by Lewis Martin
Content warning: mentions sexual harassment
This month, Spiked launched their newest Freedom of Speech University Rankings for 2018. The fourth edition of the rankings, which started in 2015, are an ‘assessment’ of freedom of speech on our campuses. Spiked’s methodology is simplistic. They look at the policies and actions of both universities and their students’ unions (SUs), ranging from the no-platforming of controversial speakers to their codes of conduct. They then give each uni and each SU a rank of red, amber or green, and give an overall ranking to each institution based on these two scores.
by Carmina Masoliver
CW: mentions harassment, domestic violence
When I first saw Tony Walsh, aka longfella, it was as a feature act at the Genesis Poetry Slam in Whitechapel. I remember being struck by a line about how growing breasts being something that labels some people ‘women’. This was a revelation to me, and yet something that I could identify with as a cis-gender woman reflecting on adolescence; it felt profound that a man could understand this experience in a way that made me feel understood in a way I hadn’t yet articulated myself.
When I later read what I assumed to be these same lines in Sex & Love & Rock&Roll, they didn’t strike me in quite the same way, as they offered something different. In ‘Start All the Clocks’, Walsh repeats ‘tell me how it feels’, as he asks of the readers
‘…tell me how it feels when you start to grow breasts
When Mother Nature writes ‘woman’ across a girl’s chest.’
It is in these lines that mean that Walsh is not solely a poet to hear on stage, but also one to read on the page, where you have the time to reflect and think.Continue Reading
by Candice Nembhard
From terror attacks to constitutional changes, there is no doubt that 2016 will go on record for being an insanely dismal year. To paraphrase Ginsberg’s Howl, ‘I saw the best minds of my generation destroyed by bigotry, fear and greed’ (or something like that).
However, despite certain adversities and geopolitical setbacks, much was gained by the likes of small yet vocal communities campaigning for drastic change. With the help of social media and public platforms, we have seen a burgeoning of new safe spaces for women of colour, nonbinary folk and creatives alike. It goes without saying that their good and honest work should not go unnoticed, nor should it be underrepresented.
by Jonathan Lee
In the post-imperialist Western world, liberal society is becoming ever more self-aware of social and cultural sensitivities, most evidently in the influence of the arts as a vehicle for perceptions of race, gender, sexuality and culture. Cultural appropriation is a topic hotly debated, and one where the divide between appropriation and appreciation can sometimes be uncertain. This ambiguity and subsequent argument is usually tied to power relationships, dichotomy in stereotypes (e.g. black hairstyles being perceived differently on white heads) and most often, the struggle for the appropriated culture to control its own identity.
The struggle for Roma to self-determine their own public identity — that being which is perceived by those outside of the Romany community — has historically been dominated by stereotypes of the ‘Gypsy other’. These myths, biases and often outright lies likely stem from the Middle Ages with arrival of the Roma in Europe. In an age of relative racial homogeneity, the Roma appeared as a foreign, outsider race whose dark countenance was associated with evil in a time of church hegemony and bigotry. The associations forged with the Roma during their early arrival were compounded by subsequent centuries of persecution and hatred, often based on conceptions of ‘the Gypsy other’ rather than interactions.Continue Reading