As another Comic Relief approaches, now in it’s 33rd year, Black and Brown communities all over the UK brace ourselves for a narrative that presents us, our worlds and ancestries through a white, smug, self obsessed lens. As the Black film world rocks at yet another white saviour film has won an Oscar, sometimes we have to ask ourselves, what’s up with white peoples?
Why is it that stories not centring whiteness will shoe-horn it in at any cost? Why when this is pointed out by Black and Brown peoples isn’t there an “ok, sorry, we messed up”. From Driving Miss Daisy to The Help and Green Book, the white saviour trope holds so much traction that a white personality, holding a Black baby, displayed across the media and social media, under the guise of helping the unfortunate, incapable Black people is still something that becomes heavily debatable. Whiteness doesn’t want to let go of the Black baby. It’s laughable in its irony. It’s depressing in its consistency. We hold our breath, we curse underneath it, we hold back tears and anger, dodge the build up and the evenings worth of shallow programming and are expected to interact in a normal way the next day.
You’ve agreed to “loan us our black art” but not all of it and at the same time insist that we’re again grateful. Black gratitude or a lack of it sits in the middle of the discourse about Comic Relief like badly made jerk. No one listens. And that’s perhaps the most telling thing of all, that our voices continuously get silenced whilst the fund raises money for ‘us’ and at the same time we’re offered training schemes and ‘diversity’ concessions when perhaps listening is the very beginning of all of that. Guilt pays, not reality. And that’s not our fault as communities have been vocal about Comic Relief since its inception. As it pits communities against each other and sets up a charity dynamic that further supports Britishness as benevolent helper, rather than exploiter. That might never change. A snapshot of the issues when you read David Lammy’s Twitter responses is all you need to know about where we’re at… He was respectful of Dooley, he commends her on her good work, he says he is in no way trying to put down Comic Relief’s work, just how the message is delivered. And yet. People claiming that it’s putting them off from giving, “since you don’t want our money, I’m giving elsewhere”, that calling someone white is racist, that without a white saviour, people wouldn’t give because Black pain has to be framed by whiteness? That he’s a bully (a big Black one) attacking a small white girl. And crucially, where would these countries be without white benevolence? But it’s hard to watch a whole country giving itself a pat on the back for ‘helping’ to solve the problems it helped create. If we do not understand Empire and its colonial legacy as real life, then whiteness can continue to pretend it had nothing to do with the problems in the first place.
What every Black and Brown person knows after hours of footage of diseased and plague ridden Afrika is that this view of Afrika directly relates to us in the diaspora. That kids in school the next day will be told how ungrateful they are, workers will have to put up with colleagues that ‘never knew it was so bad’. That white celebrity doesn’t concern itself with racism on a daily but will put up with going over ‘there’ to make a film and then go back to the plush hotel afterwards. And importantly that those over there are those that are seeking asylum. That those seeking asylum are those same ones that are being helped. That those people in the ‘country; Of Africa are a homogenous whole. That Afrika has no cities, no roads, libraries, universities or banks. That Afrika corrupted itself into poverty. None of the programming discusses colonial legacies. That once a colony was granted ‘freedom’ the British left and took out all that it could, extracting wealth and resources as it left and continued to try to influence governments, with brutality if necessary. Remember Mark Thatcher trying to pull off a coup in Equatorial Guinea? That those countries that are war torn are being sold weapons from British manufacturers. Britain continues to make money out of Black and Brown suffering. Since Comic Relief is stuck in a model that it refuses to change, let the films reflect all the histories and let go of the baby.