Thread by @WritersofColour

'I’ve been reading a book recently by the American sociologist David T. Wellman with the frankly terrifying title Portraits Of White Racism. I say terrifying because it conjures all kinds of images of Aryan skinhead fascists with big boots and arm-bands.

I find myself hiding the lurid green cover of the book so people won’t see it when I’m reading it on the tube.

In fact the book isn’t about skinhead fascists at all. Rather its premise is to refute the popular notion that all “racism” is born of ignorant prejudice. Instead Wellman’s subject is

“culturally sanctioned strategies for defending social advantage based on race”.

Of course the very word “racism” is now so incendiary it actually seems to have become worse to call someone a racist than actually be one.

But leaving aside Wellman’s terminology there is something clearly and fundamentally unequal in UK society and particularly in the industry I work in, that of screen and stage, s.

|Something that black British actor and playwright Kwarme Kwei Armah recently referred to as “structural inequality”

The book (written in the 1970’s) features quotes along the lines of

“I’m not opposed to mixed busing ; I’m opposed to the time it takes” and “I can understand militancy but it’s self-defeating”. My industry is full of these kind of rationalisations:-

“Yes, there should be more opportunities for actors/writers of colour. But it won’t happen overnight” (Why ever not?)

“There should be more roles for actors of colour. But we need the writers from those communities to write roles for minority ethnic actors” (Well, a) You could commission some and b) Do we have to be from a separate and foreign “community”?)

“We definitely need to put more training initiatives in place”

(In other word we’re going to continue side-lining you now whilst we tick our boxes running workshops for people with no experience thereby diminishing your experience and expertise)

Then my particular favourite: “Well, I never even consider someone’s race when I’m casting/commissioning”. But you can only not consider someone’s race from a position of deeply ingrained privilege.

A privilege which affords no awareness of the societal & structural limits placed on performers of diff backgrounds. Only then can you loftily pronounce that you “simply cast the best actor for the role” based on a “merit” that’s absolutely impossible to quantify -@DanielYorkLoh

2014: The Racial Pecking Order in British Theatre and TV - by @DanielYorkLoh of @EVR_ESEA mediadiversified.org/2014/02/28/the…

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