It is at this time, most people reflect on the events of the year, whilst also looking towards to the future.
As a female, as a British East Asian what does 2017 hold in store? With everything that has gone on recently across the globe and the shift in not just national and international politics. Where do I stand? Where do I place myself in a new Britain that is now seemingly blindly shuffling its way towards – towards what we don’t quite know do we? America a country that I have always loved, will this country now allow me to enter it freely? Central Europe is in the grip of its own doubt, grappling with the ideal, but having to face some of the grim realities that free unfettered movement can enable.
And Britain, “…this scepter’d isle,
This earth of majesty, this seat of Mars,
This other Eden, demi-paradise,
This fortress built by Nature for herself
Against infection and the hand of war,
This happy breed of men, this little world,
This precious stone set in the silver sea,
Which serves it in the office of a wall,
Or as a moat defensive to a house,
Against the envy of less happier lands,
This blessed plot, this earth, this realm, this England.
Richard II, Act 2 (Shakespeare)
Has shown itself to be less than a paradise .and not as blessed a refuge as perhaps was once thought. Brexit has scratched the country’s surface and our collective mindset and what we have uncovered is that the dark, unsavoury and toxic ideals of the extreme right have never really left us. Britain is not alone in this “discovery.” I feel fearful. Not of being dragged from my bed in the dead of night but I am fearful that the spread of this below the line extreme right consciousness will inveigle itself once more into our institutions and national structures. I hope that I am just being paranoid and overly anxious.
I am not a politician or an academic. I’m an actor, a writer, filmmaker and when needs be, a bit mouthy about issues that I feel passionate about. As a person of colour, as a disenfranchised culturally dislocated and isolated person I am finding it more and more difficult to see how I fit into Britain. The social and cultural progressions that have been made since the late 50s early 60s when I first landed in this country as Hong Kong Chinese foundling, have been truly remarkable. The diversity and variety that can be seen, heard and experienced in most major cities and towns across the land is the jewel in Britain’s crown. So why do I still feel excluded from British society?
Quite simply because I seldom see myself represented in my own culture – British culture.
And as a professional artist, it is rare that I even get the chance to be considered to represent my own ethnicity, let alone see the Britain that I grew up in, recreated on TV, film or in the theatre. In April 2013, I did a presentation on the unrealistic artistic mirrors that I was faced with in the media as I grew up during the 60s. It was part of IN CONVERSATION – A Snapshot of Chinese Cinema Today.
More Light Arcola Theatre 2009 Whilst there have been great strides forwards for British East Asians (though to be fair we lag far behind colleagues from other British minority ethnic groups). We still have not been able to break through the entrenched, almost subliminally embedded Victorian perspective of what an East Asian should be. In spite of several high-profile production since 2013 that have had a majority or completely all British East Asians in the cast. On the small and big screens in the UK, British East Asians are hardly to be seen at all. Now when I say British East Asian, what I mean is roles and story lines that don’t cast East Asians as the outsiders, the immigrants, speaking English with a heavy accent. Roles that see East Asians as British. The girls next door, the cabbie, the Doctor or the local shop owner. We are far from being there. The casting controversy that The Print Room, a fringe theatre in West London find itself in, is testament to that. We will see on stage, in 2017, a production being done in Yellowface. So for those that may have stumbled across this blog and be wondering what on earth I’m on about. Why the hell am I complaining about not being included, I should be grateful that I live where I do – yes I am lucky that I live where I do. But that’s part of the “problem” isn’t. Here we are in the 21st Century Britain a group of British citizens has been edited out of British society and culture. To the point that we are not even able to participate in the re-telling of our own story (fictional or factual). We are neither British nor in some cases East Asian. Relegated to cultural servitude. As coat hangers upon which others, many of whom see themselves as the innovators of art; and are by and large the dominant group in society. They dangle and exhibit their artistry, from our history and cultural lineage, exploiting us, but in the same breath deny us access and any hope of participating in our own culture.
Whether it is ridiculous fancy dress costumes,
or stereotypical TV/Film roles being portrayed by white actors
Janette Tough as Japanese fashion designer Huki Mukin in the Ab Fab movie
Take a moment and think. Would you be happy constantly being depicted, in the media and on stage as
No matter what the drama Add to this the representation of these White British stereotypes are only portrayed by Black or Asian actors never, or seldom, a white actor, wouldn’t you begin to question your place in British society? Never seeing an East Asian as a protagonist in any drama. Even when they do appear they are portrayed as a white person. White people stripped down to a basic racial and cultural cliché. Not once, twice but every single time you turn on your TV or go to the cinema, rent a DVD, stream a new TV drama, or listen to a radio play Wouldn’t you begin to feel ever so slightly irked. Imagine how you might feel after thirty or forty years of this – welcome to our world.
So as 2016 draws to a close (many are willing it to end) I turn my thoughts to face whatever will come in 2017.
I hope that it will be a more diverse, more equal and a more inclusive world .
Wishing you all health, happiness, prosperity and peace
Is it Yellowface? Is it artistic racism and subjugation when using a setting such as ancient China, that doesn’t really mean anything? Or is this practice symptomatic of something much darker and more worrying?
In The Depths of Dead Love according to the copy of from The Print Room is a
Set in ancient China, In the Depths of Dead Love tells of a poet exiled from the Imperial Court & the favour of the Emperor, who scrapes a living by renting his peculiar property – a bottomless well – to aspiring suicides. Among these is a married couple who exert an appalling influence over him. Told through Barker’s celebrated exquisite language and affecting humour In the Depths of Dead Love is the witty and poignant tale of a man facing an impossible dilemma.
I suspect that The Print Room is wishing that it could disappear into the depths and not emerge until the controversy that their Yellowface production of In The Depths of Dead Love is causing.
This is not going to go away.
Thursday, 15 December Daniel York posts on social media
Yellowface. Alive and not well in Nottinghill. You know what to do @the_printroom. And their Facebook page https://www.Facebook.com/theprintroom
For four days people took to social media to express their concerns, their anger, their bewilderment, that a play written by one of Britain’s most renowned playwrights, was going to be done using Yellowface.
How could a theatre in 2016, take such a retrograde, seemingly un-wonton and deliberate act of racism? After all that has been going on? After all the debates, the public “arguments” and pleas for more diversity in British culture; on small and big screens and on our theatre stages.
How could any professional theatre think, that setting a play in ancient China about indigenous people, then casting the piece using only white actors, was not going cause huge offence?
As Howard Sherman said of, the first Print Room statement it, was meaningless. By way of an apology this is what the Print Room initially offered:
some publicity material seem to have permitted the possibility of a misapprehension arising.
Misapprehension? I’d say out-and-out anger. The play is publicised, as set in ancient China. What exactly do you think people are going to take from that? There are no lines to read between. It is not vague, it is specific.
we could just as easily be in the metaphorical area of Hans Christen Anderson, or alternatively, the land of the Brothers Grimm.
But the play isn’t set in an alternative metaphorical land it’s been set in ancient China. If you wanted a “universal” outlook and you need to keep the play set in China, then why not, as one tweet suggested, cast diversely, using Black, Asian and White actors?
As many writers, tweeters, social media posters, and articles pointed out repeatedly, would such a play have been written using ancient Africa or India? Giving the characters African or Indian sounding names, such as Chimachana or Abahaba and then cast using only white actors?
The answer is a resounding NO.
So, if a playwright and a theatre, would not countenance doing the same with a play set in ancient Africa or India, (you see where I’m heading with this) what is it that makes everyone think, that this retrograde, deeply offensive and insulting practice is acceptable with China and the Chinese?
Whilst I acknowledge that the treatment of Black and Asian-British artists still leaves much to be desired, at least those British minorities have reached a point, where such crass, unthinking actions would not in general occur. At least when you say Black-British or British-Asian most people won’t bat an eyelid.
To make matters worse, The Print Room then issued a second statement on Wednesday 21st December, just in time for Christmas.
If I thought that the first statement was bad, then second did not disappoint. It went further, digging themselves deeper with insults, insinuations, heavily steeped in racial and cultural bias, topped off with a sprinkling of whitesplaining, flavoured heavily with white privilege, which dribbled over the side with white fragility.
When it comes to the wider British society and our cultural views towards British East Asians, we fair very differently to our colleagues of Black and Asian heritage.
This is not a discrimination p**sing contest to see who is more sinned upon than sinning. I am painfully aware that discrimination, prejudice, and racism is still, regrettably alive and directed towards anyone who is “different”. Whether that difference is physical, religious, sexual orientation, gender identification or racial or ethnic heritage.
People are still being subjected to discrimination above and below the line.
I suspect, that what I’m going on to explore, is going to be uncomfortable reading for some. There is a fundamental difference in the treatment of British East Asians as a minority in the UK. If one was to compare the way British society and culture perceives and portrays other British minorities, the treatment of British East Asians is definitely not the same. We are a true minority within the minorities.
That difference has always been there.
In the industry that I work in, (at least to me and my fellow East Asian artists) the inequality is blatantly obvious.
Want to learn more? I highly recommend this article written by Daniel York for Media Diversified, The Racial Pecking Order in British Theatre and TV.
Post-Brexit, yes I’ve said it.
Most “normal” people would refrain from publicly aligning themselves with the right-wing racist unless of course your Katie Hopkins or Nigel Farage. Many people may secretly share or be sympathetic to such views. But the majority will not publicly admit this. Most, would not go around using the N-word or P-word. But when it comes to East Asians, using the word Ch**k is perfectly ok.
I’ve been told, on numerous occasions, that it is a humorous compliment. It’s a bit of Mickey taking done with love. That using the word, Ch**nk, is no way as offensive as the N or P word.
A sharp intake of breath.
According to whom? Nigel Farage?
Well, excuse me, if I, as a British East Asian, disagree.
I can categorically assure you, it is every bit as insulting, demeaning and racist. Ask Sydney Chan.
The Print Room’s second statement only made matters worse. Click here to read it in full
no offence was meant, so none should be taken.
The Print Room may think that because they have explained the Chinese setting and Chinese names are not meant to be real. That the casting of the roles using white actors is totally justified and therefore acceptable.
Heck, it would not surprise me if the thought is, this piece is somehow paying homage to China and the Chinese.
The thing is, it stops being an homage, immediately you start trying to “play” someone else’s race. Irrespective of whether you use makeup and facial realignment or not.
It is this is this difference in attitudes, this indifference (at best) towards British East Asians, that sets us apart from other British citizens. If you like society places a chalk cross on our shoulders, the ramifications of which can be fatal.
Take the murder of Mi Gao Huang Chen, in 2003.
This was initially described by Detective Chief Inspector Steve Crimmins as youth nuisance and anti-social behaviour How can one call the brutal and savage beating to death of Mi Gao, by a gang of fifteen white youths, as anti-social behaviour?
In fact, it has been argued that it was the police’s initial reaction, or inaction, rooted in ingrained racial bias towards East Asians, which should take an equal portion of the blame, for the murder of Mi Gao. In as much as the gang of youths who actually perpetrated the crime.
Had the police acted earlier, had they not brushed aside the first report of “trouble” on that fatal night as high-spirited youths, being anti-social, perhaps Gao might still be alive today, we will never know. After all, this was in 2003, not 1993.
What I’m trying to say in a rather ham-fisted way, is that this ingrained negative bias towards British East Asians affects and ultimately continues to shape British society and how it reacts and interacts with its own British East Asian citizens. The effects of which ensure that we, as a section of British society, remain isolated, and segregated. Seen as the outsiders, fair game, for the butt, of many a cheap racist joke. And sadly in the case of Mi Gao, the ultimate conclusion, to such racist dehumanisation, the loss of life.
If you want to learn more about Mi Gao then click here.
These cultural and racial biases directed at East Asians run deep through British culture. So it is vital in the 21st century, that the representation and portrayal of East Asians in British media and on UK stages are, at least “accurate”.
That they are free from stereotypes, caricatures, and racial tropes.
What The Print Room is doing, whether intentional or not, is enabling the persistence of deep-rooted and traditional structural and institutionalised racism towards East Asians. Re-enforcing old Victorian attitudes, racism and prejudices towards East Asians, that we are of no value.
We are invisible. We are of no consequence other than as a useful backdrop to an English drama. Our role is not even a subsidiary one, but one of subservience. That we are not capable of taking on the mantle of a protagonist role. We cannot be heroes or lovers. We are the eternal one line waiters, illegal-immigrants, mail-order brides, prostitutes, emasculated and desexualised males, or fragile lotus blossoms. But always the ultimate cipher for exoticism, artistic “otherness” personified.
I am even more insulted by The Print Room’s second statement, than their first. ‘No offence was meant, so none should be taken.’
I am sure that no offence was meant. But offence you have caused and offence has been taken.
This is Colonialism for the 21st century, artistic Colonialism.
The policy or practice of acquiring full or partial artistic control over another country’s culture, by appropriation and occupation of said culture. Substituting and inserting participants of their own image, into that culture’s representations thus exploiting countries artistically.
This has to stop and stop now. If we are ever to reach the stage where it truly does not matter who does what on a UK stage or a British TV drama.
But until Britain address this imbalance of how it treats its British East Asian citizens then such nonsensical productions, will continue. They will continue to be excused citing artistic freedom or waving the spectre of censorship and at the same time saying that one Black performer in x=diversity.
Until I see the East Asian male Oxbridge educated lover, or the Mancunian, East Asian single mum and the Yorkshire East Asian OAP as head characters on TV and UK theatre stages, we are going nowhere fast.
The words coming from those who are the gatekeepers and the arbiters of British culture, proclaiming that they are committed to diversity, it’s just that, words.
Words are cheap, actions require real commitment, real investment, and real work.
Diversity, equality, and inclusion are not so if it only acknowledges some and not ALL. Why should the British East Asian have to watch everyone else seemingly receive such considerations? So let’s start working – for ALL.
If you feel strongly about this issue then please join the protest in the New Year click here for full details
related articles about #Yellowface production scheduled, January 2017
A new stage work about adoption that spans China and the Uk and it all takes place in one of the many Chinese courts of hell!
#FromPageToStage is a crowd fund campaign that has been set up to raise funds for the final stage of development on this stage piece. Help us make it happen by visiting our campaign, become a backer if you can, share this post amongst your networks and friends help spread the word – we’re running out of time to reach our goal and be one step closer to getting Conversations With My Unknown Mother from page to stage.
British premiere screening of Abandoned Adopted Here takes place on 7th April in central London at SOAS. This is a one-off event, a unique chance to see the only public screening scheduled so far for 2016. It is also an opportunity for the public to participate in a post screening Q&A session with the director, Lucy Sheen, chaired by Dr. Diana Yeh
Here you can see the trailer for the documentary if you live in the UK, London or the Southeast, this film is a must see independent documentary.
This is what CinéWomen Magazine wrote about the filmmaker and the film in their Biennial Edition 2016.
“With her characteristic vérité style, Lucy Sheen pushes the documentary genre to virtuosic heights. Her psychologically acute film deals with themes of personal identity and cultural difference, delivering a personal and nuanced take on an issue of international importance.”
Don’t miss out on this opportunity. Tickets are now live and only available online
Huge thanks to SOAS for their generous support for this event.
Current Exhibitions: 15 January – 19 March 2016 –Sand in my Eyes: Sudanese Moments
21 January – 19 March 2016 –In Search of Lost Time البحث عن الزمن المفقود
From 50s, 60s Colonial Hong Kong to pre-multicultural UK, a group of Hong Kong foundlings were transracially adopted. Lucy interviewed a few of her fellow adoptees to explore whether their experience of identity and belonging had been as challenging as hers. How far do other British East Asians feel a lack of belonging or identity or is it just something that culturally displaced babies and children feel?
This documentary has been selected for screening at Singapore World International Film Festival, Hong Kong World International Film Festival and Minnesota Transracial Film Festival.
“Abandoned Adopted Here is one of the best treatments of transracial identity
in film that I have seen.” – Dawn Tomlinson, President of AdopSource Minneapolis.
Abandoned Adopted Herechallenges the idea and concept of transracial adoption. This documentary, by looking through history and the diﬀerences of cultures, discusses the impact of this phenomenon and how that aﬀects the adoptees and the British East Asians in the UK society.
The documentary will be screened at the DLT Lecture Theatre at SOAS, followed by a Q&A section chaired by Dr. Diana Yeh.