Practicing convict criminology: lessons learned from British academic activism

Joanne Belknap’s recent ASC presidential address included a critique of Convict Criminology’s activism. A number of concerns were provided, although of particular importance here are, first, Belknap’s concerns regarding the absence of ‘marginalized voices’ in the Convict Criminology network. Second, the issue of defining how non-con academics function as Convict Criminology group members. This paper responds to these criticisms. Specifically, we discuss the question of ‘representation’ in BCC and our attempts to remedy this issue. We also draw attention to the academic activism that British Convict Criminology is conducting in Europe. This includes a detailed discussion of the collaborative research-activist activities that involve non-con as well as ex-con academic network members. We demonstrate how these collaborations explain the vital group membership role that non-con academics assume in the activism of Convict Criminology.

Conceptualism/feminism/cultural activism

As part of a debate amongst a multi-generational group of artists, art historians and cultural workers exploring the ‘political turn’ in British Conceptual Art, Loraine Leeson spoke on the connections between conceptualism, feminism and socially engaged art practice.

Collaborative art activism – a UK perspective

Loraine traced the parallels and divergences between the art activism of Carole Conde and Karl Beveridge and herself, both in her solo practice and earlier work with artist Peter Dunn.

Margaret Thatcher, Dress and the Politics of Fashion

Through Margaret Thatcher’s private and public performances, the micro-politics of dress translated into the macro-politics of power. Thatcher’s changing career can be traced through her dress (see Young 1991: 416-417); analysis of her dress leading up to and during her Premiership reveals both her aspirations and increasing power. Understanding of Thatcher’s agency in her embodied, dressed performances can be informed and developed through Butler’s (1999) conceptualization of performativity. Through adaptation, repetition and divergent dress, Thatcher constructed different identities, some of which became iconic symbols of her self and her politics. Examination of Thatcher’s dress refines the understanding of the relationship between constraints and agency experienced by actors in the public realm. Upon becoming party leader, Margaret Thatcher’s gender, class and ideological viewpoints were incongruent with her unprecedented political status and she faced many challenges in attempting to overcome this. Dress became a potentially destabilising focus for her critics and symbolic of her “outsider” status. Yet in the face of these challenges she recognized and learned from the expectations of others, adapting and changing her dress. However, this was not an instantaneous, complete or permanent transformation. What Thatcher achieved, as she crafted her dressed performances, was agency over a further aspect of her life and her politics. There was also an evolving alignment of her dress with her political ideology and domestic and international roles over time.