Sheila Chapman writes:
The tricky subject of censorship in art was tackled at Ralph
Thoresby school tonight. The motion was ‘Artistic expression should never be
censored’ and two teams from the school respectively supported and opposed the
motion.
It was interesting to see the rules of debate ( explained
most carefully by the Chair, Paul Thomas from Leeds Salon) applied to the
proceedings because they enabled each side to expound their reasoning without
either unduly dominating proceedings (all the presentations were time limited)
or being interrupted by the other side.
Some of the arguments in favour of the motion were:
‘You cannot keep things in the dark – people have to
make their decisions about issues with full information.’
‘Who are the censors? Do they have an agenda?’
‘You cannot police censorship’
Some of the arguments against the motion were:
‘There are standards of morality and decency. The right
to offend cannot override the right not
to be offended.’
‘Who is creating art? – often white, straight men coming
from privilege – they don’t risk much’.
‘The world is not safe and art cannot ignore this.’
‘Much of life is censored – e.g you don’t swear in front
of a toddler. We self-censor all the time. Why should art be different?’
After careful questioning of the teams the judges retired
to make their decision and during this interval Trio Literati performed
Censored! - a wonderfully interactive dramatic exposition of
censorship through the ages.
On their return the judges complimented the two teams and judged that the motion be carried!
The audience agreed!
It was great to see the topic being examined through both
debate and dramatic performance – each genre brought its own strengths and we,
the audience, benefitted greatly.
Comments from young people involved:
I enjoyed the session and liked
debating even though I was put on the spot.
An excellent discussion and an
excellent performance!
It was really wonderful to see two teams debating. That’s made
me think about the censorship in art. And the performance by Trio literati is
AMAZING! Thank you for this opportunity.
Organiser comments:
A debate on the nature of censorship in art was
enhanced by a special customised performance by Trio Lit of the show they had
performed for LitFest a couple of weeks earlier.
“I
thought that it was a really nice little event last night and I would certainly
like to continue working to raise the profile of these kind of events. “
said teacher Thomas Stubbs of a collaboration between Headingley
LitFest, the Leeds Salon and Ralph Thoresby school.
“Just a quick note to say the
debate and performance all went off as planned -- in the end we did the
entertainment while the judges were out of the room, making the decision, so
the audience had that nice element of suspense to add a spark to their attention.
They seemed to really enjoy Censored! and even became an enthusiastic crowd
shouting at the end (Weavers Out!)… He (the teacher who organised it) was brilliant -- a great good
thing all round, for positive input and unflagging energy!” Jane Oakshott, one third of Trio Lit.
“Though
having a teacher on each side meant that there was too little of the pupils
really – though they both did well and showed their potential as debaters, and
the teachers were also able to set a good example of debating. But it should
also still add to the knowledge and experience of those who took part and those
in the audience towards the future – and I hope you’ll take part again in the
qualifying rounds for next year’s Festival school debating competition.” Paul
Thomas, Leeds Salon organiser
A quote and a poem from Censored! performance:
Atrocities, by Siegfried Sassoon
? Did Sassoon’s publisher reject this version in 1917
because it was not up to Sassoon’s usual standard, or because he thought the
content was subversive for wartime?
Original version, written 1917
You
bragged how once your men in savage mood
Butchered some Saxon prisoners.
That was good.
I
trust you felt no pity when they stood
Patient
and cowed and scared as prisoners should.
How
did you kill them? Speak and don't be shy.
You
know I love to hear how Germans die.
Downstairs
in dugouts "Kamarad" they cry
And
squeal like stoats when bombs begin to fly.
I'm
proud of you. Perhaps you'll feel as brave
Alone
in no-man's-land where none can save
Or
shield you from the horror of the night.
There's
blood upon your hands - go out and fight.
I
hope those Huns will haunt you with their screams
And
make you gulp their blood in ghoulish dreams.
You're
good at murder. Tell me, can you fight?
Revised version, pub 1983 in The War Poems ed.Rupert
Hart-Davies
You told me, in
your drunken-boasting mood,
How once you
butchered prisoners. That was good!
I'm sure you
felt no pity while they stood
Patient and
cowed and scared, as prisoners should.
How did you do
them in? Come, don't be shy:
You know I love
to hear how Germans die,
Downstairs in
dug-outs. "Camerad!" they cry;
Then squeal like
stoats when bombs begin to fly.
And you? I know
your record. You went sick
When orders
looked unwholesome: then, with trick
And lie, you
wangled home. And here you are,
Still talking
big and boozing in a bar.