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One Day Without Us reveals the spectre of Britain without immigration

Imagine a country without its NHS workers, its artists and even its consumers. That's why immigrants are striking today. 

What’s the best way of making yourself heard in politics? Protesting in the street, or contacting the media? Writing to politicians? A badge?

One option, of course, is to walk out - and give people a chance to recognise what they’d be missing if you weren’t there. In the labour movement, that’s long been an option – a last-case option, but an option nevertheless – when your contribution isn't being recognised.

A strike is a tit-for-tat negotiation and a warning shot. “I’ll work properly when you employ me properly”, it says, but simultaneously: “Here’s what you’d lose if I stopped”. Done right, the worker’s absence can shift the power balance in their favour.

Normally, people strike according to their role, in pursuit of certain conditions – the tube strikes, or last year’s teacher's strike.

Yet there is also a long and rich history of walk-outs whose terms are broader and boundaries hazier. One of the most famous is surely the 1975 Women's Strike, in Iceland, during which 90 per cent of the country's women refused to participate in either paid or unpaid work.

In 2016, the formula was repeated in Poland, where women went on strike to protest against a draconian change being proposed to the country's already-strict abortion laws. (It worked.)

Immigrant strikes, too, have a history. In 2006, for instance, a coalition of Los Angeles Catholic groups, unions and immigration reform groups proposed a boycott in opposition to a bill which, among other things, called for new border security fences to be built between America and Mexico. (Ahem.)

The action grew to become a national event, and on May 1, the “Great American Boycott” took place, with immigrants from Latin America and elsewhere leaving work, skipping school and refusing to buy or sell goods.

Now, with Donald Trump in the White House and Brexit looming, some have decided it’s time for another strike. Enter “One Day Without Us”.

Today, immigrants here in Britain will strike not for pay conditions or holiday allowances, but for basic recognition and respect. Across the country, businesses will close and immigrants will leave work, many of them to take place in alternative actions like rallies or letter-writing campaigns.

The name of the protest pulls no punches. This, it says, is what it would be like if we all went away. (Subtext: “like some of you want”.)

Because – and let’s be honest here – it’d be bad. In hospital this summer, I was treated by migrants. After 24 hours in NHS, I took a count, and found that only about one in five of the staff who had treated me were identifiably English. Around 4.6 per cent of NHS staff nationally are from the EU, including 9 per cent of doctors. Immigrants clean buildings, make our food, and provide a whole host of other vital services.

One Day Without Us, then, could do Britain a huge favour - it provides us with a quick preview function before anyone ups and leaves for good, taking the heart of our health service, or our food supplies, with them.

In recognition of this, some businesses are actively giving their workers the day off. One 36-year-old owner of a support services company, for instance, is giving her staff a paid holiday.

“Not all my colleagues are taking up the offer not to come in”, she explained. “Some, both British and foreign-born, would prefer to work. That’s fine, I wanted to give colleagues the freedom to choose.

 “It will cause some inconvenience and I’ve had to explain to clients why we aren’t offering all our services for one day, but I feel doing this is the only way to show how much this country relies on migrants. I may be a businesswoman, but I’m a human being first, and it hurts my heart to see how foreign-born colleagues are being treated by some people in the current political climate."

The woman, whose staff is 65 per cent foreign born, has asked her company not to be identified. She’s heard her staff being abused for speaking Polish.

Of course, not everyone is able to walk out of work. I write this from Chicago, Illinois, where last week activists participated in an American predecessor to One Day Without Us called “Day Without Immigrants”. Type “Day Without Immigrants" into Google followed by the word "Chicago" and you will find reports of restaurants closing down and citizens marching together through the city.

But search for just "Day Without Immigrants", and the top stories are all about participants being fired.

One Day Without Us, then, encourages any form of engagement. From human chains to sessions during which participants can write to their MP, these events allow immigrants, and supporters, to make themselves known across the country.

Businesses and museums, too, are involved. The Tate, for instance, is offering free tours showing visitors artworks created or influenced by migrants, showing Londoners which of the paintings that they’ve seen a dozen times only exist because of immigration.

Because paintings, like people, come from everywhere, whether or not you remember. Britain is a mongrel country, and so its art and culture are as mongrel as its workforce: a persistent thread through the country’s history.

We risk a lot forgetting this. At its best, assimilation provides a way of integrating without forgetting one’s own unique identity. In a world where immigrants risk threats or violence, however, invisibility can be the best option. For some, it is better not to be recognized as an immigrant than be abused as one.

Those of us who don’t risk threats have a duty to recognise this. I dislike the glibness of “we are all migrants” – maybe, technically, but we’re not all getting slurs shouted at us in the high street, are we? Still, I also don’t like anyone forgetting the fact that their existence, in all probably, is contingent on someone once being given clemency in a place that was their own. The movement of people is woven into the fabric of society.

Of course, it is impossible to say how successful One Day Without Us will be, or how many people’s lives will be directly affected. But I hope that, even as a gesture, it works: that people think of what would be missing from their lives without immigration.

We ignore it at our peril.

You can view all the One Day Without Us events on the organisers’ website, or contribute to a fund to support businesses which are closing for the day here.

Stephanie Boland is head of digital at Prospect. She tweets at @stephanieboland.

The University Challenge final. Photo: BBC iPlayer
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Why University Challenge is deliberately asking more questions about women

Question setters and contestants on how the show finally began to gender-balance its questions – and whether it’s now harder as a result.

University Challenge has long had a gender problem. When the show first started airing in 1962, some Oxbridge colleges were still refusing to admit women as undergraduates; in the decades since, women have been consistently outnumbered by men, with all-male teams still a regular occurrence. Those women that did appear were all too regularly criticised and objectified in equal measure by audiences: notable contestants like Hannah Rose Woods, Emma Johnson, Samantha Buzzard and Sophie Rudd have experienced intense media scrutiny and criticised the sexism of the show and audiences. In recent years, sexism rows have dogged the show.

How satisfying, then, to see two women carrying their teams in last night’s final: Rosie McKeown for winners St John’s, Cambridge, and Leonie Woodland for runners-up Merton, Oxford. Both secured the majority of points for their teams – McKeown with visible delight, Woodland looking unsure even as she delivered correct answer after correct answer.

But there is another site of sexism on University Challenge, one that earns less column inches: the questions. Drawing on all areas of history, science, language, economics and culture, the questions often concern notable thinkers, artists, scientists, and sportspeople. Of course, our society’s patriarchal hierarchies of achievement have meant that the subjects of these questions are mostly men. General knowledge is, after all, a boys’ club.

Over the course of this 2017-8 series, though, I noticed a shift. More women than ever seemed to be making their way into the questions, at times with deliberate reference to the inherent sexism of their lack of cultural prominence. On 5 February, there was a picture round devoted to female composers, with contestents asked to identify Clara Schumann, Ethel Smyth, Rachel Portman and Bjork from photographs, who, Paxman explained, are all “women that are now listed in the EdExcel A Level music syllabus after the student Jessy McCabe petitioned the exam board in 2015.” Episodes have included bonus rounds on “prominent women” (the writer Lydia Davis, the pilot Lydia Litvyak, and the golfer Lydia Ko), “women born in the 1870s and 80s” (Rosa Luxemburg, Elizabeth Arden and Vanessa Bell), and the female philosophers Mary Midgely, Philippa Foot and Iris Murdoch.

Elsewhere, questions raise a knowing eyebrow at the patriarchal assumptions behind so much of intellectual endeavour. A music round on famous rock bands quoted the music critic Kelefa Sanneh’s definition “rockism”: “the belief that white macho guitar music is superior to all other forms of popular music”. Another, on opera, quoted Catherine Clement’s Opera, Or The Undoing of Women, which explores how traditional opera plots frequently feature “the infinitely repetitive spectacle of a woman who dies”. “Your music bonuses are three such operas,” Paxman said dryly, to audience laughter.

University Challenge’s questions editor Thomas Benson confirms that there has been a deliberate attempt to redress a gender imbalance in the quiz. “About three years ago, a viewer wrote in to point out that a recent edition of the programme had contained very few questions on women,” he explains. “We agreed and decided to do something about it.”

Last night’s final included a picture round on artists with works concerning motherhood (Mary Casatt, Lousie Bourgeois, Leanora Carrington and Frida Kahlo) and a music round on Marin Alsop, the first woman to ever conduct the Last Night of the Proms, as well as sets of bonuses on the American writer Willa Kather and Byzantine historian and princess Anna Komnene.

Former winner Hannah Rose Woods is delighted by the increase in such questions. “I think it’s fantastic!” she tells me. “These things are really important in changing people’s perceptions about women in the past, and the way women’s contributions to science and the arts have often been written out of history. We need to keep challenging the idea of the White Male Canon.”

Last night’s winner Rosie McKeown says that while she didn’t necessarily notice a deliberate attempt to gender balance the questions, she was “very pleased with the quality of those questions that did come up”.

“Although it wasn’t in one of our matches,” she tells me, “I thought the picture round on female composers was especially good for highlighting women’s achievements.”

For all the enthusiasm for these questions, in the studio they’re often met with blank stares. While University Challenge questions are broad and imaginatively posed, there are some reliable revision topics and techniques: from Nobel laureates and the years of their wins to identifying famous paintings and classical music excerpts. McKeown says she has been a religious viewer of the show since she was 11 years old, and admits to watching reruns of the show to prepare. Shift the kinds of answers you might be looking for, and teams may struggle.

“Do we know any female British composers?” Leonie Woodland said weakly, looking at a picture of Ethel Smyth. Trying to come up with a female Muslim Nobel laureate, one contestant desperately suggested Aung San Suu Kyi. Asked to provide a first name linking an American concert pianist with the sister of Lazarus one male contestant still buzzed in with “Daniel”.

“Even if we didn’t always get them right,” McKeown tells me, citing that round on female philosophers, which saw them pass on every question, as an example, “it was great to see so many important female figures represented.”

“I don't think the questions about women necessarily affected our performance, but it’s certainly a very good thing that they were there and I hope that they’ll arouse people’s interest in the women featured and in their achievements.”

Benson believes that it hasn’t had a significant effect on performance. “The great majority of the questions that feature women are no different to any others, in that they sit firmly within the realm of standard academic general knowledge.”

He notes that they often refer to historical and background details, citing sets of bonuses on Canadian novelist Ruth Ozeki and British physicist Hertha Ayrton, which both teams answered correctly in full. “Though Ozeki and Ayrton may not be household names, the questions are definitely answerable and deal with central themes in their work and achievements.”

It’s easy to brush off the significance of a fairly geeky Monday night BBC quiz show, but University Challenge still regularly pulls in three million viewers. In any case, a show like University Challenge has a cultural significance that outweighs its viewing figures. It helps to shape our understanding of which subjects are intellectual or important, which are history’s most notable achievements, and who is worth learning about. To ignore questions of identity is to risk intellectual laziness, relying on tired ideas of canonical figures – or worse, supremacist propaganda, privileging the achievements of white men over all others.

Quite aside from making for less predictable and more enjoyable television, by including questions on the likes of Stevie Smith, Nella Larsen, Gertrude Stein, Myra Hess, Margaret Mead, and Beryl Bainbridge, University Challenge can diversify the mental encyclopaedias of its viewers, be it a tweed-wearing 60-year-old in Leamington Spa or an 11-year-old like Rosie McKeown with her own dreams of one day competing. It has a responsibility to do so.

Anna Leszkiewicz is the New Statesman's deputy culture editor.