Why We Need Ethnic Comedy

Written by: Inder Manocha
Published: Tuesday 12th May 2015

Idly flicking through the channels on my television recently I stumbled upon a re-run of the Goodness Gracious Me reunion special, originally aired last year as part of the celebration of fifty years of comedy at the BBC. It made we wonder about the state of 'ethnic comedy'.

In terms of TV, there is a curious hybrid of ethnic comedy, which can be roughly separated into two halves:

On the one hand, there is the work of comedians and comedy actors from a minority culture background writing about that culture. I am unpersuaded that anything since the first series of Goodness Gracious Me, over fifteen years ago, has wittily and authentically captured these ethnic experiences. In fact the only ethnic character who has made me laugh out loud during this time is, ironically, that fake foreigner Borat.

It might be argued that this is due to the dearth of opportunities for minority artists. But it is not simply about that kind of representation. TV producers do not appear to know what to do with the experiences of writers and performers from minority cultures.

It seems useful to distinguish between the racial and cultural aspects of identity. What needs to be explored is not necessarily about race; but it is about culture. Casting directors, both for comedy and drama, will often ask if I can do an Indian accent. Of course there are roles that require an Indian accent. But the frequency of the question suggests that I am being viewed mainly in racial terms. The cultural dimension is being overlooked.

There is a rich untapped seam of British-Asian cultural experience which is about people who have multiple identities. Their identities shift depending on circumstances, since they might speak to their parents like a native Punjabi and sound to their friends like Benedict Cumberbatch, creating a sense of belonging that might be fractured or at ease but which is layered and worth exploring comedically.

On the other hand, there is the work of Caucasian writers, comedians and comedy actors portraying ethnic characters. Has the output improved since the 1970s? Of course some of the sitcoms of that decade promoted crude racial stereotypes, but it also gave us Till Death Us Do Part and Rising Damp which exposed the gullibility of prejudice and the irrationality of xenophobia through rounded, memorable characters.

The last decade has produced the airport-based Come Fly With Me with its multicultural cast of employees all played by Matt Lucas and David Walliams. I have no objection to them browning or blacking up provided the characterisations are accurate and funny. Unfortunately we meet the West Indian coffee kiosk assistant Precious (pictured) whose accent, in keeping with the aeroplane theme, seems to travel around the British Isles. What of the use of stereotypes? In one episode passenger liaison officer Moses patronises a confused Chinese man by communicating to him through awful 'Oriental' stereotypes, including placing a board around his neck with the message 'Please Look After This Chinaman'. While the intention is to expose the main character's stupidity, the effect is of a humourless use of bad taste caricatures. Progress indeed.

The use of stand-ups on TV suggests a deeper problem with the comedy industry. It thrives on a lack of originality. There is a conveyor-belt of young jesters parachuted on to prime-time TV, treating us to their comedy gold about their crazy families, racists, fat people and badgers, whose omnipresence has become, like global warming, a disturbing and irreversible fact of life, and who glide effortlessly from newcomer to national treasure in the space of six months. Although listening to their observations is like being water-boarded by an overgrown baby, it remains an accepted part of our lives.

Ethnic comedy can be different. And this can help to reshape mainstream comedy. This is because British culture is becoming increasingly diverse.

It is striking how multicultural London's West End comedy club audiences have become, including those wearing traditional Muslim dress and East Europeans. There is a growing demographic who want to hear the stories of immigrants and their descendants. This has been borne out by responses to a storytelling project I have participated in called Immigrant Diaries. The stories told are deeply personal while being familiar to anyone who craves a sense of belonging as well as trying to understand their sense of being distinct.

Since being an immigrant involves negotiating at least two cultures - sometimes quite different in terms of their traditions, beliefs and expectations - these are often stories about choices, confusions, cowardice and courage which can be the stuff of compelling and original comedy.

There will always be a place for traditional mainstream comedy. But surely there is space for multi-faceted, culturally open and funny stories that reflect the new mainstream of our country?

Inder Manocha has been performing stand-up comedy all over the world since 2000. 'Immigrant Diaries' can currently be seen at weekends at the Brighton Fringe Festival until the end of May (at 5.45pm at the Blue Man [Venue 143], Queens Road. Tickets £7. Box office: 01273 917272). Inder will appear in the Brighton shows on the 30th and 31st May. The show then transfers in August to The Edinburgh Fringe.