Want Equality? Here's How to Act For Change

A Q&A with Danny Lee Wynter, founder of The Act For Change Project.

"We want young people to be able to switch on their television knowing that, regardless of their ethnicity, class, religion, sexuality, disability or gender, they are a part of a country that produces TV drama which they can firmly be a part of."

It was an ITV drama trailer that inspired you to form the Act For Change Project. Was this the only trigger or the final straw?

"It would be wrong to call it the only trigger but it was certainly a galvanising factor. In spite of the trailer's failure to include a single BAME (black, Asian or mixed ethnic) artist, there’s no denying the ITV 'Where Drama Lives' advert, which propelled us into action, was something of great beauty. I’m a complete sucker for decadence, so what was not to love? On one level, one could argue the trailer was extremely effective in its aims. But in my own experiences as a British child and adult I knew it to be a fallacy. A beautiful one, but a fallacy all the same."

Who are the worst culprits for misrepresentative television drama?

"Anyone who allows misrepresentation, or underrepresentation, to continue in front of and behind the camera. Period."

Is the project in the interest of performers or British TV viewers, or both?

"Both. I’ve encountered so many wonderful artists denied an incredible opportunity due to something other than their talent. A friend, who happens to be a BAME actor, recently won and lost a TV job because the producers suddenly got the jitters over the colour of their skin. This fact was never made overtly clear because, well, that's showbiz. A white actor replaced them.

Another actor I know was on the verge of signing with a highly reputable agent who’d seen them on stage. They turned up at the agents office, the agent noticed their disability which at first wasn’t apparent, and that was it. All interest gone! This is why The Act For Change Project has come to be. Not only to improve the quality of my friends lives, but also the lives of the millions of young people across our country, many of whom are demonised by a homogenous elite. They need prominent role models on their screens in leading parts. If they see Idris Elba on Luther or Lena Dunham in Girls. If they see Sandra Oh in Grey’s Anatomy, or whatever, they might recognise themselves, and who knows, maybe they’ll feel a little less maligned."

Do you agree with Sir Brian McMaster, that "culture only be excellent when it is relevant?"

"Culture has many purposes and functions. But universally it tends to work best when it taps in to something very real to us. Then it can unite us ... What’s the function of a broken watch if it doesn't tell the time? You’ll either be too early or too late. It just becomes an ornament. A relic. Perhaps a very popular one like a Tagg or a Rolex. But it isn’t going to be much use in getting you somewhere, is it? If art is to spread awareness and understanding of what we know and think and feel, then the more it reflects the truth the more useful it can be."

How do you hope to keep track of what does and doesn't accurately reflect society when the "identity, character and cultural diversity of the UK" is so varied and rapid developing?

"In all truthfulness, I don't know. I'm not a policy maker nor politician. But I'm almost certain that if X-Factor and Britain's Got Talent can manage it then TV drama can."

The project manifesto mentions the introduction of a quota. Is there a danger that a quota might put pressure on casting directors to make decisions based on ethnicity/gender/class etc, instead of casting the 'best' person for the job, regardless of this?

"But then what do you suggest is the alternative? Carry on as we are? Are you satisfied with British TV drama as it is? I am also an artist as well as an activist and don't for one second believe in modifying anyone's artistic licence. By anybody I suppose I primarily mean the writers. You see, no one's putting a machete to head of the casting director of Midsommer Murders and demanding a 6ft2 East Asian Transsexual paraplegic to be present in every other episode, although I’m sure that would be fabulous. We just want opportunities. Broadcasters have been left to their own devices for far too long, and to that end they continue to struggle with this important situation we have, which I believe is now a social issue. In 2009 the CDN (Creative Diversity Network) made a pledge to improve the representation in TV. Many of the mainstream mass market channels signed up. Five years have passed since then and in that time there has been a 30.9% decline in the number of black, Asian and minority ethnic (BAME) people working in the UK TV industries. I guess it's simply a question of whether or not you're happy to continue to allow the whitewashing of an entire sub culture in the name of ethics or not wanting to tread upon anyone’s toes."

This site alone will tell you that there is a great deal of unrest in theatre on the topic of equal opportunities. Do you have plans to extend the project into theatre?

"For now our main concern is TV drama - not because it's any more or less important than theatre, but because it reaches more people. That isn't to say that British theatre isn't also a casualty of the topic. There are some theatre directors who, for example, would categorically still refuse to cast a BAME actor in a Chekhov play. Representation in theatre is certainly a debate to be had. Phyllida Llloyd with her all female companies and Sean Holmes at the Lyric Hammersmith, in particular, are doing brilliant work in boldly readdressing the balance. Change is required across all genres of the arts. The Act for Change Project's focus on TV drama is only the beginning our work."

What is the most valuable way in which people can contribute?

"Consciousness. Every decision made from the top down in television has a direct effect on the society who experiences the final product. From the green-lighting of a project, to the casting and crew, we each have a vital role to play in reflecting the audience for whom the programme was made. The directors, writers, gaffers, office workers and drama schools all have a duty to embrace the life that populates our streets, otherwise we run the risk of falling further into a myopic backwater where endless representations of an antiquated chocolate box society presides in HD.

Maybe some people thrive upon creating a version of our country which isn’t wholly true? It helps to fuel negative stereotypes and keep people in place. Our current government has already made the working-classes in Britain a joke. In the media, we’re portrayed as benefit scroungers, rioters and chavs. But there's a real danger of complacency too. I come from a generation paralysed by anxiety and deeply concerned with the currency of popularity. Politics just aren't cool. We press the like button on our laptops and there the fight begins and ends. But, f we feel an injustice, we have to act.

I remember growing up in an era of truly brilliant TV drama. Stuff like Out of Control, Queer As Folk, Kid in the Corner, White Teeth. These were shows that challenged my imagination and provoked me to get up and out of the situation I was in. There has always been rubbish. I don't dispute that. In moderation a certain amount of rubbish is fine. But we mustn't underestimate the intelligence of the audience. We need to start speaking to people again. Entertain them yes, but also inspire and educate them. If the government isn't doing it, art must! So yes, consciousness is as good a place to start as any."

Who (or what) has had the greatest impact on the project so far?

"The support of my friends and colleagues David Lan, Daniel Evans, Stephanie Street, Ruth Wilson, Matthew Xia, Andy Pryor, Malcolm Sinclair and Ony Uhira. I went to all of them and they instantly agreed to jump on board and support the project. Without their initial involvement we probably wouldn't be talking."

What's the idea behind the forthcoming conference at the Young Vic?

"The idea of The Act For Change Project conference is to bring together the numerous broadcasters and policy makers of TV drama, as well as the casting directors, writers, actors and directors behind some of our best loved TV programmes. Also present will be MPs and the various independent TV production companies. Shami Chakrabarti, the director of the British civil liberties advocacy organisation, Liberty, will chair the event where we hope to inspire an open and honest dialogue about the ways that we can all collectively improve diversity in British TV drama.

We have been carrying out our own research in the last few months as part of the project; we hope to make this public closer to the time of the launch.

Our mission is a simple one. To positively and proactively find solutions both upon the day of the launch and in the days, weeks, months and years to follow. Only then will change occur."

Who is it that you think needs to be convinced in order to effect change?

"This is a big question with countless answers. At the heart of the problem, I think, is a much wider issue. In industries right across the board we continue to neglect or fail to recognise the true identity of our country. My mother is a train attendant at Liverpool Street and the day to day treatment of some of her black and Asian colleagues by drunk city workers and bankers pertains to the idea of a country deeply frightened and at odds with itself. In terms of TV drama, the policy makers who order the programmes can help. The minister of culture can help. The casting directors, agents and drama schools can help. Basically anyone in a position of authority with half a conscience can help bring about change. Perhaps slowly. But they can do it. That I truly believe."

How do we get on board?

"You can help The Act For Change Project by logging on to our website at http://www.act-for-change.com and clicking on our support page. For as little as £1 you can become a CHANGER. We are an independent campaigning group. We aren't a charity. No one is paying us, nor would we want them to. But the cost of staging such an ambitious event is proving to spiral into the thousands. My colleagues keep laughing because initially I assumed it would just be a stage, a couple of chairs and pot of tea. But it’s transpiring to be something rather special. I’m totally new to campaigning. The biggest thing I'm used to organising is getting up in the morning. The support we have encountered so far has been truly humbling. Now we hope to do you justice."

To sign up, attend the conference or find out more see:

www.act-for-change.com

Twitter: @actforchangehq

Facebook Page: The Act For Change Project

By Emily Hardy

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