The waning tradition of Tory women

The decline in women's support for the Conservative party is not a recent phenomenon.

Yesterday's PMQs gave the Labour MP, Gloria Del Piero, the opportunity to ask the Prime Minister why the Government was more unpopular with women than men, which gave Cameron a chance to list the Government's female-friendly initiatives.

There's been a lot of discussion recently about the perception of the Conservative party amongst women, and not all of it draws the correct conclusions from the data. So let's look at what the polling actually shows and try to debunk some myths.

The first important point to note is that there has been a decline in the traditional Conservative lead over Labour amongst women, but this is a long-term effect rather than a recent phenomenon.

Throughout the 70s, 80s, and early 90s (with the exception of 1987), the Conservatives held the lead in the female vote. However, that was chipped away with each election -- and in fact, it was Tony Blair who made the biggest impact, turning a six point Conservative lead among women in 1992 into a six point Labour lead at the time of his last election victory in 2005.

More generally, this reflects the "flattening-out" of demographics seen over the last 30 years, as many of the old predictors of voting behaviour no longer hold so true (notably the decline of class-based voting). This leads us onto our second point.

Since the 2010 general election, voting intentions among men and women have moved in broadly the same direction.

When we aggregate all our polling data in 2011, and compare it to the 2010 election result, there has been a 7.5 per centage point swing to Labour's lead over the Conservatives among men, and a 5.5 point swing to Labour among women -- so not much to choose between them. Furthermore, the source of the change is very similar in both cases. Labour is gaining at the expense of the Liberal Democrats, with the Conservative vote broadly holding up (and in so far as it has fallen, more among men than women).

As an aside, if the Conservatives really want to be worried about a particular group, maybe they should have a look at young people. Among 18-24 year olds there has been a swing to Labour of a massive 18 points. Incidentally, this also illustrates that treating women voters as a single homogenous group is a gross simplification, although that is perhaps a topic for another day.

However, that is not to say that the Conservatives do not have a problem among women. Have they demonstrated that they "get" women's concerns about the impact of the downturn on day-to-day family life?

Moving beyond simple voting intentions, the Conservative party does have a perception problem amongst women. They are less satisfied with the performance of the government, and with David Cameron. The danger for the Tories is that perceptions of being a strong government and good in a crisis appeal more to men than women, who may feel they don't represent their priorities. For example, only a quarter of women say the Conservative Party looks after the interests of people like them (26 per cent, compared to 37 per cent of men), and they are also less likely to trust it to promote family values.

Much of this may be due to the particular impact the economic crisis is having on women (the "womencession", although that's a horribly clunky phrase). More than half of women think that the economy will get worse, and they are more pessimistic than men.

Research Ipsos MORI conducted at the beginning of the recession showed that women were much more worried than men about the impact of the downturn on their family life, job (or unemployment) prospects for other members of their family, and day-to-day issues like paying the bills or the impact on childcare.

So is this all an opportunity for Labour?

On the face of it, yes. On the economy, there is a clearly a set of concerns that Labour can exploit. And while the economy and unemployment are the top issues for women as they are for men, they are also more likely to be concerned about the NHS and education, traditional Labour strengths.

However, so far this anti-Conservative mood among women does not seem to translate into a great deal of pro-Labour sentiment another claim put about in the media at the moment. In our latest Reuters Political Monitor, while women are more negative about the Conservatives across a range of party characteristics, values, and leader traits, they are not much more positive about Labour. Even on the number one issue of the economy, although women are less likely than men to say the Conservatives have the best economic policies (by 28 per cent to 34 per cent), the proportion who choose Labour is exactly the same (24 per cent women, 23 per cent men).

It is true that if only men had had the vote in 2010, the Conservatives might have won an overall majority, while if only women voted we may have seen a red-yellow hue to the coalition. The polling data however points to something more complex than a simple story of all women leading a charge away from the Tories, and both parties (not to mention the Liberal Democrats) could do better.

The challenge for the next election is which party can understand these complexities, while still building a message that will appeal to the country as a whole.

Gideon Skinner is Head of Politics at Ipsos MORI

Gideon Skinner is Head of Political Research at IpsosMori. He tweets as @GideonSkinner.

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Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

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