Emancipation & Liberation

Colin Fox speaks to Allan Armstrong about the vision and mission of the Edinburgh People’s Festival

What made you revive the Edinburgh Peoples Festival after almost 50 years?

We didn’t start off with the intention of reviving the Edinburgh Peoples Festival (EPF). At Hamish Henderson’s funeral in 2002, a group of us, including Bill Scott, Karen Douglas and Craig Maclean, started to discuss Hamish’s achievements. This was the man after all who had formally accepted the Italian surrender in the Second World War, first translated Gramsci into English, was the driving influence behind the Scottish folk revival, wrote Freedom Come All Ye and the John Maclean March, a working class intellectual and the man who founded the Edinburgh People’s Festival in 1951.

Years before I had come across an essay Hamish had written on the significance of the Edinburgh People’s Festival in Andrew Croft’s book Weapons in the Struggle, and it was a real eye-opener for me.

So, a group of us decided to organise a one-off event to commemorate Hamish and his contribution to our struggle. We opted to have it at the Jack Kane Centre in Craigmillar for several reasons. One, Councillor Jack Kane had been the original Chairman of the EPF back in the 1950’s. Two, Craigmillar, on the city’s southern outskirts is Edinburgh’s poorest district and the Edinburgh Festival itself never went beyond EH1. We also had good community activists in the area we could rely on to publicise and promote the show. Things just escalated from there.

I guess looking back we recognised the importance of the original People’s Festival in acting as a foil or critique of the Edinburgh Festival itself. It has never really been designed for the majority of the city’s people. Ticket prices are now disgracefully high. Local indigenous performers will find it difficult to find a stage or platform and are shunted away for the month.

Where does most of the support for the EPF come from?

We found our original support in Craigmillar where we quickly got the backing of lots of local community groups, like the Craigmillar Artspace. We also learned quick lessons. We put on Bill Douglas’s film, My Ain Folk in the Newcraighall Miners’ Welfare without realising that, although people dearly loved Bill, they felt his depiction of their village rather dismal. Nonetheless the area is proud to have produced such talented people. At the last count we have presented shows in 20 different communities throughout the city and Midlothian.

Beyond local support, the EPF has received backing from the organised active Left. Tommy Shepard, who runs The Stand Comedy Club has been a fantastic help. Support has also come from local playwrights Cecilia Grainger and Barry Fowler, and from many key artistic community development groups in Wester Hailes and North Edinburgh.

Local trade union branches have been key to our financial success. It has been their support that has enabled us to take performances to the local communities and always keep tickets at affordable prices. [We usually charge £2 when the performances and events are not entirely free]. We are indebted to Unison healthworkers, posties, railworkers, teachers, firefighters, railway workers and civil servants unions. They have been very generous, partly, as I remind them, because they haven’t been giving out much strike pay over the last eight years!

As a socialist, why do you see it important to promote popular culture?

Art and culture can be thoroughly inspiring and educational. In Gramsci’s writings you can see the blueprint which led the Italian Communist Party to have one million members in the early 1970’s.

My partner, Zillah and I, attended a festival in France in the late ‘80s organised by the French Trotskyist party Lutte Ouvrier (LO). We were amazed to see 30,000 people there in the grounds of a chateau just outside Paris being entertained and enjoying themselves on an array of attractions. Festivals like these are still common on the left in France, Italy and Spain, bringing together tens or even hundreds of thousands of people. It became clear to me that much of the mass support for socialism on the continent, came not so much through public and party meetings, but because of the wider cultural activities of the Communist Parties and groups like the LO.

The French Communist Party’s L’Humanite by all accounts attracts hundreds of thousands of people.

In Britain we have had Miners’ Galas, May Days, and more recently the Tolpuddle Martyrs celebration. In the 1980’s, when I was in the Militant we used to organise huge political and cultural events in the Royal Albert Hall, Alexandra Palace and the Wembley Arena with 8000 people. They were brilliant. I have to admit that I enjoyed those performances with groups like the Who, Billy Bragg, Red Wedge, Paul Weller and Skint Video more than the Conferences. Truth be told, I probably still do!

In your opinion, what have been the highlights of the EPF so far?

There are very many that spring to mind. Perhaps the earliest is the EPF’s ‘discovery’ of David Sneddon, who we found busking on Chambers Street. We got him to perform at the Jack Kane Centre that first year with his group, The Martians and people were really bowled over by him. A few weeks later, I remember, Alan McCombes phoned me and told me to switch on the TV. His daughters had been at the Jack Kane Centre and were telling him that David Sneddon had just won the BBC’s first Fame Academy! The press were all over us for photographs of him at his first public performance, in Craigmillar.

We also had Nancy Cartwright, the voice of Bart Simpson. We cheekily phoned her up and asked if she would perform at our show Bart Comes to the Simpsons. All the kids in Edinburgh are born at the Simpsons Maternity! She was terrific about the whole thing and the show was just a fantastic success.

We also took the comedian, Mark Thomas, and Paddy Hill of the Birmingham Six into Saughton Prison for a show. Originally, it had been agreed that STV would film the event but the governor pulled the plug. The show went on without the cameras and the guys inside thought it was brilliant. They were all over Paddy Hill at the end. We have been back ‘inside’ just about every year since.

We had a line up in 2003 for a cultural debate, or ‘flyting’, which looking back was quite unequalled anywhere in Edinburgh since.

Whose Culture is it anyway? starred Paul Gudgeon, then Director of the Fringe, the irrepressible Richard Demarco, Tommy Shepard, actor Tam Dean Burn, Joy Hendry the publisher, Kevin Williamson, the late Angus Calder and Claire Fox from the Institute of Ideas. They were all going at it hell for leather with poor Sian Fiddimore from Wester Hailes desperately trying to keep it all in order.

Last year, we launched the first of what will become the Annual Hamish Henderson Memorial Talks. It was given by Hamish’s biographer, Timothy Neat. And that went very well, certainly one of our highlights – and I think our first sell out event!

The exhibition we mounted, in the Craigmillar Arts Space, telling the story of the Edinburgh People’s Festivals from 1951 is just excellent. It was subsequently shown last November at Wordpower’s Radical Book fair at the Out of the Blue Art Centre in Leith. It is currently on show at the Jack Kane Centre before it goes off on tour.

With trade union financial backing, we also organised a local Art Competition last year, with £1000 in prize money. This was a great success too and a foray into a new field for us.

Richard Demarco, one of the leading figures associated with the Edinburgh Fringe, has given the EPF considerable encouragement. Do you see this as a sign of wider recognition for the EPF?

Richard Demarco is the only person who has been to every Edinburgh Festival. He has been responsible for bringing over many artists to Edinburgh, including from Eastern Europe, when it was unfashionable to do so. Despite Demarco’s centrality to the Festival and the Fringe he has always been an outsider. He remains driven by a passion for the arts and his effervescence is infectious. He has given the EPF a helluva lot of encouragement. He made a typically passionate contribution to the debate we organised at Out of the Blue in August 2007, on the future of art in an independent Scotland. Elaine C. Smith also spoke in similar vein.

But the truth is the People’s Festival has been treated with complete disdain by the Edinburgh establishment and its media, including the local Evening News. Bourgeois commentators have turned their noses up at the popular culture we offer. Nevertheless, they have grudgingly been forced to recognise our innovative approach on a number of occasions.

The People’s Festival has begun to organise events outside the traditional Edinburgh Festival slot. Why did you decide to organise a celebration of the 90th Anniversary of the Russian Revolution for example?

People have often said that, even if with some exaggeration, that Edinburgh is a cultural desert outside the official Festival in August. The People’s Festival decided to ‘cash in’, if I dare utter the term, on the fact we are here the whole year round. And since we had grown considerably we felt that it was time to try and extend our activities beyond August.

The opportunity came then in 2007, with the 90th anniversary of the Russian Revolution, an event I believe is the greatest of the twentieth century. Others in the People’s Festival saw the possibilities so I approached Trevor Griffiths, the scriptwriter for the film, Reds, and asked him to come up and celebrate the occasion with us. In the interview he did with me at the event in The Stand, Trevor explained that in fact he was the fifth person chosen by Warren Beattie to write the script. Beattie had bought the film rights to John Reed’s classic, Ten Days That Shook The World. Tommy Shepard offered us The Stand for the event on a night in October. The comedian, Paul Sneddon (aka Vladimir McTavish) and Alistair Hulett’s folk group, the Malkies, performed alongside the Oscar nominated Trevor Griffiths. It was quite a night!

We also worked with Edinburgh’s excellent Word Power bookshop to produce the pamphlet, What the Russian Revolution Means To Me. Word Power is are markable resource. Elaine Henry and Tarlochan Gupta-Aura do a great job in sustaining a radical bookshop, when most other left bookshops have disappeared.

The following January, the EPF took on the organisation of an alternative Burns Supper. For the previous decade, this responsibility had been successfully taken on by the SSA/SSP, but it was good to broaden it out. The radical and controversial Burns scholar, Patrick Scott Hogg, spoke, whilst comedian Bruce Morton performed. People even came from as far away as Dublin to attend that one – seeing it advertised on our website!

This January the EPF organised a very successful event to celebrate 250th anniversary of Robert Burns’ birth. Tell us how the contributors were chosen and what else has been planned this year for this anniversary?

We wanted to offer an even better Burns event than that held the previous year. At first we hoped we could get the noted Marxist literary critic and writer Terry Eagleton to speak, but he could not make it. John McAllion stepped in and spoke tremendously well about the link between Burns’ art and his radical commitment in the 1790’s. The ever popular, Vladimir McTavish provided the comedy, whilst we had great musical sessions from the young black American jazz player, William Young, and from Edinburgh’s rising singer songwriter, David Ferrard.

We have also received money from the Lipman Milliband Foundation to produce a pamphlet later this year, What Robert Burns Means To Me.

You have a particular interest in the Scottish artist, Alexander Naysmith. What plans have you for the EPF to bring Naysmith to people’s attention?

Alexander Naysmith is known to everyone but they perhaps don’t realise it, he painted the most famous portrait of Burns. Like Burns, Naysmith was a radical and was blacklisted for his views. He began life as an apprentice coach painter in the Grassmarket before becoming a very successful portrait artist, possibly Scotland’s best, studying under Allan Ramsay, and working in Paris and Milan. But the big mystery about Naysmith is why he suddenly changed to landscape painting apparently at the height of his career. None of the art books will say why, but I know why and actually so do they. It was his politics. His wealthy patrons refused to give him any commissions because he made no secret of his radical republican views. He talked with great passion on the American and French Revolutions during the long portrait sittings. So, under advice from no less a figure than his close friend and ally Robert Burns he took up landscape painting instead. He rose to equal heights in this genre too.

Naysmith was a close friend and collaborator of Burns and out lived the poet by 40 years. He was one of us. And I want the People’s Festival to recognise one of Edinburgh’s people, to organise an exhibition, this August, in the Craigmillar Arts Space, with Naysmith’s portrait of Burns at its centre. We want to make Naysmith’s work and life more widely known. We display work by new artists inspired by him.

Angus Calder is another important writer, who has recently died, associated with Edinburgh. Are there any plans to organise an event celebrating Angus?

There was recently a memorial event for Angus, which I was unable to attend. Angus made many contributions to history and culture and was himself an award-winning poet. He was a member of the SSP and I got to know him quite well. He was a generous and strong supporter of the People’s Festival. I can still remember his contribution at The Flyting we organised in Wester Hailes in 2003. The idea was to revive the great Scottish tradition of cultural polemic, much associated with Hugh MacDiarmid and others, once again largely centred on this city.

The EPF would like to work with others to get more commemorative events organised. We don’t want to take responsibility for everything and I think that’s the best way forward with Angus’s work.

Recently Patrick Scott Hogg asked us if we could organise something to celebrate the great Scottish radical, Thomas Muir. The EPF thought it would be more appropriate that this was done in a West of Scotland setting.

One of Edinburgh’s most controversial figures has been James Connolly. Do you see the EPF trying to reclaim this great socialist republican for Edinburgh?

One of the members of our Committee is Jim Slaven who is well known in the city as organiser of the James Connolly Society. Jim played a key role, in the face of strong opposition, in trying to get Connolly’s legacy recognised in this city. Last August, we hoped to get Terry Eagleton up to speak. This may still happen.

However, in June, Jim was successful in getting the City of Edinburgh Council to organise a one-day event, to coincide with Connolly’s birthday. The event, Over the Water, had speakers from Ireland and Scotland. This June, the EPF hopes to organise a Connolly event in the evening, after the day’s official events. Connolly is very much one of our people and we feel he should be supported by all on the Left especially.

What else has the EPF got organised for this coming year.

We have worked with others, particularly on the Trades Council, in re-establishing May Day in this city. Last year we had Aida Avila from Colombia, Sean Milne, the radical journalist, and Pat Arrowsmith, veteran CND activist, amongst others, as speakers. This year we have Mark Lyons, convenor of the UNITE branch at Grangemouth Refinery, Hilary Wainright, editor of Red Pepper and Matt Wrack from the FBU joining us. We hope to give pride of place to Aleida Guevara, Che Guevara’s daugher, in celebrating 50 years of the Cuban Revolution.

We are also putting on a 20 years after the Poll Tax exhibition, which will concentrate on the role local people and communities played here in defeating this hated measure. The fightback started in Edinburgh, and included such veterans of the struggle as Sadie Rooney, one-time Labour councillor for Prestonfield – until she saw sense!

We also hope to bring a piece of theatre from London’s West End would you believe. The EPF’s producer Barry Fowler is going down to attend the London premiere of Maggie’s End written by Ed Waugh and Trevor Wood in the Shaw Theatre. The play is about the reaction of mining communities in the North East of England to the announcement of Thatcher’s death. Just the job, eh!

It would be great if we could put this on as our first full theatrical production. Even better, if our showing of Maggie’s End coincided with Thatcher’s actual demise!

What event would you like more than any other to put on the EPF?

Along with the photographer, Craig Maclean, I have often discussed the possibility of putting on some free ‘Outdoor Cinema’. Craig and Rob Hoon (from Out of the Blue) have already experimented with projecting huge images on prominent city landmarks. I certainly think the EPF should remain ‘dangerous and challenging’. I like the idea of guerrilla cinema as agitprop!

Edinburgh People’s Festival website

When the RCN used the image of the bare-breasted Liberty from the iconic Delacroix painting as a front cover for our pamphlet, Republicanism, Socialism and Democracy, this provoked a debate in the SSP. Catriona Grant, leading socialist feminist, and member of SSP Edinburgh no 2 branch contributes to the debate.

Why are Liberty’s breasts bared in Delacroix’s painting – Liberty Leading the People? A recent discussion in the SSP raged for a week or two whether Delacroix’s work of Liberty Leading the People was sexist. Is it revolutionary or sexist? Can it be both?

Eugene Delacroix’s Romantic painting of 1830 is probably Delacroix’s most famous work – the bare breasted and footed goddess warrior, triumphantly leading the Parisians with the tricolour in her hand to their ultimate goal for liberty, fraternity and equality! (Sisterhood was never mentioned).

Liberty Leading the People commemorates the July Revolution of 1830 in France, which toppled the Emperor Charles X, a generation or so after the French Revolution. In the painting, Liberty leads the people over the bodies of the fallen. Stridently and encouragingly she holds up the tricolour of the French Revolution in one hand and brandishes a bayonet in the other, the dead being her pedestal, her plinth to declare the revolution – they are victorious.

Why does Liberty in the painting have her breasts on show? Does it matter? Did her dress fall off her shoulders by accident or was she just tardy in her dress? Traditionally, in Romantic paintings, this meant that she was not like other bourgeois, proletariat or peasant women, but having her breasts on show indicated power and even supernatural strength. The bare breasted lady is indeed not a lady at all but a symbol personified by Marianne – a French goddess-like figure and “robust woman of the people”. She symbolises the French Republic. Liberty in Delacroix’s painting is no ordinary woman – she is a revolutionary goddess! She is a goddess-like warrior, who symbolises the Revolution and the Republic, and not a depiction of women’s status in society of the time. This painting pre-dates Impressionists, who recorded what they saw, rather than depicting symbols in a romantic way. Would it have been possible to paint a French mortal woman in this stance? At this time probably not. Only a symbolic woman could have such a role in a piece of historic propaganda rather than a real woman.

So is Delacroix sexist in his subject matter? Well, of course he is! In 1830, it would almost be impossible not to be sexist or patriarchal as the dominant society, even in revolutionary France, was sexist at this time, as was the rest of the Western World. However is the painting sexual and misogynistic? No, I don’t think it is. It’s subject matter is not about sex or sexuality but about the power of the revolution, the breasts are symbolic, not a pair of pneumatic boobs of a ‘page three stunna’.

But what does this painting stand for – is it a revolutionary painting, or an excuse just to see another pair of breasts in a gallery alongside hundreds, even thousands, of other pairs of breasts? As the Guerrilla Girls tell us, only 3% of the paintings in the Metropolitan Museum, in New York, are by women, and of the paintings of women, 83% of them are naked – this is replicated all over the world in art galleries. Women have been objectified over the centuries and so have their body parts, Delacroix is not a feminist but a bourgeois 19th century painter capturing the mood and propagandising the only way he knows how – through Romantic imagery.

Who was Delacroix and why did he paint this picture?

Ferdinand Victor Eugene Delacroix was born on April 26, 1798. He was the son of the ambassador of the French Republic to Holland. His father had been very active during the revolution. Despite his parents dying when he was a little boy, he would be very aware of the revolution and the terror that reigned afterwards.

He began to paint at age of 17. He was hugely influenced by the Romanticist period of painting and later went on to influence the Impressionist movement, particularly Cezanne and Picasso, who copied his paintings. Romantic paintings are paintings, depictions of fantasy, and an expression of feeling – of love, of fear, of desire and even, of revolution. They are emotional paintings not paintings of reason, or of fact.

In 1830, Delacroix watched the fighting in central Paris alongside his friend and fellow painter Eugene Lami. This fighting had erupted not far from their studio. Delacroix was not a participant but a spectator. He wrote to his brother, Since I have not fought and conquered for the fatherland I can at least paint on its behalf. That’s why he painted
Liberty Leading the People.

Liberty Leading the People is sort of a political poster, it’s the ‘No Poll Tax’ poster of its time. It marks the day when the people rose and dethroned the Bourbon King.

Delacroix made a number of sketches. They contained street fighters, individually and in groups. He decided to construct his artwork around the allegorical female representing Liberty. This was a daring concept – having the bloodstained victims of an actual battle, setting a high-flown symbolic figure in the middle of the dirt and triumphant on the bodies, not of our victims, but of her comrades.

Liberty Leading the People is a two-dimensional painting. Delacroix uses linear perspective to give the effect of 3-dimensional space. He uses aerial perspective with the city in the back being smaller and the sky is blue and grey. The battle of July Revolution of 1830 is the subject matter. The meaning of the image, the content, is the people wanting liberty, and the battle the people went through to gain liberty. Liberty leads the people on. Delacroix uses these images to tell the story – looking at the painting you know that there is a victory, a triumph – even if you are not aware of the situation.

The focal point of this work is Liberty. The emphasis is on Liberty because she is the most important figure in the work. Liberty stands out more than the other figures because she is carrying the flag with bright colours of red, blue and white. According to people who know things about fine art, Liberty Leading the People is very much in scale and proportion. The art is in proportion because of the relationship between the parts to each other. No figure is larger than any other figure. An example is the young man to the right of Liberty. He is not larger than the older men to the left of Liberty. The figures are in scale because the figures are the normal or expected size. The shape (hands, arms, feet, torso, head) is all in the right scale to the actual bodily parts of a person.

Delacroix’s spirit is fully involved in its implementation of Liberty Leading the People. He executes the work with the heroic poses of the people fighting for liberty, the outstretched figure of Liberty, the dead figures, and the attitudes of the people following Liberty. Delacroix has given this painting a sense of full participation, no one is passive in the painting. This work has been called the first overtly political work of modern painting.

Shown at the Salon of 1831, the painting was understood in various ways and caused quite an uproar. Working class, a fishwife, and a whore is what the figure of Liberty was called by Outraged of Paris. Critics said that the painting was a slander of the five glorious days, that Liberty was ignoble, and that the insurgents represented a rude class of people, urchins and workmen. The newly blossoming bourgeoisie was shocked by the painting – it was seen as crude and unnecessary.

Liberty’s breasts were seen as shocking, despite the fact the majority of Romantic paintings depicted naked women or semi-naked women, because she was active and not passive. Her breasts, on show with her bare feet, indicate her power and strength as opposed to her sexuality – naked or semi naked women are usually reclining or surrounded by other women – rather, she is in an active stance of defiance surrounded by mortal men.

Women in the first French Revolution

But was it so impossible to depict a real woman involved in the revolution other than a fantasy warrior goddess? Did women not play a role in the French Revolutions? Women – working class and peasant women – have always played a political role. They were responsible for putting food on the table, and during times of hardship, such as famine, when bread was unavailable or expensive, women had traditionally marched to the civic centre to beseech the local government to ameliorate their misery. During the first French Revolution, this tradition would be followed, but with one new development. Parisian women no longer marched to the civic centre to petition the local magistrates, but rather they marched first to the royal palace itself. They sent their petitions directly to the king then, later, they marched to the national legislature. It was the women who rattled the gates demanding bread!

Women in France formed clubs and organised. They met together to learn how to become citizens of a great nation, rather than subjects of a king, and to press for specific legislation. These women wanted equality of rights within marriage, the right to divorce, extended rights of widows over property and of widowed mothers over their children, publicly guaranteed educational opportunities for girls (including vocational training for poor girls), public training, licensing, and support for midwives in all provinces, guaranteed right to employment, and the exclusion of men from specific traditionally-female professions, like dress-making.

In August 1791 the Declaration to the Rights of Man was made known by the National Assembly. In September 1791, National Assembly was replaced by a newly elected body, the Legislative Assembly, a constitutional monarchy. This prompted Olympe de Gouge, female revolutionary, to write the Declaration of the Rights of Women and the Citizeness (1791), possibly the best known tract on the rights of women from the period, as a response to the Declaration to the Rights of Man and its silence regarding women.

But the revolution did not deliver male suffrage never mind female suffrage – only men who paid a certain amount of taxes had a say and unemployment was rife. War against foreign forces who wanted to restore King Louis XVI’s power, the return of political instability and the resulting economic hardship, and their desires for sexual equality, all mobilised women once again to act collectively on their own behalf. This resulted in even more marches, more clubs, more petitions, and the increased use of the taxation populaire.

In 1793, the Society of Revolutionary Republican Women, created by sans-culotte women, lasted only six months, before it was shut down by authorities. These women were revolutionary, militant feminists! Advocating issues of interest to the radical middle class and the Parisian poor, such as penal reform, occupational training for girls, public morality, and economic reforms. At this time the Jacobins demanded, among other things, that all women wear the Revolutionary dress and cockade (a hat that indicated different factions). A law was duly passed to require all women to put on the proscribed articles and when the Républicaines-révolutionnaires tried to have the law enforced, market women rebelled and petitioned the Convention. The Convention seized their opportunity, dissolved the Society, and outlawed all women’s clubs and associations. The women were seen as anti-revolutionary and as traitors. A period of terror and barbarism reigned in France, but women still rebelled and organised. But by 1794, Olympe de Gouges had been guillotined. The people would not rise up again until 1830 (depicted by Delacroix – could Liberty be Olympe?).

Society of Revolutionary Republican Women Manifesto

The National Assembly, wishing to reform the greatest and most universal of abuses, and to repair the wrongs of a six-thousand-year-long injustice, has decreed and decrees as follows:

1. All the privileges of the male sex are entirely and irrevocably abolished throughout France;
2. The feminine sex will always enjoy the same liberty, advantages, rights, and honours as does the masculine sex;
3. The masculine gender [gendre masculine] will no longer be regarded, even grammatically, as the more noble gender, given that all genders, all sexes, and all beings should be and are equally noble;
4. That no one will henceforth insert in acts, contracts, obligations, etc., this clause, so common but so insulting for women: That the wife is authorized by her husband before those present, because in the household both parties should enjoy the same power and authority;
5. That wearing pants [la culotte] will no longer be the exclusive prerogative of the male sex, but each sex will have the right to wear them in turn;
6. When a soldier has, out of cowardice, compromised French honour, he will no longer be degraded as is the present custom, by making him wear women’s clothing; but as the two sexes are and must be equally honourable in the eyes of humanity, he will henceforth be punished by declaring his gender to be neuter;
7. All persons of the feminine sex must be admitted without exception to the district and departmental assemblies, elevated to municipal responsibilities and even as deputies to the National Assembly, when they fulfil the requirements set forth in the electoral laws. They will have both consultative and deliberative voices. . . .;
8. They can also be appointed as magistrates: there is no better way to reconcile the public with the courts of justice than to seat beauty and to see the graces presiding there;
9. The same applies to all positions, compensations, and military dignities. . .

We are told that Liberty is a symbol, however the women who in the 18th Century penned the above could easily have been Liberty. However they may have worn trousers and had their blousons tightly buttoned up (I would imagine).

For those worried about her breasts being on show forever or her catching cold, Liberty is properly attired by the time she appears as a giant statue guarding over Ellis Island in the US, this time her breasts are covered and instead of a tricolore she holds a torch of justice aloft her head.

Liberty has been printed on stamps and the 100 franc note, she remains a poster girl of the 20th and 21st century – featured on the front cover of the RCN’s Republican Communist magazine, Issue 1 and their pamphlet on republicanism, and on Eric Hobsbawm’s Age of Revolution. It is on the front cover of the band, Coldplay’s Viva la Vida album. Liberty Leading the People has inspired many over the decades and centuries.

Long live Liberty!

From Dornoch we moved further north
not as north as where she was born
but north enough to understand;
to understand her returning

She sat there beneath the sculpture
Of ‘The Emigrants’ at Helmsdale,
Moved by the woman looking back
To the strath that was once her home.

For she too had to leave here
To work in service or in shops;
She too, with some eighty years now,
Lived in the south and not the north

And these years have moved her to tears
And this woman brought them all back,
Yet she sits with son and daughter
Who marvel at her dignity.

Two highland ladies, one in bronze,
And the other in flesh that pains,
Bestow upon a changing world
Unchanging values that redeem.

This is taken from Jim’s latest book of poetry, Being Beneath the Moon. Available for £2.50 including. postage & packaging from Magdalene Press, 2, Carlton Street, Edinburgh, EH4 1NJ.

I wanted to write you a letter
my love,
a letter that would tell
of this desire
to see you
of this fear
of losing you
of this more than benevolence that I feel
of this indefinable ill that pursues me
of this yearning to which I live in total surrender…

I wanted to write you a letter
my love,
a letter of intimate secrets,
a letter of memories of you,
of you
of your lips red as henna
of your hair black as mud
of your eyes sweet as honey
of your breasts hard as wild orange
of your lynx gait
and of your caresses
such that I can find no better here…
I wanted to write you a letter
my love,
that would recall the days in our haunts
our nights lost in the long grass
that would recall the shade falling on us from the plum
trees
the moon filtering through the endless palm trees
that would recall the madness
of our passion
and the bitterness
of our separation…

I wanted to write you a letter
my love,
that you would not read without sighing
that you would hide from papa Bombo
that you would withhold from mama Kieza
that you would reread without the coldness
of forgetting
a letter to which in all Kilombo
no other would stand comparison…

I wanted to write you a letter
my love,
a letter that would be brought to you by the passing wind
a letter that the cashews and coffee trees
the hyenas and buffaloes
the alligators and grayling
could understand
so that if the wind should lose it on the way
the beasts and plants
with pity for our sharp suffering
from song to song
lament to lament
gabble to gabble
would bring you pure and hot
the burning words
the sorrowful words of the letter
I wanted to write to you my love…

I wanted to write you a letter…

But oh my love, I cannot understand
why it is, why it is, why it is, my dear
that you cannot read
and I – Oh the hopelessness! – cannot write!

Originally published in Emancipation & Liberation Issue 8, Autumn 2004.

This wall between us slowly grows
slinking along the dusty earth
like some snake in the desert sands

Once in Jericho it fell down
by those who now do the building
the heirs of the trumpet blowers

Once Belshazzar saw the writing
on the wall, Daniel read the words
Mene, mene, tekel, parsin.

The days of your kingdom will end
for your acts have been found wanting
and your kingdom is divided

Jim Aitken

This experience comes from leafleting during a council by-election in the Lochee ward in Dundee, but I imagine that what is described in this little ditty is transferable to anywhere that dogs lurk unseen, waiting to give their canine judgement on political activists of any persuasion.

For we, who politics inspire,
There is a time when we’re on fire.
Elections, they are always busy,
So much goes on we end up dizzy.
Hustings, meetings, stalls—all vital
But there’s a task which every night’ll
Turn each of us into a drudge,
Aye, leafleting’s a weary trudge!

There’s letter boxes, sharp it seems
As any shiny guillotine.
There’s stairs to climb that take your breath,
You puff, you pant, feel near to death.
Blasted by wind and soaked by rain,
You think to yourself, Never again!
But the biggest danger in the end
Comes always from a man’s best friend.

Some dogs keenly vent their wrath
The second that you’re on the path
That leads from garden gate to door,
They bark, they growl, they howl, they roar.
And from the noise they make you know
If up that path you should dare go.
Does it sound big? Does it sound small?
It’s up to you—your judgment call.

But there again, there is the hound
Which doesn’t make a single sound.
Behind the door he’ll silent sit,
Waiting for some dim half-wit
To put his hand through the front door.
What savage dog could ask for more?
He loves a fool who careless lingers,
And doesn’t, quick, withdraw his fingers.

The first you know’s when something slams
Against the door, it seems the jambs
Themselves, they must be near collapse
As Fido, furious, rabid, snaps
At your fingers, teeth bare, flashing,
To the bone incisors slashing.
And then, the bit that really narks,
The damage done it’s then he barks!

Your curses make the air turn blue,
It’s A & E next stop for you
As there you stand, your fingers bleeding,
An anti-tet and stitches needing.
Now here’s the thing that’s to be learned,
Like all good lessons it’s hard earned.
Leafleting that’s swift and brief
Keeps human flesh from canine teeth!

by The Proclaimers

Like many people I have liked the Proclaimers for years. I really enjoy their love songs which have a Tom Leonard quality to them in terms of their ability to express profound emotions in the language of the working class. I was therefore really pleased to be given Life with you as a recent birthday present. Good to sing along to during my 40 minute drive to work I thought. And so it is – you find yourself drumming at the wheel while belting out the lyrics. This, however, is more than an album of memorable choruses. It is very angry, bitter, highly political and completely relevant.

In Recognition is a republican anthem for the 21st century as it viscerates the hypocrisy of those who buy into the honours system leaving no excuse open to those who, put the crown / before or after their name.

We could all name those so called champions of the working class who capitulate to patronage and monarchy and who leave us questioning their years of contribution to the labour movement when they eventually bend the knee to the crown for personal gain.

Celebrities too are singled out for scathing sarcasm when they take a gong for bravery upon the stage. The irony of their deed as they stand beside wounded squaddies is completely lost on them.

Blair has no hiding place as they demand an apology for the bloody carnage that is the war in Iraq. This theme is continued in The Long Haul which emphasises the consequences of the West’s current fight against evil empires which are now Islamic as opposed to those which were communist in the 20th century.

For me, by far the most refreshing tracks were those which hammered into religion in a way that was militantly secular. – New Religion and If there’s a god.

I love the clarity which expresses their disbelief that so many people will suspend their rational faculties in order to feel a sense of purpose through ridiculous nonsense. Give me a zip for the back of my head / I want to join in too sums up their contempt for those weakest seeds who need to find nourishment in the mystic and the supernatural.

Charlie and Craig are fearless in combining their popular art with the radical politics which is clearly so much a part of them. They throw in a great wee song about misogynist song lyrics which also shows their ability to stand against the ‘anything-goes’ liberal trend. They are confident enough, as they have always been, to dare to be different and not care if that is regarded as somehow homely and not hip. They are however far from playing it safe. Their lyrics are more dangerous than those of any gangsta’ rapper, who needs to call women bitches or whores.

They come through this album as really sound guys that you would want to have as your pals. They are sensitive men who are angry about huge issues. There is no narrow nationalism here. These are Scottish artists who are internationalists.

All this and sensitive love songs too. Whole wide world and Blood lying on snow are imbued with a sexy longing for physical and emotional fulfilment with someone you can love. And finally a cracking proclamation of love and commitment in Life with you. It hasn’ae been off my CD player for days. Windows down and giving it laldy – it makes going to work almost bearable.

Review: Alan Graham

Keynesian Economy Simulator
Format: PC
Publisher: Positech
Developer: Cliff Harris (probably in his bedroom)
Price: £15.28

Bourgeois Democracy: Another simulation

Following on from the original Democracy, Clif Harris has released a sequel: imaginatively titled Democracy 2. The game is a simulation of politics. You have been elected President of X country and have to choose which policies to implement or not and how to deal with dilemmas and problems.

The social model

Unlike its predecessor, Democracy 2 has fictional countries which are caricatures:

• Bananistan:Socialist and Agricultural
• Biblonia: Religious State
• Freedonia: Liberal and atheist
• Gaiatopia: Eco-aware state
• Gregaria: Wealthy and capitalist
• Koana: Capitalist Heaven
• Malaganga: debt ridden, compulsory voting
• Mexilando: military state, monarchy
• Zambeezia: Agricultural, poor

One nice addition is the party system, you choose who to be rather than just have opposition. There is a large list, and like all things in this game, can be modified by the player. If you wish to be the SSP with the Tories as opposition, go ahead and add them. Fancy being the Bolsheviks, just add the title to the list.

Balance

Like the first game there is a delicate balance to be maintained. I ran the socialist state, and had managed to get 55% of the population to be members of the Socialist Alliance. The only major problem I had was an Asthma epidemic. The only link I could see was Air Quality and the biggest effect on that was air travel. To cut air travel the only option I could see was a Carbon Tax. This was unpopular with the group everybody but I figured it wouldn’t be that much. Within 4 turns there were 0 members of the party and asthma epidemic was still rife. Further playing around would probably reveal the correct balance to maintain – maybe youth clubs and free school meals with an increase in funding to state hospitals with a very low carbon tax is the answer.

And that is the beauty of this series of games, it shows in simple terms how sloganeering and promises of policies which appear to solve problems actually work in the real world and not through the lens of sympathetic media assuring us that X policy is the answer.

The one major limitation of the game is the economic model. The worldwide market crashes and there’s a recession. You see GDP plummet so what do you do? There’s no option to fiddle with interest rates or model of inflation. It means the simulation limits itself to policies and their effect but not the economy.

On Income Tax, this game seems to have the same flaw as it’s predecessor: fraud. If there is welfare fraud you can crack down on it. It doesn’t have the option of cracking down on Tax Avoidance by the highest earners. Fair enough, this mirrors real life, and you can add it in yourself, but it means you have to play a reformist by lowering income tax to allow the middle class to be moderately happy.

Policies

There has been an increase in policies to over 100, including ID cards, hybrid cars and micro generation grants. The dilemmas and situations seem about the same, with a few added and removed.

What’s new?

There have been a number of additions, Ministers, political capital, opposition groups, voter detail and encyclopaedia are the most significance.

Ministers

You start off with 6 ministers, each of which have different loyalties and you can fire them and appoint new ones. Maybe it would be a good idea to replace that Tax minister who has sympathies to the Middle Class and Capitalists with John Doe who sympathiseswith Socialists and Trade Unionists? Each minister has different loyalty and experience (these generate Political Capital), the sympathies help influence those demographics to support you.

Political Capital

The major new addition to the model has been Political Capital. In the first game you could bin all the policies and add which ones you like. Now it takes political capital to raise, lower or cancel policies as well as introduce new ones. If each of the 7 ministers generate 3 political capital per turn then you get 21 each turn added to the pool. To raise income tax takes 34, to remove university grants takes 19 whilst introducing Micro-Generation grants takes 1. This reflects how much each change will cause people to support or oppose you.

Opposition Groups

The threat of a coup has been expanded with your intelligence services keeping tabs on everyone from The Army of God and the Socialist Army to the Secular Society. If you have no religious people then you probably don’t have to worry about the Army of God, if you are playing in the Theocracy and fund stem cell research whilst banning the teaching of creationism in schools, then you may have something to worry about from them although the Secular Society will probably back off a bit.

Voter Detail

Previously, voter demographics were defined by number and how they support your policies. It seems to have been expanded, with focus groups showing how cross sections of society support you. There is likelihood of them to turnout to vote and to vote for you. Added to this is the party membership, although this is again simplified into two parties with most votes winning the election. Once you lose it’s game over too, perhaps the next in the series will introduce multiple parties and the FPTP system: choosing ministers from your pool. It would be more in depth but move the games from being simulations to explain basic politics to being a simulation of politics.

Flaws

There is still a flaw in the model however. At the start there are new options including the option to set the number of socialists in the country. Having dragged the slider to the end I was happy to see 100% socialists. Woo, I can finally try raising Income Tax and introducing Free School Meals to see my popularity grow. Unfortunately it went down. It turned out that 65% of the Socialists were also Capitalists. Each voting demographic is counted as separate and each individual voter can belong to multiple groups including contradictory ones. My carbon tax example earlier could have got the same result if 100% of people were Environmentalists but 60% were car users and 0% commuters.

Encyclopaedia

Lot’s of policies and voter groups now have some explanatory notes to help you understand what they mean. When choosing Income Tax levels you can see the top levels in various countries and the income scales in the US. Choose Socialists and you can see a page of pretty non-biased explanation and some key dates from the publication of The Communist Manifesto to the abandonment of Clause 4.

Verdict

There are a number of things which seem worse than Democracy: mouse scroll speed is frustratingly slow, lowering accessibility, the movement to caricature countries, the limitation on changing policies. Most of these can be addressed however through customisation. Change capital required to 0 and add your own countries.

Positive changes have included a UI update with new options and the Minister system adds a touch of realism. You can still customise it as much as you want and for a game it is very cheap with a real educational value. There is a demo available of both games which allow you to have a few turns and to get the feel of them. Overall if you don’t have Democracy, try this one, if you have Democracy then only get it if you really enjoyed it.

Mary McGregor interviews communist and actor, Tam Dean Burn.

Tam Dean Burn is the most respected political actor in Scotland today. He was born in Leith and grew up in Clermiston, a west Edinburgh housing estate. He went to Queen Margaret College to study acting at a time when working class men were encouraged to take up the profession. Tam cites James Dean and his teacher, Ken Morley (Reg in Coronation Street) as his early influences on his acting.

I first met Tam in 1993 when he was in Dundee appearing in court for Breach of the Peace on the Timex picket line. He had famously jumped onto the front of one of the scab buses and earned the nickname ‘spider-man’. Tam introduced me to communist politics. When I spoke to him recently I found him, as ever, full of ideas and challenges to orthodox Marxist thinking.

So apart from Reg from Coronation Street and James Dean, are there any other artistic or political influences that were pivotal because I am interested in the point where the art and politics started to merge?

I got into punk at the very beginning. I was ready for it, because of the type of bands I was already listening to, like Dr Feelgood. It was the difference between those who were into Yes, prog rock and heavy metal – they were more middle class – and those of us that were into pub rock bands such as Dr Feelgood and Sensational Alex Harvey Band. When punk came along I was totally up for it. It was like a personal, social revolution that really got me going politically as well.

At my first show after leaving Queen Margaret’s, I had a chance to combine all the elements of politics and art. We did a play at the Edinburgh Festival with my wee brother’s band, Fire Engines, with some songs that had been written especially for the show that I was singing. It was initially a 2-hander called Workers of the world confess, looking at the relationship between the boss and the worker in the form of a confession. We developed a cantata it was called Why does the pope not come to Glasgow? As we were in rehearsals we got the news he was coming and we just thought – the power of theatre! It was a good strong political piece. We had discussions as an essential part of the show. The guy who wrote it George Byatt was an old anarchist. Immediately me and George started to tussle as I started to go down the communist road even though I saw myself as an anarchist punk at the time.

The Dirty Reds, our band, had a gig for Edinburgh University Communist Society who were trying to latch onto this punk thing going on. They had banners with Marx and Engels. I said, Fuck all this old fashioned shite! We are anarchists! People started jumping up and pulling them all down. I have often chuckled to myself as to what my comrades in years to come would have had to say about that.

I went to the Soviet Union in 1983 for a holiday with a friend. We thought we would be with old trade unionists, but it was geared towards young folk and we found ourselves there with a big posse from Liverpool including this post punk band called Echo and the Bunnymen, so we had a great time. I was very romantic about the Soviet Union.

What about big political events back at home?

It was really the miners’ strike in 1984 that made me realise I had to be in an organisation to have any real impact. I got involved in the Miners’ Support Group in Edinburgh so I was looking around the different left wing organisations. I wanted to be in the Communist Party but I could not really work out where they were in Edinburgh. They did not really seem to exist. I had an aversion to Trots because of their view of the Soviet Union. Although the Militant did seem to be the most dynamic organisation around. I did collect with them outside football grounds for the miners. I went through their induction programme but then found I could not go with them. Their main man was more trade union based. They did not believe in the dictatorship of the proletariat and they certainly did not support the Soviet Union. I then picked up on the paper The Leninist. What they were saying about the miners’ strike really gob smacked me. I was not able to put it into practice but I started communicating with them.

By the time of the Poll Tax I had moved to London and had got much more involved with the Leninist and was politically organised by them. This was a totally positive experience because what I had always been trying do was find a way to combine the politics with the culture. I was being encouraged to do that. Although it was a small organisation, there was a lot of time and resources put into what I was trying to do culturally.

I had picked up on the type of agit-prop that Ewan McColl had been doing with the YCL in the late 20s and early 30s, like street theatre on the issues of the day. We started by doing the original sketches and then developed our own versions of them with issues like the Poll Tax and Ireland.

There was a great sketch about Indian workers that had been banged up for being members of a trade union. It was done behind these six huge banner poles that you would have on a demonstration and they made the bars of the cell. At the end of the piece the bars would get smashed down through class struggle and international solidarity. In 1988 we adapted the sketch to Ireland and called it 20 years. This was because it was around 20 years since the start of the most recent troubles in Ireland. This was all done as part of the Workers’ Theatre Movement.

We also developed a political cabaret which was hard hitting, honouring the dead hunger strikers in Ireland. This was part of a polemic with left Labourites and their ‘Time to Go’ campaign. I remember performing 20 years before a big demo that they were organising. We were playing it and getting a great response from the marchers because invariably they were the best audiences; the most partisan. The organisers wanted to stop us and I remember a big guy wi’ his hand on my shoulder saying, You have to stop! You have to stop! but there was no way they could stop us because of the response we were getting from the crowd.

It was the same wi’ the dockers in 1989. We performed in support of the Tilbury dockers and their struggle to stop the privatisation of the docks. I remember their leader saying that what we had said in a 5 minute sketch is what he would have liked to say in a 20 minute speech. You could sense the value of what we were about and what we were trying to achieve. With the Poll Tax sketches we realised that we could get our message across by using mega phones. By having everybody ‘megaphoned up’ you could really blast across a message.

We also combined street theatre with a political cabaret called the Internationale where we could start doing things that worked more effectively indoors. We would invite people to come along and do themes like Ireland or International Women’s day. It was being able to be a sort of memory for the class as well of celebrating events like that. There was a real attempt to tie together as much as I could of the culture and the politics.

You have continued to do that. The last overtly political thing I saw you do was Perdition

(A play by Jim Allan that dealt with the collaboration between Hungarian Nazis and Zionists that led to Jews being killed.)

Yes, there have been differences when I have been able to pull together performances myself, like that, and those roles that I would do as a job. I am always looking for possibilities. Perdition was a special one. It had been 20 years since the play was originally going to be performed at the Royal Court theatre in London. Then they pulled the plugs on it at the last minute which is unheard of now.

The Zionist lobby now isn’t nearly so strong that they could pull off something like that. Our performance of it was still controversial. It was suggested by the SWP that it was ‘bad taste’ to do it in Holocaust Memorial week. Perdition was directly about the Holocaust and about the way that Jews were basically being sacrificed for the Zionist cause. The Holocaust Memorial week was exactly the right time that we should have been doing it. I think that says much more about the SWP than it did about us.

Doing it in Glasgow, Edinburgh and Dundee and seeing too that you didn’t need a full production – the actors were doing it as a reading with the scripts in their hands but that made very little difference. It was theatre about ideas with good actors doing it and able to put it across. It’s a form of entertainment that is my favourite because it’s stimulating and you are a lot more engaged as an audience. It has an archetypal dramatic form of the courtroom. That form has been used so often. It works because people know they, the audience, become a jury. You are engaged in it in that way and you are implicated. It was a good strong piece.

Has it become easier or harder to express your communism through your art as you have become an established actor and moved away from street theatre?

It has become harder because I am less organised now. Unless you are a practising communist, you cann’ae really call yourself one. That is still of course where my heart lies but I have been open to a lot of other influences as well. I don’t get the opportunity to express myself in quite the same way which is mair to do with the times than me, so I have to find different ways of doing it.

But you made it happen with Perdition it was very much your baby?

Well, the Palestinian Solidarity Campaign in Scotland is very dynamic and it was through discussions wi’ them that I was able to make it happen. When you are encouraged and supported these things can take place. A lot of the time people are pretty shabbily organised politically so it is not like a great deal goes on. I didn’t find the same opportunities to go at things within the SSP. There would be the odd, little event and I know some people did some things but I felt culturally it lacked something. It settled for a lower common denominator for culture and that can be a great problem within politics.

What should the stance of a revolutionary socialist be towards art especially under capitalism? Should there be a more serious approach amongst revolutionary socialists towards the whole concept of art?

Absolutely, especially when I think of the influence of William Blake on me over the past few years. He has been with me through the last two years because I’ve been reading all his poems and prose on a radio programme every week. I have been reading a lot about him as well. His view is that the way we look at politics is too narrow. It is too materialist. He believes that unless you have a spiritual element to what you are going for and a sense of moving beyond the three dimensions that we accept, it’s worthless. His idea is that imagination is the most important thing of all.

In the past as far as materialists go, we look on it as labour that would define us that is what fired the mind. But for him the imagination and poetic vision is what we should laud and pay attention to. It’s a duty for all of us to build Jerusalem by that artistic, poetic vision and imagination. That’s given me some sense that we are looking on things far too narrowly. I know he would be looked on by some Marxists as completely idealistic – a radical idealist and even revolutionary but I just think who is to say you’re right. Blake says, To see a world in a grain of sand.

Even science now is looking on the tiniest particles as microcosms of the whole. I’ve thrown myself mair open to things. A big part of me is opening up to questioning. The most important thing is we need to be questioning for truths. The left is not willing to discuss what has become clear that the official theories of what happened on 9/11 and 7/7 just do not add up. People are scared. I see the left like that, they are scared to look at these type of questions. If these actions were state terrorism, if they were false flag operations, then that’s what we’ve got to take on board.

There was a point when the SSP was tied up with the anti capitalist/ anti globalisation movement. That was so important for the SSP – the way that the SSP opened itself up to a lot more people and that is what really gave it an impetus into becoming a force in Scotland. Then it narrowed itself back down into a typical left wing grouping. It is only now that we are seeing how important the anti capitalist movement was. Everybody was guilty of squandering that opportunity. That’s the type of thing we need again.

There’s only a few individuals on the left saying its a set up job and we’re not buying into this. If people recognised what our enemy was really up to, a lot more people could be galvanised. I think there is a sort of fear and cravenness and conservatism. Then you start to think who is actually being fingered here. Who has been stopping this getting out? Who is calling the shots and moving the organisations away from questioning this. We can’t let the official view dominate as it does. I ever so slightly raised my baldy heid above the parapet to put it into the letters column on the Weekly Worker. It was just so pathetic the response I got back. The same nonsense arguments – utterly unscientific – pathetic.

I’ve interviewed David Icke and he would be considered a lunatic and they have been able to put that across. I treat everything he says with a degree of caution but there is more of his stuff that I have heard him say that is coming true. What we are moving towards is a micro chipped population. If this happens, we are back to being slaves again when they have us under that control. They started with animals they are now talking about prisoners. That is the very foreseeable future when we are all micro chipped then we are really fucked.

Do you think that artists have a responsibility to highlight these dangers in society?

Yes in a sense but the responsibility even mair so is to try and find out what the positives are and to be able to encourage people. I think that culture generally is somewhere that the battle can be fought wi some degree of success. Where as other areas at the moment it just seems much harder. Obviously a lot goes on online with young people and the way they are able to communicate with each other and I think the dam will burst. I am always trying to find alliances and means to be able to put forward ideas.

You mentioned young people and how they get involved. How do you view YouTube and things like that?

Its how its used. It can be turned on itself. Things can be turned into their opposites. So they can be used in a positive or a reactionary way. It can be used to dazzle and occupy and control. With something like Facebook; the political motivations behind that were really pretty apparent. It is a further degree of surveillance. Even with the internet itself. It was the American military that introduced it initially. What are you telling me that they had the benefit of humanity in mind? It has been a means of control from the start but at the same time, they have to allow it to develop. They have to hope it doesnae turn against them. But you know it can be used in all sorts of ways. It was the anniversary of Rachel Corrie’s death (US peace activist killed by an Israeli bulldozer in Palestine) and through the net we saw they were encouraging people to speak her words at events. We recorded on a mobile phone outside parliament where it is illegal and outside the American embassy and banged it up on Youtube and its there to be seen. That becomes world wide. As with everybody, we are just waiting for things to rupture and explode in a positive fashion.

With Emancipation and Liberation, it is criminal that you do not have your website more up to date which could be a real benefit to people [Website Ed - rectifying that now, we fell behind]. You can see the way the Weekly Worker has given people an opportunity to express themselves. You have got to offer encouragement to people, via the internet and show that there are people attempting to provide answers. It is our duty to try to encourage that.

Republicanism? You participated in the Calton Hill Declaration. What does being a republican mean to you?

It was there from the very roots of my political organisation. Both in terms of being a Hibs supporter because we supported Irish republicanism, from the terraces and from my understanding of Punk. We had complete disdain for the monarchy and the desire for a republic. These type of things are crucial. Once you get your eyes opened to these questions you can accept no compromise on them. Republicanism is an absolute bottom line of democracy, particularly in this country. I have always been wary about nationalism. I’ve never been drawn to that in any way apart from when it is revolutionary which I saw wi Ireland. But republicanism is a total line for me so I was happy to play the queen at the Carlton Hill event. Always happy to get a frock on.

Rod MacGregor looks at science, secularism and the role of religion

In his book about oil depletion, Half Gone, Jeremy Leggett, one-time oil company high flier and former chief scientist with Greenpeace, tells of a particularly bizarre conversation he had with a lobbyist from the Ford Motor Company at a conference on climate change.

The man from Ford tried (unsuccessfully) to convince Leggett that, far from being four and a half billion years old, the world was, in fact, only 10,000 years old. Not only did he sincerely believe this, he also accused Leggett of being a disciple of the anti-Christ, then further informing him that pouring ever increasing amounts of heat-trapping gases into the atmosphere did not really matter, as Leggett and all his fellow followers of the anti-Christ would be vanquished in the battle of Armageddon by the forces of God, after which they would ascend to heaven.

One thing that this outlandish dialogue between Leggett and the man from Ford does demonstrate is the resilience of religious fundamentalism.

Although the power of religion over the masses in western advanced societies has been seriously diminished since its mediaeval high point it would be foolish to think that it is no longer a relevant and powerful force in today’s world. In the United States, any politician with desires for high office ignores the Religious Right at their peril.

As science advanced and factual observation and calculation challenged faith based religion, the churches themselves did not just meekly accept that the game was up with the dawning of the age of reason. In fact, they fought tooth and nail in the face of the advance of scientific discovery and theory.

One of the most famous battles took place between Galileo Galilei and the Catholic Church in the 17th century. This particular fight had its roots in the previous century, when the Polish astronomer Copernicus had theorised that the Earth and all the planets revolved around the sun, opposing the then orthodox view that the Earth was at the centre and everything revolved around it.

This view was taken up by Galileo, an Italian physicist, astronomer and mathematician, who, among other things, invented the astronomical telescope. His invention allowed him to see the appearance of the planet Venus going through phases, thus proving that it was orbiting the Sun and confirming Copernicus to be correct.

Scientifically this was what we would nowadays call a breakthrough. But personally for Galileo, in his own time, it was a discovery which would cost him dearly, as it brought him into conflict with the Catholic Church and the Inquisition in the 17th century.

An explanatory word about the inquisition. Originally established in 1233, it was a tribunal, the purpose of which was to suppress heresy, originally by excommunication. It operated in Italy, Spain, France and the Holy Roman Empire, and later extended its reach to the Americas. Following the Reformation, it was particularly active. Trials were held in secret, often under threat of torture, and punishments ranged from fines and flogging, through to imprisonment and death by burning.

In 1616 the Inquisition had heard from a committee of consultants that the Sun being the centre of the Universe and the Earth having an annual motion were absurd in philosophy, at least erroneous in theory, and formally a heresy. This was bad news for Galileo.

He was summoned before the Inquisition on several occasions, including one in 1633 when he was formally interrogated for eighteen days regarding his book Dialogue Concerning The Two Chief World Systems.

To cut a long story short Galileo’s clash with the Catholic Church and the Inquisition saw him endure house arrest, despite failing health, until his death in 1642. The Catholic Church did, however, eventually, and somewhat reluctantly and belatedly almost come round to his way of thinking when it finally conceded that he might, he might be right. This magnanimous partial acceptance took place in 1983!

Now, lest anyone thinks that this is an anti-Catholic rant, in the interests of balance it should be pointed out that the Protestants were actually on the ball regarding Copernican theory nearly eighty years before the Catholic Church let the Inquisition loose on Galileo.

Luther himself said of Copernicus that The fool wants to turn the whole art of astronomy upside down, and he considered the words how and why to be dangerous and infectious questions.

We can see from this that in the hundreds of years from Galileo and the Inquisition right up to today with neo-cons in America and, till recently, Blair in this country, religion is by no means an irrelevance.

What, then, should our attitude, as secular socialists, be towards religion?

Consenting adults

Personally, in my own ideal socialist world, I would treat religion like sex. That is, let those of a religious persuasion do what they like, but let them do it in the privacy of their own homes among consenting adults. If they want to have prayer meetings or whatever with fellow believers of whatever faith, fine. And if they behaved themselves and their priests/imams/rabbis, &c., were not too meddlesome, I would even let them out once a year at Christmas/Ramadan/whatever for a bit of public worship.

The link with church and state would have to go, though. I wouldn’t go for an outright ban on religion as it has proved itself a stubborn beast where its eradication has been attempted, and an outright ban would give it a power that benign tolerance and state indifference would not. So, the question arises, does religion have any radical role to play in today’s world?

One thing springs to mind. Quite often, where there is political repression, populations will gather round a religion to express dissent. There are numerous examples of this, most recently the Buddhist monks of Burma, who took to the streets in protest at their own government in the absence of a political opposition. Other examples could include the Catholic Church in El Salvador in the 1980’s, and even the Islamic fundamentalism which replaced the Shah in Iran in the 1970’s.

But as socialists we should be careful about siding with any religion just because it opposes things which we as socialists, too, may oppose. Many religions come with baggage that should be unacceptable to anyone on the left. Should we have supported the ayatollahs of Iran simply because they were opposed to the Shah, a despotic and particularly vile puppet of American imperialism? How could we square away giving unqualified support to Ayatollah Khomeni with Islam’s approach to women, gays or the death penalty?

Or in El Salvador, how could we have unquestioningly backed the Catholic Church, given its views on abortion, homosexuality or birth control. While we may detest the autocratic, undemocratic regimes that these religions opposed, we could at best offer only limited support to them, given the power structures that are at their core.

These are, indeed, classic examples of why we should be careful about siding with our enemies’ enemies. They are not necessarily our friends.

But I believe that there is at least one very good and important lesson that secular socialists can learn from religious fundamentalism, albeit what could, perhaps, be described as a negative one. It is this. We, too, as socialists, have our fundamental beliefs; we, too, have our tracts that our (hugely) godless faith holds sacred. But we must be prepared to add to those tracts, taking into account changing times and different circumstances.

Different people in different areas of the world may respond differently to situations that they find themselves in. What works in a relatively wealthy first world country may be quite different in character to what will energise and attract people to socialist values in a third world country or in a country which, once relatively wealthy, has fallen on hard times.

In this context I would like to point up two examples.

In his book Heroes John Pilger describes, in an article written in 1985, the struggles of the Eritrean people for independence from Ethiopia. Since 1961 the Eritreans had, while at war with Ethiopia and in isolation, despite appalling poverty, built a society which was, of stark necessity, self-reliant, but one which also placed essential value on literacy and humanity.

No young Eritrean was allowed to become a fighter in their armed struggle until they could read, write and understand what they might very well have to die for one day. And though in a permanent state of shortage, any prisoners taken were treated according to the Geneva Convention. The Eritreans’ belief was that the young Ethiopians they were fighting against were themselves victims of the same system which was trying to obliterate them.

In the years from 1961 to 1985 Eritrea’s enemies defied ideology. Both imperial and revolutionary Ethiopia had waged war on Eritrea, which had been a pawn in a superpower chess game, with America and the Soviet Union, with their client states, Israel and Cuba, weighing in for good measure.

Pilger points out that even their dogma, which he describes as a mish-mash of basic Marxism, had been reshaped by years of war and betrayal. A teacher who had studied in Britain explained it to him thus,

It may sound preposterous to you, but we have no left-wing and no right-wing. These are European concepts which have no application in Eritrea, or probably anywhere in Africa. How can we possibly use these stupid terms? We have been let down too often. We are ourselves: and we have no political debts.

For the record, Eritrea achieved independence from Ethiopia in May 1993.

The second example is that of Argentina. In December 2001, the Argentinian economy collapsed, throwing a quarter of the workforce out of work.

Movement of Recovered Companies

Out of this industrial holocaust something remarkable emerged, known as the Movement of Recovered Companies. It is still not huge, six years on it covers only 170 companies and 10,000 workers, but what these workers have achieved is quite astonishing.

There existed a legal framework whereby the workers could, through time, expropriate ownership of the companies. This they achieved by occupying the shut-down factories and bringing them back into production.

Put like that it sounds quite simple, but the Recovered Companies movement is a tale of occupation, eviction and re-occupation, most of the time with intimidation and violence from the former owners and police always lurking in the background.

By far the most common form of control is by setting up a co-operative, where decisions are made by assembly, with everyone having their say. In one factory, in the middle of the floor are forty school desks, so that workers who have to keep the machinery working, can have their say as they do so.

But the interesting thing is that the people who occupied these factories and brought them back to life did not start from a political viewpoint. Their sole aim in the beginning was to earn money to feed their families. Many, however, become politicised by their struggles.

The left, when they turned up to offer their support, were quite often viewed with something approaching suspicion and the workers themselves did not want to be co-opted on to anyone’s political agenda. Indeed, in one factory they were eventually asked if they would mind supporting them from outside the factory gates!

As one worker put it,

We formed the cooperative with the criteria of equal wages and making basic decisions by assembly; we are against the separation of manual and intellectual work; we want a rotation of positions and; above all, the ability to recall our elected leaders.

Some on the left feel that the co-operatives fit too comfortably into what is still a capitalist system, and call for nationalisation of the co-operatives. As one worker pointed out, however, while not theoretically opposed to nationalisation at some time in the future to do so currently would mean having a right-wing capitalist as their ultimate boss.

An interesting argument.

Though different in nature, what happened in Eritrea and Argentina (one a war, the other an economic catastrophe) had a common thread running through them and that thread’s name was necessity, as people rallied to a common cause and left the political theorists either stranded on the sidelines or chasing events as they happened.

We must keep our minds open to new ideas, to new variations on familiar themes. Not to do so will leave us with nothing but rigid dogma. If we do not embrace change which enhances our core beliefs, however unexpected its origin, then two millenia from now (though, hopefully the revolution will have occurred by then) we would find future socialists quoting from ancient texts and Marxist tracts from the 19th century.

They will preach to an audience which will regard them with every bit as much incredulity as Jeremy Leggett could ever muster in the twenty-first century when conversing with an executive of the Ford motor company, quoting from tracts which were themselves written 2000 years and more before.

Adapt, adopt, evolve—these are the things which socialism must do (with integrity) if it is to stay relevant to the citizens of the future.

SSP Policy

(Agreed at Oct. 2007 Conference)

Conference resolves that:

• 1. While religious schools continue to receive state funding, all suitably qualified teachers should be eligible to apply for all posts within them.
• 2. Religious or denominational schools should be phased out as they result in separating children on the grounds of faith, which can only serve to alienate them from one another.
• 3. That we wish to end the practice of collective worship in school assemblies.