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Laurie Penny: The Paradox of the Welfare State

Aversion therapy for the poor.

Centuries ago, when ordinary men and women first began to dream of political suffrage, a radical theory surfaced whereby people without property or assets had as much right to a living as anybody else. Thomas Paine wrote in 1795 that every citizen should expect a minimum income as compensation for the "loss of his or her natural inheritance, by the introduction of the system of landed property." That notion has this week been utterly abandoned by the British administration.

Tomorrow, the Secretary of State for Work and Pensions will announce a new "contract" with the poor. Those receiving the miniscule and dwindling stipend that the government grants anyone without means to support themselves in these straitened times may be required to toil for the state, for free, or face being shoved off benefits.

This isn't just a Tory scheme. James Purnell, who tried to pull the same trick under Labour in 2009, has spoken of a "covert consensus" whereby, with true Vietnam war logic, it has become necessary to destroy the Welfare State in order to save it.

As strategies for tackling poverty go it's not subtle. In fact, it's roughly equivalent to a quack doctor plastering a typhoid sufferer with leeches or cutting a hole in a patient's head to cure a migraine. This trepanation of the welfare system is supposed to "get Britain working" by returning the poor to the "habit" of nine to five labour -- alongside savage cuts to housing benefit and Jobseeker's Allowance that will apparently "incentivise" them towards work that isn't there.

It's the Victorian aversion-therapy theory of poverty. Iain Duncan Smith, along with a sizeable chunk of the press, seems to have convinced himself that forcing low-paid or unpaid citizens to work for nothing or face homelessness and starvation will somehow snap them out of their beastly little "habit" of not having any money. It's a reimagining of poverty as a social disease that can be cured with shock treatment, rather than the inevitable result of years of profit-driven policymaking that have systematically neglected the needy and vulnerable.

The London Evening Standard's Matthew D'Ancona lovingly reports that Duncan Smith believes that work is "bigger than the idea of earning money." I'm sure that for him, with his personal assets of over £1m, work is less about the money than about the satisfaction and status of being one of the most powerful men in the country. For your average call centre or shop worker having to beg the boss every time they need to use the loo, though, paying the bills is precisely what it's about.

We keep being told that relentless work is good for us. The expectation that all people "of working age" should spend 45 hours a week performing pointless tasks in small cubicles for someone else's profit while cramming unpaid housework and childcare into the remaining time is only a very recent function of late capitalism, but conservative myopia would have us believe that this cruel and unusual process is somehow normal. If ordinary people begin to crack under the strain of trying to survive on ever-lower wages in an ever more insecure and debilitating job market, well, they're just not tough enough. They're layabouts and scroungers and they must be made to do more work for less pay to jolly well shake them out of it.

It's about control. It's always about control. When they say that work is good for us, what they mean is that work keeps us in line. Work makes us behave. Work makes us obedient and beaten and isolated and grateful. If that's the new definition of "the national interest", then we need to think harder about what sort of nation Britain is becoming.

How did this happen? How did we start tutting along when government spokespeople decry the fact that people on social security "expect money for nothing," rather than pointing out that this, in fact, is rather the purpose of a welfare state at a time of high unemployment? That the term for the phenomenon whereby people expect money in return for something is, in fact, employment? That if there's caring, cleaning and community work to be done, perhaps the state should be offering the people who do it a real living rather than barely-disguised contempt?

These welfare reforms are the next step in an ideological assault on ordinary workers being deployed by social conservatives of all parties and none who wish to protect the reputation of capital by blaming the financial failings of the rich on the moral failings of the poor. Believe me when I say that I really, truly wish it were going to work.

It's occasionally satisfying to see one's political enemies embark on the mother and father of all cock-ups, but not this time. Not when real lives are at stake. When these reforms inevitably fail, when the welfare system currently providing a rotten bandage for the old infected wounds to British industry, housing, wages and mental health care is finally ripped away, people I love are going to be left bleeding.

I don't want to watch this country become colder, crueller and more savage. I want to believe that Duncan Smith knows what he's doing. Unfortunately, what he is doing is approaching the problem of poverty with the same concerned brutality with which a Victorian doctor might approach a distressed patient: all she needs is a good hard slap and some ice water therapy and she'll pull herself together in no time. It might seem harsh, but a chap's got be cruel to be kind.
 

Laurie Penny is a contributing editor to the New Statesman. She is the author of five books, most recently Unspeakable Things.

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Britain's diversity crisis starts with its writers. Here's why

What happens on the casting couch draws the headline, but the problem starts on the page, says James Graham. 

I’m a playwright and screenwriter, which – pertinent to the issues we’ll be discussing in this enquiry – still feels weird to say. I get embarrassed, still, saying that, in a taxi or hairdressers. I don’t know why I still carry that insecurity about saying I’m a writer, but I do, because it sounds like I’m lying, even in my own head.

Obviously I’m completely biased, and probably overstating the influence and importance of my own profession, but I think so many of the problems surrounding lack of representation in the performing arts start with writers.

If we aren’t encouraging and generating writers from certain communities, classes or backgrounds to tell their stories, to write those roles, then there’s not going to be a demand for actors from those communities to play them. For casting agents or drama schools to prioritise getting diverse actors on stage. We need to create those plays and TV dramas –like the ones that I grew up with. I didn’t have any access to much theatre until I was fifteen, but I did have Boys From the Black Stuff, and I did have Cracker, and I did have Band of Gold. I think the loss of those regional producing bodies – Central, Granada – now all completely centralised into London, means that we just tell less of those stories. I remember a TV show called Boon – anyone? – which was set in Nottingham, and I would see on the TV streets I’d walked down, and think, Oh my God, that actor is walking down a street I’ve walked down. That sounds like it’s insignificant. If you’re from a town that is deprived, that feels ignored, it isn’t.

I was very lucky that at my school (which was, at the time, the largest comprehensive school in the country), from the headmaster down to the drama teachers, everyone just believed that working class kids should do plays. Be in plays, read plays, perform plays to the community. Both inside the curriculum of the school day, and outside it – drama teachers dedicating their time to staying behind. Our head of drama identified a group of us who clearly had a passion for it. We weren’t likely thesps. One lad’s entire family were made unemployed when the pit closed. Many lived on the big council estate. My parents and step-parents worked respectively in warehouses, the local council, or as the local window cleaner (incidentally, my first real job. Which I was terrible at).

Our drama teacher was encouraged and determined enough to launch the first ever Drama A-Level in our school. Based on that, about 10 or 12 of us got the confidence – or arrogance – to take our own show to the Edinburgh Festival. We were 16 or 17, and the first people in our community to ever go to visit the festival. We did a play up there, and after that, a psychological unlocking happened, where I thought: maybe I could do a degree in drama (it was the first time I had ever thought to do so) at university (the first in my family to go. Well, joint-first. My twin sister went on the same day, but I walked into my digs first).

I enrolled in drama at Hull University. A high proportion of my peers were middle class. A higher proportion from London or the South East. They talked often about institutions I had never heard of. They were talking about the National Theatre: I didn’t know we had a national theatre that my parents had been paying tax for that I had never been to. Many had performed with the (again, apparently) ‘National’ Youth Theatre, also in London. Paul Roseby, also on this panel, has made such leaps forward in getting the NYT producing in regional venues, and making auditions possible for people across the UK, but unfortunately, at the time, that wasn’t the case for me – and I was the ideal candidate to be in the National Youth Theatre.

I started writing because I had the confidence after I read texts by people like Jim Cartwright, Alan Bennett, John Godber, Alan Ayckbourn: Northern writers, working class writers that made me think it wasn’t just something that other people do.

After returning home, and working at local theatres, I moved down to London. I had to. The major new writing producers are there. All the TV companies are there. The agents are there. I was lucky to find support in a pub fringe theatre – though the economics meant there was no money to commission, so I wrote plays for free for about four years, that would get produced, and reviewed in the national press, while I worked various jobs in the day and slept for a time on a mate's floor. The first person to ever pay to commission me to write a play was Paul Roseby of the National Youth Theatre. I’m now very lucky to be earning a living doing something I love. In a way, compared to actors, or directors, it’s easier for writers who don’t come from a background that can sustain them, financially, in those early years. Your hours can be more flexible. Yes, it was annoying to miss rehearsals because I had a shift in a call centre, but it was still possible to do it. If you’re an actor or director, you’re fully committed. And if you’re doing that for nothing, there starts to be cut-off point for those from backgrounds who can’t.

I’m sure that local and regional theatres are the key to drawing in talent from less privileged backgrounds. But the range of national arts journalism that cover work outside London has been so significantly reduced. In our little echo chamber a few weeks ago, we theatre types talked about Lyn Gardner at the Guardian. Her coverage has been cut, which is very directly going to affect her ability to cover theatre shows outside of London – and so the self-fulfilling cycle of artists leaving their communities to work exclusively in London takes another, inevitable, turn.

I am culpable in this cycle. I have never done a play at the Nottingham Playhouse, my local producing house growing up – why? Because I’ve never submitted one, because I know that it will get less national press attention. So I just open it in London instead. That’s terrible of me. And I should just bite the bullet and say it doesn’t matter about the attention it gets, I should just go and do a story for my community. And if I, and others, started doing that more, maybe they will come.

I also want to blame myself for not contributing back to the state schools that I come from. I really really enjoy going to do writing workshops with kids in schools, but I would say 90 per cent of those that I get invited to are private schools, or boarding schools, or in the South of England. Either because they’re the ones that ask me, because they’re the ones who come and see my shows in London and see me afterwards backstage, or because they have the confidence to email my agent, or they have the budget to pay for my train ticket. Either way, I should do more. It would have helped the younger me so much to meet a real person, from my background, doing what I wanted to do.

I don’t know how to facilitate that. I take inspiration from Act for Change, creating a grassroots organisation. I know that there is a wealth of industry professionals like me who would, if there was a joined-up structure in place that got us out there into less privileged communities, we would on a regular basis go to schools who don’t get to meet industry professionals and don’t unlock that cultural and psychological block that working class kids have that says, that is not for me, that is something that other people do, I would dedicate so much of my time to it. That’s just one idea of hopefully better ones from other people that might come out of this enquiry.

James Graham is a playwright and screenwriter. This piece is adapted from evidence given by James Graham at an inquiry, Acting Up – Breaking the Class Ceiling in the Performing Arts, looking into the problem of a lack of diversity and a class divide in acting in the UK, led by MPs Gloria De Piero and Tracy Brabin.