Friday 15th August 2025
Blog Page 1636

Does Football have a racism problem?

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A year ago this week, in a match between Chelsea and QPR, John Terry insulted Anton Ferdinand. That now seems the overwhelmingly probable version of events, notwithstanding Terry’s insistence that he was indignantly repeating an insult Ferdinand accused him of using: an explanation judged improbable by Westminster Magistrates Court, and “implausible and contrived” by the FA. It seems likelier that after repeated baiting by Ferdinand, Terry snapped.
He uttered three words. Two are normally considered highly offensive, but apparently constitute nothing more than a routine reflex in professional football. But Terry also inserted the epithet “black”, and what would have been forgotten in an instant became an indelible stain on English football history.
The consequences of that single word, uttered in the heat of battle, have been staggeringly far-reaching. The domino effect has toppled kingpins. Terry was stripped of the England captaincy. Fabio Capello, England’s £6 million-a-year head-coach, was ousted from his post. Terry’s 78-cap England career was eventually ended by an FA inquiry that contradicted the magistrate’s judgment. Rio Ferdinand and Ashley Cole both received substantial fines for disreputable tweets. And English football was sent into a continuing convulsion of self-scrutinizing angst.
So it was odd that Rio Ferdinand chose on Saturday not to wear a T-shirt supporting an anti-racism campaign, his grievance apparently being that racism is not being taken seriously enough within football. Other rebels joined in, including Reading striker Jason Roberts. According to Cyrille Regis, Roberts’ uncle and one of the first black professionals in England, the protesters are aggrieved at the perceived leniency of Terry’s ban. “It gives the impression that it’s OK,” said Regis. “Come on, do we have zero tolerance or not?”
This specious logic ill befits the considered and eloquent corpus of black players who are among the football’s vocal anti-racism ambassadors. At no stage has the English footballing establishment indicated that it thinks racism is OK. Not when it stripped Terry of the captaincy before any evidence had been offered, and certainly not when it broke with its own regulations to pursue a guilty verdict against Terry after he had been acquitted in a court of law. A zero-tolerance policy does not guarantee draconian punishment, nor does it mean the reintegration of the offender. John Terry hasn’t somehow ‘got away with it’. True, he is not languishing in prison, but he has served his punishment in time and money; and for a single momentary transgression, the greatest accolades of his career have been withdrawn and his reputation irreversibly tattered.
If Terry has been shown leniency, in the length of his ban, in the size of his fine, in being allowed to remain in the national set-up until his guilt was established, then it probably reflects the fact that whilst his remark was reprehensible, it was an isolated offence not indicative of a deep racial prejudice. For all his faults, no-one could fairly call Terry a racist. No racist would tolerate such a close working relationship with numerous black players, no racist would embrace Didier Drogba so warmly after Chelsea’s Champions League triumph. Terry’s remark was instantaneously calculated to be the most provocative and offensive thing he could say, much like Ferdinand’s earlier jibes probably were, not to reflect his sincerely-held Weltanschauung.
Does English football really have a racism problem? Well, if it does, then God help the rest of British society. As an example of meritocratic multicultural integration, the Premier League is hard to better. That doesn’t mean that things are perfect. That doesn’t mean that the anti-racism campaign shouldn’t continue its tireless work. That doesn’t mean that remarks like Terry’s shouldn’t be strongly punished. But the problem is one of stupid people sometimes saying stupid things, not of endemic prejudice and institutional conspiracy.
Two black players did not join their colleagues in protest on Saturday. Mario Balotelli and Peter Odemwingie wore the T-shirts. They have both experienced racist abuse far worse than the insult directed at Anton Ferdinand. Balotelli was regularly pelted with bananas when he played for Internazionale and fans once displayed a banner proclaiming “A negro cannot be an Italian.”
Odemwingie has talked of receiving jeers and monkey chants “every time [he] touched the ball” during his spell at Lokomotiv Moscow. They know better than anyone the difference between a culture where racism occasionally materializes through individual slurs and a culture where an ingrained ‘them-and-us’ mentality prevails.
With that in mind, Rio Ferdinand and his fellows rebels might consider the message that a protest uniting black players sends. They might think carefully about their aim to create a black footballers’ union.
Are they really defending a besieged community whose interests are not served by the existing football establishment? Or are they taking the first dangerous step down a road that leads to division and alienation?

A year ago this week, in a match between Chelsea and QPR, John Terry insulted Anton Ferdinand. That now seems the overwhelmingly probable version of events, notwithstanding Terry’s insistence that he was indignantly repeating an insult Ferdinand accused him of using, an explanation judged improbable by Westminster Magistrates Court, and “implausible and contrived” by the FA. It seems likelier that after repeated baiting by Ferdinand, Terry snapped.

 He uttered three words. Two are normally considered highly offensive, but apparently constitute nothing more than a routine scatalogical reflex in professional football. But Terry also inserted the epithet “black”, and what would have been forgotten in an instant became an indelible stain on English football history.

The consequences of that single word, uttered in the heat of battle, have been staggeringly far-reaching. The domino effect has toppled kingpins. Terry was stripped of the England captaincy. Fabio Capello, England’s £6 million-a-year head-coach, was ousted from his post. Terry’s 78-cap England career was eventually ended by an FA inquiry that contradicted the magistrate’s judgment. Rio Ferdinand and Ashley Cole both received substantial fines for disreputable tweets. And English football was sent into a continuing convulsion of self-scrutinizing angst.

So it was odd that Rio Ferdinand chose on Saturday to spurn a T-shirt supporting an anti-racism campaign, his grievance apparently being that racism is not being taken seriously enough within football. Other rebels joined in, including Reading striker Jason Roberts. According to Cyrille Regis, Roberts’ uncle and one of the first black professionals in England, the protesters are aggrieved at the perceived leniency of Terry’s ban. “It gives the impression that it’s OK,” said Regis. “Come on, do we have zero tolerance or not?”

 This specious logic ill befits the considered and eloquent corpus of black players who are among the football’s vocal anti-racism ambassadors. At no stage has the English footballing establishment indicated that it thinks racism is OK. Not when it stripped Terry of the captaincy before any evidence had been offered, and certainly not when it broke with its own regulations to pursue a guilty verdict against Terry after he had been acquitted in a court of law.

A zero-tolerance policy does not guarantee draconian punishment, nor does it proclude the reintegration of the offender. John Terry hasn’t somehow ‘got away with it’. True, he is not languishing in prison, but he has served his punishment in time and money; and for a single momentary transgression, the greatest accolades of his career have been withdrawn and his reputation irreversibly tattered.

If Terry has been shown leniency, in the length of his ban, in the size of his fine, in being allowed to remain in the national set-up until his guilt was established, then it probably reflects the fact that whilst his remark was reprehensible, it was an isolated offence not indicative of a deep racial prejudice.

For all his faults, no-one could fairly call Terry a racist. No racist would tolerate such a close working relationship with numerous black players, no racist would embrace Didier Drogba so warmly after Chelsea’s Champions League triumph. Terry’s remark was instantaneously calculated to be the most provocative and offensive thing he could say, much like Ferdinand’s earlier jibes probably were, not to reflect his sincerely-held Weltanschauung.

Does English football really have a racism problem? Well, if it does, then God help the rest of British society. As an example of meritocratic multicultural integration, the Premier League is hard to better. That doesn’t mean that things are perfect.

That doesn’t mean that the anti-racism campaign shouldn’t continue its tireless work. That doesn’t mean that remarks like Terry’s shouldn’t be strongly punished. But the problem is one of stupid people sometimes saying stupid things, not of endemic prejudice and institutional conspiracy.

Two black players did not join their colleagues in protest on Saturday. Mario Balotelli and Peter Odemwingie wore the T-shirts. They have both experienced racist abuse far worse than the insult directed at Anton Ferdinand. Balotelli was regularly pelted with bananas when he played for Internazionale and fans once displayed a banner proclaiming “A negro cannot be an Italian.” Odemwingie has talked of receiving jeers and monkey chants “every time [he] touched the ball” during his spell at Lokomotiv Moscow.

They know better than anyone the difference between a culture where racism occasionally materializes through individual slurs and a culture where an ingrained ‘them-and-us’ mentality prevails.

With that in mind, Rio Ferdinand and his fellows rebels might consider the message that a protest uniting black players sends. They might think carefully about their aim to create a black footballers’ union. Are they really defending a besieged community whose interests are not served by the existing football establishment? Or are they taking the first dangerous step down a road that leads to division and alienation?

 

 

Report: Oxfam turns 70

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With thanks to Oxfam GB

Review: The Overtones – Higher

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The Overtones style themselves as a ‘doo-wop boy band’. Style is the right word. Everything feels very polished and slick. Their album cover shows the five of them striding around in various natty suits. Sadly, their music is nowhere near as stylish or even as substantial as their dress sense.

You’d think it’d be hard to get angry about The Overtones, an almost aggressively inoffensive band – all smiles, “bob-shoo-waddy-waddy” backing vocals and crooning. You’d think so.

Unfortunately you’d be wrong. There’s only so much time that you can spend in their company before you get the urge to wash out your ears with bleach in order to dissolve the layer of sugar that accumulates on your eardrum. That period of time barely outlasts the first track.

These are some of the most annoying people in the music business. They obviously think that they’re doing the world a service by bringing back doo-wop (a genre that was annoying to begin with). All they’re actually doing is giving us more background noise. There’s just no edge to this stuff.

The closest they get to any kind of feeling is when rolling their ‘r’s on ‘Reet Petite’, and that feeling is simply the feeling of being out of place. These people deserve to be boringly average auditionees on the spin-off ‘Xtra’ show of some primetime talent contest, not people who, for some unknown reason, have a record deal. It makes you wonder how many other talented but unrecognised people could have made albums if the plastic and paper that went into creating each copy of Higher hadn’t been so needlessly wasted.

I guess the theory is that this is the sort of music that you could ‘enjoy’ alongside your gran. But your gran would probably fucking hate it too, because your gran has brilliant music taste compared to the cretins who signed these grinning, suit-bound twats.

Live Review: Marina and the Diamonds

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A lot has changed since I last saw Marina Diamandis play live. Aged 17, I saw a rough and ready set of quirky, new-wave inspired songs, whereas what this initially cynical 20-year-old witnessed on Monday night at the O2 was a rather more polished affair. Diamandis has faced criticism for abandoning her indie roots and switching to a more commercialised and chart friendly sound. However, despite some dramatic changes, one thing remains consistent – this lady knows how to put on a show.

The stage transformed with a set reminiscent of the bedroom scene in Grease, and Diamandis appeared bedecked in a wedding veil, kicking off with a rousing version of ‘Lonely Hearts Club’. Effortlessly switching between songs with a warm and engaging patter, some of her old eccentric charm was retained in the use of props such as a ‘Miss Shellfish Beach’ sash and a bizarre robotic dog called Marilyn.

Though the set closer, ‘Fear and Loathing’, fell a little flat, Diamandis’ vocals were otherwise impressive, particularly on crowd favourites ‘I Am Not a Robot’ and ‘Primadonna’. Gone was the static and slightly awkward performance of three years ago, replaced with a display of sheer energy and bombastic dynamism, as she bounded, twirled and cavorted across the stage.

Admittedly, much like the cheesy American high school films and pop culture from which Diamandis draws so much of her imagery, the show was rather frothy and lacked real substance, but it didn’t matter: as a thoroughly enjoyable evening of saccharine pop, it deserves an equally cheesy double thumbs up.

Blessed with the Force

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There have been murmurs recently about the existence of a ‘Blessing Force’ scene in Oxford. News to you? Jeez man, where have you been? Featuring notable scenesters Chad Valley, Trophy Wife and Pet Moon, Blessing Force can loosely be defined as the elusive and enigmatic assortment of artists broadly united by an OX postcode and a commitment to a neo-shoegazing, summery, synth-wave pop. Sort of.

Floating at the heart of this mysterious Oxford milieu lie Fixers, a Beach Boys inspired, psychedelic quintet. They’ve just finished a headline UK tour and released their debut album We’ll be the Moon, garnering widespread critical praise along the way. The Guardian bestowed a deserved four stars while the Sunday Times made the album their CD of the Week.

Evidently, things are looking up, right? Well not for front man Jack Goldstein. He reflects that “Nothing has changed. I’m still as destitute as I was before, I’m still living where I used to live before. I’ve always wanted to be a musician and achieve the making of a real album, and I’ve achieved one of the things I’ve always wanted, but I’m perhaps not feeling the way I thought I’d feel.”

So it’s been an anti-climax? “No, I don’t think that’s quite the right word. We’re not the proverbial outsiders anymore; a lot of mixed messages were sent. And through a mixture of cost compromise, things did get a little bit topsy-turvy. But I couldn’t have asked for much more, and it’s nice that everyone liked the album.”

So do music critics play an important role in today’s music industry? “The role of the music journalist is not invaluable – everyone can be a music critic – but being affiliated with publications that I admire and I like means a lot.”

So how far has Oxford’s notoriously prolific music scene, as well as being the site of the emergence of Blessing Force, been a driving force in Fixers’ musical trajectory? “It’s a city I’ve lived in all of my life… there’s probably some subliminal geographical sub-culture ingrained in us. But I don’t believe in geographically mapping bands; I don’t think it’s right. I’m good friends with Hugo [of Jonquil/Chad Valley fame] and we don’t sound particularly similar.

“Trophy Wife as an entity could have existed all across the South, and do. But because they’re aligned with other bands they get thought of as sounding like [Blessing Force]. Realistically they all sound so different.”

Jack has declared in previous interviews that he would like to abandon playing live, a stance which might strike some music purists as peculiar: surely the live performance represents the pinnacle of musical endeavour, the culmination of a long artistic process finally rewarded and finalised by real-life fan reception? “Well after the show at Modern Art, [in Oxford on 13.10.12] I’d like to do [live gigs] all the time. I was a bit scared before… especially as I’m the front man. And I do genuinely enjoy recording a lot more. It’s a lot more fun, as you get to experiment.
“Now, more than ever, people want to see bands live…live music has emotional connotations. But with new music, I’m a bit dumbfounded by it. Nothing in the UK really interests me. You delve into history and it becomes more experimental; there’s so much great music.”

So what’s next for the surf pop darlings? Jack replies happily, “We’re doing behind the scenes stuff, which basically means we’re all being quite lazy. We’re working on recording, sitting back and working out how we’re going to do these new songs. I like the idea that as long as Fixers are around we’ll be releasing an album every year’.

‘In Time We Hate That Which We Fear’

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The urge to include strong terms in both normal dialect and formal speeches is a compelling one. The emotion, the passion, the sense of unity that can be instilled by a sensationalist speech have let words such as ‘hate’ and ‘hypocrisy’ become commonplace in politics today.

If we take a look across the pond, the scale and magnification of hatred makes America an obvious place to start. The Republicans, and specifically the Tea Party, are the worst perpetrators. The pure hatred directed towards Obama is staggering. First there was the birth certificate speculation, and the notion that Obama is alien to American values. That he’s working not for the American people but for an enemy ideology is a widely held belief.

The hatred doesn’t stop there. Top Republicans, Romney included, fan this wave of hatred on a consistent basis. Quips about the birth certificate, claims that Obama sympathised with the extremist attacks in Benghazi, and slips of the tongue by Romney saying that the right needed to “hang Obama”, may seem merely unfortunate, but they make you wonder what he was really thinking. And he doesn’t hold back about branding Obama a liar either, even if there isn’t anything to back it up with, recently saying “…the President tends to, how shall I say it, to say things that aren’t true.” The reaction of the party faithful? They lap up every word.

Come back across to home soil however and the hatred flows in every direction. In the UK, it’s sometimes a tendency of the left to hate the Conservatives – that poor-bashing, profit-seeking, class-discriminating nasty party. At the TUC conference, more than a sprinkling of people proudly showed off their t-shirts adorned with the words: “Thatcher: A generation of trade unionists will dance on Thatcher’s grave”.  But mainstream left-wing outlets sometimes also convey a certain hatred towards the right – maybe not in such a tasteless manner, but they do so all the same. The Guardian and Observer, well-respected papers, often play host to pieces declaring their “hatred” of the Tories/the rich/the toffs – insert as appropriate.

It almost seems that it’s okay to “hate” the Tories, but the moment you flip it around the other way – to hating “socialism” – you’ll be ostracised and labeled as extremist, prejudiced, intolerant etc. Of course that is precisely the view many moderate British and Europeans hold about the Tea Party in America, while many right wingers there regard anything that could even mildly smack of “socialism” as an anathema.

However, don’t be fooled into thinking that this is simply a preserve of the British left. The Conservatives have long had their own way of expressing hatred – they call it hypocrisy. It sounds less violent but it is just as effective. Their constant lambasting of the “socialist lefties” as hypocrites with selective memories is both widespread and applied indiscriminately to any left-leaning thinker, be they centre or at the opposite end of the “left” spectrum.  Further right than the Consevatives come the parties whose general xenophobia and hatred of immigrants is their life blood.

So why do all sides do it? Are we really a society of hatred? Like anything, it’s probably a combination of factors:

1. Moral high ground: common to both the Tea Party and to many on the left-wing in the UK, is the conviction of owning the moral high ground. In the US it takes more of an evangelical slant, but over here it’s still often a question of good and evil. If you don’t want to take from the rich and give to the poor, well then you’re obviously just a wicked human being.

2. Easy common ground: it’s far easier to rally a group around a strong emotion than a moderate one, and hatred is no different. A well-recognised problem for Obama is that the Tea Party hates President Obama much more intensely than liberals love him.

3. Fear: the moment we feel threatened, the automatic response is to hate that from which the fear stems. Shakespeare recognized this when he penned the phrase, “in time we hate that which we often fear”. Amidst the scandals of modern politics, it’s easy to forget that the word politics stems from the Greek, “of, for, or relating to citizens’. Most politicians are working for a better society; irrespective of party, the main focus is the same, they just have different ways of getting there. So the moment an alternative view, one which may actually be credible and popular, is voiced by the opposition, this immediately become a threat – and the easiest way to combat a threat – is to find reasons to hate it.

So what to make of it? Well, one can only hope that politicians on all sides of the spectrum will come round to the fact that a considerate approach which has weighed out the counter-argument, but dismissed it with a stronger one of their own, is probably the most viable platform from which to win an election. If we want politics to once again be the respected cause that it once was, then by all means have the passion, but then leave out the hate.   

Winter of Discontent

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“Now is the winter of our discontent
Made glorious summer by this son of York,
And all the clouds that loured upon our house
In the deep bosom of the ocean buried.”
– William Shakespeare, Richard III. Act I, Scene i
You can imagine a similar thing being orated a few weeks ago, as we still basked in the glory of our great British summer of sport. The excitement engendered by the Olympic flame burnt away all clouds of despondency amidst an economy still yearning for recovery and the wettest summer on record for a hundred years. Our medal winning heroes were everywhere, from billboards to stamps. The bruised arms and bodies of Team Sky, from Tour de France crashes, were battle scarred from the first race of a summer in which Britain took on the world and won.
A cursory glance across this week’s back pages tells an altogether different story. The ‘winter of our discontent’, in the sporting world at least, is back with a vengeance. This is more than just an Olympic hangover; this is the sporting world getting its stomach pumped after too much victory champagne. Bruised arms only serve as monuments of cycling’s dark and drug-fuelled past, and ‘all the clouds that loured upon our house’ have returned to waterlog Polish pitches, whose groundsmen clearly lost the roof remote control. If all this wasn’t enough, Rio Ferdinand’s recent ‘protest’ of not wearing a ‘Kick It Out’ t-shirt has brought football’s ugly side back into the forefront of our minds with the reminder that racism still remains in ‘the beautiful game’. The sight of England’s U21 players being subjected to racist abuse and attacks during their Euro 2013 qualifying match in Serbia only served to compound this bleak image of xenophobia.
The ‘Oxford Bubble’ is, in this sense, something of a blessing in disguise. Whilst the last glowing embers of the Olympic flame have long since cooled, flaming sambucas continue to ignite the celebrations of college sport passion every Wednesday night in Park End.
With college league matches, cuppers competitions and blues fixtures now in full swing, forget the lacklustre sporting panorama beyond the ring-road and let sport here in Oxford excite, enthral and exhaust you. If only to lose a few pounds before the inevitable comfort eating of fifth week blues, make it this week’s goal to get involved. Whether it be participating in cross country or swimming cuppers on Saturday, or simply lacing up your boots for the college 3rd team, be part of the Oxford

“Now is the winter of our disconten.Made glorious summer by this son of York,And all the clouds that loured upon our houseIn the deep bosom of the ocean buried.”- William Shakespeare, Richard III. Act I, Scene i

You can imagine a similar thing being orated a few weeks ago, as we still basked in the glory of our great British summer of sport. The excitement engendered by the Olympic flame burnt away all clouds of despondency amidst an economy still yearning for recovery and the wettest summer on record for a hundred years.

Our medal winning heroes were everywhere, from billboards to stamps. The bruised arms and bodies of Team Sky, from Tour de France crashes, were battle scarred from the first race of a summer in which Britain took on the world and won.A cursory glance across this week’s back pages tells an altogether different story.

The ‘winter of our discontent’, in the sporting world at least, is back with a vengeance. This is more than just an Olympic hangover; this is the sporting world getting its stomach pumped after too much victory champagne. Bruised arms only serve as monuments of cycling’s dark and drug-fuelled past, and ‘all the clouds that loured upon our house’ have returned to waterlog Polish pitches, whose groundsmen clearly lost the roof remote control.

If all this wasn’t enough, Rio Ferdinand’s recent ‘protest’ of not wearing a ‘Kick It Out’ t-shirt has brought football’s ugly side back into the forefront of our minds with the reminder that racism still remains in ‘the beautiful game’. The sight of England’s U21 players being subjected to racist abuse and attacks during their Euro 2013 qualifying match in Serbia only served to compound this bleak image of xenophobia.

The ‘Oxford Bubble’ is, in this sense, something of a blessing in disguise. Whilst the last glowing embers of the Olympic flame have long since cooled, flaming sambucas continue to ignite the celebrations of college sport passion every Wednesday night in Park End.With college league matches, cuppers competitions and blues fixtures now in full swing, forget the lacklustre sporting panorama beyond the ring-road and let sport here in Oxford excite, enthral and exhaust you.

If only to lose a few pounds before the inevitable comfort eating of fifth week blues, make it this week’s goal to get involved. Whether it be participating in cross country or swimming cuppers on Saturday, or simply lacing up your boots for the college 3rd team, be part of the Oxford

 

Ordered Chaos: Review of Moulène at Modern Art Oxford

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Jean-Luc Moulène, the seminal French artist, presents an eclectic mixture of sculpture, photography and film installation in Modern Art Oxford’s upper gallery. Born in Reims in 1955, Moulène has become renowned for his photographic work in the mid-nineties, which combines cold, artistic indifference with shocking imagery. This is nowhere more exemplified than in his 2004 series Les Filles D’Amsterdam, where Moulène’s models combine a traditionally pornographic pose with disturbingly passive expressions. This approach has been transferred into his latest collection via the large film instillation that concludes one’s visit.

It is perhaps strange to begin by discussing the end; however, it is here that our first point of contact with his earlier work emerges. Projected onto the back wall, three nudes stand, turning to display their naked bodies to the viewer; viewer becomes voyeur as one waits to examine the entire body. The same indifferent facial expression is written across each face, creating a deliberate ambiguity as to whether these women are empowered by their nudity or objectified by it. As with most of Moulène’s photographic portraits, one longs to discover the story behind the expression.

Whilst working on larger installation pieces at the turn of the millennium, Moulène began to reject the term sculpture, choosing instead to refer to his pieces as ‘objets’ (objects). As we work our way back through the gallery, this term becomes more applicable. It is perhaps on account of the space or perhaps Moulène’s cluttered vision, but the opening room is a milieu of competing ‘objets’. A clear bottle of water is stoppered by a large cut-glass crystal, whilst elsewhere coloured glass writhes in a tangled fusion of light. The entire space is used, with the walls bearing a mixture of photography and painting: Etoile Noire (blue & black felt pens on paper) proving to be a particularly stark image in which it is unclear whether we are witnessing an implosion or explosion of caliginous colour.

However, the focus of this room is certainly the processional lines of bronze and glass shapes, each supported by a thin metal pole; there is ceremonial feel to this work, through which we can both wander and in which we can participate. Whilst the nebulous shapes play out through contrast – the rough textures of the bronze juxtaposed with the smoothness of the glass – there is a unity that makes this piece far greater than the sum of its parts. The austerity of the lines recalls classical bronzes and suggests something of antiquity; however, this is never fully realised on account of the coloured glass. One thing that begins to emerge from these works is a desire to order chaos. The rectilinearity of the lines brings shape to the formlessness of the ‘objets’. This is equally true of the photograph Black Ink in which form and control is provided to prevent the indelible chaos of the ink.

Whilst there is a strange lack of coherency to this exhibition, one is able to enjoy the specific moments that constitute it. A greater focus on one key area of Moulène’s work may have proved more successful in terms of artistic performance, but as an entry into one of France’s key modern artists, Modern Art Oxford’s display of works from the mid-nineties to the present-day served as a thought-provoking introduction.

Fashion is a Feminist Issue

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Fashion has long been regarded as ‘women’s business’.  It’s women who are interested in it and who support the industry, through their shopping trips and, more recently, their online forays.  And that is, of course, how it should be because fashion, of its nature, is trivial and superficial.  It resides in the world of appearances and has nothing to do with the essence of human existence, where men, through the ages, have wrought the progress whose fruits we now enjoy. 

 But is fashion perhaps perceived as inherently trivial precisely because it has long been viewed as a female domain? And does our interest in it, inevitably, perpetuate our objectification and sustain our marginalisation?  Is fashion irredeemably anti-feminist? 

From time immemorial, women have struggled to approximate to an ever-changing paradigm of beauty and perfection not of their own making. There’s always work to be done to make us more alluring, sexier. Corsets have constricted waists, bodices have lifted breasts, and stilettos have lengthened legs. Depending upon time and circumstance, we have impossibly aspired to the demure and the virginal; the vampish and the yet instantly available.  The one given being that it’s all for men.  While women have been forced to primp and preen; pluck and pout to gain a man’s security, men, historically being in possession of economic and legal power, have never had to aspire to the impossible. Interest in fashion renders women superficial; no interest renders them undesirable.

 Whilst women have achieved a level of independence of which we could, once, only have dreamt, what woman has not experienced the horror of the changing-room, the irrational panic accompanying getting dressed to go out, or, more particularly, that what you have just doesn’t look right?  Our clothes seem to assume an objective authority over us. They judge us.  We have to live up to them

The 1970’s feminist found herself in the familiar double bind of defending a woman’s right to wear whatever she wants, while simultaneously regarding a woman with an interest in fashion with a degree of suspicion and thus ironically stereotyping the very women they should have supported.  On the one hand, the advent of the pill and the ‘67 Abortion Act had, finally, afforded us some real control over our fertility.  On the other, such ‘sexual liberation’ seemed to come at a price.  If the mini-skirt symbolised the sexual hedonism of the times, Mary Quant and Twiggy were not immediately embraced as ‘sisters’ by the Second Wave of feminism that followed just a few years later because, while the mini-skirt may have been an expression of women’s new-found freedom from enslavement to conception, it also seemed to offer the promise of readily available sex to men. Not for the first time, men had appropriated our advancement, and were using it to their own advantage.  

While, in the 1970s, there was the sense that fashion was the preserve of the unthinking, changes in the interim must persuade us to reconsider.  We must acknowledge that nothing so all pervasive could ever be wholly irrelevant.  Fashion has much in common with architecture.  Both require reconciliation of form and function and pervade the public sphere, in a way that other art forms do not. So why is architecture seen as wholly serious, while fashion isn’t?  The language of architecture is understood by only the more erudite, whilst everyone thinks that they understand the language of fashion: that a short skirt means sex and an exposed décolletage invites desire.

And that, for feminists, is the problem.  If everyone thinks that they know what certain garments symbolise, it seems in vain to protest that I am wearing a short skirt and heels today, to please myself.   But, at some level, there is no sense of pleasing oneself here, because there is always the risk of a disparity between the perception of observer and observed. Then how can I be sure that insidious pressures of which I am not aware haven’t determined my choices?

So, for what are we hoping?  For some ideal world, where we could wear what we want, without fear that our clothes would be subject to a myriad preconceptions and prejudices?  Would that be ideal or possible?  The answer is no.  All clothing, no matter how pedestrian, has some inexorable symbolic impact, and rightly so. It is part of what makes us human that we seek to embellish ourselves and our world.  It is part of what defines us as human that everything around us is imbued with some significance.  We could never, in service to some pure and purged feminist aesthetic, strip that away and there could never be an aesthetic in fashion that isn’t the point of intersection of innumerable connotations.

 But the symbolism and significance attached to garments does change, albeit slowly.  Far too many women of power and influence now think that, in order to be taken seriously, we must look dowdy or dress like a man.  And, to an extent, familiarity anaesthetises the general population to those very articles of clothing which kept women as ‘sex symbols’, cementing stereotypes.  The short skirt, for example, is now much more commonplace and unnoticeable than at the dawn of the 1960s. Perhaps, then, we can afford to relax the somewhat prescriptive notions of what constitutes ‘suitable attire’, as advocated by 1970s feminism.  We can acknowledge that feminists, like women in general, come in all shapes, sizes and forms of attire.

But, if fashion continues to be trivialized, it’s partly because we have colluded in making it so. It’s a manifestation of the psychology that comes with centuries of subjugation that we have tended to excuse and devalue the very aspects of the culture that are specifically ours.  And let us also remember that men aren’t exactly deficient in the vanities department.  There are the cars, the gym equipment and those miraculous products that promise to stimulate hair follicles. Currently, the male grooming market is one of the only markets that has shown huge growth despite the recession. Moreover, ‘high fashion’ may be frippery, but it has never been devoid of interest.  Couture designers are often impressively educated individuals, who produce collections that are frequently fantastical and unwearable, their nuances impeccably highbrow. (See, particularly, the work of the now deceased McQueen and the now disgraced Galliano.)

 But, until recently, it was a sad reflection of the status quo that even the higher echelons of a fashion industry which caters primarily to women and dictates how we aspire to look, was almost entirely dominated by men.  And this, despite the fact that it is little girls who are taught to sew.  But, while women have always beavered away, ‘making do and mending’, this is lowly domestic work.  And the needlepoint, beloved of Jane Austen’s heroines, merely kept genteel women occupied until Mr Right came calling.  Women (and children) still make up the majority of those working (under terrible conditions) in sweatshops around the world, and it is, primarily, women who sew beads and sequins onto couture gowns in the Ateliers of Paris.  But the gods of fashion have, with the exception of Coco Chanel, almost all been men: Christian Dior, Cristóbal Balenciaga, Yves Saint Laurent, Gianni Versace, and so on.  We have worn clothes designed by men – to please men.   

 Now, with the ascendancy, first of Vivienne Westwood and Diane von Fürstenberg,  and then Donna Karan, Jil Sander, Isabel Marant, Miuccia Prada, Stella McCartney, Phoebe Philo and Sarah Burton, things are changing.  And, interestingly, though not surprisingly, there are signs that women designers are producing clothes which their women customers might actually want to wear, or on which we could, conceivably, model our own style, rather than the outlandish, and often alienating, fabrications which, too often, have been the signature of male Creative Directors.

 It’s time for us to stop apologising.  We’ve long felt unable to criticise men’s indulgences because they’ve earned them. If they wanted to fritter their money away on the frivolous who were we to object? And, because women’s work has, for so long, been hidden and unpaid in the domestic sphere, or of low status and under-paid in the public, we have been financially beholden to men even for that which we want to call our own.  But, with growing economic independence, there is no longer any economic reason for regarding women’s indulgences as less deserved and more self-indulgent than men’s.

Some of us will continue to have an interest in fashion, and all of us will continue to wear clothes.  And, sometimes, our intention in wearing them will be misconstrued: not least because, in the realm of sexual politics, the moral and emotional tends to lag at least a generation behind the realities of the economic and legal framework – so much of the former having been imbibed with mother’s milk and then, seemingly, set in stone in our subconscious.   But, if feminism stands for anything, it is for the affirmation of women.  Despite huge progress, we are still not where we want to be, or where we could be.  And there are millions of women who do not yet enjoy anything like the advances to which I have alluded.  Almost anything that makes us feel good, in a still male-dominated world; that gives us confidence has something to recommend it.  There is every possibility that, over time, we can reclaim and redefine what we wear and gradually come to own it, rather than being enslaved to its perceived power to render us something other than we are.

There is nothing intrinsically anti-feminist about fashion, any more than there is about architecture or, indeed, cooking.  We need clothes just as much as we need buildings and food, but, in all three, we have gone far beyond the essential.  That is because, in the realm of human affairs, it is the superfluous that both expresses and makes us what we are.  Our behaviour is not just a means to an end, but an end in itself.  We do not display merely to attract a mate.  We display and embellish and ornament and enhance because we are human.

Zoom in on… new talent

0

 

Henry Bird is currently studying Film and Media
Production at Atrium, University of Glamorgan,
but is already making a name for himself in the
photography industry, both on and off the web.
What inspires you to pursue photography?
As a lover of sports photography, I love looking
at extreme sport magazines and SuperSaturated
TV – a website by a North Devon production
company. I also get a boost from people telling
me that my photos are ‘’professional’ or ‘’inspiring’’.
Knowing that people like my photos
makes me want to carry on taking them.
Any favourite experiences in the world of
photo/videography?
I’ve done some cool work as an official photographer
of windsurfing and golf days, and filming
music gigs for bands like The Point House
Boys. Another amazing experience was being
hired by Coca Cola to film the arrival of the
Olympic torch in Cardiff.
Why do you think photography is important?
To me it’s a way of expressing feelings about
something when I can’t find the words to give
it emphasis and meaning. One of my favourite
sayings is: ‘Where words fail to describe, my
camera lens will shine.’ Photography is a ‘bubble’
for me to escape everyday struggles.
What are your thoughts on Instagram?
For non-professional photographers I think
Instagram is great to get professional-looking
images with just a couple of clicks. I also think
it’s good as a base for sharing photos. With so
many ‘Instagrammers’ I guess it’s a chance to
get your name out there. But for professional
photography I don’t think Instagram benefits
a photographer whatsoever. I’d rather know
that I have actually worked to get the desired
result using Photoshop, Lightroom, or other
software.
Do you think it’s a struggle to get into a photography
career?
It’s tough but definitely achievable if they have
time to gain experience at their fingertips.
When it comes to equipment, people don’t
need a pricey camera to take the best shot.
Nowadays things are getting so ‘technical’
but, with the right set-up, I think the low-end
digital SLR like the Canon 550D (£530) can get
just as good a photo as high-end cameras like
a Canon 5D mark III (£2500). The specifications
are a lot higher, but if you get the ISO, Shutter
Speed and Aperture set to your needs, and have
the right lenses, what’s stopping you getting
an equally high quality photo?
How would you advise publicising your
work?
I am trying to make a name for myself online
at the moment through YouTube for my videos
and Facebook for my photos, as well as a website
to display my work in the form of a portfolio
(www.coverthecake.com).
Henry’s work can be seen on www.youtube.com/
henrybird123, as well as in his online portfolio.

Henry Bird is currently studying Film and MediaProduction at Atrium, University of Glamorgan, but is already making a name for himself in the photography industry, both on and off the web.

What inspires you to pursue photography?

As a lover of sports photography, I love lookin gat extreme sport magazines and SuperSaturatedTV – a website by a North Devon production company. I also get a boost from people telling me that my photos are ‘’professional’ or ‘’inspiring’’.Knowing that people like my photos makes me want to carry on taking them.

Any favourite experiences in the world of photo/videography?

I’ve done some cool work as an official photographerof windsurfing and golf days, and filming music gigs for bands like The Point House Boys. Another amazing experience was being hired by Coca Cola to film the arrival of the Olympic torch in Cardiff. Why do you think photography is important? To me it’s a way of expressing feelings about something when I can’t find the words to give it emphasis and meaning. One of my favourite sayings is: ‘Where words fail to describe, my camera lens will shine.’ Photography is a ‘bubble’ for me to escape everyday struggles.

What are your thoughts on Instagram?

For non-professional photographers I think Instagram is great to get professional-looking images with just a couple of clicks. I also think it’s good as a base for sharing photos. With so many ‘Instagrammers’ I guess it’s a chance to get your name out there. But for professional photography I don’t think Instagram benefits a photographer whatsoever. I’d rather know that I have actually worked to get the desired result using Photoshop, Lightroom, or other software.

Do you think it’s a struggle to get into a photography career?

It’s tough but definitely achievable if they have time to gain experience at their fingertips.When it comes to equipment, people don’t need a pricey camera to take the best shot.Nowadays things are getting so ‘technical’ but, with the right set-up, I think the low-end digital SLR like the Canon 550D (£530) can getjust as good a photo as high-end cameras likea Canon 5D mark III (£2500). The specifications are a lot higher, but if you get the ISO, ShutterSpeed and Aperture set to your needs, and have the right lenses, what’s stopping you getting an equally high quality photo?

How would you advise publicising your work?

I am trying to make a name for myself online at the moment through YouTube for my videos and Facebook for my photos, as well as a website to display my work in the form of a portfolio (www.coverthecake.com)

.Henry’s work can be seen on www.youtube.com/henrybird123, as well as in his online portfolio.

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