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Now that the year is almost over, it’s time to reflect on what’s gone before; the personal, the academic, the national and the global. This year, much like every other, has had its peaks and its troughs. The move to a new campus has offered an opportunity to consider education and research in new ways. Certainly, it has promoted dialogue in academic endeavour and holds out the interesting prospect of cross pollination and interdisciplinarity.
On a personal level, 2018 finally saw the submission of my doctoral thesis. Entitled ‘The Anti-Thesis of Criminological Research: The case of the criminal ex-servicemen,’ I will have my chance to defend this work in early 2019, so still plenty of work to do.
For the Criminology team, we have greeted a new member; Jessica Ritchie (@academictraveller) and congratulated the newly capped Dr Susie Atherton (@teachingcriminology). Along the way there may have been plenty of challenges, but also many opportunities to embrace and advance individual and team work. In September 2018 we greeted a bumper crop of new apprentice criminologists and welcomed back many familiar faces. The year also saw Criminology’s 18th birthday and our first inaugural “Big Criminology Reunion”. The chance to catch up with graduates was fantastic and we look forward to making this a regular event. Likewise, the fabulous blog entries written by graduates under the banner of “Look who’s 18” reminded us all (if we ever had any doubt) of why we do what we do.
Nationally, we marked the centenaries of the end of WWI and the passing of legislation which allowed some women the right to vote. This included the unveiling of two Suffragette statues; Millicent Fawcett and Emmeline Pankhurst. The country also remembered the murder of Stephen Lawrence 25 years earlier and saw the first arrests in relation to the Hillsborough disaster, All of which offer an opportunity to reflect on the behaviour of the police, the media and the State in the debacles which followed. These events have shaped and continue to shape the world in which we live and momentarily offered a much-needed distraction from more contemporaneous news.
For the UK, 2018 saw the start of the Grenfell Tower Inquiry, the Windrush scandal, the continuing rise of the food bank, the closure of refuges, the iniquity of Universal Credit and an increase in homelessness, symptoms of the ideological programmes of “austerity” and maintaining a “hostile environment“. All this against a backdrop of the mystery (or should that be mayhem) of Brexit which continues to rumble on. It looks likely that the concept of institutional violence will continue to offer criminologists a theoretical lens to understand the twenty-first century (cf. Curtin and Litke, 1999, Cooper and Whyte, 2018).
Internationally, we have seen no let-up in global conflict, the situation in Afghanistan, Iraq, Myanmar, Syria, Yemen (to name but a few) remains fraught with violence. Concerns around the governments of many European countries, China, North Korea and USA heighten fears and the world seems an incredibly dangerous place. The awarding of the Nobel Peace Prize to Denis Mukwege and Nadia Murad offers an antidote to such fears and recognises the powerful work that can be undertaken in the name of peace. Likewise the deaths of Professor Stephen Hawking and Harry Leslie Smith, both staunch advocates for the NHS, remind us that individuals can speak out, can make a difference.
To my friends, family, colleagues and students, I raise a glass to the end of 2018 and the beginning of 2019:
‘Let’s hope it’s a good one, without any fear’ (Lennon and Ono, 1974).
Cooper, Vickie and Whyte, David, (2018), ‘Grenfell, Austerity and Institutional Violence,’ Sociological Research Online, 00, 0: 1-10
Curtin, Deane and Litke, Robert, (1999) (Eds), Institutional Violence, (Amsterdam: Rodopi)
Lennon, John and Ono, Yoko, (1974) Happy Xmas (War is Over), [CD], Recorded by John and Yoko: Plastic Ono Band in Shaved Fish. PCS 7173, [s.l.], Apple
A recent track that has come to light which incorporates Drill Music is that called ‘Political Drillin’. On the track the artist manages to incorporate quotes from politicians; which proves he is highly deserving of his title ‘DrillMinister’.
What was particularly shocking to me was how easy it was for the governmental quotes to actually fit in with what he was initially rapping about, considering how frowned upon the genre is by these same figures.
It becomes very obvious that the slurs deemed as “violent” are ones that much of us are accustomed to hearing on a daily basis. In my interpretation, the artist seems to be bringing this to light. When young people use similar racial, derogatory terms towards one another it is seen to be violent and makes headlines, but politicians seem to throw these around in parliament without being reprimanded for their actions. Why is this continuously tolerated?
The fact that these comments are known to all and no action is taken against them demonstrates that there is a certain calibre of people that can be deemed as criminal and those who will not. Once again shedding light on the class, age and racial division that is hanging over society.
So once again I put the question out…is drill music a cause of violent crime, or are we simply a criminal society? If the DrillMinister can be labelled violent, surely politicians should be too?
*The image contains a quote from Jess Phillips MP utilised as a lyric by DrillMinister:
Haley Read is an Associate Lecturer teaching modules in the first and third years.
Yes, that spooky time of the year is upon us! Excited at the prospect of being free to do something at Halloween but deterred by the considerable amount of effort required to create an average-looking carved pumpkin face, I Google, ‘Things to do for Halloween in the Midlands’.
I find that ‘prison (and cell) ghost tours’ are being advertised for tourists who can spend the night where (in)famous offenders once resided and the ‘condemned souls’ of unusual and dangerous inmates still ‘haunt’ the prison walls today. I do a bit more searching and find that more reputable prison museums are also advertising similar events, which promise a ‘fun’ and ‘action packed’ family days out where gift shops and restaurants are available for all to enjoy.
Of course, the lives of inmates who suffered from harsh and brutal prison regimes are commodified in all prison museums, and not just at Halloween related events. What appears concerning is that these commercial and profit-based events seem to attract visitors through promotional techniques which promise to entertain, reinforce common sensical, and at times fabricated (see Barton and Brown, 2015 for examples) understandings of history, crime and punishment. These also present sensationalistic a-political accounts of the past in order to appeal to popular fascinations with prison-related gore and horror; all of which aim to attract customers.
The fascination with attending places of punishment is nothing new. Barton and Brown (2015) illustrates this with historical accounts of visitors engaging in the theatrics of public executions and of others who would visit punishment-based institutions out of curiosity or to amuse themselves. And I suppose modern commercial prison tourism could be viewed as an updated way to satisfy morbid curiosities surrounding punishment and the prison.
The reason that this concerns me is that despite having the potential to educate others and challenge prison stereotypes that are reinforced through the media and True Crime books, commercialised prison events aim to entertain as well as inform. This then has the danger of cementing popular and at times fictional views on the prison that could be seen as being historically inaccurate. Barton and Brown (2015) exemplify this idea by noting that prison museums present inmates as being unusual, harsh historical punishments as being necessary and the contemporary prison system as being progressive and less punitive. However, opposing views suggest that offenders are more ordinary than unusual, that historical punishments are brutal rather than necessary and that many contemporary prisons are viewed as being newer versions of punitive discipline rather than progressive.
Perhaps it could be that presenting a simplified, uncritical and stereotyped version of the past as entertainment prevents prison tourists from understanding the true pains experienced by those who have been incarcerated within the prison (see Barton and Brown, 2015, Sim, 2009). Truer prison museum promotions could inform visitors of staff corruption, the detrimental social and psychological effects of the prison, and that inmates (throughout history) are more likely to be those who are poor, disempowered, previously victimised and at risk of violence and self-harm upon entering prison. But perhaps this would attract less visitors/profit…And so for another year I will stick to carving pumpkins.
Photo by Markus Spiske temporausch.com on Pexels.com
Barton, A and Brown, A. (2015) Show me the Prison! The Development of Prison Tourism in the UK. Crime Media and Culture. 11(3), pp.237-258. Doi: 10.1177/1741659015592455.
Sim, J. (2009) Punishment and Prisons: Power and the Carceral State. London: Sage.