Diversity still isn’t happening on U.K. stages, TV and film

Ed SkreinSo, 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.

Vera-Chok-393x253 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.

Matthew-Xia 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

Daniel-York-1024x683-1024x683 Daniel York.

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.

Between East and West

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 S6, Ep3
Alice Connor (Lucy) Lucy Sheen Oilen Chen

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…





Reflecting as current Acting Job draws to an end

When acting jobs draw to and end it’s always sad.

Sandra Oh
But it’s part and parcel of the peripatetic life of a freelancer. You make new friends and now with social media, you can keep in contact (although it’s not the same, but better than losing touch). Recently and more to the point unusually for me; I have been incredibly lucky in the recent work I’ve been given the opportunity to do. Neal Street Productions, Royal Shakespeare Company, BBC, Big Finish Productions, Theatre503, HerStory Festival, Women and War Festival and Untold Arts #TheScarTest at Soho Theatre. But even in the 21st century, such productions as #SnowInMidsummer (RSC) and #TheScarTest are rare. Rare because of the content/subject matter and casting. #Snow an all East Asian eleven strong cast, #Scar an all female, all women of colour cast – hired to act, not just because of the colour of their skin, but their ability to perform multiple roles.
I’d like to think that we come a long way since the 80’s when I played Portia (amongst other roles) at The Bristol Old Vic in the studio.

Julius Caesar BOV 1987
Lucy Sheen and Leo Wringer as Portia and Brutus photographer Lawrence Burns

Directed by the late great Roger Rees. One broad sheet critic headed their review

 Let Me Have Men About me that are Black.

His contention was that no matter how well the diverse poly ethnic company spoke the verse and he conceded we spoke it perfectly. It just wasn’t Shakespeare, because we were not white. I repeat I’d like to think we have come a long way since then. I can dream can’t I? But then I think it’s been thirty years since that groundbreaking production. And we have yet to see another British East Asian actress in a major Shakespearian role on a main-stage in the UK. Incredible isn’t it.

Whilst our colleagues of South Asian and Black, African and Caribbean heritage have made headway – British East Asians remain stuck in a time vortex which is more reminiscent of the Victorian world view when it comes to people from the Far-east than the actuality of the 21st century. But is this then a true reflection of how the western, Eurocentric Caucasian Oxbridge educated male arts dominated world view us?

Diversity is the watchword and those in the industry sitting in their ivory towers, holding the purse strings tight, dictating what is “good art” and what subjects are worthy of being produced and who can or cannot be cast in leading protagonistic roles. But inclusivity the actual driver, the engine if you like to achieve diversity top to bottom, in front of and behind the camera that is missing. We can have all the protestations from the production companies that they see diversity as something that is lacking. That they need to do more. But if the will to drive this to fruition is not there. If the very people tasked with implementing this have no connection to diversity what then? And it isn’t just the media (TV, Film) that is guilty of paying lip service only it is in our theatres. On our main stages, not just regional subsidises theatres (the few that are left) but our major NPOs (National portfolio Organisations) i.e. the ones that receive ongoing funding from The Arts Council Of England, some not all are still lagging far behind in the diversity. In casting of actors, back stage, administration wise etc.

When are we going to see more diversity and inclusion in British culture?
And please don’t tell me it takes time for these things to occur. It’s been thirty years since I first entered in to the fray and heard the “debate” about accurate and appropriate representations of people of colour. How much more time is needed? Quite frankly that “excuse” has passed its sell by date and gone over the “best before” date.

All I want, all any actor wants (irrespective colour, gender or physical ability) is a fair shake. An opportunity to work in the field that I trained to work in. I think I’m ok at this type of work. All anyone wants is to be able to make the bills at the end of the month, to earn enough to cover their travel and food costs and maybe have just a little at the end of the month to have a few nights out – go see a film, catch a theatre show have a drink or meal with a few friends once in a while. As an actor of colour I’d love not to be worrying
about the when the next casting will come along let alone the next job. At the moment many acting jobs appear to be driven not by the talent,  but by who your agent is and whether the production company and or casting director actually knows and likes the agent you’re with. You’re being dictated to before you even get a chance to walk through a door to a casting. You add the latter to the existing narrow view when casting people of colour in non-specified roles, add that to the ongoing view of what an East Asian should be, the limited expectations of what an East Asian should be like through the culturally dominant lens of the UK and castings are not piling up for actors like me. Add to that the inbuilt agism when it comes to female actors and that’s yet another barrier. Whatever happened to “playing age” especially in theatre?

I’m not famous, people don’t know who I am or what I’ve been in. That’s fine, I don’t mind that at all. But industry people? You would be forgiven for assuming that those who work in the business of finding or suggesting actors for roles, that such professionals would be in the know. It’s not like I’m fresh out of drama school.  I have to confess I have now been around for a while and I do have a fairly credible CV.  But recently I have been quizzed by several industry folks in the casting sector,  asking me why they have never heard of me, or never come across me.
I don’t know, how does one answer that one?  At the beginning of this year I appeared in Call The Midwife S6 Ep3 an episode that apparently attracted 31.4 per cent of the viewing audience and 500,000 more viewers than the previous week’s episode. So over or around 9.22 million viewers. Making Call The Midwife the most watched program for that day.

As an actor of colour or a very particular and unrepresented colour roles of this type, calibre, researched well and crafted with love and care are the exception not the rule.

And on that note I will draw to a rather (for me) depressing note. As I enter the final few performances of The Scar Test and extraordinary play written by the über talented Hannah Khalil, directed superbly by Sara Joyce and performed by an equally extraordinary cast Nadia Nadif, Shazia Nicholls, Janet Etuck and Rebecca Omogbehin I cannot help wonder whether we will ever get the chance to work together again because this grouping of actress spanning continents, faiths and cultures is so rare to be seen on stage yet it is an actuality in British  life in spite of what the Daily Mail and other right-wing fear and hatred mongering media would have you think. Britain is not as segregated and fearful as some would want us to believe.
Yet our art, our culture has not even come close to reflecting the exuberance, the complexity, the joy and diversity that really is modern-day Britain and we are all the poorer for it.




Matt Trueman: Are we faced with a drought of new playwrights?

My view on this article is a pretty panoramic view (and yes thank you to the various conservative administrations, both central and regional over the years the arts sector has been decimated by their ingrained philistine view).

The nub of the problem is that we continue to have to deal with strata of arts arbiters, purse string holders, gatekeepers, commissioners etc who are majorly white, male and Oxbridge educated. Many have bought into, associate themselves with, subscribe to “diversity” but that is just not good enough. Diversity might be the gate which the arts sector has finally opened but inclusion is the key that will open the inner sanctum. And that key is still firmly in the grasp of those (many of whom) have no idea what it means to be a twenty-first-century British person. What identity and culture is for modern Britishers. We are fed a predominantly, mono-tonal cultural diet, especially on the small and large screen. Even on our stages colour continues to be divisive instead of inclusive. Until such time that ALL NPO, funded theatre companies start to embrace every aspect of diversity; which means substantive inclusion, engagement and active development then the drought and dearth of British writers and the diversity that they can bring to the stage will continue to elude us all. It will continue to feed into the lack of diversity on our stages when it comes to casting BAME actors in protagonistic roles. We will continue to see plays written by writers about subjects and themes that they are not personally or intimately connected to.
Now a writer can write about whatever he or she wants. But hearing the crafted words from an East Asian about the historical injustices suffered by say a Chinese serving in the British Chinese Labour Corps is not the same as a play penned by a well researched white writer – it just isn’t. It also allows for the continuation of cultural appropriation, using cultures merely as coat racks from which to hang a piece. Where foreignness and culture become a set dressing. It condones and enables (some) organisations to justify Yellowface and Yellow-voice. And it carves an even deeper path and precedent for only certain writers (usually not of colour) to be the only ones that can write historical costume dramas.
I get it you can’t just let loose an untried and untested writer. There are plenty of BAME writers out there. The ones that have made it, in my honest opinion, are not celebrated or performed as much as they should be by our nationally funded theatres. There are others just teetering on the cusp and unlike their white colleagues, many of us BAME writers don’t get the break or the backing to move onto the next rung. I see much new writing and I have to question how did xxx manage to get funding when xxx was much better or more worthy. Yes, it is subjective but hell surely those in the literary departments can tell good writing from bad? Pieces that have potential and those that don’t – maybe not.
At the end of the day until organisations, venues, theatres, producers, purse holders, funders and gatekeepers actually substantively embrace diversity, actively invite writers from under-represented sections of British society (BAME – East Asian, Women over 50, disabled, transgender) nurture them, invest in them i.e. pay them, commission them; no more endless scratch and R&D, but actual projection and goals into full professional production. Then and only then will we start to see the real diversity, the real cornucopia of writing that modern multicultural, poly ethnic Britain has to offer.

Face of British Cultural Colonialism?

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

megaFor 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?

In The Depths of Dead Love - Print Room responds to Yellowface production
Print Room’s response to Yellowface production
Howard Sherman
Howard Sherman

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.

the-print-room-2nd-statementWhen 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.

Image of a family snap photo showing the United Kingdom Union Jack and European Community flags - ripped in two as a divorce photo.

Post-Brexit, yes I’ve said it.

Nigel Farage and Katie Hopkins

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.

Examples of Yellowface
Yellowface: Vogue, The Olympic Spanish Basket Ball Team, Bi-racial blogger, Katherine Hepburn, Jonathan Pryce, Katy Perry, Tilda Swinton.
Stanley, Emily Ah Foo and family
Emily married Stanley Ah Foo, a merchant seaman during WWII, by doing so she lost here British citizenship. Many of the Chinese seamen who served during WWII were rounded up and forced onto ships bound for China they didn’t even have time to say goodbye to their wives and children. Many thought that their husbands had just abandoned them. The Aliens act, or the part of that Law that stripped women of their citizenship and forced entire families to have to report to their local police stations. Was not removed from the statute until the mid 70s

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.

nationality-act-1981These 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
Erin Quill aka thefairyprincessdiarieIn the Depths of British Theatrical Racism


Daniel York The Play's The Thing.

Dr. Amanda Rogers, Yellowface alive and well at the Print Room

 The Stage London's Print Room criticised for 'racist' casting of Chinese roles

Howard Sherman

Yellowface is wrong, and the Print Room's statement is meaningless

J Waygood

In the Depths of Questionable Casting Decisions: My Response as a Half-Chinese Critic

Equity statement on Print Room Production

Whitewashing at The Print Room? By Vera Chok

Jamie Zubairi No #Yellowface Please. We're British