The Iraq war protest march: how hope was lost

Contrary to what subsequent reports would have you believe, the march wasn't a complete failure.

There had always been a degree of unease about the prospect of any war with Iraq. In late 2002 and early 2003, as the Iraqi crisis rapidly rose up the agenda, most political debate and news coverage was restricted to questions about the progress or otherwise of the UN weapons inspector Hans Blix and his team, and to what this or that UN resolution actually meant.

By the time the war began on 20 March 2003, the legitimacy of US foreign policy was at stake, there was an awareness of the double standards in our own UK foreign policy and, to a lesser extent, debates about imperialism were on the agenda for the first time in a generation. We have, to a certain extent, the 15 February protest to thank for that. It was one of those rare moments in British history when the radical left had some palpable impact on the course of political debate.

That is not to say that all of us who went on the march (yes, I was there) would identify with the radical left, or that all the marchers thought of their opposition in anti-imperialist terms. But it is no secret that the hub of the movement, in the form of the Stop the War Coalition, hailed from that end of the political spectrum.

The success of the march, in terms of the number and diversity of people on it, led to some surprisingly positive press coverage. In contrast to most demos, these marchers could not all be dismissed as a bunch of Trots and Sixties throwbacks. It also allowed leading figures from the movement, such as Tony Benn, George Galloway and Lindsey German, the national convenor of the Stop the War Coalition, to appear on Question Time and Newsnight, and appeared to embolden the left of the Labour Party to speak out more vigorously against the war.

Looking back, I can distinctly recall the sense of celebratory optimism on the day. “They can’t ignore us now” was a common refrain. In fact, the march did more than that: it had leading figures of the government seriously worried, right up to the prime minister. If Alastair Campbell’s Diaries are to be believed, Tony Blair confessed to having slept uneasily that night.

Yet if they couldn’t ignore us, they could still override us. The bonhomie in the anti-war movement disappeared once the war began. Many who marched on 15 February have probably never been on another march since. “What would be the point?” they might reasonably ask. That, however, does not mean that the movement should be dismissed as a flash in the pan. The preparations and promotion began months beforehand and in some sense the movement carries on until this day. But when 20 March came around and it became apparent that we had not succeeded in stopping Blair from sending British forces into battle, the debate – and, indeed, argument – turned inwards: what could and should we have done differently?

Some people, many of whom identified themselves as anarchists, argued that we had picked the wrong tactics and that rather than relying exclusively on a peaceful march we should have engaged in far more civil dis­obedience. In reality, anything beyond the occasional publicity stunt would have been a disaster for the movement. To have blocked off all the bridges across the Thames in London, as proposed by the “autonomous” strand of the movement, would have caused nothing more than huge inconvenience for the public and would have alienated Britain from the anti-war cause.

In my opinion, what we needed more than anything else was an answer to the dilemma of what should have been done about Saddam Hussein and the appalling human rights abuses that were undoubtedly going on inside Iraq. Questions about this came up a great deal at public meetings, when leafleting the high street and in letters to local and national newspapers from supporters of the war. When asked about Iraq now, Blair always plays this card because he knows that opponents of the war don’t have an answer to it. If being on the left means anything, it ought to mean standing up for the oppressed. It shouldn’t have been beyond the wits of those speaking for the movement to have woven an answer to the problems of human rights abuses by non-western regimes into the fabric of their anti-imperialist principles. My view is that, just as we had weapons inspectors in Iraq, we should also have had human rights inspectors there. That would have done a lot to wrong-foot Blair et al.

If the march fell a long way short of achieving what so many of us desperately wanted, it wasn’t a complete failure either. This was the day when the message finally got through to Blair and the Conservative opposition that their war was going to be profoundly unpopular. The decades-old assumption that the British public was instinctively hawkish and suspicious of any politician who doubted the efficacy of going to war came to an end on that day.

Blair failed to realise this in time (if he ever came to realise it). His reputation has never recovered. David Cameron would be wise to take that on board as he ponders his options over Syria and Iran and in North Africa.

Ian Taylor is a lecturer in media and communication at the University of Leicester

Anti-war demonstrators pass by the cenotaph on Whitehall on 15 February 2003. Photograph: Getty Images

This article first appeared in the 18 February 2013 issue of the New Statesman, Iraq: ten years on

BBC/YouTube screengrab
Show Hide image

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.