Written for The British Blacklist 26.02.14: http://www.thebritishblacklist.com/shakara-speaks-it-films-enslaved-afrikans-fought-part-2/
In my last ShakaRa Speaks On It – ‘Is Now the Time For a Film About Enslaved Afrikan’s Who Fought Back?’, I analyzed the phenomena of slavery films in Hollywood and the role they play in reinforcing the narrative of “White saviours” freeing poor, helpless Afrikan slaves. In providing a few of the many examples of the pervasive nature of Afrikan rebellion against enslavement, I attempted to analyse Hollywood’s motivations for ignoring this aspect of history and the danger of us as audiences buying into the narrative, popularly projected on screen.
With the old Afrikan saying: “Until the the Lion’s learns to tell its own tale….” I hoped to demonstrate that what was required, was not simply, more films by Black writers and directors, but a total overhaul of the narrative on this sensitive aspect of our history, from an Afrikan Centred perspective. It is necessary to note that such omissions from the big screen rely not only on the ability to ignore aspects of history, but to thoroughly distort them and in many cases down right lie.
For example, in watching the film ‘Amazing Grace’ (2006), viewers would never get the impression that English politician William Wilberforce – portrayed by Ioan Gruffudd – indulged in the exploitation of Afrikan women throughout Slave Brothels in Britain. Depictions of his moral crusade against slavery conveniently leave out the fact that Wilberforce was actually for the continuation of slavery in the Caribbean, to the extant that he voted for Britain to send troops to Haiti in order to crush the progress of the Haitian Revolution.
But luckily, the work of scholars such as Cheik Anta Diop, Chancellor Williams, John Henrik Clarke and the UK’s own Robin Walker have done a great deal in laying the ground work for the projection of this Afrikan Centred narrative I speak of. As well as a revision of the facts, some argue that terms like “Slavery” and “Slave Trade” are inadequate euphemisms that do not reflect the true nature of Chattel Slavery. Neither of these terms account for the kidnapping, torture, mutilation, rape, cultural genocide and family destruction, all of which were institutionalised and are therefore inseparable from the institution of Slavery. As inspired by Dr.Marimba Ani, many in the Afrikan Centred sphere have adopted the Swahili term Maafa (Great Disaster/Colossal Destruction), as a word that amongst other things appropriately defines the experience.
As well as this much of the source material for re-constructing this narrative is provided by Afrikans of the period. Aside from plantation rebellions, Afrikans in the UK were also at the forefront of diplomatic channels such as parliament and other “non violent” campaigns, which provides much literary material. Ignatious Sancho is said to have been born on a slave ship traveling to the UK in 1729. He would grow up to write ‘The Letters of the Late Ignatius Sancho, an African,’considered to be among the earliest accounts of Slavery written by an Afrikan, in English, on the subject of Slavery. Sancho was no revolutionary, but even from a considerably moderate position wrote in a letter to a businessman named Jack Wingrave:
“I say it is with reluctance, that I must observe your country’s conduct has been uniformly wicked in the East – West-Indies – and even on the coast of Guinea…. In Africa, the poor wretched natives – blessed with the most fertile and luxuriant soil – are rendered so much the more miserable for what Providence meant as a blessing: ”
Later, African Abolitionist Ottobah Cugoano would write‘Thoughts and Sentiments on the Evil and Wicked Traffic of the Slavery and Commerce of the Human Species’ (1787) and would team up with fellow Abolitionist Olaudah Equiano to found the “Son’s of Africa”. The Sons of Africa effectively started and led the mass campaign against the so-called“Slave Trade” , Equiano’s ‘The Interesting Narrative of the Life of Olaudah Equiano,’ explicitly provides detailed contrast between systems of servitude in Afrikan society and the British system of enslavement, thereby debunking the idea that Afrikans were just as brutal to each other on the continent.
Just as there were those during Chattel Slavery who were inspired to fight against the wicked institution independent of European paternalistic sensibilities, there are also film makers in more recent times who have attempted to tell the story of our ancestors during this period, independent of the Hollywood endorsement.
For the sake of balance and in order to promote this independent spirit, I would like to highlight a few of such films, in the hope that they be given the recognition they rightfully deserve.
Ceddo
The 1977 film directed by the legendary Senegalese director Ousame Sembene. Largely depicts how Afrikan traditional societies were altered in response to Muslim/Christian invasion and their Slave Trade ambitions.
The story is of a princess Dior Yacine who is Kidnapped by a group of traditionalists protesting the forced conversion of the nation to Islam. It is revealed that this forced conversion is based upon the fact that the local Imam is gaining more power than the King. The film’s strength is its portrayal of the nuances of that period. For example, many converted to Islam, because the Arab traders promised that those children who were born Muslim would not be born Slaves.
Ceddo, depicts how these complex realities, gave rise to increasing wars between different traditional nations. Many parallel storylines include the princesse’s fight against being kidnapped with her realisation of the realities of enslavement as well the increase in Christian Missionaries and tradesmen, trying to get a foot hole in an institution which was back then thoroughly dominated by Arabs and their Muslim converts.
Ceddo presents a taxing for some, but thoroughly rewarding watch for anyone who wishes to gain a deeper understanding of the period.
Sankofa
Possibly my favourite film dealing with the subject of Afrikan Enslavement. This film was released to great critical acclaim in 1993 by writer & director Haile Gerima. Sankofa is the story of Mona, a seemingly typical American model fully immersed in the shallow existence of American materialism. Whilst at a photo shoot in Cape Coast, Ghana, Mona finds her self in“Slave dungeon”, where she is visited by the spirit of her ancestors and transported back to Chattel Slavery in America as a “House Slave” named Shola.
The narrative of this film is expertly portrayed through soulful acting and a depth and breadth of character development that I believe is rarely achieved on screen. Its primary strength lies in its ability to depict a complex variety of characters and relationship with a sublime dignity and raw reality. While Shola tries to make the best of the horrific conditions of Slavery, she finds love in Shango, the rebellious field hand from Jamaica constantly planning ways to kill their master and defend his fellow enslaved.
Nunu (Alexandra Duah) is the heart a soul of the film. Ripped from her home in West Afrika, Nunu remained defiant in the face of oppression, refusing to lose her culture and tradition. Her Afrikan spirituality remained her source of strength, making her a leading figure among the enslaved. Her only weakness was is her son, Joe, who she gave birth to at just age fourteen after being raped by a Slave master. Joe grows to become a plantation head man, who would remain in constant struggle between his Christian devotion and the love of his Afrikan mother whom he was taught was an “evil Guinea Woman”.
All these variables lead to many transformation in how different characters deal with the conditions of slavery and ultimately lead to soul stirring Climax based upon one central question: to rebel or not to rebel?
Rosewood
Despite the “40 Acres and a Mule” promised by Abraham Lincoln, Emancipation Proclamation never materializing many self sufficient Black towns developed following the abolition of Slavery in America. These towns developed despite systematic oppression through segregation and Jim Crow laws; many of these towns became relatively prosperous on the back of Black ingenuity and industry. One such town was Rosewood, Florida, which would be the scene of a so-called Race Riot in 1923. John Singleton’s 1997 film brings these events to life with a formidable cast including Ving Rhames and Don Cheadle.
Rosewood begins by depicting a quiet self-sufficient community containing churches, schools, all manner of skilled tradesmen and various businesses. The peace is suddenly broken when a white woman from a neighboring town claims to have been raped and beaten by a Black man.
Mann (Rhames), a WW1 veteran recently arrived in Rosewood becomes the object of suspicion as a lynch mob go on the hunt in search of “The nigger who raped Fanny”. Sylvester (Cheadle) attempts to peacefully resolve the misunderstand fail, when the mob turn violent, rampaging through the town killing men, women and children while burning property to the ground. Mann, Sylvester and the residents of Rosewood must now defend their lives and homes or flee to safety. Rosewood is a powerful tale of resilience and determination in the face of unspeakable violence and oppression.
I have focused on films with Black directors for obvious reasons. These are three examples among a spectrum of which there are to few. However, I am struck by the variety of the stories provided by these examples, which is sure a sign of the fact that there are many more stories to tell. Therefore once again – the challenge is for Black writers, directors and producers to take up the mission of bringing these stories to life on the big screen, Black audiences sanctioning this effort and Black people as a whole becoming the Lion’s & Lionesses determined to tell our own tale.
ShakaRa Speaks On It by @ShakaRaBKS for the british blacklist