Editor's pick
Comment
Identity
5 min read

The trouble with identity politics

Identity politics reflected two great longings, a desire for uniqueness, and a need to belong. It’s time to ditch it.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A head and shoulders portrait consisting of large disc-like pixels that obscure the real person..
Photo by Vadim Bogulov on Unsplash.

I’ve been watching the remarkable documentary series Once Upon a Time in Northern Ireland, and there is one story in it I can’t get out of my mind. Richard Moore was a ten-year old boy in Londonderry in the early seventies. Charles Inness was a 30-year old British soldier in the Royal Artillery stationed in the city at the time. During a local disturbance in 1972, Inness fired a rubber bullet to disperse a crowd of youths throwing stones at a RUC base at exactly the moment the ten-year old Richard crossed his line of fire. The bullet hit the young boy in the eye, blinding him for life.  

Many years later, Moore expressed a desire to meet the man who fired the gun. And so, in 2006 they met. The British soldier, cautious, a little stiff and very proper, was initially defensive, refusing to apologise as he still felt he had acted rightly at the time and in the circumstances. Moore persisted, not out of a desire for vengeance or recrimination, but simply wanting to understand. Gradually the two became friends and Inness eventually found a way to say he was genuinely sorry. 

The history of the troubles in Northern Ireland is full of stories of people being murdered simply because of one part of their identity - that they were Protestant or Catholic, UDA or IRA, British soldier or Irish Republican. What struck me listening to this story was Moore’s tenacity, to get beyond the simplistic identity of Inness as ‘the soldier who took away my sight’. 

Summing up what he had learnt, Moore said: ‘Finding out who he was changes everything. To me, he’s no longer a soldier, he’s a human being. A father, a grandfather – it makes a person very real. And that’s a good thing.’ There seemed to me a gem of wisdom here that can get us past much of the polarisation of modern life. 

“There are two striking human passions, the passion for uniqueness and the passion for union.”

Tom Morris.

‘Identity politics’ was a term borrowed from social psychology in the 1970s and quickly gained traction. It was an attempt to enable marginalised people to find solace and support with one another, by focussing on the common characteristics of one aspect of a person’s identity. It tried to help bring particularly disadvantaged groups together by describing the common experiences they had faced.  

Since then it has gained a great deal of traction and generated much controversy. So why did it hit such a nerve? 

The philosopher Tom Morris once wrote:  

“There are two striking human passions, the passion for uniqueness and the passion for union. Each of us wants to be recognised as a unique member of the human race. We want to stand apart from the crowd in some way. We want our own dignity and value. But at the same time, we have a passion for union, for belonging, even for merging our identities into a greater unity in which we can have a place, a role, a value.” 

Identity politics was a reflection of these two great human longings - our desire for uniqueness, and our need to belong. On the one hand we all want to be special, unique, different from everyone else. On the other hand, we want a tribe to belong to, whether defined by gender, race, sexuality, nationality or the like. And so, we choose an identity that defines us, marks us off to the world, and gives us a group to belong to. 

Identity politics began with good intentions. Yet the way it is often used means that it encourages me to think that once I have labelled someone with a particular characteristic, that is all I need to know about them. If I know they are black or white, privileged or deprived, young or old, gay or straight, conservative or progressive, and so on, then I know all I need to know. I can then embrace them as one of my tribe, or dismiss them as different, without any further discernment.  

One of the writers of the Psalms, reflecting on his own self-awareness, wrote “I am fearfully and wonderfully made.” The reality is that we are all immensely complex beings with multiple facets, different qualities and a number of overlapping identities. My neighbour may be Asian. And knowing that, I might think ‘I know what Asian people are like – and he must be like all the others.’ Yet he might also be a father, a husband, an Arsenal fan, of Bangladeshi heritage, a doctor, middle-aged, a Labour voter, suffering from occasional depression, a 2 handicap golfer. And so on. These are all part of who he is and if I want to get to know him fully, I need to understand something about all of these elements of his identity. If I fix on any one of these as the final truth about him, and ignore all the rest, I do him a disservice. To reduce the complexity and wonder of a fellow human being to one single characteristic is surely a mistake. It is to fail to do them justice, and display an unwillingness to take the time to understand them. It is, in the final analysis, a failure to love.  

The final truth about each one of us can only be what is true of all of us - that we are ‘fearfully and wonderfully made’. In that same Psalm, the writer relates his sense that the God he worships, in a way that is both comforting yet unnerving, knows everything about him:  

“you know when I sit and when I rise; you perceive my thoughts from afar, you discern my going out and my lying down; you are familiar with all my ways.”  

We are each one known, loved, understood in our very complexity by the God who made us, and invited to become capable of that same kind love – the love that looks beyond the surface to understand the complexities of others – in other words, to grow into the likeness of God. 

Richard Moore may have been blinded by that rubber bullet in 1972. Yet in a strange way he learnt to see better than most of us. He learnt to see past the simple identity of Charles Inness as ‘the British soldier who ruined my life.’ He had the tenacity to learn that that this man was, like all of us, both complex and simple - a man with unique relationships, a history, in his own way shaped by his experience, and yet at the same time, worth getting to know in that complexity - that ultimately he was, like all of us, ‘fearfully and wonderfully made.’ 

Review
Art
Culture
Identity
3 min read

Not heroes or angels: the poise of Claudette Johnson’s figures

The Turner Prize nominated artist lets humans be human.

Jessica is Assistant Professor in Christian Theology at the University of Nottingham.

An artist's portrait show a figure turnng their head over their shoulder.
Figure in Blue. Claudette Johnson.
The Courtauld.

In the final room of this year’s Turner Prize exhibition hang portraits drawn by Claudette Johnson. Monochrome pastel, blocks of coloured gouache, and the contours of Johnson’s “raggedy” lines combine to depict black women and men. Many of them are Johnson’s own friends and relatives. These are monumentally large drawings, often spanning several meters; faces and bodies rendered unmissable.  I think of these portraits in between the gallery’s opening times. In the stillness of the small hours, lights off, there they still are, eyes open, in no need of our gaze to make them real. Each emphatically there.  

Johnson’s point is in part political: the presence she conjures is of those who have largely been absent from the canon of art history. These are works of redress, asserting the properness of Black presence and agency in a tradition at best closed and at worst profoundly hostile to such subjects. Readings of Johnson frequently underscore the labour of her portraiture in exactly this way: They weren’t there. Now they are. But to stop here risks relegating the presence Johnson invokes to a matter of mere attendance. 

It’s not just that Johnson’s subjects are there, present and correct, but that they are there, emphatically there, allowed to be there with an imprecision and capaciousness that ultimately evades our grasp. So many of her figures appear a moment away from motion - twisting, curling, stretching, turning - on their way to some other pose not yet found. They are regularly clipped by the boundaries of her paper, slipping beyond an edge into the void of the gallery wall. Johnson’s own marks can seem to wane, from the fine shading of a face at the top of a piece, to the erratic jolts that give way at its bottom (Figure with Raised Arms 2017). The waning mark reads as a confession: I cannot capture the whole of what is here. Several of her works are interrupted by swathes of space untouched apart from a sketchy single line. In such works, bodies are outlined like unchartered territories, whole untouched worlds still evolving (Reclining Figure 2017). The presence Johnson conjures is of lives still being lived and worked out. Unhemmed by definition, malleable and alive, her subjects become more than we can see or say.  

In an interview earlier this year, Johnson spoke of her intention to ‘resist the urge to present heroic figurations… that offer a radical alternative to the negative imagery out there’.[1] I am reminded of a distinction theologians have worked with to distinguish angels from humans. Angels, outside of time, choose an orientation ‘once and for all’. The angel manifests their orientation to the divine forever and always, defined by that single choice. Humans by contrast, enduring in time, cannot give the whole of themselves over to any one thing completely. They are in motion. They cannot be fixed in one orientation forever. But that unfixed-ness, that distinctive plasticity, that lack of definition, is part of their crowning glory. It’s what permits human beings to image a God who himself is without bound, limit, or definition.  

Johnson does not make her subjects into heroes or angels. The presence possessed by her portraits is neither precise nor still. It’s the presence of humans allowed to be humans. Humans who, in their distinctive glory, squirm and turn and dream and regret, who forgive and are forgiven, who change their minds, who grow and wonder and forget and remember. 

Support Seen & Unseen

"If you were able to support us on Seen & Unseen with a regular gift of £5 or £10 a week, that would be a great encouragement for us and enable us to continue to produce the content we offer."

Graham Tomlin, Editor-in-Chief