Victims of spite: acid attack survivors at an anti-violence rally in Dhaka. (Photo: Rex Features)
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Acid attacks: a horrific crime on the increase worldwide

Around 1,500 cases are recorded every year but the real figure is probably far higher.

Naomi Oni had left work and was on her way home to Dagenham, east London, when acid was thrown in her face. The attack took place in 2012 when she was just 20 years old. Oni is still undergoing painful skin grafts to rebuild her face.

In an emotional interview on Radio 4’s Today programme on 24 March, Oni, now 22, spoke of her isolation. “I didn’t choose this,” she said. “I’m only human.” She labelled the Metropolitan Police as incompetent: they initially suggested she had thrown acid on herself. They later charged Mary Konye, a former friend of Oni’s, with the attack; she was found guilty in January and jailed for 12 years.

Acid violence has been in the headlines after several high-profile cases. Last August, Kirstie Trup and Katie Gee, two British 18-year-olds, suffered a random attack in Zanzibar. The previous January, the Bolshoi Ballet’s artistic director Sergei Filin was assaulted by one of its principal dancers.

Worldwide, about 1,500 cases of acid violence are recorded every year, according to Acid Survivors Trust, but the real figure is probably far higher. And the sheer brutality of acid attacks – which take seconds to carry out but can cause permanent disability, as well as excruciating pain and disfigurement – makes them unusual and noteworthy.

It has been suggested that attacks are increasing in the UK but a lack of reliable statistics makes this difficult to verify. NHS statistics recorded 105 hospital admissions for “assault by corrosive substance” in 2011-2012, but this category covers not only acid. That contrasts with 44 admissions in 2006-2007. There is no ethnic or geographic evidence to back this up, but some reports suggest that honour crimes in south Asian, south-east Asian and East African communities are responsible for the increase.

Certainly attacks are prevalent in south Asia, but they also happen in Cambodia, Vietnam, Colombia, Peru and elsewhere, including the UK and the US. It is a kind of violence that transcends cultural and religious borders, but is most common in places where acid is readily available. In south Asia, where regulation is poor and acid is used in the cotton industry, a bottle of the stuff can be bought for 20p.

The crime has a long history in Britain. In the 1740s, when sulphuric acid was widely available, acid-throwing happened often. In the 1830s, one Glasgow periodical wrote that acid violence had “become so common . . . as to become almost a stain on the national character”.

Acid attacks are often a form of gender-based violence and, as such, they occur most commonly in countries where women are disenfranchised. Last year I visited the Acid Survivors Foundation (ASF) in Islamabad, the only centre in Pakistan dedicated to the rehabilitation and treatment of victims. The most striking thing about the stories of the women I met was the triviality of the causes: men taking revenge for rejected marriage proposals or husbands who got bored by their wives. It brought to mind the case of the former model Katie Piper, the UK’s most high-profile acid survivor, whose attack was orchestrated by an ex-boyfriend in 2008.

There are no hard and fast rules of this crime: men can be the victims of acid attack and women can be the perpetrators. Yet the attacks are always about exerting control and erasing identity. Mohammad Jawad, a plastic surgeon who operated on Piper and who appeared in Saving Face, the Oscar-winning documentary about acid attacks in Pakistan, described it thus: “The attacker is saying: ‘I don’t want to kill her – I am going to do something to distort her.’ It’s a walking dead situation for the victim.”

When the Today presenter Mishal Husain asked Oni why Konye had attacked her, she started to sob. “She is an evil person . . . No one in this world should throw acid on someone because they had an argument.”

It is a natural impulse to search for the reasons for such abuse, but can there ever be a justification? To most people it would be unimaginable to lose one’s face. As Oni said during her interview, explaining oneself and being disbelieved is a second abuse.

The situation for survivors of acid violence varies globally, but to differing extents all survivors feel socially ostracised. Few cultures are kind to disfigurement.

“Acid attack doesn’t mean the end of your life,” Valerie Khan, the director of ASF Islamabad, told me: “provided you receive those rehabilitation services to psychologically and physically repair you, mentally rebuild your self-confidence, and empower you economically – despite the new you, which is not necessarily an easy one to be accepted with.”

Acid violence is an extreme expression of control. Society can help to wrest some of that back for survivors by believing them, supporting them, providing medical treatment, and, crucially, redressing the balance with justice.

Samira Shackle is a freelance journalist, who tweets @samirashackle. She was formerly a staff writer for the New Statesman.

This article first appeared in the 03 April 2014 issue of the New Statesman, NEW COLD WAR

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Why hasn’t British Asian entertainment built on the Goodness Gracious Me golden age?

It is 20 years since the original radio series of Goodness Gracious Me aired. Over two decades, the UK media portrayal of Asians hasn’t used its success to evolve.

Save for a handful of special one-off episodes, Goodness Gracious Me hasn’t occupied a primetime TV slot for nearly two decades. Yet still it remains the measuring stick for British Asian comedy.

The sketch show, which transitioned seamlessly from radio to screen (it started as a BBC Radio 4 series in 1996), has stood the test of time and is as much a staple of modern British Asian culture as Tupperware or turning up an hour late.

What Goodness Gracious Me did so expertly was to take a set of serious issues facing first, second and now, I suppose, third generation migrants, and turn them on their heads. 

In making light of the pressures of academic expectation or family drama, Goodness Gracious Me wasn’t playing down the poignancy of such concerns; it was raising awareness and combatting their uglier side with humour.

It offered resonance and reassurance in equal measure; it was ok to have an embarrassing uncle who insisted he could get you anything much cheaper, including a new kidney, because other people like you did too.

That Goodness Gracious Me was broadcast on a mainstream channel was also a victory for minorities; it made us feel integrated and, perhaps more importantly, accepted. Against the backdrop of Brexit, what wouldn’t we give for that treatment now?

Really, though, the jewel in Goodness Gracious Me’s crown was its willingness to recognise diversity within diversity. It is a relic of a departed era when discourse on TV around Asians was different, when the broad church of that term was truly represented, rather than reduced to one catchall perception of British Muslims.

Goodness Gracious Me offered insight into the experiences and idiosyncrasies – religious or otherwise – of Indians, Pakistanis, Bangladeshis, Sri Lankans and even English people. It’s what made it so accessible and, in answering why subsequent programmes have failed to reach similar heights, this is a good starting point.

Without the flexible sketch format, the modern Asian sitcom Citizen Khan has struggled to cover multiple topics, and, by being specifically about a Muslim family, it leaves many non-Muslim Asians wondering: where’s ours?

I hasten to add that I feel plenty of sympathy for the British Muslim community, hounded by tabloid headlines that attack their faith, but it would be disingenuous to suggest that non-Muslim Asians are sitting pretty in 2016 and don’t need a similar level of support in terms of positive public perception.

The current volume of British Asian media products is fairly good. The BBC has its dedicated network, The Good Immigrant essay collection was one of the outstanding reads of the year, and we still have champions of comedy in Romesh Ranganathan and Nish Kumar.

But I think ultimately it comes down to the broadness of appeal, rather than the quantity of products. Goodness Gracious Me was not only able to engage the full spectrum of British Asia; it transcended its target audience and was on terrestrial TV.

The British Asian media on offer now is up against it, released as the country’s attitude towards foreigners completes a full circle back to the same suspicion my grandfather encountered in the Sixties.

Fewer outlets are willing to explore the stretch of what it means to be Asian, either by denying it due consideration in mainstream shows or by peddling their own monolithic observations. The BBC Asian Network, for example, is laudable in its existence, but does little to engage the young Asians who aren’t into techno spliced with Bhangra.

The mainstream representations of Asians in Western film and television that are commissioned, meanwhile, are irritatingly limited and sometimes inaccurate. In an article for the Guardian last year, Sara Abassi lamented the disproportionate appetite for “gritty post-9/11 films about conservative Pakistani families”, and that the researchers of American series Homeland failed to realise that the national language of Pakistan isn’t Arabic.

When I interviewed the actor Himesh Patel for the No Country for Brown Men podcast, he suggested that the answer to re-establishing Asians in mainstream media, both here and in America, was three-fold. The first challenge to overcome was for outlets to acknowledge that not all Asians fit the same religious or cultural profile; the second was to be open to placing Asians in non-Asian specific products to better reflect their presence in society.

Patel, who is best known for his portrayal of Tamwar Masood in the soap opera EastEnders, made his third recommendation based on this role. He felt that characters should be written with only their personality in mind, making the ethnicity of the actor who plays them incidental. Tamwar’s awkwardness but underlying kindness, Patel said, was what defined him – not his skin colour.

Goodness Gracious Me, though a primarily Asian show and a comedy at that, actually taught some salient lessons about representation. It succeeded in providing a window into a multiplicity of cultures, but at the same time wasn’t a total slave to the politics of identity – several of the 100-plus characters needn’t have been Asian at all. It was reflexive to the times we lived in and a perfect advertisement for empathy. That is why we still talk about it today.

Rohan Banerjee is a Special Projects Writer at the New Statesman. He co-hosts the No Country For Brown Men podcast.