Content warning: brief references to sexual assault
The Barging Buddhi and Other Poems takes us on a journey from human expectations that are created within a set culture, to more cosmic climbs, from which we are brought back to earth with the fragility of life, to then be connected to a wider sense of nature. Sunita Thind’s poetry is rich, sensual and visual. Although her numerous questions throughout the collection hint at self-doubt and uncertainty, she shows a strong sense of voice that is not easily contained, like the ‘pyrotechnical parrots’ she describes, how humans ‘clip their wings to capture the fury of their rainbow constellations / humans devouring them like black holes / sequestered in monster iron cages.’ The collection is strongest when assertive, using imperatives: ‘delete the tears’, ‘stain me’, maroon me.’
by Jonathan Lee
I am probably not the image most people have in their mind when they think of a Gypsy.
My mother is of mostly Irish-American stock – which gives me a few ginger wisps in my beard, and a smattering of freckles across my nose and cheeks. My hair is dark brown, not black. I don’t wear a lolo diklo (red scarf) around my neck, or a staddi kali (black trilby hat) on my head. Most of the time I wear jeans and t-shirt, I rarely ever dance on tables, and I have no piercings or tattoos. I live in an apartment in the centre of a European capital with a woman whom I am not married to, and I travel only about 20 minutes maximum by foot every day to go to work.
If I ask you to close your eyes and picture a Gypsy in your mind’s eye you probably see someone with bangles and gold hoop earrings, floral patterned clothing, long hair, and dark flashing eyes. They may or may not have a tambourine, and may or may not be wearing a turban with a little gem in the centre holding it up. Maybe you see a fortune teller, or a travelling metalsmith? Perhaps a musician? If you are European, more likely you also see a beggar, a thief, a criminal.Continue Reading
by Robyn Banks
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