Hybrid Identities and Conflicting Identifications in Postcolonial Britain

The essay discusses the themes of hybrid identities, queer theory, and cultural prejudices in post-colonial Britain, using Hanif Kureishi's 'My Beautiful Laundrette' as a case study. The film is analyzed for its portrayal of identity conflicts between Omar's Asian heritage and Johnny's British culture, as well as its exploration of Thatcherism's impact on education, entrepreneurship, and family dynamics. The essay concludes that gender politics were equally affected by post-colonial policies and 'homeland cultures' of immigrants, highlighting the complexities of identity formation in a multicultural society.

Name
College
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Contents
Introduction................................................................................................................................3
Queer Theory.............................................................................................................................4
Culture, Gender and Sexuality...................................................................................................4
Post Colonial Identity.................................................................................................................6
Hyrid Identity.............................................................................................................................8
Thatcherism and the Politicl Scenario......................................................................................10
Conclusion................................................................................................................................12
References................................................................................................................................13
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Introduction
My Beautiful Launderette is a 1985, HanifKuereishi British film, set in Thatcher’s
Britain depicting the interaction between the Pakistani and British communities. However, it
addresses poignant issues of importance like gender identity, homosexuality, precolonial
identity, Thatcherism and queer theory among others. The movie can best be described as a
hybrid film that questions the ‘black identity’ as per the pre-colonial definition, tries to bring
about the interrelation between ethnic and class differences through the main protagonist,
Omar. The movie is an attempt to examine the societal construct and cultural identity in
Britain under Thatcher. The two generations (Omar and his father) give a comparative
analysis of pre-colonial and post-colonial identity of the immigrants. Stemming from the
undertones of homosexuality, it also attempts to depict how the commendations pertaining to
interpellation in the South Asian queer diaspora of Britain under Thatcher are resisted. As
labelled by Cameron Bailey, films of this kind could be referred to as ‘cinema of duty’ as it
tries to tranquilize the negative portrayal of ‘Blacks’ by ‘Whites’.
Through his depictions, Hanif tries to understand the hegemonic discussions related to
identity formation while focusing on alterations in the desires and sexuality within the
societal and cultural bounds of Britain, intentionally attempting to include the politically and
socially disenfranchised section of the society, here, the marginalized South Asian diaspora.
Such readings make us revisit identity as something dynamic and constantly evolving which
is difficult to bind in categories.
The essay will try to address how identity-cultural, social, sexual instigate
responsibility, pre-colonial identity of the marginalized and Thatcherism and queer theory as
depicted in My Beautiful Launderette.
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Queer theory
Queer theory is an ideology based upon the thinking of non-fixation of identities.
Identities do not determine who we are! To assume that an individual can be described on the
basis of one characteristic is absurd and hence it does not make any sense to call someone a
‘man’ or ‘woman’. Thus, queer theory questions the status quo and challenges the set notions
of the society. Queerness likewise challenges well known national representations and
consequently national lucidness, in the event that we consider that the country in it its plans
for citizenship, work and so on benefits. Queerness is like a diaspora space, a middle space
which is not bounded by a nation or even the world. (Wilson, 2013)
The movie is laying emphasis on the South Asian gay diaspora, which assumes that
South Asians in general are homophobic and that westerners are more tolerant of such
deviating sexualities. So, to a south Asian queer a western refuge is like welcoming into an
acceptable world. Thus, this diaspora space makes him feel comfortable in his own skin. As
can be seen in the movie, the protagonist Omar does not feel self-hate and he is neither
concerned about his ethnicity. He is pretty much comfortable being a British and gay. The
characters are seen challenging the sexual and racial identities through the relationship
between Johnny and Omar.
Culture, Genderand Sexuality
Kureishi, through My Beautiful Launderette has attempted to challenge the prejudices
that exist in every culture. He has used sexuality as the instrument to highlight these pre
conceived socio-cultural notions. The homosexual relationship between Omar and Johnny
paves way for the distinct path than conceived by their cultures, societies and families. Their
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relationship is shown to be unacceptable to their near and dear. As O’Sullivan points out, the
concepts of relativism and absolutism are entangled with the representation of this
homosexual relationship.
Absolutism, when attributed to morality, points out how a socio-cultural construct is
rigid and is unaltered with situations, their enactment and outcomes.(Lindsley, 2004) An
attribute of deontological ethics, these absolutes do not change with culture or era. In
retrospect, Relativism is an anti-thesis to the concept of absolutism and does not attribute
morality to any fixed standards defined by cultures and societies.(Beckwith & Koukl, 1998)
A relativistic understanding of morals tells us that morality or ‘truth’ is a function of many
variables such as individualistic desires, circumstances and prevalent socio-cultural norms.
(Berry, 2002) Thus, relativism and absolutism exist in opposition. The film through sexuality
leaves these contradictory principles open to interpretations and personal discretion. The
movie validates both absolutism and relativism in theory. The prejudices hindering the
relationship between Omar and Johnny exist in both Asian and British cultures but yet the
reasons behind them are very different. Thus, though the principals are absolutes but the
explanations are relative to cultural leanings of the two societies. The resistance shown by
Naseer (uncle) and Johnny’ white supremacist and male chauvinistic gang illustrates the
above two philosophies as applied in the movie.
The film also presents the racial friction around their relationship on top of being a
homosexual relationship. This elevated the difficulties it, already, is knee deep in. However,
we can try and interpret the intermingling of two societies through this too. The
representation of gender in terms of the opportunities accorded and freedom is ironical in the
film. The character of Tania (Nasser’s daughter) depicts this conflict. Even though she is
living at a time where the opportunities provided to the fairer sex are considered at par with
their male counterparts, it is ironical that her families’ orthodoxy fuelled by their Asian
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cultural values prevents her from experiencing and feeling the winds of change under
Thatcher’s Britain. She is not expected to take care of her father’s business or accompany the
males over drinks. She faces a sort of identity crisis as even though she is British but still is
bogged down by her cultural identity of a Pakistani. (O'Sullivan, 2013)
This presents the problem of conflicting cultures in a post-colonial world where even after
being the second generation, the Asian community (represented here by Tania) finds it
difficult to coexist in a society torn between two values and thus to break away from them.
Post-Colonial Identity
The film depicts the lives of individual immigrated from a colonized state and the
next generation which is born and brought up in the society of their ‘actual’ homeland’s
colonizer. The film deals and examines the aftermath of colonization through the lives of
these characters. This is where the political landscape of Britain under Thatcher is of
relevance in the film. The cultural and social consequences of the Thatcher’s thinking and
emphasis on entrepreneurialism are conspicuous in the film. The film in sense of its
economic showing is anti-thesis to the colonial era. Here, the colonized Pakistanis are shown
as wealthy businessmen whereas the British characters are shown as lower class. This is a)
indicative of the political landscape and b) that it is the work ethic and not ethnicity that is of
prime importance.(O'Sullivan, 2013).
Omar’s father is another character which portrays the cultural effects of the policies of
the post-colonial time Britain. He is seen whining about how an immigrant has to always
snatch an opportunity and is never given one. He is now an unemployed alcoholic although
he was once a respected journalist. Thatcher administration’s policy on education is
challenged by his values for education. He is seen emphasizing the importance of education
throughout the film. The film hints on how even after economic progress the racial tensions
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have not simmered down. The economic well-being of the Pakistanis is indicative of the
society’s progress in achieving equality for races.
Manifestations of Masculine Sexuality with respect to a post-colonial identity
Desire and sexuality as concepts can pace way of re-visiting how we define the ‘identity’.
Through his work, My Beautiful Launderette, Hanif has tried to depict how his dynamic
model of representation of the story can appreciate a sense of identity which is not only post-
colonial but also above the racial bias. He has tried to break away the shackles of xenophobia
while presenting struggles of immigrants simultaneously. A specific representation of
masculine sexuality vis-à-vis the formation of a post-colonial identity can be explored
through the film.
Hanif, in general has been seen to shy away from portraying feminine characters as
powerful in his work. He has tried to touch upon the concepts of sexuality and identity from a
male perspective only. This is what is conspicuous in the film, My Beautiful Launderette
where through the characters of Omar, his father and Johnny he has referred to masculine
sexuality and changing identities.
The aestheticism of masculine sexuality is based on a feeling of imagination that is
utilized as a review substitute for a genuine encounter. The manifestation of masculine
sexuality offers, in the film, offers new insights into this understanding. Hanif is often
accused of not doing justice to his female characters and presenting issues like sexuality only
from a male point of view. But his dealing with sexuality is radical because of the manner in
which he talks about masculine sexuality in My Beautiful Launderette. His representation in
fact subverts the normative heterosexual and phallocentric ideology, scrutinizing masculinity
and offering a radical perception.
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Hybrid Identity
The film can be termed as a hybrid film that investigates the inevitably
incomprehensible nature of "third space" diaspora distinguishing pieces of proof.(PASCUAL,
2002) Any unitary representation of an identity is like reinstating the idea of racial profiling
which has been prevalent in the colonial times. Any identity [ethnic or national] is constantly
evolving phenomenon which is dynamic, ever changing and in the process of ‘becoming’.
But My Beautiful Launderette is different in this respect as it does not put the ‘burden of
representation’ on the filmmakers. This has stemmed from the changing societal scenario
where the Black filmmakers started getting more freedom in representation. John Hill
remarked in context of this film that the identities of the characters have been made across
different axis of sex, race, religion and orientation. The different attributes are not simply
overlaid but occupy ‘interstitial’ spaces. The film very distinctively focuses on the
representation of Omar’s (the protagonist) sexuality. “Kureishi and Frears’ representation of
Omar’s “national” or “ethnic identity” as a process of negotiation of its different components
may be interpreted in the light of HomiBhabha’s notion of the “third space” as a new position
that emerges from the interactions of two or more “original moments” whose histories are
simultaneouslydisplaced and traceable in the subject’s different identifications”
(Rutherford 1990b: 211) The building up of one’s identity encapsulates the notion of freedom
of choice in the construction of one’s ‘hybrid identity’. This has been illustrated through the
constant struggle that Omar’s character undergoes in negotiating with his relative
identifications until thee diverging identities merge into his individualistic and particular one.
Omar’s identity is somewhat crisscrossed between Asian and British culture. The notable
point is that he traverses between the two identities as per his own interests. Even though he
is shown to share the zeal for economic upheaval and ambition attributed to an Asian
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immigrant, he is seen deviating from his Asian mindset when he is shown putting his own
individual benefit over that of his family as is seen in a typical Asian household.
Individualism as a concept has been seen growing in Europe due the changes in economic,
scientific and religious thinking. Thus, this individualistic characteristic shown by Omar is
indicative of his British identification. The relationship between Omar's corrupt individual
aspiration, his association with Johnny and lack of respect for his ethnic system is obvious in
the scenes.
The ‘launderette’ is shown as the symbol of new beginnings in Omar’s life. His
resolve for the relationship with Johnny is shown strengthening there only. Even though the
film shows the homosexual relationship between Omar and Johnny still it is not
homosexuality that has been shown as a big issue in the movie. In fact, the fact that Omar is
defying his father by not following the Pakistani tradition of marrying a family member has
been shown as a bigger issue than his sexual preference.
Omar’s character has been shown trying to showcase an assertive and powerful
portrayal but he is again shown to have paradoxical emotions when he is torn between the
emotions of revenge form his relatives and his affection for Johnny.
My Beautiful Launderette thus gives no definitive understanding of Omar’s emotions
and leaves them as contradicting. The movie even though establishes realism of social
emotions like any other movie genre such a romantic comedy where the lovers overcome
quarrels and family issues to live happily ever after but still the undertones of a homosexual
relationship takes it far away fromthe generic ‘happy ending’. Thus, the movie through the
protagonist, representing the ‘black’ brings about the support to the ‘common interests’ of the
ilk. It breaks away from the pre-defined notions of realism and presents reality as conflicting,
relative and fragmented. It also shows his own struggle to ascertain his identity amidst the
‘hybrid identities’ attributed to him. Thus, through such contrasts the film depicts the
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paradoxical nature of identity torn between two different worlds.
Thatcherism and the Political Scenario
Thatcherism is a coherent political ideology and a set of policies implemented by the
Thatcher government. This encapsulates the social, cultural and economic policies put
forward by the Conservative party leader Margaret Thatcher. Her policies favored a
privatized, market oriented economy working with least interference from the government i.e.
‘minimum governance’. Under her a breed of risk taking and confident entrepreneurs came
up who wanted to maximize wealth and welfare, well supported by the government policies.
She had a neo-liberal perspective towards identity of an individual believing in the right to
self-determination of one’s life. Her policies were a break away from ‘one nation’
conservatism, focusing on the ever widening gap between the rich and poor, to what is called
as “New right”.
The shake-up of the status quo stirred through her policies was not well received by
the left. But they had no worthy manifestations or alternatives of her policies. The ‘left’ in the
Britain of 80s thus, proved to be completely incapable of presenting an alternative to the
Thatcher government even though it vehemently resented at the policies of the Thatcher
government, which were decisive and convincing. This weak political path of the Left has
been incorporated through the portrayal of Omar’s father who is not only physically weak but
also in an emotional meltdown due to the loss of his wife. The relationship between Omar
and Johnny is not only a homosexual relationship but it has cut across many layers and
prejudices of the society. It cuts across caste, race, class, religion and sexuality as presented
in the imperial Britain. Thus, it is anti-thesis to Thatcherite politics which was trying to
glorify and make the imperial past of its nation memorable and hence it presented a challenge
to the British national identity under the Thatcher government.
The film time and again has tried to bring about the friction between the Thatcherite
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and Asian ethos through Omar’s and Johnny’s character and also through the father’s
character, to an extent. But these two distinct, yet issues central to the film, have
commonality in regards to aspects. Firstly, the role that they play in the understanding of the
economics framework for private business is pivotal and how not relying on state resources
for private businesses works out. Secondly, the imperative role of a family in the
development of not only an individual’s identity but also for the community as a whole is
essential.
Another aspect of Thatcher’s administrative policies was the boost given to entrepreneurship.
The film takes a take on the entanglement of education and entrepreneurship, questioning the
importance of each in presence of other. Omar’s character has been shown to have the
ignition of an entrepreneurial mind that is kind of forced to work at the launderette. Although
reluctant prima facie, he sees that as an opportunity to quench his ambitions of doing
something of his own and asks his uncle to let him take care of the launderette. However, his
entrepreneurial desires do not go well with his father who with his typical Asian mindset
emphasizes on the need of education. And since this prevented Omar from completing his
education, his father is shown to be not too enthusiastic about it. Thus, it emphasizes that in
an attempt to maximize wealth and satiate their craze for money, young entrepreneurs cannot
be seduced by Thatcher’s policies i.e. Thatcherism and let the education take a back seat.
Conclusion
The essay aimed at addressing the issues of homosexuality with queer theory, hybrid
identities through a discussion of post-colonial identities and their contradictions, political
undertones to cultures through Thatcherism, gender and masculine sexuality through the
narrative of homosexual relationships and also the racial friction and cultural prejudices in
post-colonial Britain with the backdrop of HanifKureishi’sMy Beautiful Landerette. It has
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been attempted to analyze the intermingling of two cultures and its possibilities for the
second immigrant generation. The film addresses the different identities (hybrid) attributed to
an individual and his conflict to carve out an individualistic identity.
The essay can conclude that gender politics was equally affected by the post-colonial policies
as well as the ‘homeland cultures’ of immigrants.
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