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A Love Letter: in praise of art

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!

Your Name Is Not BAME

My name is Tré Ventour and I am the Students’ Union’s Vice President BME Sabbatical Officer. When I’ve asked students what BME stands for, most have been clueless – Black Minority Ethnic. The same could be said for BAME – Black Asian Minority Ethnic. I was elected to represent ethnic minority students. But I’ve been asking myself how much longer will this 47% be an ethnic minority? At Northampton, they will soon be the majority. This 14,000-student university in which nearly 7000 fit into this BME box.

Pigeon-holed. To be put into a box. I don’t like to think in boxes. I try not to think in labels but in this world, it’s naive to be colourblind. In the education sector, in this day and age, especially at Northampton, to not see race is to ignore the experiences of nearly 7,000 students – nearly 7,000 stories about potential hate crimes, and what about BAME members of staff? We must see race. We must see sex, class, and gender (all genders).

To be colourblind is to live life high on privilege – to exist without the consequences of hate crime. Some people live with racism, sexism and / or homophobia all their lives.

Many say “there’s one race, the human race.” That may be true but how comfortable must you be in your existence to come to that notion? And then push that notion on those who experience racism on a daily basis.

When I’ve spoken to students about BAME or ethnic minority, they say “Just call me by my name.” Students are flesh and bone, more than acronyms. And I do what they tell me to do (in a manner of speaking / within reason). I’m not Vice President, I’m not Mr Ventour; I am Tré and I am here to help students, to represent students (of colour) – more so Black students that look at White authority and see invader. Who I have heard compare university to apartheid South Africa – one in, one out – to a Zimbabwe under British rule – De Beers, Rhodes and racism. Fear and exclusion.

Call them minorities, call them BME, call them BAME. Yet, this acronym just seems like coded language for Black. And at Northampton, when people say BME or BAME, they mean Black students, so just say what you mean, “Black.”

And if these labels, if these pigeon-hole terms help Higher Education solve issues like attainment perhaps it’s worth it. But what I can say is that not all Black experiences are the same. To be a Black British student is not the same as to be a Black international from Africa, the EU or elsewhere.

But to be a person of colour in this country is to be immigrant, British or otherwise. To be overly polite. To be overly grateful or gracious. To be a good immigrant.

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