Whose English is it Anyway? By John Agard

“Whose English is it Anyway?” explores the idea of linguistic ownership and cultural power. Agard challenges the colonial mindset that English belongs only to the British elite. Instead, he proposes that English now belongs to everyone who speaks it — especially the formerly colonized communities who have redefined the language in creative, rhythmic, and culturally rich ways.

Agard uses rhetorical questions and imagery to assert that English has transformed — it now wears saris, dances bhangra, and drinks coconut water. His poem urges readers to accept and celebrate the diverse forms of English spoken across the globe.

About the Poet: John Agard

John Agard, born in 1949 in Guyana, is a celebrated poet known for his vibrant voice in postcolonial literature. He moved to the United Kingdom in 1977, where his work began addressing issues like racism, colonialism, and language politics. Agard’s poetry often uses humor, satire, and lively performance to provoke thought and engage audiences. He celebrates his Caribbean heritage and highlights the richness of linguistic diversity, especially through Creole and oral traditions.

A key feature of Agard's writing is challenging the dominance of "Standard English" and giving voice to marginalized cultures. His playful yet powerful style makes serious topics feel accessible, meaningful, and alive.

Line-by-Line Explanation (Detailed):

Lines 1–3: "Whose language is it anyway? / Is it the Queen’s English? / Shakespeare’s?"

• The speaker begins with a provocative question challenging the assumption that English is the exclusive domain of British figures.
• References to the Queen and Shakespeare symbolize elite, traditional, and “pure” forms of English — seen as untouchable and authoritative.

Lines 4–5: "Is it the property of those who wear pinstripe suits and speak with BBC accents?"

• Agard critiques linguistic elitism: associating “proper” English with power, wealth, and specific social groups.
• The BBC accent is often seen as the standard in the UK, but Agard questions who set that standard and why.

Lines 6–8: "What about the man on the street who makes English do a belly dance in a dialect all his own?"

• A celebration of linguistic creativity among ordinary people, especially those who speak in dialects or pidgins.
• “Belly dance” metaphor: shows English being transformed, made rhythmic, and culturally expressive.

Lines 9–11: "Is his English less English than theirs? / Is it broken or just bending to a different beat?"

• Challenges the stigma around non-standard English (often labeled “broken” or “wrong”).
• Emphasizes that these forms aren’t incorrect — they’re simply innovative and adapted to different cultural rhythms.

Lines 12–14: "Didn’t English travel? / Didn’t it pack its bags and move with the ships? / Didn't it colonize and get colonized?"

• Powerful reference to colonial history — English was exported around the world by colonizers.
• Ironically, as it spread, it absorbed elements from other languages and cultures — it too was “colonized.”

Lines 15–17: "Now it wears saris and dashikis. / It drinks coconut water. / It dances to calypso and bhangra."

• Brilliant use of visual and cultural metaphors.
• “Saris” (India), “dashikis” (West Africa), “calypso” (Caribbean), “bhangra” (Punjab) — show how English now lives and thrives globally.
• English has been localized and redefined by these regions.

Lines 18–20: "So why act as if it’s still only theirs? / Why be afraid of its new moves? / Why not rejoice in its global groove?"

• A challenge to linguistic purists: stop clinging to the past and recognize the beauty of evolution.
• “Global groove” celebrates the cultural fusion that makes English dynamic and alive today.

Final Lines: "Whose English is it anyway? / If I speak it, shape it, dance with it — then isn’t it mine too?"

• A strong claim to ownership and identity: those who use English creatively also have a right to it.
• Agard asserts that language belongs to its speakers — not to history books or institutions.

Main Message:

Language is not a museum piece — it’s a living, breathing, evolving part of human experience. English no longer belongs to the British elite; it is now co-owned, reshaped, and celebrated by diverse voices around the world.

Key Themes Explained:

Theme	Explanation
Language & Identity	Language shapes identity. Agard celebrates local adaptations and personal ownership of English.
Postcolonial Reclamation	Former colonies have not just adopted English — they’ve transformed it into something unique and expressive.
Cultural Diversity	English is richer because of its global speakers. Dialects and accents add beauty.
Power & Ownership	The idea that only a few people “own” the language is a colonial leftover.
Resistance to Elitism	Challenges the idea that only standard English is “correct.”

Poetic and Stylistic Devices:

Device	Effect/Example
Rhetorical Questions	Forces readers to question assumptions: “Whose English is it anyway?”
Metaphor & Imagery	“English doing a belly dance” makes language come alive visually.
Satire/Irony	Mocking elitist ideas of ownership: language in pinstripe suits.
Cultural Symbols	Saris, dashikis, bhangra: illustrate global transformation of English.
Conversational Tone	Makes the poem feel spoken, democratic, and relatable.

Performance & Voice:

• Agard’s spoken delivery is integral: his Caribbean accent, rhythm, and humor bring the poem to life.
• Reinforces the oral tradition — a space where diverse Englishes naturally belong.

Why This Poem Matters:

• It encourages students, especially from postcolonial backgrounds, to feel empowered in their use of English.
• It challenges linguistic prejudice in schools, media, and institutions.
• It celebrates English as a global language — flexible, adaptive, and inclusive.

Key Takeaways:

• There’s no single "right" English.
• Language reflects culture — diversity in English is a strength.
• Everyone who speaks and shapes English has a right to claim it.
• We must move beyond elitism and embrace multilingual, multicultural Englishes.