Yet since Raven's childhood, the internet has led to an explosion in the industry, which now has a worldwide market value of billions of dollars, according to the UN.īritain's Child Exploitation & Online Protection Centre, a division of the police, says the number of indecent images of children in circulation on the internet runs into millions, with police forces reporting seizures of up to 2.5m images in single collections alone, while the number of individual children depicted in these images is likely to be in the tens of thousands. The biggest challenge, she says, is getting the bystanders in the child's life – neighbours, relatives, teachers, care workers, counsellors – to consider the possibility that a child might be a victim of this form of abuse. Child abuse is such a taboo subject, and the concept of parents being complicit in the crime so unthinkable, that frequently there is a failure to recognise that it might be going on. She now uses the film of Hooray for Hollywood for public education and training for professionals working in social services, education, law enforcement and children's charities. Through her organisation Outspiral, Raven recently launched a national campaign to raise awareness of sex trafficking and familial abuse. "You hear about a perpetrator being processed in a certain way, you hear about the police getting hold of the images, but you don't hear about the reality for the children in those images – whose children are they? How did they come to be in this situation? And how have they been traumatised or damaged by what happened?" These appear to be ordinary people, struggling a little to make ends meet not monsters or weirdos, but the kind of people who might be your nextdoor neighbours. One of the most shocking aspects of Hooray for Hollywood is the banality of the adults' conversation, as they rationalise the choice they have just made to sell their children, from the cosy confines of a cafe.
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This critically acclaimed drama has toured the UK, Poland and France, and has been made into a film. She moved to the UK to create Hooray for Hollywood, an autobiographical play in which the children are represented by puppets, while the adults – their parents – are only shown up to waist height, from a child's eye view. Her adult life has been driven by the belief that it is important for survivors of child sexual exploitation and trafficking to tell their stories, in order to make people realise that these aren't crimes that happen "somewhere else, to someone else". A graduate of the puppetry course at the Royal Central School of Speech & Drama in London, Raven turned to this artform as a way of telling her story without the gaze of an audience focusing on her directly – something she finds too uncomfortable.
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It was paying our mortgage."Īs we sit talking in a central London cafe, there are two large suitcases on the floor next to us, both full of puppets she has made.
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I told myself that my parents meant well, that what I was going through was what was necessary to help my family. "I remember my mother saying things like, 'Oh, they'll never remember it,' like people do when they get their babies' ears pierced. It's before noon but, oh well, just today'.
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"It's the same way that someone who has a problem with alcohol will rationalise their behaviour – 'It's only this many drinks. Yet from a young age, she had learned from her parents to rationalise and deny what was going on within the family. Inevitably, as she grew older, Raven's value to her abusers decreased and subsequently the kinds of films she was required to take part in became more extreme and violent. Although he did hit me, he wanted me to stay intact because the less scars I had, the more I was worth."
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"My father was also quite affectionate towards me whereas he would beat my brother to a pulp. My younger brother was jealous because of my dad's special treatment of me. "My father always favoured me because I brought in the money – I was supporting our whole family. Her father, precariously self-employed after losing his teaching job, was violent towards her younger brother, but since she had become the family breadwinner, Raven was granted a peculiar status. In her teens, the crimes were often perpetrated in Los Angeles, where many film studios provided ample opportunity for the underground child abuse industry in the 70s and 80s. It was to be the beginning of a 15-year ordeal, which saw Raven regularly trafficked by her parents and other members of an organised crime ring from her home in a middle-class suburb in the American north-west to locations all over the US and abroad.