Lavie Tidhar is a World Fantasy Award winning author. In the beforetimes, I was due to interview him at English PEN’s Literary Salon at the London Book Fair… but the event was cancelled because of the coronavirus. Instead, we conducted the interview online, and its just been published on PEN Transmissions.
Yesterday, while blogging about the resignation of Theresa May, I mentioned her infamous ‘citizens of nowhere’ speech at the Conservative Party conference in 2016.
At the time, those words were seen as a clear attack on the pro-European, pro-EU, ‘Remain’ cosmopolitanism that many people were expressing after the referendum shock. Mrs May, it was judged, had taken a side in the culture war, and allying herself with a narrow nationalism.
Three years later, that phrase has become a damning shorthand for Theresa May’s hostility to migrants.
While writing my earlier blog post, I read the speech. And actually, the context of her ‘citizens of nowhere’ line is the culmination of an attack on… millionaire tax dodgers. Continue reading “Citizens of Nowhere: A revisionist history”
Writing in the Guardian last week, Carole Cadwalladr lamented the way in which Twitter catalyses and facilitates global bullying. This prompted a short exchange between me David Heinemann from Index on Censorship. We noted the betrayed promise of free speech for all that social media offers, and what—or rather, who—might solve the problem.
Continue reading “Twitter Betrays The Promise of Free Speech For All”
It is the Oscar’s this weekend and La La Land is favoured to win Best Picture.
In this op-ed piece for the Independent, Amrou Al-Kadhi laments the way Arab characters exist on the periphery of most Western cinema.
Stories onscreen have the rare ability to arouse empathy for diverse characters in audiences across the world, so leaving out Arab and Muslim voices in such a context of global Islamophobia is particularly damaging. With masterful directors, sublime works like Moonlight happen; now the story of gay black masculinity in the Miami ghetto has become that much more relatable and mainstream. It is my genuine belief that if the TV and film industry had been more diligent in representing Arab characters – with all our humane, complex, intersectional three-dimensionality – xenophobia would not be as pandemic as it is today.
Reading this challenge to the film industry, I naturally began to think of how the literary community measures up on the same issue. Although I don’t exactly work in the publishing industry, English PEN works closely with publishers and writers, and the debate over who gets published and what gets published is always close and loud. Continue reading “How Do We Make Diversity Scale?”
Bahar Mustafa, the welfare and diversity officer at Goldsmiths, is facing a petition for her removal after she allegedly used hate speech on social media. Apparently she used the hashtag #KillAllWhiteMen. Critics say this is inciting violence: “Too befuddled by theory to know that killing is wrong“.
Obviously, someone elected to a position of authority and responsibility should be more diplomatic in their use of language so its probably right that she should be asked to step down. But the story is a useful way to restate a point about ‘white privilege’ and ‘male privilege’ that I touched on a while back when Diane Abbott was accused of racism.
Its this: My white male privilege is such that when someone tweets #KillAllWhiteMen, I assume is a joke. I read the hashtag and my natural reaction is that she’s indulging in hyperbole. Banter. I get to make that assumption because I don’t live in a society that demeans or belittles me because of my race or gender. Nothing in the mainstream culture or media undermines me or makes me insecure because of my phenotype or chromosomes.
Black people do not get to make that assumption.
Women do not get to make that assumption.
LGBTQ people do not get to make that assumption.
When any of these people see comparable hashtags (posted, usually, by white men) the threat feels real, and their outrage in response to such message is real and justified. Conversely, when there is an angry backlash against people like Mustafa on petition sites and newspapers like The Daily Mail, the outrage seems (to my mind) quite false: a mask donned in order to better fight the culture war.
None of this is to defend Bahar Mustafa or to suggest that routinely posting antagonistic messages is admirable. Rather, its just to point out that context is important. While laws should be blind to race, gender and sexuality, our society and the interactions within it are not. Words that bite in one context may be toothless in another.
Indeed, changing contexts mean there will be situations where white men would indeed feel menanced by a hashtag. For example, if it were tweeted in Paris on 7th January, right after the Charlie Hebdo murders, messages like #KillAllWhiteMen would take on on a whole new meaning, and I’d think again.
— Kamila Shamsie (@kamilashamsie) April 15, 2013
So yesterday, Granta announced their once-a-decade list of the Best British novelists under 40. I’m pleased for English PEN deputy president Kamila Shamsie, who was featured on the list.
But I’m also delighted to the inclusion of Taiye Selasi, whose novel Ghana Must Go has recently been published. Taiye is the author of my favourite piece of prose published in the LIP magazine, a magazine project I worked on from 2003-07.
When I was at University and introducing myself to ideas of multiculturalism, orientalism and Samuel Huntington’s (at that time, relatively new) Clash of Civilisations thesis, I distinctly remember being surprised by the attire of a fellow student in the canteen. She wore a black hijab with a huge sequined YSL logo down the back. I remember being surprised that someone who wore such a conservative piece of clothing should also be concerned with such Western concepts as fashion labels.
Of course, that was me just being casually prejudiced on a number of different levels, and I learnt a lot from that short encounter with the back of that woman’s head. No culture or sub-culture has the monopoly on the chic, the fashionable, the well made, the comfortable; Fashion concerns are not the preserve of urban, anti-religious, counter-cultural types. And most importantly, it is possible that the hijab is more than a conservative, patriarchal garb. It can be a means for self-expression just like any other type of clothing.
Artist Sara Shamsavari’s photographs explore this last lesson. Her street photography, exhibited from tomorrow at the Royal Festival Hall, explores the myriad fashion decisions that follow a woman’s choice to wear a hijab or headscarf.
Looking at the photos, I am reminded of an article entitled ‘The Muslim Sartorialist‘ on the MENA focused blog, Aqoul:
Ever heard of the Sartorialist? It’s basically a photo blog done by a guy with a keen eye for fashion. He photographs people in trendy European and North American cities and adds little blurbs about why he thinks the outfits are interesting.
Now, I’ve always taken note of fashionable Muslim girls around me. They are masters of layering, texture and coordination. Whether it’s at the mall, a pretentious cafe or even my gym (where one stylish muhajabat routinely schools me on the treadmill), these ladies are not held back by their headscarves. Unfortunately, most of the photos you find on news sites are of women wearing frumpy hijabs, dowdy overcoats and ominous-looking ninja getups (as Lounsbury likes to call them). Western media is inundated with photos of shapeless baby-blue Afghan burkas and Saudi niqabs, so it’s hardly surprising that most non-Muslims think this style of dress is ubiquitous.
Sara Shamsavari is Iranian, which reminds me of Andrew Sullivan’s ‘Outing Iran‘ series from around the time of the 2009 elections and protests. No, not an assertion that everyone in Iran is gay. Just a recognition of the diversity of opinion and the radical art that is produced inside societies a d cultures we lazily consider to be monolithic.
There has been a lot of this kind of art in the UK in recent years. The London Olympics was a catalyst for this Kind of commissioning. One might even say that in 2013, this exhibition at the Royal Festival Hall is not particularly radical! I wonder whether London is the most appropriate place for this kind of exhibition. Perhaps it should tour to, oh, I don’t know… Bradford? Or Hampshire?
I had meant to write a post about the Olympics opening ceremony, and what it says about Britain. That was two weeks ago. During which time, we have had pretty much the entire Olympics, and seen some fantastic performances from British athletes. There has been a predictable debate all over the media, blogs, and Twitter, about the nature of Britishness and multiculturalism. Although such subjects are a staple of this blog, I do rather feel as if most of the things I believe have been said by others elsewhere! I consider this to be a good thing – it means there is a growing consensus in favour of the kind of diversity I believe in.
There is still work to be done however. In particular, I am not sure how in-depth the conversation about to Multiculturalism has been. On super Saturday, when Jessica Ennis, Greg Rutherford and Mo Farah all won gold medals, there was a lot of *literally* skin-deep chat. “Ennis is mixed race. Rutherford is ginger. Farah is black. Look at our diversity! Up yours, BNP!” This feels shallow. What I did not see much of, was a discussion of how their diverse backgrounds had contributed to the success of the athletes. At its best, celebrating multiculturalism is not just about identifying difference. It is about showing how those different traits, faiths, and cultural practices, all contribute to ‘make the man’ (or woman). It is not enough to simply point out that Farah is a Muslim; one has to ask whether his faith has contributed to his astonishing success. And if it has – how? Likewise with Greg Rutherford’s upbringing, or Jessica Ennis experience.
Continue reading “Thoughts on the Olympics I: Diversity and Multiculturalism”