3. Art, Identities, Censorship
The Issue / Event: The attempt to ban Behzti (“Dishonour”), a play by Gurpreet Bhatti
In December 2004, hundreds of Sikh demonstrators protested outside a Birmingham theatre against Bhatti’s play, Behzti, depicting sex abuse and murder in a temple. The play is complex, woven around the theme of mother and daughter, and touching on issues such as homosexuality, corruption, social status and acceptance, suppression, drugs, domestic violence, rape, murder, mixed race relationships and paedophilia.
The Birmingham Repertory Theatre, which staged the play from December 18-19 2004, cancelled the play on safety grounds. Although forced into hiding after receiving death threats from mainly members of the British Sikh community, Bhatti has continued to defend her work.(1) Importantly, the attack on the play was supported by the Anglican and Catholic Bishops of Birmingham.(2)
Positions that have been taken:
The playwright: She acknowledges widespread expressions of support, also from the Sikh community.
Some voices from the Sikh grass-roots: a concern with the freedom of expression on the one hand, but also a concern with the representation of the Sikh minority vis-à-vis the public eye through the media of art.(3) The perception of representation becomes the overriding concern.
Public domain: Expressions of support remain silent and marginalised; there was no media coverage (mass media, including the world wide web) to promote the image of the Sikh community as a heterogeneous group.
Official views: A defence of the freedom of speech and the right to self-expression was mounted.(4) Religious leaders took upon themselves to defend the right of especially religious minorities to be respected by refraining from provocation.
Questions for consideration:
-
What is the relationship between communities and individuals in diasporas? (5)
-
Whose rights can be breached: the artist’s rights, the individual’s rights, the community’s rights?
-
What are the diverse notions of representations of communities?
-
What are the boundaries of communities?
-
Should art relate to the integration of communities?
-
Why do cultures demand special attention and why should this be accorded?
-
Who speaks? about what problem?
-
Does speech replace action?
-
Does pluralism foster violence?
-
What does silence mean? What is projected into silence? Support, fear, consent?
‘I'm sikh myself and I believe that our community needs change and the ability to open up to things like this...the play is just exercising the freedom of thought and there is absolutely nothing wrong with that...unfortunately some of the old fashioned, traditional minds aren't ready for that kinda thing’
Response:
‘I suggest you read the transcripts of the play. For instance if I was to write a play about 9/11 and supporting Jihadis and making fun of the survivors would you think that play would be sanctioned? Or a play abusing Blacks, whites, etc do you think that play would be allowed to go ahead? Recently in UK a Jamaican Rap artist was banned from entering because his lyrics were deemed to be offensive to gays now isn’t that hypocrisy? Where is his right for freedom of expression? …’
‘Besides if the Playwritter wanted to explore issues of hypocrisy,etc in the community that would be welcome by most Sikhs but why not do in a proper forum/ areana why put on a trashy play offending the very faith that has defend freedom of others in history (from moghuls, ww1, ww2,etc). She has proved to be the biggest hypoctric by using her so called sikh identity as a soft target to sell out like a coconut to the white athiest arty fart media world.’
(4) Commission for Racial Equality, 21.12.2004, CRE statement: “We support the right to protest about a work of art or a play that may offend. In this case we fully understand the hurt that may have been caused to some Sikhs by this production. However, it is unacceptable to demand that the author or playwright should edit their work or that the play should be banned. And we should be clear that the proposed legislation to ban incitement of religious hatred will not outlaw plays such as this - and neither should it do so. However, this playwright - a Sikh herself - had a story to tell. She should be heard, and anyone who chooses to see the play should be free to form their own judgements…We urge both Sikh community leaders and the arts community to do all they can to provide a more rounded picture of what it means to be a Sikh in Britain.”
(5) Gurpreet Bhatti (BBC News, January 13, 2005): "I am proud to come from this remarkable people and do not fear the disdain of some, because I know my work is rooted in honesty and passion."; "I hope bridges can be built, but whether this prodigal daughter can ever return home remains to be seen. “
