The structure of white supremacy feeds off the narrative of the ‘docile slave.’ Painting Black people in history as submissive beings upholds the white conscience; it tapes over white people’s historical and present reliance on oppression for their mental stability and superiority, by suggesting that Black people were willingly inferior. When, in reality, Black people have been rebelling with might since their capture.
Norfolk’s music, gig and free party scene is a vibrant stream of colour, with bright red, gold and green gushes moving through the illuminous pool. Reggae, dub, jungle, drum n bass and techno can easily be discovered blaring from a stack of speakers in a venue or elusive field in and around Norwich. Norfolk loves sound system culture, but many of those same people who dance to this music are quiet in the struggle against racism.
“Babylon A Fall,” they shout. But what does that actually mean?
by Jonathan Lee
Content warning: sexual assault, racist slurs, violence
On Monday 14th October, a UEFA Euro Qualifiers match between Bulgaria and England was forced to stop on two occasions after racist abuse from Bulgarian fans was aimed at Black players on the England team. The match, which was already subject to a partial stadium ban for previous incidents of racism, saw black clad, nazi saluting, monkey-chanting skinheads hijack the proceedings and force the stadium to issue announcements and the refereee to halt the game.
The three step UEFA protocol (which reached the second step on Monday night, the third would have abandoned the match) has been criticised for being ineffective and too soft to counter discrimination. Whilst UEFA’s public reaction to the racism has been firm, calling for “football’s family” to “wage war on the racists”, whether or not neo-nazis should be given two free gos at abusing Black English players before they are punished is a valid point.
Since the Norwich poetry scene largely consists of current or former students and local writers, a chef originating from Cairo doesn’t seem to fit the mould. But Salah El Nagar has achieved local fame, both for his widely translated Arabic poems, and for his cooking. By day, he runs Ramses Egyptian Food, usually located in the market in the heart of Norwich city centre (he also runs pop-up stalls at venues around the city). By evening, you can find him at the Birdcage, promoting acceptance, diversity, and gender equality through his poignant and witty poems.
by Jonathan Lee
After the 2018 FIFA World Cup in Russia, England football fans had enjoyed a slightly improved reputation internationally for behaving themselves a bit better at away games in Europe. This illusion was shattered last week in Portugal for all the world to see, as boozy lads in shorts and polos attacked locals with bottles, wrecked cars, and clashed with police on the streets of Porto. It turns out that, without Russian ultras and law enforcement to keep them in line, England’s lads-on-tour stag party of intolerance and imperialist nostalgia is just as present in the travelling fan culture as it always has been. Embedded homophobia, a staple of the hooligan culture of old, also reared its ugly head again in Portugal with some England fans feeling unsafe among their own supporters.
“I experienced more homophobia in 3 hours here than I did in 3 weeks in Russia,” said Joe White, an English football fan and co-founder of LGBT+ supporters group Three Lions Pride. “And this has all come from England fans” he added. “LGBT+ is clearly not welcome.”
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.
By Jonathan Lee
Meet Conservative MP for South West Bedfordshire, Andrew Selous.
Andrew recently took a break from opposing gay marriage, overseeing prison cuts, calling for benefits cuts for non-english speakers, and claiming disabled people work hard because they’re grateful just to have a job, and turned his attention to Romani Gypsies and Travellers.
On 13th November, he proposed a bill in the Commons to convert existing sites for Gypsies and Travellers into settled accommodation, remove any obligation on local authorities to build more permanent sites, and make unauthorised encampments a criminal offence.
He also added a bit about making provision for the education of Gypsy & Traveller children, which is nice.
by Jonathan Lee
You would be forgiven for thinking that any England football fan who decides to follow their team to the 2018 FIFA World Cup must be either crazy or a hooligan looking for trouble. UK Police Chiefs, senior MPs, sports experts, and – most perniciously – the British press, have all issued sombre pronouncements warning of the dangers awaiting any English football fan foolish enough to brave the shady hinterland of Mother Russia.
As a child, I always looked forward to a visit to the National Museum of Scotland. An hour’s journey to Edinburgh was always a small price worth paying if it meant passing a wet weekend or day out from the holiday among dinosaurs, dioramas, steam trains and robots that could spell your name. Since then the museum has undergone countless changes, but whenever I return, I can always be certain to discover something new.
However, those trips to the museum were much more than just a fun day out. I can confidently say that they were a major formative influence for me, particularly in inspiring my love of nature. Without the influence of the National Museum of Scotland, I would not be who I am today. I can also confidently say I’m not the only one. I speak for countless others whose interests, whatever they are, were inspired by visiting trips to a museum.
By Laura Potts
In recent weeks, Damien Hirst’s anatomical sculpture Hymn (1999–2005) has been installed outside of my university, Norwich University of the Arts (NUA), where it will be on show until July 29th as part of his exhibition at Houghton Hall. Although the term ‘hymn’ refers to a form of praise, there are a number of reasons why neither Damien Hirst nor the institutions choosing to associate with his work should be praised.
By Lotty Clare
It is a time of extraordinary potential for change in UK Higher Education. Labour’s promise to end tuition fees has defied the critics and united many behind Corbyn’s political project. But what will the implications for universities be if this comes to pass? And what can we do to leverage this progress? In this series, the Norwich Radical and Bright Green are bringing together perspectives from across the sector to explore these questions.
We face many challenges as students in 2018. Painfully high tuition fees along with eye-watering maintenance loans means that lower income students will leave university with over £50,000 of debt. Bafflingly, Prime Minister Theresa May only recently came to the realisation that poorer students are getting deterred from going into higher education. By contrast, the Labour Party’s promises to scrap tuition fees and bring back maintenance grants are of course a welcome relief for many prospective students – UK national students that is. Labour have seemingly barely considered the possibility of doing the same for international students. At the University of East Anglia, non-EU international students pay about £14,800 annually, on top of having to prove that they have access to thousands of pounds for living costs. If education is a right, why are we privileging wealthier international students in this way? What would Britain look like if we abolished or at least dramatically reduced fees for international students?
by Jonathan Lee
Content warning: article mentions antigypsyism, racism, discrimination and persecution
Opre Roma, si bakht akana
Aven mansa sa lumnyake Roma.
Roma arise! The time is now.
Come with me, Roma from all the world.
These words were written in 1949 by Žarko Jovanović, a Romani Holocaust survivor, Yugoslav Partisan fighter, and activist. They were put to a traditional melody, and adopted as the Romani Anthem in 1971.
It bears none of the hallmarks of an anthem as conceived in the traditional sense by European nation-states. It is not a hymn or an opera. It’s melody is plaintive, unstructured, reckless even. It does not conceive of a homeland, real or imagined, nor does it call for the unification of a people in a national sense. Instead the lyrics speak of the freedom of the road, freedom from persecution, and the need for unity of Romani people across the world. Amongst many other things, it is fundamentally a protest song.
by Laura Potts
The noteworthy Norwich art scene is home to many small gallery-like spaces that have a fast and frequent turnover of shows. Spaces such as Yallops, Nunns Yard and Studio 20 are home to a diverse spectrum of work, and as we enter the spring months they have become hives of activity swarming with artists and viewers. These spaces are important, vital – the work and people they house are integral to cultural independence in the city.
Frankenstein: or The Modern Prometheus, the classic novel by Mary Shelley that stands at the pinnacle of the gothic tradition and looks forward to the new genre of science fiction, was first published 200 years ago this month. Shelley’s visceral tale of the terrible consequences that follow the failure of brilliant young scientist Victor Frankenstein to take responsibility for the strange new life he creates, is both of its time and utterly contemporary.
It can be read as a high Romantic fantasy set against a background of electric storms, shimmering Alpine peaks, Rhineland forests and Arctic wastelands, and as a subtle meditation on themes of knowledge and responsibility that resonate with today’s hopes and fears for the possibilities opened by artificial intelligence (AI) and synthetic biology.
by Laura Potts
Education is amazing. It encourages the growth of passion for any number of subjects, and opens doors for many to enter into the field that that passion leads them towards, where their research work is often vital to the discovery of all sorts of new and exciting things.
However, the modern system that has emerged as society has ‘advanced’ does not always prioritise the curiosity and growth that education cultivates over more material concerns such as financial gain. The increases in the various fees and costs associated with higher educational institutions and the shrinking of the creative curriculum at earlier levels often means that a passion for a subject is no longer enough. But as with any monolithic trend, alternatives have sprung up down the years.
by Laura Potts
Artistic culture and practice has changed drastically over the past few centuries. From Renaissance painting and its high-minded focus on aesthetic and documentary purpose, to the eruption of absurdist Dada work in 1915, to the stark political statements of much modern art. The aesthetics of art and its chosen themes are not the only thing that has changed though; the spaces where we encounter art have also transformed.
It has been suggested that the world famous Colman’s brand may soon break with a tradition more than 200 years old, of producing mustard and other products here in Norwich. Make no mistake – this is not nearly as trivial as it sounds, and would be nothing short of a local tragedy.
This may seem exceptionally daft, but Colman’s has so much history here in Norwich, it is tough not to be upset by this news. Colman’s Mustard has been based in Norfolk since 1814 when Jeremiah Colman formally set up his mustard and flour business in Stoke Holy Cross, just outside of the current Norwich city boundary. Later, Jeremiah Colman’s great-nephew Jeremiah James Colman established the production factory in Norwich in 1858, which still exists today. With business booming, royal approval was gained in 1866 with the granting of a Special Warrant as manufacturers to ‘Her Majesty the Queen Victoria’, helping our local mustard gain a global reputation and put Norwich on the culinary world stage.
by Laura Potts
‘If anything, art is…about morals, about our belief in humanity.
Without that, there simply is no art’
Norwich’s own Space Studios hosted Bridges, a fascinating exhibition by artists Marcia X and Karis Upton, earlier this month. Entering through a small alley, I climb stairs up to the first few works, which I find in a dark setting, immersing me in the exhibition. Up another staircase, long enough for me to begin reflecting on what I’ve seen, is a much lighter space, with works hung from the sloped ceiling. Afterward, I’ll go on reflecting for some time – the themes and issues that Bridges explores are of such magnitude that every viewer is forced to sit up and listen.
by Zoe Harding
Let’s leave the sordid world of Earth behind for a bit, and explore the potential of a concept that’s kind of easy to dismiss out of hand.
In his venerable Culture series, Iain M Banks describes a future society based around Minds, unimaginably super-intelligent AIs that control vast ships and space-going habitats, on which a massive collection of alternately hedonistic and depressed lesser-biological beings (assumed to be human, although it’s never made explicit) live pampered and comfortable lives. The Culture is semi-utopian, although, if it resembles any society, it resembles the US in its relations with other civilisations, The books frequently focus on both the skulduggery necessary to keep the civilisation running and the injustice of being born outside it. Nonetheless, it is a portrait of a society in which humans (probably) are protected, cared for and treated equally through advanced technology.
Because utopias aren’t easy or fun to write, few societies like the Culture have appeared in fiction before or since. There is one notable version, however, in the form of an oddly idealistic leftie meme: Fully Automated Luxury Gay Space Communism.
We live in turbulent times. The political establishment has been rocked again and again this last year. The government is embattled in a way it hasn’t been for 7 years and that rarest of things in British politics, change, is peeking its head above the parapet. What’s more, for the first time in my lifetime, it seems my generation is willing to be an active participant in all this. June’s election saw the highest rise in youth turnout in British political history – it reached its highest absolute level since 1992. It falls to those of us already engaged to fan this flame and help it spread beyond the ballot box, building the political courage and competencies of our fellows. Nowhere offers a better opportunity for us to do this than on university campuses.
CW: mentions misogyny, anti-feminism, neo-nazism
Earlier this month, a writer and an editor from the Radical took part in the Amiel & Melburn Trust’s annual residential seminar. The Trust’s aims are “to advance public education, learning and knowledge in all aspects of the philosophy of Marxism, the history of socialism, and the working-class movement’. This year, the topic of the seminar was ‘Politics & Culture’, and the various intertwinings and intersections thereof. What follows are thoughts and reactions about the seminar from our contributors.
by Chris Jarvis
Culture and politics are inseparable. Culture is more than mere entertainment, more than escapism. Culture is central to how we understand the world, build our value sets and perceive our fellow people. It stirs human emotion in unique ways, pulling different levers in the brain. Sometimes overtly, sometimes with subtlety, the dominant cultural practices, institutions, icons and outputs are used to reinforce the dominant political system and defend the status quo. Establishment weaponise culture as a means of influence.
But this isn’t the sole preserve of the political right.
Looking through history, many of the most important moments of popular revolt have an accompanying soundtrack. The resistance to the Vietnam War had the protest folk singers. Rage Against the Machine were agitators of the US anti-globalisation movement. Riot Grrrl acts built feminist infrastructure, led pro-choice campaigns and brought ‘the personal is political’ sentiments to the fore of a cultural phenomenon. And so on, and so on.
This isn’t coincidental.
by Chris Jarvis
All eyes in the UK are currently on the snap General Election called by Theresa May earlier this week. Across the English channel though, another election, possibly with more seismic impacts for the future of Europe and the wider world took place today. French voters went to the polls in what has been an ever-changing and eye-wateringly close first round of their Presidential election. With 80% ballots counted at the time of publication, we now know that Emmanuel Macron and Marine Le Pen will be going forward for a second round run-off vote on May 7th.
by Tony Moore
Content warning: article mentions suicide.
World famous art comes to campus and it looks wonderful, works subtly with Lasdun’s buildings to eulogise their monumental quality whilst highlighting the interplay of light with the elements.
What’s not to like?
Then those pesky snowflake students start moaning that the figure might be perceived as about to jump and could be a ‘suicide’ trigger.
What is not to like, is that the snowflake students are fundamentally right to make their views known: they are confronting an authoritarian, elitist art work imposed on their community from ‘above’.
I have been living in Berlin for around two months now and generally the transition from the UK to mainland Europe has been a relatively easy process. If we put rising rent prices, endless German bureaucracy, and the future of Brexit aside, Berlin in some ways is a safe haven for a young black Brit such as myself.
Undoubtedly, my ability to move, live and work in Germany is not possible without an immense amount of privilege. I, unlike many people, do not face the same amount of adversity by simply being here; irrespective of my feelings towards my nationality, having a British passport is a golden ticket I didn’t have to work for. However, even with its numerous working and academic advantages, my citizenship does not defend me against the microaggressions of prejudice and racism that I receive almost on a daily basis.
The idea of ‘twinning cities’ and forming links with other communities worldwide came about following the Second World War. It was seen as a way of spreading understanding of different cultures with the aim of lessening the risk of future international conflict. At present, twinned places are regularly used as opportunities for trade and business in the UK – but perhaps not justifying for many people the money spent on maintaining these friendships. However, with fear of outsiders and those different to us seemingly rife in the media and amongst public opinion, the bringing together and understanding of other worldwide communities seems an excellent justification for a twinning programme.
Norwich is currently twinned with four other cities across the globe; Rouen in France, Koblenz in Germany, Novi Sad in Serbia and El Vejo in Nicaragua.
So much is written about institutions which are culturally important to us. Visual arts, music and literature — to give some examples — are all vital art forms for Norwich and are rightly given a lot of local attention. They allow people to experience different aspects of life and opinions whilst inspiring and intriguing across the city. It can be a minor hobby for some, but a whole life for others. These arts enhance so many lives and need to be protected for the good of the citizens of Norwich. We often hear that arts funding and exposure is in a crisis (and this is an important discussion) but so is something else which I worry may be overlooked by the progressive media.
Football, while not exactly a form of art, holds many of the same characteristics as art institutions when employed on a citywide scale.
Moana is a traditional quest narrative complete with a special object that has to be taken on a journey. It’s a story we’ve all seen before – but we’ve never seen it in this setting, or with a hero quite like this one. Moana is driven, brave, and lacks the improbable Barbie-doll proportions of her predecessors. Though this film is billed as being about her extraordinary journey to return the heart of the goddess Te Fiti, its main focus is actually Moana herself. There is, after all, a reason why the film is named Moana rather than Voyage.
Since the reign of Al-Hakam II, who ruled from 961 to 976, Córdoba has been considered a centre for education after a plethora of libraries and universities were opened. Just recently, a new statue was erected in the city centre, which is full of beautiful statues, making an already picturesque city even more so. This particular one seems another symbol for education – with a woman holding open a newspaper. As a language teacher, it’s also a little-known fact that Córdoba has one of the highest concentrations of language schools.
Córdoba is also the largest urban area declared an UNESCO World Heritage Site. One of the main attractions is the Mesquita, the Mosque-Cathedral. I found out about the city’s rich history from a free walking tour, where we stood outside the building. But I was able to go inside for free, deciding to wake up early one morning. Having just come to Spain after travelling in South East Asia, I was reminded of the grandness of such places of worship.
Growing up in Norwich gets you used to quite a few things about the city. If you’ve been here for as long as I have, you stop noticing the churches hidden on street corners, the city walls poking out from behind trees — even a massive castle overlooking the city just becomes part of normal life. Staying on in Norwich for university allows me to get to know the city through the eyes of people who haven’t lived here for quite so long.
Odd discussions of Norwich with university friends often involve chatting about places and buildings, and being known as a local, I often end up giving directions to people. If ever in these talks I mention our City Hall, most responses I get are “what?” and “where?” and this to me is a massive shame. City Hall is often forgotten by Norwich residents and ignored by those visiting. It’s a building that represents us like no other and suits Norwich just perfectly, and we should learn to love it.
by Jess Howard
Last week it was announced that AQA, the last exam board to offer art history as an A level subject, has removed the course from its curriculum. The decision to remove the subject from A Level course choices means future students will no longer be able to study the subject at this level. A spokesman from the board said that the decision to remove the subject had “nothing to do with the importance of history of art”, but I find this hard to believe.
As the dust continues to settle on soon to be post-EU Britain, I’ve been thinking a lot about the place I call home. Norwich has been my city for quarter of a century now, and as my Granny says of such milestones, “You get less time for murder.” Norwich is infamously disconnected from the world, with visiting football fans often singing “there’s only one road in Norfolk” to Guantanamera at Carrow Road – and as much as it pains me to admit it, the isolation is a real problem.
The fact we’re so cut off from outsiders rubs off on our city’s attitudes towards culture in particular – with a quintessentially Little England village-mentality that boasts of being an UNESCO City of Literature in a town perpetually threatening its libraries with cuts, and renders us fiercely defensive of our ‘doing different’ status-quo, who year on year wheel out the same tired Lord Mayor’s procession, Castle firework display, and cover-band music festival, while remaining collectively suspicious, and sometimes even hostile to new ideas.
by Kelvin Smith
Content warning: mentions depression
A sign of depression, I was once told, is that you do things that you know are against your own best interests. By this measure, the ‘leave’ vote on 23rd June was an example of a depressed populace voting ‘leave’ not because they thought things might be better, but because a majority didn’t care if they actually got worse. Now for the first time, we really are all be ‘in it together’ — in the shit that is: happy as pigs.
by Kelvin Smith
I was born shortly after the end of the Second World War in a nursing home that overlooked the Mersey, open to the world, “on the stream of trade” as my school song had it.
At primary school we drew Spitfires and Hurricanes in aerial dogfights with Junkers and Messerschmitts. There were bomb-sites in the towns and cities and there were Emergency Water Storage Tanks (marked EWS) everywhere. My first non-English words were Hände hoch and Achtung, closely followed by Frère Jacques. My parents had few foreign friends, although a Dutchman, a fellow chemist, had stayed with them in the early 1940s and he returned home with a broad Lancashire accent. “Reet bloody champion”, he would say.
by Asia Patel
by Chris Jarvis
Anniversaries are strange things. Almost exclusively, they consist of rose-tinted, uncritical and nostalgic assessments of whatever they seek to commemorate. 2016, forty years since the ‘birth’ of punk, appears no different. Expect Union Jacks, safety pins galore and excessive images of John Lydon in BBC sanctioned documentaries. Expect descriptions of how important Malcolm Mclaren was to punk’s success, claims that New Rose was without contention the first punk rock single and a neat lineage where pub rock became punk – a very British phenomenon.
Inadequate as such histories are, they are demonstrative of the problem we have with understanding punk as a cultural occurrence. Debate rages amongst fans about whether punk was ever grassroots, whether it was ever political, whether any of the anti-establishment ethos was ever genuine, or instead fabricated by an astute record industry seeking to find the new zeitgeist. Adherents to either theory will read selectively into the evidence and ignore anything which would disprove their dogma.
by Mike Vinti
It’s been a pretty big couple of weeks in the pop world. Prince died, Beyoncé pulled a well, a Beyoncé, and today (Friday April 29th) Drake has released his new album VIEWS. If ever there was a week to remind us of popular music’s impact on society and culture, this is the one.
While each of these moments are significant in their own right and worthy of articles of their own, of which there have been many, together they’ve demonstrated the power of music to unite people. Be it through, grief, shock or pure unadulterated hype, the three most significant cultural moments of the past eight days have used music to bring people together and for a few days at least, forget about those intent on tearing us apart.
by Liam Hawkes
As a 20-year-old young man today, I find myself surrounded by a society and culture which seem to lack substance in a lot of ways. I have had a lot of enlightening conversations with friends about this, and one of the conclusions we reached is that we are the generation of nostalgia, imitation, and regurgitation. We think back to the golden filters of 60s or 70s music as the paradigm our experiences now should imitate. We idolise the past because of the lack of originality in the present.
I feel part of a reflective generation which instead of projecting creativity into the future, we simply project it into the past to achieve a nostalgic warmness to keep us comfortable. This doesn’t surprise me when I look at the advent of pop culture and what is considered ‘talent’, or the celebrities of today. This is all a downward slope from the crossing the threshold of the millennium and feeling more culturally empty than ever before.
Deborah ‘Debris’ Stevenson is founder of The Mouthy Poets, based in Nottingham, who are a collective of 50 young poets. A poet herself, with a blurb of incredible achievements, I can’t help but envy her success as someone so near my age (she’s actually younger). Watching from the outside, I can see how much she has grafted to get where she is today, and her enthusiasm for what she does shines through at workshops, performance events, and is inside every well-chosen word on the pages of the Pigeon Party (2014) collection with flipped eye publishing.
Poems are enclosed in two-part poem After The Blackstone Rangers, which sets the scene for the collection. They describe a childhood growing up in cities, where “everyone was learning”, whether rolling cigarettes, or dancing. The words are both familiar and unexpected; a place where love and friendships are based on fun that is “still disposable and warm” — referring to the “can of Scrumpy Jacks”— but also holding a wider resonance, like most of Stevenson’s work.
On October 2nd, 2011, PJ Harvey appeared on The Andrew Marr Show alongside David Cameron. As soon as Marr mentions that Harvey’s then-latest album, the glorious Let England Shake, tackles ‘a big political subject, in this case Britain and war’, Cameron grits his teeth and asserts that he is ‘very keen’ on the album. Harvey’s polite laugh is the kind we all offer when confronted with a mildly xenophobic taxi driver.
‘Do you think they [the government] are doing alright on culture?’ Marr asks. At this point, Harvey gently and articulately condemns the ‘100% cuts’ in her home county of Somerset. She laments the notion that economic growth in Tory Britain is viewed as the only worthwhile goal. Bizarrely, Cameron awkwardly nods, as if a brief and sudden shot of humanity has temporarily penetrated his reptilian hide. She is, of course, swiftly and patronisingly cut off. ‘You’d better go and get your guitar ready,’ Marr says, clapping his hands together. And so the camera crops her out and focuses back on the men in suits.
by Ananyaa Bhowmik
“Do you think mother‐tongue is a patriotic idea?”
“Of course it is”
“Well, we happen to live in a state where the regions were divided according to language. Can you feel patriotic towards your region in a country like India? Patriotism is an inclusive concept, while mother‐tongue gives you identity when identity politics is played. It isolates. It is a constant struggle between feeling proud of your mother‐tongue while being included. By the way…”
“‘Mother’ Tongue is a Patriotic concept. A conundrum, don’t you think?”
In light of recent events in JNU, and being part of a University (Jadavpur) that is one of the greatest supporters of those “anti‐nationalists”, it is perhaps amusing to note that I am attempting to discuss as patriotic – or nationalistic, even – an idea as mother‐tongue, in occasion of UNESCO’s International Mother Language Day. The University ground is a battlefield as each group tries to define what being a patriot actually means. Cries of “Vande Mataram” (All hail the Mother) ring out. In a country that has forever been portrayed as the Mother Goddess ‐ an object of devotion that is inaccessible, idolized, rigid and unchanging; a mere bearer of children, stripped of any other form of identity, in a burning country where youthful souls struggle to establish individual identities and right to choice, I sit writing on mother‐tongue. Mother‐tongue, which made me a Bengali, all because of a mere genetic accident. And where it all really began.
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.
by Jess Howard
With the threat of terrorist attacks and war seeming to dominate every newspaper front page and website, it can be easy to ask if we should still place any importance on the visual arts. With daily news telling us that more and more people are dying, starving, or becoming homeless, many may ask if we should concern ourselves with art at all. But, when we really consider it, we can see that an aversion to what may be deemed frivolous and unnecessary is actually completely impossible.
By Mike Vinti
Protest and pop are unusual bed fellows. The noisy, often chaotic world of protest can often seem like the antithesis of the sleek, PR heavy world of modern pop music. However, the two have a long a history together. Whether it’s Punk, the Rock Against Racism movement or afro-beat pioneer Fela Kuti running for President of Nigeria, there are plenty of instances where protest and pop music have joined forces to fight injustice. This is happening again today, not only with the renewed attention on feminism as we discussed two weeks ago, but also with the prominence of the Black Lives Matter movement.
by Emmanuel Agu
Often within BME communities the term “Acting white” coupled with pejoratives i.e “bounty/coconut/” are exchanged as a way to insult and demean one another- and for those people of color inhabiting predominantly white environments we find- oddly these are given often as mere observations and to some individuals, a thinly veiled compliment. Personal and shared experiences through lower schooling and higher education would have led me to believe that ‘acting white’ can be seen as a variety of things:
- Speaking an English vernacular that isn’t observed in a vast majority of grime music videos.
- Refusing to wear boot cut jeans and timberlands on non-school uniform day.
- A passion for singer/songwriters and metal core ( odd juxtaposition but, forgive me)
- A close circle of predominantly white friends.
This mindset however is problematic and regressive and for PoC to use on each other is self-deprecating. By choosing to use these insults we encourage and foster a space for internalized racism within our respective communities, and further promote colonialist ideals within society as a whole.
by Mike Vinti
The future of the BBC is uncertain. Despite John Whittingdale’s assurances everything is going to be ok, you can’t help but wonder — if they’re abolishing grants for disadvantaged students, cutting disability benefits and generally meddling in the NHS, why would they save the BBC? As the Tories start to enact their new budget, it seems nothing is safe.
The cuts have already started. Though its programming has been weak in recent years, the loss of BBC Three is symbolic of the Tories plans for the rest of the broadcaster. It hardly seems like a coincidence, especially in the context of Osbourne’s refusal to scrap the free license fee for over 65s, that the BBC’s youth-focused channel was A) its most neglected or B) the first of its services to go. The Tories’ cuts to the welfare state have disproportionately affected young people ,and if previous attempts are anything to go by, so will its gradual disintegration of the BBC.
This will be easy for Cameron and his underlings in the department of Culture, Media and Sport to achieve. The BBC has been losing young viewers and listeners from its TV and Radio stations for years.
This conversation starts in Norwich. The fault is mine, of course, as I start doubting my place within the Norwich Radical, and the role that I, as a translator of poetry, could possibly play in a radical, progressive, critical publication. Enter Cadi Cliff, editor and co-founder, green radical, and a mountain range of humanity.
This conversation, then, is a dialogue of sorts; a voicing of those doubts, translator to editor, reader to reader, uncertain radical to radical, on the place of translation, and poetry, within these virtual walls.
Wrestlemania is here – and I have a challenge for you. I dare you to watch. I literally dare you. Yes, that’s right, WWE, ‘make-believe fighting’ if you really must label it that, where grown men and women play-fight on television for the entertainment of billions worldwide. “But Jack,” I hear you cry, “You’re a culture writer for the Norwich Radical! Surely you know better than to revel in such uncultured pastimes?!”
Now, in order to refute that, I could go into a lengthy and tedious history of the marriage between art, philosophy and combat. I could talk to you about wrestling in the world’s first democracy of ancient Greece, at the dawn of western civilisation. I could talk to you about the ancient Eastern martial arts that inspired Bruce Lee to greatness. I could reference Roland Barthes famous essay on the subject if I wanted. I could, but frankly, I don’t fancy pandering to the inherent class-snobbery behind suggesting wrestling is a ‘lowly’ distraction.
by Jess Howard
Last week a painting by French artist Paul Gauguin sold at auction for £197 million.
Nafea Faa Ipoipo, which translates to ‘When will you marry me?’, features two Tahitian women sat on a stretch of grass in front of a tree. We see the islands formidable mountains and an expanse of green fields behind them. The sale set a record for the most amount of money paid at auction for a piece of art. The work knocked Paul Cezanne’s The Card Players off of the top spot, which sold for £158 million back in 2011.
by Alex Valente.
Original Italian by Paula Schöpf/Bloom (Sinti poet, 1953 – )
As a painter hungry for beauty
I walk every street
And at sunset
I stop at the corners of the world
And paint your life
Your gaze lost in space
In your eyes both daybreak and dusk
Swaying you reveal the exhaustion in your feet
Swaying you reveal a breast curved with sadness
Affected moves of a travelled woman
by Mattie Carter.
In a rather incendiary headline earlier this year, The Independent presented findings from a survey for Kings’ College London and the Royal Statistics Society that seemed to prove that the British public were “wrong about everything”. From overestimating the number of migrants in the country to believing that crime is rising whilst all the evidence shows that it is falling, it seems that we live in a society of stupid people who believe stupid things, which I’m sure The Independent are delighted about.