In a year when Britishness is celebrated, the citizenship test makes a mockery of it. Photo: Getty Images
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The citizenship test makes a mockery of Britishness, says Mehdi Hasan

In a year when Britishness is celebrated, the citizenship test makes a mockery of it.

Britishness “is a complicated and enormous thing –what different people see as meaning different things”, the historian David Cannadine once remarked. Ministers in the Conservative-led coalition, however, beg to differ. They think Britishness revolves around knowledge of William Shakespeare and Winston Churchill, of the national anthem and Christianity. After all, that’s what foreigners who apply to become British citizens will now be tested on, according to sources close to the Home Secretary, Theresa May. “Know the Bard . . . or you’re barred”, proclaimed the headline in the Sun on 2 July.

The questions in the current “Life in the United Kingdom” test, which was introduced by Labour in 2005, range from the New Deal for the unemployed to trick-or-treating on Hallowe’en. But this is now going to change. A Home Office spokesperson told the BBC that “putting our culture and history at the heart of the citizenship test” will help improve community cohesion and integration.

There are three objections at least to this approach. First, who decides what is and isn’t relevant to British “culture and history”? Theresa May? The Bible-bashing Education Secretary, Michael Gove? Civil service bureaucrats? These are deeply contested concepts. Take the national anthem. Republicans and atheists should be deeply suspicious of the idea that it somehow defines being “British”. It  doesn’t. One in four Britons supports an elected head of state; one in three doesn’t believe in God. I vividly remember how, as a truculent teenager, sent by my parents to study at private school, I often joined my geography teacher and a few other republican pupils in obtaining a special dispensation not to have to stand and sing the anthem in assembly. God save the Queen? I was convinced from a young age that He has far more important things to do with His time.

History rewritten

It is also worth bearing in mind that the questions posed in the current citizenship test are based on the Home Office pamphlet Life in the United Kingdom: a Journey to Citizenship. This is a deeply disturbing document that rewrites British colonial history and presents a skewed and reactionary view of the past. Consider the following passage:

For many indigenous peoples in Africa, the Indian subcontinent, and elsewhere, the British empire often brought more regular, acceptable and impartial systems of law and order than many had experienced under their own rulers, or under alien rulers other than Europeans . . . Public health, peace and access to education can mean more to ordinary people than precisely who are their rulers.

Long live the Raj!

Second, there is a danger the citizenship test is being deployed as a weapon in the battle to cut net migration, rather than in the battle for greater community cohesion. Those who are well off and well educated can afford to take the test, which costs £50, and spend time and money preparing, reading, memorising. Those who are less educated and less well off, however, struggle.

The government wants migrants to show their command of English at the same time as it is cutting funding for English lessons. Is it any wonder that, in 2009, nationalities with a pass rate below 50 per cent included Iraq, Bangladesh and Turkey, while migrants from Australia, Canada and the US had a pass rate of between 96 and 99 per cent?

Third, if this is about strengthening British citizenship, shouldn’t we all, natives and migrants alike, be put to the test? Or is the burden of integration on new arrivals only? While writing this piece, I decided to take the existing test. I scored 17 out of 24, which means I failed. Narrowly. The pass mark is 75 per cent (that is, 18 and above). Every member of the New Statesman editorial team – writers, editors, sub-editors, bloggers – I asked to take the test online also failed. Miserably. (The person with the lowest score in the office got nine. She shall remain nameless.)

I have, on the basis of my score, “insufficient knowledge of the English language or of life in the UK to remain”. On this absurd and arbitrary basis, swaths of UK-born citizens would have to relinquish their red passports and head for Heathrow; they haven’t a clue how many members of parliament there are (646) or what percentage of the population is Muslim (2.7), to cite just two of the random questions that appeared in the test.

You cannot inculcate a shared civic identity or teach common values through a multiple-choice, pass-or-fail test of 24 questions. Memorising answers to questions has nothing whatsoever to do with whether one will be a good citizen or a good neighbour. Whether those questions are about Hallowe’en, as they are at present, or about Shakespeare, as they will be in the future, is irrelevant. To put citizenship to the (multiple-choice) test is to debase to the very idea of it.

Mehdi Hasan is a contributing writer for the New Statesman and the co-author of Ed: The Milibands and the Making of a Labour Leader. He was the New Statesman's senior editor (politics) from 2009-12.

This article first appeared in the 09 July 2012 issue of the New Statesman, Honey, I shrunk the Tories

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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.