Archive for the ‘Censorship’ Category

Reassessing censorship The Campus – The Campus

The word censorship is laden with negative connotations, bringing to mind dystopian threats to the right to freedom of speech and expression. Allowing censorship in a society can absolutely open up a can of worms that may lead to injustice or even be a form of injustice in itself. Still, I would resist the idea that censorship is inherently unacceptable. In fact, I would argue that more censorship in American society could be beneficial to our social and political world.

Although the word censorship sounds and often is scary, there are a variety of different forms of censorship that already exist in our society, permeating our lives without impinging upon our personal freedoms. A prime example would be the precedent set by the Schenck v. United States Supreme Court decision, which ruled that the First Amendment is not applicable to incendiary language which could lead to actual danger, panic or harm. The classic example of such a statement is yelling fire in a crowded theatre.

Another sense in which we already accept censorship is the restriction of the use of slurs over time. Of course, this restriction exists largely on a personal basis, and there are many people who still weaponize problematic terms as a means of oppression. Still, recent years have brought about a greater social stigma for using slurs, which does act as a deterrent to many. Because it is now possible to face consequences ranging from losing your employment or scholarships to being relentlessly harassed on social media, using offensive language is not a protected freedom; thus, it is censorship.

Just because telling people to not use slurs is a form of censorship does not mean that we should all be free to use offensive language in fact, my point is the antithesis of that sentiment. I mean to articulate that this limitation is a restriction of freedom of speech, but not a restriction of freedom of people. Rather, by restricting use of slurs, the people to whom the words refer can enjoy greater freedom. Thus, in this instance, censorship is beneficial.

A parallel argument could be made for the censoring of the expression of the rhetoric which underlies slurs. Any writing or speech that is definitively racist, sexist, homophobic, transphobic or otherwise intolerant to particular identities must be handled very carefully. Although understanding hateful discourse is a necessary part of overcoming or combatting it, the act of interpreting written or spoken information is inherently subjective, and there is no way to ensure that people can be trusted to understand a given text fully. Think about it: there are people who read J. D. Salingers The Catcher in the Rye and thought Holden Caulfield was a cool guy, someone to admire rather than someone to try to avoid becoming, effectively missing the point of the entire novel.

Exposure to information can help harmful ideas take root in a persons mind, even if the piece itself aims to be critical of the harms presented. Socrates made a similar argument in his critique of writing as a whole: because writing is open to interpretation, it cannot refuse to be read, or answer to questions or concerns of the reader. For this reason, he argued that some people should not read certain things, as it runs the risk of dilution or bastardization of ideas.

As crazy as it might sound, I am with Socrates on this one. For example, I think it is dangerous for a high school teacher to disperse racist texts to a classroom of students for the purpose of acknowledging the role of racism in literary history. The students, whether they desire to be hateful or may simply subconsciously adopt detrimental ideals, now have in their minds a model for expressing hateful rhetoric. Of course, some level of critical analysis can mitigate this potential harm; still, this is risky business, considering that literary interpretation is difficult and cannot be a baseline expectation in a classroom setting.

Because the circulation of oppressive ideologies through language has and will continue to contribute to the perpetuation of hatred, we need to prioritize and provide a platform for historically marginalized voices. This cannot happen without first deplatforming the voices of those who have historically have done the marginalizing. I would personally support the idea of banning old white men, for example, from publishing novels until racial and sexual discrimination are not so prevalent in our society.

This proposal is controversial, and I imagine you might object that surely there are some old white men who have written important novels that either werent racist and sexist or could be taught responsibly. I reply simply that they have had all of history to speak freely; censoring them could allow for other voices to be present in the public collective consciousness. Of course, there are individuals who dont fit all dimensions of that identity who produce harmful content. J.K. Rowling, a white female transphobe, is a perfect example of this. Still, by restricting the right to publish writing of old white men, we could at least prevent the perpetuation of rhetoric which is oppressive along all those identity axes J. K. Rowling can still produce hateful writing, but at the very least, it wont be as sexist as that which a man might create.

Censorship is always a slippery slope, but that does not mean that it is always bad. The question of who or what should be censored is nuanced and never going to be universally agreed upon. It still stands that we already do accept certain forms of censorship, yet paradoxically believe that we have a right to freedom of speech. I, for one, dont see an issue with restricting the freedom of speech of people who have had literal centuries to express themselves, especially in the name of making our society an environment that can be conducive to positive social change. Let marginalized identities speak and write freely, and perhaps our world will come to let this formative influence shape society into something better for all.

View post:
Reassessing censorship The Campus - The Campus

Elections Commission accused of Censorship of Chin Party election address via State-owned TVs and radios – Burma News International

The Chin National League for Democracy (CNLD) said it has withdrawn its election address for State-owned TV as the Union Election Commission (UEC) has censored key policy statements and deleted them from their election address declared, Salai Ceu Bik Thawng, General Secretary of the CNLD.

We oppose it as this amounts to barring the political parties from freely expressing their political policy and this violates he democratic norms and fails to respect the political stance of the ethnics he added.

In the last week of September, the Peoples Party led by U Ko Ko Gyi who is an 88 Generation Student Leader said his party was also victims of censorship by the UEC. The People's Party declared they would not telecast its election address via the State-owned TV as its policy and program were censored.

Salai Ceu Bik Thawng, general secretary of the CNLD recalls this is not the first time they have been victims of the UEC deleting parts of their program.

The UEC removed many words in the 2017 By-Election The CNLD general secretary continued, Now we face a similar problem again. The party decided not to carry out the broadcast. The deleted paragraphs are the partys major policy and program aimed at the entire Chin people, according to the statement released on October 3.Salai Ceu Bik Thawng specified The main point is our ethnics, parties and armed organizations support the policy of the ethnic-based state as a key characteristic of a federal system. The Chin State is an ethnic-based state. There can also be a Bamar-based State.

While the 2008 constitution would have to be reformed to accommodate this Chin proposal, it is hard to imagine how the UEC can justify their decision to water down the essence of the CNLD manifesto.

The CNLD draft for broadcast also mentioned Local armed conflict is due to the fact that the ethnic minorities feel that they are overwhelmed by the Bamar Chauvinism.

It is understandable that the UEC whose composition is based on Bamar, the majority ethnic group in Myanmar, would not like the CNLDs criticism of Bamar Chauvinism. But all ethnic minorities expect the election commission to be independent, neutral and serving the entire nation.

In the 2020 General Election, the CNLD formed with three Chin parties will compete in 57 constituencies in Sagaing Region, Magway Region, Arakan State and Chin State.

See the article here:
Elections Commission accused of Censorship of Chin Party election address via State-owned TVs and radios - Burma News International

Education figures hit out ‘censorship’ of anti-capitalism in new teaching guidance – Left Foot Forward

"It's laughable to put talking about alternatives to capitalism on par with racism."

Youth organisations and democracy activists have hit out at new teaching advice for schools in England, which critics say risks censoring left-wing perspectives.

A coalition of organisations and activists has written to the Education Secretary Gavin Williamson, to challenge new guidance for Relationships and Sex Education (RSE) released last week.

The DfEsPlan your relationships, sex and health curriculumdocument urges schools against using resources produced by organisations that take extreme political stances. Examples cited by the Department for Education include a publicly stated desire to abolish or overthrow democracy, capitalism, or to end free and fair elections, SchoolsWeek reported.

Now a letter coordinated by Shout Out UK, an educational platform and social enterprise which works with young people, warns that the new guidance risks creating a culture of censorship.

The 31 signatories include the Association for Citizenship Teaching, the Centre for Education and Youth, Young Citizens, as well as progressive campaigners including LGBT+ campaigner Peter Tatchell and Compass director Neal Lawson.

It is not clear how many schools ever draw on explicitly anti-capitalist resources in the RSE teaching.

The Socialist Educational Association said it was strange that a document which purports to be about guidance in implementing RSE suddenly lurches off into diktats about the dangers of exposing children to material promoting extreme political positions, adding: What is the government trying to achieve? The guidance has been seen as a new plank of the governments culture war against cancel culture, no-platforming, and trans issues.

In response to a question from Left Foot Forward, Keir Starmers spokesman said: Gavin Williamson should stop seeking cheap headlines and start sorting out the crises he has overseen in his department.

Matteo Bergamini, CEO and Founder of Shout Out UK, told LFF: I am proud to be leading a coalition of organisations in the political education and democracy promotion sectors in response to the latest RSE guidelines. Its laughable to put talking about alternatives to capitalism on par with racism. Learning about alternatives enhances positive debate and democracy. Censorship solves nothing.

Letter in full

Dear Mr Williamson,

We write this joint open letter as a coalition of organisations in the political education and democracy promotion sectors to raise our concerns about the Departments guidance on relationships, sex and health education (RSE) issued on Thursday 24th September 2020.

We acknowledge that this guidance has been issued to schools in the context of RSE, not the PSHE umbrella it sits within, but we are nonetheless concerned about the precedent this may set for other aspects of the curriculum, and the impact it may have on teachers confidence to cover political topics.

The guidance states that: Schools should not under any circumstances use resources produced by organisations that take extreme political stances on matters, and provides a non-exhaustive list of examples. Our concerns revolve around this point in particular.

As advocates for widening access to education about political issues, we implore the government to consider that this regulation has the potential to censor the already minimal discussion of politics in schools.The guidelines serve to deny students the opportunity to engage with material from extreme sources in a classroom environment, precluding informed debate and discouraging critical thinking.Political education continues to be either inadequate or completely absent for most students in the UK; we want to ensure that any window of opportunity to discuss politics is as wide as possible.

With respect to this guidance, which is non-statutory implementation guidance, we seek urgent clarification on the following points:

Students must be armed with the Political and Media Literacy skills to ensure that they can understand and discuss political issues with a critical mindset. Extreme political organisations will exist whether or not schools are allowed to discuss them in the classroom, but this guidance deprives students of the chance to tackle them head-on. Politics necessitates dialogue and the continual contestation of ideas. Schools should be a safe place for this to happen without fear of recrimination or censorship.

Signed By

The views expressed in this letter represent those of the signatories and not necessarily their organisations or employers.

Josiah Mortimeris co-editor of Left Foot Forward.

As youre here, we have something to ask you. What we do here to deliver real news is more important than ever. But theres a problem: we need readers like you to chip in to help us survive. We deliver progressive, independent media, that challenges the rights hateful rhetoric. Together we can find the stories that get lost.

Were not bankrolled by billionaire donors, but rely on readers chipping in whatever they can afford to protect our independence. What we do isnt free, and we run on a shoestring. Can you help by chipping in as little as 1 a week to help us survive? Whatever you can donate, were so grateful - and we will ensure your money goes as far as possible to deliver hard-hitting news.

See the original post here:
Education figures hit out 'censorship' of anti-capitalism in new teaching guidance - Left Foot Forward

Opinion: Open your mind to new ideas Read a banned book – Thehour.com

By Deneeka Baker, Crystal Lopez and Hailey Roy

Some might argue that Labor Day is the only holiday in September, however, those of us who work in libraries know better. Because of all the hoopla surrounding this important 2020 election, many probably dont realize that we recently had Banned Books Week. Books are banned for a variety of reasons. Racism, violence, negativity, and point of view are a few of them, but is censorship helpful? Why ban books about controversial topics we, as a human society, are bound to experience at least once in our lifetime? Literature helps us navigate our world by bringing light to uncomfortable and challenging topics.

This years American Library Association theme is Censorship is a dead end. Find your freedom to read. We with all of the turmoil presently in our country, we encourage you to read a banned book to open your mind to new ideas even if you dont agree with them. Books on the banned list include:

The Absolutely True Diary of a Part-Time Indian by Sherman Alexie;

Bone (series) by Jeff Smith;

The Catcher in the Rye by J.D. Salinger;

Captain Underpants (series) by Dav Pilkey;

The Handmaids Tale by Margaret Atwood;

Internet Girls (series) by Lauren Myracle;

To Kill a Mockingbird by Harper Lee;

I Know Why the Caged Bird Sings by Maya Angelou;

Its a Book by Lane Smith;

Of Mice and Men by John Steinbeck;

Skippyjon Jones by Judith Byron;

So Far from the Bamboo Grove by Yoko Kawashima Watkins.

Google the Top 100 Most Banned and Challenged Books: 2010 - 2019.

In some cases, one of us thinks the temporary banning of books is appropriate. Parents may restrict their underage children from reading explicit content. In most cases, we all agree that we must educate ourselves through the power of books to prevent ignorance and one-dimensional views.

The 1982 court case of Island Trees School District v. Pico stemmed from a parent group complaint that the school board was too lenient with its library book policies. The school removed the books by authors Langston Hughes, Kurt Vonnegut and more. Students challenged this decision all the way to the Supreme Court. The Supreme Court ruled, on First Amendment grounds, that school officials were not allowed to ban books in libraries because of subject material. Banned Books Week began in the 1980s, but, unfortunately, books are still being banned today.

Deneeka Baker, is Library Assistant/College Student; Crystal Lopez, is Library Assistant/College Student; and Hailey Roy is Shelver/High School Student at the SONO branch of the Norwalk Public Library.

Read more:
Opinion: Open your mind to new ideas Read a banned book - Thehour.com

Blatant censorship: Retrospective of American painter Philip Guston delayed four years – WSWS

The decision by four major art museums in the UK and US to postpone for four years Philip Guston Now, a long-planned retrospective of one of postwar Americas most significant artists, is a cowardly act of censorship.

The National Gallery of Art in Washington, D.C., Tate Modern in London, Museum of Fine Arts, Boston and Museum of Fine Arts, Houston claimed in a September 21 statement that Gustons obviously hostile and darkly satirical images of Ku Klux Klansmen and others could not be exhibited until a time at which we think that the powerful message of social and racial justice that is at the center of Philip Gustons work can be more clearly interpreted.

The museums directors said they needed more time to properly prepare the public to understand Gustons message through outreach and programming. This is evasive and duplicitous. No honest opponent of racism and anti-Semitism would object to Gustons attack on the KKK and other reactionary features of American society. Those who object to the artists supposed appropriation of African American suffering are cultural-nationalist elements who insist that race is the category that defines human beings.

The directors may share this foul view or simply feel the need to accommodate themselves to the current atmosphere. In either case, they have helped deliver a blow to artistic freedom.

In the face of a deluge of criticism, the directors of the National Gallery and the Tate have tried to defend themselves. National Gallery Director Kaywin Feldman told Hyperallergic this week that in todays Americabecause Guston appropriated images of Black traumathe show needs to be about more than Guston. She went on, Also, related, an exhibition with such strong commentary on race cannot be done by all-white curators. Everybody involved in this project is white. ... We definitely need some curators of color working on the project with us. I think all four museums agree with that statement.

This is simply disgusting, a craven giving in to racialist thinking of the most sinister type, which historically has been associated with the far right. Along those lines, those who object or might object to the Guston exhibition are now generally vociferous in their calls for censorship. These are the same political forces who in 2017 protested against the exhibitionat the Whitney Museum in New Yorkof Dana Shutzs Open Casket, a painting based on a photograph of 15-year-old Emmett Till, a black youth murdered and mutilated in 1955. Some of the protesters, in fact, went so far as to demand the painting be burned!

To paraphrase what we said in 2017, the subject matter, the activities of the Klan, does not belong to African American artists or anyone else. It is the common property and responsibility of those who oppose, in Lenins phrase, all cases of tyranny, oppression, violence, and abuse. These petty-bourgeois nationalist elements are not genuinely concerned with the history of African American suffering or anyone elses. If they were, they would want it to be exposed and denounced as widely as possible. They are objecting to anyone else, as they see it, gaining some advantage from the franchise.

These are selfish, careerist elements who want to monopolize a field for their own prestige and profit. At the same time, the extreme racialism serves the political purpose, pursued by the New York Times and the Democratic Party milieu, of attempting to confuse the population and divide it along racial and ethnic lines, diverting from the struggle against social inequality, war and the threat of dictatorship.

In the past three years, the situation has only become more noxious and the racialists activities more provocative.

The museum directors announcement of the postponement was met with dismay by art critics who objected to the overt act of censorship, especially against an artist deeply committed to the struggle against racism, although most seemed resigned to the delay. The artists daughter, Musa Mayer, commented, Its sad. This should be a time of reckoning, of dialogue. These paintings meet the moment we are in today. The danger is not in looking at Philip Gustons work but in looking away.

A forceful demand that the show be reinstated was issued in an open letter signed by 100 artists, curators, art dealers and writers published last Wednesday in the Brooklyn Rail, which has since garnered hundreds more signatures. Signed by Matthew Barney, Nicole Eisenman, Joan Jonas, Martin Puryear, Lorna Simpson and Henry Taylor among others, the list reads like a whos who of todays most prominent artists, black and white.

The open letter begins by noting that the undersigned artists were shocked and disappointed by the four-year postponement. The letter cites the comment by Musa Mayer that Guston had dared to unveil [the] racist terror that he had witnessed since boyhood, when the Klan marched openly by the thousands in the streets of Los Angeles. As poor Jewish immigrants, his family fled extermination in the Ukraine. He understood what hatred was. It was the subject of his earliest works.

The open letter and the principled opposition of many artists to the museums censorship are welcome and objectively significant, although the signatories weaken their own position by giving in too much to the notion of white culpability and other nostrums of identity politics.

The open letter is strongest in denouncing the notion that hiding Gustons art will somehow improve matters. The people who run our great institutions do not want trouble, it argues. They fear controversy. They lack faith in the intelligence of their audience. If museum officials feel that the current social eruptions will blow over in four years, the letter asserts, they are mistaken. The tremors shaking us all will never end until justice and equity are installed. Hiding away images of the KKK will not serve that end. Quite the opposite. And Gustons paintings insist that justice has never yet been achieved.

The artists letter demands the exhibition be restored to the museums schedules, and that their staffs prepare themselves to engage with a public that might well be curious about why a painterever self-critical and a standard-bearer for freedomwas compelled to use such imagery.

Guston (1913-1980) was born in Montreal to Ukrainian-Jewish parents but grew up in California and attended high school in Los Angeles with fellow future painter Jackson Pollock. Moving to New York, according to ArtNet, Guston was enrolled in the Works Progress Administration during the 1930s [like Pollock], where he produced works inspired by the Mexican Muralists and Italian Renaissance paintings.

Guston became associated with Abstract Expressionism, the loose gestural painting style also known as the New York School that was the dominant artistic school of the Cold War period of the 1950s. Other Abstract Expressionists were Arshile Gorky, Willem de Kooning and, of course, Pollock.

After playing a leading role in the development of abstract art, however, Guston came to reject its approach as too rarefied and confining as a means of responding artistically and politically to the upheavals of the civil rights and antiwar movements of the 1960s. What kind of man am I, he once asked, sitting at home, reading magazines, going into a frustrated fury about everythingand then going into my studio to adjust a red to a blue?

Guston became widely known for his blunt, almost cartoonish images suggesting the thuggish brutality and political corruption of official American society. He developed a distinctive figurative style populated with oversized heads, hands, bricks, shoes and other bizarre objects. The artists highly personal iconography also included hooded Klansmen, who began appearing in his work as early as the 1930s. These buffoonish figures often appear crammed into cars like the Three Stooges, if anything more menacing because they seem so omnipresent and ordinary.

Attracted as a teenager to left-wing politics, Guston (then Goldstein) had joined one of the John Reed clubs sponsored by the Communist Party. While the role of the Stalinists was already a negative one, these clubs still attracted artists seeking to fight poverty and inequality. He and his friend Reuben Kadish painted a mural and joined a rally in Los Angeles to raise money for the defense of the Scottsboro Boys, the nine African American teenagers falsely accused of raping two white women in Alabama.

After the National Association for the Advancement of Colored People (NAACP) backed off the case over fears of repercussions, the youths defense was taken up by the Communist Party. This won the CP broad support among radicalized white and black workers, as well as artists and young people like Guston. The painter, like many artists of his generation, eventually left the Stalinist orbit of the CP in favor of left-liberal politics. However, his commitment to fighting racism and anti-Semitism retained a genuine, democratic character at odds with the current racialist trends.

Often cloaked in left-sounding rhetoric by groups of political activist/artistic collectives who call for increasing the number of BIPOC (Black, Indigenous, People of Color) on museum staffs, boards and among the artists whose work is acquired and promoted, the identity politics campaigns against the systemic racism of cultural institutions have nothing progressive about them.

In response, the various institutions have endlessly adapted themselves to and retreated before their racialist critics. In mid-September, the Brooklyn Museumno doubt in straitened circumstances because of the pandemic-induced closureannounced it would auction 12 works from its collection to raise funds for the care of its collection.

While culling work by 16th-19th century European painters Cranach the Elder, Gustave Courbet and Jean-Baptiste Camille Corot, the Brooklyn Museum has said that it would not sell any of its work by living, presumably more ethnically diverse artists. The Baltimore Museum of Art and the San Francisco Museum of Modern Art for their part recently made a point of selling work to acquire more art by women and artists of color.

In another manifestation of the logic of segregation to which this sort of outlook leads, the blue-chip Chelsea gallery and art dealer David Zwirner recently announced it was hiring Ebony L. Haynes as a new gallery director to realize her vision for a kunsthalle with an all-Black staff, which would offer exhibits of and internships to exclusively Black youth. There arent enough places of accessespecially in commercial galleriesfor Black staff and for people of color to gain experience, she said.

But what would access on this backward, racially exclusive basis amount to? What sort of art will come out of such a process?

The rotten character of this resurgence of racial-ethnic thinking finds expression in the censorship of the Guston exhibition itself. A show dedicated to the work of an artist who fiercely pursued equality and an end to oppression of all types has run afoul of a privileged, upper middle class crowd whose outlook and activity operate in a very different direction: toward racial-ethnic exclusivism, selfishness and the striving for privilege.

Liked this article? The Socialist Equality Party is fighting to build a revolutionary leadership of the international working class for socialism. Find out more about the SEP and get involved today.

See the article here:
Blatant censorship: Retrospective of American painter Philip Guston delayed four years - WSWS