Wow! Yellowface is alive and thriving in deepest Dalston with More Light at the Arcola Theatre, written by Bryony Lavery and directed by Catrina Lear.

Imagine, if you will, a return to ye olden days of the almost complete absence of actors of colour from TV, when white entertainers blacked up and sang songs about their dear old mammy and grinning piccaninnies chowed down on watermelon. The Arcola (the c is hard, not soft, in case you wondered) gives us a sort of menstrual minstrel show for 21st century theatregoers getting to grips with sexual politics, while race issues pass right over someone's head.

Here we are, rendered invisible yet again in a story about, ha!, get this, the burial of Chinese women.

Set in the fabulous tomb of the First Emperor, Qin Shi Huang, who has just died, seven concubines have been sealed in to continue their duties in the afterlife, but contrive to survive in what's left of this one.

Foot-binding, beastly emperors who bury their womenfolk alive, and cannibalism are all delivered by a troupe of white gals in Japanese kimonos (presumably for added authenticity), yet not one single, solitary Asian actress is to be found in what looks like as anachronistic a piece of orientalism as you can find. What an all-white cast is doing yellowing up in multicultural E8 is beyond me. Not one black woman, no south Asian, no east Asian, no-one reflecting the mixed make-up of the area ... are the theatre producers and commentators completely out of touch with the rest of us? Or couldn't they find any ethnics who'd want to be in it?

Are minorities supposed to gaze in awe at white actors (mis)interpreting us and our history? Or aren't we expected to participate in British cultural life?

I guess now that the Chinese are set to be the new superpower and a juicy new market presents itself, we're going to be inundated by a tsunami of this sort of sensationalist titillation. Not for nothing did the Terracotta Warriors provide a whole new cultural seam to plunder.

The reviewers seem none the wiser.

The Guardian, which has masqueraded as enlightened and liberal for far too long, gives it four out of five stars and witters on about it being, "a meditation on different kinds of meat, a celebration of sisterhood and an examination of how art is valued in a dominant male culture."

Not to this sister, it ain't.

Times online's lurid review reads: "Lavery’s response to this macabre tale imagines the fate of seven concubines and stirs the politics of sex and art into a rich stew whose shiver-inducing main ingredient is human flesh — the meat on which the women survive, first with revulsion, then with greedy enjoyment. It’s both mouth-watering and repellent."

Ooh, I must go and see it, then.

The Times tries to adopt the lexicon of the oppressed but hilariously misses the big picture big time "... they are the victims of a highly refined form of objectification."

Oh really. Join the bleedin' club.

UPDATE: Sorry to spend any more time on this miserable throwback, but Time Out describes the actors as mincing around "on tippy toes like Barbie dolls", I assume, to approximate bound feet. Hmm. Shame that footbinding only existed between the 10th and 20th centuries, over a millennium away from the 210 BCE date of the First Emperor's death. But don't let this fact put off the producers and whatever fantasy they have about Chinese and the lazy way they are determined to portray us here. Oh, I bet they relished the idea of a show that incorporated exotic sex and death and cannibalism, a right load of barbarian Other for a bunch of nice white girls to play.

How much contempt must you have for a people in order to get this so very wrong?

I'm amazed the Arts Council funded this crap when they are supposed to be promoting diversity.

UPDATE 2: There's a bit of a ruckus going on at the Guardian over this.
What Wikipedia has to say about the phenomenon of Yellowface.

Thanks to Gladys Ong for the hat-tip.

Anna Chen

Visit Anna Chen's blog: http://madammiaow.blogspot.com/2009/05/yellowface-back-from-grave-state-of-uk.html

 

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Anon I Posted 11:21 on 29 May 2009 It was a big mistake for them to have used Japanese and other historically incorrect design in the play (kimonos, poster, bound feet etc) and the director has apologised for it. However, theatre is different from films or television. Actors (including those at Yellow Earth Theatre) have been playing roles of other nations throughout the history, be it in the West or the East. You should not accuse them of racism because of the all-white cast and their choice of make-up to portray Chinese. The lack of opportunities for Asian artists is a separate (but nevertheless important) issue. Reply | Quote

Kake Posted 12:09 on 29 May 2009 To Anon: In what sense is this a separate issue? This play could have been an excellent and completely appropriate "opportunity for Asian artists". Reply | Quote

chinaman Posted 12:35 on 29 May 2009 anyone up for picketting this?? Reply | Quote

Anon I Posted 13:29 on 29 May 2009 Kake. There are many many productions (plays, musicals, operas etc) in Asia which use only Asians to portray Western people (wigs, "whiteface" etc) in stories that deal only with Western subjects. Should all these be disallowed? Should the Western artists in Asia therefore be complaining about the inappropriateness of all these productions? To say only Asian artists should be used for Asian plays and operas is itself a racist comment. One issue is "the lack of opportunities for Asian artists", which I appreciate. The other issue is your accusation of this particular More Light production being racist. Of course they are separate issues. Reply | Quote

Anon 2 Posted 18:24 on 30 May 2009 Another example of orientals being portrayed negatively in media / art!!! It isn't going to change anytime soon! Reply | Quote

Anna Chen Posted 13:36 on 1 June 2009 I'm all for colour-blind casting, anon, but it's funny how it only works in one direction. Look at the weird attitudes that surfaced when a Chinese actress was cast in Cinderella. I'm really pleased that Catrina has engaged with the debate. More Light is textbook orientalism and I hope she and everyone involved in the production find time to read Edward Said's excellent book on the subject. The shame is that the liberal cognoscenti are incapable of giving guidance on these issues to young theatre producers. Everything seems to have gone backwards. Until awareness is raised, expect to see a lot more of the same. I understand that the National Theatre may be staging the play in the sumer. Reply | Quote

Zhu Posted 22:25 on 1 June 2009 There is an issue about how one direction it is, but I just think we have to remember that we are working in UK, and there are a lot more white actors than Chinese actors, we really can't expect them to only cast Chinese for Chinese roles. Same in China, where Westerners are acted by Chinese actors, Western actors shouldn't really complain. If we were to measure the magnitude of the problem, we must look at it proportionally. Reply | Quote

Anonymous Posted 18:25 on 2 June 2009 There is a complex debate somewhere here about identity and representation, but can't tease out quite what it is yet. I read Said et al at Uni it was the trendy postcolonial critique at the time, for some it can sound like having a chip on ones shoulder if it is not backed-up by good examples. Haven't seen the play nor do I want to so I can't really comment. I think some people are still not used to seeing a chinese face fronting western classics. I have no problem seeing chinese actors or of any colour of actor staging Beckett, Shakespeare etc. I ve seen a good (Asian) student version of Waitng for Godot. Would Othello with a Chinese actor or inversely chinese actors work? It could be a brilliant current interpretation of Shakes. Reply | Quote

Minter Posted 14:50 on 3 June 2009 This is quite a common thing in theatre and other art forms, as it allows others (whites mainly) to showcase their true feelings without actually appearing racist - you're supposed to not take it seriously, just a bit of fun etc. lol!! Did you know Cats, one of the mos popular musicals in the world, has anti-Chinese words in it? http://en.wikipedia.org/wiki/Cats_(musical)#Revisions_to_the_show "In recent productions, a lyric in "Growltiger's Last Stand" was changed in order to remove any racially insensitive language. "With a frightful burst of fireworks the Chinks they swarmed aboard!" became "with a frightful burst of fireworks, the Siamese swarmed aboard!", although the lyric "Heathen Chinese" remains in the tale of the Pekes and the Pollicles." Heathen Chinese. I like that :( Ironically I have a cousin who take part in that... she probably noticed. Seriously, I think we're at the 1960s stage when seeing to how the media and "artists" treat us, compared with the African American movement. People were ridiculed for taking a stand (look up the incident with Guy Aoki and Sarah Silverman - and she's a Jew herself!), and we really have to protest and fight like mad to get to the stage where africans are in white society today. Reply | Quote

Anonymous Posted 18:48 on 4 June 2009 Just a comments to further the discussion... There was a recent very good performance by a "chinese" King Lear! Also the best screen version of Shakespeare is still Kurosawa's Throne of Blood! I remember some vague distant memory about Chinese Americans/Asians picketting Miss Saigon musical in the US because Jonathan Pryce used the Slitty-eye make-up during the show. The lack of protest is because there are few chinese in Uk with strong enough feelings that can be a good or bad thing depending your opinion, remember the fuss about the Jerry Springer musical? Lastly there reason why the King and I is banned in Thailand is because it takes the mick big time. Reply | Quote

@ctors Business - Continuing the debate Posted 22:15 on 10 June 2009 I have been reading with interest the debate. I have to say with sadness and dismay. This is an "argument" that has been brewing since I graduated from drama school back in 1982. It's true the Chinese community is not as visible, vocal or loud enough when it comes to making their displeasure known at out-dated, stereotypical and oft times offensive and derogatory presentations of themselves. We perhaps have to ask ourselves why in comparison to other ethnic minorities have the Chinese failed to make their mark? Why in the 21st century is it even possible to consider mounting such a theatrical piece. If this was an equivalent with regard Black Afro-Caribbean or South Asians I personally think that the production would not have gotten off the ground or would have been treated in a very different manner. The UK is not a country where the mix of talent and ethnicities requires that we use such crude and in my opinion, echoes several other commenters’, frankly ill researched. However the British-Chinese continue to struggle not only in the arts themselves but in the representations within the arts. In the 21st century where jokes regarding the colour of one’s skin, or the use and association of the word golliwog are unacceptable it is still permissible for jokes about ‘Chinks’ and people "who no spleakie engrish". The switchboards don't light up and there is not the outcry that other similar comments might produce if targeted towards another culture or ethnic minority. Why is this - I have no real idea or not one that I can effectively voice. The sad thing is that twenty years on, in terms of inclusivity, and non specific casting, it is worse than it was. Twenty years ago as green graduate I was being told to my face by several eminent theatre directors and TV directors that they didn’t consider me to be Asian. As Asian for them was a person from the sub-continent of Asia. But twenty years ago I was fresh hopeful and optimistic. I am now older, wiser and far more cynical. I think I have turned down or walked away from more work than I have actually taken on because I found it offensive or racist. But sadly there is always someone waiting in the wings willing to take on the work no matter what. Where do we go from here? We have to collectively take more responsibility and become visible and vocal. If we object to something then we need to ensure within the bounds of legality that we let all know in no uncertain terms that we feel offence. I took part many years ago in a brave theatrical experiment - a production of a Shakespeare play . A multicultural cast in a renowned and venerable theatre, In spite of selling out- having the world and it’s dog come to see this production, the common theme from many of the critics was, to put it politely, a debate about whether actors on non Caucasian lineage were capable of speaking Shakespeare let alone acting in it. There is are real conversation that has been waiting to happen amongst ourselves - perhaps now is the time to open up this debate so that we too can go forward and forge our own path. We have so much more to offer than we are being allowed to or perhaps indeed allowing ourselves to offer. I would be interested to hear from anyone wishing to take this further Reply | Quote

anonon Posted 19:02 on 14 June 2009 Please stop stating that the More Light production was 100% racist as if that is the absolute fact. For example, are all the opera productions with Asians playing Western roles racist? On the other hand, does the fact that Placido Domingo (Spanish) played The First Emperor in Tan Dun's opera make it a racist production?? In fact, perhaps Tan Dun was a racist against Chinese because he cast Domingo??? Reply | Quote

Anonymous Posted 20:44 on 19 June 2009 Obama great speech about race last year, its a bit like the situation now, its in a stalemate, but we need to go forward somehow, because as it stands change ain't gonna come. Reply | Quote

opinions Posted 21:55 on 23 June 2009 Few things, protest (civil and reasoned) does work I have made critical suggestions in the past about negative stereotypes and chinese exclusion in discourses about race that people unwittingly neglect; they ve have changed and put in a positive word about chinese identity as a result. But you have to win the argument convincingly to make it happen. The wider problem is partly because of the few numbers in the Chinese Community in the UK, and the legacy of the passive and apathetic first generation and existing generations (just like our elders?), by being silent "unfairness" in the UK will continue. Relative to other ethnic groups who are larger in numbers and been in the UK longer, they ve laid down more infrastructures regarding equality and inclusion etc that perhaps need to be addressed and debated more pro-actively. Or is it just Waiting For Godot. Reply | Quote

Anon (2) - Arts Council England Posted 12:28 on 26 June 2009 Thanks to Gladys Ong, I understand an Officer from the London Office of the Arts Council had gone to see the show 'More Light' and was deeply concerned of the practice of 'yellow face', and the Production Company had been told that they regard the practice as unacceptable, and that as a professional company in a professional avenue such as Arcola Theatre, they should have made every effort to have used East Asian actors. The production company were advised that if they were to present a show of this nature in the future, then they must go and speak to the sector concerned. Reply | Quote

Minter Posted 22:55 on 3 July 2009 The main differences between the Chinese and other ethnic minorities come down to: a) numbers b) sticking together in groups (you'll find Muslim, black communities are the majority race in an area, whilst in others they are non existent) c) being more galvanised and vocal about their concerns d) having an existing culture/religion that they are proud of, stand up for and see as "the best". As a result of all this, the last three in particular, they can organise associations and societies that can protect and promote their concerns on a consistent basis. I also notice that many of the equality based organisations... e.g. Runnymede Trust, Liberty, are run by ethnic minorities... no doubt from personal experience they have become so incensed with their life experiences, that they have put words in action and are doing something about it. In contrast the Chinese community has no leader, no person to rally all those affected together. We come in three guises: 1) the economic migrant; a university educated person following on with a professional career, earning big bucks but essentially spending all their time on their job. 2) the self-employed takeaway owner; possibly a recent migrant, or one who has been here for generations. Again, they dedicate all their time to running the business. 3) the hidden family/illegals; they move to Britain for a better quality of life, but are met with barely liveable conditions, and worse still, a total stagnation in social mobility. They are at best invisible, at worst a nuisance. Notice that all three of the groups, of which 99% chinese fall into (both born here and abroad) make minimal, if any impact, on the social scene. There are no careers, full time workers, dedicated to improving the overall social status of the Chinese - we're living on a very thin line. Blacks, Muslims, hell even the recent demonstrations by Tamils have all done much to make their voice heard, to show the white majority that they are taking a stand. We've yet to make much of an impact, despite having settled longer than many communities. We have never fought for, let alone gained, the respect of the majority race, therefore this casual racism will long continue. Reply | Quote

chatter Posted 21:12 on 6 July 2009 Minter, good perceptive observations, I wonder if you tried organising something yourself? I think having a "leader" can be a poison chalice it will make the person a target for people who disagree with Chinese issues, more than 3 times the total of the chinese community are willing to vote for a right wing party, i can understand why people want to steer away from the grief it might entail. Alot of chinese people just want simple lives and look after number one like most people regardless of race and community, it's the standard capitialist work ethic and lifestyle. There never be the likes of Rosa Parks etc its just not within the chinese psyche nor the need for one as things are not as bad now. A more happier note I think its important that to stress that casual racism it not the norm, most of time where I am living and other races DO respect each other and do get on. Peace Reply | Quote

Chit Posted 0:09 on 12 July 2009 I have argued for some time that Chinese people need to be more active in the wider community and that this is probably more important than being active as advocates of the Chinese community. This moves things on beyond Minter’s implication that the lack of a Chinese “leader” and unwillingness to “make a stand” are what differentiates us from other ethnic minorities. Whilst I recognise the success of this brand of pork barrel politics (feathering the nest of your community) that some ethnic politicians use, I strongly believe that this sort of politics is very limited because it is dependent on a high concentration of your ethnic minority in one place and willingness for them all to vote for you. I also have little respect for this sort of politics, as it is inherently selfish and racially divisive. I have a much greater respect for ethnic politicians from whatever political persuasion who enter politics for more altruistic reasons. This leads me to Chatter’s view which seems to be that the Chinese are right to keep their heads down. This is a recipe for being ignored and marginalized. Whilst I agree that Chinese do not bear the brunt of racism in the UK, I expect that the recession will see more racist attacks on Chinese takeaways and people, even if others for example the Romanians in N Ireland may take the brunt of this. If this comes about, the heads down, heads in the sand tactic that Chatter champions will mean that there are no Chinese with the political weight to ensure that these people are protected by the criminal justice system. They will be beholden to the colour blindness of what I still see is reasonably just system to ethnic minorities, which was fought for by the Jews, gays, blacks, and Asians. Whilst I am proud of many things Chinese, I am not proud of our capacity to lead from the back on issues of racism. Its time we did better. Reply | Quote

Hobbs - more chit-chat Posted 20:14 on 13 July 2009 The big question is HOW can we make things better for all, not worst for example by playing the angry race card badly. A topical debate in another blog/article. I think it also depends on where you live and your social status whether you will be in harm's way of racism. The term Chinese Community what does that really mean semiotically? are we actually a Community or is it an oxymoron? There are Chinese born in UK and those that are not, there are those who see themselves still as guests in th UK strongly connected to East Asia and don't give a damn about BBCs or politics etc. The opiate for alot of the chinese living in the UK are TVB soaps and the casino. They re seem to be contented why should I complain? It pains me to say this being chinese meself and I hope I am wrong, but the necessary talent, humanity and vision, isn't there. Reply | Quote

number one - BB9 Posted 19:59 on 20 July 2009 It you want a good example of class difference and looking-after-number-one mentality, watch big brother's current chinese contestant. Reply | Quote

Gladys Ong Posted 13:37 on 21 July 2009 The More Light issue is more or less resolved now, though this is indicative of the struggle we SE-Asians face in the UK media. A song by Lily Allen, "Chinese" has been brought to my attention, which includes the lines "We'll get a Chinese and watch TV". The usage of the term "Chinese" to stand for food is a type of insidious racism that is tolerated because of this casual usage that goes unchallenged. We must ensure this practice stops and I call upon all Chinese to boycott Lily Allen until she issues an apology. Reply | Quote

S.Ong - Hollywood Chinese Posted 12:49 on 30 July 2009 Saw this Youtube's clip on the views of Chinese American actors/actress in Hollywood and found their views quite interesting, and thought this clip might be of interest to readers in this column. Log onto: http://www.youtube.com/watch?v=i1kHlnER8EY&feature=related Reply | Quote

flowerpower Posted 0:43 on 27 September 2009 Gladys Ong - It doesnt bother me in the slightest that Lily Allen used that term when she was talking about a takeaway. I say it myself and Im Asian! Or Ill say lets go for a thai or viet. Its no big deal. And besides I dont think lyrical genius was Lily allens strong point I mean we are talking Queen of Chavs here Reply | Quote

flowerpower Posted 0:45 on 27 September 2009 PS it is pretty disgusting that they couldnt find any asian actresses, I mean I can only suspend my disbelief so far! Remember that film White Men cant jump? well id say White women cant act (Chinese) that is Reply | Quote

co-op Posted 3:02 on 22 December 2009 The reason the chinese dont protest is because a huge chunk of them are recent immigrants from china and nobody dares protest in china unless you want a bullet in the head, they dont have a radical political way of thinking in the first place for them to even contemplate protest. Especially the southern chinese, the cantonese and fujianese, who are both resistant to change, so much so that years of communism had no real effect on their way of thinking or their lifestyle. The days of revolution are long gone in china. The recent wave of immigrants from china cant even grasp basic english, if they cant grasp basic english, how can they protest? Except the bourgeois career types, who try to disassociate themselves with the grassroots on the basis of class. The previous generation of hong kong immigrants...well everybody knows that in hong kong which is a free market economy, nobody cares about politics and nobody i know in Hk even votes, theyre completely apathetic. Those who were take-away types growing up as bbc's were never part of the overall workers movement, whereas many asians and blacks were part of organised labour, ie trade unions etc. chinese have never been mobilised in this country because theyre basically small business owners who vote tory or are apolitical. Thats not to say though that they dont protest, they do protest, but its very low key, they generally only protest if there its a business issue which will affect their profits. ie. protest over h5n1 bird flu comment in a english newspaper, which caused shortfall in restaurant profits in chinatown forcing nick brown, labour minister, to make a public statement declaring no correlation between bird flu and chinatown restaurants. The protests were organised i think by chinatown trade association groups and NOT workers unions. In terms of cultural protests, i dont think i've ever seen a protest by chinese on cultural issues in UK, i mean who would organise it anyway? what british chinese need is an equiavlent to muslim organisation like MPAC. I'm more than willing to set one up or be part of it, but I have no funding and i have no idea how to get funding. Reply | Quote

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