Being South Asian in the U.K. is like being Latino in the U.S., I would guess. It's a bit more hood. You see things; things happen. I was bouncing between worlds. You're acting from a very early age, when you have to code-switch like that. I'm a hybrid, a mongrel. I think many people live that life.
Interpretation
Riz Ahmed highlights the complexities of cultural identity and the necessity of adapting to different societal contexts.
In this quote, Riz Ahmed reflects on the experience of being part of a multicultural society, specifically being South Asian in the U.K. He shares the challenges of navigating different cultural expectations, often feeling like he is living between worlds. This sense of 'code-switching' indicates the ability to adapt one's behavior and speech depending on the context, illustrating the nuanced identity many people feel as they merge various cultural influences into their lives.
In practice
This quote could be used in a presentation on cultural identity in modern society.
I get good references from a wide range of music. Something who's been a good influence in the last few years is Qawwali music. If you listen to a Qawwali singer like Aziz Mian - he's like James Brown. Qawwali is like Pakistani gospel-jazz. It's emotional, but it's also improvised, and it's all about that sacred-and-profane tightrope.
No one's of Pakistani origin in any British show. That's why every actor of color is here working in the States. It's true.
Rehearsing a scene beds a role into you. But sometimes, if you over-rehearse it without unearthing any new meaning in it, you can suddenly forget your lines. You realise that you are on a stage, not in the real world. The scene's emotional power, and your immersion in it, disappears.
As a minority, no sooner do you learn to polish and cherish one chip on your shoulder than it's taken off you and swapped for another. The jewellery of your struggles is forever on loan, like the Koh-i-Noor diamond in the crown jewels.
I'm an actor. Since I was a teenager, I have had to play different characters, negotiating the cultural expectations of a Pakistani family, Brit-Asian rudeboy culture, and a scholarship to private school. The fluidity of my own personal identity on any given day was further compounded by the changing labels assigned to Asians in general.
Sometimes when you're inside a story, it's almost better if you don't think too much about its wider cultural significance or if you don't think about how audiences might react to it. That takes you out of the reality of the situation you're committing to as you're telling the story.
My hats did give me an identity. In fact, if I had a dollar for every time someone has seen me bareheaded and said, 'I almost didn't recognize you without a hat on', I could have bought the Cowboys myself.
I've often felt like an outsider, not necessarily because I'm Korean, an immigrant, or female. I think writers are odd people.
When I first came to Harvard, I thought to myself, 'What kind of an Indian am I?' because I did not grow up on a reservation. But being an Indian is a combination of things. It's your blood. It's your spirituality. And it's fighting for the Indian people.
To me, you have to declare yourself a Chicano in order to be a Chicano. That makes a Chicano a Mexican-American with a defiant political attitude that centers on his or her right to self-definition. I'm a Chicano because I say I am.
I remember, as a child, lying in my bed at night praying that I would wake up the next day and be a girl, to be my authentic self, and to just have my family be proud of me. I remember looking into the mirror struggling to say just two words, 'I'm transgender.'
I have two passports because I have to have at least one, and I really don't know how I define myself. And I feel that as I get older, I feel very fortunate to have, on paper, a dual nationality.
Subscribe for the occasional hand-picked quote. No noise.