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Will Santa Visit?
For me Christmas always acts as a stark reminder of inequity, both past and present. I tend to remember television and music, stories of inequity between the haves and the have nots at Christmas time being told by the privileged few. Such as the Muppets Christmas Carol’s (1992) depiction of Tiny Tim, as being poor and disabled but ever so grateful for what he had. Quite recently I was doing some food shopping when I heard the Band Aid (1984) song, Do they know it’s Christmas playing on the tannoy. Despite the criticism relating to white privileged saviorism apparently still this song is popular enough to have a revival in 2024.
Christmas things cost money. So the differences between Christmas experiences of the haves and the have nots are drastic. Whilst many children are very aware that it is Christmas they might also be very aware of the financial constraints that their parents and/or guardians may be in. On the flip side there are other children who will have presents galore and are able to enjoy the festivities that Christmas bring.
This is also a time where goods are advertised and sold that are not needed and not recommended by healthcare professionals. Such as the sale of children’s toys that are dangerous for young children. For example, I was considering purchasing Water Beads as a fun crafting gift option for some children this year, until I was made aware that a children’s hospital and local playgroup are warning parents of the dangers of these as if swallowed can drastically expand in the body which could cause serious health complications.
It seems that social media also adds to the idea that parents and/or guardians should be providing more to enhance the Christmas experience. With posts about creating North Pole breakfasts, Christmas Eve boxes, matching Christmas family Christmas pajamas and expensive Santa visits. All of which come at a financial cost.
As well as this some toys that seem to be trending this year might be seen to misappropriate working class culture. For example, if your parents can afford to take you to Selfridges you can get a ‘fish and chip’ experience when buying Jelly Cat soft toys in the forms of items traditionally purchased from a fish and chip shop (see image above). This experience plus a bundle of these fish chips and peas soft toys cost £130 according to the Jelly Cat website. The profits gained for the Jelly Cat owners are currently being quoted in the news as being £58 million. Whilst at the same time some customers of these real life fish and shops will find it difficult to afford to buy a bag of chips. And some real life fish and chip businesses seem to be at risk of closure, in part due to high cost of living climate which impacts on cost of produce and bills.
Given the above issues it is not surprising that some children are worried that Santa won’t visit them this year.
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Realtopia?
I have recently been reading and re-reading about all things utopic, dystopic and “real[life]topic” for new module preparations; Imagining Crime. Dystopic societies are absolutely terrifying and whilst utopic ideas can envision perfect-like societies these utopic worlds can also become terrifying. These ‘imagined nowhere’ places can also reflect our lived realities, take Nazism for an example.
In CRI1009 Imagining Crime, students have already began to provide some insightful criticism of the modern social world. Questions which have been considered relate to the increasing use of the World Wide Web and new technologies. Whilst these may be promoted as being utopic, i.e., incredibly advanced and innovative, these utopic technological ideas also make me dystopic[ly] worry about the impact on human relations.
In the documentary America’s New Female Right there are examples of families who are also shown to be using technology to further a far right utopic agenda. An example includes a parent that is offended because their child’s two favourite teachers were (described as being) ‘homosexuals’, the parents response to this appeared to be taking the child out of school to home school the child instead, but also to give their child an iPad/tablet screen to use as a replacement for the teachers. Another example consisted of a teen using social media to spread far right propaganda and organise a transphobic rally. In the UK quite recently the far right riots were organised and encouraged via online platforms.
I would not advise watching the documentary, aside from being terrifying, the report and their team did very little to challenge these ideas. I did get the sense that the documentary was made to satisfy voyeuristic tendencies, and as well as this, it seems to add to the mythical idea that far right ideology and actions only exists within self identified far right extremist groups when this is not the case.
Mills (1959) suggests that people feel troubled if the society in which they live in has wide scale social problems. So might the unquestioning and increased use of technologies add to troubles due to the spreading of hate and division? And might this have an impact on our ability to speak to and challenge each other? Or to learn about lives different to our own? This reminds me of Benjamin Zephaniah’s children’s book titled People Need People (2022), maybe technologies and use of the internet are both connecting yet removing us from people in some way.
References
Mills, C. W. (2000) The Sociological Imagination. Fortieth anniversary edition. Oxford: Oxford University Press.
Zephaniah, B. (2022) People Need People. (London: Orchard Books)
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Can Barbie ever be Feminist?
Barbie certainly has people talking, the commentary surrounding the film takes a variety of angles. A quick google search shows that Barbie’s ironic take on the patriarchy appears to have ruffled the fragility feathers with some viewers describing it as ‘man-hating’. I could not help but chuckle at a YouTube video titled; Barbie Bombs Innocent Families with Feminist Propaganda…because apparently, equality is such a bad idea.
There have been some superficial and tokenistic attempts to ‘diversify’ the brand. Yet, at its core the imagery of Barbie still appears to be an obvious symbol of oppressive white feminism. The Barbie doll could be seen to project the white feminine beauty ideal, and the main character within the film, Margot Robbie, appears to embody this ideal. I.e., the appearance of a white, cis-gender, heterosexual women with the wealth to be able to afford all sorts of powdery pink capitalist goods and a body type which is impossible to achieve.
In the contemporary era this ideal continues to be damaging. Even for the most privileged of women, it promotes the spending of much more of women’s income than men on items such as beauty, food and lifestyles, and encourages restrictive dieting practices, which can be damaging to physical and mental health (Naomi Wolf, 1990). For marginalised women there is damage caused due to living in a world which promotes the white privileged as normative. Some examples include, the advertising and selling of skin bleaching products to achieve this white or ‘light’ beauty ideal, to schools excluding Black and Brown school children for having afro textured hair (Emma Dabiri, 2019 and Ibram X. Kendi, 2019).
Whilst the Barbie film apparently has a dig at capitalism, the film and the merchandise sold will produce huge profits by selling this particular brand of feminism. So those interested can buy into feminism and make the capitalists happy rather than being political or radical.
Apparently, the film depicts a comedic take on the patriarchy, with Ken’s toxicity and Barbie having to deal with microaggressions when entering the ‘real world’. How far does the film go with illustrating patriarchal oppression? Is the intersectional oppression experienced by the most marginalised of women present? Does Barbie and Co have issues with femicide, police brutality, poverty, mental ill health, rape, incarceration, immigration detention, homelessness or drowning whilst in a boat whilst trying to seek refuge? Or is the patriarchy in film only palatable and profitable if it presents itself in the form of privileged women experiencing comedic microagressions?
Maybe Barbie will lead to some (probably white and privileged) people thinking more critically or feeling empowered but it doesn’t seem to be a type of feminism ‘for all people’, so perhaps it’s not feminism at all (bell hooks, 1982).
I wonder what will happen to the profits made from the film…
Note* I have not watched the Barbie film so apologies for the vague analysis and sketchy details*
References:
Dabiri, Emma. (2020) Don’t touch my hair. United Kingdom: Penguin Books.
hooks, bell. (1982) Ain’t I a Woman : Black women and feminism. London: Pluto.
Kendi, Ibram. X. (2019) How to be an antiracist. London: The Bodley Head.
Wolf, Naomi. (1991) The Beauty Myth : How images of beauty are used against women. New York: William Morrow and Company.
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Freedom From Torture
Two weeks ago, we marked Refugee Week. The Freedom From Torture Northampton local group put on a showing of Matar, and a short documentary about making the film. Whilst the attendance was small, the showings were powerful and there was some heartful discussion around the importance of raising awareness, compassion and understanding around refugees and asylum seekers. And the importance of giving space to those voices who have lived these realities rather than being spoken for, and often over. The importance of space and empowerment is something all Criminologists and Criminology students will be familiar with.
One week ago we were witness to the Court of Appeal ruling that it was not safe to send asylum seekers to Rwanda, despite Suella Braverman’s ‘dream’ for the Conservative Party to ‘stop the boats’ via this unethical and inhumane migration bill. And whilst a huge sigh of relief leaves my body, I can’t help but feel anxious and angry at what is to come next. These people (the Government) have come from positions of power, comfort, security, wealth, and education- all their lives. They have no lived experience regarding why people flee from their home countries, the desperate need to run from unlawful prosecution, to want a safer life for themselves and their loved ones. So how are they best placed to decide on what response, (if there should be one), the country takes to immigration? There is also a racial element in relation to this: refugees from Ukraine were not met with the hostility and hate from this country, unlike asylum seekers and refugees from Syria or Afghanistan. Why is that? Well, for one thing the structural inequalities around ‘Whiteness’ is a place to start. The Government seems to have forgotten that people are running from harm, torture, and death. Running for their lives for the hope of a kinder, safer life.
Three weeks ago I signed up to run the Royal Parks’ Half Marathon on 8th October 2023. I am fundraising for Freedom From Torture which, whilst specific to fundraising, supporting and providing treatment for torture survivors, also work to campaign against the hatred and harmful policies being spouted by the Government against refugees and asylum seekers. I usually run 2-3 times a week, providing my body is playing ball which frustratingly appears to be less and less the case, but never more than 10km. A half marathon is just over 21km! So I’ve got a long way to go. But this distance is nothing compared to the miles and miles people fleeing harm, unlawful prosecution and/or torture have to endure. All support, be it financial or sharing blog posts and raising awareness on social media is highly appreciated. The link to my JustGiving Page can be found at the bottom of the blog alongside a very pink picture of me after a 5.58km ‘recovery run’.
Fair warning: my social media and blog posts will be dedicated to how I’m getting on in relation to the training, distance, blisters and will be accompanied by unflattering pictures of myself after various runs! But it’s important to remember WHY I’m running and WHO I’m running for.
Thanks for the support: I’ll keep you posted! JustGiving Link.
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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
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The Good Doctor has me thinking…
Recently I have begun watching ABC’s The Good Doctor, which is a medical drama based in the fictional, yet prestigious, San Jose St Bonaventure Hospital and follows the professional and personal journeys of a number of characters. The show is based on a South Korean tv medical drama called Good Doctor and is produced by Daniel Dae Kim and developed by David Shore (creator of House). The main character is Dr Shaun Murphy who has Autism. He is a surgical resident in the early seasons and the show focuses on how Dr Murphy navigates his professional and personal life, as well as how the hospital and other doctors, surgeons, nurses and patients navigate Dr Murphy’s style of communication and respond to him. As a medical drama, in my humble opinion, it is highly entertaining with the usual mix of interesting medical cases and personal drama required. The characters are also relatable in a number of different areas. As a springboard for a platform to talk about equality, equity and fairness, it is accessible and thought-provoking.
A key focus of the programme is the difficulty Dr Murphy has with communication. Well, I say difficulty in communicating, but in actuality I would say he communicates differently to what is recognised as an ‘accepted’ or ‘normal’ form of communication. Dr Murphy struggles to express emotions and becomes overwhelmed when things change and are not within his controlled environment. A number of his colleagues adapt their responses and ways of interacting with him in order to support and include him, whereas others do not and argue that despite his medical brilliance, and first-rate surgical skills, he should not be treated differently to the other surgical residents, as this is deemed unfair.
Whilst watching, the claims of treating all surgical residents equally, and ensuring the hospital higher-ups are being fair; notions of John Rawls’ writing scream out at me. Students who have studied Crime and Justice should be familiar with Rawls’ veil of ignorance, liberty principles and difference principle, in particular with its reference to ‘justice’. But the difference principle weighs heavily when looking at how Dr Murphy functions within the hospital institution with its rules, procedures and power dynamics which clearly benefit and align with some people more so than others. Under the veil of ignorance, maybe an empathetic doctor or surgeon is not required, but a competent and successful one is? Maybe being empathetic is a personal circumstance rather than an objective trait? For Rawls, it is important that the opportunity to prosper is equal for all: and this might mean the way this opportunity is presented is different for different individuals. Rawls asks us to consider a parallel universe and what could be (a popular stance to take within the philosophical realm): why can’t people with autism be given the chance to save lives and perform surgeries just because they cannot communicate in a way deemed ‘the norm’ when dealing with patients.
It is possible that I am over-thinking this. And when I ask my partner about it, they raise questions about why Dr Murphy should be given different opportunities to the other residents and the harm Dr Murphy’s communication barriers could and do cause within the series. But I feel they are missing the point: it is not about different opportunities, its about different methods to ensure they all have the same opportunity to succeed as surgeons. It is not about treating everyone the same, which might on the surface appear to be fair, it is about recognising that equal treatment involves taking account for the differences. Why should Dr Murphy be measured against norms and values from an institution which is historically white, non-disabled, male, and cis-gendered? This might appear to be a lot of thought for a fictional medical drama, but to reiterate it’s an excellent programme with plenty to think about…
Bibliography:
Rawls, J. (1971) A Theory of Justice. Oxford: Oxford University Press.
Ryan, A. (1993) Justice. Oxford: Oxford University Press.
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DIE in Solidarity with Diversity-Inclusion-Equality
As an associate lecturer on a casual contract, I was glad to stand in solidarity with my friends and colleagues also striking as part of UCU Industrial Action. Concurrently, I was also glad to stand in solidarity with students (as a recent former undergrad and masters student … I get it), students who simply want a better education, including having a curriculum that represents them (not a privileged minority). I wrote this poem for the students and staff taking part in strike action, and it comes inspired from the lip service universities give to doing equality while undermining those that actually do it (meanwhile universities refuse to put in the investment required). This piece also comes inspired by ‘This is Not a Humanising Poem’ by Suhaiymah Manzoor-Khan, a British author-educator from Bradford in Yorkshire.
Some issues force you to protest
the way oppression knocks on your front door
and you can’t block out the noise
“protest peacefully, non-violently”
I have heard people say
show ‘the undecided’, passive respectability
be quiet, leave parts of yourself at home
show them you’re just as capable of being liked
enough for promotion into the canteen,
protest with kindness and humour
make allusions to smiling resisters in literature
they’d rather passive images of Rosa Parks all honestly
but not her politics against racism, patriarchy, and misogyny
but I wanna tell them about British histories of dissent
the good and the bad – 1919 Race Riots
the 1926 general strikes, and the not so quiet
interwar years of Caribbean resistance to military conscription
I wanna talk about how Pride was originally a protest
I wanna talk about the Grunwick Strike and Jayaben Desai
and the Yorkshire miners that came to London in solidarity
with South Asian migrant women in what was 1980s austerity
I want to rant about Thatcherism as the base
for the neoliberal university culture we work in today
I want to talk about the Poll Tax Riots of 1990
and the current whitewashing of the climate emergency
they want protesters to be frugal in activism,
don’t decolonise the curriculum
they say decolonise
they mean monetise, let’s diversify …
but not that sort of diversity
nothing too political, critical, intellectual
transform lives, inspire change?
But no,
they will make problems out of people who complain
it’s your fault, for not being able to concentrate
in workplaces that separate the work you do
from the effects of Black Lives Matter and #MeToo
they make you the problem
they make you want to leave
unwilling to acknowledge that universities
discriminate against staff and students systemically
POCs, working-class, international, disabled, LGBT
but let’s show the eligibility of staff networks
while senior leaders disproportionately hire TERFs
staff and students chequered with severe floggings
body maps of indenture and slavery
like hieroglyphics made of flesh
but good degrees, are not the only thing that hold meaning
workers rights, students’ rights to education
so this will not be a ‘people are human’ poem
we are beyond respectability now
however, you know universities will DIE on that hill
instead,
treat us well when we’re tired
productive, upset, frustrated
when we’re in back-to-back global crises
COVID-19, Black Lives Matter, femicide,
failing in class, time wasting, without the right visas,
the right accents; Black, white, homeless, in poverty,
women, trans, when we’re not A-Grade students, when we don’t
have the right last name; when we’re suicidal
when people are anxious, depressed, autistic
tick-box statistics within unprotected characteristics
all permeates through workers’ and student rights
When you see staff on strike now,
we’re protesting things related to jobs yes,
but also, the after-effects
as institutions always protect themselves
so sometimes I think about
when senior management vote on policies…
if there’s a difference between the nice ones ticking boxes
and the other ones that scatter white supremacy?
I wonder if it’s about diversity, inclusion, and equality [DIE],
how come they discriminate in the name of transforming lives
how come Black students are questioned (under caution) in disciplinaries
like this is the London Met maintaining law and order …
upholding canteen cultures of policing
Black and Brown bodies. Decolonisation is more
than the curriculum; Tuck and Yang
tell us decolonisation is not a metaphor,
so why is it used in meetings as lip service –
why aren’t staff hired in
in critical race studies, whiteness studies, decolonial studies
why is liberation politics and anti-racism not at the heart of this
why are mediocre white men failing upwards,
they tell me we have misunderstood
but promotion based on merit doesn’t exist
bell hooks called this
imperialist heteropatriarchal white supremacy
you know Free Palestine, Black Lives Matter, and the rest
we must protest how we want to protest
we must never be silenced; is this being me radical, am I radical
Cos I’m tired of being called a “millennial lefty snowflake”, when I’m just trying not to DIE?!
Further Reading
Ahmed, Sara (2012) On Being Included: Racism and Diversity in Institutional Life. London: Duke.
Ahmed, Sara (2021) Complaint. London: Duke.
Bhanot, Kavita (2015) Decolonise, Not Diversify. Media Diversified [online].
Double Down News (2021) This Is England: Ash Sakar’s Alternative Race Report. YouTube.
Chen, Sophia (2020) The Equity-Diversity-Inclusion Industrial Complex Gets a Makeover. Wired [online].
Puwar, Nirmal (2004) Space Invaders: Race, Gender and Bodies Out of Place. Oxford: Berg.
Read, Bridget (2021) Doing the Work at Work What are companies desperate for diversity consultants actually buying? The Cut [online].
Ventour, Tré (2021) Telling it Like it is: Decolonisation is Not Diversity. Diverse Educators [online].
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Who’s to blame, Jimmy Carr or the system that feeds him?
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)
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.
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.
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Holocaust Memorial Day: 27th January
The 27th January marks an important event, Holocaust Memorial Day. This is a day to remember those who were murdered by the cruel Nazi regime, including 6 million Jews. These people were subject to the worst treatment that the modern world has ever seen. The Holocaust reminds us of how dangerous humankind can be to one another. These Nazi men went to work each morning knowing what they were doing and going home to their family at the end of their day of murders. This is something that I cannot comprehend, people that were so truly evil to degrade a whole group of people just because of who they are.
As someone who has had the opportunity to visit Auschwitz on an education trip while at school, I can say that the place is like nothing I could have ever imagined. The vast size and scale of both camps was inconceivable. To be in a place where so many people suffered their worst pains and lost their lives, it was a harrowing experience. From the hair to the scratch marks on the gas chamber walls, the place felt like no other. There was an uncomfortable feeling when you enter the gates of Arbeit macht frei, meaning, work will set you free. To know that so many walked under these gates not knowing what their fate held. And all of this for the Jews was because of their religion and the threat Hitler perceived them to have on Germany.
This is a topic that has always interested me, questioning why the Jewish community? My dissertation research so far has shown how the Jews were scapegoated by the Nazis for their successful businesses in and around Germany. Many Jewish families owned banks, jewellers and local businesses. The Nazis used this peaceful group of people and turned them into the enemy of the Nazi regime. The Jewish community was seen as a financial threat to the Nazis and needed to be eradicated for Nazi German to be successful. The hatred of the Jews developed, bringing in more dated views of the Jewish community. Within Nazi Germany, they were treated like filth and seen as subhuman because of their ‘impure’ genetics. Anyone seen to be from Jewish decent was seen as dirty and an unwanted member of society.
The stereotypes that the Jews are rich continued even after the war and still to this day, along with the stereotypes that Jews are the evil of society. Since March 2020, there have been conspiracy theories circulating on social media that the Jewish community was behind the COVID 19 pandemic. Many are suggesting that the Jewish people are trying to gain financially from the pandemic and destroy the economy. This is not something that is new, the Jewish community has faced these prejudices for as long as time.
My dissertation incorporates a study on social media and archival research. This project has taken me to the Searchlight Archives, located at the University of Northampton. The information held here shows how Britain’s far right movements carried on their anti-Semitic hate after the end of WWII. It’s very interesting to find that antisemitism never went away and still has not. Recently, the Texas Synagogue hostage crisis has show how much anti-Semitic hate is still in society. Three days after the Texas crisis, there was no longer headline news about it and those tweeting about it were part of the Jewish community.
Does this suggest that social media is anti-Semitic? Or is anti-Semitic hate not shared on social media because it is not of interest to people? Either way, Jews are still treated horribly in society and seen as a subhuman by many. This is the sad truth of antisemitism today, and this needs to change.
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At The Mouth of ‘Bloody Sunday’ #Travel #Prose #History
At the Mouth of Bloody Sunday
I know the one thing we did right, was the day we started to fight. Keep your eyes on the prize…hold on. Hold on.
Bloody Sunday in Selma only highlighted the bloody Mondays, Tuesdays, Wednesdays, Thursdays, Fridays, and Saturdays that Black people in America have faced from the first time we laid eyes on these shores. It took people to gather and protest to change. In December ’64, the good Rev. Dr. King was awarded the Nobel Peace Prize for this movement. That spring in Selma, people marched across a bridge in order to highlight the normal voter suppression practices still happening throughout the south – and still in 2021.
“If you can’t vote, you ain’t free. If you ain’t free, well then you a slave.” –Intro interview to Eyes on the Prize part 6/8.
According to the National Park Service, who oversees the important civic monument now:
“On “Bloody Sunday,” March 7, 1965, some 600 civil rights marchers headed east out of Selma on U.S. Route 80. They got only as far as the Edmund Pettus Bridge six blocks away, where state and local lawmen attacked them with billy clubs and tear gas and drove them back into Selma.”
From my 7th grade social studies class circa ‘87, I would also add: The good white citizens of Selma gathered at the mouth of the bridge for the spectacle, to witness or probably participate in the oppression. We see them in the footage, films, pictures and media coverage of the events, and we know many are likely still alive. Black-n-white news footage of the days leading to Bloody Sunday show the sheriff and his angry henchmen prodding people with their clubs, plenty of ‘regular’ people watching in joy.
The people prodded? Well-dressed and behaved Black citizens of Selma and activists who’d come to support them. According to the footage, white citizens came out in droves for what they knew would be a bloody suppression of simple voting rights. As spectators, their presence made the massacre spectacular.
I’ve visited the National Voter Rights Museum and Institute at the mouth of the bridge, and there they have an actual jar of jellybeans used to test Black people coming to sign up to vote at the local government office. Yes, sitting behind that booth was a white man who demanded that a black person – any citizen of the darker complexion – accurately guess the number of jellybeans in a jar in order to be allowed – in order for him to allow them – to register to vote. I feel like I have to repeat that, or say it in different ways because it is so unbelievable.
This September, I visited a museum at the edge of the Edmund Pettus bridge in Selma, Alabama, on the way to Montgomery, the state capital. This historical museum marks local efforts to contest voter restriction practices. These practices were heinous in tone and texture, yet creative and cringe-worthy in nurture and nature. For example, consider the ingenious of these jellybean-counting white men in DC who created the separate-n-unequal space to inspire a variety of voter suppression taxes, tests and clauses throughout the south. It is these sorts of mad men who make decisions that impact the entire world as we have come to know and understand it now.
Yes, it is these sorts of men who send politicians to the state houses, and sent/send senators to Washington DC, to cajole politicians of every hue to compromise on their values. Now, we also know they send mobs to storm the capitol on the very day all the legislators gather to confirm the election results.
I know the one thing we did right, was the day we started to fight. Keep your eyes on the prize…hold on. Hold on.
Imagine yourself standing there in a museum, looking at a shelf, and there is a jar of jellybeans. There’s nothing spectacular about the jar, nor its contents. For any of us have seen something like this in virtually any kitchen, or supermarket. My granny grew, harvested and canned vegetables, so growing up I got to handle many mason jars first hand.
In fact, I love jellybeans. I used to visit the gourmet jellybeans shop in the mall after school when I was a kid. You could pick out any flavour that you liked, and I always went for blueberry, and cherry. I loved the contrast between the royal blue and Corvette red. It is a childhood fascination that my dentists still adore me for to this day. Naturally, these gourmet jellybeans were a little more expensive than the ones you get in the supermarkets, but I liked to save my money and treat myself sometimes. Plus, it felt very special being able to pick out the ones you like, and not have to discard the disgusting ones – who ever thought licorice or cola belonged on a jelly bean!?!
As a candy, jellybeans are so visually enticing. As you enter the shop, the walls are covered from floor to ceiling with all sorts of bright neon colors. Every shade of the rainbow grabs your eyes, calls to you. Between stacks of plastic bags and scoops, you are awed by the massive jars of each individual jellybean color ready for you to pick-and-mix. There are also tables with stacks of both empty and pre-filled jars. There are jars of all sizes filled with colorful patterns of jellybeans with matching ribbons tied in bows around the lids. Of course, the entire shop smells like fruit, all kinds of fruits, sweet, succulent fruits that you cannot even imagine. You are the customer, you are king. By virtue of entering the fancy shop, this is your kingdom.
Now take all of that and put it in a jar. To get to this jar, you have to enter an official government building in the town center. Next to the entrance stands an armed, uniformed white man who gives you a disgruntled look as you enter, signaling that he’s not there for your safety but aggravation. Now, as you approach, you see the jar, sitting on a counter, and behind it sits another white man. Try to imagine this white man, probably with a gun next to him or somewhere nearby, with nothing better to do than to threaten your life. Because the town is so small, he knows your last name, and may know of your family.
Since this is a small town, he knows your employer, he knows where you live as you’ve just written this down. He may even know your family, as the local history is so insidious, his family may have even owned or overseen yours at one time. Or, at that very moment, you or a family member may work for him or his kin. Your kids might play together. You may have played with him as a kid when, for example, your mother was his nanny (read-and-said-in-the-south: Mammy). Yet now, here in a free democracy, it is his job to register citizens to vote.
It is his prerogative, the birthright of this individual, plain (white) man on the other side of the glass to demand that you count the number of jellybeans in the goddamn jar. It is a privilege that no one anywhere near here has ever questioned. So, with a smile, he plops a big red “DENIED” stamp on your registration form. Of course yo’cain’t! A “killing rage” surges. Be glad you don’t have a gun with you.
Thoughts from the criminology team 