STUDENTS DETAINED FOR ANTI-WAR PROTEST

Keyword(s):  
2011 ◽  
Vol 3 (2) ◽  
pp. 72-89 ◽  
Author(s):  
James Arvanitakis

On 16 February 2003, more than half a million people gathered in Sydney, Australia, as part of a global anti-war protest aimed at stopping the impending invasion of Iraq by the then US Administration. It is difficult to estimate how many millions marched on the coordinated protest, but it was by far the largest mobilization of a generation. Walking and chanting on the streets of Sydney that day, it seemed that a political moment was upon us. In a culture that rarely embraces large scale activism, millions around Australian demanded to be heard. The message was clear: if you do not hear us, we would be willing to bring down a government. The invasion went ahead, however, with the then Australian government, under the leadership of John Howard, being one of the loudest and staunchest supporters of the Bush Administrations drive to war. Within 18 months, anti-war activists struggled to have a few hundred participants take part in anti-Iraq war rallies, and the Howard Government was comfortably re-elected for another term. The political moment had come and gone, with both social commentators and many members of the public looking for a reason. While the conservative media was often the focus of analysis, this paper argues that in a time of late capitalism, the political moment is hollowed out by ‘Politics’ itself. That is to say, that formal political processes (or ‘Politics’) undermine the political practices that people participate in everyday (or ‘politics’). Drawing on an ongoing research project focusing on democracy and young people, I discuss how the concept of ’politics‘ has been destabilised and subsequently, the political moment has been displaced. This displacement has led to a re-definition of ‘political action’ and, I argue, the emergence of a different type of everyday politics.


2006 ◽  
Vol 67 (4) ◽  
Author(s):  
Gerald G. Ashdown

The reaction to the Vietnam War protest years, the presidency of Richard Nixon, and ultimately that of Ronald Reagan, ushered in a conservative revolution in the United States that still endures. Republican Presidents during this period have appointed eleven Justices to the United States Supreme Court,1 seven of whom serve on the Court today.2 Coinciding with this historical phenomenon was the proliferation of drug usage in the country: first marijuana, hallucinogenic drugs, and amphetamines during the counterculture years of the late ’60s and ’70s, and later powder and then crack cocaine. When prosecutorial emphasis shifted, especially at the federal level,3 to meet the increased fascination with narcotics, courts in the country became deluged with drug cases, many if not most of which presented Fourth Amendment search and seizure issues. This, of course, was because the Fourth Amendment’s exclusionary rule could make the corpus of the crime unavailable to the prosecution.


Author(s):  
Joseph Jonghyun Jeon

Alan Chong Lau is an American poet and visual artist. Lau began his poetic career in the wake of the 1970s Asian-American movement, a surge of racial political consciousness inspired by the civil rights and anti-war protest movements. His first book, published with friends Garrett Kaoru Hongo and Lawson Fusao Inada, was entitled The Buddha Bandits Down Highway 99 (1978) after the name they had given to themselves for a 1977 performance in Long Beach and after the highway that connected their childhood homes in different parts of California. The book is a series of peripatetic romps in a beat style refashioned for an Asian-American context. In comparison, Songs of Jadina (1980), Lau’s first monograph and the winner of an American Book Award in 1981, is a much more contemplative, nuanced exploration of Chinese American history and the poet’s ancestry. In 2000, he published his second monograph, Blues and Greens: A Produce Worker’s Journal, which is a poetic record of his experiences in Seattle. His most recent book of poems, no hurry (2007), is a reflection about his travels to Japan. Beginning in the late 1970s, Lau also became an active painter, developing a unique style that blended elements of Chinese calligraphy and the Northwest School. A retrospective of his work was shown at the Francine Seders Gallery in Seattle in 2012.


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