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Hey, Dave: our society's bigger than yours

We have an uprising that's far bigger and more social than Cameron could have imagined.

The words "big society" will be written on the tombstone of this Conservative government. They were written on the side of the Treasury - which is, in effect, the same thing - in angry spray-can letters during the riots in December. The people of this country will not mutely acquiesce to the mortgaging of civic society to pay off the debts of the super-rich. A new social spirit is on the move, but it is not the one that the Tories envisage.

As vital public services are being dismantled, people are occupying their local libraries instead of volunteering to staff them. Instead of wealthy parents setting up academies, there are education activists running free schools for all-comers in empty mansions in Fitzrovia. David Cameron's big society branding platform imagined us "taking responsibility for the people around us". He didn't imagine that we'd be doing it by standing together on picket lines.

The Tory rhetoric around the big society is breathtakingly patronising. It's not just the awful name, which makes it sound suspiciously as though our politics were now a slick children's television show, fronted by puppets. It's not just the glib way in which the parties in government are slashing training programmes at a time when youth unemployment is nearing a million, while holding lavish fund-raising balls where millionaire donors can bid for top City internships for their sons and daughters.

And it's not just the way they declare that we can no longer afford to care for our sick and disabled, while they somehow find spare cash for tens of billions of pounds in tax breaks for banks. It's that they have the gall to do all of this and then to suggest that it is ordinary voters who have lost their sense of social responsibility.

Guess what? Enforced hardship makes people band together and now we have an uprising that's far bigger and more social than Cameron could have imagined. Who are the authors of this revolution? Check your mirror.

The real deal

It's true that there are career activists and romantic student adventurers leading the charge. But the real revolt taking place in Britain involves every one of us, whether we like it or not. It's about whether you and I are willing to let our society be broken apart and sold to unelected global financiers or whether we have the courage to stake our claim.

The sort of dissent that petrifies the powerful has an everyday face. It's the 12-year-old who organises a picket of the Prime Minister's constituency office to save his youth centre. It's the woman with progressive multiple sclerosis who builds an online resistance network to fight the cuts to disability benefits. It's the striking call-centre worker. It's the 16-year-old with no hope of affording university who misses class to protest in front of the Houses of Parliament and the teacher who lets her go.

“David Cameron, can't you see? We're the big society!" chanted members of the protest group UK Uncut at a recent demonstration against corporate tax avoidance. Cameron is about to meet the real big society and he's about to discover that it's more than a branding exercise. It's about real people standing together to fight real injustice. It's called socialism.

 

Laurie Penny is a contributing editor to the New Statesman. She is the author of five books, most recently Unspeakable Things.

This article first appeared in the 21 February 2011 issue of the New Statesman, The offshore City

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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.