Alienated African Peoples: Navigating Individualism in a Foreign Land

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Across the globe, members of the African diaspora have had to pick up the shambles of their identity in the wake of the constant colonization that plagues planet Earth. Since the 1300’s, Africans had to fend off foreigners from invasion and theft of resources. From that period to the slave trade to present day, Africans deal with lost ideas of identity, and survival in foreign lands all over the world. In America, in most cases Italian Americans are able to speak with each other in Italian, Native Americans have made serious efforts to preserve their languages (even though White American assimilation has made this extremely difficult), Asian Americans are able to speak to each other in Aasian languages. What indigenous language do traditional African Americans speak to each other? Where would one even begin in terms of specific dialects of tribes and regions? African peoples are the only people in recent history to be taken from their native land and dispersed around the globe. The descendants of these people are left to craft their ancestral history and identity from thin air. The destruction of a diaspora’s heritage lingers within these groups of people as they search through their spiritualism for a sense of belonging. 

This is why slang, fashion, education, and territorial pride are so significant. The identities of these peoples in a new land with little trace of culture and tradition is dependent on their spiritual connection to the past and each other. From there, a new but incredibly reminiscent culture will come afloat. The history should be noted and studied but the potential for life and birth of new forms of collective expression bursts at the seams at the hands of numerous gallant pioneers. These films compile notable narratives about efforts to thrive in self understanding and fulfillment despite the constant tampering of African diasporic people’s life and identity. 

Locks (2009), dir. Ryan Coogler

A passionate portrait of a somber, young man as he navigates his neighborhood. His signature hairstyle, dreadlocks, flow down to his shoulders and bear similarities to his neighbors. This homogeneous sense of self expression strengthens the identity of the community. Conversely, it also can make a quick path for generalizations to be made by outsiders. As he journeys through space, solidarity exhibits itself in waves. The hairstyle is an entry point, though it is not everything. 

  1. The film seamlessly makes a moment in time feel like a lifetime. What went into the choice to impart such a specific lens on location, time and identity in the film?
  2. During the writing process, when did you know the ending of the film? Was it initially or as your plot unfolded?

 Afronauts (2014), dir. Frances Bodomo

A true story depicted of the Zambia National Academy of science, Space Research and Philosophy. Leader, Edward Makula Nkoloso, takes a band of students out into the training grounds to prepare for a far-fetched trip to space. This ambitious group might not have the resources but they have the brains and a gang of creativity. There is only room for a few of them to go on the actual mission. The chosen one is put through the ringer as she prepares for all of the foreign aspects of space that she might encounter. The stakes are high as the outcome seems improbable, but their belief in themselves might be enough to get them over the hump. 

  1.  What does this space academy reflect about its country of origin?
  2. What were some of the challenges of depicting a true story in a semi-fictional work?

Diary of an African Nun (1977), dir. Julie Dash

In a seemingly vacuous but tiny bedroom, a woman searches through her life for meaning in religion. She has committed herself to her beliefs in an extreme manner. She spends the duration of the film in this one space. She writes in her diary, and looks at walls. The walls and decor are full of a caucasian depiction of Jesus Christ. Her faith is all that she can rely on. All of this time she spends alone with her thoughts. They could potentially eat her alive. 

  1.  Were there any life experiences that persuaded the characteristics of the African nun? 
  2. As this was one of your first projects, did you listen to advice and instruction or as the titular name of your era suggests, did you go against what you were taught?

Schwarzfahrer (1993), dir. Pepe Danquart

On a full bus, a young man goes to sit down next to a much older passenger. She exhibits an unwelcoming aura and the man acts as if this type of treatment is standard. She scolds him for the whole bus to hear. Lumping him in with hasty generalizations, attacking his character, belittling his ancestry, all while he silently rides the bus to his destination. The other passengers notice this harassment but do not help. She continues to rant without acknowledging his presence or personhood. He minds his business until the time comes for a bit of revenge. 

  1.  This short was filmed in 1993, so why did you make the choice to shoot in black and white? 
  2.  Was any specific exposition considered for these characters besides common generalities in race?

A Different Tree (2016), dir. Stephen Caple Jr. 

In school, every student is assigned to construct a crafty family tree to present to the rest of the class. A young girl waits for pressing information to complete her assignment. 

  1. What made you want to curate an assignment as the call to action in the story?
  2. How did this perspective make its way to the center of the story?