ableist misogynoir, and in many ways this production felt to be played up for white audiences. Lots of white people are not used to seeing Black people as full human beings, and I do feel the play draws out our humanity. And by proxy centres white comfort with a Black aesthetic reinforced by white supremacy in media.
Disability justice activist Talia Lewis has released definitions of ableism every year since 2019. In January 2022, she discussed ableism as a violent social discourse that values people’s bodies and minds according to societally constructed ideas of “normalcy, productivity, desirability, intelligence, excellence and fitness …” Lewis (2022) states that these ideas are embedded in other violent discourses such as eugenics, capitalism, misogyny and white supremacy. The adaptation of these characters is only part of this debate, where another part may want to consider how this play has informed everpresent white superemacism pervasive across Northamptonnshire. It may impact how local white audiences may view Black people when they perceive that in this cultural text – ‘this is how Black people talk and act around each other.’
“This systemic oppression leads to people and society determining people’s value based on their culture, age, language, appearance, religion, birth or living place, “health/wellness”, and/or their ability to satisfactory re/produce, “excel” and “behave.” You do not have to be disabled to experience ableism.”Talia Lewis (2022)
In Homegrown (hooks and Mesa-Bains, 2017), bell hooks tell us “We have to constantly critique imperialist white supremacist patriarchal culture because it is so normalized by mass media and rendered unproblematic. The products of mass media offer the tools of the new pedagogy.” Theatre is no different to films, literature or television programmes. Watching the musical, it struck me how the numbers of people who haven’t done the work of unlearning their own white supremacy would be impacted by such an adaptation (yes, as we know all humans can reproduce these isms but in a global western context, however, white supremacy has put white people on the top of that racial hierarchy).
One instance of misogynoir and ableism was underpinned by the three Black women singers (their character names escape me) who were written as Sassy Black Women inherently “comedifying” Black womanhood. Brilliant singers, but were written lazily reinforcing a damaging cultural media narrative that diminishes the three-dimensional personhoods of Black women. This was offered with no alternative. The Hypersexual Jezebel (named after the “sinful” Biblical character) appears in numbers of characters while Sofia was written as the Strong Black Woman. Black men were then written as violent, comedic relief, illiterate, and other harmful stereotypes, and domestic abuser Mr Albert is redeemed to the sound of musical harmonies and joyful lighting.
At a Northampton level, the critics from local media revisited a culture of uncritically discussing art. Stories aren’t just stories but a product of the society that created them, and we are a society that finds it easier to challenge the criminal justice system than it does liberal arts institutions, in spite of both having a say in how Black people are viewed and treated. Despite “Black theatre” not being genre, we need more shows at the Derngate that centre Blackness in Britain. And whilst commissioning and hosting shows about ‘Black issues’ is not evidence of an anti-racist commitment, it would be nice to see more shows locally about Black people in the UK by Black people.
When we do get “Black stories”, they so often centre the US, most recently The Color Purple (Oct, 2022) and Two Trains Running (Sept, 2019) – denying local audiences a context for Blackness within the United Kingdom, while recentring American Blacknesses is gaslighting through art. In November, Dreamgirls centring American Blackness is coming to the Derngate. A co-production between The Curve and the Birmingham Hippodrome, this adaptation of The Color Purple was deeply problematic on many levels that local white critics may not have picked up on because of their whiteness – drawn in by a spectacle of a “Black show”, viewed through a white gaze that is unused to talking about white supremacy as a political structure.
The white audience for these misogynoir tropes specifically – largely one of laughter – reminded me of the white gaze, with white laughter as eased white supremacy. Whiteness continues to pervade through ‘acceptable racism’ where serious digs made at Black people in-text laughed at by white people may show how white people may think about Black people in designated white spaces. A Black man seriously calling a Black woman ugly and a white audience laughing at that is incredibly revealing – a comfortableness in spaces coded as white … and how white people may act when thinking and talking about Black people in private (i.e in spaces coded as culturally white and desgined to their comfort).
“I grew up in a culture of bantering and, ngl, I love a caustic riposte. And while in certain ways I resent the current policing of language, there is a distinction. I hate to break it to you, but a “joke” in which the gag is that the person is black isn’t a joke, it’s just racism disguised as humor. A joke told to a white audience where the punch line is a racist stereotype isn’t a joke, again it’s just racism; if there is only one black person present, it’s also cowardly and it’s bullying. Jokes of this nature probably aren’t funny for black people.”Emma Dabiri (2021: 98)
Art imitating life is one thing, but when life imitates art is another. White laughter at Black people in cultural media texts goes back to the days when blackface was on the BBC (until 1978). To see this platformed by a local arts institution then profiting from it, is revealing of how whiteness is performed and profited from, when white people think they’re not being watched. Creatives have a responsibility and so do those institutions that platform them.
Myself and fellow blogger @haleysread discuss this further in our prior entries about the scandal surrounding Jimmy Carr and Netflix. On that October evening, being one of the few Black people in the audience, it was incredibly uncomfortable. To consider art uncritically is to be entertained from a vantage point of privilege (or ignorance). Attending with my friend, to see unanimous positive feedback from the public made us feel a way, no less than from many Black people. We must always be critical; being critical is not the same as criticising, and those who are critical only take the time to be so because we care.
It is not about individual actors but about the lack of critique of institutional platforming in producing “art” that goes on to cause harm. Another fellow blogger Stephanie @svr2727 talked about misogynoir and the media in her recent webinar with the Criminology Team and Black Criminology Network. Violent mistakes in arts productions show a need not for more historical consultants, but sensitivity readers and empathy viewers. One cannot teach empathy, you either have it or you do not. Extending this gaze to screen media texts as well like Bridgerton and others, it is a further reminder that social scientists are needed at the very top of media … especially those of us that research about race, racism, and other forms of violence.
These cultural texts are rehearsed, edited, and considered by multiple hands before any public audience sees them. So, why are we still having to challenge? Simple: misogynoir, ableism, and whiteness are institutionalised and normalised socially and culturally into our day-to-day practice. No less than in “liberal” arts institutions.
“Nothing but a circus, with clowns and all.” – Malcolm X
As we follow the recent American-style media circus posing as the Conservative Party leadership contest set to determine the interim Prime Minister until the next General Election, we are reminded that both ‘finalists’, Rishi Sunak and Liz Truss are pretty much showing us their real faces fairly early in the show, while they pander to their own, in a frenzy to be seen as the modern-day version of Thatcher. Truss’ emulation of the ‘Iron Lady’ through evident vocal coaching to sound more ‘masculine’ and ‘assertive’ has helped her come across even more awkward and inept than before; perhaps the ‘Wooden Spoon’ may be a more appropriate title. Nevertheless, with promises to cut taxes…despite having announced 15 tax rises in just over 2 years…‘restore trust’ in politics…despite having been directly complicit in keeping the outgoing clown Prime Minister (Boris Johnson) in power for so long given his track record for lying…and continue with an illegal migration policy that will see refugees and asylum seekers deported to Rwanda, we are reminded that it is not the British public that will get a say in who will represent our country on the global stage, but a comparatively handful of Conservative Party members.
Lest we forget that the Conservative Party membership is dominated by middle-aged white men, many with nationalist and strongly-held religious views, seeking to preserve traditions that go back (sometimes) centuries. It seems inevitable then that the next leader will not be a racially minoritised candidate, despite being the elite private-school multi-millionaire type that Conservative voters have grown to love since the 2010’s, paving the way for Liz Truss to put her very important ideas surrounding growing British apples and setting up pork markets in Bejing to the forefront of the current populist political model we have unfortunately allowed to flourish in the UK. Truss may find meeting the Queen during her term as quite awkward given her openly anti-monarchist history. She also seems, despite having voted to remain in the European Union in the 2016 Referendum, to have jumped on the bigoted Brexit bandwagon that is slowly eroding the last remaining remnants of democracy in this country. We know that every crumb of functioning public sector life has been crushed over the past 12 years:
- Students have seen their EMA’s and grants scrapped, and their university tuition fees trebled;
- Teachers across most education institutions are in both a pay and retention crisis;
- The National Health Service is in much the same critical position with a massive shortage of GP’s, doctors and nurses and record-level waits for hospital treatments;
- The social care sector has been decimated leaving the elderly and vulnerable both financially and physically worse off;
- Those with disabilities are disproportionately disadvantaged by so-called ‘welfare reforms’ which introduced a Universal Credit benefit merger;
- Cuts to legal sectors and legal aid has left the poorest in society unable to afford high-quality legal advice and representation in court;
- Children have seen their benefits cut and, with a sharply rising inflation rate and a looming recession by the end of this year, the use of food banks among the poorest families has been higher than ever recorded…
…and there are many other examples. Without getting into yet another Brexit debate, there is no doubt that the very act of voting to leave the EU in 2016, and its subsequent consequences, has had a long-lasting impact in these services, one which we cannot hope to treat for many years. Let us not be in any illusion that either of these candidates will swoop in and majestically heal the UK from the deep wounds this Party has inflicted for 12 years, nor that there will be some miraculous light at the end of the tunnel of tyranny. Perhaps this is a rather pessimistic outlook on the years leading up to the next General Election, but unless in the unlikely event the soon-to-be PM decides to call a snap election to allow the public to finally boot out the last of this government and pave the way to some change, the situation seems rather hopeless…at least for the time being.
As an associate lecturer on a casual contract, I was glad to stand in solidarity with my friends and colleagues also striking as part of UCU Industrial Action. Concurrently, I was also glad to stand in solidarity with students (as a recent former undergrad and masters student … I get it), students who simply want a better education, including having a curriculum that represents them (not a privileged minority). I wrote this poem for the students and staff taking part in strike action, and it comes inspired from the lip service universities give to doing equality while undermining those that actually do it (meanwhile universities refuse to put in the investment required). This piece also comes inspired by ‘This is Not a Humanising Poem’ by Suhaiymah Manzoor-Khan, a British author-educator from Bradford in Yorkshire.
Some issues force you to protest
the way oppression knocks on your front door
and you can’t block out the noise
“protest peacefully, non-violently”
I have heard people say
show ‘the undecided’, passive respectability
be quiet, leave parts of yourself at home
show them you’re just as capable of being liked
enough for promotion into the canteen,
protest with kindness and humour
make allusions to smiling resisters in literature
they’d rather passive images of Rosa Parks all honestly
but not her politics against racism, patriarchy, and misogyny
but I wanna tell them about British histories of dissent
the good and the bad – 1919 Race Riots
the 1926 general strikes, and the not so quiet
interwar years of Caribbean resistance to military conscription
I wanna talk about how Pride was originally a protest
I wanna talk about the Grunwick Strike and Jayaben Desai
and the Yorkshire miners that came to London in solidarity
with South Asian migrant women in what was 1980s austerity
I want to rant about Thatcherism as the base
for the neoliberal university culture we work in today
I want to talk about the Poll Tax Riots of 1990
and the current whitewashing of the climate emergency
they want protesters to be frugal in activism,
don’t decolonise the curriculum
they say decolonise
they mean monetise, let’s diversify …
but not that sort of diversity
nothing too political, critical, intellectual
transform lives, inspire change?
they will make problems out of people who complain
it’s your fault, for not being able to concentrate
in workplaces that separate the work you do
from the effects of Black Lives Matter and #MeToo
they make you the problem
they make you want to leave
unwilling to acknowledge that universities
discriminate against staff and students systemically
POCs, working-class, international, disabled, LGBT
but let’s show the eligibility of staff networks
while senior leaders disproportionately hire TERFs
staff and students chequered with severe floggings
body maps of indenture and slavery
like hieroglyphics made of flesh
but good degrees, are not the only thing that hold meaning
workers rights, students’ rights to education
so this will not be a ‘people are human’ poem
we are beyond respectability now
however, you know universities will DIE on that hill
treat us well when we’re tired
productive, upset, frustrated
when we’re in back-to-back global crises
COVID-19, Black Lives Matter, femicide,
failing in class, time wasting, without the right visas,
the right accents; Black, white, homeless, in poverty,
women, trans, when we’re not A-Grade students, when we don’t
have the right last name; when we’re suicidal
when people are anxious, depressed, autistic
tick-box statistics within unprotected characteristics
all permeates through workers’ and student rights
When you see staff on strike now,
we’re protesting things related to jobs yes,
but also, the after-effects
as institutions always protect themselves
so sometimes I think about
when senior management vote on policies…
if there’s a difference between the nice ones ticking boxes
and the other ones that scatter white supremacy?
I wonder if it’s about diversity, inclusion, and equality [DIE],
how come they discriminate in the name of transforming lives
how come Black students are questioned (under caution) in disciplinaries
like this is the London Met maintaining law and order …
upholding canteen cultures of policing
Black and Brown bodies. Decolonisation is more
than the curriculum; Tuck and Yang
tell us decolonisation is not a metaphor,
so why is it used in meetings as lip service –
why aren’t staff hired in
in critical race studies, whiteness studies, decolonial studies
why is liberation politics and anti-racism not at the heart of this
why are mediocre white men failing upwards,
they tell me we have misunderstood
but promotion based on merit doesn’t exist
bell hooks called this
you know Free Palestine, Black Lives Matter, and the rest
we must protest how we want to protest
we must never be silenced; is this being me radical, am I radical
Cos I’m tired of being called a “millennial lefty snowflake”, when I’m just trying not to DIE?!
Ahmed, Sara (2012) On Being Included: Racism and Diversity in Institutional Life. London: Duke.
Ahmed, Sara (2021) Complaint. London: Duke.
Bhanot, Kavita (2015) Decolonise, Not Diversify. Media Diversified [online].
Double Down News (2021) This Is England: Ash Sakar’s Alternative Race Report. YouTube.
Chen, Sophia (2020) The Equity-Diversity-Inclusion Industrial Complex Gets a Makeover. Wired [online].
Puwar, Nirmal (2004) Space Invaders: Race, Gender and Bodies Out of Place. Oxford: Berg.
Read, Bridget (2021) Doing the Work at Work What are companies desperate for diversity consultants actually buying? The Cut [online].
Ventour, Tré (2021) Telling it Like it is: Decolonisation is Not Diversity. Diverse Educators [online].