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Public confidence in the CJS: ending on a high?
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.
Mundial: Why I won’t be watching the World Cup this time
It has been called the beautiful game; in the past even during war the opposing sides played a game; it has made some of its players stars and household names, football or soccer has a global appeal. From the townships in South Africa, to the Brazilian Favelas, the makeshift pitches the world over to the highly pristine pitches in academies, kids the world over learn to kick a ball, and play the game that requires speed, agility, and dexterity in the feet. Kids who just play for fun in an after-school club or to bond with friends. The appeal of this game has been intertemporal.
Generations of kids, begged their parents to stay longer out to play with their friends, asked for another ball, shoes or shorts and each family responded according to their means. After all, football is/was a working-class game. The relative low cost makes it accessible; it allows plenty of kids to play together and build relationships. Football was an equaliser that did not care who you are or where you come from.
I remember as a kid, year after year playing in the summer with the same kids in teams between Greek and Yugoslavians. We were keeping score and the losing side was buying the other side ice-creams. Not quite the golden ornate cup but a wager worth playing 10 games across the summer. We called each other’s teams with the name of the country we came from. My lasting memory was the last time we played together before the civil war in Yugoslavia erupted. The Yugoslavians won and they were chanting “Yugoslavia, Yugoslavia”. Those kids did not come the following summer. In the next summer, the same kids would be carrying the flag and arms of one of the opposing sides armed to kill each other. When football is not the game, disputes are resolved in brutality.
In the past decades, football’s appeal made it the game to watch. The transition to professional football made the game lucrative, some clubs acquired big budgets and of course attracted a finer audience. The pundits, as a former footballer put it, started eating “prawn sandwiches” an indication of their more expensive tastes. Still people stick with the sport because of their own memories and experiences. My first ever game was with my grandfather. We went to the stadium of the club that was to become the team I support for life. The atmosphere, the emotional roller coaster and most importantly a shared experience with someone very dear, that even when they are gone, you carry the sounds, the emotions with you forever.
Some footballers started earning enormous fees for playing the game; the club colours became trademarked and charged over the odds for a simple scarf or a top. The rights to the games sold to private companies requiring people to pay subscriptions to watch a simple game. People objected but continued still to support, although some people were priced out of the game altogether. The game endures because it still resonates with people’s experiences.
In particular, the national games have kept some of their original appeal of playing for your country, playing for your colours! Football is an unpredictable sport and in international events you can have an outsider taking the cup against the odds! Like Greece winning the UEFA Euro in 2004! The games in international tournaments leads to knock out games, with the drama of extra time and of course the penalty shootout. Nail biting moments shared with family and friends. These magical moments of personal and collective elevation, as if you were there with the players, part of their effort, part of their victory.
When the host country was announced some years ago that will be hosting this year’s world cup there were already calls for investigation into the voting process raising concerns. Since then, there have been concerns about the safety of those who work on the infrastructure. Thousands of migrant workers, many of whom are/were undocumented have worked in building the stadiums that the games will be played in. There are accusations of numerous deaths of migrant workers (an estimate from The Guardian comes to a staggering 6,500 deaths). This has raised a significant question about priorities in our world. It is unthinkable to put a game above human life. This was later followed by “the guidelines” to teams and visitors that alternative sexualities will not be tolerated. Calls about respecting the host’s culture adding to the numbers of people calling for a boycott. So why I won’t be watching this time around?
We have been talking for years about inclusivity and tolerance. Women’s rights, LGBTQ+, immigrant rights, worker rights and all of them being trampled for the sake of a competition. Those who have been asked about the issues from the football federation, former footballers and even governments have played down all these concerns. In some cases, they opted for a tokenistic move like rainbow-coloured planes or include the rainbow on national team logo. Others will be issuing rainbow bracelets and some saying that they will raise issues if/when given the opportunity. This sounds too little considering what has happened so far especially all the fatalities caused building all the constructions. If we are not to uphold civil rights and if we are not ready to act on them, why talk about them?
I remember the game for being inclusive and serving to get people together; this competition is setting an incredibly horrible precedent that human life is cheap and expendable; that people’s rights are negotiable and that you can stop being who you are momentarily, because the game matters more than any of the above. It does not! Without rights, without respect, without life there is no game, there is nothing, because there is no humanity. These games do not bother me, they offend me as a human being. If people died to build this stadium then this space is not fit for games; it’s a monument to vanity and greed; hardly sportsmanlike qualities.
“Quelle surprise” – another fine mess
The recent HMICFRS publication An inspection of vetting misconduct and misogyny in the police service makes difficult reading for those of us that have or have had any involvement in the police service in England and Wales. Of course, this is not the first such report and I dare say it will not be the last. There is enough evidence both academic and during the course of numerous inquiries to suggest that there is institutional corruption of all sorts in the police service, coupled with prevailing racist and misogynistic attitudes. Hardly a surprise then that public confidence is at an all-time low.
As with so many reports and associated inquiries, the finger of blame is pointed at the institution or individuals within it. The failings are organisational failings or departmental or individual. I cast my mind back to those inquiries into the failings of social services or the failings of NHS trusts or the failings of the Fire and Rescue service or any other public body, all the fault of the organisation itself or individuals within it. Too many inquiries and too many failings to count. More often than not the recommendations from these reports and inquiries involve rectifying processes and procedures and increasing training. Rarely if ever do these reports even dare to dip their toe into the murky waters relating to funding. Nobody on these inquiries would have the audacity to suggest that the funding decisions made in the dark corridors of government would later have a significant contribution to the failings of all of these organisations and the individuals within them. Perhaps that’s why those people are chosen to head the inquiries or maybe the funding decisions are long forgotten.
Twenty percent budget cuts in public services in 2010/11 meant that priorities were altered often with catastrophic consequences. But to be honest the problems go much further back than the austerity measures of 2010/11. Successive governments have squeezed public services in the interest of efficiency and effectiveness. The result, neither being achieved, just some tinder box ready to explode into disaster. And yet more hand wringing and finger pointing and costly inquiries.
The problem is not just that the organisations failed or that departments or individuals failed, the problem is that all the failings might have been prevented if there was money available to deliver the service properly in the first place. And to do that, there needs to be enough staff, enough training, and enough equipment. And who is responsible for ensuring that happens?
Now you may say that is all very well but what of the police officers that are racist and misogynistic or corrupt and what of institutional corruption? After all the HMICFRS report is not just about vetting procedures but about the attitudes and behaviours of staff. A good point but let me point you to the behaviour of government, not just this government but preceding governments as well. The expenses scandal, the bullying allegations, the improper behaviour in parliament, the complete disregard for the ethics or for that matter, common decency. And what of those successive budget cuts and lack of willingness to address very real issues faced by staff in the organisations.
Let me also point you to the behaviour of the general public from whom the police officers are recruited. A society where parents that attend children’s football matches and hurl abuse at the referee and linesmen, even threatening to see them in the car park after the match. Not a one off but from recent reports a weekly occurrence and worse. A society now where staff in shops are advised not to challenge shoplifters in fear of their own safety. A society where there is a complete disregard for the law by many on a daily basis, including those that consider themselves law abiding citizens. A society where individuals blame everyone else, always in need of some scapegoat somewhere. A society where individuals know individually and collectively how they want others to behave but don’t know or disregard how they should behave.
I’m not surprised by the recent reports into policing and other services, saddened but not surprised. I’m not naïve enough to think that society was really any better at some distant time in the past, in fact there were some periods where it was definitely worse and policing of any sort has always been problematic. My fear is we are heading back to the worst times in humanity and these reports far from highlighting just an organisational problem are shining a floodlight on a societal one. But it suits everyone to confine the focus to the failings of organisations and the individuals within them. Not my fault, not my responsibility it’s the others not me, quelle surprise.
The Color Purple, The Musical: What in the Misogynoir?!
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
Do You Remember the Time? At the Lynching Memorial
On September 11, 2021 I visited the Lynching Memorial, which is near the newly expanded Equal Justice Initiative Museum, From Enslavement to Mass Incarceration.
At the heart of the “National Memorial for Peace and Justice” (Lynching memorial) is a vast collection of giant, rusty metal, rectangular pillars, hanging tightly together like a neatly planned and well-looked-after orchard.
Etched in each are the names of (known) lynching victims by date.
We can see that, at times, entire families were lynched.
The pillars are hung so cleverly that one has to experience this artistic installation in person.
Nonetheless, the subject of white terrorism in the deep south is heavy,
Which is perhaps why Guests are invited to visit the nearby museum before the Memorial.
One needs time to prepare.
Naturally, sandwiched between enslavement and mass incarceration exhibits,
The museum also has an array of material on lynching.
This included a giant mural of jars surrounded by videos, infographic murals, maps and
An interactive register of every known lynching by county, date, state, and name.
I’m still stuck on the mural of snapshots of actual lynching advertisements, and
Pictures of actual news reports of victims’ final words.
These were the actual final words of folks etched forever in these hanging, rusty pillars.
Ostensibly, written by war correspondents.
Standing in awe of the museum’s wall of jars, I chatted with a tall Black man about my age.
He’d traveled here from a neighboring state with his teen son to, as he said,
“See how this stuff we go through today ain’t new.”
I recounted to him what a young man at the EJI memorial had showed me a few years ago:
A man’s name who’d been lynched early last century for selling loose cigarettes –
Just like Eric Garner!
Yet, even since then,
We’ve gotten the police murders of George Floyd and Breonna Taylor,
Or even Michael Brown, Walter Scott and Philando Castile.
Amadou Diallo was shot 19 times in 1999, standing on his own stoop
And while Jayland Walker got 46 bullets this year while fleeing on foot.
Tamir Rice was a little boy.
A little boy playing in the park. But his mere presence terrified a white man.
So he called 9-1-1 and the police showed up and shot Tamir within seconds!
We can watch the tape.
All of these martyrs are included in the museum’s growing timelines (sigh).
After their own legal work in representing the wrongfully imprisoned for damn near life,
EJI began collecting jars of dirt near every known lynching, and
If invited by local officials, EJI would offer a memorial plaque and ceremony commemorating that community’s recognition of historic injustice(s).
An open field sits next to the suspended pillars, filled with a duplicate of each pillar.
These duplicates sit, having yet to be collected and properly dedicated by each county.
These communities are denied healing, and we know wounds fester.
The field of lame duplicates effectively memorializes the festering denial in our body politic.
There are far too many unrecorded victims and versions of white mob violence, and intimidation, not just barbarous torture and heinous murder.
Outside of these few sorts of memorials,
We do have to wonder how else this rich history has stayed in our collective memories.
Too many Black families were too traumatized to talk and didn’t want to pass it to their kids.
We know many fled after any minor incursion,
Just as someone had advised Emmet Till to do,
And there’s no accounting for them and the victims’ families who fled and
Even hid or discarded any news clippings they’d seen of the events.
Yet, whites must have kept record.
Did whites collect the newspaper ads or reports of a lynching they’d attended or hoped to?
They made and sold lynching postcards, curios, and other odd lynching souvenirs.
Where are the avid collectors?
Plus, apparently, terrorists don’t just kidnap and hang someone to death,
So what did they do with all the ears, noses, fingers, and genitals they cut off?
Or eyes they plucked out?
Or scalps they shaved?
Many victims pass out from the immense pain of being tortured and burned alive, but still
I doubt all those pieces and parts got thrown in the fire, because, of course,
Plenty of pictures show entire white families there to celebrate the lynching like (a) V-day.
And in many ways, it was, and
The whites looked as if they would’ve wanted to remember.
Looks can be deceiving, but the ways whites were also bullied into compliance is real.
Still, my mother swears that some white families’ heirlooms must include
Prized, preserved pieces of Nat Turner.
Ooh, wouldn’t that be a treasure that would be.
Plus, given the spate and state of anti-Black policing and violence,
Our democracy, nay, our Constitution itself, is as rusty as these pillars.
The pillars resting in the field remind us not only the work left to do, but also, it’s urgency.
How many more pillars may we still need?
How many amendments
did will freedom take?
It goes to show how great thou art now!
A Punky Reggae Party
In June 1977, 45 years ago, I saw the Queen, albeit fleetingly, being driven past Piccadilly Circus en-route to Buckingham Palace for the culmination of the Silver Jubilee celebrations. I wasn’t there for the party. I was making my way to Camden Town and the rehearsal studios used by the Punk-inspired band Subway Sect, who my friend from school had joined as their drummer. The studio, part of a crumbling yard of railway buildings, some still bombed out from the War, would soon begin its transformation into trendy Camden Market.
Punk shared an interesting crossover with Black music culture, in particular reggae. As teenagers, most of us growing up in the 70s were familiar with Blues and Tamala Motown, but reggae was new to me, especially the Heavy Dub style popular in the Jamaican community. The man largely responsible for my education was Don Letts, the House DJ at The Roxy in Neil St, Covent Garden. Originally a fruit and veg warehouse, between 1976 and 1978 the Club shot to fame/notoriety as the top Punk venue in London. The problem for the promoters was that in 1977 the scene was so embryonic there were as yet no home-grown punk records to play. So, in the gaps between live bands, Don played what he wanted, namely reggae, which went down well with the mostly white crowd. To quote from his website: “he came to notoriety in the late 70s as the DJ that single handedly turned a whole generation of punks onto reggae”. In fact, the combination became so popular that Bob Marley’s Punky-Reggae Party released in 1977 as a 12 inch (Jamaica only) and as the B-side to Jamming, reached number 9 in the UK singles charts. Don’s choice of tracks from his Roxy days are captured in the critically acclaimed compilation Dread Meets The Punk Rockers Uptown (Heavenly Records).
Scroll forward a couple of years and I’m working as assistant van driver to my boss Morris, a Jamaican-born reggae fan. He was involved in the local music scene and sometimes I would help him set up a Sound System for private house parties, in and around Brixton. We would use the work van, a sackable offence given the prestige brand name of our West End employer, but worth the risk. Think Small Axe: Lovers Rock, but with more sound gear and ganja-smoking Rastas, and you’ve got the picture. While sometimes out of my comfort zone, it was uplifting to witness first-hand a community at one with its own identity while lobbying for change in wider society that remained indifferent at best.
It was also a time in London when the Metropolitan Police stop and search “SUS” law reigned high. I witnessed several occasions where Morris was subject to blatant racial harassment. Once I was on a delivery to an exclusive residential part of Town. On these visits we played a game, coined by Morris, as Dropsy or Tipsy – would we be offered a Dropsy (cup of tea/coffee) or a cash tip for the delivery, typically a sofa or expensive Persian rug? The winner was the one who made the right call in advance. We parked in the street and as we got out several police officers on foot suddenly approached Morris and demanded to know what he was doing, despite the rather obvious fact he was at work. When they saw me, the situation cooled off, but the aggressive tone of the questioning was clear and present intimidation of a black man, whose only ‘offence’, while going about his legitimate business, was to be in a white, rich area. I wish I could say this was a one-off. Unfortunately, we all know that’s not the case. Another time relates to the shocking mistreatment he got crossing a picket line. The work van was kept in a British Road Services Depot at Elephant and Castle. We both turned up on the day a lightning strike had been called by the Transport and General Workers Union. I understand emotions can run high in these situations, but there was no excuse for the barrage of racial abuse he took from sections of the crowd. He brushed it off with characteristic good humour, but the episode tainted my view of trade unions ever since.
As this is a criminology blog I should probably throw in an example of real-life criminality. It happened mid-morning one Friday following a drop-off in busy Bishopsgate. Returning to the van I noticed a castor wheel on the pavement. “Looks like it’s come from one of our sofas” I remarked. It had. When we pulled back the shutter, the van was empty. Everything we’d loaded up an hour ago was gone. Sofas, walnut dressers, rugs, porcelain table lamps, all cleaned out. The castor was all that was left! Robbed in broad daylight, next to a bus stop. In panicked disbelief we asked those in the queue if they’d seen anything but we were wasting our breath. It was left to Mr Farooqui, the long-suffering Despatch floor manager, to take the heat from angry customers as he rang round to tell them the good news. Needless to say, management weren’t impressed and dished out first and final written warnings. Soon after we went our separate ways.
Meanwhile, the overlap between black and white youth culture in London was being fostered in creative ways. Rock Against Racism (RAR), founded in 1976 along with the Anti-Nazi League (ANL), a year later, were both set up to combat a surge in far-right extremism. Music, especially the cross-over between various genres including punk and reggae, was an important enabler in that it found common ground from which more overtly political discussions could take place. I was one of the many thousands who, in April 1978, joined The Clash, Steele Pulse and others at Victoria Park, Hackney, in what was RAR’s finest hour. Also in the audience that day was Gerry Gable, the veteran anti-fascist campaigner and founder of Searchlight magazine, whose archive is hosted here at the University. I spoke to Gerry about this and he has very fond memories of the day and his role in helping it come about through his associations with both RAR and the ANL.
So, in the year of the Platinum Jubilee, has popular music culture continued as a positive force for race integration since the punky-reggae days of 77? It’s probably a PhD project or two (dozen), but Bob Marley sums it up for me nicely:
What did you say?
Rejected by society
Treated with impunity
Protected by my dignity
I search for reality
If by the search for reality we mean certainty, then how certain are we things have changed for the better? My experience is that, on average, they have, and that music has played its precious role in bring people closer together. The key here is “on average”. If by reality we mean a search for legitimacy, there is evidence to the contrary. Differences of course remain, and there is no room for complacency. The one pledge we must agree on though is to never stop searching – for melody, for rhythm, for harmony.
Refugee Week 2022
Next week (20th-26th June) is Refugee Week, coming at a moment in time days after the first deportation flight of asylum seekers to Rwanda was scheduled. Luckily the government’s best efforts were thwarted by the ECHR this time. Each year Refugee Week has a theme and this year’s focus is healing. People fleeing conflict and persecution have a lot to heal from and I am pessimistic about whether healing is possible in the UK. My own research examines the trajectories of victimisation among people seeking safety. I trace experiences of victimisation starting from the context from which people fled, during their journeys and after arrival in the UK. It is particularly disturbing as someone who researches people seeking safety that once they arrive in a place they perceived to be safe, they continue to be victimised in a number of ways. People seeking safety in the UK encounter the structurally violent asylum ‘system’ and discriminatory attitudes of swathes of the public, sections of the media and last not certainly not least, political discourse. Even after being granted leave to remain, refugees face a struggle to find accommodation, employment, convert education certificates and discrimination and hate crime is ongoing.
Over the years I have supported refugees who suffered breakdowns after having their asylum claim awarded. They are faced with the understanding of the trauma they suffered pre-migration, compounded by the asylum system and the move-on period following claims being awarded. Yet this is no time to heal. In the wake of the Nationality and Borders Act 2022, no migrant nor British citizen with a claim to citizenship elsewhere is safe. There is no safety here and therefore there can be no healing, not meaningful healing anyway.
Despite my negative outlook on the state of immigration policy in the UK, there are some positive signs of healing for some people seeking safety. These experiences are often facilitated by peer support, grassroots organisations and charities. I recall one woman who had fled Iraq coming into a charity I was undertaking research in. When we met for the first time, she was tiny and looked much older than she was. She would pull her veil tightly around her head, almost like it was protecting her. This woman did not speak a word of English and the only volunteer Kurdish Sorani interpreter did not attend the group every week. The womens’ group I attended conducted activities which overcame language barriers and at the time we were working with tiles and mosaics on a project which lasted a few weeks. During this time I could visibly see this woman start to heal. She started to stand up straight, making her appear taller. Her face softened and she appeared younger. She started smiling and her veil loosened. She was relaxing among us. In my experience, I’ve noticed that the healing comes in ebbs and flows. Relief of being ‘safe’, compounding stress of asylum, making friends, waiting, waiting, waiting for a negative decision, being supported by NGOs, letters threatening deportation, having a ‘safe’ place to live, having a firework posted through your letterbox.
For me this week is about celebrating those fleeting moments of healing, since I spend so much of my time discussing and researching the negative. The University of Northampton is co-hosting a number of events to mark Refugee Week 2022, starting with a service being held to remember all those seeking sanctuary both past and present. The event will be held on Monday 20th June at 1pm at Memorial Garden, Nunn Mills Road, Northampton, NN1 5PA (parking available at Midsummer Meadow car park).
Monday will end with an ‘in conversation with’ event with University of Northampton doctoral candidate Amir Darwish. Amir is Kurdish-Syrian and arrived in the UK as an asylum seeker in 2003. He is now an internationally published poet and writer. This event will be run in conjunction woth Northampton Town of Sanctuary and will be hosted at Delapre Abbey at 7pm. You can find further details and book tickets here.
On Wednesday the University of Northampton and Northampton Town of Sanctuary will be hosting an online seminar at 3pm with Professor Peter Hopkins, whose recent research examined the exacerbation of existing inequlaities for asylum seekers during the pandemic. I’ve just written a book chapter on this for a forthcoming volume reflecting on the unequal pandemic and it was staggering – but unsurprising – to see the impact on asylum seekers. This seminar can be accessed online here.
The week’s events will conclude with a Refugee Support Showcase which does what it says on the tin. This event will be an opportunity for organisations working with refugees in the local area to show the community the valuable work they do. This event will take place on Thursday 23rd June 4-6pm at the Guildhall, St. Giles Square, Northampton.
This year the University has worked with a number of organisations to produce a well-rounded series of events. Starting with reflection and thought of those who have sought, and continue to seek sanctuary and celebrating the achievements of someone who has lived experiences of the asylum system. Wednesday contibutes to the understanding of inequalities for people seeking safety and we end Friday on a positive note with the work of those who facilitate healing.