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Laurie Penny: What really happened in Trafalgar Square

Neither mindless nor violent, young protesters were forced into a stand-off with police.

"We're fucked," says the young man in the hoodie, staring out through the police cordon of Trafalgar Square, towards parliament. "Who's going to listen to us now?"

It's midnight on 26 March, a day that saw almost half a million students, trades unionists, parents, children and concerned citizens from all over Britain demonstrate against the government's austerity programme. All day, street fights across London between anti-cuts protestors and the police have turned this city into a little warzone. Barricades burned in Piccadilly as militant groups escalated the vandalism; the shopfronts of major banks and tax-avoiding companies have been smashed and daubed with graffiti, and Oxford Street was occupied and turned into a mass street party. Now, night is falling on the Trafalgar kettle, and the square stinks of cordite, emptied kidneys and anxiety. We've been here for three hours, and it's freezing; we burn placards and share cigarettes to maintain an illusion of warmth.

Commander Bob Broadhurst, who was in charge of the Metropolitan Police operation on the day, later states that the clashes in Trafalgar square began because "for some reason one of [the protestors] made an attack on the Olympic clock." That is not what happened. Instead, I witness the attempted snatch arrest of a 23 year-old man who they suspect of damaging the shop front of a major chain bank earlier in the day.

It starts when a handful of police officers moved through the quiet crowd, past circles of young people sharing snacks, smoking, playing guitars and chatting. They move in to grab the young man, but his friends scrambled to prevent the arrest being made, dragging him away from the police by his legs. Batons are drawn; a scuffle breaks out, and that scuffle becomes a fight, and then suddenly hundreds of armoured riot police are swarming in, seemingly from nowhere, sweeping up the steps of the National Gallery, beating back protesters as they go.

Things escalate very quickly. In the space of a minute and a half, the police find themselves surrounded on both sides by enraged young people who had gathered for a peaceful sit-in at the end of the largest workers' protest in a generation. The riot line advances on both sides, forcing protesters back into the square; police officers are bellowing and laying into the demonstrators with their shields.

Both sides begin to panic. Some of them start to throw sticks, and as the police surge forward, shouting and raising their weapons, others band together to charge the lines with heavy pieces of metal railing, which hit several protestors on their way past. Next to me, young people are raising their hands and screaming "don't hit us!"; some are yelling at the armoured police - "shame on you! Your job's next!"

I find myself in front of the riot line, taking a blow to the head and a kick to the shin; I am dragged to my feet by a girl with blue hair who squeezes my arm and then raises a union flag defiantly at the cops. "We are peaceful, what are you?" chant the protestors. I'm chanting it too, my head ringing with pain and rage and adrenaline; a boy with dreadlocks puts an arm around me. "Don't scream at them," he says. "We're peaceful, so let's not provoke."

A clear-eyed young man called Martin throws himself between the kids and the cops, his hands raised, telling us all to calm down, stand firm,stop throwing things and link arms; the police grab him, mistaking him for a rabble-rouser and toss him violently back into the line. The cops seal off the square. Those of us behind the lines are kettled, trapped in the sterile zone, shoved back towards Nelson's column as flares are lit and the fires begin to go out.

It would be naive to suggest that small numbers of people did not come to London today intent on breaking windows should the opportunity arise. It would be equally naive to suggest that no other groups had action plans that involved rather more than munching houmous in Hyde park and listening to some speeches. Few of those plans, however, come to fruition: however the papers choose to report the events of 26 March, there is no organised minority kicking things in for the hell of it. Instead, a few passionate, peaceful protest groups attempt to carry out direct action plans, plans that quickly become overwhelmed by crowds of angry, unaffiliated young people and a handful of genuinely violent agitators.

Those young people are from all over the country, and when the word goes out at 2pm that something was happening in Oxford Street, they headed down in their thousands. By the time the twenty-foot-high Trojan Horse arrives at Oxford Circus in the early afternoon, a full-blown rave is under way, coherent politics subsumed by the sheer defiant energy of the crowd. Chants about saving public services and education quickly merge into a thunderous, wordless cheer, erupting every time the traffic light countdowns flash towards. "Five-Four-Three-Two-One..." hollers the crowd, as bank branches are shut down, paint bombs thrown at the police, and small scuffles break out.

When UK Uncut's well-publicised secret occupation plan kicks into action at 3.30pm, the numbers and the energy quickly become overwhelming. As we follow the high-profile direct action group's red umbrella down Regent Street, we learn that the target is Fortnum and Mason's - the "Royal grocer's", as the news are now insisting on calling it, as though the stunt were a yobbish personal assault on the Queen's marmalade. The crowd is too big to stop, and protesters stream into the store, rushing past the police who are too late to barricade the doors.

Once inside, squeezing each other in shock at their own daring, everyone does a bit of excited chanting and then down for a polite impromptu picnic. Placards are erected by the famously opulent coffee counters, and tape wound around displays of expensive truffles imprecating the holding company to pay all its taxes. Tax avoidance is the ostensible reason for this occupation; the class factor remains unspoken, but deeply felt.

The posh sweets, however, remain untouched, as do all the other luxury goodies in the store, as protestors share prepacked crisps and squash and decide that it'd be rude to smoke indoors. When someone accidentally-on-purpose knocks over a display of chocolate bunny rabbits, priced at fifteen pounds each, two girls sternly advise them to clear up the mess without delay. "It's just unnecessary."

Refined middle-aged couples who had been having quiet cream teas in Fortnum's downstairs restaurant stare blinkingly at the occupiers, who are organising themselves into a non-hierarchial consensus-building team. "I oppose the cuts, I'm a socialist, but I think this type of thing is too much," says property manager Kat, 32. "There are old ladies upstairs. And I just came in to buy some fresh marshmallows, and now I can't."

Outside the building, the crowd is going wild. Some scale the building and scrawl slogans onto the brickwork; others turn their attention to the bank branches across the road. I leave Fortnum's and make my way down Piccadilly under a leaden sky, past the ruined fronts of Lloyds and Santander, to Picadilly Circus, where the riots - and make no mistake, these are now riots - have momentarily descended into an eerie standoff. The police raise their batons; the crowd yells abuse at them. Noone is chanting about government cuts anymore: instead, they are chanting about police violence. "No justice, no peace, fuck the police!' yells a middle-aged man in a wheelchair. I scramble onto some railings for safety as a cohort of riot police move into the crowd, find themselves surrounded and are beaten back by thrown sticks. Someone yells that a police officer is being stretchered to safety. Flares and crackers are let off; red smoke trails in the air.

"A riot," said martin Luther King Jr, "is the language of the unheard." There are an awful lot of unheard voices in this country. What differentiates the rioters in Picadilly and Oxford Circus from the rally attendees in Hyde Park is not the fact that the latter are "real" protestors and the former merely "anarchists" (still an unthinking synonym for "hooligans" in the language of the press). The difference is that many unions and affiliated citizens still hold out hope that if they behave civilly, this government will do likewise.

The younger generation in particular, who reached puberty just in time to see a huge, peaceful march in 2003 change absolutely nothing, can't be expected to have any such confidence. We can hardly blame a cohort that has been roundly sold out, priced out, ignored, and now shoved onto the dole as the Chancellor announces yet another tax break for bankers, for such skepticism. If they do not believe the government cares one jot about what young or working-class people really think, it may be because any evidence of such concern is sorely lacking.

A large number of young people in Britain have become radicalised in a hurry, and not all of their energies are properly directed, explaining in part the confusion on the streets yesterday. Among their number, however, are many principled, determined and peaceful groups working to affect change and build resistance in any way they can.

One of these groups is UK Uncut. I return to Fortnum's in time to see dozens of key members of the group herded in front of the store and let out one by one, to be photographed, handcuffed and arrested. With the handful of real, random agitators easy to identify as they tear through the streets of Mayfair, the met has chosen instead to concentrate its energies on UK Uncut - the most successful, high-profile and democratic anti-cuts group in Britain.

UK Uncut has embarrassed both the government and the police with its gentle, inclusive, imaginative direct action days over the past six months. As its members are manhandled onto police coaches, waiting patiently to be taken to jail whilst career troublemakers run free and unarrested in the streets outside, one has to ask oneself why.

Shaken, I make my way through the streets of Mayfair towards Trafalgar to meet friends and debrief. In the dark, groups of people wearing trades union tabards and carrying placards wander hither and thither down burning sidestreets as oblivious shoppers eat salad in Pret A manger.

By 8pm, there's a party going on under Nelson's Column. Groups of anti-cuts protestors, many of whom have come down from Hyde Park, have congregated in the square to eat biscuits, drink cheap supermarket wine, share stories and socialise after a long and confusing day.

‘'These young people are right to be angry. I don't think people are angry enough, actually, given that the NHS is being destroyed before our eyes," says Barry, 61, a retired social worker. "The rally was alright, but a huge march didn't make Tony Blair change his mind about Iraq, and another huge march isn't going to make David Cameron change his mind now. So what are people supposed to do?"

That's a tough question in a country where almost every form of political dissent apart from shuffling in an orderly queue from one march point to the other is now a crime.

"I don't have a problem with people smashing up banks, I think that's fine, given that the banks have done so much damage to the country," says Barry, getting into his stride. "Violence against real people - that's wrong."

Minutes after the fights begin in Trafalgar square, so does the backlash. Radio broadcasters imply that anyone who left the pre-ordained march route is a hooligan, and police chiefs rush to assure the public that this "mindless violence" has "nothing to do with protest."

The young people being battered in Trafalgar square, however, are neither mindless nor violent. In front of the lines, a teenage girl is crying and shaking after being shoved to the ground. "I'm not moving, I'm not moving," she mutters, her face smeared with tears and makeup. "I've been on every protest, I won't let this government destroy our future without a fight. I won't stand back, I'm not moving." A police officer charges, smacking her with his baton as she flings up her hands.

The cops cram us further back into the square, pushing people off the plinths where they have tried to scramble for safety. By now there are about 150 young people left in the square, and only one trained medic, who has just been batoned in the face; his friends hold him up as he blacks out, and carry him to the police lines, but they won't let him leave. By the makeshift fire, I meet the young man whose attempted arrest started all this. "I feel responsible," he said, "I never wanted any of this. None of us did"

Back on the column, a boy in a black hoodie and facerag hollers through his hands to his friends, who have linked arms in front of the police line. "This is what they want!" he yells, pointing at the Houses of Parliament. "They want us to fight each other. They want us to fight each other!

“They're laughing all the way to the bank!"

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.