What does Britishness look like from the outside?

For those at the mercy of war, poverty, and global inequality, to be born in Britain is to be born powerful.

I was born in 1980s Britain and went to school in Kent. At school there were only one or two other brown faces. My dark skin bothered some people. They would - inexplicably as far as I was concerned - yell words like “nigger” and “Paki” as I played in the street. Such incidents left me baffled, certain that I did not quite fit in. At that stage, I do not think I would have called myself British. Yet I knew I wasn’t quite Nigerian like my granny, because I didn’t speak Yoruba and pronounced my uncle Gbenga’s name like an English person.

My confusion deepened when I moved to London and started secondary school. There in a colourful sea of faces and cultures, I was told I was not black enough. “You don’t talk like a black person,” my friend told me once. Black was a powerful identity at my school, and everybody, Muslim, white, Indian, wanted to be “black”. It was not political, it was not gang-related, it was just cool. If asked at that time if I was British, I probably would have said, “No, I’m black”.  

As I became more politically aware, my confusion over my identity hardened into irritation, and anger. Irritation, because public discussions about the supposed failure of multiculturalism often feel like an entire generation being told go home, except that I was born here. Anger, because it is difficult for a child of the Commonwealth to think about being British, and not think about the brutality of empire.

It is only now, having worked as a journalist interviewing undocumented migrants desperately trying to reach the UK, that I begin to understand what it means to be British. Faced with a wretched migrant who has risked death to find work, I feel less turmoil over my identity; which is unambiguously British. Why? Journalist Gary Younge puts it well in his brilliant book, Who are we - and should it matter in the 21st century:

The more power an identity carries, the less likely its carrier is to be aware of it as an identity at all. Those who have never been asked, "How do you balance childcare and work?" or "How can you prove that you will return home after this holiday?" are less likely to think that their masculinity or western citizenship and the privileges that come with them are anything but the normal state of affairs.

Because their identity is never interrogated, they are easily seduced by the idea that they do not have one. Strip them of their citizenship, recategorise their ethnicity or put them in a place where they become a minority, and see how quickly they will cling to attributes they have inherited.

I am one of those people. I never truly considered the privilege of my identity as someone born in the west, till faced with those without it. They leave all that is familiar to find work, to study, to escape war.  I wake up each day without these worries. At home in Britain, I am a minority and my navigation of identity is wrought with all that that entails; but away from home, in the minds of those at the mercy of war, poverty, and global inequality - to be born in Britain is to be born powerful. Or perhaps privileged is a better word.

Meeting migrants who undertake dangerous journeys to find a better life, and choose Britain as their destination, forced me to think about their notions of Britishness.

The UK’s global relevance and power is diminishing, but the idea of "Britishness" remains attractive to the undocumented migrants I met in Spain, France, Italy and Greece. Their views of the British are tied to their perception of Britain as a liberal, fair minded country committed to human rights. Take the Iraqi interpreter I met shivering in a muddy forest in Dunkirk, waiting to smuggle his way into Britain. While working for the British army in Iraq, he made friends with several British soldiers and developed a profound respect for the British. One solider had given him his mobile number, he told me proudly, and said to call if he was ever in the UK.

The glitz and glamour of the premier league is another indicator of Britishness for many. Outside a prison-like holding centre in a tiny border-village in northern Greece, I tried to communicate with some Afghan teenagers waiting for a bus to Athens. We had no common language, but when I said I was from England, their faces lit up. “Manchester United”, they said. I responded with, “I live in London. Arsenal,” I said. Enthusiastic nods and smiles. Chelsea, they said. Thumbs down.

In the novel Hinterland, journalist Caroline Brothers’ tells the story of two children seeking asylum in Europe who look forward to arriving in London because there they will go to school. Their dreams tally with the real life hopes of the teenagers I met, giddy with the excitement at the prospect of education. The power of this idea was strong enough to inspire many undocumented migrants to keep moving; through the mountains of Iran, forced to work like adults in Turkey and Greece, to live in destitution in Italy and France, till they reach London, and the dream school.

The migrants I met held semi-religious ideas about Britain and the British. As they experienced more and more hardship in other European countries, they developed a zealous faith in Britain, as a place apart from Europe, a place where “they care for the humans”. In Greece, an Afghan fearful for his family’s safety with increasing attacks on dark-skinned migrants by fascist gangs, said he would try to get to London, where finally they would be safe and he could work. Europe had quickly become as merciless as the continents they had left behind. But in their minds, Britain, with all its cultural associations, remained intact, a more liberal prospect than its European neighbours. Chatting to a group of migrants at a Calais soup kitchen, I expressed doubt about the streets of gold they dreamt of in London. A tired Eritrean man turned to me angrily and said, "of course this would not happen in the UK, we would not sleep on the street". The rest nod in agreement: the general consensus is that they can find work and sanctuary in Britain.  

The reality is darker than this, but still, strangely for the first time, I felt proud to be British, and proud of the society I live in. The migrants I met left their homes, and the countries they loved deeply, often risking their lives on the way, to access what I have because I am British. A society where there is universal education, a national health service, and a society where people are free to fight inequality and seek justice.

Rebecca Omonira-Oyekanmi is a freelance journalist. She writes mainly on social inequality. Her blog, covering the stories of undocumented migrants in Europe, was shortlisted for the Orwell Prize.
 

Refugees living in Britain celebrate the Queen's Diamond Jubilee at a street party in Brixton organised by the Refugee Council. Photograph: Getty Images

Rebecca Omonira-Oyekanmi reports and writes on immigration, women and economics, housing, legal aid, and mental health. Read her latest work here. Her blog rebeccaomonira.com was shortlisted for the 2012 Orwell Prize. She tweets @Rebecca_Omonira.

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Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

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