By Jonathan Souza
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In sports, for example, several identities would simultaneously come into play: one was a Kenyan-Panjabi hockey player, or a Ugandan-Gujerati cricket player, and so on. Religion was construed less as a signifier of Culture’ than one of ‘belief. The construction of this distinction marked an intersubjective space for non-antagonistic identification among different South Asian groups. Vocabulary drawn from Swahili became an integral component of the South Asian languages spoken in East Africa. Popular culture was another major site for cultural syncretism.
By the early 1960s the anti-immigration campaigns, ‘bussing’ of Asian children to schools outside the areas in which they lived, discrimination in housing and employment, and the experience of being subjected to racial abuse came to constitute significant facets of the dayto-day social experience of Asians in Britain. Issues of cultural identity now began to assume importance, and strategies designed to foster positive cultural identities amongst the young came to be seriously considered. A HOME AWAY FROM HOME (1960s TO EARLY 1970s) When the ‘assimilation’ model was shown to be generally unacceptable to large sections of the black communities, while at the same time evidence of racial discrimination against them kept mounting (see, for instance, Daniel 1968), liberal rhetoric adopted a new terminology.
So effective was the anti-immigration lobby that the Bill passed through the House of Commons and the House of Lords and received Royal Assent in two days. The 1968 Act institutionalised racial discrimination in law by removing the right of entry of British passport holders to Britain unless they had at least one parent or grandparent born here. At a stroke, thousands of Asians in East Africa became stateless, and families were torn apart. In 1972, Idi Amin, 34 ‘THE ASIAN’ IN POST-WAR BRITAIN the then President of Uganda, expelled all Asians from Uganda, irrespective of whether or not they were Ugandan citizens.
7 Tips to Make Crazy Money in Photography by Jonathan Souza