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Lenny Henry talks to MOBO awards founder Kanya King; Young Vic Artistic Director Kwame Kwei-Armah on ‘colour blind casting’; Nadine White’s newspaper reporting of Coronavirus, the Sewell Report, Harry, Meghan & Oprah; Sound Special featuring Dane Baptiste, Marcus Ryder & Judi Lee-Headman; Exclusive Investigation into the Entertainment Unions by Riaz Meer & Jack Newsinger; Samir Jeraj on media reparations to communities of colour; plus cultural highlights from BFI Flare Festival & New Beacon Books The Journal of Media and Diversity Issue 03 Spring 2022 1
REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 03 SPRING 2022
REPRESENTOLOGY CONTENTS EDITORIAL
The Journal of Media and Diversity
04 Black Origin Welcome to Issue Three of Representology -
Sir Lenny Henry and Kanya King
The Journal of Media and Diversity. In this
interview.
Editorial Mission Statement issue - the first of 2022 - we take a deep dive
10 The Race Agenda into structural discrepancies at the heart of
Welcome to Representology, a journal Nadine White the entertainment industry, with
dedicated to research and best-practice 14 Colour & Cast contributions from hugely influential names
perspectives on how to make the media more Kwame Kwei-Armah in comedy, music and theatre and in-depth
representative of all sections of society.
19 The Entertainment Industry and the Toll of research from leading academics making the
A starting point for effective representation are the
Institutional Racism case for profound reform.
“protected characteristics” defined by the Equality Act
Dr Jami Rogers
2010 including, but not limited to, race, gender, In the spirit of starting new conversations, the journal
sexuality, and disability, as well as their intersections. 20 Representation and Conflict has commissioned a groundbreaking essay on the
We recognise that definitions of diversity and Riaz Meer and Jack Newsinger viability of the press offering reparations to
representation are dynamic and constantly evolving communities of colour in Britain, while we pass the mic
26 Media Reparations to courageous outsiders making a big impact on
and our content will aim to reflect this.
Samir Jeraj mainstream coverage around issues of identity.
Representology is a forum where academic
30 Sound Special:
researchers and media industry professionals can We’ve gathered experienced audio enthusiasts - those
come together to pool expertise and experience. We The Trouble with Diversity dedicated to breaking sound barriers - to offer insights
seek to create a better understanding of the current Dane Baptiste speaks to Marcus Ryder into their industry’s developments, while, as ever, our
barriers to media participation as well as examine and culture pages make recommendations to readers to
promote the most effective ways to overcome such
The Audio Content Fund
extensively explore media in all its diversity.
barriers. We hope the journal will influence policy and
Mukti Jain Campion
practice in the media industry through a rigorous, “You just had to put your big-girl pants on If you are interested in contributing, or wish to send
evidence-based approach. and get on with it.” your views and suggestions for future issues, please
Judi Lee-Headman is interviewed by write to us: Representology@bcu.ac.uk
Our belief is that a more representative media
workforce will enrich and improve media output, Dr Vanessa Jackson
enabling media organisations to better serve their Breaking the Sound Barrier K Biswas
audiences, and encourage a more pluralistic and Emma Butt Editor
inclusive public discourse. This is vital for a healthy
society and well-functioning democracy. We look Audio-Describing Diversity: Addressing the
forward to working with everyone who shares Elephant in the Room
this vision. Jonathan Penny
46 Why an editor told me to stop pitching
‘gay stories’
Jamie Wareham
48 The Kid, the Fight, the Queen:
Penny Pepper
52 BFI Flare Festival Picks
Grace Barber-Plentie
54 Representology recommends:
New Beacon Books
Representology is a collaboration Francesca Gilbert
between Birmingham City University
and Cardiff University 56 Representology Editorial Board
57 Submission Guidelines
2 3
REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 03 SPRING 2022
Sir Lenny Henry talks to Lenny (LH): Kanya King (KK):
Hi Kanya, we’ve known I grew up surrounded by
Kanya King the founder of the MOBO each other for years. Tell creative people. I was very
(Music Of Black Origin) Awards. The me, what led you to the creative myself. I was living
media? Because what you near the Tricycle Theatre [in
annual ceremony, established in 1996, do is pretty unique, and it’s North West London,
has been at the forefront of efforts to almost like you said, “The
job that I want to do
renamed the Kiln Theatre in
2018]. I was into drama, TV,
improve representation and the doesn’t exist, so I’m going music, and I grew up
recognition of Black talent in the music to invent it”. surrounded by talented
people and, one by one, I
industry. was seeing them getting
frustrated, giving up on
their dreams, getting into
trouble with the police,
because they could not
access opportunities in a
sector which was very
much about who you knew.
I became a parent at a
young age, and I left school
with no qualifications. All
this meant, in a way, that
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REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 03 SPRING 2022
little was expected of me, applying, and eventually they thought: you know what? She’s LH: How important was the But, for me, it was not every Robinson’s piece in
right? I was expected to be not going to give up - let’s give her a try, and see what backing of broadcasters for day I would get a chance like Representology, Issue Two].
a young, single parent, a happens. the MOBOs, and do you that, so it wasn’t a question I suspect if you had listened
person of colour, living on think the broadcasters of whether I was going to do to a few so-called
benefits, and I kind of LH: So, if that is how you broke into television, how did you it, it was: how was I going to “mentors”, they would have
could have ever done
invent the MOBOs.
refused to fit that stereotype. something like the MOBOs make this happen? And my advised you to change the
I thought, that’s not going to KK: AI felt there was a huge void, really, in the music without you? overwhelming desire to name to the “Urban Music
be my life. industry’s representation of popular music, and I felt like succeed eventually led me Awards”.
KK: Visibility is very
something needed to be done about it. There was so much to remortgage my home and
important, and it’s that the KK: Well, we offended a lot
LH: So, how did you dig phenomenal talent that I was surrounded by, who were just not tell my mum.
broadcasters provide. You of people by having Black in
your way out of that, and very frustrated.
can’t downplay that much- the name, you know? MOBO
then what led you to create LH: You were so involved in
And the next thing you need to know about me is that my needed visibility. I think, in is only four letters, and we
the MOBOs? the MOBOs, and setting
father was from Ghana, West Africa. And I’d watch films like theory, ITV or Channel Four were a bit blatant, and our
KK: Most of the jobs or them up, that you
Zulu, and it was confusing for me, as a young person. It was could have done it without logo was very bold, if you
opportunities I’ve had in the remortgaged your house!?
confusing. It wasn’t cool to be African at the time, and my somebody like me, but I know what I mean? So, we
creative industry sector, I’ve That’s extraordinary, Kanya.
father had a strong African accent. You know, there were no think you never can were like, yes, this is music
created myself. I was very People don’t do that. But
books in school about people like me. Princesses and underestimate the power of of Black origin, right? And
fortunate in that I got an you were so driven by it.
heroines all had straight hair, they were all white, all of that. purpose and lived the idea for us, we just
opportunity to work on The KK: Well, you know, Lenny, wanted to honour the past,
So, in my class at school, you weren’t pretty or popular experiences, and I had a
Chrystal Rose Show [a my Plan B was my Plan A,
unless you were white. huge vision. I could see the and inspire the future, so to
topical talk show, produced right?.
additional benefits beyond speak. And I think, you
by Carlton TV, and first And my older siblings had ended up in care and had been
the TV ratings, you know? LH: You didn’t have a know, with regards to the
broadcast in 1993]. It was bullied. I had one sister with a lot of ill health, because she
And I was prepared to make Plan B. term “urban”, I think a
meant to be Britain’s was bullied, and she didn’t feel comfortable in her own skin.
all the sacrifices necessary, marketing person has come
equivalent of Oprah, and I KK: Exactly, it wasn’t like: let
Now, I know this seems like a slight detour from answering that a lot of other people up with the term, because
was part of the original team. me try, I’m dabbling here - I
your question, but it all came together in that it made me would not have been when you have the word
was going for it, right? When
want to create something that could be very visible and make “Black”, they think it offends,
LH: How did you get the job prepared to make.
you put your own money
people proud to be who they are. right?
on The Chrystal Rose The first broadcaster we into things, that sharpens
Show? I wanted to celebrate popular culture - Black culture. I wanted worked with was Carlton, as your focus somewhat. LH: It doesn’t offend me.
to celebrate being Black, being African. Everything gets real. But the
KK: I bumped into Chrystal part of the ITV network, and KK: No, well, they were
Rose on a film set, and she they were doing a lot of problem is not just money.
LH: So, you really felt that award ceremonies could be a trying to make it more
told me what she was research into their audiences While I think a lot of
thing for promoting diversity and inclusion in the creative marketable, because,
planning to do, and I had at the time, and they realised innovation comes from Black
industries? unfortunately, being seen as
some ideas, and she said, that the diversity in London culture, the problem is that
Black has been seen as
KK: Yes, I mean, I think … definitely, award ceremonies … was changing, yet, they we often don’t have the
well, why don’t you come on ‘risky’, and all the negative
they celebrate innovation, achievements and, I guess, they’re didn’t have enough social capital, we don’t have
board and help out? When I stereotypes attached with
a significant platform to allow people or talent to springboard programmes that reflected the networks, we don’t have
first was working with that.
off. I think, sometimes, the recognition you get from an that - I mean, it sounds the support. I didn’t have
Chrystal, I was just helping,
awards ceremony, it can gain you esteem - whether it’s in familiar, right? any business mentors in my
right? She hadn’t even got
your sector, with your peers, amongst the public. How do you family. I’ve never had a
the commission from
know what you’re doing is working? You don’t know what LH: So, Carlton realised mentor. I’ve mentored
Carlton, so I was just helping
you don’t know, right? And, sometimes, awards, they give they had a diversity myself, and been inspired.
out. We were doing whatever
you that validation. I’ve seen it with the MOBO Awards, where problem, they
we could to support her
. . . with regards to the term
a lot of artists were going to give up, were just about to give commissioned the MOBOs, So, when you don’t have
vision and her dream, and that, you just have to learn
up, because it’s hard, it’s tough. It’s a tough industry, but and it was all plain sailing
then later on when Carlton
commissioned, I had to
when they got that MOBO Award recognition, it kind of gave from there? from your mistakes - you “urban”, I think a marketing
person has come up with the
them that drive and determination to not only keep going, but take the plunge, and you
formally apply for a job and I KK: I remember sitting with
also to seek sponsorship, or funding from others. kind of get on with it, really.
term, because when you have
got turned down! Funnily the head of entertainment,
enough, because Carlton felt Also, there’s a lot of research out there, by the likes of and them saying: we’ve got LH: I’m really interested in
Chrystal was a new talent, McKinsey, and others, that shows you’re less likely, if you are good news and bad news
for you. The good news is
your use of the word the word “Black”, they think it
offends, right?
and needed more a person of colour, to have bosses who promote your work “Black” in the MOBOs. The
experienced people around and help you navigate that organisation’s politics, and so the we’re going to give you a TV Centre [Sir Lenny Henry
her. But, you know what? I validation that awards give to talent is kind of crucial. slot, the bad news is we Centre for Media Diversity]
didn’t give up, I kept on want you to put on a show in recently did a report on the
applying and applying and six weeks, and we’ve got use of the word “urban’
almost no budget. instead of “Black” [see Nina
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REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 03 SPRING 2022
LH: For me, “urban” is need to look beyond the LH: So tell us about MOBOLISE
ghettoising, whereas it diversity of their own
KK: So, MOBOLISE is a career networking platform that’s
seems to me that the workforce, which they need
been built by Accenture and, basically, we’re getting ready to
importance of Black music to improve, but also look at
launch and roll that out. It’s jobs and opportunities with
is clear to virtually their suppliers. I would
leading companies dedicated to improving racial equality - an
everybody in the world. We advise companies to just do
exclusive tribe of like-minded people ready to support and do
are the mainstream. an audit of your company’s
business with each other, expert advice and insight from a
suppliers - to work with
KK: Absolutely, absolutely. cross-section of leaders and allies. So, it’s a phenomenal
more Black companies and
platform. MOBOLISE is what it says on the tin - it’s about
mobilising for growth. In many ways it is providing the
And I think one of the things that mentoring and networking that I didn’t have. The idea with
came out of 2020 - with the
MOBOLISE is to grow that network of peers and mentors that
will enrich their chosen career path. That’s the ‘connect’ part
whole resurgence of the Black of the platform. We’ve also got to, basically, learn from those
Lives Matter movement - was
like Marcus [Ryder] and Lenny [Henry], the best tips that you
have to get to where you are today - the inspirational stories,
the recognition that companies the power of inspiration is so crucial. We know visibility is
important, and representation is key. MOBOLISE is kind of
need to look beyond the diversity about that action, so that’s what we’re trying to do, because I
of their own workforce . . . understand how challenging it can be as a young person -
feeling very different in an organisation, and not feeling like
they’ve got the support to reach their full potential.
LH: Now, one of the suppliers, I think that’s really,
purposes of really important. LH: Kanya, thank you so much for your insights today. And
Representology is for the ending on looking to the future is a beautiful way to end. I
LH: Annually? I think you’re
rest of the industry to learn am very interested in MOBOLISE, and I am sure the Centre
right. If you open the door
from people like you - your would be too. Keep us in the loop and let’s do a follow up
and look at your staff - if
insights, experience and talk to see how you are getting on.
you’re the governor, and
wisdom. So, if you could KK: Thank you so much, Lenny.
you look at your staff, and
wave a magic wand over
you see that there aren’t
the people that govern us,
very many women, or there
what policy would you want
aren’t very many Black or
executives to follow to Kanya King is the founder of
Asian people, you’ve got
increase diversity and the MOBO Awards.
work to do
inclusion in our industry?
KK: We know what matters
KK: I mean, I think I’m
gets measured, right? And
starting to see a lot of
we’ve seen where targets
organisations do it more,
have been set before, but
obviously, appoint a DEI
they’re put in a drawer and
[Diversity, equity and
no one looks at it again. It is
inclusion] manager, or a
also the motivation behind
team whose sole focus is to
something we’ve got called
increase diversity and
the MOBOLISE mission, and
inclusion. I think that sole
it’s basically having it front
focus, having those allies,
and centre of the platform,
makes all the difference, and
so people can include what
making sure that whatever
it is they are doing with a Representology takeaways
DEI commitments that are
due date, and be held
made are tangible, • Always continue to make connections within your
accountable for it.
achievable and measurable. chosen industry - persistence is key to getting in
And I think one of the things and getting on
that came out of 2020 - with • Be confident in using correct terminology -
the whole resurgence of the “Black” not “Urban”
Black Lives Matter • To help improve diversity, audit not only your own
movement - was the company, but those you do business with.
recognition that companies
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REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 03 SPRING 2022
The
The
Race
Race
Meghan Markle, the
Sewell Report and
stories from the
pandemic dominated
Nadine White’s opening
year as Race
Correspondent at
AAgenda
genda
The Independent.
10 11
REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 03 SPRING 2022
Three events helped to set Granted, though, it’s the first The Commission was The backlash against the There’s an African proverb For example, there are As the Race Correspondent,
the tone of my first year at scandal to hit the Royal established in 2020, in the report was immense, I tell which says: “Until the lion certain stories in which race I feel a sense of duty to
The Independent as the first family in which racism is at wake of Black Lives Matter you: outraged members of learns how to write, every is central, and on which I’ve represent those on the
dedicated Race the core. It may be the first protests following the the public slammed the story will glorify the hunter”. been the only journalist to fringes of society, who come
Correspondent in UK time that racism has been murder of George Floyd in probe as the insult that it It effectively expresses the report, and this absolutely from places like where I
journalism: a famous called out in the uppermost the US at the hands of a was. Campaigners and importance of those should not be the case. But come from, who share my
television interview, the echelons of British society white police officer, Derek charities were in uproar. marginalised groups who it is what it is, and we are fatigue and alarm.
Covid-19 pandemic, and one on international television. Chauvin. Experts who were named as face oppression telling their where we are.
Sadly, I’m not sure that
of the most accursed What a thing. “stakeholders” pushed back own stories, lest their truths
…and this was the best that With that said, there’s more journalists who look like me
government-backed pieces against claims that they had be distorted and
As such, this time last year, Britain had to offer in to the experiences of people have the luxury of
of literature to be published provided official evidence. misrepresented.
reporting on race was all response to its own within racialised comfortably navigating these
in modern history. Even the United Nations had
underpinned with a sense of problems around race. The problem with the media communities than trauma. white-dominated spaces,
a go.
I’ll start with the first. heightened importance and Imagine. is that the lions know how to Don’t get me wrong - the just for the hell of it. Not if
celebrity across all news Downing Street’s most write, but they’re rarely struggle is real, and if we you’re cognisant of the state
On my first day, Harry and Interestingly, the government
platforms, in a way that I’ve senior Black advisor, Samuel granted access to don’t keep those of affairs. Change is
Meghan’s now-famous only sent previews of the
never seen before. Kasumu, resigned from his newsrooms, and to conversations going, then required, and, personally, I
interview with Oprah Winfrey report to a select group of
role following the report’s journalists, in order to how can we hope for embarked on a journalism
aired on UK television, an
publication - though his express their narratives improvement? career with the sole intention
interview in which they
departure was perhaps through these platforms and of reporting around race and
shared concerns that there However, it’s also essential
related to the way that the on their own terms. helping to engineer change.
was racism at the heart of to make room for more
Equalities Minister, Kemi
the Royal Family, and it sent Hence, the diversity deficit reporting about joy, There are plenty of stories to
Badenoch, targeted me on
the world into a frenzy. which sees Black people, for innovation, inspiration, be told, and many voices to
Twitter some weeks prior, for
And, well, that gave me There’s an African proverb which asking her a question that
example, account for just
0.2% of working journalists
aspiration, and even
mediocrity, because those
raise. One year in, and I’m
more sure of that now than
says: “Until the lion learns how
plenty to crack on with! I hit she didn’t like as part of my
in this country, and Muslim aspects of our stories also I’ve ever been before.
the ground running, research for a story.
reporters accounting for exist in all of its colours and
speaking to various political
figures, equalities’
to write, every story will glorify The dangerous CRED report 0.4%, at a time when tangibility.
organisations, all and sundry, the hunter”. dismisses the claim by many
people up and down the
anti-Black racism and
Islamophobia are as rife as
Of course, the Covid-19
so as to journalise their pandemic is
country, that the UK is ever. Let that sink in.
thoughts on the matter disproportionately affecting
institutionally racist as
across a string of news So, in undertaking my role as Black, Asian and minority
“idealism”, insisting that it is
reports and features. Race Correspondent, I ethnic groups, and it’s never
“not borne out by the
remain mindful of the been more important to
My coverage included calls evidence”. But this flies in
responsibility I have to speak speak truth to power. That Nadine White is Race
for the Royal household to the face of the lived
to people who do not have has certainly moulded my Correspondent and
be brought into line with the I could relate to it, though, journalists prior to its experiences of many.
the luxury of seeing reporting and given it an columnist at The
Race Equality Act - from because I’ve always publication. Guess who
So, taking stock of this themselves reflected in elevated sense of purpose. Independent
which it’s always been approached reporting on wasn’t on the list, despite
debacle and reporting on the national discussions and on
exempt - and the Society of race - a grossly being the only national news
fall-out reminded me of the newsstands, outside of
Editors debacle, which saw underreported matter - in correspondent in the country
importance of highlighting one-off events, such as the
the industry body’s chief this way, even if few others to specialise in race? I later
perspectives from within Sussexes’ Oprah interview,
deny the existence of have. learned from a Government
racialised communities and the resurgence of the BLM
systemic racism in the UK spokesperson that this had
The momentum around bearing witness to our movement and the release of
media, and then having to been intentionally specified
reporting on race has realities. that disgraceful Sewell
eat his words amidst a by the Commission.
predictably died down report.
sensational, deserved
across most of the press CRED was headed by Tony
backlash, before resigning I approach my role by being
since then, though. Sewell, a long-time
from his post. extremely mindful of the fact
associate of the Prime
A few weeks after this that it’s impossible to be
Conveniently overlooking the Minister, Boris Johnson, and
interview, the Government- everything to everyone, each
fact that Prince Andrew has involved a number of
been embroiled in a sex
appointed Commission on
individuals who were
and every time. But I do
Representology takeaways
Race and Ethnic Disparities what I can in the good faith
scandal since 2014, some described by Lord Simon
(CRED) published a highly- that I’m trying my hand at • Journalism needs to update its figures regarding
commentators went as far as Woolley as a “motley crew of
anticipated report - after being a part of the change representation in the profession, and urgently
to describe the Sussexes’ racism deniers”. It is also
almost a year of work and that I want to see: a playing address the glaring lack of people of colour in the
interview as the “greatest worth noting that every
inexplicable delays - which field that’s more balanced industry
scandal since the member of the Commission
concluded that institutional today than it was the day
Abdication”. is on the same side of the • The lack of journalists of colour in the industry is
racism doesn’t exist in before.
political spectrum. not just an issue of head count, but one of seniority.
Britain.
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REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 03 SPRING 2022
14
Colour
&
Cast
Representology spoke to the Artistic Director
of the Young Vic, Kwame Kwei-Armah, about
the practices of “colour blind casting” and
“casting against race”, and their utility in
furthering diversity in theatre.
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REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 03 SPRING 2022
REPRESENTOLOGY (REP): We are seeing examples of REP: But, what does that with David being cast in the accuracy? interpretation, and set them So, when it comes to colour the thing that gets me
“colour blind casting” across the dramatic arts and, in your casting say? Because I role, than if a white person KKA: To them, I would say, “I in Roman togas? It would all blind casting - people using through, because I don’t
recent production of Best of Enemies, the Black actor would have thought part of had been cast in the role? don’t know what historical depend on what the director that term - for me, it has know. And, therefore, I guess
David Harewood plays the white figure of William F. Buckley Buckley’s identity - the fact KKA: Again, I’m going to accuracy means”, because is trying to say. What are the been a stepping stone, I am advocating a kind of
Jr. Have we reached a point where race has become that he’s right-wing, and have my cake and eat it too. we’re acting. Again, I’m not thematic points that are getting us to a place where liberalism without
irrelevant to theatrical performance, or does an actor holding a certain set of I want both. I want them to trying to be mad liberal, but I being amplified? And, from we can go; “Okay, now that’s prescription - something that
always bring their race to a role? values within a right-wing go, “That’s interesting”. I am trying to say, we simply there, you would cast in a served its purpose, let’s just sits with whatever is specific
framework - his whiteness way that is adventurous, but cast in a way that feels fit for for the here and now,
Kwame Kwei-Armah (KKA): I think you can never leave think we are at that point in need to know that it is being
is relevant, isn’t it? Or is it our evolution where a Black viewed in the third decade of doesn’t bastardise your the third decade of the 21st because I also know that
behind the essence of you, period. However, it’s then up to
not? actor who’s playing a the 21st century, so we need vision, or the play. So, I think century.” today’s prescription will not
the audience to say: “Okay, I accept this”.
you’ve said it, that a woman be next year’s, or the year
KKA: Yes and no. I mean, we famous white character can to make it relevant. There are
REP: Can you expand on
I like to reference Shakespeare, and how audiences playing Caesar, and her wife after’s. We are in a fluid state
know, don’t we, that in Black do it without us having to go: no rules other than that. And
sometimes receive ‘The Bard’. If you’re not really used to the being pregnant, just isn’t a that a little? of evolution, revolution, and
majority countries, there are “Oh, my God, that’s wrong!” we have to take these
language of Shakespeare, it takes you five minutes or so to
casting decisions production problem for me, depending KKA: No problem. My reclamation of yesterday and
[Black] people who are Also we can look at the
tune your ear in, and go, “Okay, that’s what’s happening”. on what you want to say. Blackness never leaves me, tomorrow. So, I kind of don’t
extremely right-of-centre, by production.
And if it’s a good production, then you forget about language value added. The value and so, therefore, I’m always want to get too stuck in the
and conservative. And, added is the debate that REP: As always, Kwame,
and are immersed in the play. And I think that’s the job of REP: So, from the going to ask – especially here and now, with set
though that is not my we’re having right now. The you have been very
good casting: casting whoever it is that you want to cast. An experience of Best of when I am playing a role – positions. I just want to keep
position, it is the right of value added is, what extra positive, but do you think
actor will bring their ethnicity - they will bring their race - to Enemies, what lessons “how would my Blackness my mind open to this
everyone, wherever they does it bring? And the extra there are ever any problems
any role they play, but unless it is pertinent to the role, we would you want to give impact a decision that’s evolutionary state that we’re
come from to hold these that it brings is this debate. with “colour blind casting”,
should let audience members be able to tune it out after a casting agents or directors being made?” in.
views. So, actually, his There are Black or “casting against race”?
moment. A good production, and good actors, should be now – one production at a
whiteness is pertinent to a At the same time, I might go,
able to achieve that. conservatives. Could a Black time, obviously? KKA: I do not particularly like
degree, but it also isn’t. “I don’t know how my
conservative have existed at the term “colour blind
REP: So, do you want the audience to ‘tune out’ an actor’s KKA: I think casting directors Blackness would impact my
There are Black right- that time? Well, yes, they casting”, because I think my
know that their job is to decision”, for a futuristic
race? wingers, and I can name a did. Sure, they weren’t race is relevant in everything
provoke the director to think. piece set in the year 2457. Kwame Kwei-Armah is the
KKA: Depending on what the role is, depending on what the hundred that share Buckley’s William Buckley, but they I do. To understand why, you
In the broadest possible And so, actually, I might just Artistic Director of the
piece is: yes. At the same time, I don’t ever want an audience political persuasion. were around. So, the value have to understand my
sense, that’s their gig. And, want to use my humanity as Young Vic
member to be “colour blind”. added is actually widening frame of reference.
in the old days, it may have
REP: Okay, so with that in our perception of what being
An audience should be able to adapt to accept any actor been, you know, you’ve seen I am a Black postmodernist,
mind, do you think that the Black in the West is, or could
playing any part - after all, that is what acting is. They are the brief, and then you give which means we can do
representing characters who are not themselves, and so long
audience should - or would be, or was.
them a wide choice. Now, it anything we want, any time Representology takeaways
you like the audience to
as an actor does it well, and unless their physical REP: What do you say to is choice plus provocation we want, with anything we • Good actors and a good production will lead to
- forget the fact that David
characteristics are pertinent to the plot, the audience should people who might criticise want, and that Black never audiences accepting any premise - as they have
Harewood is Black in the REP: Okay, and in that
be able to just accept this for what it is. the casting of something leaves. It’s always one’s done for centuries with the works of Shakespeare
first five minutes, as you provocation, would you
like Best of Enemies for essence, but it isn’t in any • ‘Colour blind casting’ is redundant as a way of
REP: Now, we are obviously having this conversation said? Or is the audience ever cast [Shakespeare’s]
reasons related to historical way a box - it is a liberator thinking about how to cast. A person’s race is
because of the Young Vic’s production of the Best of getting something different Julius Caesar as a woman? and an amplifier. always a key part of them - they will use their
Enemies. Because in it, Julius
Caesar’s wife is pregnant, experience to interpret their role, but it is not
KKA: Of course.
always the dominant part of that interpretation.
. . . I would say, “I don’t know
which is pertinent to the
REP: So, we’ve been discussing “colour blind casting”, but role, and you could easily
there’s also – what is loosely termed – “casting against
race”. Do you recognise that term, and what do you think
what historical accuracy have a same-sex
David Harewood
means”, because we’re acting.
relationship, but I am
of that? curious if your views on in Best of Enemies
KKA: Yeah. I mean, to be very specific, with Best of Enemies, Again, I’m not trying to be mad casting “against race” hold
for gender, or other types of
liberal, but I am trying to say, we
I said to the director, “I think it would be really fun if one of
the two of the leads was not of type”. That wasn’t saying that characteristics?
they should be Black, we were just going with “not of type”. simply need to know that it is KKA: Again, it depends on
being viewed in the third decade
And then I said; “Yo, I think David Harewood would be what you want your Caesar
brilliant”. Now, of course, that is “against race”. I recognise to say, where you’ve set your
that because Buckley was a white American.
of the 21st century, so we need Caesar. Have you set your
to make it relevant. There are no
We recognise that this character is white, and we’ve cast a Caesar in modern dress?
Black actor in this role - a brilliant Black actor in this role Have you set it in a
- and so I want you [the audience] to make that mental rules other than that. contemporary world as a
metaphor? Are you going
adjustment within the first five minutes of the play.
back to a more traditional
16 17
REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 03 SPRING 2022
In August 2021, The revelations of Multiple previous studies Over half of survey
The entertainment
have revealed long-term respondents – 55% – have
institutional
the Sir Lenny racism within the
inequalities in the live and encountered racist language
Henry Centre for sector were stark.
recorded arts, but what
made this report much more
in the workplace: at
auditions, in the rehearsal
Media Diversity Key findings of
industry and the
striking than its data- rooms and on set. What the
the report testimony of nearly 1300
published Race
focused counterparts was
include: the anecdotal information participants clearly illustrates
Between the provided by the in the report is the depth of
toll of institutional 79%
respondents. The comments the institutional racism that
Lines, the results made by many respondents occurs at all stages in the
of a survey of paint a picture of an industry creative process. It starts
that continues to marginalise with the character
nearly 1300 of respondents its workers from global stereotypes that are
racism
practitioners feel roles continue majority heritages at its root embedded in scripts, which
to stereotype their levels. an overwhelming majority of
about working respondents (79%) has said
ethnicities
Dr Jami Rogers
Race Between the Lines
conditions in the draws a clear picture of how
they have encountered in
their own careers.
64%
entertainment stereotypes of the global
majority underpin their That stereotypes continue to
industry. representation on stage, film damage careers across the
and television – and fuel the spectrum is clearly laid out
of respondents inequality of the creative in the full report. From
have experienced industries. The problems writing, to the audition
racist stereotyping start within the scripts and process, to the final product,
in an audition roles that continue to specify stereotypes limit people from
the ethnicity of the all backgrounds that are the
55%
characters, which not only subject of stereotyping.
inherently limits the parts for What makes the stereotypes
which performers of colour of recent years more
will be auditioned, but they egregious is how the
of respondents are also frequently stereotype became
have experienced stereotypes. As stereotypes, embedded in the era of
these characters lack the post-Windrush immigration.
racism in the
depth and complexity – the As Darrell M. Newton shows,
workplace humanity – of the characters in his monograph Paving the
that are written with white Empire Road: BBC Television
actors in mind. The audition and Black Britons
process was revealed by (Manchester University
Race Between the Lines to Press, 2011), the BBC’s
also be replete with Head of Drama, Television,
stereotypes and Michael Barry, in the late
microaggressions, seemingly 1950s had “noted” that
driven by the lack of performers of African-
humanity of the parts Caribbean heritage were
themselves. The disturbing included in scripted
accounts of overt racism television, “but only when
and microaggressions on the the programme offered
set complete the trifecta of ‘suitable roles’.
an industry steeped in an
institutional racism it has
done little to address. The
issues in the industry are
deeper than has yet been
acknowledged, a situation
which Race Between the
Lines lays out.
18 19REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 03 SPRING 2022
Black, Asian and
Minority Ethnic Workers
in the Entertainment Trade Unions
Riaz Meer and Jack Newsinger
Introduction
The findings from our
The UK’s entertainment trade unions
With support from a
Practitioner Investigating research show that the
should be at the forefront of struggles Media Industry Diversity majority of interviewees
(PIMID) grant from the LHC, faced significant obstacles in
for racial equality in the creative in 2021, we conducted 15 their trade union activity,
especially with regard to
industries. However, BAME workers, in
interviews with industry
professionals, who were their anti-racism work. Union
film, television, radio, theatre and drawn from across the five structure, bureaucracy and
trade unions responsible for leadership were all identified
games, too often face an uphill struggle representing workers in the as barriers to advancing an
anti-racist agenda across the
in getting their specific interests, as
entertainment sectors
(Bectu, Equity, Musicians unions. The story that is told
minority workers, addressed. What are Union, Writers Guild of Great by many of these union
Britain and the National members is, in effect, of a
the barriers to better anti-racism work Union of Journalists). The two-fold struggle. There is a
fight against discrimination
in the entertainment sector unions?
aim was to investigate the
experiences of Black, Asian in their work, and a fight to
And what areas of good practice can be and minority ethnic trade get their interests properly
union members. and the role understood and defended by
adopted more widely? that these unions played in their majority white trade
their anti-racism work. unions.
20 21REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 03 SPRING 2022
The full report, with our
detailed recommendations, Union Issues around labyrinthine
and confusing trade union
Project Diamond, which has
been in place since 2017.
A lack of Black, Asian and
minority ethnic union officials From marginalisation to conflict
can be downloaded here. bureaucracy bureaucratic structures and
rules were repeatedly
How successful is equality
monitoring within the unions
was highlighted as being a
problem across our
Ten of our fifteen respondents reported having feelings of
https://bcuassets.blob. marginalisation (feeling insignificant or peripheral). Examples
Union structures are very highlighted as being barriers themselves, and what does interviews. In particular, it
core.windows.net/docs/ of overt racism within unions were rare, but some
significant in determining the to the better representation it tell us about their was seen as being a barrier
csu2021322-lhc-report-- respondents saw their marginalisation as stemming from
extent and character of the of Black, Asian and minority demographic composition, to recruiting new members,
meerhigh- racist attitudes from other members. One respondent recalled
participation of ordinary ethnic members (seven of both in terms of their and to representing existing
res011121- an attempt to prevent their representative body from
members, and in the ways in the respondents made membership and their Black, Asian and minority
132803196237773642.pdf presenting to Conference:
which members’ interests explicit reference to it). What staffing? ethnic members. For
Here, we offer a brief are represented. All the emerges from our interviews, example, Respondent 7 “It genuinely felt like the reason we weren’t being allowed
unions in the entertainment The information we obtained to make that presentation in the proper manner was
summary and conclude with is a picture of an often said:
sector have representative shows a mixed picture. At because we were black. So, yes, that felt like overt
nine specific conservative bureaucracy
bodies set up for BAME the top end of the scale is “It’s something that’s racism.”
recommendations that can that can be unwilling to
members, but each has BECTU, which has collected come up in events I’ve
be adopted so as to improve engage with anything that is Respondent 13 went so far as to say that Black, Asian and
different structures and they equality monitoring data held with other members,
the capacity for the perceived to be a challenge, minority ethnic members were effectively looked on as
vary, in terms of the ways in from 75% of its 33,145 who’ve said, if they are
entertainment sector unions which issues around race second-class citizens within their union, mirroring their
which these respective members. 2,001 members, current members, they say
to be progressive forces in and discrimination frequently experience in the industry:
representative bodies are approximately 6% of the that they will never go to
the struggle for racial are. For example,
selected, the power they total membership, identify as the union for any help with “Marginalisation is really wide in the industry, as well as in
equality in the entertainment Respondent 5 put it in the
exert, and their place within Black, Asian and minority anything that they think the union itself, because people who really run the unions
industry. following terms:
the wider union. ethnic. might be race related, are not interested in those issues. They really - kind of -
“… to a lot of – especially because there’s nobody sometimes look at you, when you’re black, or from an
The NUJ’s Black Members’ Equity has approximately
young Black, Asian and there that looks like them, ethnic minority; if you’re not white, you’re not competent,
Council and Equity’s Race 50,000 members. The
minority ethnic people - I and that they feel has the you don’t have the skills, you can’t be trusted, and you’re
Equality Committee stand percentage of members who
think it looks obscure, dull, knowledge or the not in our clan, and why waste money and resources on
out, in a number of ways, as had completed an equality
bureaucratic and quite experience to speak about you?”
being more effective monitoring form was not
forbidding, in many ways. a race related incident.
examples of those structures
that enable Black, Asian and
I don’t think it’s attractive
given. 1,963 members,
representing 4% of the total
And people are not joining Conclusion
enough […] I just don’t for that reason as well.”
minority ethnic participation membership, identified as Our report is for a wide audience. We hope it will prove useful
think it’s really something
and representation. In Black, Asian and minority There is a point regarding to Black, Asian and minority ethnic workers in the cultural
that people want to get
particular, they are both ethnic, although the true union staffing that relates to sector who are not currently part of trade unions, and
involved in at the
elected by the Black, Asian figure is likely to be higher. the effectiveness of the although the report is challenging, we hope that the voices in
moment.”
and minority ethnic members unions’ own campaigns to the report will inspire them to join in the important work that
The Musicians’ Union has
themselves, and they both Equality approximately 30,000
increase diversity within the
industries of those workers
the unions seek to do.
Monitoring
have the power to bring members. It has collected We also hope the report will be welcomed by the leaderships
motions to conference. The that they represent. The
equality monitoring data of the five entertainment unions. This is a constructive
NUJ’s BMC, however, is unions’ justified case against
The collection of equality from only 5% of its critique. We believe that, as well as offering
alone in having its own racism and the lack of
monitoring data is a vital members. Of these, 222 recommendations, it highlights just how important union
self-administered budget (no equality in the industry is
prerequisite to the members, representing leadership is in enabling and encouraging an anti-racist
other equivalent body has a undermined if their own
improvement of workforce 0.75% of the total agenda that is led by Black, Asian and minority ethnic trade
Treasurer). staffing levels are
diversity in the creative membership, identified as union members.
unrepresentative, and their
The organisational structures industries. Indeed, struggles black or minority ethnic.
calls for the greater We have put together nine recommendations for the
of the NUJ’s BMC and over the collection and The NUJ has approximately transparency of industry entertainment sector trade unions. These are:
Equity’s REC are alone, dissemination of diversity 38,000 members. diversity data loses its power
amongst the UK’s data have been an Information from its website when it is not adopted as a 1. BECTU, the Musicians’ Union and the Writers’ Guild of
entertainment unions, in important, if secondary, states that 7% of its practice within the unions Great Britain should review the constitutive rules of the
having guaranteed element to the overall picture members define themselves themselves. respective representative bodies that serve their Black,
representation on their of struggles for equality and as Black, Asian and minority Asian and minority ethnic members. Drawing on the
unions’ ruling bodies. the greater representation of ethnic. This would represent examples of Equity and the NUJ they should:
marginalised groups within 2,660 members. a. Institute a method by which Black, Asian and minority
the industry (see, Eikhof, ethnic members select the majority of members to their
Newsinger, Luchinskaya & representative bodies. There is a strong argument for
Aidley, 2019; Cobb, 2020). ensuring that all sections of the membership are
This is shown most clearly in represented on the body, and rules for this can be
the boycott, by all five drawn up or retained.However, a failure to have a direct
entertainment unions, of the way for Black, Asian and minority ethnic members to
screen industry’s flagship, select their representatives calls into question the very
but deeply flawed, attempt representation that these bodies seek to provide.
at self-regulation, the
diversity monitoring scheme
22 23REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 03 SPRING 2022
b. Empower the 4. All unions should 6. Unions should look at the 9. Organising by Black,
Sir Lenny Henry Centre
representative bodies implement a policy of way new members are Asian and minority ethnic
by allowing them to capturing equality welcomed, and the ways members across the
bring propositions and monitoring data for their in which information is entertainment unions
rule changes to paid officials. This data given to them. All new should be encouraged.
Conference. should be published members would benefit Unions should provide the
Industry Fellowships
c. Reserve places on the annually, in line with the from a more rigorous space and resourcing for
ruling executive bodies unions’ own induction programme. this to happen, but this
for members of the recommendations for the This should include should not be done using
representative bodies. publication of TV industry information on union a top-down approach,
2022
data at programme/ bureaucracy. Unions and organising should be
2. BECTU, Equity, the production level. Unions should look at their led by Black, Asian and
Musicians’ Union and the should also provide bureaucracy and ensure minority ethnic members.
Writers’ Guild of Great information on the rules, processes and
Britain should increase number of Black, Asian terminology are as clear,
the autonomy of, and and minority ethnic staff concise and accessible as
resourcing for, their that are employed in the possible.
representative bodies, by References
higher levels of the
allocating to them an 7. For new Black, Asian and
unions’ leadership Cobb, Shelley (2020) What
annual budget which is to minority ethnic members,
structures. about the Men? Gender
be administered by the an induction programme
Inequality Data and the
representative bodies. should set out clearly how
their union is relevant to
them, which services
Rhetoric of Inclusion in the
US and UK Film Industries. For the second year,
Journal of British Cinema
relating to anti-racism are
and Television. 17(1): pp. the Sir Lenny Henry Centre
Union leaderships must provide on offer, and how to
112-135.
a mechanism whereby conflicts
access them; how they
are represented (as Black, Eikhof, Doris, Newsinger, for Media Diversity (LHC) is
Jack, Luchinskaya, Daria &
can be mediated, whilst ensuring
Asian and minority ethnic
members) within their Aidley, Daniela (2019). And… offering 5 grants of up to £3K each
that the autonomy of their union, and how, as Action? Gender, Knowledge
individual members, they and Inequalities in the UK to support short turnaround research
representative bodies is can effect change. Screen Industries. Gender,
retained. 8. The unions’ leaderships
Work and Organisation.
26(6): 840-859.
by industry practitioners.
must accept that
providing Black, Asian
and minority ethnic
5. Unions should try to members’ representative The purpose of these We would expect the To apply, please email Professor Diane Kemp,
3. Greater effort must be
ensure that Black, Asian bodies with greater research grants is to research to take 4 weeks Director of the Centre (diane.kemp@bcu.ac.uk)
given to the equality
and minority ethnic staff autonomy opens up the better inform policy and full time or the with a brief outline of:
monitoring of members.
are available to support possibility of conflict practice that will address equivalent part-time. You
Given the low response 1. The central question 4. How you hope your
those members who between those diversity deficits across must be available to do
rate across the unions you would like to address research might inform
believe they are being representative bodies and different sectors of the the work at this time.
(with the exception of and evidence of why it is wider and more effective
discriminated against. the unions’ wider media industry.
BECTU), efforts must be Completed research will important now. participation in particular
made to capture equality This service must be purposes, ideologies and They are open to media be published on the LHC roles and sectors of the
properly resourced, and strategies. Union
2. The aim and
monitoring data from practitioners with a website and considered media industry.
information about it leaderships must provide
methodology of your
existing members, as well minimum of 5 years for publication in the
widely disseminated to all a mechanism whereby
proposed research. 5. Two professional
as from new applicants. professional experience journal Representology.
staff and members. conflicts can be
referees who may be
who wish to look more 3. Your current role, your
mediated, whilst ensuring
Industry Fellowships were contacted in relation to
closely at the challenges qualifications and
that the autonomy of their
previously known as your application.
and opportunities in their experience relevant to
representative bodies is
‘PIMID’ grants, and were
own sector. the proposal.
retained. For example,
offered to Emma Butt,
regular communication
Each successful applicant Kate Ansell, Riaz Meer,
between union
will be teamed with an Nina Robinson and
leaderships and the
academic mentor and the Cherish Oteka. Their
The closing date for applications is 11 April 2022
representative bodies of
research will need to be research can be found on
and you can expect a response within three weeks of
their Black, Asian and
completed ideally by the LHC website.
the closing date.
minority ethnic members
1 July 2022.
is a necessary (but not
sufficient) element of this. ORIGINAL PHOTOGRAPH: JAKE TURNEY/COMIC RELIEF
24 25REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 03 SPRING 2022
MEDIA
itutions
Should traditional media inst
ities of
make reparations to commun
ring
colour for their behaviour du
Empire’s heyday?
Samir Jeraj gives his view.
REPA R AT I O N S On the 30th December and on its website, Somerset
Live, throughout October,
1700, an advert was a banner for Black
appeared in the London History Month that said,
Gazette. A 16 year-old “Black History is our history.”
called Quoshey had run Racism has been a
away on Christmas Day, fundamental part of the
perhaps taking media from its creation to the
present day. British and
advantage of the colonial newspapers were
festivities to slip away
an idea
used to trade in human
from Bell-Wharf by the beings, they were used to
Thames. champion the cause of the
plantation-owners in London,
to promote colonialism, and
He was wearing “a Plush
to entrench and promote
Cap with black Fur, a dark
(white) European power in
i m e
Wastcoat. a speckled Shirt,
s e t
British colonies. British
wh o
old Callamanca Breeches.”
journalists and editors were
The description continues
also personally involved with
“shaved round his head” and
both slavery and colonialism.
“branded on his left Breast
The Legacies of British
with E. A.” - the name of the
Slave-ownership project has
man who owned him,
information on nine
o m e ?
Captain Edward Archer.
s c
journalists and their families
h a
Readers were informed they
who owned slaves, including
would be rewarded with a
editors of The Times, The
guinea for returning the child
Glasgow Courier and the
to his enslaver.
Australian newspaper The
This was one of at least 800 Age. Flora Shaw, the Colonial
adverts we know of about Editor of The Times, was
runaway slaves that were described as “chief
placed in British newspapers. propagandist, ally and
They ranged from The confidante of Cecil Rhodes”
London Gazette, a semi- in a 2021 article in her former
official newsletter that has paper. George Orwell’s father
been in continuous worked for the Civil Service
publication in the UK since in India, supplying opium to
1665, to local newspapers, China, while his aristocratic
such as The Bath Chronicle great-grandmother’s wealth
and Gazette. Bath is still came from plantations in
served by a local paper Jamaica, long before his own
called The Bath Chronicle, stint as a police officer in
26 27You can also read
