London Riots: Parallels From the Past

The blaze that engulfed a Sony DADC warehouse in Enfield could have a catastrophic effect on independent record labels. Photograph: Luke Macgregor/Reuters

I’m too old these days to wander round the streets of London. After many years of street photography I have witnessed and recorded much aggression vented. From the BNP Welling riot of 1993 to the snapping of fast cars going around Brands Hatch racing circuit, it has been recorded on celluloid and now gathers dust in a box somewhere in the spare room.

Today I do not even wander round , after say, 6pm at night the streets of the sleepy place in which I have lived for the last 6 years. Not because I fear a riot breaking out here you must understand. It’s more the fear of not finding my way home again given that dementia could set in at any time as I grey and shrivel up in my old age.

 

The latest riots on the streets of our cities, observed from the comfort of my armchair and plasma TV screen (bought and paid for with hard earned money I might add), reminds me of two former lives whereby I witnessed both riot and youth dissatisfaction, although not always at the same time.

 

If you want to know the time ask a policeman. Ilford HP5 400, copyright the author 1993

Firstly the Welling disorder that broke out on the Anti-Nazi League march on the BNP headquarters, then in Welling south east London. Determined to make a stance against the BNP’s overtly racist stance, the ANL planned to march to the doors of the BNL. The police on the other hand, had other ideas. If you ever wondered where the notion of ‘kettling’ came from, look no further than the junction about 200 yards from the BNP building further up a hill to the south. Four roads met and three roads became blocked by police determined to not allow the marchers to move any other way than back to their coaches to the north of the junction. Even a memorial garden to the west was blocked off with chicken wire put up to deter protesters the opportunity of finding sanctuary from charging police horses. The wire did not last very long and the garden eventually became a medical point for the treatment of the many gashes and scrapes that occurred during police baton charges. Later in the afternoon I was to  use this area for my own purposes, namely to escape the house bricks of the anarchists that had infiltrated the march and the counter measures so effectively carried out by the police lines. ‘Take the high ground’ I was once advised and it certainly worked that afternoon.

Whilst reloading the camera I overheard one black youth shout ‘There’s not enough blacks here. If there were more of ‘us’ we could rush the ‘filth’ and break through. Then in what I can only describe as a fit of sarcasm, he proceeded towards one police line to ask a policeman for the time, gesturing wildly to his wrist in the process.

Old Man taking stance against the police line at Welling, London. Copyright the author 1993. Ilford HP5 400

This cat and mouse affair continued for another two or so hours. At one point during a lull in the fighting, an old man appeared from almost nowhere to take his stance against the police lines as missiles were thrown over his head towards the police. Onlookers were in awe of this man who must have been in his 80s. There was a small contingent of holocaust survivors in the ANL march and I can only assume that he was one of them. His defiant look is inspiring.

From this point on I was getting both tired and bored and in addition was down to my last few rolls of film. Something digital cameras do not have to worry about these days. I made my way to the rear to be greeted by more police lines funnelling the marchers through the graveyard to the north of the junction. There was a reason for this. They had set up a film camera to photograph all marchers passing out of the crossroads. They had previously filmed all the photographers and press prior to the confrontation. This became a milestone in covering riots and confrontations with police. On the following Monday police started to call in all the film and still photography for inspection and if I remember it well enough went to court to get some photographers to give up their film.

 

This was the point at which I decided I would no longer go to such confrontations. I truly thought that it was the start of a slippery slope to a police state. Up till last week however, this had not happened of course, but I was not to know how that would pan out. With the explosion of digital photography, mobile telephones and social networking, there is no way of knowing how right or wrong I was 17 years ago. The jury is out on that one right now.

 

The second experience that comes to mind following the London riots, is my youth during the early to mid 1960s. The era of mods and rockers. Not that I think there is remotely anything similar in the disturbances that occurred in the 60s to those of the last week or so. What does resonate with me is the feelings of being young in an ever increasing consumer world. I too wanted that pair of Levis, that button-down  shirt, that twin vented mohair suit!

 

The difference is, I would not have had the remotest idea of wanting to loot the local store to obtain them. I knew that saving up was the way to go. Going without, despite the peer pressure, was the norm in our household. Then my parents had gone without many things during World War Two and after with rationing still being applied during the early years of my life too. We had form in that respect.

 

So when I observe from the comfort of my armchair I am both angry at the violence and saddened at the absence of discipline in some of our urban youths. Wanton looting and destruction cannot be condoned, but at the same time it also has to be understood in the context of today’s environment both culturally and economically. I do not profess to have the answers, but I suggest a long hard look at our recent history will go some way to understanding where we have come from since WWII.  We can only be a better society for it in the months and years ahead.

HD

 

 

Yam Boy’s ‘Great Identity Swindle’ (motiroti’s 60×60)




UPDATE: The Vibe Gallery space show is now finished. Apologies for wrongly stating 18th July. See comments for other shows and finding 60×60 films.
motiroti is a long-established British-based organisation that currently works in collaboration with artists from Britain, India and Pakistan. It’s most recent major project is entitled 360 degrees which forms the first part of a three year programme of events (2007 – 2010) and 60×60 is currently showing in East London at the Vibe Gallery, 91-95 Brick Lane London till 18th July 2008.
An early aim of motiroti was spelled out by the feminist theorist Dorothy Rowe in her text Cultural Crossings thus: ‘…to make art projects that transform space, and the meaning of space…’. Little has changed by way of ideology and leadership at motiroti since those words were lifted by Rowe from their ‘Mission Statement’ in 2002.
Where identity politics may have worked for Griselda Pollock and the cultural formations of the ‘other’, even the performative aspects of motiroti’s Wigs (1995) is problematical to us today as being a straight derivative of cultural identity politics.
Rowe’s unwinding of a stable identity whereby she suggests that fixed identity has given way to a fluidity and open-endedness approach to stating identities by playing the performance or performative card on cultural identity, an evaluation of 60×60 films may not be any better for taking the same path of contemporary feminist evoked interplay. An ‘open-endedness’ may not be an option in today’s fragmenting society unless by ‘open-endedness’ we mean globalisation which of course is motiroti’s primary concern.
It would imply the continuous breakdown of our culture in national boundary terms which some would say is not an option post 9/11. Art has to both reflect and condition current cultural norms. Here the emphasis would be on the conditioning.
The first few of the 60×60 films are currently on show and are also available through the motiroti.com website. All the films are on the subject of identity as we may interpret it today and the current contributions are both thought provoking and in some instances beautifully filmed. One such film, The Great Identity Swindle (Directed and Edited by VideoWallah) by the British rap-artist Yam Boy, is a performance cross-media installation on Asian identity in Britain. Yam Boy, primarily a vocal artist, has produced a comic strip version of his poetical mix of dual country (Britain and India) inheritance. Politically charged but internally perfected, Yam Boy has produced a performative response concerning his mixed cultural and possibly historically marginalised existence.
Identity on racial terms is clearly not so easy to define in the twenty-first century in as much as his reference to ‘Pale Ale’ and courting ‘…white girls that disappoint their mother…’ held within the temporal frames of a Roy Lichtenstein comic strip more than double for both the acceptance and the denial of the ‘dominant’ culture. Yam Boy’s critique of cultural existence shows that today’s performance artists are both bright and come individually wrapped in their own ideas of identity.
The approach, although appearing to match the essentialist approach of early feminist theory (I am British [man] you are Asian [woman and therefore other]) to paraphrase, is non-essentialist and meaning can be neither predefined or fixed. The audience is encouraged to participate in striking the right harmony or disharmony along the way depending entirely on their point of view.
In this way it becomes anti-feminist in approach depending for its persuasion the audience’s perspective. From within the barrier of the comic strip form , the poetry performance comes alive and the rigid comic strip gives way to a filmic existence as it transgresses each frame in turn. Still to movie, silence to performance and back again all in the space of a line or so of poetry.
If we are to understand our own identity today through the medium of art, we have to understand not just the cultural differences and sameness on display or being acted out, but we must also be able to produce an ordered purpose for understanding the same. There are as yet no ready-made and lasting rules of engagement in identity matters that work to everyone’s satisfaction.
The motiroti work on display this July can be considered both as performance and art installation. The installation is motiroti’s use of the multiple screens arranged within the pre-defined gallery space. The performances are the films themselves. Overall motiroti’s influence is assured with such an arrangement, but rarely detracts from the performances on display.
What then would Yam Boy acting like an indigenous Englishman, pale ale and all, say? Well surely he would say little above what we already know just by drinking ‘pale ale’, one of the essentialist signifiers in his film for the term ‘English’. He might become intoxicated but that would not affect the normative experience whether that be a subversive or unsubversive manifestation of his Englishness. ‘Such judgements cannot be made out of context…’ stated Judith Butler, once relating her own gendered experiences to a captive audience. It is in Yam Boy’s audience to know the reality and make the judgements on racial terms if they must. Drinking pale ale either constitutes the real or it doesn’t.
It is quite easy to curve fit Yam Boy into Butler’s contemporary feminist arguments, although Butler is such a dense read it facilitates the interpretations or rather the mis-interpretations to perfectly fit the curve of the scholarship. Playing to the gallery was never easier than with feminist theory it would seem. Meanwhile, I expect Yam Boy will keep rapping his poetical critique on this broken culture.
60×60 is at The Truman Brewery, 91-95 Brick Lane London till 18th July 2008 and films are available with iTunes from the 360 degrees website
http://www.motiroti.com/work/projects/current.php?data_id=65
Other artists on show:
Britain:
Said Adrus, Khaldoon Ahmed, Abdullah Chhadeh & Nico Piazza & Aliya Salahuddin, Nirmal Singh Dhiman, Monika Dutta, Atif Ghani, Sheila Ghelani, Harjinder Grewal, Seema Gill, Seemab Gul, Shobna Gulati, Shanaz Gulzar, Sanchita Islam, Simon Kallow, Rizwan Mirza, Rummana Naqvi, Hetain Patel, Rajyashree Ramamurthi, Daniel Saul, Sashwati Mira Sengupta & Semonara Chowdhury, Rajni Shah, Yam Boy, Ali Zaidi.
India:
Khadeeja Arif, Natasha Badhwar, Pawas Bisht, Neel Chaudhuri & Samar Grewal & Kartikey Shiva, Baptist Coelho, Nitin Das, Ritu Datta, Elvis D'Silva, Tascha Eipe, Sukanya Ghosh, Vishwajyoti Ghosh, Bidhu Bhushan Panda, Nila Madhab Panda, Gautam Pandey, Pranav Sahi, Surya Shankar Dash, Avinash & Geeta Singh, Santosh K Singh, Hemanth Subramaniam, Abhilash V.
Pakistan:
David Alesworth, Unum Babar, Nida Bangash, Joshinder Chaggar, Shazieh Gorji, Mazhar Hussain, Ferwa Ibrahim, Juhi Jaferii & Taimoor Tariq & Komail Naqvi, Shalalae Jamil, Roshaan Khattak, Adnan Malik, Kohi Marri, Asma Mundrawala, Mehreen Murtaza, Syed Ali Nasir, Muzzumil Ruheel, Zarmeene Shah, Vasiem Siddiq, Sehban Zaidi, Maheen Zia.
Bibliography
Judith Butler, Subjects of Sex/Gender/Desire in Gender Trouble: Feminism and the Subversion of Identity (Routledge, Abingdon 1999)
Gill Perry (ed.), Difference and Excess in Contemporary Art: The Visibility of Women’s Practice (Blackwell Publishing, Oxford 2004) for Dorothy Rowe
Griselda Pollock Vision and Difference (Routledge, Abingdon 2003)