ENG-ER-LAND, is a play by South Asian Playwright Hannah Kumari. Hannah is a mega football fan and the writer of this exhilarating, timely and vital story exploring the connection between football, racism and national identity.
Next February, an exhilarating and vital new play exploring the connection between football and national identity written and performed by Hannah Kumari, directed by Rikki Beadle-Blair MBE, will tour the country to over 15 venues from 16 February to 2 April 2022.
ENG-ER-LAND blends storytelling, dance and music with 90s nostalgia and tackle’s themes of racism, identity politics, lad culture & working-class masculinity. Hannah’s very personal story follows her own experience of racism as a football fan and her struggles to be accepted into a historically white, male, working-class world.
Hannah is of Scottish (Father) and Indian (Mother) origin and speaks fluent Spanish. Originally from Rugby, Warwickshire, she studied BA Hons. Theatre at Bretton Hall in Leeds and learnt to speak Spanish whilst living and working in Valencia with a touring theatre company. Hannah now divides her time between Spain and the UK. We spoke to her about football, racism and national identity.
What is the connection between football, racism and national identity?
Football was traditionally a sport watched by white, working-class men. As the UK has become more multicultural, women’s football has developed, and amid the changing political backdrop, I think some people have the misguided opinion that football is one of the few remaining places that ‘belong’ to them and represents what has been ‘lost’ about white English male identity. Obviously when the National team is playing, in any sport, that is going to encourage patriotism from fans of that country. Unfortunately, in England patriotism seems to have become intertwined with xenophobic views which sometimes present themselves at football games, often when alcohol is in the mix. I find it sad that the St George’s flag is a symbol of fear for many people of colour in this country. During the Euros last summer (2021) my own sense of patriotism and feeling like I finally had a right to fly the St George’s flag were heightened briefly by Gareth Southgate’s young England team, only to be subdued once more by scenes I saw of fan behaviour on the day of the final itself.
As a playwright, how would you describe the current scenario in football, especially in the light of recent racist abuse that players of colour have faced?
I am a positive person but there’s no escaping that the landscape can feel a little bleak as if it’s two steps forward and one step back. That’s not just racism but all forms of discrimination. We have seen an increase in homophobic chants on recent matchdays, as well as more racist incidents and booing of the taking of the knee. I think a lot of fantastic people are working hard to effect change, which gives me hope. Anwar Uddin, ex-pro footballer and campaign manager of The FSA’s Fans for Diversity campaign is someone who really inspires me and works tirelessly to make football more inclusive.
When you write on such sensitive yet imperative topics, what kind of responsibilities come with that?
I can only speak to my own experience, and experience of things I have witnessed. As a person of mixed South Asian and white British heritage, I acknowledge that I enjoy a level of privilege other people of colour don’t, and I don’t pretend to speak for all football fans who have experienced racism. I think there is a responsibility to tell these kinds of stories safely, both for the person who is sharing their experience and for audiences watching, whilst not being afraid to tackle big issues. My hope for ENG-ER-LAND is that it will spark a positive conversation about racism and diversity from a place of shared theatrical experience.
How can art help in decoding and presenting various perspectives towards sport and racism?
I like the word decoding. For me, there is an element of superiority in the theatre industry and it is not always accessible to working-class communities, in the same way, that football can feel exclusionary for some groups. My idea in making ENG-ER-LAND was using my love of football to create a celebratory, energetic and refreshing piece that working-class audiences, and football fans, will enjoy. I hope using theatre and the lens of a teenager as the protagonist will encourage empathy in audiences who may not have that lived experience.
What would it take for more representation of Asians and other ethnic minorities to be a part of football?
Despite the ongoing challenges, I do think we saw a lot of progression in 2021. Dev Trehan is someone I follow on Twitter, a journalist and producer, who is doing amazing things to raise the profile of South Asians in football and is the creator of South Asians in The Game. We had Zidane Iqbal making his debut for Man United in the Champions League and there are the three female football fans The Three Hijabis, lobbying to make going to football matches a safer experience for everyone. I hope ENG-ER-LAND will contribute to this landscape, vocalising experiences that others may identify with. I feel hopeful for the future, for representation of Asians and other Black and Global Majority communities both on and off the pitch.
Amid the pandemic, and now as we move towards a new normal, how challenging is it for playwrights like you to sustain in the industry and continue to create art? What kind of reforms and help does the art sector need?
I have been fortunate that during the pandemic I became a Creative Associate of Jermyn Street Theatre for 18 months, which finished in December 2021, and was supported by Alistair Wilkinson, AD of WoLab (co-producing the ENG-ER-LAND tour) to write my first Arts Council bid for the initial development period of the play. This was a big turning point for me in my career, which had previously been as an actor. I felt empowered to start writing and creating my own work. I’ve gone on to have several other successful funding bids and commissions from Theatres and Organisations. So I’ve been lucky, and I’ve really made the most of those opportunities. In terms of what do we need going forward, more well-paid development opportunities from large organisations, focussing on underrepresented groups, more initiatives like Strike A Light’s Let Artists Be Artists where artists are paid a salary for a year without having to deliver defined and set outcomes, more people of colour given the opportunity and importantly the support to progress to Executive level roles within buildings and organisations. I’m really interested in diverse creative teams across the board when working on projects, not just the people we see on stage. I think there is some way to go with this as often you might see a diverse cast, but when you look behind the scenes, it’s not a diverse creative team. It’s about whose stories are being told and who has the agency in those rooms.
