Article
Assisted dying
Comment
Culture
Politics
5 min read

The assisted dying debate revealed the real role of Parliament

MPs from areas where people are vulnerable and at risk were more sensitive to the dangers.

Mehmet Ciftci has a PhD in political theology from the University of Oxford. His research focuses on bioethics, faith and politics.

An MP stands and speaks in a parliamentary debate.
MP Diane Abbott speaks in the debate.
Parliament TV.

What would be the effect of allowing assisted suicide for those ‘people who lack agency, the people who know what it is to be excluded from power and to have decisions made for them’, asked Danny Kruger MP, as he wrapped up his speech? ‘What are the safeguards for them? Let me tell the House: we are the safeguard—this place; this Parliament; you and me. We are the people who protect the most vulnerable in society from harm, yet we stand on the brink of abandoning that role.’  

His words capture an important aspect of Friday’s debate: what is the point of Parliament? Do MPs meet to turn public opinion polls into policies? If the majority are in favour of something, do MPs have nothing left to do but to follow the public and sort out the fine details? We might instinctively say ‘Yes!’ It seems right and democratic to treat those whom we elect as people we select and send to do our bidding. And the polls do seem to show the majority of people supporting assisted suicide, at least in principle – although there are good reasons to be sceptical about those figures and about the conclusions drawn from them.   

But there are numerous times when the majority are known to be in favour of something but politicians refuse to endorse it. Polls repeatedly show that a majority are in favour of reintroducing the death penalty. Why might it be right for MPs sometimes to ignore what the purported majority thinks and to use their own judgement?  

Because Parliament is not just a debating chamber.  

An older way of referring to it was to call it the ‘High Court of Parliament’ because ‘parliament, classically, was where individuals could seek the redress of grievances through their representatives,’ as law lecturer Dr Robert Craig writes. It performed its function admirably in response to the Horizon scandal: a legitimate grievance was brought to its attention, and it responded to redress the wrongs done to the sub-postmasters by passing a law to ‘overturn a series of judgments that could only have been obtained, and were only obtained, by a toxic, captured and wilfully blind corporate culture’.   

Friday’s debate featured many MPs who understood what they were there to do. They acknowledged the ‘terrible plight of the people who are begging us for this new law’ as Danny Kruger said. But they also spoke up for those who were in danger of being harmed and wronged by the bill: the disabled and the dying, and all the vulnerable who were not there to speak on their own behalf.  

Many echoed the concerns expressed by Diane Abbott about coercion: ‘Robust safeguards for the sick and dying are vital to protect them from predatory relatives, to protect them from the state and, above all, to protect them from themselves. There will be those who say to themselves that they do not want to be a burden. …  Others will worry about assets they had hoped to leave for their grandchildren being eroded by the cost of care. There will even be a handful who will think they should not be taking up a hospital bed.’ And evidence of coercion is hard to find and trace: ‘Coercion in the family context can be about not what you say but what you do not say—the long, meaningful pause.’  

An analysis shared on X by law lecturer Philip Murray found an association between the level of deprivation in a constituency and how likely a Labour MP was to vote against the bill. He also shared figures showing that 2/3 of MPs from ethnic minorities voted against it. In other words, MPs from areas where people are vulnerable and at risk were more sensitive to the dangers of helping people to kill themselves.  

The second reading of the bill on Friday was a crucial moment for them to decide whether the bill would fix an injustice or whether it would itself cause harm.

But it seems that many MPs did not appreciate what the debate was about or what they had gathered to do. Layla Moran MP said: ‘The media are asking all of us, “Are you for or against the Bill?”, but I urge hon. Members to think about the question differently. The question I will be answering today is, “Do I want to keep talking about the issues in the Bill?”’ But James Cleverly MP intervened: “she is misrepresenting what we are doing at this point. We are speaking about the specifics of this Bill: this is not a general debate or a theoretical discussion, but about the specifics of the Bill.” He was right to be impatient. Unlike the Oxford Union, the vote has consequences. Parliamentarians are not there merely to debate. As the term ‘High Court of Parliament’ suggests, when MPs (either on their own initiative or as a government) propose bills, what they are often doing is conveying a plea to redress some grievance, and their debates are to decide whether to respond by making laws to grant justice to the wronged.  

The second reading of the bill on Friday was a crucial moment for them to decide whether the bill would fix an injustice or whether it would itself cause harm, because the scrutiny that the bill will undergo in the following stages is not likely to be as rigorous as with government bills. As a Private Member’s Bill, the assisted dying proposal is free to be scrutinised by a committee selected by the MP who has proposed the bill, i.e. Kim Leadbeater. When the bill reaches the stage for a final vote in the Commons at the third reading, no further amendments can be made and the time for debate is likely to be short.   

It is rare but bills are sometimes defeated at the third reading. With eighteen abstentions on Friday and at least thirty-six MPs claiming they might change their minds later, there is still hope.  

Each sitting of the Commons begins every day with a prayer by the Speaker’s Chaplain, who prays that MPs ‘may they never lead the nation wrongly through love of power, desire to please, or unworthy ideals but laying aside all private interests and prejudices, keep in mind their responsibility to seek to improve the condition of all mankind.’  

We can only hope and pray that at their next opportunity, MP will consider this bill in light of their responsibilities as the country’s High Court, charged with protecting the most vulnerable in society from harm. 

Article
Awe and wonder
Culture
Digital
Music
5 min read

The rave: a last bastion of hope?

Was the Brat summer the last chance for rave culture?
Ravers pose together for a selfie.
The anniversary party.
Rhythm Section.

The Rave is a site for communal epiphany, a burst of divine revelation. Illegal raves and alternative club culture seeps into the popular imagination, informing it in ways unbeknownst to most.  But it wasn’t until last Summer’s Brat (Charli XCX) landed on the global charts that people began questioning the importance of Rave and Club culture again. Is our Brat the herald of a new golden Rave dawn? I think not.  

However, undergirding the Rave is something far more profound, perhaps even religious. Raving suggests that the world might be otherwise, and it does this through a temporary release from this world’s demands.  What might this say about our cultural moment? 

Coordinating the Rave’s aesthetic is the dance between the DJ and ravers, accentuated by the practicalities of a decent sound system, lights, and a bit of fog. Inaugurating Rave’s epiphany, though, are the diverse motions of bodies to a singular beat. Techno reduces digital sounds to their basics and then pushes that to its boundary. Circumventing the rigidity of technology’s logic are the gestures of human spontaneity on the dance floor. The rave asserts that technology doesn’t have the last say over human life. 

At the Rave, those traditionally on the margins of society become the center: a temporal expression of eternal longing, momentarily experienced as a shared catharsis and liberation. The dance floor is a bulwark against an increasingly de-ritualised and dehumanising society. It is a testament to the body being a medium for hope. Whether an intoxicated body or, in a growing trend, a sober one, it is the human fleshyness which takes priority. Both options respond to how one might cope with and confront the technological barrage.  

Techno began as a language for African American youth, finding a future amidst the industrial ruins of Detroit. In our late modern moment, Rave culture acclimatises the body to the persistent sound of our technological age. It subverts the dehumanising tendencies of digital culture: mass impersonal media and abstracted global conversations.  Instead, a momentary online connection is used to gather offline. When you’re there, you’re not concerned about telling the world. It is an attention to the present moment.  

The Rave harbours a liminal threshold between appreciation for this life and the longing for some next one. 

Worryingly, some have warned that clubs will dwindle to their knees this decade, squeezed out by neighbouring property developers or no longer economically viable amidst the cost-of-living crisis. The only thing being pushed out, however, is the possible resistance to a particularly greedy homogenisation of culture. In dislocating alternative discourses of ritual, we simultaneously assert that human bodies only have one particular “rhythm”: the rhythm of ceaseless economic expansion.  

The Rave resists an uncomplicated acceptance of technology’s gift.  Its goods are re-scaled to an embodied celebration of life. 

In Raving (2023), McKenzie Wark expands upon this, saying, ‘Techno, not as genre but as technique, lets digital machines speak. Not unlike the way jazz lets analog instruments speak… Sounds at the limit of what the machine or the instrument can do to get free. Blackness in sound as the technique of making the thing free to sound off as itself and to take the human with it, into movement, into feeling, into sensation.’  Rave’s sound quite literally brings technology’s language to the end of itself. 

For some, raving is what holds them to life. For others, it’s a momentary release from it. Whilst our bodies cannot exceed techno’s interchange with technology, we do learn how to harness the potential humanness within it. The Rave harbours a liminal threshold between appreciation for this life and the longing for some next one. In twisting its technological medium into a more human configuration, rave culture participates in hope. 

Back in 1965, theologian Jürgen Moltmann wrote, ‘Hope’s statements of promise, however, must stand in contradiction to the reality which can at present be experienced. They do not result from experiences, but are the condition for the possibility of new experience… They do not seek to bear the train of reality, but to carry the torch before it. In so doing they give reality a historic character.’  While Moltmann is writing concerning Christianity and the crucified Christ, his framework for thinking about hope is helpful. Hope never occurs outside of history. The Rave embraces this historical moment and attempts to inhabit it as a contradiction. 

Recently, I went to Rhythm Section International’s tenth-anniversary party at EartH, Hackney. Rhythm Section was founded as a music collective and is still curated by Peckham’s own Bradley Zero (BZ). Known globally, its parties and label imprint span techno, house, jazz, funk, spoken word, and RnB. 

I first danced to BZ’s DJing at a record shop in 2018 while still living in Melbourne. The beauty of this particular community is that it provides a bridge for what Wark identifies: just as jazz brings analogue instruments to their limits, techno does the same for digital. As experienced recently at EartH in Hackney, Rhythm Section tries to push digital and analogue sounds to their threshold across the night. In contrast to the pure techno rave, BZ’s selection causes a polyphonic liberation. Joy is found through the instruments slapped just as much as in the DJ faders pushed.   

This joy was evident in the diversity of ages and cultures present. “Mature heads” danced alongside students; some swayed, while others vogued. Without spaces such as these, where else can we celebrate the diversity of human responses to the same sound? 

My concern with club culture’s demise is that those places of contradiction are swallowed up by a faux vision of “smoothness”. We replace spaces of alternative being with sameness. A diversity of aesthetics is converted into another apartment complex. We make room for the novelty of Brat but not the culture she draws upon. 

Rave culture attempts to redefine the dominant technological language of our day, making the body its lens and not the periphery. By privileging the human body, Rave’s hope acknowledges profound discontent with the world but understands that all “escape” is temporary. This re-calibration enacted in Rave’s ritual de-escalates the supposed importance of technology’s ceaseless expansion. Thus, it exposes a more profound longing, one where it will be an eternal dance that deepens the love of life by going ever deeper into the particularities of individual bodies and their movements.  

Because it offers a form of explicit hope, the Rave is a ritualised space filled with the belief that there can be “something more”. And this more-ness is, ultimately, encountered in the face of those we dance with; whether in a fleeting glance to ask, “Are you alright?” or the mutual smile that says, “I love this song”. 

Join with us - Behind the Seen

Seen & Unseen is free for everyone and is made possible through the generosity of our amazing community of supporters.

If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Alongside other benefits (book discounts etc.), you’ll receive an extra fortnightly email from me sharing what I’m reading and my reflections on the ideas that are shaping our times.

Graham Tomlin

Editor-in-Chief