Article
Comment
Politics
Race
4 min read

Claims of institutional racism let politicians off the hook

They need to be mindful of something else baked into our institutions.

George is a visiting fellow at the London School of Economics and an Anglican priest.

A TV roundtable discussion with five people against a backdrop of Parliament.
Politicians and pundits discuss the Lee Anderson issue.

Racism charges have recently divided very neatly along political lines. Tearing chunks out of each other at the Despatch Box, prime minister Rishi Sunak and Labour leader Sir Keir Starmer have both bet their houses by playing the race card on each other. 

Starmer claims the Conservative Party wallows in Islamophobia, having withdrawn the whip from its former deputy chairman for stating publicly that Islamist extremists control the Mayor of London. For his part, Sunak, yah-boos back that Labour didn’t have a runner in the Rochdale by-election, after suspending its candidate for peddling an anti-Israel conspiracy theory.  

Rochdale was duly won by the famously pro-Arab former Labour MP George Galloway. Sunak wants us to hold that Labour is as antisemitic as it was under Jeremy Corbyn.   

So there we have it. Labour is antisemitic and the Tories are Islamophobic (not a good word, but the currency of the moment). Pick your prejudice and vote accordingly at the general election. 

Whatever the validity or otherwise of these claims, it’s in the interest of both parties to accuse their opponents of being rotten to the core with these attitudes. It doesn’t really work for them to claim that Sunak personally is an Islamophobe or Starmer an antisemite.  

This has to be about the whole political parties over which they preside. It’s really about institutional racism. So when a Conservative MP, Paul Scully, has to apologise for calling some parts of Birmingham and London “no-go areas” for non-Muslims, it’s taken as a reflection on Conservatives as a whole.  

Similarly, it’s an insufficiency to criticise particular journalists for their reporting bias; a former BBC director-general has to call the entire corporation “institutionally antisemitic.”  

The apartheid governments of South Africa were systemically racist, the Conservative and Labour parties – and the BBC which reports on them – are not. 

I have a big problem with these generalisations. The political parties contain racists of both kinds, antisemitic and Islamophobic, as well as very many members of no racism at all (thankfully). And I happen to know from personal experience that the BBC operates an informal policy of equal-opportunities bigotry – there are as many Islamophobes as there are antisemites in the organisation, though together they amount to a small minority (again thankfully). 

There is, consequently, no institutional racism in these places of work, though they are all rich in the employment of racist individuals because, alas, so is the world. 

Institutional racism was a term coined in the Sixties, but it really only gained traction as an indictment of the Metropolitan Police in 1999’s Macpherson Report into the racist murder of teenager Stephen Lawrence. 

I was uneasy with that terminology then and remain so now. Police officers are (or can be) racist; the constabularies for which they work are not. If they were so, they would train their officers to be racists – and they didn’t and do not.  

Their training may have been rubbish in all sorts of ways, but there is a world of difference between omission and commission. The apartheid governments of South Africa were systemically racist, the Conservative and Labour parties – and the BBC which reports on them – are not. 

Our politicians might be mindful of that, whatever their faith or none. And they might like to note some of the imperatives of its teaching 

Two matters stem from this. The first is simply that individuals are responsible for racist attitudes, not the organisation for which they work, although those organisations have a duty to call out racists in their midst. 

The other is to recognise what we are, institutionally and systemically. The UK’s uncodified constitution has two Churches established in law, the Church of England and the Presbyterian Church of Scotland. The monarch is the supreme governor of the former, as well as head of state. 

That is simply the way it is and, this side of disestablishment of the Church, it follows that (in England and Scotland at least) we live in a Christian country, however few of its inhabitants now attend its churches. In short, Christianity is baked into our systems and institutions. 

Our politicians might be mindful of that, whatever their faith or none. And they might like to note some of the imperatives of its teaching: care for the afflicted in the story of the Good Samaritan; the welcome of strangers in the report of the Syrophoenician woman who seeks crumbs from the table; the love of neighbour; Paul’s universalism. 

This (and much else besides) is meant, in law, to define who we are. We might expect an elected servant of the state such as Lee Anderson, the Tory suspended from his party for claiming a Muslim power grab of London, or Azhar Ali, the Labour candidate similarly booted out for claiming that Israel conspires to murder its own citizens, to know something of the national creed that defines our parliamentary democracy. 

That parliament doesn’t contain institutionally racist parties, any more than the BBC or our police forces are systemically racist. Rather, we should hold individuals to account, whoever they are. Because, ultimately, claims of institutional racism let individuals off the hook. Institutional Christianity does not.   

Review
Culture
Film & TV
Monsters
Race
4 min read

Sinners is standout thanks to Ryan Coogler and his ‘no stupid people’ rule

A cleverly choreographed culture clash between the living and the un-dead.

Giles Gough is a writer and creative who host's the 'God in Film’ podcast.

Two actors in 1930s clothes sit in an open car while the film director gestures towards them.
Delroy Lindo, Michael B. Jordan, and Ryan Coogler.
Warner Bros.

Coming off the back of Black Panther and Creed, Ryan Coogler fights off franchise fatigue with Sinners, a historical crime drama turned horror film that might be his most personal film yet. Set in 1932, Michael B. Jordan plays twin brothers returning to their hometown in rural Mississippi to open a juke joint. But a trio of guests, both unwelcome and undead, crash their opening night. 

Any film set in the Jim Crow era South following a Black protagonist can set off warning bells for savvy audiences. The blatant racial oppression can often bring with it a fair share of trauma porn. But that’s not what Sinners is about. For a significant chunk of the run-time, the film is downright hopeful. Jordan’s dual role as the brothers Smoke and Stack presents them as dangerous and driven, but also compassionate, responsible and endlessly charismatic – the type of figures who could easily become folk heroes. There’s a scene where Jordan’s Smoke not only employs a young girl to watch his truck, but also teaches her how to negotiate, doing himself a worse deal in the process. Watching them recruit musicians, cooks and sign-painters for their juke joint from the under-appreciated and under-paid is a compelling exploration of Black enterprise. 

As night descends, and the juke joint opens for business, this peek into Black enterprise turns into a delightful celebration of Black joy. Chris Hewitt of Empire magazine referred to this film as a ‘stealth musical’ and it’s not hard to see why. Almost every main character gets a musical interlude of some sort. The standout by some distance is newcomer Miles Caton, who plays Sammie, the guitar-playing cousin of Smoke and Stack, who they recruit as the centrepiece of their entertainment for the night. Sammie is at the centre of a musical sequence that will have you leaning forward in your seat in amazement at what cinema is capable of. This film brings with it its own mythology, telling us that there are people whose music is so transcendent, they are capable of piercing the veil between the past, present and future. Sammie is one such person, and his talent attracts everyone for miles around, including ancient Irish vampire, Remmick, played by British star, Jack O’Connell.  

Perhaps what’s unusual for a vampire film is that, as an audience, we’re having such a good time at the juke joint, we can almost resent the imposition of the vampires forcing themselves into the narrative. The racial parallels of these monsters might not be as obvious as the ones you find in Jordan Peele’s Get Out, but they are still there. Remmick, as the head vampire, gains the memories of each of his victims, and he wants Sammie’s abilities as a means to communicate through time with those he’s lost. (Yet another example of Ryan Coogler’s ‘no stupid people’ rule. Every character has a convincing reason for doing what they do, even the blood suckers.) The vampires here are drawn in by the music and can represent a white ruling class that wants to exploit Black music for its own purposes, in much the same way that culture vultures took music of black origin like the blues and rock, and popularised it with more palatable white artists like Elvis Presley.  

The sequence where the vampires themselves have a riotous, yet melodic dance in the dark, reminiscent of a rowdy worship session.

Perhaps another reason why vampires are such a popular monster to revisit in western culture is how they are a literalised inversion of Christianity. In the same way that Christians are promised an eternal life through the blood of Jesus Christ, vampires get immortality through drinking the blood of their victims. Even the rule where vampires can’t enter a private building without permission could be seen as warped version of the image of Jesus standing at the door of our hearts and knocking as shown in Revelation, the last book in the Bible. Vampires are a perverted vulgarisation of what it means to be a follower of Jesus and this, on an unconscious level as a society, might be why we find them so fascinating. The way the vampires use words like ‘fellowship’ to make their dark gift sound more appealing to those still inside the building suggests Coogler is conscious of this parallel. The sequence where the vampires themselves have a riotous, yet melodic dance in the dark, reminiscent of a rowdy worship session, further emphasises how music can bring people together.  

There are so many fascinating aspects to the film it’s impossible to mention them all, which might be deliberate on Coogler’s part, as he tells EBONY:  

“I wanted the movie to feel like a full meal, your appetizers, starters, entrees and desserts, I wanted all of it there.”  

While this does mean a sequel is unlikely, and some critics have complained of it being over-stuffed, it does mean that the film will richly reward repeat viewing.  

By now, Sinners will have no doubt secured its spot in many critics’ top films of the year. Ryan Coogler’s Sinners could so easily fall apart in the hands of a less skilled storyteller, but in the hands of one of the best directors of his generation, it absolutely sings.  

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