Culture Creation versus Commodity Creation: Labour's Plans for the Arts, Culture and Creativity
Monday, 11 November 2024 14:29

Culture Creation versus Commodity Creation: Labour's Plans for the Arts, Culture and Creativity

Published in Cultural Commentary

Jon Baldwin and Brett Gregory analyse Labour’s Plan for the Arts, Culture and Creative Industries

On the 13th March 2024 Bracknell News reported that Sir Keir Starmer will use a speech to commit to ensuring the arts are ‘for everyone, everywhere’ under a future Labour government. This was an event which launched the document ‘Creating Growth: Labour’s Plan for the Arts, Culture and Creative Industries’ at the Labour Creatives Conference.

The glossy brochure reads like a description of a story rather than a story itself. Like the lost art of political pamphleteering, it makes promises it needn’t keep and promises it needn’t promise. Labour will do this and that for the benefit of the arts, culture and creative industries; it will put money here, support those there, scaffold this group, secure that role, lift up them, open opportunity and, not only that, it will be green, sustainable and inclusive. Aren’t the arts brilliant! Isn’t culture great! Look how much money they all make!

And what can be said of the hipster Islington interns who produced this neoliberalist napkin during their smashed-avocado and decaf latte tea-break? A lugubrious legion of lickspittles paying lip service to political puffery, bringing to mind a quote from Jorge Luis Borges: ‘They seek neither truth nor likelihood; they seek astonishment. They think metaphysics is a branch of the literature of fantasy.’

Any commitment to the arts is to be welcomed. We live in an age of philistines and boors. The arts, culture and creativity inside and outside of our education system has been downgraded and devalued by the Tories. Creative subjects have been squeezed out of the curriculum by ministers, and their lackeys have fired phoney shots from their cottage industry ‘culture war’ which, in truth, is a proxy for an actual class war. Cultural Studies text books may soon have blank pages where the history of Marxism used to be written.

Jeremy Corbyn’s 2019 A Charter for the Arts was only 7 pages long. ‘Creating Growth’ is 19 pages long. The word ‘socialist’ appears three times in Corbyn’s document and the word ‘economy’ appears twice. In Starmer’s magnum opus ‘economy’ features ad nauseam, alongside ‘business’, with ‘socialist’ not featuring once.

BG Thangam Debbonaire

The foreword for Starmer’s ‘Creative Growth’ is written by Thangam Debbonaire. Corbyn’s ‘Charter for the Arts’ opens with ‘The Socialist Vision of Jennie Lee.’ Debbonaire was educated at two private schools, Bradford Girls' Grammar School and Chetham's School of Music, and then she went off to Oxford. Jennie Lee was educated at the state school, Beath High, and was the daughter of a miner. Lee's maiden speech at Westminster was an attack on the budget of Winston Churchill, accusing him of ‘corruption and incompetence.'

Debbonaire resigned her role of shadow Arts and Culture Minister due to her lack of confidence in Jeremy Corbyn. Lee was instrumental in founding the Open University and principle of open access to higher education for all. Lee’s husband, Nye Bevan, was the founder of universal, free healthcare through the NHS. Debbonaire is a school governor, a trustee of the University of Bristol Students’ Union (UBU), member of the local traffic action group, and co-founder of the House of Commons string quartet ‘The Statutory Instruments’ who perform culture with class - social class.

In her foreword Debbonaire writes that ‘the UK has won the highest number of Nobel prizes for literature and the second highest number of acting Oscars this century.’ Really? Wasn’t V. S. Naipaul (2001) from Trinidad and Tobago, and Doris Lessing (2007) from Iran? Isn’t Kazuo Ishiguro (2017) from Japan, and Abdulrazak Gurnah (2021) from Tanzania? And wasn’t Harold Pinter (2005) fined for refusing national service as a conscientious objector?

Debbonaire also writes that ‘the creative industries as a whole, have enormous economic value to the UK,’ associating arts and culture with the grubbiness of ‘growth potential’ as if they are commodities whose only value is to further the nation’s GDP. It looks like she hasn’t done her homework: here are some quotes about Nobel prizewinners:

V. S. Naipaul: ‘For having united perceptive narrative and incorruptible scrutiny in works that compel us to see the presence of suppressed histories.’

Harold Pinter: ‘Who in his plays uncovers the precipice under everyday prattle and forces entry into oppression's closed rooms.’

Doris Lessing: ‘That epicist of the female experience, who with scepticism, fire and visionary power has subjected a divided civilisation to scrutiny.’

Kazuo Ishiguro: ‘Who, in novels of great emotional force, has uncovered the abyss beneath our illusory sense of connection with the world.’

Abdulrazak Gurnah: ‘For his uncompromising and compassionate penetration of the effects of colonialism and the fate of the refugee in the gulf between cultures and continents.’

The scrutiny of suppressed histories, of oppression’s closed rooms, and the scepticism of division, the emotional force uncovering illusion, and the compassionate consideration of the refugee, just doesn’t seem to fit in with Labour’s economic understanding of the arts.

Private education rules culture, ok?

As for film award ceremonies, it was reported that, over the last 10 years, 40% of the recipients of the main prizes at the Oscars, Baftas and Mercury went to private school, whereas only about 6% of the population are privately educated. Of course, this is the type of elitism Labour claim they want to change and, indeed, Starmer’s would-be cabinet will almost certainly have the most state educated ministers in post-war history. You have to start somewhere.

In The Poverty of Philosophy, Marx outlines a picture of unabated continual commodification ‘when all that men have regarded as inalienable become objects of exchange . . . virtue, love, opinion, science, conscience, etc. — where all at last enter into commerce.’ This genealogy is notable for several reasons: aspects of life which were previously not commodified are now on a linear and seemingly irreversible production line. That is, there is a relentless colonisation of the life-world by commodity relations which leads to ‘universal venality’. This corruption of community bonds causes people to fetishize commodities and become alienated by them, oblivious to their exploitation.

Marx art

The design of Labour’s brochure is quite nice, blocks of red and an easy-on-the eye font, with stock photos trying their hardest not to be stock photos. While the ambition for authenticity is admirable, the conclusion is clear and simple: this political party’s plan for the arts, culture and creative industries in the UK under Keir Starmer is but a plan for further commodification, privatisation and commerce.

There is too much reliance on a nationalist and instrumental approach to culture, for instance, as well as PFI-style funding solutions, i.e. there is too much emphasis on economic growth rather than culture’s intrinsic value. This means subordinating cultural content to a means of legitimising exploitation and oppression through diversion, spectacle, irrelevance and inaccessibility.

There is no reference to tackling class inequalities, for example, by making discrimination on the basis of class unlawful, just like race, sex and disability, as well as introducing a legal duty on public bodies to make tackling class and income inequality a priority.

As a consequence, here are a few of our alternatives proposals for ‘creating culture’ rather than ‘creating commodities’:

Education

  • Working-class history, its artistic and sporting achievements, interests and perspectives, to feature fairly, equally and continually in all arts and humanities curricula and tutorial systems from primary education level upwards, including at private schools which benefit from a charitable status

Culture Industries

  • Fair, equal, continual and transparent inclusion, participation and representation of working-class individuals, their creative works and sporting records with regards to the membership, administration, executive decision-making and funding processes of publicly-funded cultural institutions and their related bodies. Thus, addressing the social, financial, geographical and historical barriers which prevent people from diverse and deprived backgrounds from accessing culture as both practitioners and consumers. Democratise (for example) Arts Council England, BBC, Booker Prize Foundation, British Film Institute, British Institute of Professional Photography, Creative UK, English National Ballet, Football Association, Lawn Tennis Association, National Museum Directors' Council, National Lottery, Opera UK, Premier League Football, Royal Academy of Arts, Royal Academy of Dance, Royal Academy of Dramatic Art, Royal Drawing School, Royal Institute of British Architects, Royal Musical Association, Royal Society of Literature, Royal Society of Sculptors, Rugby Football League, UK Interactive Entertainment, UK Music, UK Sport, Wimbledon, etc.

Events

  • Publicly-funded festivals of working-class art, creativity and sporting endeavour to take place in different UK cities each year with affordable ticket prices. Documentary coverage and screenings to be marketed and streamed on BBC television, radio and iPlayer. For example:

Working-Class Culture: Film, Literature,  Sports, Photography etc. 

  • Publicly-funded art galleries, theatres, cinemas etc. to exclusively and actively promote and exhibit contemporary working-class artefacts, events, performances, festivals, productions etc. for at least three months of the year.
  • Working-class artists in residence with their independent exhibitions to held throughout the year, with financial support, in unlisted or vacant council-owned buildings
  • Working-class poetry, short story and/or novel extract readings to take place on BBC radio and BBC iPlayer weekly

Initiatives for cultural democracy

  • Government-led regulation and reformation of the ownership and control of the UK’s mainstream media: newspapers and their websites, magazines and their websites, social media platforms, television and radio etc. In turn, public taxes should be invested in community-based and grassroots media production which directly addresses the concerns, issues and tastes of local people
  • Government-led regulation and reformation of the monopoly of UK football clubs under foreign-ownership which, in turn, alienate and exclude local and regional fans and communities with overpriced ticket and shirt sales etc.

          love music hate capitalism

  • Increased accessibility to musical instruments, drawing, painting and ceramic materials etc. for those on low-incomes and/or from deprived backgrounds. These could be provided via the re-introduction and revitalisation of libraries as publicly-funded culture hubs in local communities
  • Publicly-funded digital hubs to be established in economically disadvantaged areas to provide access to technology, training, and mentorship for aspiring creatives
  • Provision of affordable workspaces and resources for working-class creatives, including production facilities, sporting facilities etc., particularly in deprived areas
  • Development of initiatives and services which promote and achieve mental health and well-being amongst working-class talent within the creative and digital industries
  • Integrated education programs in digital and creative organisations to address and eradicate conscious and unconscious social class bullying, intimidation, humiliation and/or bias in the workplace, in administrative materials, in promotional materials and during work-related social gatherings
  • Expansion of apprenticeship programs in the creative and digital industries with a particular emphasis on recruiting and supporting individuals from low-income working-class backgrounds
  • Establish a program where local councils provide financial support to crowdfunded video games that reach a certain number of backers from their community. Councils can offer grants or low-interest loans to successful crowdfunding campaigns, helping independent creators cover development costs and marketing expenses. In exchange, developers could be required to include elements of local culture, history, or landmarks in their games, promoting tourism and community pride.

Financial Assistance

  • Grants to be made available to working-class individuals and organisations to help to develop digital and creative projects in their community which focus of social issues, diversity, inclusion, motivation and aspiration
  • Twelve month subsidised work-placement schemes (including travel expenses) at regional companies or organisations for low-income arts and sports graduates. For example: film/media, creative writing, music, performance, football, tennis, snooker etc.
  • Tax incentives for creative and digital companies in order for them to demonstrate a commitment to hiring and retaining working-class talent, as well as investing in initiatives that benefit economically disadvantaged communities in their region
  • Low-income and unemployed artists with independently verifiable creative portfolios to be financially-supported by the DWP and DCMS so they are able to continue with their pursuits and endeavours
  • Financial assistance from the DCMS for low-income musical acts wishing to tour post-Brexit Europe and beyond, as well as sporting individuals who need to access training facilities abroad. 
Culture for All: Why Film Matters
Monday, 11 November 2024 14:29

Culture for All: Why Film Matters

Published in Films

 As part of the Culture for All series, supported by the Communication Workers Union, we're proud to present a short film about why film matters, by Deirdre O'Neill

Why Film Matters

by Deirdre O'Neill

Action films, horror films, romantic comedies, science fiction, documentaries – film plays a big part of our lives. Film matters, not only because it was the most popular cultural art form of the 20th century, but because film connects to so many areas of our lives in so many different ways. Not only in the way we visualise our lives, but the ways in which we understand and communicate them.

One of the wonderful things about film is that it’s a universal language, one that we can all understand. Our relationship with film is one that engages with our sense of who we are and who we might become. Film speaks to us of our dreams and our desires, making us think about who we are, who we don’t want to be and crucially who we might become.

It does this by communicating images and ideas that represent the ‘real world’. We learn about places we have never been to and people we have never met so it’s really important that we understand and engage with what kind of world it is that the films we watch are representing.

Even though Marx and Engels never watched films, they did point out something that is as relevant today as it was when they were writing: the leading or dominant ideas in circulation in society tend to reinforce the power of the ruling class. It follows that the ideas embedded within most of the films we watch serve the interest of the rich and powerful.

They might not do this overtly – rather they do it in subtle ways which, unless we know what to watch for we just take for granted. So….

- women are often represented as dependent on men;

- thirty five year old women are considered too old to play the partners of men in their 50s or even their 60s;

- white men have the most heroic positions 

- middle-class people are smart, intelligent funny and interesting

- working-class people are lazy and not very bright

- the major institutions of law and order and the police will punish the bad guys in the end

- the military are doing a tough but necessary job abroad

- the terrorists tend to be from outside the West

…..and so on. We need to develop an independent and class-specific critical engagement with film in order to develop the tools necessary to identify, through a process of discussion, debate, and critical engagement how cultural artifacts such as film reproduce and legitimise these existing structures of oppression and exploitation. It is crucially important that we are able to critically interrogate dominant images and the ideological concepts embedded in them that often go unchallenged.

Most films at the moment are made by the middle classes. They have most of the jobs behind the camera as directors, producers, editors and technicians, and in front of it as actors. So working-class people very rarely get a look in. This means when working-class life is represented on film it is filtered, literally, through the lens of a middle class who have no experience of working-class life. They have never lived on a council estate, never gone hungry, never had three jobs to survive and never had to use a foodbank. The viewpoints of the middle class and the way in which they think about the working class are therefore embedded in the films they make.

It is difficult for working-class people to get a job in the film industry and it’s not just because we can’t afford to do unpaid internships or that we are not part of the privately educated Oxbridge network that employ each other. It’s also because making sure we don’t tell our own stories is one of the ways that those with both cultural and economic power reproduce, consolidate and hang onto that power.

So, the question is, how do we change this? How do we make sure that we get to tell our own stories? Stories that connect to our experience of work and relationships around our work. Stories which are about our own culture, explore our memories, analyse and develop our politics – where we can collect all the experiences that come together and make us working-class. Just think of the stories we could tell, if given the chance.

Neoliberal capitalism and austerity has led to ever increasing hardship and deprivation for working-class people and the pandemic will be used to increase these levels of deprivation and to curb our freedoms. We need to organise, to fight and to resist – and film can document these struggles and visualise our alternatives.

The other question then is how do we achieve this, and how do we go about making our own films? The answer is participation in a democratic community-based film culture with its own screening spaces and independent forms of distribution and exhibition.

Trade unions and the labour movement generally should be working to provide training and workshops for working-class people, run by working-class people in filmmaking, scriptwriting, acting, and film criticism, so that we can create a working-class film culture that is able to represent us in ways that we can recognise and engage with.

We need to self-organise and we need to make sure we don’t compromise with the dominant model in order to get funding or good reviews.

Filmmaking, like the struggle for a different world, is a collective endeavour. It’s a way of working together to explore and analyse our struggles, our beliefs, our ideas. As a cultural practice film is able to address the issues important to working-class lives by responding to their immediate concerns, building a vision of how a very different society might begin to emerge.

Working-class values, attitudes and experiences are different from those of other classes. Working-class people think differently, have different priorities and share experiences that separate them from the middle and upper classes. It is working-class people who have the unique ability and the undeniable right to create their own narratives, tell their own stories  and to represent themselves.

That’s why film matters – because it will allow us to do that.

Culture for All: Why Football Matters
Monday, 11 November 2024 14:29

Culture for All: Why Football Matters

Published in Sport

Next up in our series of short films about culture and cultural democracy is a film by Martin Cloake on football, followed by the text of his talk

Football is the great passion for so many of us. Going to the match is an escape, a chance to be a part of a community, a connection with memories and traditions and people we value. And, despite the efforts of some, it’s still a game where the outcome isn’t known in advance. It’s the hope that gets you, as we always say.

We need to value it more, this thing of ours. Because it is still ours, however much the modern game seems bent out of shape. We worry that it’s a business, but it became a business largely to make sure it was accessible to ordinary people. If players weren’t paid, the only people who could play when the game was first being established were those who could afford not to be paid. Gentleman amateurs not paid professionals.

Football and Progressive Politics

I’ve always thought football illustrates one of the key challenges for progressive politics. We worry about the making of money when we should worry more about what is done with the money we make. It’s the fans who save clubs when business interests give up on them, because fans realise the true value of the business. The disconnect comes when the business becomes just about making money, rather than about making money to make a better business.

But why do we talk so much about feeling a lack of connection? It’s because we still value the game, our clubs, the feelings the activity of going to the match generates. It’s a spectator sport, but one of the things we value most is the physical participation in the spectacle. Being there is important. And people being there is important to the ‘product’ that is sold on TV. The crowd plays a bigger part in football than any other sport.

Football without fans is nothing has become a bit of a cliché. But we’ve recently seen that games played in front of empty stands don’t provide the same quality of product. Fans count. We play our part. We need to assert ourselves more.

The clubs we built can be bought and sold by anyone who claims to have the money. And once they have bought in, club owners are under no obligation to retain the colours, the badge, the name or even the club’s location. They take business decisions designed to get rich quick, and then blame the fans for wanting success too fast when it goes wrong. And when it goes wrong, it’s the fans who are left to sort it out.

The worst thing we can do is accept that football is just another product. The fact that the culture we created is used so often to sell the game we made back to us shows that those doing the selling recognise the power we have.

Our game is too important to be left to business interests to buy and sell like a product on a shelf. It’s too important to be left unregulated and unprotected. We need to preserve the integrity of competition in the face of business interests that want to guarantee success. We need to recognise that clubs are the products of communities and what community means today. We need to cherish and defend the health of the collective game, to recognise that while our clubs compete there is a common interest in every club thriving. We need to harness the power of the game to bring people together and achieve good things.

Cultural democracy in football

Above all, we need to see ourselves as active participants. Get involved in your club supporters' group. Believe you have a right to question and hold accountable the people who make decisions. Make good football governance an issue that our Members of Parliament take seriously. Believe you have the right and the ability to influence the way the game we created is run.

You can trace a social, economic and political history of our country by reading the names of its football clubs. That’s part of the reason the game is so embedded. It’s part of what we are. And it gives us a chance to express our identity and our ingenuity.

Football was once described as the most important of the unimportant things. And it is. It’s easy not to love much of what the game has become, but the fact that you’re still watching this five minutes after I said the word football says something. Our game means something to us, because it’s still the people’s game.

Rethinking the kind of culture we want
Monday, 11 November 2024 14:29

Rethinking the kind of culture we want

Published in Cultural Commentary

Theresa Easton, Northern Organiser for Artists' Union England, shows how the Covid crisis should be tackled by applying the principles of cultural democracy. The image above is by David Shrigley

The Covid-19 crisis has exposed the cracks in the arts sector, which is supported by a freelance workforce that has few employment rights and protections. Many supplement their poorly paid freelance art practice with part-time jobs, zero-hour contract work and precarious, casual employment. Artists’ average annual income from their art is only around £6,000.

The lockdown resulted in all work being halted. Members of Artists’ Union England have reported that all exhibitions, projects, and commissions were abandoned, delayed indefinitely or cancelled.  Government support packages excluded many artists – because so many artists are forced to seek other kinds of paid work, they fall outside the government’s categories for self-employment. So many artists have been forced to sign on to the pitifully inadequate Universal Credit scheme.

Arts Council England’s emergency financial support of £20 million for creatives turned into a lottery.  Keep it Complex, an artist-run group of cultural workers described the response from ACE as ‘business as usual’, creating competition between cash-strapped freelancers in a time of crisis. Keep it Complex kicked back against ACE’s proposal, organising artists into syndicates, working collaboratively to share any winnings. AUE recently launched its Solidarity Fund to support those in financial hardship, supported by artists contributing some of the proceeds from sales of their work.

Overall support from government for freelance and self-employed artists has been inadequate, with many falling into debt, struggling to pay bills and worrying about the future. 

The announcement of a ‘rescue package’ for arts, culture and heritage has been launched to much fanfare. Typically, comments from Culture Secretary Oliver Dowden about preserving the ‘crown jewels’ of the arts sector, along with similar statements from Boris Johnson and Rishi Sunak, have revealed the limits of ministers’ understanding of the arts, and their inability to look beyond buildings and institutions.

There is only 7% grant support for freelancers to apply for, after larger institutions take their cut of the pie from an allocated grants budget of £880 million. Some of these institutions are currently making staff redundant while receiving handouts from government. 

Tackling precarious employment in the arts

So what are the answers to this crisis? One suggestion from one of our members to tackle a long-standing problem was for more equity in spending between London and the rest of the country. The arts and culture are not funded adequately or fairly, and so have become irrelevant to many people’s lives – particularly outside London and in less well-off communities everywhere.

Trade unionists from Yorkshire and Humberside TUC have highlighted “the disparity of DCMS and Arts Council England funding, at £69 per head for Londoners and £4.58 per head for the rest of England”. Investment in the arts, they argue, should not be driven by economic considerations, but by its social benefits, and it should be accountable to local communities, not imposed on them.

We need to tackle precarious employment in the arts sector. A group of Northern based AUE members have been working on a charter of minimum standards of employment for visual arts freelancers working in the sector, which needs to be widely promoted and adopted by employers. 

Work in the creative and cultural industries should be accessible and feasible for everyone. But there is plenty of evidence that the precarity of contract work, the informal networks of institutional gatekeepers, and discrimination on the basis of class and race make it harder for people from working-class and BAME communities to access and progress equally in the arts and culture sector.

Working-class voices and experiences are increasingly absent from the professional arts sector. The most recent official analysis of employment in the cultural sector finds only 13% working in the sector to be from working-class backgrounds. Social mobility in the arts, as in many other areas of British life, has stalled.

The fundamental problem is that years of cuts to local authorities, austerity, and ongoing privatisation have created a sector with an unsustainable, capitalist business model. It relies far too heavily on commercialisation, corporate sponsorship and market forces to fund people’s cultural experiences. But the arts and culture, like health and education, are just too important to be left to the market.

The pandemic has meant that institutions are struggling to cover building costs and management roles, while cutting the jobs of creative workers. And the reality is that apart from TV and cinemas, most people have limited access to the arts, both as consumers and as creative workers.

Shared ownership and control

So Covid-19 is also a chance for us all to rethink what kind of culture we want. 

It's time to radically change the way that cultural provision is planned, managed and delivered. Democratic principles of shared ownership and control need to be applied.

We need a radical rebalancing of provision towards less well-off communities. Local authorities and communities need the funding and power to develop culture hubs which can stimulate and encourage local cultural production. We need democratic accountability of cultural institutions.

Finally, there needs to be close involvement of trade unions in the strategic planning and delivery of cultural experiences, so that working people, both as producers and consumers of culture, have fair access to all the benefits that the arts and culture can deliver.

Artists’ Union England is a relatively new trade union representing visual artists which emerged from the 2012 anti-austerity and anti-cuts movement. The trade union is a grassroots, members-led organisation campaigning for better working conditions, pay and equality in the arts sector.  This article is the latest in the series of articles on Covid-19 and culture, jointly published with the Morning Star.

Covid-19 and the ownership and control of the media
Monday, 11 November 2024 14:29

Covid-19 and the ownership and control of the media

Natalie Fenton points to the need for less concentrated ownership and more democratic control of the media, in the wake of the Covid-ap pandemic. 

The media are vital purveyors of information and interrogators of power in a pandemic where a government’s decisions translate directly into lives lost or saved. In a global health crisis, the public need, more than ever, a media that will interrogate those decisions and hold power to account.

However, the sad fact is that the pandemic has exposed much of the mainstream media as being part of the system rather than its watchdog. There have been repeated examples across different media outlets of a systematic failure to interrogate government responses. Instead, media outlets merely amplify the official statements from endless, bland press briefings.

These daily briefings churn out what we used to call propaganda but now refer to as PR. The government has explicitly sought to restrict media challenge and scrutiny by refusing to put forward ministers or representatives to go on news programmes such as Radio 4’s Today Programme. It has also barred certain journalists from asking questions at their press briefings in order to discredit critical reporting – actively seeking to punish and freeze out watchdog journalism.

BBC journalists also have to worry about possible government funding cuts. Reporting accurately on your own paymaster has always been a problem for political journalism, but particularly so when the government is all too willing to be the playground bully. So when Dominic Cummings ignored the rules of lockdown and outraged the nation, Radio 4 gave his wife a spot to explain how kind he is.

Newspapers have also played the game to their advantage. With many of them facing economic meltdown due to the collapse in advertising revenue, the News Media Association (representing most of the largest and wealthiest media organisations) lobbied government for their own bailout. The result has been government underwriting of large corporate media to the tune of £35m through advertising and paid-for content under the rubric of ‘we are all in this together’. 

The advertising looks like public health campaign material. But the paid-for content that tells the reader that the government is doing a pretty good job looks like any other article, just tagged with an additional health warning that “this advertiser content was paid for by the UK government”.

In the UK, this is particularly ironic given that the press campaigned extensively against effective (independent) regulation on the basis that it would lead to unwarranted state ‘intrusion’ into the industry. Many of them are still paying out millions of pounds settling phone hacking cases – so this £35m subsidy of taxpayers’ money is in effect contributing to phone hacking settlements.

Meanwhile, virtually none of the paid-for content is going to small independent news organisations, even though they lobbied for their fair share.  As a result many of these will struggle to survive.

Alternative models of ownership and control

Coverage of the pandemic has revealed mainstream media to be an explicit channel for government PR spin, further propelling the revolving door between major news organisations and the government. Boris Johnson worked for the Telegraph and the Times. Michael Gove was a Times journalist. George Osborne became editor of the London Evening Standard. Allegra Stratton’s recent appointment as Rushi Sunak’s director of strategic communications is a friend of Dominic Cummings, and was national editor of ITV news and political editor of Newsnight. The list goes on.

What can we do about it? The deep entanglement of media power and political power is self-serving. Government favours large corporate media because they are dominant – and they retain their dominance because the government favours them. Concentration of media ownership keeps this relationship intact. So we must legislate for more plurality of media ownership, to create a sustainable communications environment that is innovative, diverse and fully independent of vested interests (whether these are commercial or political).

We need to encourage alternative models of media ownership such as cooperatives and employee buyouts, that promote equality and financial security of journalists over profit-making and shareholder returns, and serve a far wider range of needs and more diverse set of interests.

We also need more democratic, diverse and accountable public sector broadcasting. Over the last three decades the independence of the BBC has been steadily eroded and its programme making increasingly commercialised. In recent years, its funding has been severely cut and its programming has become increasingly conservative. Public service content needs to be delivered through modern, democratised public platforms and networks and to operate autonomously of government and the market.

Without these changes, our mainstream media will remain far too complicit with elite political power to do the job they are supposed to do. And in a global health crisis, a failure to scrutinise government mismanagement could literally mean life or death for thousands of people.

This is the latest in the series of articles on the effects of the pandemic on culture, published jointly with the Morning Star.

Culture by and for the working class – Inside Film and cultural democracy
Monday, 11 November 2024 14:29

Culture by and for the working class – Inside Film and cultural democracy

Published in Cultural Commentary

Deirdre O'Neill explains how the Inside Film project is implementing the principles of cultural democracy, by making a stand with the downtrodden, impoverished and silenced working class.

Inside Film is a filmmaking project that works in prisons, with people on parole and in our latest run of the project, with foodbank users. Run completely by volunteers, we teach the theory and practice of filmmaking. This integration of theory and practice we consider a critical intervention into the reality of working-class lives.

An awareness of the reality of life for the working class can be documented or theorized, but remains simply a question of perception if not accompanied by the ability to challenge that reality in meaningful ways. That is to bring to bear a force that makes systems accountable, broadens the individualized limits of neoliberal subjectivity, and promotes alternative interpretations. The fusing of theory and practice, what Marx referred to as praxis, makes possible the production of the alternative interpretations by people considered disposable under neo iberalism and whose narratives are currently removed from the pubic sphere.

Making films by, of and for the working class

The students taking part in the project make their own films – films that they script, storyboard, act in, shoot and edit. The idea underpinning the project is that working-class people have the right to access the means of cultural production, which in turn provides them with the skills, and builds the confidence, to represent their own lives.

The project is predicated on the fundamental belief that working-class values, attitudes and experiences are distinct from those of other classes. Research has demonstrated that working-class people think differently, have different priorities and share experiences that separate them from the middle and upper classes. Working-class people demonstrate a strong commitment to family and community and are more inclined to think and act collectively. They also tend to have a solid work ethic – although if you garnered your knowledge of working-class people from their representation on reality television programmes that denigrate participants whilst sensationalising poverty, you might not think this is true.

The intentions of the Inside Film project rest upon the knowledge that working-class life is often defined externally to the people who live it, by people with no experience of working-class life. As Marx pointed out, the proletariat are ‘the class in civil society that is not of civil society’. I would argue that many cultural projects run for the ‘benefit’ of the working class are dependent on middle-class professionals who create situations where they can access funding, further their careers and signal their (declassed) progressiveness.

These projects do not attempt to build subjectivities or movements able to engage critically with neoliberalism. Instead, they develop institutionally approved education programmes focused on ameliorating the pain and despair caused by neoliberalism and in the process contain and manage any potential for dissent. Presenting as politically neutral these programmes and the projects they deliver perpetuate the hegemonic values of the social, cultural and economic status quo.

It is important to realize that the generally negative one-dimensional representations and constantly repeated stereotypes of working-class people and working-class lives within the dominant culture are based on the decontextualized end results of lives severely by neoliberalism and the predations of corporate capitalism. The processes that create those results, the psychological impact of classism, and the effects of its discriminatory practices on the subjectivity of working-class people are ignored.

The films made by the people we work with represent the ‘embodied experience’ of the working class, whether that involves blurring the boundaries between right and wrong – as the prison films do – or providing a stark picture of life without the means to provide enough food for yourself or your family – as The Food Bank Film does.

These are stories of working-class life narrated by working-class people. These films deal with the multiple realities of working-class life as it is lived now – the anger, the contradictions and sometimes the resignation that austerity has created and the consequences of being working-class in a society where you are not valued.

The question of how we define class has become a complex one, partly because of the persistence of the white male, (usually Northern) industrial worker stereotype that continues to occupy the cultural imagination of the middle classes whenever the question of class arises. This depoliticized stereotype conveniently situates the working class firmly within the safety zone of historical artifact, and serves the purpose of dismissing (the working) class as an analytical category, making it easy to ignore the collective commitment essential to broadening our understanding of democracy and citizenship.

The rendering of class as an archaic concept makes possible a refusal to engage with class as a dynamic category which is actively shaped by oppression and the changing demands of a global capitalism, thereby reproducing the norms of neoliberalism and in the process ignoring or sidelining questions of class.

The primacy of class

Our insistence on the primacy of class, the rejection of liberal subjectivity and the building of solidarity based on shared experience are crucial factors in the work done by Inside Film. Its fair to say we have never found this concentration on class to pose a problem for the students we work with. On the contrary we have found it useful in mounting a defence against the postmodern insistence on the impossibility of stable categories and paradigmatic bodies of knowledge.

You can call our position one of crude Marxism and accuse us of essentialism – that's fine, we will continue to work with the material reality of working-class lives while arguing that the essentialism you accuse us of is apparent everyday in the one dimensional representation of working-class people in mainstream culture.

The work of Inside Film emphasizes the importance of placing dominant representations within the social relations of neoliberal capitalism and the wider context in which they exist, insisting on the dialectical relationship between economics, culture and power and arguing they need to be fought on the same front.

Neoliberalism is not simply an economic system; it is a political and cultural system that permeates all areas of life. If there was a time when we could embrace the idea that ‘culture is ordinary’, we now have to face the fact that culture is neoliberal. Neoliberalism has pervaded our sense of who we are, and has had a profound effect on the kind of culture we produce, the way in which that culture is consumed and understood, and what we define as culture.

Neoliberalism has mobilized all forms of culture, but especially the media, as a means of justifying the exploitation and ongoing assault on the rights of the poor. As argued elsewhere on Culture Matters, it attempts to reduce cultural activity to a conduit for a corporate ideology focused on the profit margin, and in the process remove its capacity for resistant forms and critical engagement.

That is why the concentration on culture does not mean an abandonment of the material realities of political economy – rather, it is recognition of how one has been mobilized to obfuscate the other, and how the realities of both cannot be exposed without an exploration of the way in which they are dialectically working together in order to support the systems based on individualism, competition and the profit motive.

So to say we are a filmmaking project is to simplify both our aims and our practice. We insist upon the indispensable role played by radical education (see also here). We believe in the importance of consciously exploring the complexities inherent in the interaction of the structural determinants of social relations; the role those determinants play in the formation of working class subjectivities; and the institutional constraints that reproduce class-determined ways of being that result in a hierarchical system made up of capitalist winners and working-class losers.

Hopefully what has become clear is that the Inside Film project is linking questions of representation to questions of class consciousness, and the potential for that consciousness to demand participation in a public sphere from which the working class have been strategically, deliberately and increasingly excluded.

It is demanding that the production of film and the process of education be viewed dialectically through the optic of the wider social and political spectrum of capitalist relations, particularly as they relate to class. Within the mainstream media, working-class meanings and working class realities are constructed as subordinate. Indeed the continuation of the present system is dependent on the exclusion and rejection of working-class meanings. The aim of the Inside Film project is to bring those subordinate meanings to the fore and to position it as the primary meanings. This can only be achieved by wresting control of the means of cultural production from those for whom the present state of affairs is both rewarding and profitable.

Crucially it means claiming working-class perspectives are not simply marginalized perspectives that need to be considered as one perspective amongst many. On the contrary, what we are arguing is that working-class experience and the knowledge embedded within that experience holds the potential to contribute to political and cultural transformations based on fairness, community and collective interests.

That is why the project aims to articulate and to bring into focus what should be glaringly obvious: it is working-class people who have the unique ability and the undeniable right to talk about what it means to be working-class, to represent themselves at this particular historical moment. The current emphasis on the politics of identity groups derives much of its legitimacy from its ability to direct attention away from questions of class politics and onto non-economic, more socially and politically acceptable forms of single-issue discrimination. Those issues are generated not by the capitalist system itself, as is the case with class, but emerge from the need to downplay the unequal distribution of wealth under capitalism.

The denial and disavowal of working-class experience within the dominant culture means that the necessary understanding that can lead to political transformation requires an excavation of working-class experience so that it can be re-evaluated, not under the terms of the values of the dominant culture but in relation to the specific values of working-class life.

The concept of cultural democracy presents us with a choice. We can stay within the confines of what is politically, intellectually and culturally acceptable and tinker at the edges to make life a little less brutal for those who are deliberately excluded – or we can make a stand and align ourselves with the downtrodden, the impoverished, the silenced.

We believe that we can commit to the creation of an oppositional culture, critical of and resistant to the dominant representations and ideological concerns of the mainstream. The first step is to recognize the definitional power of the media, and the unequally distributed cultural and economic capital involved in accessing that power.

Inside Film, inside prisons

The Inside Film project has to be understood as an attempt to project us into a future that does not exist, which is not known, one that will be produced in the very act of projecting ourselves into it. This is not an imagined utopianism into which our ideas of something different must fit. Rather it is a struggle to wrench the future from those who are content to continue as we are and who truly believe there is no alternative.

Within the education system as a whole, the definition of culture is limited, usually operating within the confines of middle-class taste, grounded in middle-class experience, producing cultural products and supporting, funding, and delivering cultural products and activities that fit well into the present neoliberal environment.

To build a more egalitarian, democratic cultural landscape we need to remove the teaching of culture and provision of cultural artifacts from the hands of a middle-class elite whose status and well-paid jobs are dependent on preventing or refusing to challenge cultural inequalities. Within the prison sector it is not unusual for those serving prison sentences to take part in opera, theatre, and creative writing projects. I am not denying that people who are banged up all day don't enjoy this work and derive pleasure from being involved in creative activities, but these projects provide a top-down version of how we understand culture and offer no opportunity for a more critical and participatory engagement with the creative process.

These kind of cultural activities, like most cultural activities, are political practices embedded within a conventional educational strategy of delivering knowledge of legitimized cultural forms. It is presented as a cultural provision intent on improving the lives of marginalized people, but there is no critical analysis of the purpose served by art when it is delivered within the institutions of the state and must be approved by those institutions as a means of regulating the imagination, while confining any radical potential within the framework of officially sanctioned cultural production. A perfect example of having your ideological cake and eating it.

This model of cultural provision serves the purpose of reproducing existing modes of social, cultural, and economic power and the modes of perception that sustain them. Discussions of class, poverty, and inequality are mostly absent from these kinds of projects. Offering a superficial version
of reality, they are unable to go any further than that which is already visible, and point to the limits of pedagogic and cultural practices enshrined within the prevailing socioeconomic order.

In this model, cultural provision is considered part of a project of self-improvement, premised on the notion that to ‘improve’ themselves the marginalized or the (deliberately) excluded must learn to appreciate middle-class art forms and the implicit naturalization of capitalist structures contained within their content, form, and aesthetic strategies. This is not a conception of art that can openly address questions of class even though it takes place in one of the institutions where the class divide is at its starkest.

Within the prison, the organization of art-based activities, their content, and their delivery are dependent on a classed conception of the purpose of art. Both the definition of art and the perceived purpose of art are subject to a narrowly defined, aprioristic role that contributes to the consolidation of class power. This model of art and art provision is not grounded in a view of education or art as a social and civic engagement with the potential for a deeper understanding of, and a more critical engagement with, the social forces that impact on our lives, but in one embedded within the self-interest of the middle classes and the universalizing impetus of class power. Art provision for the working class then becomes nothing more than proof of their symbolic and material lack.

The hegemonic neoliberal culture of homogenized individualism and competition that shapes the subjectivities of all of us has made it more difficult to build solidarities based on classed experience. Our cultural landscape is premised on its relevance to corporate profits. So the task of a radical cultural project such as Inside Film is to interpose the experiences of working-class people into that landscape and in the process foster the ability to situate working-class experience in the interface between culture as a way of maintaining social control, and culture as a potentially disruptive force linked once again to the everyday lives of the people who live it.

For more information on Inside Film, see here.

Capitalism, Communism, Christianity - and Christmas
Monday, 11 November 2024 14:29

Capitalism, Communism, Christianity - and Christmas

Published in Religion

Roland Boer answers questions about religion, capitalism, Christian communism – and Christmas. Culture Matters is also giving away a downloadable PDF of Professor Boer's new ebook on Christian communism, with best wishes to all our readers for the midwinter celebrations. Let's hope we have a culturally and politically progressive 2019........

Q. To start with, can you tell us a bit about yourself, and your path to Marxism?

A. My path to Marxism came through religion, particularly the Reformed (Calvinist) part of Protestantism. This may seem like a strange path, since the more common one is through Roman Catholicism – think of Terry Eagleton, Louis Althusser, David McLellan and so on. But it is one I share with far more illustrious people such as Friedrich Engels and Kim Il Sung.

How did this happen? My parents emigrated to Australia in the 1950s from the Netherlands, where the long post-war recession was still being felt. My father became a minister in the Reformed Churches of Australia, and later the Presbyterian Church. So I grew up as a minister’s son, with all of its benefits and drawbacks. It did mean that this type of Christian faith was part and parcel of everyday life – a rare experience these days. It was the fabric of my life, my assumptions and ways of experiencing the world.

Intellectually, this meant that I would inevitably study theology, but only after a degree in European classics (Greek, Latin and Sanskrit). While studying for a Bachelor of Divinity at the University of Sydney, I took a course in the 1980s called ‘Political and Liberation Theologies’. It was a real eye-opener – my first in-depth engagement with the intersections between Marxism and religion, which would shape much of what I did later. A Master’s thesis on Marx and Hegel followed, with a doctorate in Montreal on Marxist literary criticism of the Bible.

Various jobs followed: a minister in the church, a lecturer in a theological college, a university research scholar. But I have always been somewhat ambivalent about such institutions and their demands. There is always one foot outside, searching for another path.

The reality was that I was on some type of quest: to follow the whole Marxist tradition in all its many directions. In a Western European situation, this meant – given my interests – the complex intersections with Christianity. It is a commonplace that Western European cultures and traditions are deeply shaped by the realities of Christian (and Jewish) thought in so many ways. This meant that many Marxists, from Marx and Engels onwards, had to engage with religion. A similar point could be made about Russian Marxism, although this was now the Eastern Orthodox tradition, with its distinct theological developments.

The study of Russian Marxism brought me to a new awareness: as Lenin said on many occasions, winning power through a communist revolution is relatively easy; trying to construct socialism, often in a hostile environment, is infinitely more complex. So I became more interested in what might be called ‘After October’, after the revolution. What communist parties do when in power is an extraordinary area to study, especially since it remains so under-studied. New problems arise that could simply not be foreseen by Marx and Engels, who never experienced what may be called ‘socialism in power’. New solutions must be found and new theoretical positions developed.

All of this took me to China (and more recently North Korea). Here communist parties are in power, and I prefer to take that reality seriously rather than simply dismiss it. What are the practical and theoretical developments? How do the cultural and historical contexts – so different from Western Europe and Russia – influence the developments of Marxism? One obvious point is that the history of engagements with religion is so different that one must start again in order to understand what is going on.

So I am now, along with a number of others, working on a project called ‘Socialism in Power’. My interest is in Chinese Marxist philosophy, which entails knowing the language and engaging with the rich tradition of this philosophy and its relations with traditional Chinese philosophy. What topics interest me? They include the socialist state, a Chinese Marxist approach to human rights, Chinese approaches to ‘utopia’ and how these are reinterpreted in light of Marxism, and even what the Chinese mean by a socialist market economy.

Q. You’ve written for Culture Matters on a number of topics. Can you start by saying something about Marx, Engels and Lenin’s comments on religion?

A.‘Opium of the people’ is where we should begin. For a young Marx in his twenties it meant not simply a drug that dulls the senses and helps one forget the miseries of the present. Instead, the metaphor of opium in the nineteenth century was a complex one. On the one hand, opium was seen as a cheap and widely available medicine, readily accessible for the poor. Marx himself used opium whenever he felt ill, which was often. On the other hand, opium became increasingly to be seen as a curse. Medical authorities began to warn of addiction and that perhaps its healing properties were not what many people believed. And the scandal of the British Empire forcing opium on the Chinese in order to empty Chinese coffers became more and more apparent. In short, opium was a very ambivalent metaphor: blessing and curse, medicine and dangerous drug, British wealth and colonial oppression. This ambivalence carries through to religion.

As for this ambivalence, Engels is our best (early) guide. Despite giving up his Reformed faith – with much struggle – for communism, he kept a lifelong interest in religion. He would frequently denounce religion as a reactionary curse, longing for it to be relegated to the museum of antiquities. But he also began to see a revolutionary potential in religion, which came to its first full expression in his 1850 piece on the German Peasant War. This was a study of Thomas Müntzer and the Peasant Revolt of 1525, which was inspired by a radical interpretation of the Bible.

It was the first Marxist study of what later came to be called (by Karl Kautsky) Christian communism, although Engels tended to see the theological language as a ‘cloak’ or ‘husk’ for more central economic and political matters. But Engels was not yet done. Not long before his death in 1895, an article appeared on early Christianity. Here Engels challenged everyone – Marxists and Christians alike – to take seriously the argument that early Christianity was revolutionary. Why? It drew its members from slaves, peasants and unemployed urban poor; it shared many features with the communist movement of his own day; it eventually conquered the Roman Empire. We may want to question the last assertion, as indeed later Marxists like Karl Kautsky did, for Christianity – unexpectedly for some – became a religion of empire rather than conquering it.

Does Lenin have any insights for understanding religion? Generally, he was more trenchantly opposed, not least because the Russian Orthodox Church sided so clearly with the collapsing tsarist autocracy. Yet there are some insights. Apart from Lenin’s continued interest in sectarian Christian groups after the October revolution, let me make two observations.

The first is that Lenin agreed with a position that had been hammered out in the German Social-Democratic Party: religious belief is not a barrier to joining a communist party. Marx and Engels had already indicated as much in terms of the First International. Why? Religion is not the primary problem; instead, the main target is economic and social exploitation. Indeed, this principle has by and large been followed by nearly all communist parties since then (although the Communist Part of China is an interesting exception).

Second, Lenin reinterpreted Marx’s ‘opium of the people’ not as ‘opium for the people’ (as is commonly believed) but as a kind of ‘spiritual booze’. This term has many layers in Russian culture, all the way from Russian Orthodox theology to the complex role of vodka in Russian society. The main point is that ‘spiritual booze’ is not immediately a dismissal, but rather a grudging acknowledgement of the sheer complexity of religion itself.

Q…..and on the topic of religion and capitalism?

A. Let us go to the heart of the matter, with Marx (and leave aside the superficial efforts to see capitalism as a type of ‘religion’). The most thorough analysis of how religion works in capitalism comes through Marx’s reinterpretation of the idea of the fetish.

Over forty years, Marx turned this idea over and over. He was always aware of its religious dimensions, but he also transformed it (the German is Aufhebung) into a very useful way to understand the core functions of capital. To find this insight, we need to go to the third volume of Capital. After pointing out that fetishism attaches to every feature of capitalism, he then points out the key fetish: money produces money, capital produces profit or interest in and of itself. Or as his formula puts it: M–M1. Why is this the main fetish? It is both unreal and real, mystical and concrete. On the one hand, it obscures labour and production, pretending that money produces money; on the other hand, it is very real and profoundly oppressive. It is what would now be called the ‘financialisation of the market’. This is what he means by the ‘religion of everyday life’.

Q. The ebook that you’ve written for Culture Matters is on the topic of Christian communism. What are the biblical roots of Christian communism?

A. Let us begin with the socio-economic situation, because Christianity, like most religions, is a response to economic injustice and oppression in this world. In the Eastern Mediterranean, Rome’s imperialism was reshaping peasant agriculture, and the burdens of taxation and debt were growing, deeply affecting local economies, village communities, cultures and health – malaria, for example, was rife.

When the Romans eventually took possession of the Eastern Mediterranean, they found a colonial system that was working rather well – if one thinks in terms of the colonisers. They took over what the Greeks had already established for a few centuries and modified it in the light of their own preferences. This was a system of Greek ‘cities’ (polis), which marked the colonising presence of foreigners. These cities were Greek-speaking, with Greek culture, institutions and town planning.

Above all, they relied on all of the surrounding territory (called the chora) to supply everything the cities needed. Their ‘needs’ were substantial, transforming the economic structures of this chora.

But what was the chora? In a colonial situation, the chora was not the arable land around the city (as in Greece). Instead, it comprised all of the villages, land and peasants who worked the land. They spoke the local language, followed local customs and practices and saw the colonising cities as thoroughly foreign. Given the immense demands from the cities, the lives of the peasants were transformed. They were often forced to move into lower areas rife with malaria, with profound consequences for short lives – life expectancy was around 30.

Roman armies frequently cut swathes through this countryside, as ‘punishment’ for revolt. Mass enslavements took place, further reducing rural labour power. In a recently published book with Christina Petterson (Time of Troubles), we have described this as a ‘colonial regime’. The Romans gradually transformed the system they inherited. Even though the cities remained Greek in culture, they were also required to provide the relatively large city of Rome itself with even larger supplies of grain, and of course slaves.

Q. Given this context of exploitation and oppression, can you give us some examples of parables and stories from the NT which can be interpreted as revolutionary hopes, prescriptions, exhortations etc.?

A. Perhaps it is best to begin with an item that is often a stumbling block to modern readers: the healing stories. To modern eyes, they seem magical, the stuff of ‘faith healing’. But they can be read at two levels. The first is the reality of lives broken by disease. Earlier, I mentioned the pervasiveness of malaria, born by mosquitoes. Malaria does not necessarily kill immediately, but it makes one prone to a multitude of other diseases. The healing stories provide an answer to this reality.

At a symbolic level, these stories also respond to lives broken by poverty, exploitation and the profound disruption to kin networks. At the same time, we need to be wary: the Greeks and Romans liked to characterise peasants as ugly, misshapen and deformed (among other items of class consciousness). The presence of so many people in the Gospels with what would now be called ‘disabilities’ may also be seen as a standard way of depicting peasants. In this light, the healing stories disrupt this type of anti-peasant class consciousness.

More obviously, we find in the Gospels a whole series of sayings and events that challenge Roman perceptions of private property, imperialism and exploitation of colonised areas of the empire. Let me give one example of each:

A challenge to private property, which the Romans had invented as a legal category in the late second century BCE. At one point, Jesus tells his disciples, ‘it is easier for a camel to go through the eye of a needle than for someone who is rich to enter the kingdom of God’.

A challenge to imperialism: asked about a coin and whose bust was on it, Jesus replies, ‘Give to Caesar what is Caesar’s and to God what is God’s’. In other words, the emperor is due nothing, while God is due everything. ‘What has Rome given us?’ Jesus says. ‘Nothing’, is the reply.

A challenge to imperial exploitation: the best example here is a central item of the church’s liturgy. Each week at evening prayer, I recite the following, which are the words of Mary from the Gospel of Luke: ‘He has brought down the powerful from their thrones, and lifted up the lowly; he has filled the hungry with good things, and sent the rich away empty’. I suspect that the radical sense of these words has been lost through two millennia of repetition.

Also lost to view has been the practical way of life that early Christians led, which was essentially communist. Their solution to the problems of exploitation and oppression was sharing, and common ownership, as described in Acts of the Apostles:

Now the whole group of those who believed were of one heart and soul, and no one claimed private ownership of any possessions, but everything they owned was held in common … and it was distributed to each as any had need.

Q. How did this ‘communist’ tradition continue, and how was it suppressed and co-opted by the ruling classes?

A. At this point, we need to backtrack a little. The idea of Christian communism was first proposed by Karl Kautsky, the leading intellectual of the second generation of Marxists. In a massive study – called Forerunners of Modern Socialism – that has been translated only partially into English, Kautsky and his comrades set about identifying a whole tradition of European Christian communism. A careful analysis of this work appears in the first chapter of a book called Red Theology, which will be published in early 2019.

Kautsky identifies the basic impulse for Christian communism in many sayings of the Gospels, but above all in two brief texts from the ‘Acts of the Apostles’. The first is quoted above, the second was: ‘All who believed were together and had all things in common’. For Kautsky, this was enough of an inspiration for a Christian form of communism that would resonate through the ages.

For our purposes here, Kautsky notes that this communist impulse was appropriated by the powers that be in terms of ‘charity’ and ‘alms’. As Christianity spread, it adapted to imperial power. The turning point was when Constantine made Christianity the imperial religion. The radical texts remained, but they were softened and spiritualised into admonitions for alms, family life and simple living.

But it could not be completely appropriated and suppressed. At the moment of this appropriation, the monastic movement arose, which rejected the trappings of wealth and power and sought the simplicity of the original Christian life far from the centres of power.

Q. What examples of Christian communism have there been in the West?

A. There have been many, not least the ongoing monastic movement. The Christian communist impulse refused to die. It kept reappearing, challenging the status quo and the tendency for the Church to become a surrogate for imperial values. The examples are many, but they are predicated on a basic dynamic of Christianity. In the name of returning to the original Christian community, one movement after another has tried to reform the Church from within or challenge it from outside.

Christian communism has had a fascinating history of 2,000 years. There have been two currents: a) communal life with all things in common; b) revolutionary uprisings, due to persecution and radical criticism of the status quo. The communal expression is found in the Franciscans, Beguines, the Moravian Brethren, the Levellers and Diggers in England, and the many American Utopian communes, such as Pantisocracy and the communities inspired by Étienne Cabet.

The revolutionary impulse appears first with the Dulcinians, who took up arms in the early fourteenth century. Later, it appears all over Europe, especially with the rise of early capitalism: Taborites in Bohemia, Peasant Revolutions in England and Europe, especially with Thomas Müntzer (1525) and the Anabaptist Revolution in Münster (1534-1535).

Keir Hardie and Tony Benn are two more recent examples of socialists who were shaped by Christian beliefs.

Q. What examples of Christian communism have emerged in other parts of the world?

A. Russia has a long history, with sectarian groups (Old Believers, Doukhobors, Molokans and so on) and an older peasant Christian communism, with its slogan, ‘the land is God’s’. Tolstoy was a champion of this type, based on the village-commune with land in common.

During the Russian Revolution a unique form arose: ‘God-Building’. According to Anatoly Lunacharsky, Soviet People’s Commissar for Education and Culture, the gods of religion represented the ideals to which human beings were striving. Socialism could embody this approach in education, art, culture – and especially through revolution.

In modern times, the Christian churches of the DPRK have come to support the Korean effort to construct socialism. They are actively engaged in domestic social work and internationally work to overcome the deep anti-DPRK prejudice.

The Chinese tradition of Christian communism, which arose in the early twentieth century, is the most interesting of all.

One of its main theologians was Wu Yaozong, who spoke of two conversions: one to Christianity and one to Marxism-Leninism. Wu established the Three-Self Patriotic Movement Church, established in 1951 and supported by the government, which is now the largest Protestant organisation in the world, with more than 38 million members – and growing.

Even the Vatican understands the natural links between the Chinese state’s struggle for socialism and practical application of the Gospel. It recently pointed out that the Chinese state’s commitment to the common good has much more affinity with Catholic Social Teaching than the individualism of Western liberal democracies. Let me focus on the recent agreement between the Vatican and the Chinese government, which has confounded many observers, including on the socialist left.

Three recent statements are important for understanding the agreement, which seeks to solve a centuries-long problem: who will appoint bishops, the Vatican or the Chinese government. Up to recent times, there have been two Roman Catholic Churches in China, one recognised by the Vatican and the other recognised by the Chinese government. The 2018 agreement finally solves this problem. But from the Vatican’s side, it was framed in terms of some very important observations.

First, in 2016, Pope Francis observed:

It has been said many times and my response has always been that, if anything, it is the communists who think like Christians. Christ spoke of a society where the poor, the weak and the marginalized have the right to decide.

Second, in 2018 Massimo Faggioli (from Villanova University) pointed out that:

…the use of Catholicism as an ideological surrogate for Western ideologies is not new, but is especially at odds with Pope Francis’ vision of Catholicism, and it makes it impossible to understand this important moment in the relations between the Vatican and China.

In other words, the church has its own agenda and is not to be co-opted by a Western liberal ideological agenda.

Third, and most importantly, Bishop Sorondo, who is head of the Pontifical Academy of Social Sciences, made the following arresting observation in 2018:

Right now, those who are best implementing the social doctrine of the Church are the Chinese … They seek the common good, subordinating things to the general good … The dignity of the person is defended … Liberal thought has liquidated the concept of the common good, not even wanting to take it into account, asserting that it is an empty idea, without any interest. By contrast, the Chinese focus on work and the common good.

This may seem like an extraordinary development, especially in light of the ramped-up Sinophobia in a small number of Western countries, but it makes quite clear that the Vatican has its own agenda in the light of a long history of Catholic Social Teaching, and that it values the social good. For the Vatican, China embodies in our time a focus on the common good.

Churches in China are full to overflowing, apart from the many, many Muslims in China (Hui and Uyghur minorities that number in tens of millions) and indeed the Buddhists. Obviously, they are doing something right.

Perhaps we can learn something from the Chinese experience, not least in the way different Christian churches are seeking to contribute to the construction of socialism.

Q. So there seems to be quite a lot of evidence, throughout history and across the world, that Christianity and communism can be mutually supportive - although clearly there have also times when they have been deeply opposed! What are the lessons for Western socialist politics, and political parties?

A. Churches, mosques, temples and meditation centres need to remember that religion is not all about a private spiritual life focused on another world. This world too, with its exploitation, injustice and inequality, is also vitally important. As each tradition recognises, faith is collective and unitive, a fundamental part of our social natures.

That means working with others for the core aspirations of socialism. One example is to become part of the movement for cultural democracy, to liberate itself from the legitimation of exploitation and oppression and like other cultural activities become part of the struggle to transform the material world.

Let me make the following initial suggestions: first, Western churches may want to begin rethinking their comfortable alignment with liberalism and the modern Euro-American project. I am not using liberalism here in the American sense, where it has come to mean – for various reasons – what is progressive. Instead, I mean liberalism – and its more recent form as neo-liberalism – as the main ideological framework for modern capitalism. It means the primacy of the private individual at the expense of the social and the dismissal of any notion of the common good. Aligning with this ideology has been deadly for Western Churches, as empty pews on any Sunday can attest. The answer is not more liberalism, which we often find in Pentecostal churches and others on the religious right. The answer is to recover the Christian affirmation of the common good.

It is important to do so from within the dynamic of Christianity: the faith and the creeds and the practices of the churches and of religious belief. My influence is the Christian communist tradition, which arises from within such affirmations. This suggestion may seem slightly strange for those who have never experienced religious faith or find it simply mystifying and nonsensical (as the New Atheist movement tries to do in our time). But this is where the inspiration lies – a kind of ‘spiritual reserve’ to inhibit the usual drift away from radicalism,.

For example, the Chinese Christian communist, Wu Yaozong, made it clear that his position arose from faith, prayer and Christian belief, and not from some opportunist compromise with the communists. Thus, the Three-Self Patriotic Movement Church – which Wu Yaozong helped to establish – in China today is deeply confessional. Or if you look at the statements concerning the Vatican’s reasons for the agreement with the Chinese government, they make it clear that the ultimate basis is theological and pastoral.

Let me put it this way: the Christian call to conversion is far more than an individual moment. The original Greek is metanoia, which means a change of heart and mind. This change of direction, of a turn in one’s life and setting out on a new road, is very much a collective change.

What does this entail? In terms of communist parties, which seem to be undergoing a revival as I write, it is worth reminding them of the Christian communist tradition. This tradition is so important for the Western developments of communism (it was first identified by Marxists, after all) and it reminds us that Christianity is not simply a reactionary and conservative force.

In the context of the UK, it may mean influencing an actual Labour government with Jeremy Corbyn as prime minister. The traditions of British Labour can play a role here, with inspiring leaders like Keir Hardie and Tony Benn, who have drawn on the Christian tradition. The trap, of course, is that such a government may end up losing its radical agenda once in office, as has happened so often before. For this reason, I wrote ‘influencing’, or working to keep the radical agenda at the forefront and even pushing it further to the Left. This may be called a Western version of working with progressive movements, but not identifying with them completely. Perhaps the best slogan here is ‘within and for socialism, but holding socialism to account’.

Or it may mean becoming part of a wider dynamic like ‘cultural democracy’ that seeks to reclaim culture for the people rather than big business and its overwhelming drive for profits As writers on Culture Matters and elsewhere have argued, we need democratic control and various forms of social ownership over the arts, sport, the media – and the churches, mosques and temples.

We need it because culture is integral to the socialist project, an essential part of an all-round healthy, happy, human existence. Our participation in cultural activities like religion should be part of our individual and collective realisation of the common good, and not be undertaken for commercial profit or to ignore, deny or legitimise profit-seeking economic systems like capitalism.

Q. Finally, do you have any other thoughts for our readers, relevant to this Christmas season?

A. Yes – the nativity story is full of radical potential! Jesus is born to a poor family, perhaps in a stable or even on the street, and placed in a feeding trough after birth. Why? An innkeeping businessman turned them away, and then the family was harassed and hunted by the puppet king Herod. Think of the Magnificat, when Mary says:

He has brought down the powerful from their thrones, and lifted up the lowly; he has filled the hungry with good things, and sent the rich away empty.

And as for the great tradition of Christmas gifts, and Boxing Day, we should remember that the communist slogan – ‘from each according to ability, to each according to need’ – comes originally from the Book of Acts: ‘everything they owned was held in common … and it was distributed to each as had any need’.

 IR 20 resized

Christian Communism, by Roland Boer, published as a downloadable PDF by Culture Matters, December 2018.

 

 

Street art, Bristol
Monday, 11 November 2024 14:29

Caught Doing Social Work? - socially engaged art and the dangers of becoming social workers

Published in Cultural Commentary

Stephen Pritchard offers some provocations on themes around instrumentalism of the arts and artists, gentrification and artwashing in the age of neoliberal capitalism.

Many people in the artworld believe that art can deliver social change. Many are following yet another artworld trend – that of socially engaged art. This is perhaps best represented by Assemble winning the 2015 Turner Prize. An important moment in the turn (or perhaps return) towards “Useful Art”.

assemblegroup

Assemble group photo, 2014

Many more see socially engaged art as a way of instrumentalising artistic practices in the name of state, corporate and other agendas. The English state, for example, instrumentalises art as a means of “improving” the economy, health and wellbeing, social ills, education, the environment, urban places, crime rates, unemployment, on and on and on. Art can, some argue, offer salvation to all our ills: Panacea Art.

Cultural policies around the globe are being honed to embed art and culture as a way of supporting and delivering the agendas of almost every government department and non-government organisation; harnessed by big businesses to unleash the false fog of corporate social responsibility.

In this sense, socially engaged art becomes yet another tool employed to support the target-driven, cost-benefit values of the dominant neoliberal ideology that is strangling our lives in the noose of individualism and strapping us into the straitjacket of uncaring personal gain.

A humanistic, socialist cultural democracy

The problem with this perspective is, for me, three-fold. Firstly, and most importantly, the type of social change being sought here is always state-led and thereby powered by political and economic agendas, meaning the arts will always be instrumental. Beautifully crafted, state-funded tools impose the soft power that’s so important to neoliberalism.

Secondly, there is the question of what is social change? Arguably anything: Good or bad; emancipatory or totalitarian; always ideological; never likely to result in paradigm-shifts. Recycling household waste is social change; but then so is Nazism.

Thirdly, people who not part of the artworld are not usually listened to. Their words, thoughts, ideas, wishes, dreams, hopes, fears are ignored or sanitised. Most people are disenfranchised by cultural policies “done to them”, not by, with and for them. This isn’t social justice. This isn’t democracy.

I believe in the radically political project (or perhaps projects) of cultural democracy. People-powered participatory democracy. Humanistic and socialist democracy. The arts have been used very effectively to implement all sorts of state agendas for time immemorial, but they have also been equally effective in opposing the state, opposing capitalism. So, does our work support neoliberal ideology or contest and oppose it?

 Missionaries, Mercenaries, Mediators and Mobilisers

We all learn and experience and express ourselves through cultural activities (whether “high” art or “popular” cultures and subcultures). Our creativity leads us to everyday revolutions that change our ways of being and living in our everyday cultures.

So why do we privilege artists to “engage” people in projects or “work” with people in ill-defined and misunderstood “social” spaces or places?

Are we, as artists working in “the social”, working as Missionaries preaching the Western European, white, middle-class, male, able-bodied gospel of the neoliberal creative industries and Creative Class?

Are we working as Mercenaries, engaging “disadvantaged” people and people in “difficult” places and communities somehow deemed to be in some way lacking in culture, for the sole reason that we need to make a living, a career, to make money?

Are we working as privileged Mediators capable of listening to people who are not listened to – who are ignored – with the sole purpose of helping amplify their frustrations, their anger, their fears, their hopes, their ideas, their demands for rights?

Are we working as Mobilisers – as political activists?

I ask, then, which side are you on?

Who Pays the Piper?

We are privileged. It’s how we use that privilege that matters. We must recognise that our practices are powerful and that we are influential. We must use our influence positively to bring about real and lasting change – radical change.

This is not the time to be instrumentalised by the state, by local authorities, by corporations, by NGOs, by those with vested interests in developing or profiting from our present neoliberal hegemony and the dominance of a neo-colonial Western culture propped-up by art, and proliferated using the slow violence of socially engaged art.

We must not be mercenaries or missionaries.

We can be mediators only if we recognise the privileged position of being able to mediate, and only if we do this with humility and when we do this ethically.

We can be mobilisers working as part of a broad movement of movements for radical social and political and economic change.

We can help bring down the citadels.

We can be part of the demand for the Right to the City.

We can be part of the movement to take back the city.

We can challenge status quos.

We can call for the decolonisation of our racist Western culture.

We can call out those who proliferate inequity, selfish individualism and greed.

We can stand together with those who are denied the privilege given to us.

Are we, then, truly using our privilege to help bring about truly radical acts?

A Revolution of Everyday Life?

We must never help governments and developers displace people.

We must say no to those who want to use us to deliver their neoliberal agendas.

We must never work as NGO artists, subtly instilling Western culture and language and ways of living on different people from different places.

We are not social workers or community workers or community developers or doctors or nurses or psychotherapists or teachers or preachers or community consultants.

We are not foot soldiers of capitalism.

We are not place-makers.

We are not the servants of the neoliberal Creative Industries ideal.

We must never be story-harvesters.

And we are not social cleansers.

Human relationships, radical action and democratic grassroots participation must happen in our everyday lives.

We need a Revolution of Everyday Life: revolutions of everyday lives.

As artists, we can help bring about a revolution of our everyday lives, of everyone’s lives and ways of being and living.

We can help people self-organise, cooperate and reignite our understanding of ourselves as individuals who are stronger collectively.

But we must never get caught doing social work.

Have you been caught doing social work?

Disturbing the Dust on a Bowl of Rose-Leaves

Cultural policy, like fortune, has always favoured the rich and powerful. But it has never before been harnessed so nefariously in the name of “social work”.

We must say NO! We must remember our roots; revisit our histories. We must understand how and why our arts and cultures have been separated from our everyday lives.

We must be wary of those who seek to enforce their values upon our creativity or denounce it as inferior to other cultural activities.

The qualities of radical acts exist in the form of aesthetic experiences not shallow, monolithic Kantian aesthetics.

Our everyday acts and our everyday cultures transcend instrumentalism.

Our everyday lives take must not be determined by institutions – artworld or otherwise.

We are to them like dandelions. We are weeds.

Yet, whilst they regard themselves as fragrant roses, safe within their walled gardens, we know that old roses, old cultivars, grow weak with age. We know that, as dandelions, as wildflowers, we are vigorous and hardy and that we can grow anywhere – whether inside or outside the false boundaries of their garden.

What might have been and what has been
Point to one end, which is always present.
Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden. My words echo
Thus, in your mind.
But to what purpose
Disturbing the dust on a bowl of rose-leaves
I do not know.

- T.S. Eliot, Burnt Norton, 1935. (From The Four Quartets, 1941.)

Stephen Pritchard blogs here. 

Invisible Britain: Portraits of Hope and Resilience
Monday, 11 November 2024 14:29

Invisible Britain: Portraits of Hope and Resilience

Published in Visual Arts

Mike Quille reviews Invisible Britain: Portraits of Hope and Resilience, and interviews the editor, Paul Sng.

Paul Sng’s films – Sleaford Mods, and Dispossession: The Great Housing Swindle – have explored the lives of working-class people who have been ignored, marginalised or demonised by mainstream media, and who are protesting and challenging the status quo in some way.

In this new book of documentary photographs, the portraits and accompanying text tell the untold, invisible stories of people who have been targeted by austerity economics, left behind by cuts to public services and excluded from mainstream media narratives.

PS Corinne by Jenny Lewis resized

Corinne, by Jenny Lewis

The subjects look out at us in a dignified, equal way. They’re not case studies of despair to grit up a superficial TV drama, nor are they illustrations of some story about benefit scroungers. They are sensitive, revealing and empathic portraits – some inspiring, some heartbreaking – of ordinary people with stories to tell us.

PS Carl by J A Mortram resized

Carl, by J. S. Mottram

Their stories are about their setbacks and suffering, and the various ways they persist in fighting back. Not just through political campaigning, but through voluntary caring work with prostitutes, disabled people, ex-offenders, drug users, and other poor, oppressed and exploited groups in modern capitalist society.

These people have all experienced suffering, exploitation and discrimination, against themselves and those they care about. But their determination, resilience and sense of solidarity shine through both their portraits and their stories. It is striking how much their experiences and values have made them politically aware, quite conscious of the punishment handed out to them by a rigged economic and political system.

PS Karen by Jon Tonks resized

Karen, by Jon Tonks

The value, beauty and power of this book lies in its creation of an alternative narrative that challenges all the stigmas and stereotypes that have been generated by the de-industrialisation, discrimination and class conflict of the last few decades of neoliberal capitalism. It is a fine example of the art of photography being used not to fool us with glossy photoshopped adverts of skinny models and shiny cars, but to tell the plain truth of people’s lives these days, and to stimulate our compassion, empathy and desire for radical change.

Ken Loach has said this about the book:

This book illustrates a truth we cannot ignore. Class conflict is at the heart of our society, the inevitable consequence of this economic system. This should be the first principle of our politics. Paul Sng also shows another eternal truth: in the end, people always fight back. Our task is to ensure that their resistance is not in vain.

It is indeed a vivid and truthful account of contemporary class conflict and struggle. But as well as its value as a document, it is also itself part of the cultural struggle – a protest and an inspiration to us all to join and help achieve a better life for the poor, the marginalised and the oppressed – and ourselves.

Invisible Britain: Portraits of Hope and Resilience is published by Policy Press on 1 November. Editor Paul Sng will be touring the book with a series of Q&As and screenings of the film (reviewed here) that helped inspire the book, Sleaford Mods – Invisible Britain, from 1-10 November. Dates and details via www.invisiblebritain.com  

The Interview

Q. Can you tell us about your films -- Sleaford Mods: Invisible Britain and Dispossession: The Great Social Housing Swindle?

I fell into filmmaking at the age of 38. Until then I'd worked in a series of office jobs, and before that in bars and shops. I was inspired to make my first documentary after interviewing the band Sleaford Mods in October 2014. They mentioned that they were going to be doing a tour of small venues around the UK in places where a lot of bands don't usually go, some of which were in deindustrialised areas like Barnsley and Stockton-on-Tees, and inner cities that had suffered heavily from government cuts to public services.

It was one of those lightbulb moments. I thought, 'That would make a great documentary'. The idea was developed to be part band doc, part state of the nation film. In each place we visited, we met with people in the local community to ask them how austerity and other unpopular government policies had affected them. The film was shot in the run-up to the 2015 General Election and came out in cinemas in October 2015. 11 months from concept to theatrical release, self-distributed. It's very raw, and perhaps too polemical, but it got noticed and gave me a new career as a filmmaker.

I made my second documentary, Dispossession: The Great Social Housing Swindle, in 2016/17. I made it to examine the neglect and mismanagement of social housing over the past few decades, and how this had affected residents in various areas and council estates in London, Nottingham, and Glasgow.

It came out on 8 June 2017, the day of the last General Election. Five days later, the Grenfell Tower fire happened, which made the film even more relevant. We ran a campaign in tandem with a nationwide tour of Q&A screenings to try and raise awareness about the issues, which was well received.

PS Nadine by Nicola Muirhead resized

Nadine, by Nicola Muirhead

Q. What have been your main political and artistic influences?

I've not really thought about political influences before. If I'm influenced by politics it comes through in the issues my work has focused on: austerity, deindustrialisation, housing. Grassroots campaigns inspire me more than politicians, people like Focus E15 and The United Voice of the World union. Artistically, as a documentary maker, my work is influenced by Patrick Keiller, Michael Grigsby and Julien Temple.

Q. What was the background to your move to documentary photography, and this book?

I was in touch with Alison Shaw from Policy Press via Twitter and she mentioned that she'd be interested if I ever had an idea for a book, so I pitched the concept behind Invisible Britain, which is essentially a book of stories and portraits from people who we don't often hear from directly in the arts and media. I then met Laura Dicken, who curated and project managed the book, and we set about finding photographers and people who were up for sharing their stories. I didn't take any photos for the book, as I'm not at that standard yet.

The ethos behind the book was to amplify unheard voices and provide a means for people to speak in their own words about a specific issue or something that had impacted on their life. Direct testimony, with only minimal editing for length. Everyone got to approve the text before it was published. I enjoyed the challenge of working with the photographers – to capture someone's character or an element of their story or personality in a single image shows incredible artistry.

Reiss by Jo Metson Scott

Q. The book seems to be a good example itself of cultural democracy. Many of the photographers are relative newcomers; the focus is on ordinary working-class subjects and their lives; there is a clear egalitarian ethos in the portraits; and the images and text together represent a clear protest against capitalist economics and a longing for a fairer society. What are your views on class, politics and culture generally, particularly in the visual arts?

I think the arts has become too middle-class, and too nepotistic. I see so many examples of people who have very little ability, but very good connections. There's not enough inclusion, and that's across both social class and ethnic background. A lot of organisations have diversity quotas, but I think there's a danger that it becomes a box-ticking exercise.

The book is intended to be the first step towards setting up an Invisible Britain platform that will work with underrepresented individuals and communities to amplify their voices and help enable them to tell their stories in the arts and media. We would also run creative workshops in various areas of filmmaking and a training and mentorship scheme, as well as offering paid work placements on film and television productions. It's in very early development, but I'm hopeful we can do something to make the arts and media more inclusive of people whose voices aren't heard often enough.

PS Sé by Cian Oba Smith resized

Sé, by Cian Oba-Smith

Q. What would be your advice to an incoming Labour government on its priorities to address the issues raised by this book and your work generally? What would a socialist culture policy look like?

I think the priority for any new government should be much greater investment in areas of the UK that don't have any facilities for the arts. More funding for libraries should also be a priority. Labour councils in London are closing libraries by the dozen, which is terrible. More funding for the BFI to build more regional hubs in rural and remote areas. State funding for arts and culture has shrunk over the past decade, and entry to these industries is becoming more and more off limits to working class people. I'd like to see more paid scholarships for exceptional students from disadvantaged backgrounds of all ages to study creative arts courses. There also needs to be greater scrutiny of how and where the funding is spent, to prevent nepotism.

 

Culture for the many, not the few: notes towards a socialist culture policy
Monday, 11 November 2024 14:29

Culture for the many, not the few: notes towards a socialist culture policy

Published in Cultural Commentary

Chris Guiton and Mike Quille present an analysis of what culture means, and what a democratic and socialist approach to culture policy might look like.

Introduction

The mission of Culture Matters Co-Operative Ltd is to promote cultural democracy, which we understand to be a more democratic and socialist approach to all cultural activities (including the arts). These notes set out our contribution to the current debates around cultural democracy. They set out our thoughts on

- What culture means and why it is so important

- The links between cultural activities and politics, and current examples of the way cultural activities function in class-divided societies like our own

- The general principles of a democratic and socialist approach to all cultural activities

- Details and illustrative examples of specific measures which might form part of a programme for an incoming Labour government.

What culture means and why it is important

What is culture? ‘Culture is ordinary: that is where we must start’ said Raymond Williams. This means that culture includes not just the arts, but much, much more. It includes all those learned human activities which give life purpose, meaning and value, and which human beings engage in for enjoyment, entertainment and enlightenment.

So as well as the arts, culture includes sport, religion, eating and drinking, fashion and clothing, education, the media and many other popular activities.

What does culture mean to us? Fundamentally, cultural activities are social, unifying and egalitarian. They assert our common humanity and solidarity against divisions of class, gender, race and other social divisions caused by capitalism. And cultural activities, especially art, can directly inspire and support radical change in the real world.

Taking part in cultural activities, as consumers and as producers, is not some optional extra for us. It is absolutely essential to our development as humans. It sustains our health, well-being and happiness, including our freedom from oppressive political systems and exploitative economic arrangements.

Culture, politics and class

Class-based divisions in society, based on unequal property ownership, constrain or prevent our enjoyment of culture. Cultural activities may be fundamentally liberating and social activities, but in societies divided by class they are limited, appropriated and privatised by ruling elites.

Throughout history, tiny minorities of dominant social classes have tried – and often succeeded – in turning culture into circuses, to go with the breadcrumbs thrown from the tables of the rich and powerful. In these societies, cultural activities become inaccessible, costly, irrelevant, and even an instrument of oppression. It tends to be owned, organised and delivered in undemocratic ways. It legitimises, conceals or ignores oppression and exploitation. And it is often used to promote diversionary and reactionary political messages and values.

So struggles develop against these tendencies to privatise and undermine culture, and to develop and sustain a cultural commons for the many, not the few. We, the many, face a cultural struggle against the co-option, misuse and appropriation of cultural activities. This struggle to regain enjoyable, meaningful and accessible cultural activities is like our economic and political struggles for fairer wages, for ownership and control of essential social goods and services like the railways, the utility companies and the National Health Service.

Just as commercial markets and the profit motive have shown themselves unable to provide adequate public services in areas such as health, energy and transport, so they are also unable to provide accessible culture. The aggressive inroads of neoliberal capitalism, bringing profit-making motives into cultural production, delivery and consumption, and privately owned, corporate influence and control over culture, are major challenges for a socialist cultural policy.

Current Cultural Issues

It is well understood on the Left why we need to win state power and implement political and economic policies to tackle austerity, the assault on our public services, growing poverty and inequality and the lack of political and economic democracy in Britain. What is less well understood is why and how we need to develop cultural policies, which are often perceived as being of secondary importance to political and economic issues.

Here are some examples of the issues we face, which show the need for an inclusive culture policy which can implement cultural democracy:

- in sport, we face high ticket prices for football games which exclude families on tight budgets from attending together. There is the growth of corporate boxes at events, and undemocratic ownership and control of clubs and the way that sport is organised. There is too much funding for elite sport, and not enough at grassroots level. There are the spoiling and corrupting pressures of drugs and cheating in many sports, which inevitably follow from stressing the capitalist values of competitive individualism.

- in the media, we face the private ownership of the means of human communication by gigantic media monopolies like Google, and by companies like Facebook, which appropriate information about us in order to practice surveillance and influence our commercial and political choices. We face privately owned media companies like Sky, Netflix, Disney and Fox, dedicated to making profits rather than meeting human need. And we face state-owned media like the BBC, designed to support and legitimise the economic and political status quo, and which are institutionally biased against radical politicians and newspapers.

- in our social cultures of eating and drinking, we face the terrible effects of profit-seeking capitalist corporations, loading our food and drink with sugar, salt and fats, and causing immense and increasing mental and physical health problems.

-‘There is a poet, author, singer, pianist, actor, playwright, artist in every single person’ said Jeremy Corbyn, but for working class people wishing to have an arts career, it is getting harder to become a musician or actor or writer without rich relatives to support you. Cuts and curriculum changes in education mean our children are being deprived of the chance to learn how to appreciate and participate in artistic, sporting and other cultural educational activities, at both primary and secondary school stages.

- we also face inaccessibility, obscurity, and vapid spectacle, and the fact that state funding is so unequal. Money that comes from our taxes and our Lottery tickets is overwhelmingly focused on cultural provision in the London area, which benefits mainly the already well off, and tourists.

- the massive expansion of the ‘creative industries’ and of cultural activities generally in the last few years means many more people are working in jobs linked to culture. Also, virtually everyone in the labour movement enjoys some form of cultural activity, as a consumer if not as a creator or performer. Creativity is seen as a major factor in the future economy, and a significant component of many kinds of work, both in the traditional cultural sectors and the wider ‘knowledge economy’. But the growth of the creative industries has failed to deliver on its meritocratic promise. Far from offering non-alienated labour, the chance for creative fulfilment, and post-industrial economic regeneration, young people entering the labour market today are being forced to accept poor pay and conditions, chronic job insecurity, and a lack of hard-won basic rights such as sick pay, maternity pay, and pensions. Cultural and creative labour markets are increasingly informal and closed to ‘outsiders’, operating outside equal opportunities and equality legislation and not reflecting the social and demographic make-up of contemporary society.

- the downgrading and exclusion of arts subjects from the educational curriculum of schools, combined with the marketisation of higher education away from the arts and humanities and the gutting of further and adult education, all combine to significantly reduce the opportunities for cultural and creative fulfilment of young people, and have a disproportionate effect on already marginalised groups. The opportunity for the best possible cultural and creative education, as consumers and as producers, should be available for all children, not just those of the wealthy.

- the Government’s politically-driven austerity policies, which have led to huge cuts in cultural facilities, eg libraries, community centres, youth facilities and sports facilities. These cuts are set to continue for years to come; and have been deliberately targeted at the least well-off, geographically and demographically.

- the possibilities of a vast expansion in leisure time in the next 10, 20 and 30 years, as labour-saving technology generates even more unemployment, under-employment and spare time. Again, this will impact more on the working class generally, and on less skilled workers, younger people trying to build careers, and people who are already socially excluded and discriminated against on the grounds of gender, ethnic origin, disability etc. Engagement in fulfilling cultural activities is set to become more and more important in most people's lives.

General principles for a culture policy

In general, a culture policy to implement cultural democracy would need to recognise:

- that culture is fundamental, not marginal. The creative activity embodied in culture is a form of social production, with humanity’s happiness and well-being as its end product. Spectatorship and engagement in cultural production and consumption, widely defined, are essential to human fulfilment and well-being.

- that an inclusive approach to culture is essential if we genuinely want to transform the world for the benefit of working people. Culture policy must cover cultural activities which matter to working people, and which can attract the support of the labour movement, so that culture is seen as part of the social wage for everyone. This means breaking down long-established hierarchies between different kinds of cultural activities and practices – which often reflect class distinctions – and reaffirming the legitimacy of cultural institutions and public funding based upon participatory, democratic and egalitarian principles.

- that we must challenge the narrow, centrally-dictated instrumentalism which has become so central to cultural policy and administration over the last thirty years, accompanied by oppressive monitoring and evaluation requirements, without maintaining an idealist, elitist position eg by focusing solely on the arts and excluding popular cultural activities. A genuinely socialist approach should be based on the understanding that culture, including art, belong to everyone, as creators, performers, and consumers.

- that we need to develop democratic, inclusive and bottom-up cultural policies in which communities of practitioners and audiences are empowered to direct culture towards ends that they define, whether that be entertainment, personal fulfilment, self-expression or as a contribution to the struggle for a better world, and avoiding value judgements on how and why people engage in culture. These might learn from and build on existing examples of successful 'DIY culture' in music, art, poetry and other fields, and large, public examples of working class culture such as the Durham Miners’ Gala.

- that we need to learn, through democratic, grassroots policy-making, how to develop policies and processes which can be used to encourage, enable and facilitate people to participate in cultural activities. These policy-making processes need to tackle concrete issues of accessibility, in terms of cost, geography and content; ownership and control of the institutions that fund, organise, deliver and regulate cultural activities; recognition of the fundamental need to embrace diversity of gender, race, nationality, sexuality, class, religion etc in the production and consumption of culture; and consideration of how to decolonise culture, and challenge the dualism of cultural ‘consumers’ and ‘producers’.

Specific Policy Proposals

The following examples of specific policy proposals reflect and build on many of the good ideas that have already been proposed as a contribution to the culture policy of an incoming Labour government. It is not an exhaustive list, further work is needed to clarify and develop the details, but we offer them in a constructive spirit to stimulate discussion:

- Require government policy makers (national, regional and local) to test proposed policy objectives against an over-arching objective of the promotion of a cultural democracy which works for the common good. Review whether relevant institutions and processes are fit for that purpose, and closely monitor implementation of such a radical policy in order to ensure that it is not captured by sectional interests.

- Dismantle the barriers that constrain or prevent ordinary people from accessing culture, particularly that which is publicly funded, based on cost, geography, class and social exclusion. Ensure that people generally have an equal opportunity to join in and enjoy all the arts and cultural activities.

- End the corporate capture of the Arts Council and other publicly funded arts bodies, exemplified by the recent appointment of Elisabeth Murdoch to the National Council of Arts Council England. Ensure that cultural funding is distributed equally, regionally and demographically, with regional, local and community participation to ensure that cultural spending empowers the communities that elect those representatives. Champion investment in people over large-scale vanity projects which benefit a narrow elite.

- End the distorting impact of corporate sponsorship and private philanthropy on the freedom and independence of cultural institutions.

- Ensure that leaders of cultural institutions – not only theatres, art galleries, concert halls and poetry publishers, but sports clubs, churches, and broadcasting and media corporations – seek to engage with all sections of the community, particularly the least well off and the least powerful.

- Explore ways to recover working class history and culture at a national, regional and community level, and restore the democratic and humanist cultural traditions that have been eroded by neoliberalism. This might build on the examples of local ‘people’s museums’ which have been set up in parts of the country, using community facilities and contributions by local people to build a picture of the locality.

- Recognise and support the important community role played by small music, visual and performing arts venues, many of which are facing closure as a result of commercial pressures or removal of grants or local funding. These play a vital role in developing creative ability and should be supported via business rates relief, direct subsidy and protection from commercial or residential development.

- Build on our rich history of community arts and sports by extending support, via regional culture councils and other relevant organisations and local authorities, to make space and resources available, so that creative and recreational activity is both available and accessible in urban and rural locations.

- Ensure that the cultural sector sets the standard in terms of workers’ rights, guaranteeing at least the UK Real Living Wage for all its employees, including artists and interns, management, technicians, cleaners and security staff. Introduce trades union representation into the governance arrangements of every public cultural institution.

- Rediscover the value of employer-supported workplace activities to facilitate sports and other forms of cultural participation.

- Provide proper funding for museums, galleries and libraries, to ensure that they play a much more active part in the lives of their communities, providing a place for creative activity and social connection and ensuring accountability to their publics. Museums and galleries should maintain free entry as a general principle, and offer genuine concessionary rates and free entry to low income groups to special events and exhibitions.

- Investigate and remove the barriers that exist in all cultural sectors towards equality of access to cultural and creative work by tackling the educational, financial, employment, career progression and management obstacles that prevent these sectors from reflecting the diversity of our population, particularly at leadership levels.

- Tackle the absence of significant working class representation in all cultural institutions (including the arts, sports, religion, the media, science and technology etc.) in terms of its content, audiences and practitioners.

- Amend the Equality Act to add consideration of class, social exclusion, poverty and inequality to the current policy framework, in parallel with the standard definitions of diversity, with their role factored in to all considerations of access, funding, participation etc.

- Empower and encourage local authorities to facilitate re-municipalisation at a local level, supporting social ownership for all cultural activities through co-operative and other forms of accountable, democratic self-organisation, where wealth is embedded and shared among communities rather than extracted for private gain.

- End the accelerating process of gentrification taking place in many of our cities, which first exploits and then drives out artists from local neighbourhoods. Encourage the recognition of artists as people who contribute to and enrich local communities. Consider options to set up a system of grants to provide living and material costs for artists working in community-based settings.

- Ensure art and culture are integral to the education system, free at the point of use, embedding arts education into the national curriculum so that all children in Britain, from primary school up, have the opportunity to access the best cultural and creative education, recognising the value it plays in the development of social, cognitive, emotional and physical skills and promoting lifelong arts learning.

- End the destructive audit and accountability culture, excessive testing and associated narrowing of the curriculum in our schools. Replace it with an approach to education which is holistic, enables children to live their lives to the full, and which addresses mental and physical health and wellbeing; encouraging students to think critically, questioning everything, nurturing enthusiasm for learning and intellectual curiosity.

 The media
 
- Reclaim the media (newspapers, online platforms, TV and radio) for the people by reforming its funding, ownership and control. Promote democratic accountability and pluralism in order to prevent market dominance by a small, powerful group of monopolistic interests, and create space for progressive and alternative providers capable of criticising and holding power to account.

- Reform and democratise the BBC to enable it to genuinely fulfil its public service broadcasting obligations and make a positive contribution to society, fully representative of its diverse audiences. Give adequate space and time to publicising and encouraging grassroots, DIY culture, and film and TV productions which offer a progressive or socialist vision of a fairer society

- Tackle the corporate capture of the web by monopolistic advertising platforms such as Google and Facebook via the introduction of effective regulation and taxation. Consider options for forms of social ownership of privately owned social media platforms. Facilitate the creation of decentralized social media networks, owned and controlled by the people.

- Introduce a statutory duty of care for the larger social media services, covering the key harms seen on social media platforms (harassment, misuse of personal data, hate crime, intimidation etc), backed by effective enforcement.

Sport and Leisure

- Challenge the commodification of football and other sports by using regulation and taxation to restrict corporate exploitation of clubs, players and spectators, and facilitate a return to the social and community origins of our national sports.

- As part of this new approach, tackle the chronic under-investment in football by enforcing a five per cent levy on Premier League broadcasting rights to be ploughed back into the grassroots game to improve pitches, facilities and training opportunities. Explore options to extend this policy to other sports such as cricket and rugby, which are similarly disfigured by corporate funding.

- Facilitate a shift of public spending on recreation and sport from high profile, elite sports to a greater range of community sports, encouraging a more inclusive and egalitarian ethos in sports institutions and activities, with full community participation in their governance, design and delivery.

- Improve the democratic accountability of sports clubs by giving supporters a greater say in how their clubs are run, at board level, including decisions regarding ownership changes and property sales.

- Require sports authorities to make significant improvements on provisions for fans with disabilities.

- Make the protection of public parks, playgrounds and leisure centres by local authorities and other bodies a legal requirement, prohibit privatisation and outsourcing, and provide proper funding to ensure they are properly maintained and remain free to use.

Conclusion

The arts and other cultural activities are often co-opted to reflect and serve the needs of the dominant class, in a class-divided society such as ours. At the same time, though, they can also provide the space to resist the status quo, to overcome alienation and oppression, and bring enjoyment and meaning into our lives. They can help people envision better, fairer ways of organising our society, as well as promoting our physical, mental and spiritual well-being.

These notes are intended to stimulate debate about the shape and content of a radical and comprehensive culture policy that a future Labour Government might be encouraged to adopt. Clearly, they are not the final word on the subject. Much work needs to be done to test ideas, develop detail and fill gaps. But, hopefully, they provide food for thought and offer a platform for further discussion. Readers are invited to submit general pieces (critical or creative) to our website, to help further the debate. They may also wish to consider joining the Movement for Cultural Democracy, which is a new campaign to drive a radical and transformative cultural programme in the UK.

Now is the time to seize the opportunity to create a comprehensive package of culture polices for the many, not the few.

With thanks to Theresa Easton, Sophie Hope, Jack Newsinger, John Storey and many others, for their valuable comments and contributions to this article.

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