So excited about this – as I am one of the contributing playwrights
A Selection of Writing by British East Asian Artists
Ed. Jingan Young
This is the first ever collection of modern dramatic writing by British East
Asian writers, curated by the award-winning playwright Jingan Young.
With a foreword by David Henry Hwang.
Yes, yes, yes!
Dear Adoption, I’m Tired
Worn out from years of explaining who I am and who I am not. I have grown weary of trying to assimilate into countries and cultures that ask me to be for them and not with them. I have grown fatigued of tracing a story that befits only a partial narrative, left only with speculation and the inability to reconcile the truth of the story. And I am one of the lucky ones—one of those whose story gaps were nearly filled after looking so long for the answer. But there are no complete answers, only more questions. I am tired of the questions left hanging like a string of lights above my head, filaments twisted on the inside and no longer producing a spark. They will remain unchanged—my once-steady hand exhausted from stretching out to change the bulb, the ladder I’ve used all these years weakened…
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So, Ed Skrein has entered the fray when it comes to the continued wanton whitewashing of roles, characters, history, and fiction regarding the inclusion or should it be the exclusion of East Asians, whether they be people of hyphenated or multiple combined heritages.
On my side of the pond, I recently read three excellent pieces by three great British East Asian artists.
First, actor and writer Vera Chok,
I went in for an interview at a giant news corporation. The make up artist, bless her, should she have been notified in advance? I don’t know. She did not have makeup to match my skin colour. I ended up on national TV a few shades paler than I am. I heard somewhere that privilege is walking into a store and finding a shade of foundation that suits your skin.
A white, working class person wrote to me about their relative being shot in the street in Ireland. We discussed Irishness and being stuck as working class. They felt that I was saying all white people are demons and I said, let’s break that down – what do we mean by “white”? Do we mean the Polish or Albanians, the Swiss or Italian? We categorise and rank people and groups of people. Who is feeding us stories and what can we do about it? Who are we prepared stand up for? Why did this white person come at me combatively with a #NotAllWhitePeople stance?
I am trying very hard not to talk using phrases which might make some people glaze over e.g. “power differential”. I am trying not to feel a bit ground down by being wheeled out as a presentable, ethnic minority representative. I don’t love it when certain disinterested interviewers read out their questions about racial stereotyping. Focus on the good people, the ones who understand that we are nowhere close to being on a level playing field. Focus on the folks who inspire me, who do their best to live the best way they can, which includes self-awareness and self-care. I’ve met such a lot of incredible people in the last day.
second, Matthew Xia director
Despite the humorous response I often get – “Count yourself lucky, who wants a thousand flyers to a thousand dreadful shows?” – I don’t count myself lucky. I want the right to be informed, to be included, or rather, not to be excluded – I want the right to refuse. This is a problem the festivals have to deal with. Due to their very nature, from a point of governance and policy this is an impossibility. Therefore the individuals who comprise the festival have to address this issue. If every person of colour who attends reports a similar experience – of isolation, invisibility, and exclusion – then, along with the galvanising and unifying work by artists of colour, it is up to everyone to invite us, to include us, to see us.
Xia hits the nail squarely on the head – I want the right to be informed, to be included, or rather, not be excluded – I want the right to refuse.
And last, but by no means least
Many of us have campaigned long and hard against movie industry “whitewashing.” We’ve recently seen a whole slew of bleached-out castings in films like Aloha (Emma Stone as a Eurasian Hawaiian), Dr. Strange (Tilda Swinton as a Celtic version of a Tibetan martial arts guru) and Ghost In The Shell (Scarlett Johannson as the Japanese manga character Major).
No actor of color is looking for “positive discrimination” or a leg up; we just want a level playing field. And if you take a character written as Asian or black and cast a white actor in that role, you’re effectively saying that there was no Asian or black actor good enough or clever enough or talented enough or capable enough to play that part.
Or that they simply did not exist. There’s a word for that: erasure.
And there is it is.
British East Asians (BEA) period, are not seen, not recognised, we are given no real, artistic quarter. We are invisible, we are forgotten, we are excluded from our own culture, erased from history, side barred in many, if not most of the conversations and debates when it comes to diversity and inclusivity in the arts. We remain still a minor footnote even within the overall British Minority Ethnic “umbrella.”
I and many others, far more qualified and erudite have written and spoken out about this on more than one occasion.
I’ll say it again, now.
BEAs are the only British minority that you can still be openly racist towards in the media. Whether it’s the comedian on day time or prime time TV regaling us with a “chinky joke.” Or an over-the hill, white, middle-class, male petrol-head TV host, engaging in racially derogatory terms. Only to be excused and protected by his superiors (also white, middle-class male and Oxbridge educated) as public-school humour, harmless, affectionate comedic banter. To the London fringe theatre, facilitating and enabling the continuance of that odious practice, of Yellowface. Then telling the many British East Asian artists (BEAA) who raised their concerns, that we should not be offended, as no offense was intended. Just because a play is set in ancient China doesn’t really mean anything, Giving characters, “East Asian” sounding names, does not denote that the character should be of East Asian heritage. Setting the play in ancient China was nothing more than a metaphor.
At that point, I lost the will to live in more ways than one.
My point is this, exchange the word China, the character names from Chinese to, African or South Asian (Indian, Pakistani or Bengali) would a similar situation have arisen? I am pretty confident that neither of these British minorities would have been told, to shut up. Such an equivalent blackface or brown-face production would never have gotten that far. Questions would have been raised in the house of Parliament, any other British minority, apart from East Asian, it just would not have happened – thank goodness.
What is it then, about being Chinese, being East Asian in the UK, being a citizen of Britain, with East Asian heritage,? That excludes us from full participation and consideration in our own the country? We grow up, we are educated, we graduate, we work and pay our taxes, we constitute 1.6% (according to 2001 UK census figures) of the UK population. Some statisticians, however, project that people of East Asian heritage will be the fastest growing British minority in the UK. Our numbers are predicted to overtake those of British Black, African, Caribbean and South Asians. Whether this proves to be the case or not the overall BAME percentage of the British population is expected to rise to 20% by 2051.
If that is the case, why do we BEAs, in the 21st century, still find ourselves being excluded, ignored and by and large “rejected” from participation in our own culture? It is still a rarity to see an East Asian in a leading role on a British made TV program or film. Not for a lack of projects that have, do employ East Asian themes.
Yet many of those in charge of commissioning, programming, casting, being the de facto arbiters of our modern culture, deciding what is good art or popular art, rarely engage substantively with East Asian artists, in front or behind the camera, on stage or backstage. Yet these very same professionals continually declaring that diversity is definitely something that is lacking, and that something needs to be done. Instead of nurturing and cherishing the existing, home-grown BEA talent, their preference is to look overseas. Because “true ethnic authenticity” can only be achieved by casting overseas East Asians. Commissioning overseas East Asian writers. More worryingly, it’s not just some of the predominantly white, male oriented UK production channels that are guilty of this behavioral bias, there are also a few BEA arts professionals sharing the same blinkered (and frankly racist) views.
Until these producers in their ivory towers start supporting the home-grown BEA talent very little is going to change. Until BEA writers (and there are many of us) start getting true breaks in Theatre, TV, and film, progressing from the endless round of unfunded R&D/scratch nights, having to pay for development weeks on supposedly BAME centred initiatives to “discover” talent in “underrepresented” communities in the UK nothing will really change. Where will the next tranche of new British writers, filmmakers, producers, and directors come from? Where will the next British equivalents of Hiroshi Kashiwagi Frank Chin David Henry Hwang‘ Frances Ya-Chu Cowhig where, how will these writers emerge?
As much as I love seeing these playwright’s work and in some cases actually having had the good fortune to perform in their plays in the UK, I’d like to see work that actually reflects our stories, our lives, tales that relate directly to our experiences and histories.
It really isn’t rocket science, it won’t happen no matter how many initiatives are instigated unless there is buy- in, substantive investment (time, resources and cold hard cash), real work opportunities and roll out from the top down.
As we all know diversity sells, it’s a financial success, it creates and grows audiences and puts bums on seats – or maybe that’s it, maybe “British” art and culture don’t want us East Asians sitting in theatre’s, cinemas and tuning into, mainstream, popular TV programs, because the default setting is white, western and European? And, us colonial types don’t figure in that UK cultural landscape? If that’s the case then chew on this . . .
Call The Midwife, a popular British TV series aired an episode earlier this year (episode 3) it included a storyline of a British-Chinese family, it netted 9.6 million viewers (it might have been more) and this is a “period” drama – just saying…