A NEW dance show aiming to rebel against “fat people being shamed and abused” will be touring across the country this month.
Asad Ullah, 31, is one of the performers in artist Scottee’s Fat Blokes.
Described as a “fat rebellion”, the show includes several plus-size dancers who strut their stuff on stage.
It also explores why larger men are never portrayed as sexy, only funny.
“Society constantly tells us that fat is not sexy,” Ullah told Eastern Eye. He believes beauty standards are made clear in the media, questioning how often was a larger man portrayed
as being desirable on the big screen.
“I’m not saying you have to desire us,” Ullah emphasised. “But it’s clear that we are actively made to feel bad about the way we look.”
Even in traditional theatre such as Shakespeare, the comic character was usually portrayed by a larger person, he said.
Ullah admits he knew he had to be funny to avoid being picked on for his weight.
“Seriously, don’t try and outfunny a fat guy – we’ve spent years training in comedy,” he said.
“Humour is our self-defence, and we’re black belts in ripping you, and ourselves, to shreds.”
He did acknowledge, however, that self-deprecating humour could be a double-edged sword.
“It can also be a powerful weapon against yourself,” he said.
Revealing that he has previously struggled with his mental health, Ullah credits the show for changing his mindset. Being creative made him happy, he explained, and Fat Blokes felt
like an opportunity he couldn’t miss.
“I was also really struggling with my weight and body image,” the Manchester-born performer said. “This felt like a project that would help me find a way out from all of that.”
Having had no prior experience in dance, Ullah says the notion of learning a choreographed routine was initially overwhelming. After the support and leadership of professional choreographer Lea Anderson MBE though, he began to enjoy the process.
“Dancing feels great, and when I’m strutting in a line, in time with my other Fat Blokes, that feels really powerful and amazing, and so worth the hard work,” he said.
Ullah, who is new to the creative arts industry, describes the experience as “life-changing”.
His confidence has come back, and he has a renewed energy in life.
Performing at the Southbank Centre, one of London’s most iconic artistic spaces, is extra special for Ullah.
“The voice of a gay British Pakistani has been given a platform to perform [at] a cultural icon for London,” he said.
“That is incredible, and it’s something I would have loved to have seen growing up – to see that people like me, who look like me, who are able to be part of the cultural landscape, would have had such a massive impact.”
Looking to the future, Ullah hopes to continue his journey in the arts. He is currently working on a play about his relationship with his father.
“I’ve learned a lot about myself,” he said of his experiences. “I doubted that I had the capability to perform in this show but I’ve proven to myself that I am capable of conquering personal doubts and demons.”
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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