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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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.