Two years ago we traveled to France and Italy to learn more about how they raise pigs and produce charcuterie and salumi. Disappointed to discover that the pigs are virtually all raised in sheds, we stopped calling our air-dried hams â€˜prosciuttoâ€™ and changed to â€˜jamÃ³nâ€™ as we understood at the time that Spanish pigs with the appellation â€˜JamÃ³n IbÃ©rico de Bellotaâ€™ are raised outdoors and finished over autumn and winter on acorns â€“ a beautiful system.
This year we visited Spain to see this beautiful system firsthand. There is a lot of jamÃ³n eaten in Spain, and a lot more exported. In 2014, 43.5 million pigs (almost equivalent to the population of Spain, which was 46.7 million in 2014) were slaughtered. (Compare that with 4.85 million pigs produced in Australia for a population of 23.5 million.) So as we drove down through the southwest and up the western half of the country before crossing to Barcelona, we were on the lookout for these millions of pigs. There werenâ€™t many on the paddocks, but the white concrete sheds with their signature malodorous air were ubiquitous.
As we traveled we were interested in the aesthetics â€“ in the texture, flavour, and colour of jamÃ³n across Spain â€“ and we also wanted to know where and under what conditions it was produced. Only then would we ask how the jamÃ³ns are cured â€“ what is the salting technique, the drying times, the maturation periods?Â Although we contacted two farms in hopes of a visit, we received no response from either, perhaps because we arrived before the famous montaÃ±era time where (some of) the pigs are actually outdoors?
We found the famous dehesa landscapes where the prized JamÃ³n IbÃ©rico de Bellota are finished on acorns, but most were vacant until the nuts would start to drop at the start of October. In Extremadura and Huelva provinces, some dehesa still sheltered the bulls grazing the last of the dry-standing grass of summer as they awaited their bullfighting fate. The few pigs we saw outdoors were on bare, rocky ground, and according to the FAO only around 10% of Spanish pigs (the JamÃ³n IbÃ©rico de Bellota) even get those few months outside under the shade of the picturesque oak forests.
By the end of our time in Spain I was back to eating mostly vegetarian, and we will no longer be calling our hams jamÃ³n.
While the Spanish manage to produce quite a delicious product by finishing the pigs for three to four months on acorns, those pigs spend the first year of their lives in sheds, and the sows live and farrow entirely indoors. (NB I understand that there are a very small number of farms raising pigs on pasture, too few to discuss here where Iâ€™m looking at jamÃ³n production generally.) And so while the Spanish have succeeded in the aesthetics of their jamÃ³n, in my view they have not done so on the ethics.
Whatâ€™s the big deal about raising pigs in sheds anyway if the final product tastes good?
I spoke recently to a crowd of about 200 people confined in a lovely long hall and asked them whether theyâ€™d be happy to spend the next five months there with no opportunity to leave. I didnâ€™t even mention that theyâ€™d wee and poo where they sat, and if they were lucky the floor would be slatted for the excrement to drain away from the mass of bodies. Nobody popped their hand up to stay in the building, and yet Iâ€™d wager that the majority in the room would regularly eat meat from animals who never left the shed in which they were raised.
Most conventional pig and poultry sheds suffer from air quality that is so poor the animals are vaccinated for pneumonia to keep them alive until slaughter at five to six months of age. I understand that in Australia, the industry has been leading some innovative reform to build sheds that are open ended and have straw rather than concrete on the floor â€“ definite improvements in intensive production systems.
But even if we improve the air quality and deal with the concentration of effluence in responsible ways, is it enough? What kind of lives do pigs who can only mill about in a crowded shed have?
And we need to talk about breeds and the serious risks posed by lack of biodiversity, especially when compounded by intensive confinement. Rob Wallace, author of Big Farms Make Big Flu, talks about sheds of 15,000 turkeys as â€˜food for fluâ€™. Theyâ€™re a perfect feasting ground for viruses without an â€˜immunological firebreakâ€™ due to the homogeneity of the animals. While he was in Australia recently, we discussed the idea of regional planning for diversity and resilience â€“ active, informed, grassroots community planning to ensure we raise different breeds across a region to create that firebreak in case a virulent strain of swine or avian flu escapes the intensive sheds.
Thereâ€™s a strong movement to eradicate routine use of sub-therapeutic antibiotics in intensive livestock production â€“ administered to everything from pigs and poultry in sheds to cattle in feedlots. The industry itself is discussing the problems of over-use of antibiotics, namely the rise of superbugs like MRSA and the threat that soon we wonâ€™t be able to treat the most basic bacterial infections with the most common antibiotics like penicillin. Denmark already banned the routine use of antibiotics and yet it is still the biggest producer of pork in the world, so itâ€™s clearly possible. The Netherlands has similarly banned antibiotics, prompted by the fact that pig farmers there are >760 times more likely to be carriers for MRSA than other Dutch citizens â€“ if they visit the hospital theyâ€™re immediately taken to quarantine to protect the rest of the population.
So we have compelling animal welfare, ecological, and public health arguments to radically change how we raise pigs and poultry, and yet while the fair food movement consistently makes many of these arguments about the ills of industrial agriculture, there is a distinctive gap in our ethics of practice. Our time at Slow Foodâ€™s Terra Madre this year highlighted this very clearly â€“ as we elbowed our way through the crowds of people enjoying a day of tasting alleged slow food along the kilometres of stalls, we were disappointed to learn that all but one pork producer we could find were growing their pigs intensively indoors.
While Slow Food (like the Spanish jamÃ³n producers above) excels at the aesthetics of the food it promotes â€“ promoting â€˜slowâ€™, traditional, and delicious, how is it doing at the ethics? What do â€˜good, clean, and fairâ€™ really mean? Slow Food International took a stand against foie gras a couple years ago, but it has not done so against intensive animal agriculture, and hosts many prosciutto producers at Salone del Gusto every two years who raise pigs in sheds. I would really like to see them pursue this discussion and take a strong position against intensive livestock production.
As I said on the Slow Meat panel at Terra Madre, just because you cure it slowly doesnâ€™t make it slowâ€¦ you need to grow it slowly too.
And the same goes for serving factory-farmed meat at fair food movement events â€“ you canâ€™t simply intellectualise this stuff and pontificate on the ills of Big Ag and the oligarchy while munching on their produce. If procuring ethically-raised meat is impossible due to complicated catering contracts and a dearth of small-scale pastured livestock farmers, we can at least serve vegetarian food (with its own attendant issues if sourced from the globalized industrial food system, e.g. tropical fruit in Victoria in the dead of winterâ€¦ thatâ€™s not even an aesthetic success.).
As most people reading this already know, food has material impacts on the land and people that produce it, the animals raised for food, and the people who eat it. If we only take a moralizing analytical stab at the problems of the food system and then serve it up for dinner we are doing a material injustice to all parts of the very system we are trying to transform. Slow Food and all of us in the food sovereignty movement can and should show leadership (as Slow Food has on many topics) and insist on the ethics of meat production being at least of equal importance to the aesthetics.