Essay
Comment
Justice
5 min read

Dignity: why people matter

How dignity underlies our ethics and law.

Professor Charles Foster is a Fellow of Exeter College, Oxford, and a member of the Oxford Law Faculty.

A pupil in a classroom looks around and into the camera.
Indus Action

You think that you matter: that you are significant. I agree with you. I think the same about myself.

We all think we are significant, and that our significance requires us to behave and to be treated in particular ways. One of the main functions of the law (perhaps the function of the law) is to regulate this sense of significance: to protect my sense of my significance and to stop it interfering with the sense of significance that others have.

A common name given to this sense of significance is dignity. It is a defining characteristic of humans. We see it as soon as we see behaviourally modern humans – who came on the scene about 45,000 years ago. We laid our dead tenderly in the earth, clutching flowers and amulets, rather than leaving them out as food for hyenas. We carved our faces into mammoth ivory because we knew that there was something about our faces which should endure. We believed that we had souls and that other things, human and non-human did too. This made eating other ensouled things a real problem. We evolved solemn liturgies of oblation and satisfaction to solve it. Our walk through life and death was elaborately choreographed, because it wasn’t proper to stomp and blunder. Comportment mattered because we mattered.

These were astonishing assertions – so astonishing that no big society has ever taken them completely seriously.

Jumping from pre-history to history, dignity, like other precious resources, was appropriated by the rulers, who said that they and only they had a right to it. The hoi polloi never truly believed this; they knew their own worth and moral weight. But the rulers told an artful story. The gods had dignity, they said, and the gods gave it to their favoured ones – typically the royals and the heroes. The royals were the gods’ embodiments or regents, and so the thrones of Mesopotamia and Egypt were invested and affirmed by divine dignity. The capricious gods of Olympus gave dignity at particular times and for particular purposes to their particular favourites, who therefore became demi-gods for a while.

In the Hebrew world, however, a radically democratic move was afoot. God was indeed dignified, but since every human was made in his image, all humans were dignified too – and in the same way as God. The idea was picked up by St Paul: ‘There is neither Jew nor Greek’, he declared. ‘There is neither bond nor free, there is neither male nor female: for you are all one in Christ Jesus’.

These were astonishing assertions – so astonishing that no big society has ever taken them completely seriously.

The obscenity of Auschwitz relegated the hyper-spiritualised notion of dignity to the cloister, and Kant’s notion to the Academy. For whatever dignity was, it was outraged there, and the outrage extended to bodies and to the non-rationally-autonomous.

Less ambitious, and so more palatable, was Stoicism’s rather anaemic version of the Imago Dei. All humans were potentially dignified, it said, and each human had a duty to strive to realise their dignified potential. It was much less radical than the Judaeo-Christian conception, but still represented a tectonic break with the royal theocracies of Mesopotamia, Egypt and elsewhere.

This Stoical conception of dignity did useful work. It served to save the notion of dignity from two mortal threats - both, embarrassingly, from the Christian world (though Kant’s relationship with Christian orthodoxy was sometimes uneasy).

There is a strand of Platonised Christianity (drawing on the early Augustine)  that spiritualises the idea of dignity. If it prevailed dignity would have nothing to say in hospitals about bowels or bedpans, in bedrooms about sex, in plantations about slavery, in jungles about the fate of trees or toucans, or in newsrooms about anything at all.

Kant located dignity in rational autonomy, so snatching dignity from children, the demented, the unconscious, the depressed, everyone who has drunk a bottle of red wine, and more or less everyone who doesn’t have a PhD in philosophy.

The obscenity of Auschwitz relegated the hyper-spiritualised notion of dignity to the cloister, and Kant’s notion to the Academy. For whatever dignity was, it was outraged there, and the outrage extended to bodies and to the non-rationally-autonomous.

In the immediate aftermath of the Second World War dignity (almost always undefined) appeared in endless national and international laws and declarations. Fairly recently it has started to have a real legal life of its own, being invoked for many purposes, from prisoners’ rights to reproduce to the right to have your name on your tombstone in the language of your choice.

These specific invocations of dignity sometimes disguise its foundational nature – foundational to human nature itself and to the laws that seek to determine how humans should conduct themselves in society

To say that the Judaeo-Christian account of dignity gives rise to all ethics and law in the western world is a big claim. I make it unapologetically.

To see how foundational it is, ask yourself why you think it is wrong to kick a child, but not a rock. Or why it is wrong to play football with a human head, or do an intimate examination, for the purposes of teaching medical students, on a woman in a permanent vegetative state. In describing the wrongness you will certainly find yourself relying on something that looks suspiciously like human dignity.

The law is often said to be protecting interests other than dignity (such as autonomy, freedom, or bodily integrity), or promoting other values (such as beneficence or non-maleficence). Yet on close inspection, those interests and values will all turn out to be parasitic on dignity. Dignity is the first order principle: the others stem from it.

In the last forty or so years there has been a good deal of academic discussion about just what ‘dignity’ means. There is a growing consensus that it has two complementary parts. First: an inalienable element: the intrinsic dignity possessed simply and solely by reason of being human. This cannot be lost or diminished. It just is. And second, a dignity which is a consequence of the first, but denotes how, in the light of your dignified nature, you should comport yourself. If we say of someone ‘She’s let herself down’, we mean that she has failed to behave with the dignity expected of someone who has the high status of being human.

This account of dignity is derived straight from the notion of the Imago Dei, and from Paul’s gloss. The watered-down Stoical version simply gives encouragement to behave well: it has nothing akin to the inalienable element.

To say that the Judaeo-Christian account of dignity gives rise to all ethics and law in the western world is a big claim. I make it unapologetically. Perhaps you think that it is too extravagant. But it is plain enough that this account, or one of its iterations outside the sphere of Judaeo-Christian influence (there are several), accords as does no other with our intuitions about ourselves and about how we should act, and with the most fundamental axioms of the laws in all tolerable jurisdictions. The most enlightened parts of Enlightenment thinking originate in this account, though they are often embarrassed to admit it.

Whatever we mean by the Rule of Law, part of it is that no one is above or outside it: Jews and Greeks, and bond and free, and male and female are to be treated alike. We’re so used to the idea that we have forgotten its revolutionary roots.

Review
Culture
Film & TV
Justice
Race
6 min read

Rebel Ridge switches the code on corrupt coppers and body counts

An action movie tackling the all-time low trust in public bodies.

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

Two men stand off against each other, one holds a holstered gun.
Don Johnson and Aaron Pierre.
Netflix.

I wasn’t expecting to emotionally connect with this straight-to-Netflix action movie but Rebel Ridge is not a normal action film. It may be sitting at the number one position on the Netflix film charts, with its echoes of a classic Jack-Reacher-style thriller, but where it surprises and stands apart is in its challenging and nuanced handling of race, violence and corruption.  

Race 

Like Lee Child’s character Jack Reacher, Terry Richmond played by Aaron Pierre is a former US military officer. He is a private person, self-confident, respectful, comfortable with his own company and willing to go the extra mile to help a cousin who has got himself in a mess. Despite his lowly job in a restaurant, Terry happens to have financial means as well as expert survival and hand-to-hand combat skills. He is also Black.   

The opening sequence shows Terry cycling into a small town when he is accosted by two local – white - police officers. Suddenly the dynamic changes. The determined, self-confident, resourceful man becomes the downtrodden object of a series of abuses and injustices. Terry tries everything to deescalate the problem, without success. Nevertheless, he remains polite, referring always to the officers who deal with him as “Sir”, and finding things to thank them for.   

I found myself relating to this, remembering times that I have had to deal with abusive power and hoping that if I remain calm, polite and respectful, I could win the other side over. Some have called this “respectability politics” – the pressure on marginalized groups, particularly Black people, to behave in a manner that aligns with dominant cultural norms - including being overly-polite or restrained - especially in the face of abusive power or injustice. Another term for this is "code-switching," where minority groups feel the need to adjust behaviour, language, or appearance to fit into a different cultural context, often in response to systemic power imbalances.  

Terry tries everything to get out of his situation with minimum disruption. But things deteriorate so far so quickly that Terry realises that nothing he can say or do will allow him to extricate himself. Cornered in this way, he is forced to pursue justice by other means. 

It is hard not to see this film without remembering the death of George Floyd. That terrible incident in May 2020 highlighted racial disparities in policing in the US: 13 per cent of the American population is Black, yet they account for about 25-28 per cent of police killings each year. According to the Mapping Police Violence project, Black people are up to three times more likely to be killed by police than white people - between 2013 and 2022, about 7,000 Black Americans were killed by police. 

The UK’s police services have had to admit to similar disparities. Black people are seven times more likely to be stopped and searched compared to white people in England and Wales. In London, where stop-and-search powers are more frequently used, Black individuals make up around a third of all stop and searches, despite representing about 13 per cent of the city's population. From arresting, handcuffing, the use of taser, remanding in custody and more, data shows that racial disparities are evident across the service. These disparities undermine trust in the police service, which in turn can inhibit the cooperation and information sharing needed to reduce crime and protect citizens.  

The racial tensions that permeate the movie give viewers a glimpse into what it is like to be mistrustful of those who are supposed to help and serve us. As such it is a masterpiece in raising awareness of racism wherever it is experienced, and the fear and injustice that go with it.   

Violence 

Terry is huge, athletic and highly skilled. Like most movies of this genre, I was expecting the protagonist to be pushed to breaking point, thereby unleashing a wave of violence so severe and overwhelming that he becomes an unstoppable killing machine.  

In Taken, Bryan Mills, played by Liam Neeson, kills almost 100 people, mainly of Albanian nationality, by gunfire, strangulation and electrocution, on his quest to protect his family. In the more recent John Wick series of films, Wick, played by Keanu Reeves, a retired assassin, kills over 400 people in a wave of violence initiated by the theft of a car and the killing of a puppy. 

But Rebel Ridge is different. A key thread in the movie is the use of Escalation of Force–Non-Lethal Effects (EoF-NLE), meaning the use of verbal warnings, warning shots, non-lethal explosives and physical restraint tools like tasers or pepper spray that are supposed to minimise the risk of injury and death. In the film, the corrupt police officers have not only illegally raised money to buy this equipment they have also profited from renting out their EoF-NLE to third parties.  

Terry shows himself to be a different kind of hero, with a stronger moral compass than the police service as he uses their own EoF-NLE against them. On one occasion we watch as he loads and racks his gun, only to use it in self-defence. He is an avenging angel unleashed who refuses to kill people. There are plenty of showdowns, but the final total body count is one.  

Corruption 

Many action movies, Taken and John Wick included, contain little social commentary. Rebel Ridge, on the other hand, is prepared to tackle some significant social issues. The corruption around EoF-NLE and militarisation of local police forces is one example. The other questionable practice that gets much discussion is “civil asset forfeiture” - an anti-drug regulation that allows a police officer to seize cash and other valuables with no due process. Both issues as portrayed in this film highlight the wider question of accountability of policing, as well as the potential for corruption that comes with its absence.  

Indeed, it's not just about ‘bent coppers’ – the whole justice system is shown to be at risk in this film. The local judge is implicated in the corruption, and the state prison, as expected, fails to protect. The impact is pervasive. We see a conflicted black female police officer, a court worker struggling to get court support, and many others who stand idly by because they don’t seem to know what is right or good anymore.    

At a time when trust in public bodies is at an all-time low – this film, despite its non-violent and subversive tropes, presents to us a heroic rebel with a higher moral compass who goes against the flow and pushes back against the system to try and fix things. It may not restore faith in our society’s institutions – but perhaps it does restore faith in something else.  

Although the director, Jeremy Saulnier, claims Rebel Ridge was not based on a true story, I cannot help thinking of a true story that might have inspired it. I am reminded of Jesus Christ, the most famous rebel in history, who was killed in a showdown on a ridge outside Jerusalem for speaking out – lashing out even - against the corruption in the religious institutions of his time, for taking an anti-racist stance, and for living in a way that went against the flow.  It reminds me of the lengths he went to get those he loved freed from the mess they had gotten themselves into, and the price he paid to try and save them from certain death. Like Rebel Ridge, the ending to that story remains open: who will take up the call and will true justice ever be served?