Sunday, 12 August 2018
I Stand with The National Gallery 27
The first ever political demonstration I ever participated in was during the mid-1980s when I was a student and we were protesting against the new government policy of privatising State-run services. In this case it was the cleaning services of National Health Hospitals, which were the first in what was to become a creeping tide of such government ideological driven policy. The justification was always cost efficiencies, but what panned out was a loss of all the institutional expertise built up over decades and a lack of inherent commitment as the drive was the private contractor's profits and not any allegiance to the institution being serviced. The rise of the hospital 'super-bugs' (hospital acquired infections) was a direct consequence of such corner-cutting and cost-saving.
It was on that first demo I learned that if you're using bed sheets for your banners, you need to ensure you cut holes in the fabric for the wind to pass through, otherwise your banner serves as a ship's sail and you get blown about like a vessel on the high seas...!
I no longer go on demos. The reasons why are explored in my novel "Not In My Name". I also happen to have as one of my roles in my day job, an oversight over HR and the attendant legislation. So it grieves me that some 34 years after that first protest against cutting jobs under the supposed reason of 'cost saving', that recently another example has come to my attention.
After government ideology pursued privatising a whole raft of local and national services, then they attacked the arts. Previously the arts were partly supported by state funding because it was viewed as an asset to the nation, be it our souls, our welfare, our mental health, our personal development or whatever. The Arts were held to be a good thing and worth supporting in a modest way. But that cut cut cut 80s ideology (these days dressed up in the guise of 'Austerity'), demanded that Arts funding should be slashed and that the Arts had to support itself, that only the bottom line of profit would determine what art gets made. This had a chilling effect, in that less commercial art was less likely to be ventured and risked by both venues and artists themselves.
But though at a lower level, the Arts are still supported from central funds, through the Arts Council. Museums that are free entry are supported by government funding. And yet here we have a national museum, The National Gallery, who are still pursuing the turkeys voting for Christmas policy of cutting their own costs, in this case through legally dubious and ethically abhorrent means (see below). Instead of standing up for the rights of arts, some institutions are complicit in the creeping assault on them by allowing that the government are right in pursuing these policies.
In the case of the National Gallery, they have made a group of 27 arts educators who had worked there for many years, redundant without any of the usual attendant employment rights and compensations. They have used the ploy of saying that such workers were self-employed. The workers not unreasonably are taking them to an employment tribunal, but as is ever the case with any legal process, that costs money and they are seeking to raise funds so that they can at the very least have their case put forward and heard. I am not an expert on employment tribunals, but longevity of work for the same employers usually entails full employment status with all the attendant rights. Thus they believe they have a strong case and in the UK, tribunals often find for the workers claiming rights have been denied.
So I am squarely with the @standwithNG27 and you can find out about their case and offer support if you are so minded here.
As it's going to tribunal, at least I won't have to cut holes in any bed linen.
The Grenfell Tower Fire - How local government ideology has directly led to this tragedy