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4 min read

Claims of institutional racism let politicians off the hook

They need to be mindful of something else baked into our institutions.

George is a visiting fellow at the London School of Economics and an Anglican priest.

A TV roundtable discussion with five people against a backdrop of Parliament.
Politicians and pundits discuss the Lee Anderson issue.

Racism charges have recently divided very neatly along political lines. Tearing chunks out of each other at the Despatch Box, prime minister Rishi Sunak and Labour leader Sir Keir Starmer have both bet their houses by playing the race card on each other. 

Starmer claims the Conservative Party wallows in Islamophobia, having withdrawn the whip from its former deputy chairman for stating publicly that Islamist extremists control the Mayor of London. For his part, Sunak, yah-boos back that Labour didn’t have a runner in the Rochdale by-election, after suspending its candidate for peddling an anti-Israel conspiracy theory.  

Rochdale was duly won by the famously pro-Arab former Labour MP George Galloway. Sunak wants us to hold that Labour is as antisemitic as it was under Jeremy Corbyn.   

So there we have it. Labour is antisemitic and the Tories are Islamophobic (not a good word, but the currency of the moment). Pick your prejudice and vote accordingly at the general election. 

Whatever the validity or otherwise of these claims, it’s in the interest of both parties to accuse their opponents of being rotten to the core with these attitudes. It doesn’t really work for them to claim that Sunak personally is an Islamophobe or Starmer an antisemite.  

This has to be about the whole political parties over which they preside. It’s really about institutional racism. So when a Conservative MP, Paul Scully, has to apologise for calling some parts of Birmingham and London “no-go areas” for non-Muslims, it’s taken as a reflection on Conservatives as a whole.  

Similarly, it’s an insufficiency to criticise particular journalists for their reporting bias; a former BBC director-general has to call the entire corporation “institutionally antisemitic.”  

The apartheid governments of South Africa were systemically racist, the Conservative and Labour parties – and the BBC which reports on them – are not. 

I have a big problem with these generalisations. The political parties contain racists of both kinds, antisemitic and Islamophobic, as well as very many members of no racism at all (thankfully). And I happen to know from personal experience that the BBC operates an informal policy of equal-opportunities bigotry – there are as many Islamophobes as there are antisemites in the organisation, though together they amount to a small minority (again thankfully). 

There is, consequently, no institutional racism in these places of work, though they are all rich in the employment of racist individuals because, alas, so is the world. 

Institutional racism was a term coined in the Sixties, but it really only gained traction as an indictment of the Metropolitan Police in 1999’s Macpherson Report into the racist murder of teenager Stephen Lawrence. 

I was uneasy with that terminology then and remain so now. Police officers are (or can be) racist; the constabularies for which they work are not. If they were so, they would train their officers to be racists – and they didn’t and do not.  

Their training may have been rubbish in all sorts of ways, but there is a world of difference between omission and commission. The apartheid governments of South Africa were systemically racist, the Conservative and Labour parties – and the BBC which reports on them – are not. 

Our politicians might be mindful of that, whatever their faith or none. And they might like to note some of the imperatives of its teaching 

Two matters stem from this. The first is simply that individuals are responsible for racist attitudes, not the organisation for which they work, although those organisations have a duty to call out racists in their midst. 

The other is to recognise what we are, institutionally and systemically. The UK’s uncodified constitution has two Churches established in law, the Church of England and the Presbyterian Church of Scotland. The monarch is the supreme governor of the former, as well as head of state. 

That is simply the way it is and, this side of disestablishment of the Church, it follows that (in England and Scotland at least) we live in a Christian country, however few of its inhabitants now attend its churches. In short, Christianity is baked into our systems and institutions. 

Our politicians might be mindful of that, whatever their faith or none. And they might like to note some of the imperatives of its teaching: care for the afflicted in the story of the Good Samaritan; the welcome of strangers in the report of the Syrophoenician woman who seeks crumbs from the table; the love of neighbour; Paul’s universalism. 

This (and much else besides) is meant, in law, to define who we are. We might expect an elected servant of the state such as Lee Anderson, the Tory suspended from his party for claiming a Muslim power grab of London, or Azhar Ali, the Labour candidate similarly booted out for claiming that Israel conspires to murder its own citizens, to know something of the national creed that defines our parliamentary democracy. 

That parliament doesn’t contain institutionally racist parties, any more than the BBC or our police forces are systemically racist. Rather, we should hold individuals to account, whoever they are. Because, ultimately, claims of institutional racism let individuals off the hook. Institutional Christianity does not.   

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5 min read

Annie Caldwell: “My family is my band”

A force of nature voice that comes from the soul.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A family group stand and sit for a photo.
Family album.
The Caldwells.

They say that good things come to those who wait. Annie Caldwell is someone who has experienced the truth of that proverb.  

The album she and her siblings (known as the Staples Jr. Singers) made and paid for themselves in 1975 sold only a few hundred copies but, when reissued in 2022, was received as a stone-cold classic and led to the recording of a second album 49 years after the first. Now, her other group, Annie and the Caldwells, have released their major label debut to rave reviews, 30 years after they first began performing. 

Annie Brown was 11 when the Staples Jr. Singers was formed in honour of Pops and Mavis Staples of the famed Chicago soul-gospel group, The Staples Singers. The siblings gained popularity at churches and functions throughout the American South and Midwest, being mentored by Mississippi greats like Lee Williams and Spiritual QCs. 

Back then, the South was desegregated on paper but not always in practice. Their parents found refuge and support in the church against the backdrop of an unwelcoming town (and nation), while the children found refuge and a greater purpose in life in the music. They were influenced by what they saw - the backlash after desegregation, Civil Rights - and wrote music with messages of community and social justice. “All the songs we were singing about,” said Annie’s brother Edward Brown, “We were going through it.” 

The Staples Jr. Singers got to make a single record together, one which, because of its rarity, became coveted by gospel soul collectors: When Do We Get Paid. They paid for the record themselves and pressed a few hundred copies, selling most of them on their front lawn to their neighbours. On its re-release in 2022, The Guardian called their socially conscious gospel album “Powerful,” and UNCUT said that it was “music that deserves your attention.” 

As a result, the Staples Jr. Singers finally had their time in the sun, including multiple European tours. Annie spoke then about being able to “do many things that we didn’t get the chance to do in the beginning of life … Because the time and money wasn’t there. It all came late, being in our sixties now—but it looks like it’s just beginning, you know? Life is just beginning for us.” She concluded that: “God has blessed us and opened up doors that we couldn’t even see,” and said that, “If I can help just one person, I know that I’m not singing in vain.” 

They play a powerful disco soul and delivering energetic and moving musical testimonies that blend the fiery sounds of gospel with the slow groove of soul. 

One warm evening in October 2023, the family gathered in a single-room church in West Point, Mississippi, called The Message Center to record their second album Searching. There, across the street from Annie’s house, they played songs they had written nearly fifty years before and did so together with four generations of their musical family. The original three Staples Jr. Singers, Edward, R.C., and Annie, were joined by some of the new vanguard: Edward’s son Troy on backing vocals, R.C.’s son Gary on bass, and R.C.’s grandson Jaylin on drums. “It was good to be able to go back,” said Annie, “and look back over our life. Some of the same songs that we had sung, those songs have a new meaning to me.” 

“The process was very easy,” said producer Ahmed Gallab, who performs as the artist Sinkane. “There’s nothing like a family bond/band. It was so special to watch how locked into each other everyone was. You can hear and feel that on this record.” He concluded: “I feel like I was able to witness part of this family’s continued story and legacy in real time. That was a very special thing to witness.” 

Annie and the Caldwells is also a family band, being led by Annie and her husband of the last fifty years Willie Joe Caldwell, Sr. (who plays guitar). Annie says, “My family is my band”: she is backed by their daughters Deborah Caldwell Moore and Anjessica Caldwell and goddaughter Toni Rivers; their eldest son Willie Jr. Caldwell is on the bass and youngest son Abel Aquirius Caldwell is on the drums. 

Annie traces the genesis of the band back to the moment she heard her daughters sing at a talent show: “They were really good. I said, ‘Let me get those girls before the devil gets them!’ Because I was raised up in gospel, so I think you should use what the Lord gave you for good. I decided to raise them with the values my father taught me – singing for the Lord.” 

They generally play on weekends, so for their day jobs Willie Jr. drives a forklift, Abel Aquirius drives hospital patients, Anjessica works in customer care for an insurance company, Toni is an elementary school teacher, and Deborah does hair. Annie runs a clothing store on Main Street called Caldwell Fashions, which has been a beloved staple for women dressing for COGIC (Church Of God In Christ ) convocations and anniversaries since the 1980s.  

Prior to the latest album, they released two albums under Ecko, a renowned soul and gospel label from Memphis. Influenced by The Gap Band, Chaka Kahn, and Bootsy Collins, they play a powerful disco soul and delivering energetic and moving musical testimonies that blend the fiery sounds of gospel with the slow groove of soul. Their music embodies the full power of gospel – the very kind The Message Center, where the family regularly performs, experiences on a weekly basis. The Message Center is also where Joe plays guitar every other Sunday, and where his father used to be a deacon.  

Like Searching, Can’t Lose My (Soul) was also recorded at The Message Center and produced by Gallab. He has said of the recording session: “Hearing Annie’s voice for the first time was like witnessing something rare. Like you’re in the presence of a force of nature that’s been here long before you. It’s visceral, almost like it’s coming from her soul. You can feel every part of her life, every little piece of her journey, in each note she hits. It’s pure talent: no effort, no pretense, just real and raw.” 

In his five-star review of the album for The Guardian, Alexis Petridis wrote: “These are great, powerful, moving songs, made all the more potent by the fact that they’re recorded live, without an audience, in a church …  their message is ultimately one of hope. You don’t need to share the Caldwells’ faith to find something powerful and inspiring in that, particularly given the current climate, which can easily incline you towards hopelessness …”