Social Justice Cannot, in the Form Commonly Articulated, Meaningfully Guide Action

Nurses – along with many others – are often told that they should or must accept and work towards the promotion of social justice. Further, it is claimed that social justice represents or is a shared nursing value. This presentation challenges these assertions. Claims regarding shared values easily fall prey to forms of attribution error. Alternatively, while social justice is sometimes presented as a remedy or alternative to market disutility, the quality of arguments in which this linkage appears leave much to be desired and, in such instances, the robustness of these claims collapse. Or, assertions regarding social justice frequently appear without supporting explanation or justification. It is simply assumed that social justice (inadequately defined) is a ‘good thing’. This is not necessarily a problem. The normative strength of a claim does not rest only upon the arguments put forward in support of it. However, when social justice is advanced as mere assertion, often in a manner devoid of specificity, claims that the concept should be embraced and claims that the concept should or can promote action in the world, lack persuasive force. Moreover, in some articulations, the concept appears to generate illiberal and intolerant consequences. This presentation does not argue for inequality or social injustice. Rather, it suggests that underdeveloped and frail arguments require improvement or dismissal.

Shakespeare and the Re/Vision of Indian Heritage in the Postcolonial British Context

As part of the 2012 World Shakespeare Festival, the Royal Shakespeare Company staged a production of Much Ado About Nothing set in India. Shakespeare’s Messina in sixteenth century Italy was transposed to twenty-first century Delhi and with a company of actors who were all of Indian heritage. The casting of individual British Asian actors in mainstream UK productions of Shakespeare is no longer unusual. What was unprecedented here, however, was that not only was the entire cast ‘Asian’ but the director was not, as is standard practice, a leading member of the white British theatrical establishment. Instead the director, Iqbal Khan, is the son of a Pakistani father who migrated to England in the 1960s. I use the term ‘Indian heritage’ with great caution conscious that what began under the British Raj in nineteenth century India led through subsequent economic imperatives and exigencies, and political schism to a history of migratory patterns which means that today’s British Asian population is a complex demographic construct representing numerous different languages and cultural and religious affiliations. The routes which brought those actors to play imagined Indian Shakespeare in Stratford-upon-Avon in July 2012 were many and various. I explore in this chapter the way in which that complexity of heritage has been brought to bear on the revisioning of Shakespeare by British Asian theatre makers operating outside the theatrical mainstream. In general because of the social, economic and institutional challenges facing British Asian theatre artists, the number of independent professional companies is comparatively small and for the most part, their work has focused on creating drama which interrogates thorny questions of identity formation and contemporary cultural practices within the ‘new’ British Asian communities. Nevertheless for artists born and/or educated in the UK the Western classical canon, including of course Shakespeare, is as much part of their heritage as the classical Indian narratives and performance traditions which so powerfully evoke collective memories of the lost ‘home’ of their elders. By far the most consistent engagement with Shakespeare has been seen in the work of Tara Arts which was the first British Asian theatre company set up in 1977. The artistic director Jatinder Verma brings his own ‘transformed and translated’ heritage as an East African-born, Punjabi-speaking, English-educated, Indian migrant to the UK to plays as diverse as A Midsummer Night’s Dream, Troilus and Cressida , The Tempest and The Merchant of Venice. I discuss examples of Tara productions in the light of the way Shakespeare’s plays have been used to forge both creative synergies between parallel cultures and provide a means of addressing the ontological ruptures and dislocations associated with the colonial past.