Land of blue gold

In a region fraught with mutual distrust, anxieties over water supply are raising tensions between I

Almost anything the Dalai Lama does can trigger protests from Beijing. But his November 2009 visit to the disputed territory of Tawang, in the remote north-east Indian state of Arun­a­chal Pradesh, was felt with particular resonance in China's capital. Relations between India and China have been bad-tempered for months, with nationalists on both sides urging their respective governments to act tough.

The Dalai Lama's presence in Tawang - which China sees as southern Tibet, and which was the birthplace of his eccentric but talented predecessor, the sixth Dalai Lama - reminds Beijing that this was once Tibetan territory. The current Dalai Lama first came through these parts in 1959, as a young refugee fleeing Chinese rule. He never returned to Lhasa. India's open-hearted hospitality to exiled Tibet­ans has annoyed Beijing ever since.

Arunachal Pradesh, nearly 33,000 square miles of lightly populated mountain and valley, is claimed by both India and China. Its people, largely Buddhist and ethnically Monpa, speak a language similar to Tibetan and have suffered long years of neglect by both states: a condition they no doubt prefer to being fought over. During the Indo-Chinese border war of 1962, Chinese troops occupied Tawang for more than a month. Now, China is reasserting its claim. India, in turn, is claiming more than 14,700 square miles of Chinese-controlled Aksai Chin, near the Kashmir border. Talks between the two countries have been held repeatedly over the past four years without resolution.

Today, the line of actual control is heavily patrolled by both nations: on the Indian side by troops housed in ramshackle, temporary huts, and on the Chinese by soldiers in concrete barracks marching along well-paved roads. The contrast has not escaped the notice of local people and is taken as a signal of intent.

The Dalai Lama's presence in Arunachal Pradesh and the warm welcome he received from his devout Monpa following are symbolic of the antagonism. But Beijing also issued a strong protest when the Indian prime minister, Manmohan Singh, visited Arunachal Pradesh last October during an election campaign.

Historically, China is Pakistan's ally and many in India believe that China maintains pressure along the 2,500-mile border that the two countries share to keep Indian forces tied down. There have been alarming reports in the Indian press of repeated incursions across the line of control by Chinese troops. The Indian government plays these incidents down, pointing out that the boundary is not only disputed but also ill-defined, and that these incursions need not be taken as provocation.

Behind the immediate stresses, there is jockeying for regional and international influence by two large, utterly developing economies, built on radically different political philosophies and lying in a region with both live and frozen conflicts. After 1962, relations were hostile for decades: China and Pakistan became ­allies, and India turned for support to China's enemy, the USSR.

The end of the cold war brought new conflicts based on ethnicity and religion, in a region with four nuclear powers. Recently, India has been alarmed by China's increasing presence in Sri Lanka and Nepal, historically Indian spheres of influence. Now, there is another factor to complicate relations - the impact of climate change on states divided by political boundaries but united in their dependence on the rapidly melting Himalayan glaciers for water, essential both for security and life itself.

Just a few miles across the line that divides Arunachal Pradesh from Tibet, the powerful torrent of what becomes the Brahmaputra River enters one of the most dramatic passages of its 2,000-mile journey to the Bay of Bengal. Rising on the slopes of the holy mountain of Kailash in western Tibet, it flows east, along the northern flank of the Himalayas, then enters one of the deepest gorges in the world, executing a hairpin bend before roaring south into Arunachal Pradesh.

To the engineers dominating the upper echelons of Chinese politics, who have the twin concerns of meeting China's ever-growing demand for energy and its need for water, the great bend of the Brahmaputra seems to offer an irresistible temptation.

Dammed if they do

Damming the great bend of the Brahmaputra is an idea with a long pedigree. It was first suggested as one of a series of global "megaprojects" by the Japanese in the 1970s. More recently, the Chinese government has made occasional reference to the plan. Though it remains a drawing-board idea, India suspects it is moving up the Chinese list of priorities.

Anxieties about China's intentions were inflamed in 2005 by the publication of the provocatively titled Tibet's Water Will Save China. Though it was not an official statement of policy, it was written by a former officer of the Chinese People's Liberation Army, Li Ling, and its wide circulation gave it sufficient stature in Indian eyes to merit careful scrutiny. Ling's enthusiasm for diverting Tibet's rivers, including the Brahmaputra, to northern China to alleviate the acute water crisis there fitted enough of the facts to set alarm bells ringing.

In many ways, it is an implausible project, but China's engineering record and its demonstrated love of ambitious dam projects are troubling to its neighbours, so much so, that many in India's security establishment have said that if China were to dam the Brahmaputra, it would be tantamount to a declaration of war. Doubts about the feasibility of the project, including those expressed by the more sober Indian civil engineers, have not dampened wider fears. For India, concern about China's ambitions for the Himalayan region rivals - and is linked to - its long-standing enmity with Pakistan. In the heated atmosphere of mutual suspicion, water has taken its place as a critical national security concern.

At a meeting between the Indian and Chinese foreign ministers in Bangalore in October, India sought, and reportedly received, reassurances over the Brahmaputra. China, Indian officials were told, is a responsible country that would not harm the interests of its neighbours. But reports that remote sensing has detected the beginnings of construction on the river at Zangmu, Tibet, continue to circulate.

Both India and China suffer long-term anxieties over water, now rendered more acute by the rapid melting of the glaciers of the Himalayas (from which all of the great rivers of Asia derive to some degree). In a region fraught with mutual suspicion and reciprocal bad faith, there are no source-to-sink, trans-boundary water management agreements in place and, currently, little prospect of any being negotiated to manage the sharing of what threatens to be a rapidly diminishing supply.

The dispute works both ways. While India protests about Chinese infrastructure investments in Pakistan-controlled Kashmir, which include roads and a £7.8bn dam, India has its own plans to dam the Brahmaputra in Aruna­chal Pradesh, which China opposes. India has drawn up plans for 42 dams in Arunachal Pradesh, which have the potential to produce nearly 28,000 megawatts of hydropower, equivalent to the entire hydro capacity built by India in the past 60 years.

The dispute over the dams went international in June when China attempted to block an Asian Development Bank loan that included £37m for projects in Arunachal Pra­desh. The bank should not invest, China said, as the state was disputed territory. India responded by saying that it would finance the projects itself and stepped up its military presence in the region, deploying another 60,000 troops to the neighbouring state of Assam in addition to the 40,000 already stationed there. The shadow war games rapidly spread across the Himalayas, as China initiated military exercises. In September, India responded by stepping up the state of alert on the line of control in Kashmir.

The status of India's legal claim to Arunachal Pradesh is complicated and rests on the unresolved argument about the historic status of Tibet. It centres initially on an exchange of notes during the negotiation of the Simla Accord in 1914, under Henry McMahon, the then foreign secretary of British India. China, Tibet and Britain negotiated the accord, which resulted in the contentious McMahon Line that, for the British at least, defined the border between India and Tibet. The Tibetans conceded the territory that became Arunachal Pradesh to British India in return for a British promise, never honoured, to recognise Tibetan autonomy.

Chinese water torture

China rejected the Simla Accord and insists that Tibet did not have the status to sign any international agreement. If India were to rest its case on the accord, it would imply that Delhi recognised Tibet's authority to negotiate and conclude international agreements: a step that Beijing would take as severe provocation. The British, at the time, insisted on a distinction ­between China's acknowledged "suzerainty" over Tibet and full sovereignty, but the picture was further complicated last year when the Foreign Office abandoned the distinction, for current policy at least, as "anachronistic".

After Simla, neither side paid much attention to the disputed territory, and the Tawang monastery continued to pay taxes to Tibet until the 1950s. Shifting regional geopolitics have made this, and other Himalayan regions, the focus of potentially dangerous rivalries.

For the Tibetans in exile, these developments carry their own threat. Rising tension between their Indian hosts and Beijing is not good news. India has been a generous host to some 150,000 Tibetans who now live there, to the Dalai Lama and his government in exile, and to refugees who continue to arrive.

Yet there are voices in India which argue that, in the face of China's growing assertiveness, the cost to India of this spiritual and material solidarity is getting higher. It is not hard to find Indian analysts who believe that both India and China need a comprehensive agreement on the main points of contention between them - the border and the disputed territories, the fair management of declining water supplies, and the scientific and technical co-operation that such agreements would demand.

The question that many ask, but nobody has yet answered, is whether the price of a comprehensive agreement will be the special status and security that India's Tibetan exiles have enjoyed for more than half a century. Such a bargain would certainly please Beijing. For India, it is still a long way from official policy, but some argue it would be a price worth paying.

 

Isabel Hilton is editor of chinadialogue.net

 

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This article first appeared in the 18 January 2010 issue of the New Statesman, Palin Power

Martin O’Neil for New Statesman
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Why the British addiction to period drama is driving away our best black and Asian actors

There is a diversity crisis in British TV and film as, increasingly, stars are decamping to America to make their career there.

Back in April, a six-part drama called Undercover premiered on BBC1. Perhaps you were one of the five million people who watched it: the story was audacious and continent-hopping, enfolding a narrative about a man on death row in the United States with an all-too-believable tale of a Metropolitan Police officer who marries a woman he is meant to be keeping under surveillance.

The reason the programme attracted so much attention, however, was not what it was about, but whom. Starring Sophie Okonedo and Adrian Lester, Undercover was widely reported as the first mainstream British television drama with black actors in the lead roles. This wasn’t true: as James Cooray Smith wrote on the New Statesman website, that milestone was passed in June 1956 by Mrs Patterson, a BBC adaptation of a Broadway play starring Eartha Kitt.

Yet Undercover was still a breakthrough. Smith, casting his mind back over more than six decades of British television, could not think of more than a handful of other examples. Writing in the Observer, Chitra Ramaswamy expressed her feelings with quiet devastation: “In 2016, it is an outrage that it’s a big deal to see a successful, affluent, complicated black family sit at a ­dinner table eating pasta.” Think about that. In 2016 in Britain, a country where more than nine million people describe themselves as non-white, it is news that a black, middle-class family should not only feature in a prime-time BBC drama but be at its heart. Undercover exposed how white most British television is.

Actors of colour have appeared on British film and TV screens for decades, and they have been visible on British stages for centuries – yet they have been shunted into the margins with depressing regularity. In January the actor Idris Elba urged British MPs to take the matter seriously. “Although there’s a lot of reality TV,” he argued, “TV hasn’t caught up with reality.”

In February, there was renewed uproar over the lack of racial diversity in Hollywood at the 88th Academy Awards, and the infuriated hashtag #OscarsSoWhite blossomed again on social media. A month later, Lenny Henry argued that black and minority ethnic (BAME) talent was being “ghettoised”. The term could hardly be more charged. Speaking at the London premiere of Mira Nair’s film Queen of Katwe, the actor David Oyelowo said: “What we need now is for a change to come. I think the talk is done.”

There has been some change. In March, the Royal Shakespeare Company opened a production of Hamlet starring Paapa Essiedu, an actor of Ghanaian heritage raised in London. It was the first time that a black performer had taken the role for the company. A new set of BBC diversity targets both on- and off-screen was unveiled in April. Noma Dumezweni is playing Hermione in Harry Potter and the Cursed Child in the West End, and in October the BFI launched Black Star, a nationwide season celebrating black talent in film and TV. But what does the picture really look like, in late 2016? And what, if anything, needs to change?

The first challenge is that many in the film and TV industry find it difficult to talk about the subject. Researching this article, I lost count of the number of people who demurred to go on the record, or of actors who seemed eager to speak but were then dissuaded. Fatigue might be partly to blame – it’s exhausting to be asked repeatedly about diversity because you didn’t go to Harrow and your skin isn’t white – but I got the sense that there’s more going on.

One man who passionately believes this is the screenwriter Trix Worrell, the creator of the pioneering Channel 4 sitcom Desmond’s, which brought an African-Caribbean barbershop in south-east ­London to Middle England’s living rooms in the late 1980s and early 1990s.

“TV is very difficult to break into. There’s a protectionism there,” he says with a shrug, when we meet for coffee on the seafront in Hastings, where he now lives. “People are nervous about rocking the boat.”

Though cheerful about most of the things we discuss, Worrell admits to feeling a roiling anger when it comes to this particular matter. Does he think that diversity has improved since he was pitching Desmond’s, three decades ago? “No. I say that with absolute certainty and surety.”

It is hard to underestimate the influence that Desmond’s had. The series ran for 71 episodes and at its peak it had five million viewers, remarkable for a sitcom. Starring the veteran actor Norman Beaton alongside a largely British-Guyanese cast, it made that community visible in a way that has not been rivalled in Britain in the 22 years since it came off air. It did so with the deftest of touches, addressing problems of interracial relationships and tensions within the black community through warm comedy.

“Up to that point, black people were ­never seen on TV,” Worrell recalls. “The only time we appeared in any media was in the red tops – muggings, vice. The idea was to show a black family who were just like any other.” Yet it seems that, apart from the spin-off comedy series Porkpie, occasioned by Beaton’s sudden death in 1994, Channel 4 has regarded the idea of portraying a normal black family in a sitcom as too great a gamble in the years since, despite an increase in the number of non-white roles in its other drama output.

Worrell smiles, but it is clear that the ­matter isn’t a joke. “The thing that’s said among black people is that there’ll only be one black sitcom every ten years.”

***

When I phone Paapa Essiedu while he’s on a lunch break from Hamlet, I am prepared to get a more positive perspective. Just 26, Essiedu has had a spectacular and seemingly unimpeded rise. A graduate of the prestigious Guildhall School of Music and Drama in London, he joined the RSC in 2012 and then hopped to the National Theatre in Sam Mendes’s King Lear, before returning to Stratford. The Telegraph greeted his debut as Hamlet with the notice that every actor dreams of: “A new star is born”.

But Essiedu seems ready to implode with frustration. “It’s ridiculous,” he says. “This stuff has been here for decades and decades: we’re lying to ourselves if we think there’s been a lack of awareness until now. Lots of people are talking and talking, but we need action.” Has he experienced racism directly? “Put it this way: quite often, I’ve been in a room where everyone else is white.”

A major issue, he says, is the apparently unshakeable addiction of British TV and film to corsets-and-cleavage period drama, which has left many BAME actors locked out of the audition room. The BBC is in the middle of a run of literary spin-offs, from War and Peace to The Moonstone. Over on ITV, we have had Victoria and the invincible Downton Abbey.

It still feels as though much of British drama is stuck in an airbrushed version of the country’s past. Though partly set in contemporary Egypt, BBC1’s adaptation of The Night Manager by John le Carré had only a handful of non-white actors in significant roles. Allowing for exceptions such as the BBC’s version of Andrea Levy’s Windrush-era novel Small Island, broadcast in 2009, you could be forgiven for thinking, had you never visited Britain, that people of only one skin colour live in this country. That the largely white drama series are successful on the export market only helps to extend the cycle.

“Producers say, ‘Oh, we commission stuff that people want to watch,’” Essiedu tells me. “But it’s such a narrow version of history – middle-to-upper-class Caucasian men, generally. Period drama can be from anywhere in the world: Africa, Asia. Where are those stories?”

Drama is just a sliver of broadcasting output, but other genres aren’t much better. Journalists from ethnic-minority backgrounds have made steady progress in television newsrooms – but not fast enough, Channel 4’s Krishnan Guru-Murthy has ­argued; there is a glaring absence, however, when it comes to lifestyle and entertainment TV. The recent success of the intrepid youth TV star Reggie Yates notwithstanding, it is difficult to ignore or account for the dearth of BAME presenters in documentaries and “serious” factual programming; and no major current British chat show has a permanent anchor who isn’t white.

Adil Ray’s BBC1 comedy Citizen Khan, which focuses on the escapades of the overbearing Muslim patriarch Mr Khan and his family in the Sparkhill area of Birmingham, is a rare exception. It has just returned for a fifth season. A worthy successor to Desmond’s in its tongue-in-cheek approach to potentially inflammatory issues (the 2014 Christmas special featured the birth of Mr Khan’s grandson, Mohammad, on Christmas Day) the programme also resembles its forebear in a more depressing way: it appears to be one of a kind.

When I ask Ray why he thinks this is, he selects his words carefully. “It’s not prejudice exactly,” he says, “but in the TV business, there are a lot of formulas. If you’re doing curry, get an Asian person. If it’s hip-hop, someone who’s black. If you’re doing a walk in the countryside, or drinking tea in the Cotswolds . . .” He leaves the sentence hanging.

What appears on screen is only the visible part of the problem. Actors get cast in roles only if writers write them; projects get made only if commissioners commission them. TV and film are notoriously incestuous and competitive industries. Careers are unstable. Knowing someone who knows someone is often – too often – the only way of getting work.

According to figures produced this year by Creative Skillset, many media companies fail dismally when it comes to representation. Just 24 per cent of those in senior roles in cable or satellite firms are female; 4 per cent of employees in positions in senior terrestrial broadcast are BAME; and, if the numbers are to be believed, there are no BAME people at all working on the senior production side of independent film companies. The figures aren’t entirely robust – they rely on organisations filling in forms and returning them – but if they’re anywhere near the truth they make for grim reading.

The BBC’s statistics are more encouraging (according to the latest figures, BAME people make up 13.4 per cent of staff overall and hold 9.2 per cent of leadership roles) but don’t include freelancers, an area in which it is reasonable to suppose that, without quotas to fill, representation will be worse. In September, the media regulator Ofcom put broadcasters on notice that they could face “harder-edged” regulation if they did not improve diversity.

Chi Onwurah, the MP for Newcastle upon Tyne Central, who has been vocal about these matters in parliament, says that the BBC has a special duty to up its game. “It’s not doing enough,” she tells me. “If it was, there wouldn’t be a problem. It was very interesting watching the [European Union] referendum; all the efforts broadcasters have gone to to make sure there was balance. If they went to half that effort for BAME, gender and disability, it would be a different world.”

The BBC is keen to show that it is paying attention. Last year, it appointed Tunde Ogungbesan as its new head of “diversity, inclusion and succession”, and in April his team announced eye-catching targets: gender parity across every part of the corporation; 8 per cent of staff disabled; 8 per cent of staff lesbian, gay or trans; 15 per cent of staff from BAME backgrounds. Those numbers will be replicated on screen, lead roles included, and are roughly equivalent to averages for the overall population of Britain.

Yet the idea that established BBC presenters will go quietly seems optimistic. Take the ruckus that the comedian Jon Holmes recently raised when his contract with The Now Show (Radio 4) wasn’t renewed. Holmes asked in the Mail on Sunday: “Should I, as a white man . . . be fired from my job because I am a white man?”

Ogungbesan – a former head of diversity for Shell – has a businesslike attitude to the challenges he faces, which are, he concedes, considerable. “We’ve got four years to do this, and we know there’s a hell of a lot of work to do.” That is why his team has given itself a deadline. “Hopefully, when we hit those targets in 2020, we’ll be the most diverse broadcaster in the UK.”

How does he respond to Onwurah’s suggestion that the BBC is skilled at announcing targets but less good at making change happen? “We’re publishing our results,” he says. “You’ll be able to hold us to it.”

And what if the targets aren’t met? Ogun­gbesan laughs, for perhaps a touch too long. He will not consider the possibility. “I’m like a boxer. I refuse to look at it.”

***

If British TV and film don’t get their act together soon, there may be no one left to cast. Increasingly, black and Asian stars are decamping to America to make their career there. Among those who have joined the brain drain are Archie Panjabi and Cush Jumbo (The Good Wife), David Oyelowo (Selma) and Chiwetel Ejiofor (12 Years a Slave). Idris Elba, who brooded brilliantly in BBC1’s crime procedural Luther, would likely never have been cast in a big British series if he hadn’t already made a name in the United States with The Wire. Before she appeared in Undercover, Sophie Okonedo said in an interview that the scripts she was offered from the US far outnumbered those from the UK.

Visiting Los Angeles recently, I tracked down Parminder Nagra, who made her name in Bend It Like Beckham before being spotted by a producer for the long-running medical drama ER. In 2003 she was offered the role of the Anglo-American doctor Neela Rasgotra, which she played until the series ended in 2009. A big part in the NBC crime drama The Blacklist followed, along with other film and TV work.

She never intended to move, she says, laughing ruefully, when we meet at a café in a well-to-do suburb of LA populated by movie folk. She has worked occasionally elsewhere but, 13 years on, she is still on the west coast. “The jobs I’ve got, like most actors, haven’t come about in a conventional way. It’s generally because someone is open-minded enough to look at you.”

Although she is careful to make it clear that the US is far from a utopia in terms of how it portrays race, sexuality or gender on screen – she tells a gruesome tale of a white writer who sent her his attempt at an “Asian” character – Nagra senses that things are more open in the US. “It’s a bigger pond here, because of the sheer size of the country,” she says. “There are writers of colour in the UK, but what happens is that you’ve only got one or two people at the top who are making decisions about the taste of the country . . . Those people are white.”

The landscape is certainly more open in the US. Leaving aside the allegations about Bill Cosby, NBC’s Cosby Show (1984-92) was a force for good, with its focus on a middle-class African-American family and with the numerous ethnically diverse shows it made possible: A Different World, The Fresh Prince of Bel-Air, In Living Color, Scandal (the last was commissioned by the influential black writer-producer Shonda Rhimes). Back in the early 1980s, the gentle NBC sitcom Gimme a Break! – starring Nell Carter – explored issues of racism, too.

US cable and online subscription ­services are even more courageous. Netflix’s Orange Is the New Black has an ethnically kaleidoscopic cast and plotlines that vault across almost every conceivable question of gender, sexuality, body image and politics. Where it has apparently taken the BBC until 2016 to realise that families can be both black and upper middle class, ABC in the US was years ahead: in 2014 it commissioned Black-ish, which offers a subtle portrait of an advertising executive who frets that he is losing touch with both his Obama-era kids and his inner-city origins.

Nagra nods. “There still are a lot of issues here, but if you’re an actor of colour, there is more work. All those British period dramas are really well done, but there’s a yearning there: ‘Can I please just see somebody like me on TV?’”

The reason all this matters is that TV, theatre and film have a duty to show us not merely who we are, but who we can become. In Undercover, Okonedo becomes Britain’s first black, female director of public prosecutions: this may seem unlikely, given the state of the UK’s judiciary, yet seeing it on TV helps to shift perceptions. No one would argue that Okonedo’s co-star Dennis Haysbert got Barack Obama into the White House by playing a black president of the United States in 24, but perhaps it made such a world marginally more imaginable.

The time is overdue for British TV to abandon its fetish for bodices and show us what our nation actually looks like, in all its variety – and to be more imaginative about the kind of history it presents. Colour-blind casting is mainstream in theatre. Actors of various heritages appear in Pinter or Chekhov and no one raises an eyebrow.

Anthropologists argue that race and gender are forms of performance, sets of shared codes, rather than something intrinsic to who we are. Is it so difficult to imagine a Jane Austen production with performers of black or Asian heritage? Is that any harder to believe than the thousand impossibilities we witness every day in TV drama?

I ask Essiedu if he is optimistic. Yes, he says forcefully. “I have to be. Optimism is the only way we initiate change.”

When I put the same question to Nagra, she pauses to think. “I remember being asked about this when I started ER, and I was a bit tired of the issue even then. Yet here we still are.” Her expression is wry. “So ask me in ten years’ time.”

This article first appeared in the 24 November 2016 issue of the New Statesman, Blair: out of exile