Monthly Archives: February 2016

David Willetts in Conversation with Tony Wright

This post was contributed by Eric Kaufmann, Professor of Politics at Birkbeck. The article was first published on the College’s Centre for British Politics and Public Life blog on 23 February.

Former Labour MP and Birkbeck Politics Professorial Fellow Tony Wright hosted a memorable evening with former Tory MP David Willetts on 11 February in the cozy confines of the Keynes Library. Willetts, known as ‘two brains’ for his intellectualism and (current) tally of ten authored books, served as Universities Minister in the Cameron government until 2015. He also served under Margaret Thatcher at her Policy Unit. Among his more influential works is his recent book on problems of intergenerational equity entitled The Pinch: How the Baby Boomers Took Their Children’s Future – And Why They Should Give It Back.

David Willetts MP at Birkbeck

David Willetts at Birkbeck

There were few empty chairs as Wright and the audience questioned Willetts about the ideas that have animated his career: the meaning of Conservatism, the role of government, and policy issues from housing and apprenticeships to industrial policy and the living wage.

Wright set the tone by revisiting one of Willetts’ first books, Modern Conservatism, penned in 1992. A classic statement of 1980s Thatcherism, it extolled the virtues of the unfettered market and suggested the state had little role to play in a modern society. Pressed on this by Wright, Willetts admitted the book was a creature of its time, and that he had subsequently altered his views on inequality. Willetts related that his political consciousness was forged in the battles against the trade unions and nationalisation in the 1970s when governments felt they should be in the business of running everything including travel agencies and airlines while restricting individuals’ right to purchase foreign currency. We now accept a more liberalised world, but are confronted by new challenges, including excess and inequality. In the 1990s, he therefore took the neoclassical economists’ view that so long as the lot of the poor improved in absolute terms, relative inequality between top and bottom was a non-issue.

Since then, remarked Willetts, the work of Michael Marmot, and of evolutionary psychology, had brought home to him the damaging psychological effects of positional inequality, hence he agreed this needed to be curbed. Willetts, however, spoke for a Burkean, community-oriented check on the market rather than statism. Accordingly, he argued for a focus on inter-generational equity rather than radical redistribution. This meant improving access to higher education, housing and pensions for young people while removing the barriers to housing construction erected by NIMBYist Baby Boomers. Willetts was encouraged by the growing shift in public opinion in favour of housebuilding as well as governments’ increasing willingness to use the machinery of state to release land and build homes. He accepted the need for governments to tax the wealthy, and corporations, but stopped short of endorsing a hike in inheritance tax, suggesting that peoples’ desire to provide for the children’s future was a laudable aim. For him, the welfare state was important, but more as a collective insurance policy for the poor and infirm in which rights are balanced by obligations – a pool into which all who can are expected to contribute.

Read the original article on the CSBPPL blog

Read the original article on the CSBPPL blog

Questioned about the challenge of diversity to a solidaristic model of society, Willetts replied that his book, The Pinch, envisions a fragmented society renewing its obligations to future generations, thereby providing a common bond which an unite Britons across faultlines of ethnicity and religion. He also greatly championed university education, suggesting that apprenticeships were often tied to seasonal or sunset industries and hence the government would be hard-pressed to meet its 3 million target. He claimed that the view that universities taught impractical skills, or were a luxury good, were wrongheaded. A great deal of vocational training takes place at universities, so children should be encouraged to attend: he wanted to see an increasing share go to university. He added that his government’s tuition fee hike was progressive  in this regard since there were no upfront fees and those who failed to earn above the threshold were not obligated to repay their loans.

Reflecting on how decisions are made in government, Willetts said that evidence, especially academic evidence, doesn’t easily filter down to decision makers. For instance, Willetts related that when he asked for 30 minutes of George Osborne’s time, he was told that he could catch him on the way to the lift. Willetts had to talk at Osborne as he went in, and received a response he used to make policy as the doors were closing.

For Willetts, the expenses scandal, while offering greater transparency, has led to a situation where allowable expenses have become so restricted that only the wealthy or those without normal family lives can afford not to take expenses. Serving coffee to constituents at a constituency surgery, for example, adds up, yet cannot be charged.

The enjoyable evening thus ended on a rare note of agreement between Wright and Willetts: that most politicians enter politics to serve and should be accorded more credit for this by the media and the public.

Listen to the podcast:

https://soundcloud.com/british-politics-centre/david-willetts-in-conversation-with-tony-wright

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Between the Sheets/In the Streets

This post was contributed by Dr Tara Atluri, visiting research fellow in the Birkbeck Institute for the Humanities (BIH) and the Department of Geography, Environment, and Development Studies. Here, Dr Atluri gives an insight into her forthcoming Birkbeck Institute for Social Research (BISR) Methods Lunch on 9 March 2016.

Between the sheets/In the streets event

¿Qué queremos? ¡Justicia! ¿Cuándo? ¡Ahora!

¿Como lograrémos? Luchando! ¿Como lucharemos? Duro, duro / duro, duro, duro!

نظرية المساواة بين الجنسين

In “The Politics of Translation” Gayatri Chakravorty Spivak states “The task of the feminist translator is to consider language as a clue to the workings of gendered agency…”(179) How might this quote be applicable to conducting research pertaining to sexualities in the Global South? How is the language that one uses to ask questions about sex, sexuality, and gender central to the kinds of dialogues that one will have and to their research findings?

One can consider Hijras, female to male transgender persons who have a religious and cultural lineage in the Indian subcontinent that pre-dates British colonialism. Within Western secular language Hijras are referred to as transgender persons. And yet, what is perhaps interesting to consider is how ideas of agency and legal rights structure Western grammars of feminism and sexuality. Being transgender is often conceived of as a secular identity that is tied to Western secular legal and medical categories. However, Hijras have historically been considered to be religious figures who sacrifice their genitals in a religious ceremony and upon doing so become those who are considered by the religious to have sacred powers, often to bless children.

In posing questions about sexuality, desire, gender, and feminism how might one conceive of ways to ask questions and frame research that moves away from the assumption that English language secular Western rights based categories of LGBTQ are universal and beneficial to all? (See Big Think video: “Your behaviour creates your gender”)

About the event

This BISR Methods Lunch will pose questions regarding the theoretical and ideological frameworks that often guide research pertaining to gender and sexuality in formerly colonized countries. We will question the Orientalist underpinnings of approaches to uniform ideas of “Eastern” sexualities and also question the colonial nature of doing research about “others.” The workshop will also offer ideas and possible frameworks for conducting ethical, politically informed, engaged, and philosophically thoughtful research.

Aimed at postgraduate students from across the college, this event convened by BiGS will examine methodologies and approaches to sexuality studies, and their intersection with ideas of development and sexualities in the Global South. This Masterclass will generate training opportunities for postgraduate students in several areas of expertise. This event offers students the chance to learn divergent research methods.

Areas of research expertise that students will explore include: Approaches to sexualities in the Global South, Feminist/Queer ethnography, Qualitative and Quantitative approaches to gender and sexuality, and theoretical perspectives pertaining to sexualities and development, globally.

In leading this seminar, Tara Atluri will draw on research done in the Indian subcontinent following the 2012 Delhi gang rape case and 2013 decision by the Supreme Court of India to criminalize same sex desire. This research culminated in the forthcoming manuscript- Āzādī: Sexual Politics and Postcolonial Worlds. (Toronto: Demeter Press, 2016)

Tara Atluri will deliver the “BISR Methods Lunch: Between the Sheets/In the Streets: Interdisciplinary Sexuality and Gender Studies Research” on 9 March 2016 (12pm-1.30pm) Room 402, Malet Street Main Building. Book your place here

Works Cited

  • Spivak, Gayatri Chakravorty. Outside in the Teaching Machine. New York: Routledge, 1993.

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Bringing Sergei (back) to London

This post was contributed by Ian Christie, Professor of Film and Media History at Birkbeck’s Department of Film Media and Cultural Studies. Prof Christie has curated a new exhibition, Unexpected Eisenstein, organised by Kino Klassika Foundation and GRAD London. The exhibition which runs until 30 April at GRAD, sheds new light on the life and achievements of pioneering Soviet filmmaker Sergei Eisenstein.

Here, Prof Christie gives an insight into the formation of his new exhibition.

EisensteinHeartbreakHouse2Every biography of the Soviet filmmaker Sergei Eisenstein will tell you that he visited Britain during his sole extended journey to the outside world in 1929-32. But few give much detail about this brief six-week visit, other than noting that it allowed him to see the film that had made him famous, or notorious, The Battleship Potemkin, accompanied by the rousing music score that had made such an impact in Germany three years earlier.

Sad to report, Eisenstein was not impressed. He found Edmund Meisel’s score too dominating, and he was even less happy about the accompanying film, John Grierson’s Drifters, which he thought had stolen quite a lot from him. But such disappointments didn’t prevent him from making the most of a visit to the land he had known from childhood, through reading all the juvenile classics and much else.

The more I thought about this visit, I realised we could make it be basis of an exhibition of Eisenstein’s extraordinary drawings, long planned as a joint project between GRAD Gallery, specialising in Russian art and design, and the Kino Klassika Foundation, set up to foster awareness of Russian cinema’s rich history.

So our exhibition traces what had made Eisenstein so famous by the age of thirty; what impact he had on Britain, then and since; and how memories and enthusiasms connected with England stayed with him, influencing his own work back in Stalin’s Russia. When I was in Moscow last year to select work from the archives, I realised that following this thread was actually leading me in new and surprising directions, even after have already mounted a big Eisenstein exhibition back in the 1980s – which led to us deciding to call the show ‘Unexpected Eisenstein’.

Although he never made a straight Shakespeare adaptation, motifs from the plays – especially Macbeth – run through a surprising amount of his work, especially the scandalously confessional ‘Death of Duncan’ drawings he made in Mexico soon after the visit to England. Likewise, he never filmed George Bernard Shaw, despite Shaw giving him the rights to Arms and the Man, but he made stage designs for Shaw’s ‘fantasia in the Russian manner’, Heartbreak House.

Perhaps most intriguing of all was a set of drawings we found in the Russian State Archive for an episode of Ivan the Terrible (1944) that was never filmed. This would have shown the first Tsar paying hopeful court to Elizabeth I of England through his ambassador. Eisenstein got as far as screen-testing his fellow-director Mikhail Romm as Elizabeth – which seems like an eerie anticipation of Sally Potter having Quentin Crisp play Elizabeth in her time-traveling fantasy Orlando (1992). Needless to say, that idea never got past Stalin’s deep suspicion of where his star director was taking Ivan, which led to its second part being firmly banned until after the deaths of both the director and the dictator.

But with the drawings in our exhibition, and clips from both Ivan and Orlando playing, I hope we have created a space for visitors to speculate and enter into Eisenstein’s extraordinary, often mischievous, imagination.

MarkCousins1Some of these must remain open to speculation. Why did Eisenstein make a series of drawings of the poets Rimbaud and Verlaine in the mid-1940s, writing ‘London’ on one of these? Was he thinking of their scandalous elopement from Paris to London in 1873, when they lived together in Royal College Street in Camden? The house has since acquired a plaque, but surely it was known to few in 1929?

Some other points of contact are better documented. Everyone interested in the future of film want to meet Eisenstein, and he found himself giving lectures in a room above Foyles’ bookshop to an audience that included many future leaders of the documentary film movement. He even made a guest appearance in the Film Society’s group film, playing a London bobby with obvious relish. He visited the Tower of London – there’s a tourist photo of him posing with a Beefeater – and he went to Cambridge University. Memories of dining at Trinity College and attending a student party apparently stayed with him sufficiently to help shape scenes in Ivan the Terrible, as did his trips to Windsor Castle and Eton College.

Having intuitively structured the exhibition around ‘Eisenstein and England’, I realised that I was perhaps unconsciously following several current trends in historical research. The biographical thread has revealed intriguing aspects of Eisenstein’s complex personality and links across his wide-ranging interests. And like all micro-histories, this snapshot of a month in 1929 turns out to stand at the centre of a web of themes that are still resonating today. Our show finishes with a specially-made short film by Mark Cousins that explores Eisenstein’s longstanding fascination with D. H. Lawrence, against the background of contemporary Moscow.

Unexpected Eisenstein runs at GRAD Gallery, 3-4 Little Portland Street, London W1W 7JB until April 30. Closed Mondays, free admission.

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Centre Stages of Development: Performance, Public Art, and Sexual Politics

This post was contributed by Dr Tara Atluri, visiting research fellow in the Birkbeck Institute for the Humanities (BIH) and the Department of Geography, Environment, and Development Studies. Here, Dr Atluri gives an insight into her forthcoming public lecture on 3 March 2016

“The function of art is to do more than tell it like it is – it’s to imagine what is possible.”

– bell hooks

How does art create possibility in the world today? In a time of common sense consumer capitalism where public space is increasingly eroded and new skyscraper office buildings and shopping malls are erected as testaments to suspect ideas of progress and freedom, how can one creatively imagine an idea of a commons? (See Wall Street Journal video: “When Occupy Is Over, Where Will Its Iconic Art Go?“)

On the busy boulevards of the world’s cities, sexy images of mall chic fashion pass as sexual freedom. In these times of market driven ideas of success and desire, freedom of expression becomes freedom to brand oneself as a commodity spectacle. And yet, this freedom to appear in public space as a neoliberal image of unabashed sexual freedom does not necessarily come with freedom from violence, harassment, austerity, and debt.

https://www.youtube.com/watch?v=otZVhqDVlgk

The “sexually free” gendered body within contemporary capitalist culture is a celluloid image of bliss and abandon, frozen on an Internet screen. In the space of city streets, the branded body of the advertising billboard, the ostensibly “sexy” and “cool” body in the streets, can still be violated within a lingering lexicon of patriarchal and heteronormative violence that haunts postcolonial publics. (See New York Times video, “Free the nipple?”)

The aesthetic image of gender based ‘progress’

In December 2012, in New Delhi, India, an India of increased urbanization and neoliberal images of “progress” in the form of sexy transnational branding, a woman was gang raped and murdered on a bus in the public space of the city. The case lead to nationwide demonstrations and efforts to change national sexual assault and sexual harassment law. The aesthetic image of gender based ‘progress’ as capitalist branding and the freedom to buy does not stop freedom from violence. However, everyday people throughout India took to the streets to stage spectacular events of political freedom.

In my forthcoming lecture, I will discuss the aesthetic possibilities of feminist and sexual politics today. This talk will focus on how subversive artists and political revolutionaries use art, artistic practice, and public forms of aesthetic dissent to create meaningful forms of political possibility in the world. Drawing on examples from Europe, North America, the Indian subcontinent, and globally, I will ask what possibilities might be left today for both art and politics.

In a time in which art is increasingly tethered to big business, and politics becomes a series of private legal battles, public art and public politics can create inventive forms of disruption that offer a world of possibility. (See New York Times video, “Guerilla Girls, Going and Going…”)

Futur and Avenir

Žižek discusses two French words meaning future:

Futur stands for `future’ as the continuation of the present, as the full actualization of tendencies already in existence; while avenir points towards a radical break, a discontinuity with the present—avenir is what is to come (a venir), not just what is to be (Žižek, 134).

Discussing political futures, he suggests that, “We should fully accept this openness, guiding ourselves on nothing more than ambiguous signs from the future…” (Žižek, 134).

These ambiguous signs of what is to come might erupt in radical moments of events of the political, such as the massive demonstrations that followed the 2012 Delhi gang rape case in India. They might also trouble the banality of the aesthetic landscape, with long standing traditions of political art and theater being used to defy the tedious images of everyday capitalist complacency and political indifference.

In the Indian subcontinent there is a long genealogy of political street theatre often termed “Nukkad Natak,” a form of performance and theatre that is used to challenge public opinion through street plays, performance, flash mobs, song and dance. I will discuss uses of political theatre and art within contemporary feminist and queer movement in India, drawing on transnational comparisons.

About the lecture

This lecture will ask how the imagined stages of International “development,” often discussed within an unquestioned grammar of capitalist achievement, create obscene spectacles of disillusion.

Beginning however with bell hooks’s assertion regarding creativity as possibility; we will consider stages of International development beyond the erection of new shopping malls as markers of progress.

The raucous cries of protesters and the patient prose of poets still lingers, a beautiful chorus of everyday people’s ability to stage dissent.

In looking for signs of a political future of openness, I will suggest that we should pay attention to the street theatres of the everyday. (See BBC article, ‘Claiming Delhi’s streets to ‘break the cage’ for women‘).

We can witness the political eruptions of the everyday as passive spectators, watching Arab Spring revolts like television programmes, broadcast infinitely through computer screens. However, the political performances of the world can also inspire one to join the chorus, enacting meaningful forms of public dissent~in the streets.

Tara Atluri will deliver a BIH Public Lecture (titled “Centre Stages of Development: Performance, Public Art, and Sexual Politics”) on 3 March 2016 (6-8pm) B02, Malet Street Main Building. Book your place here

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