So What's Wrong With Colour Changing Nail Varnish?

The story of the colour changing nail varnish (which tells you if your drink has been spiked) has been picked up by various media outlets over the past week as well as by organisations that tackle sexual violence. I've seen comments from many points of view across social media.

In some quarters the research of these four (male) scientists has been highly praised - quite often seemingly because they are male. Yes, I do agree that it is great that a group of men want to do something to address this issue of violence against women, but it is patronising to suggest that a man should be endlessly praised simply because the problem he is working on effects mostly women. 

Then there's the underpinning issue. Do we want to perpetuate this myth that some rapes happen because a woman drinks a spiked drink and is then vulnerable to this ever present risk of rape? A risk that is just floating out there in the ether waiting for an unsuspecting woman to attack? Or do we want to wake up to the actual problem which is the fact that there are people in the world (usually men) who see it as morally justifiable to spike another persons drink (usually a woman) in order to incapacitate them and perform sexual acts without their consent? 

The question we should be asking is not 'how do we stop women from drinking a spiked drink?', it should be 'how do we stop people from wanting to spike drinks?', 'how do we ensure that we respect the bodily integrity and rights of every human being?', 'how do we teach men that rape is wrong?'. 

I believe that this story also belies a wider social problem - the current climate which dictates that scientific advances are always good for humanity and the lack of corresponding coverage (and funding) which is given to more qualitative approaches. Domestic and sexual violence charities have had their budgets slashed thus ending their preventative programmes and forcing them to focus on reactive care. 

One programme I came across in the past was based at an art museum. A group of men who had faced charges for domestic abuse took part in sessions that aimed to help them to focus on their emotional reactions and to use looking at artworks as a way to understand that it's possible to see a situation in many different ways. These are the sort of initiatives that I believe we should be finding if we really want to tackle sexual violence in the UK.

Having been part of the 'stop the violence' campaign from the World Association of Girl Guides and Girl Scouts which seeks to end violence against girls, it pains me to say that the resources they provide, I believe, will not achieve lasting change until they are adopted and used by organisations that work with men and boys too. We can teach girls to be confident about their bodies, to be mentally resilient, but we cannot let them, even for a moment, think that being the target of sexual violence is their fault. 

Yes we can show them how to make themseleves less vulnerable, we can teach them to be conscious of their own actions, but they have the right to wear what they want and be in public spaces if they want. Until we address the underlying causes of violent behaviour we will not fulfill every humans right to live a life free from sexual violence.

Art as a Tool of Inclusion or Exclusion: The Subway Example

 I came across a statement of exclusion from a piece of public art scrawled on the walls of an underpass in Peterborough city centre. 

I had stopped to admire/investigate this piece of street art in progress - a repainting of the underpass with depictions of famous scenes from the history of the city. I took in a rebellion against the Romans and the locally well known figure of old Scarlett adopting his pose that supposedly inspired Shakespeare. I read the sign declaring the piece a work in progress, stencilled on the wall complete with the logos of organisations involved in its commission, design and implementation. 

Next to these on a bare section of undercoat were the words "let the kids paint please!". It wasn't even painted on. These words were the passionate outcry of somebody who had had a connection to the previous mural and who had taken whichever writing implement they had to hand and made their feelings known to the world. 

Before this new heritage inspired mural was started, this underpass had been decorated with drawings and illustrations created by children from a local school. It was probably getting on for nearly a decade old, looking a little tired around the edges and was obviously the freehand work of school children rather than an artists collective, but it clearly meant something to at least somebody in Peterborough. 

I am a firm believer in the positive value of art in public places - especially high quality art that supports the local creative economy. But I am also a believer in consulting the stakeholders before undertaking any public project and in ensuring the built heritage of today is recorded before it's destruction to preserve it for future generations to see. 

- was the previous mural documented to be filed as a resource for the future to be held at the city museum or art gallery?

- was any attempt made to contact those who had a hand in the last mural, to give them a last chance to record their own work, or be involved in this project?

- are there any workshops planned so that local people can understand and learn the creative methods used in the new design? Or even contribute to the work? 

It will definitely be a stunning work of art for the people of Peterborough to enjoy, but I do hope they can be included in the process.