Thoughts from the criminology team

Home » Structural Violence

Category Archives: Structural Violence

The Problem is Bigger than Tate

While there are many things that have got under my skin lately, it seems that every time I go on social media, turn on the television, or happen to have a conversation, the name Andrew Tate is uttered. His mere existence is like a virus, attacking not only my brain and soul but it seems a large population of the world. His popularity stems from his platform followed by thousands of men and young boys (it’s known as the ‘Real World’).

His platform ‘educating’ men on working smarter not harder has created a ‘brotherhood’ within the manosphere that celebrates success and wealth. Tate is framed as a man’s man, physically strong, rich and he even has a cigar attached to his hand (I wonder if he puts it down when he goes to the bathroom). It seems many of his aspiring followers want to mimic his fast rich lifestyle.

This seems to be welcomed, especially now when the price of bread has significantly risen (many of his followers would sell the closest women in their life for a whiff of his cigar, and of course to be deemed to have an Insta-desirable lifestyle). While this ideology has gained hype and mass traction in recent years (under the Tate trademark) it seems that his narcissistic, problematic image and what he stands for has only just been deemed a problem … due to his recent indiscretions. 

There is now outrage in UK schools over the number of young boys following Tate and his misogynistic ideology. But I cannot help but ask … why was this not an issue before? I am aware of rape culture, victim blaming, sexual harassment, and systems of silence at every level of the UK education establishment. The launch of ‘Everyone’s Invited’ shone a light on the problematic discourse, so why are we only seeing that there is a problem now?

There are many reasons why there’s a delayed outrage, and I would be here all day highlighting all the problems. So, I will give you a couple of reasons. The first is the Guyland ideology: many Tate supporters who fall into the cultural assumption of masculinity expect to be rewarded for their support, in ways of power and material possession (this includes power over women and others deemed less powerful). If one does not receive what they believe they are owed or expected, they will take what they believe they are owed (by all means necessary).

There is also a system of silence within their peer group which is reinforced by parents, female friends, the media, and those that are in administrative power. The protection of toxic behavior has been continuously put under the umbrella of ‘boys will be boys’ or the idea that the toxic behavior is outside the character of the individual or not reflective of who they truly are.

I will go one step further and apply this to the internalised patriarchy/misogyny of the many women that came out and supported Jeremy Clarkson when he callously attacked Meghan. While many of the women have their individual blight with Meghan for reasons I do not really care to explore, by supporting the rhetoric spewed by Clarkson, they are upholding systemic violence against women.

The third point is that capitalism overthrows humanity and empathy in many ways. All you need to do is to look at a history books, it seems that lessons will never be learned. The temptation of material possessions has overthrown morality. The media gives Tate a platform and in turn Tate utters damaging ideology. This brings more traffic to the platforms that he is on and thus more money and influence….after all he is one of the most googled people in the world.

The awareness of the problematic behaviour and the total disregard for protecting women and girls from monsters like Tate shows, how the outrage displayed by the media about harms against victims such as Sabina Nessa and Sarah Everard is performative. The news coverage and the discussion that centred on the victimisation of these two women have easily been forgotten. If the outrage is real then why are we still at a point where we are accepting excuses and championing misogyny under the guise of freedom of speech, without challenging the harm it really does.

It seems that society is at a point of total desensitization where there is more interest in Tate losing an argument with Greta Thunberg, posing with a cigar on an exotic beach for likes, than really acknowledging the bigger picture. Andrew Tate has been accused of rape and human trafficking. The worst thing is, this is not the first time that he has been accused of horrific crimes – and with the audio evidence that was released to the press recently, he should be in prison. But with the issues that permeate the Met police there is no surprise as to why he has been given the green light to continue his violent behaviour. But this is not just a UK issue.  There has been a large amount of support overseas with young men and boys marching in masses in support of Tate, so I cannot be surprised that he was able to and continues to build a platform that celebrates and promotes horrendous treatment of women.

For many the progression of a fair and equal society is an aspiration, but for the supporters of the Tate’s in the world they tend to lean on the notion that they are entitled to more, and to acquire what they think they are owed, and will behave to the extreme of toxicity. While it is easy to fixate on a pantomimic villain like Tate to discuss his problematic use of language and how this translates in schools, the bigger picture of institutionalised patriarchy is always being missed.

It is important to unpick the toxic nature of our society, to understand the contributing factors that have allowed Andrew Tate and others like him to be such influential figures.

The Color Purple, The Musical: What in the Misogynoir?!

The term misogynoir was first coined by Moya Bailey (2010) to describe the specific discrimination that Black women and girls experience through the combination of both anti-Blackness and misogyny, thus the term 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

The Origins of Criminology

The knife was raised for the first time, and it went down plunging into naked flesh; a spring of blood flowed cascading and covering all in red.  The motion was repeated several times.  Abel fell to his death and according to scriptures this was the first crime.  Cain who wielded the knife roamed the earth until his demise.  The fratricide that was committed was the first recorded murder and the very first crime.  A colleague tried to be smart and pointed that the first crime is Eve’s violation in the garden with the apple, but I did point out that according to Helena Kennedy QC, she was framed!  In the least Eve’s was a case of entrapment which is criminological but leaves the first crime vacant.  So, murder it is!  A crime of violence that separates aggressor and victim. 

The response to this crime is retribution.  In the scriptures a condemnation to insanity.  In later years this crime formed the basis of the Mosaic Law inclusive of the 10 commandments and death as the indicative punishment.  In the Ancien Régime the punishment became a spectacle on deterrence whilst the crowds denounced the evildoer as they were wheeled into the square! In modern times this criminality incorporated rehabilitation to offer the opportunity for the criminal to repent and make amends. 

‘The first man who having enclosed a piece of ground bethought himself of saying “This is mine”’!  This is an alternative interpretation of the first crime, according to Jean-Jacques Rousseau (1762/1993: 192).  In The Social Contract he identifies the first crime very differently from the scriptures.  In this case the crime is not directed at a person but the wider community.  The usurping of land or good in any manner that violates the rights of others is crime because it places individualism ahead of the common good.  As in this crime there is no violence against the person, the way in which we respond to it is different.  Imperialism as a historical mechanism accepts the infringement of property, rights, and human rights as a necessity in human interactions.  The law here is primarily protected for the one who claims the land rather than those who have been left homeless.  In this case, crime is associated with all those mechanisms that protect privilege and property.  Soon after titles of land emerged and thereafter titles of people owning other people follow.  The land becomes an empire, and the empire allows a man and his regime to set the laws to protect him and his interests.  Traditionally empires change from territories of land to centres of government and control of people.  The land of the English, the land of the Finnish, the land of the Zulu.  In this instance the King become a figure and custom law subverts natural law to accommodate authority and power.

These two “original” crimes represent the diversity in which criminology can be seen; one end is the interpersonal psychological rendition of criminality based on the brutality of violence whilst on the other end is an exploration of wider structural issues and the institutional violence they incorporate.  The spectrum of variety criminology offers is a curse and a blessing in one.  From one end, it makes the discipline difficult to specify, but it also allows colleagues to explore so many different issues.  Regardless of the type of crime category for any person attracted to the discipline there is a criminology for all. 

Between these two polar apart approaches, it is interesting to note their interaction.  In that it can be seen the interaction of the social and historical priorities of crime given at any given time.  This historical positivism of identifying milestones of progression is an important source of understanding the evolution of social progression and movements.  Let’s face it, crime is a social construct and as such regardless of the perspective is indicative of the way society prioritises perceptions of deviance.  

Arguably the crimes described previously denote different schools of thought and of course the many different perspectives of criminology.  A perfectly contorted discipline that not only adapts following the evolution of crime but also theorises criminality in our society.  When you are asked to describe criminology, numerous associations come to mind, “the study of crime and criminality” the “discipline of criminal behaviours” “the social construction of crime” “the historical and philosophical understanding of crime in society across time” “the representation of criminals, victims, and agents in society”.  These are just a few ways to explain criminology.  In this entry we explore the origins of two perspectives; theology and sociology; image that the discipline is influenced by many other perspectives; so consider their “origin” story. How different the first crime can be from say a psychological or a biological perspective. The origins of criminology is an ongoing tale of fascinating specialisms.  

Rousseau, Jean-Jacques, (1762/1993), The Social Contract and Discourses, tr. from the French by G.D.H. Cole, (London: Everyman’s Library)

‘Now is the winter of our discontent’

As I write this blog, we await the detail of what on earth government are going to do to prevent millions of our nations’ populations plummeting headlong into poverty.  It is our nations in the plural because as it stands, we are a union of nations under the banner Great Britain; except that it doesn’t feel that great, does it?

As autumn begins and we move into winter we are seeing momentum gaining for mass strikes across various sectors somewhat reminiscent of the ‘winter of discontent’ in 1979.  A few of us are old enough to remember the seventies with electricity blackouts and constant strikes and soaring inflation.  Enter Margaret Thatcher with a landslide election victory in 1979. People had had enough of strikes, believing the rhetoric that the unions had brought the downfall of the nation. Few could have foreseen the misery and social discord the Thatcher government and subsequent governments were about to sow.  Those governments sought to ensure that the unions would never be strong again, to ensure that working class people couldn’t rise up against their business masters and demand better working conditions and better pay.  And so, in some bizarre ironic twist, we have a new prime minister who styles herself on Thatcher just as we enter a period of huge inflationary pressures on families many of whom are already on the breadline.  It is no surprise that workers are voting to go on strike across a significant number of sectors, the wages just don’t pay the bills. Perhaps most surprising is the strike by barristers, those we wouldn’t consider working class. Jock Young was right, the middle classes are staring into the abyss.  Not only that but their fears are now rapidly being realised.

I listened to a young Conservative member on the radio the other day extolling the virtues of Liz Truss and agreeing with the view that tax cuts were the way forward. Trickle down economics will make us all better off.  It seems though that no matter what government is in power, I have yet to see very much trickle down to the poorer sectors of society or for that matter, anyone.  The blame for the current economic state and the forthcoming recession it seems rests fairly on the shoulders of Vladimir Putin.  Now I have no doubt that the invasion of Ukraine has unbalanced the world economic order but let’s be honest here, social care, the NHS, housing, and the criminal justice system, to name but a few, were all failing and in crisis long before any Russian set foot in the Ukraine.

That young Conservative also spoke about liberal values, the need for government to step back and to interfere in peoples lives as little as possible. Well previous governments have certainly done that. They’ve created or at least allowed for the creation of the mess we are now in by supporting, through act or omission, unscrupulous businesses to take advantage of people through scurrilous working practices and inadequate wages whilst lining the pockets of the wealthy. Except of course government have been quick to threaten action when people attempt to stand up for their rights through strike action.  Maybe being a libertarian allows you to pick and choose which values you favour at any given time, a bit of this and a bit of that.  It’s a bit like this country’s adherence to ideals around human rights.

I wondered as I started writing this whether we were heading back to a winter of discontent.  I fear that in reality that this is not a seasonal thing, it is a constant.  Our nations have been bedevilled with inadequate government that have lacked the wherewithal to see what has been developing before their very eyes.  Either that or they were too busy feathering their own nests in the cesspit they call politics.  Either way government has failed us, and I don’t think the new incumbent, judging on her past record, is likely to do anything different. I suppose there is a light at the end of the tunnel, we have pork markets somewhere or other.  

Food Banks: The Deserving vs Undeserving  

Image source: https://smk.org.uk/awards_nominations/movementtoendchildfoodpoverty/

A term that has been grating on me recently is ‘hard work’. I have had a recent bout of watching lots of television. From my observations it appears that more commentators within the media have grasped the idea that the continued need for Food Banks in the United Kingdom is awful. Yet commentators still continue with the same old deserving/undeserving tripe which has existed for centuries (which CRI2002 students are well-aware of). That being, that we should be concerned about food banks… ‘because now even hard-working people are using them!’, aka those within formal (preferably full-time) employment.  

What is it that is not being said by such a statement? That being unable to survive off benefits is perfectly fine for people who are unemployed as they do not deserve to eat? If that is the case perhaps a reconsideration of the life experiences of many unemployed people is needed.  

To provide some examples, a person might claim unemployment benefits because they are feeling mentally unwell or harmful to themselves but a variety of concerns have prevented them from seeking additional support and claiming sickness benefits, in this situation working hard on survival might be prioritised over formal employment. Another person might sacrifice their work life to work hard to unofficially care for relatives who have slipped through cracks and are unknown to social services, whilst not reaching out for support due to fear/a lack of trust social services – they have good reasons to be concerned. Some people might have dropped out of formal employment due to experiencing a traumatic life event(/s) which means that they now need to work hard on their own well-being. Or, shock-horror, people may be claiming unemployment benefits because they are working hard post-pandemic to find a job which pays enough for them to survive.  

Image source: https://www.eurekastreet.com.au/article/giving-up-the–deserving–and–undeserving–poor-dichotomy

Let’s not forget that many of those who access Food Banks are on sickness benefits because they cannot work due to experiencing a physical and/or mental health disability. The underserving/deserving divide appears to be further blurred these days as those who claim sickness benefits are frequently accused of being benefits cheats and therefore undeserving of benefits and Food Bank usage. Even so, the acknowledgement of disability and Food Bank usage within the media is rare.  

Is it really ok to perceive that the quality of a person’s life and deserved access to necessities should depend on their formal employment status?  

There is twisted logic in the recent conservative government discourse about hard work. There is the claim that if we all work hard we will reap the rewards, yet in the same breath ‘deserving hard workers’ are living from payslip to payslip due to the cost of living crisis, poor quality pay and employment. Hence the need to use Food Banks.  

The conservatives hard working mantra that all people can easily gain employment is certainly a prejudiced assumption. With oppressive, profit seeking, exploitative and poor quality employment there is little room allowed for humans to deal with their personal, family life pains and struggles which makes job retention very difficult. Perhaps the media commentators need a re-phrase: It is awful that any person needs to use a Food Bank!  

‘By order of the Peaky Blinders’: GRT History Matters

Image source: https://www.smithsonianmag.com/history/who-were-real-peaky-blinders-180973328/ .

Once Gypsy Roma and Traveller (GRT) history month commences Gypsy and Traveller histories are largely ignored. This is on par with the the erasure of GRT history and contemporary culture within mainstream Britain. Given this, I was surprised that the very popular Peaky Blinders starred Birmingham based main characters and their families who appear to be Brummies, of Romany, Gypsy and Irish Traveller heritage. 

In many ways representation within Peaky Blinders is problematic, it is typical that once GRT people appear as main characters their lifestyles are associated with gangs, sex and violence. But there are a lot of positives, the episodes are filled with fabulous costumes, interesting characters, plots, settings and music. There is certainly a lot of pride that comes with the representation of Birmingham based lives of mixed heritage Gypsy and Traveller families on screen. 

Peaky Blinders is set in a time era which is just after WWI and appears to end in the 1930s. Whilst the series is fictional, there are many parallels that can be drawn between the lives of the fictional main character Tommy Shelby and his family and the real-life lived histories of Gypsy and Traveller people.

Peaky Blinders does well to de-mythisise the assumption that Gypsy and Traveller people do not mix with gorgers and do not participate within mainstream society. To illustrate, Tommy and his brother’s fought in WWI and experienced the damaging aftereffects of war participation. In reality, despite previously being subjected to British colonial practices and being treated with distain by the State many British Gypsy and Traveller people would have had no choice but to fight in this war due to conscription. Many would have lost their lives because of this.   

Note that Tommy’s family mostly lived within housing and were working within mainstream industrial society. In reality, in industrial cities like Birmimgham many nomadic Gypsy and Traveller lifestyles would have been under threat due to land purchases made by gorgers for the purpose of building factories and housing (Green, 2009). Upon purchase of this land nomadic groups would be evicted from it, this would have left many homeless, with the increased the pressure to assimilate. This would result in work life changes, hence, Gypsy and Traveller people worked alongside gorgers in factories, where the pay and conditions would have been poor (Green, 2009).    

Just like prejudice in reality, even when living within housing Tommy and his family experience prejudice from within and outside of their own community. Tommy is referred to as a ‘dirty didicoi’ seemingly due to the perception of his mixed heritage and not being of ‘full-blooded’ Gypsy stock. In response to an anti-gypsy slur Tommy mocks stereotypes by stating that as well as his day job he ‘also sells pegs and tells fortunes’.

Towards the end of Peaky Blinders the promotion of fascism by elite figures is central to the storyline. Just as in reality, there was the development of the British Union of Fascists political party. Prejudice and fascist ideas contributed to categorising Gypsys as an inferior race. Whilst Peaky Blinders ends before WWII it is harrowing to know that these ideas influenced the extermination of Roma and Gypsies during the Nazi regime. Many British Gypsy and Traveller soldiers lives would have also been lost in fighting the Nazi’s in WWII due to this. 

It is unfortunate that the women have less screen time in Peaky Blinders, but their personalities did shine. Ada’s character and response to prejudice is ace, whether this is responding to street hecklers, an elite eugenicist women’s ethnic cleansing ideas, or her son’s prejudice towards his sister. When her son refers to his sister as a ‘thing’ and states that she would ‘get them killed’ as she was a Black-mixed race child she responds by stating, ‘where will they send you Karl?’ whilst making him aware that he could also be subjected to persecution due to having a Jewish father and a Gypsy mother.  

 

This year marks the end of Peaky Blinder’s episodes, the last episode is great. Tommy returns to his roots – choosing to end his days with his horse, wagon and photographs of his family. But he then wins against all the odds! Unfortunately, whilst Peaky Blinders has been celebrated there is less celebration of Gypsy and Traveller ethnicities, these were completely ignored within the documentary The Real Peaky Blinders

Through whitewashing Gypsy and Traveller peoples histories are frequently denied. To adapt David Olusoga’s words, ‘[Gypsy and Traveller] history is British history’. An awareness of Roma Gypsy and Traveller history should not only reside with Gypsies and Travellers alone, or exist at the margins, as these are connected to all of us. As Taylor and Hinks (2021) indicate, if there is increased awareness that past and present themes of percecution this might enable increased support for Gypsy, Roma and Traveller rights – this is vital.  

References:

Olusoga, D. (2016) Black and British: A forgotten History, BBC [online].

Taylor, B. and Hinks, J., (2021). What field? Where? Bringing Gypsy, Roma and Traveller History into View. Cultural and social history, 18(5), pp.629–650.

No April Fools

The first of April has consisted of a steep 54% rise in what energy company’s can charge customers for using energy, with further rises set to occur in October. This coincides with rises to other bills such as council tax, national insurance and water within a climate of inflation. Previous to this many were struggling to make ends meet…what are these people supposed to do now?

Russia’s atrocities and Covid-19 have been blamed for the steep price increases and inflation. I suspect that employers will be using this as a reason to not increase the persistent low rises in wages that workers are receiving, all whilst their bosses are becoming richer and richer. Of course, both Russia and Covid will have a significant impact on the economy, however, it does not take a genius to be aware that people have been struggling to survive well before this, hence terms like, food poverty, period poverty and fuel poverty predate these issues. Also, so do the persistent low rises in wages for workers.  

Apparently, MPs are due a £2,200 pay rise which whilst it seems low (2.7%) compared to inflation, a few MPs themselves (such as Zarah Sultana) have stated that they do not need this pay rise as they already receive a high paying wage.

Oh, and let us not forget that the increasing energy prices will ensure that privatised fuel companies such as Shell and BP continue to profit, with a predicted profit of £40 BILLION for this year.

Meanwhile benefits for those who are not formally employed and spend a higher proportion of money on household bills and rent are set to increase by 3.1% – a rise which will not cover these price increases.

How is it that employers and the State cannot afford to pay people more – but can ensure high wages for the already rich, privileged and powerful?

It is not surprising that the government’s measures to deal with the problem, such as one-off payments and energy loans, have been heavily criticised as inadequate and significantly failing to support the lowest income homes. The government employs a group of elites and many are completely out of touch with reality. Apparently the man presiding over these measures, millionaire Rishi Sunak and his billionaire wife, often donate to charitable causes, such as donating £100,000 to Rishi’s former elitist private school. Because a private school in need is a pressing cause…yeah right!

Image from Hollie McNish Cherry Pie 2014

The opposition parties have rightly criticised the Conservatives take on this but listening to Keir Starmer’s bumbling take on what Labour would do to solve these issues is also worrying. During an interview he stated that windfall tax could be a solution ‘for right now’ with no feasible long term plan. My usual vote for Labour in May will be damage control against more Tory time in power.

A long term TAX on THE RICH to use this money to support those that need it is not even that simple, given that the government accepts donations from the super-rich it is unlikely that decisions would be made to genuinely reduce inequality between the rich and poor. The world will never be a better place if those in power continue to focus on their own interests and huge profits in place of looking after people. The rise in energy prices on the first of this month was no April Fools’ joke…I really wish that it was.

Who’s to blame, Jimmy Carr or the system that feeds him?

Photo by freestocks on Unsplash

NB: The term ‘white’ in this blog is being used to describe those racialised as white within the dominant culture of the UK, and those that benefit the most from white privilege. Though Gypsy Roma Traveller [GRT] communities may in cases be racialised as white, their culture sits juxtaposed to the dominant thus ‘not white enough’, so may not always be seen as white by white British people (see Bhopal, 2018: 29-47).

“Extending the gaze to whiteness enables us to observe the many shades of difference that lie within this category – that some people are ‘whiter’ than others, some are not white enough and many are inescapably cast beneath the shadow of whiteness” (Nayak, 2007).


Following Haley’s excellent blog on the Jimmy Carr debacle, I would like to bring another perspective. For those of us racialised outside of whiteness, I know I do not need to describe the litany of examples where those racialised as white portray racist hatred as humour on and off social media. Haley continues in writing, “Jimmy Carr’s [His] Dark Material stand-up comedy is the latest in a long line of everyday racism that has been subjected to a trial by Twitter.” When we challenge these “jokes”, at least in my experience I was told iterations of “stop being so sensitive”; “it’s just a joke”; “lighten up” and so on …

In her long-essay What White People Can Do Next: From Allyship to Coalition, Irish author-academic Emma Dabiri (2021) writes:

“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)
Photo by Dorin Seremet on Unsplash

Whilst in my time writing for Thoughts I have engaged with many issues, one I have not yet written on is the ‘canteen culture’ of bantering I grew up in amid the English private school system. So, I am quite familiar with the culture of private schools having gone to them myself (aged 5-16) where racism (specifically anti-Blackness) against me was passed off as “a ‘joke’ in which the gag is … just racism disguised as humour”(Dabiri, 2021: 98). As a boy, Carr went to sixth form at Royal Grammar School, a selective boys’ school in High Wycombe in the image of a posh state school famous for projecting its boys into Oxbridge. Thus Jimmy Carr passed into Gonville and Caius College, Cambridge.

If there was to be a culture of ‘banter’ where Carr learned such behaviours, these selective schools and universities are a good place to start. For people not racialised as white, these places can be a new-kind of hell very much in the image of colonial-style racism. At school, in my experience there existed a toxic human concotion of racism (as banter) which infected not only the students but also the staff. It’s this sort of thing that may sit under the thinking behind Carr’s “joke”, and why he thought it was okay to make it in the first place. However, as much as I would like make this about him, this isn’t really about him at all.

Carr has had a very successful career of punching down on the marginalised and historically excluded, profiting from their suffering. For me, this is more about how large institutions like Netflix give platforms to people they know are bad news and let them espouse hatred anyway. Professor Sunny Singh tweeted how it is a “reminder that Jimmy Carr’s joke went through a whole production process in order to appear on @netflix.” When we consider how any piece of media goes through a rigorous editing / production process, the fact nobody questioned a Holocaust “joke” about Roma and Sinti people is a stark reminder of how white supremacy functions in media.

Here a white man makes a “joke” to an audience of mostly white people backed by a production team (largely white, let’s be honest) at a white institution Netflix … with ‘institutional whiteness’ hardening (Ahmed 2006; 2007; 2012; 2014; Hunter, 2015; 2019; White Spaces). Simply affirming what the late Charles Mills (2004) wrote where “… white supremacy implies the existence of a system that not only privileges whites but is run by whites, for white benefit” (p31).

The uproar to Jimmy Carr’s “joke” follows #ClanchyGate where author-schoolteacher Kate Clanchy was criticised for perpetuating racism and ableism in her 2019 memoir Some Kids I Taught and What They Taught Me. She used descriptions like “chocolate-coloured skin” and “almond-shaped eyes.”Moreover, she referred to autistic children as “unselfconsciously odd” and “probably more than an hour a week” around them “would irriate me, too, but for that hour I like them very much.”

Like Netflix, her publisher Picador did not spot these in the editing process. Or they did spot them, and said nothing … reiterating the ableism, racism, and white supremacy that exists in publishing where rather than hold Kate Clanchy accountable, her colleagues like Philip Pullman berated women of colour who challenged her taking to Twitter and comparing them to the Taliban. The same three women of colour who have been erased from this discourse. The issue with Picador is a reminder of how predominantly white artists (not always … like Dave Chappelle in his Netflix special The Closer) with power are then platformed with no accountability when they cause harm (intended or not). Kate Clanchy has since gone on to find another publisher for her book after she was required to rewrite!!

Jimmy Carr follows Chapelle, Clanchy as well as Joe Rogan and his racist rhetoric. Not only is Carr’s just horrific, but it also reinforces the the discrimination Gypsy, Roma, and Traveller [GRT] people face in Britain where their cultures will be erased should the government’s crime, policing and sentencing bill reach fruition. The conversation around Carr’s “joke” reminds me how general opinion is still comfortable with racism so long as it is wrapped in ‘humour’. With the ‘free speech’ champions following behind. It’s also showing me the number of people that think racism only happens to those racialised as Black or Brown.

It is not so simple. The way we define racism is worthy of further discussion and analysis when we consider the racism that happens because of cultural belongings. As Emma Dabiri writes:

“The myth of a unified white ‘race’ makes white people, from what are in truth distinct groups, better able to identify common ground with each other and to imagine kinship and solidarity with others racialized as ‘white’, while at the same time withholding the humanity of racialized others. The ability of whiteness to create fictive kinships where differences might outweigh similarities, or where one ‘white’ group thrives and prospers through the exploitation of another ‘white’ group, all united under the rubric of whiteness constructs at the same time a zone of exclusion for racialized ‘others’, where in fact less expected affinities and even cultural resonances might reside.

In truth, this is the work of whiteness, who invention was to serve that function. Saying that all “white” people are the same irrespective of say, culture, nationality, locatioin, and class literally does the work of whiteness for it. But despite the continuities of whiteness – the sense of superiority that is embedded in its existence – we cannot disregard the differences that exist. This demands a truthful reckoning with the fact that the particulars of whiteness, as well as the nature of the relationship between black and white, will show up differently in different countries and require the crafting of different responses.”

(Dabiri, 2021: 45-46)

Emma Dabiri’s What White People Can Do Next (2021) follows David Roediger’s Wages of Whiteness (1991), Noel Ignatiev’s How the Irish Became White (1995), Matthew Jacobson’s Whiteness of a Different Color (1998) and Nell Irvin Painter’s The History of White People (2010), all of which in some way show how different white groups have modifiers attached when talking about “white people.” This must be discussed interlocking with other factors including culture, place/geography, and class. Through Roediger, Ignatiev, Jacobson, Painter, Dabiri, and other scholars, we can see how whiteness splits and mutates to serve its purpose of divide and rule, and really how white supremacy may also negatively impact against those read as white and ‘not white enough’ in different ways.

Photo by Adli Wahid on Unsplash

The late archbishop Desmond Tutu believed that our quest for liberating the oppressed must also come with liberating the oppressor too. He saw how white South Africans during Apartheid had become bitter and hateful as a result of the racism that pervaded through their lives on a daily basis. Visiting Israel as well, he saw the same thing in the Israeli state’s dehumanisation of the Palestinian people. As Tutu himself states:

“Part of my own concern for what is happening there [Israel] is in fact not what is happening to the Palestinians, but is what the Israelis are doing to themselves. When you go to those checkpoints and you see these young soldiers behaving abominably badly, they are not aware when you carry out dehumanising policies, whether you like it or not those policies dehumanise the perpetrator.”

Demond Tutu

That ‘dehumanisation of the Other’ is central to any system of oppression, and we see this again in Britain with the police’s treatment of Black people going all the way back to 1919. However, we also see it in the state’s treatment of GRT people, compounded by the policing and sentencing bill. On a local level, the dehumanisation of GRT communities can be seen again when we observe the comments sections of local news. The comments of everyday people reflect the racist policymaking of politicians. In the continuous persecution of racialised minorities more generally in Britain, we must also consider what racism does to the perpetrators and what this ‘dehumanisation of the Other’ has done to the cultural majority. Even scarier, what has this dehumanisation done to the people that do not even realise they are racist?

When that ‘dehumanising’ appears on big public platforms like stand-up “comedy” shows, we have a problem – essentially giving racism the green light underpinned by violent policymaking in government. So, the discussions around Jimmy Carr not only show me that there needs to be more conversation about how whiteness impacts those read as Black or Brown, but also how whiteness impacts those read as white or not white enough (GRT, Eastern Europeans and so forth). We have work to do and lots of it.

Jimmy Carr and Acceptable Racism

Hope by Elijah Vardo: https://www.travellerstimes.org.uk/features/hope-romani-artist-elijah-vardo

Jimmy Carr’s Dark Material stand-up comedy is the latest in a long line of everyday racism that has been subjected to a trial by TwitterThe context in which the joke is told is as follows:  

A wealthy white gorger man mocks Roma and Sinti people because of who they are. His mostly white gorger audience than laughs and finds this hilarious. This man’s stand-up is so successful that it is endorsed by Netflix, of which the CEO appears to be a rich white gorger man. Both Jimmy Carr and Netflix profit from dehumanising a marginalised group of people.  

If the joke had been delivered to audiences which were predominantly Gypsy Roma and Traveller people this would not have been viewed as funny. To adapt Emma Dabiri’s (2021, p. 98) work, ‘a ‘joke’ in which the gag is that the person is [a Gypsy, Roma or Traveller] isn’t a joke, it’s just racism disguised as humour’ (2021, p. 98).  

Carr’s joke should not be surprising as he prides himself on his use of homophobic, racist and misogynistic ‘career ending’ jokes and these jokes are enjoyed by many.  

The anti-racist Twitter reactions to this joke could provide some hope that many people are becoming more willing to challenge racism. Some Tweets were aimed at increasing the awareness and calling-out racism. Many Tweets were kind, and others were asking for Jimmy to provide a genuine apology. Although, Carr’s words (plus the support of the audience and Netflix) are a symptom of a racist society, so does the focus on Carr’s interpersonal actions mean that people are being distracted from the broader structural issues of racism and white supremacy?   

After scrolling though Twitter there was a clear divide between those claiming to be ‘anti-racist’ and those claiming that ‘the freedom of speech’ is more important than combating racism. This left me thinking,  

How do we get to a point where people are willing to recognise that oppressive systems impact us all, but differently, in some way shape or form?  

And; 

How could people be encouraged to fight against unequal and damaging systems in a way that encourages social change and forgiveness rather than hate and division? 

It seems that online activism might be useful for raising awareness and giving voices to those pushed out of mainstream media. However, if focused on just ‘calling out’ individual acts of racism whilst online there is a danger of being caught up in an online culture war and not actually doing much to change structural issues in the offline world.  

Whilst the Jimmy Carr Twitter debates continue, the Police, Crime, Sentencing and Courts Bill which could further damage Gypsy Roma and Traveller lives is in the final stages of Bill passage. As well as this, inequality and misery is set to become further entrenched with the impending surge in energy bills. All of this is thanks to a government which is a mess, corrupt and devoid of any sense of morality. Even so, maybe Jimmy Carr should stick to making jokes about his own experiences of upper class tax avoidance next time.  

Note: Thank you to Emma Dabiri’s What White People Can Do Next (2021) for helping me to articulte my frustrations with online Twitter debates.

Hope’ by Elijah Vardo: https://www.travellerstimes.org.uk/features/hope-romani-artist-elijah-vardo

The Maid: A Few Thoughts

Ricardo Hubbs/Netflix

Last week featured my first weekend of rest in a long time and I was desperate to do nothing. In conversation with a friend I mentioned that I had not binge-watched anything in a long time and she suggested The Maid (streaming on Netflix) with a warning that it was brilliant but that I might find it traumatic. I consumed the entire season over the weekend, even after I messaged said friend to inform her after episode two that it was a difficult watch and I would need a break. I did not take a break and powered through. If you have ever been through, witnessed or supported someone through abuse, this will be a difficult watch but I also found it quite therapeutic because it was realistic.

The series is about domestic abuse and focuses on emotional abuse, addressing some of the stigma and contested victimhood of those who suffer non-physical abuse. Although based in the US, it addresses the lack of recognition in the legal system for abusive relationships that do not feature physical violence. The show highlighted that many in society do not recognise non-physical domestic abuse as ‘real’ or ‘enough’, and for a while the female lead (Alex) herself did not perceive herself to be victimised enough to warrant support from a refuge or seek help from the police. She later moves through her denial after getting flashbacks as a symptom of PTSD. She realised that having witnessed her father perpetrate violence towards her mother as a child, her daughter was now impacted in exactly the same way, despite this ‘lesser’ form of abuse.

Much of the series showed the struggles of single mothers leaving abusive relationships, often with nothing but the clothes on their backs. Forcibly displaced, they slowly try to rebuild their lives, applying for state benefits, social housing and childcare. Alex quickly finds a job and still finds it difficult to find a place to live because she needs state support to supplement her rent and deposit. There are few landlords who accept tenants receiving state support, both in the US and the UK. She is repeatedly facing the barriers of an unjust system, stacked against her because of the type of victimisation she suffered.

While facing structural barriers, the maid found help in the most unlikely people: women in the shelter, a social worker helping her to fight the system, a wealthy woman she worked for. Her relationships changed with some people to access support. She was forced to seek help from her father and another male friend when she was left homeless which had difficult gendered dynamics. The father had been abusive to her mother and when she recalled this, it caused conflict in her relationship and she left his home, despite this leaving her homeless once again. Her male friend appeared to be helpful and kind but did so with the expectation she would start a relationship with him and when this did not materialise she was again asked to leave with nowhere to go so she returns to her ex-partner.

The maid does not as much get back into a relationship with him than coexists with him. The relationship he thinks they have is not what her reality is. He thinks she has come home, she is there because she is homeless with nowhere else to go. They live parallel lives. After returning to the ‘family home’, Alex falls into depression and suffers PTSD. Some of the imagery here is intense. In one scene the sofa swallows her up, as if she wished to sink into the cracks of the furniture, not wanting to be seen, wanting to escape but with no means to flee or places to flee to. In other scenes, she tries to go for a walk in the forest, but the trees close in around her, visually representing the isolation her abuser has forced upon her.

My main criticism is in the final episode when Sean tells the maid he will get sober but getting sober will not fix this. Alcohol is not the problem. He was abusive during his sober phases. Quitting alcohol does not transplant men’s attitudes, values and beliefs towards women. Being sober does not remove the need for abusive men to control women. This sends the wrong message to the audience, and it is a dangerous message to send. I would have liked to see the series end with Sean admitting he was a controlling, abusive man and that he would get help for this. Instead he blamed his behaviour on alcohol.

I’m going to play the tape forward and imagine a season 2 because I have witnessed this scenario a few times over the years. He cleans up, gets sober and appears to look like he is doing well. He may have been to rehab or AA where he was taught that he probably should not punch walls or throw objects at people’s heads. He gets in a new relationship and it looks like all is well for a while but he still has not admitted or addressed why he was abusive so his behaviours are there, they are just more subtle. He gaslights, manipulates, controls. But he isn’t outwardly aggressive so he gets away with it for a while. Until he doesn’t.

%d bloggers like this: