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Life with Lavendar in London town

Monday, 3 July 2017

Arvon Foundation's Children's and YA Fiction Tutored Writing Retreat

A few months ago, I attended the Arvon Foundation's Children's and YA Fiction Tutored Writing Retreat. I'd started writing a children's novel in March 2016 and I knew I would need help along the way if I wanted to get to the end.  My aim in writing was not to be published. Not to become an author. Just to finish writing a book.

My prior weekend experience at Arvon had been so positive that I had high hopes for this course. A week in a remote part of Devon dedicated to writing with one-to-one tutoring from published authors in the genre. In the company of other writers all working towards the same goal.

It sounded idyllic.


Arvon Totleigh Barton centre

I arrived at the Arvon Totleigh center near Sheepwash in Devon with 30,000 words of a story that did not work. It had taken me about thirteen months to accumulate and shape those words; time stolen and snatched amidst paid work, childcare and domestic drudgery. I wasn't close to the story however and I knew something was wrong with it. But what?

Turns out, just about everything.

Melvin Burgess and Lucy Christopher were the tutors at Totleigh. Melvin, who has been nominated for the 2018 Hans Andersen Author Award has written a gamut of YA books covering everything from dogs to drugs to Vikings to giants. Lucy, a fellow Antipodean and lecturer in the MA Writing for Young People at Bath Spa has also covered the YA market with kidnappings, swans and a soon to be published reworking of Shakespeare's, The Tempest. Despite their considerable output, I had never read a book by either of them and didn't remedy this in the lead up to the retreat, Quite frankly, I didn't have the time and I preferred not knowing their work as I wanted to meet them as people, not as authors.**

The story I'd taken to Totleigh was not for the YA market. It was aimed for 6-8 year olds in the vein of a Michael Ende-ish Momo allegory with Robin Klein-Hating-Alison- Ashley humour.

Well it was in my head anyway. The reality was far from it.

All the retreat participants bonded quickly. As a group, we were united in our determination to use the week to write as we lacked time in our real lives to do so. It soon became apparent that the other thing we had in common was drinking. And even if we didn't to start with, a week at the retreat fixed that. We were a diverse group, hailing from around the UK with one participant from New York City. By the end of the week, we knew not only each others plots and characters but also occupations, childrens' names, places of work, relationships and preferred choice of tipple.

This is where we ate and talked about writing. 

This is where we sat and talked about writing. 

During the retreat, each of us had four individual tutored sessions with Melvin and Lucy over four consecutive days. We also had to cook dinner (in a group with three others) for one night and take responsibility for our own washing/clearing up. In the evenings we gathered together for group activities including author readings from Lucy and Melvin and a guest visit from David Almond. The last night was reserved for participants to read out something they had written during the week. The rest of  the time was free for writing.

Most of us had arrived with ideas of what we would work on in the week. Mine was to edit and bash my manuscript into some sort of draft material shape. Prior to attending we'd all submitted 2000 words to both tutors so they had some clue of what everyone was working on.

My first tutorial was with Melvin. Ten minutes into that tutorial was all it took for him to accurately highlight key issues with my story. My stomach twisted as I realised I would have to rewrite the whole thing if I wanted it to be the story I wanted to tell. Goodbye thirteen months work. Goodbye 30,000 words.

Kill your babies they say of the writing process. Get rid of what you love if it doesn't serve the story, no matter how good you may think it is or how attached you are.

In my case, it was more like, Torch the Village and Kill (Nearly) Everyone.

It's a strange paradox that writing can be a emotional, psychical process. To create characters and stories, you have to dig deep. But then you must be completely unsentimental to shape the story into life.

It's a fascinating and grueling learning process.

I stumbled out of the tutorial slightly ashen, in a state of semi-shock. If someone had asked me there and then to climb Everest, it would have seemed an easier prospect.

Over the next day or two, I buckled down and started from the beginning. I took some comfort from the fact that others were in similar states to me. Frantically re-writing, rethinking, re-working. We all worked so hard that week, including Lucy and Melvin who were locked up inside from 9am-5pm giving feedback and advice to writers in various states of mania and descending madness.

No wonder we drank.

So two months on from the retreat and I have plugged steadily away at my story. I am still nowhere near the end but I can see it now.  The story is rough and there are so many problems with it but the process of grappling with words, story and characters is rewarding. I have learned that committing to a writer's process is a daily struggle. It's hard, fantastic and renewing all the one time.

A small group of us from the retreat have committed to meet monthly to give feedback to each other's projects. And in truth, to attempt to recreate a small semblance of the Arvon atmosphere. You cannot write in a vacuum and as Lucy said, You must find your tribe. Writing stories is hard and only other people struggling with it truly understand.

But how lucky we are that we enjoy this particular type of struggle.


Hallelujah, Amen. 


**However during the retreat I read Junk by Melvin and The Killing Woods by Lucy. Both compelling in very different ways.



















Tuesday, 23 May 2017

Life's Not Fair


I'm supposed to be working right now but I'm finding it hard to concentrate. This morning I woke up to find out that twenty two people had been killed at a music concert in Manchester by a suicide bomber. Amongst those killed were children and teenagers. If I stopped writing this to concentrate on my Excel spreadsheet, maybe it will stop the urge to cry. But from experience, too much time on Excel can kill other signs of life.

I've tried to avoid most of the news today. In spite of this, I've heard the words 'terror' more times than I care to. I am not scared though. It's something else that is bothering me.

I should be used to waking up to catastrophic news by now. When I woke up to Brexit, I was shocked. Such shock that there was no room for tears but instead, profound grief. For I sincerely believe that it's a decision that will change the course of world history for the worse.

After that Trump was a breeze. I cried but more from anguish than pain.

Months later when the guy bulldozed pedestrians off Westminster Bridge right outside my work place, I made a point of walking across the bridge many times to and from work thereafter.

Brussels, France. France again. Germany. Idiots sacrifice others for misguided reasons. This has always happened of course. Right now, political instability, rising nationalism, a 24-hour news cycle and social media are the forces working to create a playing field fueled by suspicion, worry and protectionism. If continued, the Hunger Games may become non -fiction in years to come.

Maybe it's disingenuous of me to lament this latest tragedy because it is closer to home. Manchester is my patch. More so than places like Syria, Sierra Leone or Papua New Guinea where many young people endure unthinkable suffering and die every day.

Last night I checked on my six year old before I went to sleep. She looked so peaceful in repose. Such a contrast to her high energy antics during the day. I stared at her sleeping face and was struck by her vulnerability and also my own. It occurred to me that someday in the future we would be parted. I felt a physical pain in my chest and snuck out of her room.

It was an Ariana Grande concert those kids were at. I can imagine their excitement, going to a concert with their parents or unsupervised with their friends. I remember going on my own to my first concert. It's a rite of passage, something I hope my daughter experiences one day. You don't go to a concert expecting to die. Until recently this wouldn't even have been in the lexicon of 'concert going.' But with Bataclan and now Manchester, it is becoming so.

Walking home from school yesterday, my six year old told me about her day. They had been learning about an African animal that was becoming extinct.

People kill it because they think it brings bad luck.

What does it do that is so bad? I asked

Nothing. They just think it is bad luck.

So the animal does nothing but they kill it anyway? 

Yes.

That's not very fair.

Life's not fair Mum. Don't you know that? Life's not fair.


It certainly isn't.



















Friday, 5 May 2017

Brodsky/Baryshnikov

Mikhail Baryshnikov is a good-looking man. Nearing 70, he has charisma in spades which was in full display last night when I attended his show, Brodsky/Baryshnikov.

Marketing for the show

When I booked my (very expensive) ticket, I didn’t know what the show was about. All that my bedazzled eyes could see was Baryshnikov Baryshnikov Baryshnikov Baryshnikov

Later when I informed the Husband that he would be on child watch duties, he read the marketing material and raised an eyebrow:

You do know that he’s not dancing, don’t you?

Of course I know that. What do you take me for?

And that he’s reading poetry.

Uh, duh. That’s why it’s Brodsky/Baryshnikov. Joseph Brodsky. Poet Laureate.

In Russian. He’s reading poetry in Russian.

Oh.

What could I say?

I had not read the small print but quite frankly, I didn’t care. Baryshnikov could be on stage brushing his teeth and I’d still have gone.

Mikhail Baryshnikov is one the greatest ballet dancers of all time. At the height of his prowess as a classical dancer, he defected from Russia to Canada in 1974. Afterwards he went on to wow the world with dance and forayed into acting, painting, photography and writing. He never rested on his laurels. He’s pushed himself artistically and creatively throughout his life and now nearing 70, he’s still taking creative risks.

Brodsky/Baryshnikov is a one-man show. Over the course of 90 minutes, Baryshnikov recites Brodsky’s poetry as if in conversation with the dead poet and performs set movement pieces throughout. The words (thankfully) were subtitled for an English speaking audience. Whilst I do not speak Russian, the timbre and tone of Baryshnikovs’ delivery was compelling. Who knew he sounded so sexy in Russian? The melancholy and hope that permeates much of Russian art and literature resonated in Brodsky’s words. I found myself loving the poetry. 

When Baryshnikov took his shirt off and started moving, the reaction of the audience was palpable.

Is Baryshnikov is going to dance?

But he didn’t. He did some weird performance Butoh which I didn’t like very much. I didn’t think it suited the show but again, it didn’t matter. This is Baryshnikov. However odd the conception, the movements themselves were as crystalline and precise as ever. At 70, his body could rival most men half his age. He is in good shape.

Moody Russian Dancer

At the end, he came out to take his bow. People stood up and clapped and clapped. Not because it was the best thing they had ever seen but out of respect for this great artist who is still taking creative risks and baring himself onstage. He smiled, bowed and then did a little jump-hop-skip and ran to exit offstage.

People were still clapping so he came on and did it again. Bowed. Jump-hop-skip. Run to exit.  

He did it three times. That little jump-hop-skip-run.

I guess it’s like breathing to him that jump-hop-skip-run. After every show, every performance, that is the way he exits the stage.  He’s been doing it since he was a boy, since he started learning how to dance. His body just does it automatically.  This show was not about dancing but still, he took a dancer’s bow and exit. He couldn't help it. 

It was a weighted moment and it's what I'll remember most about the show. His jump-hop-skip exit embodied so much of Baryshnikov's history and legacy.  To quote the show itself:

Life is the sum of tiny movements. 

-Joseph Brodsky




Tuesday, 14 March 2017

Not the Nanny

The perils of working from home with children was highlighted in a most delightful way last week when Robert Kelly's live BBC interview went viral. If you have no clue what I mean, check this out:



The clip did the rounds quickly.  Friends were eager to share the charm and humour in this 40 second clip. When I watched it, the Husband said he could hear me laughing from downstairs. Even writing about it now brings on a chuckle. 

I clocked early on that the children were mixed race so I assumed that the woman who slid so spectacularly into frame was their mum. The little girl in her yellow cardigan became my hero.

The next day there was online debate whether the woman was the nanny or the mum. The clip had gone viral and the woman was being referred to as the nanny. At this point, I was unsure what she was so after some checking, I read that the woman was most definitely the mum. 

I was at a party later and the video came up in conversation. We watched it, laughed and afterwards my friends spoke about the nanny in the clip.

She's not the nanny. She's the mum.

No no. She's the nanny.

No she's not.  She's the mum. 

No, she's the nanny. 

I let it go.  I'm not sure what the reasons were for the insistence that the woman was the nanny. We didn't discuss it but it left me feeling uneasy because in 40 seconds, you probably make that assumption based on body language or race. I hoped it wasn't the latter.

Swiftly, the widespread assumption that Jung-a-Kim, the woman in the video, was the nanny or maid sparked media interest and debate over cultural stereotyping and casual racism. I  jumped on the bandwagon and posted this article on my Facebook. The resulting discussion was wide ranging from affirmations that 'Nannygate' was indeed racist to comments that it was her body language and behaviour that made her seem nanny-like. Which in itself is a whole other topic of subjugation. 

The most relevant question raised within my own circle was:

Why does it even matter?

Why could we all not just enjoy the clip and not query why people assumed that Jung-a-Kim was the nanny? What's wrong with being a nanny anyway? Nothing.

When I asked myself the question, why does it matter, this is what I came up with.

Even if only one person out of all the thousands that viewed the clip made the assumption that Jung-a Kim was the nanny based on racial stereotyping, that is one person too many. Because assumptions like that spread and take root unless you call them out early. Assumptions like that will eventually affect my life. They already have. 

Asian woman. 

Servant. Maid. Nanny. Mail order bride. Subservient. Victim. Vixen. Prostitute. Dragon Lady.

All such cliches but these stereotypes live on as demonstrated by the reaction to this clip. For I'm pretty sure that more than one person based their nanny assumption on race.*  

In my experience, it is not overt racism that is the most damaging or hurtful. When someone tells you to your face that you should go back to where you came from you fucking Chinese cunt,** a least you know what you are dealing with. 

It is the subtle, covert judgement that is the most dangerous. Or what Jen McGuire calls casual, almost benign stereotyping. She writes:

It's this sort of casual, almost benign stereotyping that can ultimately be so dangerous. Just because it's not aggressive or overt doesn't mean it's not changing our world view. In fact, because it can be so much more difficult to pinpoint, it's also harder to call out.

It's the kind of stereotyping, such as the case here with Jung-a-Kim, where because it is subtle or unintentional that you are told to stop making a mountain out of a molehill. That it is harmless. That you are looking for something that isn't there.  Or that you are imagining it.

If you have never experienced any form of racism nor stereotyping in your life that has affected you adversely, then you are lucky. So have some empathy, if you can, when I say:

We are not imagining it.



* I am not exempt. I have been racist. I make assumptions all the time. I can be judgmental. I try and have respect and empathy. But I don't always. In this instance, because I have grown up with this type of institutionalised racism, I am calling it out. But I have been wrong as well in other cases. 

**The Husband disagrees. He says he would prefer low level racism, even if it is more insidious, than someone coming at him with a knife shouting, 'Come here you fucking Paki' (true story)









Friday, 27 January 2017

Women's March London 2017

About a week before Trump’s inauguration I started acting like a cat does before a storm arrives. Hair on end. Pacing around the room. Eyes darting nervously, looking at something invisible that no-one else can see.

Cat before a storm. This was me.

'What is wrong with you?' asked the Husband as I stalked from room to room.

'I don’t know,' I screeched. 'I feel possessed!'

The Husband after watching me pace concluded:

'I think you’re tapped into the zeitgeist,' he muttered. 'Business as usual.'

He was right. I had managed to block out the reality of Trump’s presidency all throughout Christmas and New Year. Our family’s return to work and school had kept me preoccupied for the first few weeks of January.

But around mid- month, media attention surrounding the inauguration meant I could keep my head in the sand no longer. It was about to happen and I was pissed off and on edge. A storm was brewing. In the form of a radioactive orange Oompa Loompa with a mean little mouth and unnecessary hand gestures.

Change the wig to yellow and there he is

In November, I’d registered to attend the Women’s March in London. This march originated as an invite from a Hawaiian grandmother to forty of her Facebook friends to march on Washington, as a reaction to Trump’s election victory.  When she woke up the next day, the event had gone viral. Soon thereafter, sister marches were being arranged in cities all around the world as an act of support and solidarity to the Washington march. I wanted to attend the London march for it was a means to act in accordance with my beliefs rather than do nothing and despair at the erosion of civil liberties.

The last time I felt compelled to march was post Brexit last July. The time before that was twenty years ago when I was an environmental campaigner. Those years as a campaigner showed me the power of well organised and persistent grassroots action. It showed me that a small group of determined people working together can change things.

Women's March Global Logo


Logo from Women's March London

My intent was to attend the march alone. But to my delight, several other women I knew from Dragon’s school were also attending. Soon a small gang of us arranged to attend the event together.

The day of the march dawned bright and beautiful. The clear blue skies served as a welcome omen that our march was a force towards positive action. A tangible sense of excitement and electricity fizzed in the air as we assembled in Grosvenor Square opposite the US Embassy.  We knew that there were 600+ sister marches scheduled to happen all around the world and that we were there to represent the UK. The night before, I’d watched Trump’s inauguration which only heightened my determination to march for human rights, amongst other infringements which Trump represents. By this time, I considered it a civic duty.

A beautiful day for a march

There is a lot I can say about the march but in summary, the gang I marched with found it an overwhelmingly positive experience. The mood of the event was friendly, inclusive, peaceful and determined. We marched alongside a diverse demographic; old, young, men, women. I got the sense that like me, people felt moved to act because it was vital to take a stand against what was happening in the world. Brexit shook our foundations and Trump tipped us over the edge. The march was a vessel through which to funnel our charged emotions and say, No way. It's not OK to the powers that be.  The other big bonus of the event was the emergence of witty, creative protest placards such as these below:










Afterwards we found out we had helped make history. The final numbers have yet to be confirmed but the approximation is that over five million people participated in the global marches. From Antarctica to Sydney to Chennai to Antigua, people stood up to protect core values of respect, equality and individual freedoms. It purportedly was the largest turnout for a global march led by women in history. Ever.   

We Made History!

 And it’s only the beginning.

It’s a week after the march, and myself and the group I attended with are still on a high. We’ve bonded over this shared experience. People who said to us, 'What can a march change?''* underestimate the power of taking action. We feel energised. We feel hopeful. We feel a part of the movement working towards tipping the balance back to a just and open society.  For several of us, there is a dawning realisation that the march was just the beginning of our involvement in what is being referred to as the Resistance. Like Dorothy on her journey along the Yellow Brick Road, we’re not quite sure where this path will take us. Somewhere for the common good is my hope.

A quote by Gloria Steinem sums it up:

Sometimes we need to put our bodies where our beliefs are. 

Sometimes it is not enough to press send.


*Ever heard of Gandhi?  And if you are a woman, how do you think you got the vote?

Monday, 16 January 2017

Wah Wah Land

Sometime before Christmas last year, publicity posters of Emma Stone and Ryan Gosling locked in dance embrace started following me wherever I went. The tube, the train, escalators, online media. Wherever I was, so was this poster:

The Stalker Poster

You could be blind and still be able to see from all the stars and accolades squashed together in said poster that the film was well received. Still, the public's appetite can differ from that of film critics and attendees of Cannes, Sundance and other chi chi film festivals. You can shove as many stars as you like on a poster but will it translate into box office?  Undeniable though was the buzz surrounding  La La Land, reaching crescendo height at the recent Golden Globes where it swept the floor with all other films nominated.

I went to see the film today with a sense of unease due to my sky high expectations. I grew up watching old MGM musicals and I rate Gene Kelly as one of my favourite dancers, ever. I choreograph ensemble dance sequences in my head on the way to work with my face squashed against someone's armpit on the Tube. This is what I see every night before I go to sleep as it hangs in my bedroom:

Gene Kelly & Vera Ellen in Words & Music

Before I saw the film, I read an interview with director Damian Chazelle where he discussed his intent to make a musical for people who don't like musicals. The aim was to draw from the canon of musicals from the golden age of Hollywood and yet make the film modern and fresh.

I was sceptical. Musicals aren't really a genre in film anymore. Chicago, Mamma Mia. Sweeney Todd. What else from the last ten years?  Gone are the days where actors could also sing and dance, doing all three things well at the same time. Doing a musical is tough as it is. How the hell was he going to do a new type of musical to win over a non-musical accustomed audience?

I went to an afternoon screening filled with old aged pensioners holding glasses of wine and walking sticks. Usually afternoon screenings are sparse but the cinema was almost full. A guy came in and sat next to me. Immediately he took possession of the arm rest between us.

I saw red. Stubbornly I wedged my arm back onto said armrest so that our elbows were both perched together like angular roosting pigeons. The previews came and went.  The lights dimmed. The film started.

My arm did not move from that armrest.

Vibrant technicolor hues flooded onscreen where tanned people started dancing on top of their cars on a gridlocked highway. All the cars looked cool, not like the ugly monochrome plastic bubbles they make now. The sky on film was vivid blue. I could almost see the shimmer in the air emanating from the heat of hot LA summer's day. I took it casually in whilst having this internal monologue:

I was here first Mister. Why makes you think you have the right to hog the armrest? Because you're a man? Because you're tall? Because you're tall man?  It's so annoying when men do this. Do women do it? No, usually men. Like in swimming pool lanes. Men* are arseholes when swimming in pool lanes. Does testosterone multiply when you're submerged in water. Do you feel my elbow sticking into you? 

Oblivious, the guy seemed absorbed in the film and remained that way for 2.5 hours. He didn't move. And neither did his elbow.

By this time, my own elbow was in pain from being stuck in an awkward position. I decided to distract myself by paying attention to the film. It certainly was gorgeous to look at. The cerulean sky changing to an effervescent mauve draped over the twinkly lights of Hollywood.  Emma Stone's incandescent face and googly eyes drawing you in. The ever present music which was the third character in the film, so much was the mood of this film driven by music. The dancing was a bit blah but I didn't care. The film had a tangible rhythm which made up for it.  The camera techniques employed were reminiscent of old Hollywood with fish eye lens zoom in and out. Shots were framed like Edward Hopper paintings such as:


La La Land film still

La La Land film still

La La Land film still

Early Sunday Morning by Edward Hopper



Nighthawks by Edward Hopper


Quietly and with great charm, the film won me over. I completely forgot about my now frozen elbow and fell headlong into La La Land. An old fashioned story, some might say cliche, of girl-meets-boy, boy-meets-girl, with stars in their eyes, hoping to both make their mark in Hollywood. It is a cliche but who cares. Grounded by two very real and nuanced actors, both fizzing with onscreen chemistry, Damian Chazelle has made a tender, romantic and hopeful film which will charm the pants off you. And if it doesn't, well, there are plenty of other films for you to watch that would not employ those adjectives.

I don't cry often during films but something in La La Land set off  the waterworks, resulting in Wah Wah Land.  After an annus horribilis where the UK voted for fracture instead of unity and where a giant orange wart was voted President of the US of A, it was a tonic to watch something uncomplicated and lovely.

By the end of the film, I wanted to give the guy next to me a hug. I couldn't move my arm, but that's an aside.

That my friends, is the power of art.


And here's to the fools, 
who dream 
Crazy, as they may seem 
Here's to the hearts that break 
Here's to the mess we make

-Audition, La La Land soundtrack


* My intention is not to tar all men with the same brush. I have just observed that after many years in swimming pool lanes that men tend to be much more aggressive in claiming space than women.







Tuesday, 3 January 2017

Yellow Face

The Husband was making small talk with me last week as we sat in the cinema waiting for the start of Rogue One (which I enjoyed immensely by the way).

If a play is set in China, contains characters that have Chinese names and are described as Chinese, do you think that Chinese actors should be cast in those roles?

What do you mean? I replied. What's the context?

He went on to fill me in on the controversy surrounding a play called In the Depths of Dead Love being staged at The Print Room in Notting Hill.  Written by Howard Barker, the play is set in Ancient China featuring characters that are purportedly Chinese. Here are the characters' names. What do you think?

  • Mrs Hu
  • Lord Ghang
  • Chin
  • Lady Hasi

The controversy has arisen because the play's director, Gerrard McArthur has cast an all -Anglo cast with nary a Chinese actor in sight. Andrew Keates, theatre director of the upcoming play, Chinglish, has taken exception to this and drawn media attention to what he considers is inappropriate casting.  In an open letter posted on his Twitter feed, Mr Keates wrote:

Your entire cast are all clearly Caucasian actors when the characters are written to be Chinese. You must not endorse this racist, outdated and unnecessary practice of 'yellowface' and instead find actors who are appropriate.

In response to all the media attention, The Print Room released a statement which claims that although the play is set in China containing characters with Chinese names, that no-one should be offended because the Chinese aspect within the play is just an 'allusion' and was never 'intended to be taken literally.'

Is it all a storm in a teacup? Is Andrew Keates simply using the whitewashing of this play to promote his own play, Chinglish, which does contain British Asian actors. Did Howard Barker never intend for his play to be about Chinese people? And even if he did, shouldn't it be a director's discretion to interpret a play how s/he wishes to? For example, why can't King Lear be a woman if a director wants to cast the role as such? Or Othello Irish for that matter?

Isn't art about vision and interpretation and sometimes, pushing the boundaries of what has gone on before?

I have not read In the Depths of Dead Love (and cannot find a free copy on the web to read) so can't comment on whether I think Barker wrote a play about Chinese people or not. The question begs however that if not, why did he set the play in China with Chinese characters?

It is a fact that Chinese actors are grossly under-represented in Western mainstream theatre and film. Try counting on two hands the number of well-known Chinese actors in mainstream media and you will struggle to find ten. There is no excuse for this apart from the absolute lack of vision on behalf of directors and writers in film and theatre.  The roles for Caucasians are numerous, it is the status quo, whilst roles written specifically for Chinese characters are next to none. It is not an even playing ground. Therefore whilst I think art should be a matter of interpretation, I do believe it is wrong to cast Caucasian actors in roles written for Chinese characters.

Chimerica
One of  the best plays I have seen showcasing an exceptional  British Asian cast

My own experience has led me to this conclusion. Growing up in a Caucasian society, my role models in film and media were Anglo-Saxons. I could not change my heritage however and my heritage is Chinese. There were no parts for a Chinese kid in the school play. I was told I couldn't be Nancy in Oliver. I couldn't be Dorothy in the Wizard of Oz. I certainly couldn't be Mary in the nativity play - gasp! Imagine that. I couldn't be any thing apart from a tree perhaps. Maybe I just sucked at acting.

I was still learning about racism when I experienced all of the above. Later on, when studying drama in my twenties, I found that not much had changed. A theatre director told me he could not cast a Chinese person in a Shakespeare play as I was not white. Instead of being angry, I just felt sorry for him. And I told him so.

When I was little and faced rejection from the school plays that I so wished to participate in, I wrote my own plays instead.  And did my own casting and directing. And then we performed these plays for the school. It was very rewarding.

And that really is the sum of it.

Protesting and speaking out is important but only goes so far.

If what you want to see is not available, then make it available.