Arafat Jamal: ‘Book about expulsion was my father’s labour of love’
UN envoy explains the importance of memories and history to Ugandan Asians
By Amit RoyFeb 09, 2024
ARAFAT JAMAL, a senior diplomat with the United Nations High Commissioner for Refugees (UNHCR), has called on Ugandan Asians not to lose their collective memories or their history.
Speaking at the ceremony last week to wind down the India Overseas Trust, he referred to the work done by his late father, Dr Vali Jamal, who conducted hundreds of interviews for his book, Ugandan Asians: Then and Now, Here And There, We Contributed, We Contribute.
“My father never stopped writing,” said Jamal. “You can lose your homes and you can lose your homeland. But who are you without your memories or your history?”
He explained why his father set out to write the book. “My name is Arafat (Jamal),” he began. “And I’m the son of both Ugandan and Kenyan parents.”
Vali was born in Mombasa in 1941 and came to Uganda in 1946 with his father, who established the first branch of the Diamond Jubilee Investment Trust. After schooling in Kampala, Vali went to Trinity College, Cambridge, and did his PhD in economics at Stanford University. He was the senior economist at the UN International Labour Organisation (ILO) for 25 years.
After his death, aged 80, in Kampala, a tribute noted that “Vali was obsessed with the story of the Ugandan Asian expulsion. He was teaching at Makerere University when the announcement of the expulsion was made.
“Through interviews, archival records, press cuttings and rigorous probing, Vali managed to put together a manuscript which consisted of about two million words for a book reaching a page count of almost 3,000, and containing thousands of images.
“His key objective was to provide a ‘voice’ and document meticulously the pain, hardship and displacement that occurred as thousands of Asian Ugandans, many of them Ugandan citizens, were airlifted to western countries such as Germany, Sweden, Norway and the United Kingdom.”
The author noted at one stage: “My book is done at 2,650 pages after 13.8 years.”
His son Arafat has a BA in history, a BSc in urban and regional studies from Cornell University, and an MA in forced migration from Oxford.
Jamal said his father was one of those for whom the expulsion from Uganda in 1972 “was seared into his memory. And he needed to revisit repeatedly. Why were we expelled? How did we get there? And perhaps most importantly, what was it like? What were the memories of all those Indian families, the humble and the mighty alike, who once called Uganda their home?
“And so began a decade’s long quest, perhaps an obsession, through hundreds of interviews, months of archival research and more. My father embarked on what some have called his magnum opus, his labour of love. He himself referred to it simply as a book, with oral stories at the heart of it, stories of trembling men crossing the ocean, kala pani (black waters) along ancient seafaring routes, and then adapting almost overnight to a life of trade (in East Africa).
“There are also stories of starting afresh, in the UK, Canada and elsewhere. In these accounts, there is hardship, much of it, and always lots and lots of work. There may have been racism. But what most people seem to retain in their memories is the warmth and the generosity of strangers.
“I think dad started with the idea that those who were there in Uganda would be the ones to enjoy the book. But he came around to seeing how important it is for the younger generation to know their lineage. And he dedicated the book to those who have departed – and to those whose journey had just begun.”
Jamal said: “Thirty years ago, I joined the UN High Commissioner for Refugees. And since then, I have worked with displaced people in the borders of Afghanistan and Turkmenistan, in the Greater Levant, in revolutionary Libya, in the wetlands of South Sudan and, of course, in the meeting rooms of Geneva and New York.
“With more than 30 million refugees worldwide today, I can say that my work provides a perspective and a counterpoint to the Uganda Asian chapter in forced displacement.”
He said the Uganda Asian experience was not as bad as the much harsher conditions refugees face today. “I look at our experience versus those of other refugees, and what helped us to survive and to thrive. Quite remarkably, it was the global cooperation, the way that dozens of countries came in to take each and every Ugandan Asian and to find a solution for them,” he pointed out.
“This is an example that has rarely been repeated, and we should hold it up as something to follow. Things have got worse on the refugee front since the 1970s. Conflicts begin and are generated, but they never end.”
He emphasised: “Yes, our expulsion was drastic, and it was shattering, but it pales sometimes in comparison to what we see around the world. And I think we can consider we were lucky.
Adrian Lester, best known for his work on television and film, returns to the stage in the eponymous role of Edmond Rostand's 1898 comedy, Cyrano de Bergerac.
Rostland’s play centres around Cyrano - a little-known romantic 17th century French libertine poet, soldier, and philosopher. The play is based partly on his letters written on behalf of his love rival Christian de Neuvillette as he tries to charm Cyrano’s cousin, Roxanne with whom Cyrano is also in love.
Cyrano is cursed with an overt self-consciousness in the form of a large nose. His insecurity is such that he prohibits anyone to refer to it directly or indirectly. Together with his wit, his skills as a swordsman, and the directorial splattering of our own vernacular, they provide the play with a certain infectious - albeit teenage - humour.
Despite Cyrano unexpressed love for Roxanne, the latter has fallen for Christian who is handsome, but useless when it comes to expressing his feelings in words. But then, he is also useless as a swordsman and clearly no match for Cyrano’s mastery and maturity. Realising this and being utterly selfless, Cyrano offers his help to the youthful Christian to woo Roxanne by writing for him poetic and hyperbolic proclamations of love and longing. All he wants is Roxanne to be happy even if he himself has to do with nursing a broken heart.
Christian Patterson and Levi BrownMarc Brenner
The result is a farce of the highest order and mistaken identity, coupled with threat and violence
This RSC production is directed by Simon Evans who has provided a very lively and engaging interpretation by all accounts. Apart from a skilled, highly polished ensemble of cast, there’s interesting theatricality at work. Every now and then, for instance, one gets a sense that the stage is a reflection of our own world and vice versa. Characters mingle with the audience, they break the fourth wall, and the theatre band wander around with the characters and referred to with some bemusement and fun.
In a 17th century French world – not unlike our own, 21st century – external beauty, speech, language are prized. Expression has become almost secondary. It’s a world in which fakery, deception and lies are paced above sincerity, honesty, and truth. Looks and external beauty outweigh the inner beauty of man.
Evans removes the original piece from its French setting to England, littering it with a Brummie accent, and accentuating our preconceptions about hopeless romantics and those with meaningless verbiage. The effect is one of joyous atmosphere and true entertainment.
Adrian Lester provides a magnificent performance as the wordsmith, Cyrano. His character is verbose, comedic, and sympathetic in equal measures. Lester is enticing, hilarious and – judging by the reaction of the audience –appreciated as a versatile actor who can do comedy just as well as drama. Levi Brown’s Christian is a fiery - overtly hopeless - romantic who cannot paint his feelings into words. Brown gives a very energetic and magnetic performance. Similarly, Susannah Fielding provides a sprightly Roxanne who is heart-warming and an utter pleasure to watch.
Adrian Lester (front right) and companyMarc Brenner
It’s hard not to notice but as an audience, we are invited to consider the value of language that may sound romantic, but may – in actual fact – be little more than a shallow expression of fancy. Whereas, the seemingly absence of language – though painfully inadequate - may actually embody real sincerity and the true meaning of love.
Whatever you may think, one thing is certain: you will enjoy this production. It’s a real treat.
The play started at the Swan Theatre in Stratford-upon-Avon in early September, with its run lasting until 15th November.
Rating: ***** (5 stars)
(Cyrano de Bergerac is playing at the RSC Stratford until 15th November 2025.)
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