Tag Archives: Coventry

Coventry: A Migrant City in the Making

St Osburg’s Church, Coventry

As we approach another year-end in this season of merriment and reflection, and on the shortest day of the year, when daylight is most precious, many of us find time to catch up on projects long left pending. For me, this has meant returning to research into the city of Coventry.

While working on a chapter that uses photographic history to explore migration patterns, I’ve been reading Life and Labour in a 20th Century City: The Experience of Coventry, edited by Bill Lancaster and Tony Mason (1986). The chapter on ‘Migration into Twentieth Century Coventry’ revealed two significant threads: the presence and influence of the Irish Catholic community, and Coventry’s emergence as home to a South Asian community. At the same time, it also revealed the prevalence of racism then, which is comparable to the anxieties that are expressed today. Pages 71-76 are particularly illuminating in linking the political discourse and public fears of the post-war generation to contemporary shifts in British society.

The Myth of 1930s Cosmopolitanism

Coventry in the 1930s was often described as cosmopolitan, but this characterisation was somewhat misleading. Although the population was mixed, with migrants rising to 40% by 1935, most of these newcomers came from other UK regions. This trend continued throughout the war and the immediate post-war period. By 1951, while the overwhelming majority of Coventry’s citizens were of UK origin, some change was also evident.

Lancaster and Mason, page 71

The Irish Presence

The 9,993 Irish residents counted in the 1951 census marked a significant new wave of migration after the war. Although Irish regiments were often stationed at Coventry barracks and contributed labour during the early 20th century, the local Irish community remained small—only 2,057 in 1931. Nevertheless, this population grew rapidly during the construction boom of the 1930s.

Lancaster and Mason, page73

By the end of the Second World War, the streets around St. Osburg’s and St. Mary’s churches had taken on a unique Irish character. These inner-city neighbourhoods, filled with lodging houses and multiple-tenant buildings, and close to Roman Catholic churches, became popular stopping points for itinerant construction workers or individuals looking for factory jobs.

The growth of Catholicism in Coventry during the 20th century reflects both the expansion of the Irish community and their commitment to preserving their religious identity. Interestingly, two current Catholic churches in Coventry cater specifically to European congregations: the Polish and Ukrainian communities.

The South Asian Community and Racial Prejudice

By 1954, the small wartime Indian community had grown to about 4,000 people. Described as a “quiet, peace-loving ethnic minority,” they mainly settled in the older, rundown housing around Foleshill Road. Like many other migrants, they sought to preserve their culture and identity. In October 1952, Muslim members of the community submitted a request to the Planning and Redevelopment Committee for dedicated burial grounds and land to build a mosque.

Although small in numbers, Coventry’s Indian community was nonetheless affected by the growing racial prejudice across Britain. In October 1954, reports emerged that local estate agents were enforcing a colour bar. The week prior, the Coventry Standard published a troubling editorial — not the work of a biased junior reporter, but the newspaper’s primary editorial position:

The presence of so many coloured people in Coventry is becoming a menace. Hundreds of black people are pouring into the larger cities of Britain, including Coventry, and are lowering the standard of life. They live on public assistance and occupy common lodging houses to the detriment of suburban areas. They are frequently the worse for liquor, many of them addicted to methylated spirits, and live in overcrowded conditions, sometimes six to a room.

Lancaster and Mason observe that by the early 1950s, this racism had spread across a wide range of Coventry society. The Standard also reported that a branch of the AEU had contacted Elaine Burton, Labour MP for Coventry South, about the issue. This hostility is particularly notable given that the “coloured minority” made up less than 1.5% of Coventry’s population and, as Stephen Tolliday demonstrates elsewhere in the book, did not threaten the employment of local factory workers.

A City of Newcomers

By 1951, Coventry was mainly a city of recent arrivals, with estimates suggesting that only 30-35% of its population were born there. Many of the newcomers quickly left due to difficulties in finding housing or employment. A study noted that in 1949, 18,000 new residents moved to Coventry, while 17,000 people left.

Moreover, Coventry was hardly a melting pot. In addition to racial prejudice, residents were often unwelcoming to newcomers. Friendships and social networks usually aligned with regional and ethnic backgrounds, with clubs, pubs, and religious groups serving specific migrant communities. Ironically, Coventry’s long-standing identity as a migrant city since the early century may have reinforced the aloofness of the remaining native population – the latter is still palpable in the city’s streets and people.

Lancaster and Mason, page 75

The 1961 census revealed that the 1954 estimate of Asians in Coventry was inflated. New Commonwealth migrants made up only 1.5% of the population, whereas 6.1% was from Eire and Northern Ireland. The flow of migrants from the new Commonwealth was minimal rather than overwhelming. However, between the 1961 census and the so-called mini-census of 1966, significant shifts in migration into Coventry occurred, shifts that would help shape the political rhetoric around immigration for decades to come.

Lancaster and Mason, page 75

Echoes of the Past

Reading the 1954 Coventry Standard editorial today, with its language about people “pouring in” and becoming a “menace,” makes it impossible not to hear echoes that resonate in British political discourse. Just fourteen years later, on April 20, 1968, Enoch Powell, Conservative MP for Wolverhampton South West, gave his infamous “Rivers of Blood” speech at a meeting of the Conservative Political Centre in Birmingham nearby. Powell heavily relied on letters and anecdotes from the West Midlands, predicting that communities would be “foaming with much blood” because of Commonwealth immigration. His apocalyptic language gained traction in a region that was experiencing real demographic change, even though the scale was often exaggerated by fear and prejudice.

Coventry’s history shows a striking pattern: a persistent disconnect between perception and reality regarding migration. In 1954, ‘coloured’ migrants made up less than 1.5% of Coventry’s population and were described as a menace and a threat to living standards. By 1961, the actual numbers were even lower than the overestimated figures. Despite this, anti-immigrant sentiment gained strength, reaching a peak with Powell’s speech, which appeared to validate fears that years of evidence had shown to be unfounded.

This kind of hostile and often racist political rhetoric continues to thrive today. When Nigel Farage displayed his “Breaking Point” poster in 2016, depicting a line of refugees, or when he claims to feel “like a foreigner in my own country” and warns that migration levels are “unsustainable,” he uses a similar approach: heightening anxiety about cultural change while often distorting the scale and effects. Words such as invasion, being “overwhelmed,” and threats to “our way of life”—these expressions form a continuous thread from that 1954 editorial through Powell to Farage.

Coventry’s historical record is particularly valuable because it allows us to compare predictions with actual outcomes. The threat predicted in 1954 never came true. There was no bloodshed or violence. Despite the panic, racial barriers, and inflammatory editorials, and despite migrants constituting less than 1.5% of the population, Coventry’s diverse communities—Irish, South Asian, Polish, Ukrainian, and others—became an integral part of the city. They did not pose the threats to jobs or living standards that were claimed. Indeed, the post-war boom would not have been possible without this labour migration into the city.

Coventry’s history shows that demographic change is neither easy nor without real challenges. However, the most provocative rhetoric often surfaces during times of economic uncertainty. The true story of Coventry, a city that has been profoundly shaped by migration as it continues to evolve and develop.

As we enter the new year, with migration remaining one of the most contentious political issues in Britain, Coventry’s history offers a lesson worth heeding: our fears of newcomers have consistently proved more destructive than the newcomers themselves. How can we learn from the past without repeating the same anxieties and prejudices?

References:

Ewart, H. (2011). “Coventry Irish”: Community, Class, Culture and Narrative in the Formation of a Migrant Identity, 1940–1970. Midland History36(2), 225–244.

Lancaster, Bill and Mason, Tony (eds), Life and Labour in a Twentieth Century City: The Experience of Coventry. Coventry: Cryfield Press, 1986.

Virdee, Pippa. Coming to Coventry: Stories from the South Asian Pioneers. The Herbert, 2006.

Studio Photography and Diasporic Identities

Sometime last year I was having dinner at the Punjab restaurant in Covent Garden, considered to the “first and oldest Punjabi, North Indian Restaurant in the UK, serving distinctive homestyle Punjabi cuisine…” It was established by Sardar Gurbachan Singh Maan in 1946, initially in Aldgate, and then shifting to Covent Garden in 1951. Maan came to the UK from Mehsumpur, in the Jalandhar District of Punjab, in what was then British India. The restaurant and café provided the familiar tastes of Punjab to the small number of Indians living in and around 1940s and 1950s London. It has since then become a go to place for many, with queues often forming outside for those hoping to chance a table for the culinary delights offered inside.

The interior is mostly simple and unfussy, but nostalgic pictures cover the wall spaces everywhere in the restaurant. They transport you to a different time and place. Quite often the pictures are of the various royal families of Punjab, whether this is the iconic Ranjit Singh or the Maharaja of Patiala; it doesn’t really matter, they provide the regal, historic and nostalgic backdrop to a bustling Punjabi meeting place in London. In between these opulent people, however, are also everyday images of South Asians and of Punjabis living in the UK.

As I sat down, anxiously looking forward to my Punjabi feast, I had already decided I wanted saag, I started to curiously scan the photographs around me. Immediately a picture behind me caught my eye, it looked familiar, very familiar! It was a picture featured in a book that I did many years ago, Coming to Coventry: Stories from the South Asian Pioneers (The Herbert, 2006). The picture was of Gurdail Singh Johal, who had posed for this photograph in a traditional Punjabi kurta and tamba, while holding a transistor radio. It is a beautifully striking image, capturing the need to retain some of the cultural traits of “home”, but adapting and embracing new technologies. Like many other early migrants from Punjab, Johal migrated to Coventry in 1960 from Jalandhar, Punjab.

As you turn the page from Johal’s picture on page 17, there is another equally striking image of Gurmeet Kaur on page 19. This one was taken in Studio Taylor on Primrose Hill in 1959. Gurmeet is dressed in a sari, elegantly draped, and accessorised with some simple bangles and small earrings. Like Johal, Gurmeet is also holding something in her hand; the handbag conveys elegance and affluence. Mostly likely it belonged to her rather than being a prop. Both photographs have the ubiquitous floral bouquet in the backdrop, adding texture, colour and framing for the main object. Both images are important in showing how Johal and Kaur seamlessly integrate traditional dress with the modernity around them.

The studio pictures of Johal and Kaur are typical of that era where mass photography was not widespread and ownership of cameras was limited to those with means, and thus the average person could only indulge in the occasional studio photograph. Everyone dressed up and posed for the special occasion; in fact, I have many similar photographs in my own family album. It was an opportunity not only to capture a time and place, but perhaps also to preserve and show how one had progressed and advanced, especially when in a “foreign” land. It was versatile enough to share with family back home as it could be posted, and to show how they had altered their material status and to showcase the fruits of migration. Posing with a material object therefore was not just a prop in a studio picture, it was a statement about them and their class status. For the photographer it enhanced the aesthetic value of the composition, but for the people, it enhanced their status amongst their family and peers.

“The image, the imagined, the imaginary”

It is coming to 11 years since my mother died at the age of 83. She had great courage and conviction, illustrated in her decision to come to far-off England – and not go to the familiar India – from Kenya, a few years after my father’s untimely death in 1979. In doing so, with two young children, she was adding considerably to the challenges that she had faced hitherto. Alone, in an alien land, with two growing daughters, she drew upon her inner reserves of strength to provide for us. Moreover, what I do today is down to her encouragement and support throughout my life.

This was not always an easy position for her to take because of wider socio-economic pressures, but she saw education as the master-key to unlock many of these. As her youngest child, I was fortunate to be the first to go to university, for my sisters – we were all girls – were capable of more. She would have preferred that I study something “sensible” like law, medicine, finance, or engineering – like my father – but I showed no interest in these. Instead, I was motivated by art and politics as in 1988-90, an increasingly unequal Britain saw a churn and I was intrigued as Margaret Thatcher was losing her grip.

Studying politics and increasingly history was an unusual and therefore difficult step for me, but despite the misgivings, my mother – open to persuasion – supported me. She didn’t always understand my aims, for that matter nor did I, but instinctively it felt the right thing to pursue. I became increasingly aware of my social identity in university – beyond the name-calling in school – because I was one of only two “brown” girls in a cohort of approx. 70. But the rest of the group too came from different backgrounds, especially that of economic class. This introduction to class was a life-lesson in terms of one’s ability to aspire and imagine.

Thirty years on from when I entered university, this social reality has not changed. Rather it has only metamorphosed, and I now see class difference at play in the post-1992 university that I teach, among the students whom I encounter. Sure, the absolute number of black/brown students coming to study history and politics has increased albeit marginally. Anyhow, this post is not on this social phenomenon but the persona that my mother was, who encouraged me to follow my heart. In those days, it was enough, for the state supported education; there were no student fees, and I was eligible for a maintenance grant.

Otherwise, a mother’s goodwill alone would not have paid for my loan-laced BA/MA, which would have been too big a risk to take. I would not have then followed it up by applying for the Penderel Moon studentship for my PhD, at the turn of the century. My mother was incredibly proud when I got my doctorate, even as I was not untouched by an imposter syndrome. But time and its temper waxes and wanes, on gender, on humanities subjects, and on doubts of the two getting together. Today, the UK higher education is a near-total market, like much of the rest of its society and politics.

In which though, there is also some sliver of charity and that is why I write this post. It was at the Myton Hospice in 2012 that my mother spent her last few hours, with my sister and me, and tomorrow I am doing a 6-mile walk to help raise money for them. Simultaneously, I remember my mother, and reflect on her life and how she shaped me. I take great strength from her ability to start from nothing, having faith, and resilience to carry on with whatever life throws at us.  

I share the link for Just Giving for Myton Hospice.

Going Digital…South Asian migration to Coventry

As everyone is talking about OpenAI, I decided to experiment and try it out for myself and see what it can generate. The speed with which it generates the material is amazing, and below is the request plus response.

Create a blog about South Asian migration to Coventry:

Welcome to the South Asian Migration to Coventry blog! Here, we will explore the history and current state of South Asian migration to Coventry, a city in the West Midlands of England. We will look at the reasons why people from South Asia have chosen to move to Coventry, the challenges they have faced, and the positive impact they have had on the city. We will also discuss the cultural and religious diversity that has been created by the influx of South Asian migrants and how it has enriched the city. We hope that this blog will provide an informative and interesting insight into the history and present of South Asian migration to Coventry. Coventry has a long history of South Asian migration. The first South Asian migrants to the city arrived in the 1950s and 1960s, when people from India, Pakistan, and Bangladesh moved to the city to find work in the car industry. This influx of South Asian migrants continued throughout the 1970s and 1980s, with many migrants settling in the city and bringing their families with them. This created a vibrant and diverse South Asian community in Coventry, which has grown and flourished over the years. Today, Coventry is home to a large and vibrant South Asian community. According to the 2011 census, over 11% of the city’s population is of South Asian origin. This community has had a huge impact on the city, bringing with it a rich cultural and religious diversity. South Asian migrants have also helped to revitalise the city’s economy, with many businesses and organisations being founded by South Asian entrepreneurs. Despite the positive impact that South Asian migrants have had on Coventry, they have also faced many challenges. These include racism and discrimination, as well as difficulties in finding employment and housing. However, the South Asian community in Coventry has remained strong and resilient, and has continued to make a positive contribution to the city. We hope that this blog will provide an interesting and informative insight into the history and present of South Asian migration to Coventry. We welcome your comments and feedback, and look forward to hearing your thoughts and experiences. Thank you for visiting!

Having written a book about South Asian Migration to Coventry, I can see this is a very superficial AI generated response and in places an inaccurate too, however the AI text has provided a brief overview of the community, with some data from the Census too. The first South Asians to settled in Coventry can be traced as far back as the 1930s, albeit in small numbers, but the more significant numbers were in the post-war era when Coventry was being rebuilt. While the AI generated text mentions work, diversity, contributions to the city etc, there are actually very little detail or specific examples. I can see why there has been so much interest in this, and for us who work in the education sector, this has huge repercussions.

south asian coventry
AI generated image “South Asian Coventry”

To accompany this AI generated blog post, I decided to source my photos from the Openverse and AI generated images from WordPress. With pictures there are clearly limitations, because presumably there is insufficient source material and thus I can’t find suitable pictures to accompany the theme of my post. This has been an interesting incursion into the world of AI, which I really do not know that much about, but it has provided some food for thought (pun intended!).

Please leave any comments or feedback.

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Kala/Black

Saifuddin Saif was born in Amritsar in 1922. He wrote some very powerful poems during his college days. He was always inclined towards writing for films, but the films for which he had written lyrics before partition were not released due to the unfavorable conditions in the subcontinent. Saif penned songs for Teri Yaad (1948) which was the first film to be released in Pakistan and received admiration for the freshness of his poetry. (courtesy of Rekta: https://www.rekhta.org/Poets/saifuddin-saif/profile)

For the lyrics of Chandni Raat: https://www.rekhta.org/ghazals/chaandnii-raat-badii-der-ke-baad-aaii-hai-saifuddin-saif-ghazals

Read about Ali Sethi’s version of Chandni Raat, which has the lyrics plus a translation in English: https://dilliwaliblog.wordpress.com/2019/03/03/chandni-raat-ali-sethi/

Padosi (1941) – Neighbour

Many times browsing through archives, especially the digital kind, leads you from one place to another. I was scanning the British Newspaper Archive for material related to the North-West Frontier of British India and ended up finding a small snippet in the Public Notices section of The Coventry Evening Telegraph on an Indian film, Padosi, hosted by the IWA at the Opera House in 1945.

The Coventry Evening Telegraph, Thursday, April 26, 1945

The Indian Workers Association (IWA) was founded in 1938 in Coventry to mobilise for Indian independence amongst the small working-class Indian community living in the UK. Many of its early members were from Sikh and Muslim Punjabi backgrounds. Some of these members were sympathetic to and inspired by the Ghadr Party (est. 1913 in California). The British government naturally kept an eye on their activities; not only for their nationalist motivations but also for their leftist leanings. The extract below is taken from a document on the IWA, dated 14 April 1942.

The Hindi (or Hindustani) Mazdur Sabha, now more usually referred to as the Indian Workers’ Association (or union), has come gradually into being as a result of war conditions. In the two years preceding the outbreak of war a number of disaffected Sikhs – some of them with Ghadr Party contacts – who had come to the United Kingdom to work as pedlars decided to start, if possible, an organisation of Indians which should give all possible aid to the movement for Indian independence. At first the only practical step towards carrying out this decision were the secret collections and remittances to India of sums of money for payment to the dependents of political prisoners. The fund in India which received these sums of money was created by the Ghadr Party in California and there can be little doubt that the Indians in the UK who were chiefly interested in these collections were actuated by motives and by a long-range policy which were identical with these of the Ghadr Party. Some of them were in receipt of the “Hindustan Ghadr” until the close watch of the postal censorship succeeded in imposing an effective check on the entry of the paper into the UK. From the very beginning Coventry was the headquarters of the movement, for it so happened that the Indians chiefly interested were pedlars who sold their goods in the Coventry area. (File no. L/PJ/12/645)

Read further about the IWA:

Gill, Talvinder. “The Indian Workers’ Association Coventry 1938–1990: Political and Social Action.” South Asian History and Culture 4, no. 4 (2013): 554-573. DOI: 10.1080/19472498.2013.824683

Virdee, Pippa. Coming to Coventry: Stories from the South Asian Pioneers. The Herbert, 2006.

Communities in Action: the Indian Workers’ Association – Our Migration Story

Indian Workers’ Association – Making Britain

The film listed in the Public Notices snippet is “Parosi” (sic). This was a social drama directed by V. Shantaram and was set in the back drop of Hindu-Muslim unity. The Indian national movement was remarkably communalised in its last years, leading to unprecedented violence accompanying the end of British India. In 1941, it was unclear when and how this end would come. Alongside this rising tide of deteriorating inter-communal relations, there were progressive voices in the diversifying public sphere, now including cinema. One of these was the film’s legendary director, Shantaram, who pointedly got a Muslim actor to play a Hindu character and vice versa, to promote harmony between the communities. It is the type of film I imagine the IWA would want to show, as the organisation wished to emphasise class unity over communal politics in the battle against colonialism.

The Opera House, Hales Street, Coventry. Picture Source: http://cinematreasures.org/theaters/37902

The Opera House in Coventry was opened in 1889. During World War II, the building was damaged by bombing but it was quickly repaired and transformed into a cinema when it re-opened in 1941. The Opera House closed in 1961 and, while there were plans to restore it to a live theatre venue, this never happened.

Read more about the former cinemas in Coventry.

Across Three Continents with a Sewing Machine in Tow


© Pippa Virdee

A fragment of my personal history in celebration of International Women’s Day and in memory of my own mother, who played such an important part in shaping my ideas. Visit the Indian Memory Project to read the full piece which I wrote in 2013.

Reconciliation…

A reminder of the human cost of conflict…

The text on the plaque reads:

Reconciliation

In 1995, 50 years after the end of the Second World War this sculpture by Josefina de Vasconcellos has been given by Richard Branson as a token of reconciliation. An identical sculpture has been placed on behalf of the people of Coventry in the Peace Garden, Hiroshima, Japan.

Both sculptures remind us that, in the face of destructive forces, human dignity and love will triumph over disaster and bring nations together in respect and peace.

Josefina de Vasconcellos said that, “The sculpture was originally conceived in the aftermath of the War. Europe was in shock, people were stunned. I read in a newspaper about a woman who crossed Europe on foot to find her husband, and I was so moved that I made the sculpture. Then I thought that it wasn’t only about the reunion of two people but hopefully a reunion of nations which had been fighting.”

In 1995 (to mark the 50th anniversary of the end of World War II) bronze casts of the sculpture Reconciliation were placed in the ruins of Coventry Cathedral and in the Hiroshima Peace Park in Japan.

Read Josefina de Vasconcellos’ obituary in The Guardian.