This is the third in a series of posts about statues. Because shit keeps happening. You can read the first and second posts in any order.
Thanks to Newsnight for the TL; DR version:
Here’s the discussion that followed:
One striking aspect of this conversation is the degree of anxiety about the precedent value of statue removal: as Kirsty Wark asks, ‘where do you stop?’ Donald Trump wondered the same thing in a tweet that, I suspect, he hoped would be a conversation stopper:
Even commentators sympathetic to the aims of Rhodes Must Fall in Oxford (RMFO) have been at pains to point out that the removal of the statue of Cecil Rhodes on the facade of Oriel College is not the most significant element of the campaign’s platform. Amia Srinivasan observes that ‘Neither the Cape Town nor the Oxford campaign has ever been just about statues.’ Amit Chaudhuri laments that ‘it would be…sad if Rhodes Must Fall in Oxford became identified with the statue in Oriel College alone’ because its ambition beyond the removal of the statue, namely that of decolonising education, is more significant. David Olusoga worries that by building their manifestos around calls for the taking down of statues, the more complex and worthy ideas around decolonisation raised by these campaigns have been ‘distorted into a simple right-wrong, yes-no statue debate’. I don’t disagree (much) with these views and indeed, if you want a right-wrong, yes-no answer, this essay will disappoint. But they beg the question of what statues mean and why we keep putting them up if they are so easily relegated to an epiphenomenal register of political discourse.
It’s worth remembering that RMFO itself has never downplayed the significance of the statue in the way that some of those writing in solidarity with it have done. It describes its mission as that of decolonising ‘the institutional structures and physical space in Oxford and beyond’ (emphasis mine) and lists as its first aim the intention to tackle ‘the plague of colonial iconography (in the form of statues, plaques and paintings) that seeks to whitewash and distort history’. In addition, it aims to reform the Eurocentric curricula to which university students continue to be subject and to address the under-representation and lack of welfare provision for black and minority ethnic staff and students at Oxford. One way to think about the place of the statue in this debate is to see it as a means to an end: as Srinivasan rightly notes, ‘complaints of structural racism and calls for curriculum reform don’t draw public attention like the toppling of a statue, and the RMF leaders know this.’ But while clarifying that its campaign is indeed ‘about more than a statue’, RMFO nonetheless insists that
statues and symbols matter; they are a means through which communities express their values. The normalised glorification of a man who for so many is a symbol of their historical oppression is a tacit admission that – as it stands – Oxford does not consider their history to be important. This is incompatible with a community that posits itself as progressive, enlightened and intellectually honest.
Without wanting to suggest that the success of RMFO should be judged by whether the statue falls or endures (it shouldn’t), I want to think with RMFO about what the expressive function of statues entails. Writing in a very different context, Judith Butler has famously worried that the relegation of injustices to the realm of the ‘merely cultural’ effectively downgrades the urgency with which they demand redress. For ‘merely cultural’ read ‘merely symbolic’, and the risk of disappearance of the demand for iconographic decolonisation (exactly what Oriel College might wish for) becomes obvious: if RMFO is about more than ‘just’ a statue and if we all agree that the statue is ‘merely symbolic’, then we might as well get beyond, behind, and beneath the symbol to address its putative ‘real’ while leaving the symbol itself intact. Meanwhile the possibility that the ‘merely symbolic’ has material consequences remains unexplored.