Arts Week 2016: Can Journalism Change the World?

This post was contributed by Andrew Youngson, media and publicity officer in Birkbeck External Relations. On Tuesday 18 May, Andrew attended the event ‘Can Journalism Change World’ run by the Birkbeck Institute for Social Research as part of Arts Week 2016.

The event also marked the launch of the new MA Investigative Reporting, which commences in the 2016-17 year this autumn. It also highlighted the Google Investigative Fellowship (applications close on Friday May 20).

JournalismA panel of top journalists, commentators and academics came together on the second night of Birkbeck Arts Week 2016 to discuss the power and responsibility of journalism at a time of great change for the industry.

“Journalism is on the brink,” Dr Justin Schlosberg told the gathered audience of students, practitioners, scholars and members of the public. Across the course of the evening, we heard lots of evidence to back this up: Traditional revenue streams are thinning, digital technologies are morphing, socio-political structures are

adapting, audience attention spans are waning. All this and more makes for a very dynamic playing field of opportunities and challenges for people reporting the news.

The Fourth Estate was once heralded for its ability – and indeed duty – to question power structures, and to look beyond the status quo. But with such a changing landscape for today’s media industry, can – and should – journalism change the world?

The following panellists made their individual responses to the main question at hand:

Peter Barron (vp communications and public affairs, Google)

Peter Barron

Peter Barron

Peter began by responding that he believed yes, journalism can change the world. Citing recent revelations as the Hillsborough disaster and Panama Papers leak, he said both proved how the profession is still changing the world. The flow of free information and expression, he said, is key to making the world a better place.

He went on to describe that Google aims to be a positive force where freedom of information is concerned. He referenced three current initiatives of the global tech organisation which he said aptly demonstrate this particular mission, namely: Google’s product development (such as the Accelerated Mobile Pages project); its training and research activities; and its €150m Digital News Initiative innovation fund.

Ewen MacAskill (defence and security correspondent, the Guardian)

Ewen McAskill

Ewen McAskill

While he admitted journalism is facing an extremely challenging financial climate, Ewen took a broadly optimistic view, noting that the profession is much better than it has ever been in terms of the public accessibility to journalism, and also in terms of the professions two-way communication with audiences.

Dr Schlosberg then pitched Ewen the more direct question of whether he thought whistle-blowers such as Edward Snowden and Julian Assange – both of whom Ewen has reported on – have changed anything. Ewen responded that, in terms of increasing public awareness of government surveillance, yes, figures like Snowden and Assange have effected changed. Politically, however, very little has changed. On a whole, people just aren’t as worried about privacy, especially in the UK.

Owen Jones (author and columnist for the Guardian)

Owen Jones

Owen Jones

Owen began by stating he didn’t consider himself a journalist. He is a writer; one that doesn’t particularly enjoy writing, but as a political activist he sees it as a means to an end. Change, he went on to argue, happens with collective action. And further, journalism is at its best when “punching upwards”.

A major problem that stands in the way of the UK media punching upwards, he said, is that it has increasingly become “a closed shop for the privileged”. There is no such thing as “objective journalism”, he said – only journalists and writers such as he who openly disclose their bias e.g. in the form of opinion columns; and those who try to hide it, dressing their reporting as objective news. The rise of unpaid internships in the media is compounding this picture, leading to a situation where “if you can live off the bank of mum and dad, you can afford to be exploited. So we discriminate not on the basis of talent, but on your parent’s wealth”.

The UK media industry therefore is populated by – and predominantly reflects the tastes, biases, prejudices and life experiences of – the white upper-middle class i.e. the status quo.

“The press aren’t doing the job they’re meant to be doing,” he concluded. “We need journalists who see themselves as part of a broader collective struggling to bring power to account”.

Peter Jukes (author, screenwriter, playwright and investigative blogger)

Peter Jukes

Peter Jukes

Peter, who said he identifies more as a blogger than a journalist, highlighted the importance of social media in challenging power structures. Rather than see the likes of Twitter as “an echo chamber”, he believes in “the strength of the crowd” that come together through social media.

“People out there are witnessing and giving testimony,” he said. “It’s a revelation in the way people get and share the news.”

On the flipside, one aspect of the digital era does worry him: monopolies. The power holders which worry him aren’t media moguls like Rupert Murdoch, but rather digital giants such Google and Amazon. The kind of power they have, he said, corrupts.

Professor Natalie Fenton (Professor of media and communications, Goldsmiths)

Prof Natalie Fenton

Prof Natalie Fenton

Prof Fenton said she would try to “put academic bones” on the points which had been raised during the evening. Two major archetypes of modern journalism had emerged during the discussion: the “heroic journalist” and the “delinquent jackal journalist”. Whether a practitioner veers towards one or the other depends in large part on their work conditions.

She cited “Journalists in the UK” – a report published by the Reuters Institute for the Study of Journalism – which highlights some worrying statistics on the conditions today’s journalists are increasingly working within, including that:

  • 61% of journalists say public relations material has increased in their publication
  • 76% say the pressure of advertising considerations has increased on their work
  • 52% say pressure towards sensationalist news has increased

Increasing workloads, falling numbers of stable employment opportunities, and a lack of legal protection for journalists, are also significant factors.

“When you have a confluence of all these types of factors, you have to look critically at whether journalism can change the world. There are some real problems we are facing,” she concluded.

Dr Benjamin Worthy (lecturer in politics, Birkbeck)

Dr Benjamin Worthy

Dr Benjamin Worthy

Dr Worthy rounded off the panel session with three reasons for optimism:

  • There is far more information and ways of getting it today than 20 years ago
  • There are more ways to distribute this information today
  • There are more ways to be involved in the conversation, both formal (e.g. online petitions) and informal (e.g. social media)

And also three reasons for pessimism:

  • Information on its own isn’t enough. It is merely the first step
  • The attention cycle for news is short. For journalism to maintain a strong campaign for change, it needs to find a way to hold waning attention spans
  • The State is very powerful, and it will stomp down attempts at disclosure of information

The panel session was followed by an open Q&A with the audience. Among the points discussed were:

  • The issue of public apathy and waning attention cycle
  • The question is we are destined to see investigative journalism moving into the philanthropic arm of the industry, rather than remaining as a sustainable profession in its own right.

Find out more

Deciding the future of the Birkbeck Graduate Research School

This post was contributed by Dr Sarah Lee, Head of Research Strategy Support at Birkbeck, who explains how graduate students can have their say on the future of the Birkbeck Graduate Research School at a discussion event on Monday, 23 May

Birkbeck Grad Research school - Birkbeck at night

In the past the Birkbeck Graduate Research School (BGRS) has been a valuable source of on-line help and support for our graduate research students. However, it could be so much more – it could be whatever our graduate research students want it to be, and we want to find out what you want.

So – we are asking graduated to join us on 23rd May for the BGRS launch event hosted by Professor Julian Swann, the Pro-Vice-Master for Research and Director of the Graduate School.

The event will begin with a Q&A session where the audience get to have their say about what they want their graduate school to be.

Following on from the business of the evening, we will move to the largest issue of the day – the upcoming EU referendum and the potential impact of the vote on the University sector. We have invited speakers from both the remain and leave campaign and are delighted to confirm that Lord Balfe will speak for the remain campaign. Our speakers will talk for a short while, and then the floor will be thrown open to allow you to ask your questions.

After the debate graduate students will be welcome to join us for a drinks reception – this will be an opportunity to meet colleagues from other subject areas and to continue the discussions which began in the earlier part of the evening.

Graduate research students are the real life blood of the college, and it is important to us that the students help to create the future that is best for them – so our graduate school provides the best research environment for the students to flourish.

Students interested in attending the event should register here.

Find out more:

Meet the Kit de Waal scholar: Stephen Morrison-Burke

This post was contributed by Andrew Youngson, media and publicity officer in Birkbeck External Relations.

During Arts Week, former Birmingham poet laureate Stephen Morrison-Burke, was announced as the inaugural recipient of the Kit de Waal scholarship – a creative writing scholarship specially designed for budding writers who would not otherwise be able to afford a Master’s degree.

Stephen Morrison-Burke

Stephen Morrison-Burke

A few years ago, Stephen’s motivation to write poetry began to give way to a new writing urge: to write prose. The result is his debut novel, The Purple Sun – a semi-biographical tale inspired by his father’s experiences leaving his Jamaican homeland in the 1970s to begin a new life in the UK. This month, Stephen finished the final draft, an 90,000-word manuscript, which follows two-and-a-half years of writing, primarily in the very early mornings. (For the full story, read the news article here)

At the Arts Week event – the Creative Writing Alumni showcase – Stephen offered his thanks for the opportunity to undertake the MA Creative Writing (part-time) programme over the next two years, then delivered a rousing rendition of a poem of his, called Wishlist.

Here, Stephen talks about the scholarship opportunity, and his relationship with writing.

Hi Stephen. Why did you decide to apply for the Kit de Waal scholarship?

“When you are essentially teaching yourself, there’s a lot you don’t learn about the theoretical elements, such as structure, plot, pace and character development, so I thought the opportunity to go through that with professionals in their fields was something I didn’t want to pass up.”

How did you feel when you were interviewed to interview for the scholarship?

“Instantly I was overjoyed. It was a very tough time for me, and it can be pretty lonely writing by yourself. So when I got that through I can’t remember feeling as relieved as that in a long time. It wasn’t necessarily that I thought I could win, it was just more that I saw an opportunity to showcase what I had been working on for so long.

Why did you decide to write a novel?

“I had no intention of writing a novel, that’s the honest truth. It sounds mad, but I just had these gut feelings that wouldn’t go. And when I started to write, I just felt better, like I was finally doing what I was supposed to be doing. I felt relieved. But it’s strange that at the exact same time as I got these feelings, the poetry stopped.

“I had had my busiest month ever in poetry – I had met the Queen, I had travelled round the country, I’d written and performed a poem for Prince William – but come New Years Eve 2013, everything just stopped, and this novel took priority. Since then, I’ve done bits and pieces with poetry, but really I’ve just focused on this novel.”

Stephen Morrison-Burke performing poetry

Stephen Morrison-Burke performing poetry

Poetry vs prose

“Although they are similar, I have to treat them very different. I have to respect the art form of writing novels. Strangely enough, my poetry is mostly storytelling anyway.”

Why do you choose to write at 4am?

“I’m a nightmare. If the sun’s out, I always end up procrastinating looking at my phone or on the internet. If it’s dark, there’s nothing else I can do, so there’s no other choice but to write.”

Do you get writer’s block?

 “I don’t believe in writer’s block. I always believe I can write something, even if it’s nonsense, or just a short poem or something to plug the gap. But the writing is a slog, it’s hard work. There are no two ways about it. I thought it would be easier than it’s been, but I chip away at it one day at a time, one sentence at a time, one word at a time. I just turn up and make sure I’m writing something.”

Why does writing make you feel better?

“I felt like there was a lot I had to say that I wasn’t saying. There was a lot to get off my chest. I’m quite quiet and introverted, so by not getting it out it felt like it was building up. So when I was writing it was cathartic.

“From the things I had learned and experienced living in a tough part of Birmingham, to then boxing for 10 years of my life, to then all this poetry, there was a lot I wanted to say. I just wasn’t saying anything about that, so it was a relief to write it down. I thought I would only write one book and it would all come out in one go, but now that I’ve written one, I feel I could write another ten.”

How has your style developed over time?

“It’s certainly developed. It’s been a mirror of who I am as a person. I started off a little pretentious maybe, trying to impress. And certainly the poetic influence can make you embellish the writing. But the more I went along, and the more I read the likes of Hemingway, Steinbeck and Amy Hempel, the more I realised it can be straight to the point and not too airy fairy. It’s about trying to see things different to how everybody else does, which is why I’m so fascinated with the perspectives of children.”

What can you say about the background to your novel?

“It’s loosely based on a true story – my dad’s. My dad and I have been working on this together since Day One. He’s the one that said ‘you can do something with this, it’s going to be special’. He would always gee me up and gave me the motivation to see it through. It was just me on my computer, and he gave me the motivation to do something.”

(l-r) Kit de Waal, Stephen Morrison-Burke, MA Creative Writing director Julia Bell

(l-r) Kit de Waal, Stephen Morrison-Burke, MA Creative Writing director Julia Bell

The latter half of the book deals with violence. What can you say about that?

“That topic is not something my Dad would go into. That’s where I had to go into my own feelings. This is where I related back to Dostoyevsky’s Crime and Punishment, and started to be creative. It’s not just violence for violence’s sake. I wanted to understand the mind behind violence, and what would drive someone who’s intelligent to turn to that life.”

Does your poetry background influence your prose writing?

“I feel I’m able to draw on it. I focus on the form of novels and sometimes the poetry will come through. For instance sometimes words come out in rhyme. I have to stop myself, but then at times I find it creates a good rhythm to the sentence when two words rhyme. So I would be very careful and selective about how I use poetry. But there is a very thin line between the two, if a line at all. So I let them wrestle between themselves.”

How does it feel when you are in the writing flow?

“Being in the flow is very rare for me, to be honest. I’d compare writing to how I imagine riding rodeo would feel like. You have to hold on as tight as you can until it throws you off, and that’s the end of your day, when you run out of juice. It could be three hours, or one or seven. You just hold on as tight as you can and afterwards you wait for the next day to come round.”

How did you find the interview for the scholarship with Julia Bell and Kit de Waal

“They gave me a lot of encouragement, the fact that I had got that far. On the day I said to them it was great to hear that I was on the right track with my writing. They said it was brilliant, which was actually the first feedback I had had on the writing. I was so happy to hear that.”

What do you want to get out of the MA Creative Writing programme?

“If I’m honest, I came into this wanting to make some kind of living through writing books. But I don’t put any pressure on the course to deliver that for me. My goal is to make a living out of writing and I know the course will help me, to say the least.”

“I really want to contextualise books. When I read them, there’s no context beyond reading the introduction, so for the lecturers to paint a picture of the times the books were written, and to talk about what was going on at social and political levels, will be really useful. As it is right now, I read a book from first chapter to the last, but with little understanding outside of the words I’ve read. So it will be great to sit down with a professional to discuss the whys and hows.”

Find out more

RELAPSE – Identity: Performing Bodies, Crossing Borders

This post was contributed by artists Vasiliki Antonopoulou, Nikolas Kasinos, Dimitrios Michailidis and Penelope Koliopoulou – members of the RELAPSE collective, whose next exhibit ‘Identity’ will run at the Peltz Gallery Birkbeck School of Arts, 43 Gordon Square, from 28 April to 20 May.

RELAPSE - Identity exhibition at the Peltz

RELAPSE – Identity exhibition at the Peltz

On Thursday 19 May, the RELAPSE collective will hold a special event to coincide with its exhibition at the Peltz Gallery.

The evening, which runs as part of Birkbeck Arts Week 2016, will kick off at 6pm in room G01 in the School of Arts with a lecture by Dr Constantinos Phellas (Professor at University of Nicosia, Cyprus). Dr Phellas will address the identity development among ethnic minority lesbians and gay men, specifically Anglo-Cypriot men residing in London.

He will discuss some of the key cultural concepts and relevant historical factors that may shape the development of gay identity among Anglo-Cypriot men and provide accounts of sexual identity experiences provided by second-generation Cypriot gay men living in London to explore how these men negotiate their Cypriot and gay identities.

This first half of the evening will also include a roundtable. As with the collective’s current exhibition at the Peltz, the roundtable will focus on the concept of identity as constructed and performed through social rituals. How is identity embodied? How can its visceral manifestations be explored through art, to question political, social and religious ideologies of sexuality and the body? All will be discussed by attending speakers.

This event will be followed at 7.30pm in the Peltz Gallery itself with a drinks reception for attendees.

About the event:

Performing Bodies, Crossing Borders

  • Thursday 19 May, 6-7.30pm (followed by drinks reception to 9pm)
  • Room G01
  • Lecture by Prof. Constantinos Phellas and roundtable discussion
  • Event is free but booking essential
  • BOOK HERE

Find out more about the exhibit and RELAPSE in the previous Birkbeck blog article. The exhibition was curated by Dr Gabriel Koureas, and was made possible under the auspices of the Minister of Education and Culture of Cyprus, Dr Costas Kadis.

Open Call

Exhibition reviews

The exhibition team are inviting writers to visit our closing reception and submit their reviews.

Please send us your reviews at submissions@relapse-collective.com with the subject ‘reviews’ after the closing of our exhibition (May 19).

Find out more