The Burial of Kojo debuted on Netflix in April and combines magical realism and realistic depictions of Ghanaian society to tell the story of a girl that journeys between two spaces to save her father from giving up the ghost.
The narrative voice in the movie which narrates from opening to end of the movie belongs to the protagonist; – (Ama Abebrese) who is reading the story of her childhood which she has set in a book to an audience. While this story is moving, surreal and well told, it succeeds in triggering our emotions mainly because it resides on filial rivalry, struggle and finally revenge that ends fatally. However, the film maker, Blitz Bazawule, accomplishes the telling of this unique story with stark juxtapositions that show Ghana today –
Ghana ( Africa ) is in Bed with China
In Uganda, elementary school kids of Ugandan origin are learning Chinese. For better or for worse, the Chinese are now a strong part of their community and learning Chinese in the words of one of the students will open many doors. In Nigeria Chinese firms own exclusive rights to mine gold in Zamfara, ironically, Nigeria’s poorest state. In Ghana, the situation is no different. The New York Times reported in 2013 that a Chinese illegal miner was shot by Ghanaian police which led to heightened tensions. Chinese use/used locals as fronts to engage in mining that they are/were otherwise not allowed to do. Ghanaian miners that work with Chinese companies reported many problems including a deep disregard for labor laws and the environment as well as the use of violence. Today, in 2019, the same situation remains and nothing has changed. The movie beautifully delivers this societal plague which interestingly acts as the bridge between the dramatic plot and the realistic matter of Ghana’s economy and its murky part linked to the Chinese. The fact that the co protagonist dies in a trench dug up on a mine site speaks volumes. This death re illuminates the danger that miners face / have faced over time and in different spaces. The trench is undoubtedly a symbol of exploitation, danger, injustices and above all, inequalities in Ghana today when it comes to foreign presence, investment and local gain. For this reason, The Burial of Kojo also fits well into art that calls for change in society.
Though the movie touches on other issues such as the great exit from small towns to the capital mostly for better opportunities and better amenities, the scenic shots from Nzulezo, Ghana’s south western village that sits on stilts (and mirrors a similar settlement in neighboring Benin . ) are wonderful additions that probably add onto the surrealism of the plot. While living in the water village, the girl ( Esi ) has many recurring dreams that show a black crow that she later comes to fully understand and tackle. Speaking of the Black crow, the pink hues that appear in those scenes that otherwise should look morbid and dark, make the scarier scenes easier to watch.
The movie however feeds into the cliché of certain stock colors representing good and bad. Why does the White dove not represent evil and why can the Black crow for once not represent good? Regardless, a particularly unconventional aspect of the film is that it is totally in two major Ghanaian languages; Fante and Twi, and subtitled in English.
The use of dream sequences ( Kojo’s recurring dream and Esi’s dream ) as a technique not only facilitates story telling but also speaks of the Ghanaian socio consciousnesses that attaches so much importance to dreams. Esi finally discovers through a dream, the cause of her father’s near fatal situation in the trench and goes into another dream to try to rescue her father. The dreams in addition to the moments where the characters undergo deep streams of consciousness feature special types of lights that signal to viewers the difference between regular scenes and scenes that are supposed to be mental projections of the characters.
Any literary fanatic knows that the technique of recurrent motifs in a work of art be it literary or visual is a way of sending home an idea.
Motif – In a literary work, a motif can be seen as an image, sound, action, or other figure that has a symbolic significance, and contributes toward the development of a theme. … In a literary piece, a motif is a recurrent image, idea, or symbol that develops or explains a theme, while a theme is a central idea or message.
The Image of the Bunny
The movie opens with a shot that enlargens as viewers are brought from the image of the pink eye of a bunny to a larger frame containing a good number of bunnies all stuck apathetically behind the iron mesh of individual cages they are kept in.
Question – So how does a bunny connect with the idea of inequality?
Answer – All the bunnies are white, and stuck either inside the cages they are assigned or freely wandering in the rabbit hole in which the minions ( whose doppelgangers are up above on the earth are located ). The color white is a symbol of innocence, and purity. The bunnies are victims of their situation, are powerless and incapable of doing anything except wander. The use of an even color for all the bunnies symbolises the sameness of all the bunnies, their sameness does not only stop at their color, their sameness is seen in their collective lot; they are all trapped in the rabbit hole or the cages. At some point, we are unable to quite distinguish between the bunnies and the doppelgangers that remain in the underworld with the bunnies, who represents who? do the bunnies represent the puppetted humans or do the puppetted humans become an extension of the bunnies?
A bunny is an animal that can connotatively be linked with docility, apathy and indifference. Ever seen a bunny eating mindlessly? They eat as though they do not even care about the food itself; I’m yet to encounter a bunny that has been aggressive or that has tried to exit its circumstances or act in any kind of proactive way. In the same vein, a rabbit hole denotatively defines as a bizarre, confusing, or nonsensical situation or environment, typically one from which it is difficult to extricate oneself. ( credit Google ) The puppetted humans are trapped in an underground area with the rabbits; this underground area which is nestled beneath a lone house on a beach is a place of chaos, brainless and idiotic repetition and confusion. The tethered remain down the rabbit hole and for the rest of their lives, are subjected to only doing exactly what their copies do on earth. The camera shows us many a person that simply repeats exactly what their earthly copy does without a will to stop or break out of it. The people trapped in here seem to be a part of an entire calculated system that is designed to keep them there; the cages of the bunnies are a larger symbol of the prison of a carbon copy life these people are subjected to. The bunnies in their own terms also hop around the area without any particular direction or purpose in mind. This repetitive system and bubble that these beings are trapped in mirror a system that is designed to keep people below and hopeless. The people like these bunnies being the puppets they are will forever be unable to leave the shackles of their situation ( cages/rabbit hole). Which is why when they get the chance to leave their circumstances, they come out with a lot of little bit of contempt to trade places with their alter egos who by living their lives have subjected these minions to suffering.
A Reversal that is Born out of Contempt
To start quite tragically, the people on earth who by living their daily lives deprive the tethered of will and choice do not even know of the existence of their suffering doppelgangers. The tethered – The very name of the alter egos indicate a deprivation of will. To be tethered translates into being tied or bound to a thing or person out of compulsion. Adelaide’s tethered often describes herself as the shadow of Adelaide. How then can a person separate themselves from their shadow? It is the impossibility of this separation that irks the tethered and makes them exact revenge on the earthlings because as we see, the very existence of the earthlings guarantees an endless suffering for the tethered. In Red’s ( Adelaide’s alter ego’s) narration of her life, we see a binary that is deeply soiled with inequality. While Adelaide enjoys a warm bed and gifts and love, Red barely lives, enduring what she is dealt which is the exact opposite of what Adelaide enjoys. The first thing that gives a brash indication of the stark message Peele wishes to send across comes through when Adelaide asks Red who the tethered are; to this question, Red answers, ‘We are Americans’. This answer begs many questions, if they are Americans, and humans at the core of everything, why do they get a different treatment from the other Americans who live freely? Let’s not forget that the protagonist as well as their friends are middle to upper middle class families who can afford a vacation, a vacation home, a yacht and other luxuries. Gabe is college educated from his overly apparent alumnus Howard sweater and his taste for the finer things in life which pushes him onto an unhealthy need to rub shoulders with his wealthy White friend whose wife is as vain as a peacock. These are a cohort of people whose concerns exceed the mundane and painful lot of living as a puppet ( which is the fate of the Reds so to speak).
Also interesting is the fact that the movie commences with the obvious message of a humanitarian organization ( Hands across America ) that is known for its 1986 protest of a people connected hand in hand in a solidarity statement to end poverty, homelessness and hunger. In the US movie, it is no longer regular people that hold hands, it is the Reds that hold hands perhaps to protest inequality. After all, what is the aim of standing in solidarity and unison with connected hands if not to support each other? The imagery of this human connectedness is cast in such dramatic irony when we realize that Peele’s characters are everything but connected. Like in modern society, they remain apart and far from connected while one group suffers and another ‘lives’
Follow theAffickyPodcast for an extensive conversation on what the movie meant for us 🙂
Khal Drogo is such a baddie! Khal Drogo remains my personal go-to name for Jason Momoa just because I really can not shake off the impression he made on me in the Game of Thrones. His first shirtless entrance onto the set in Aquaman where he gives his back to the camera and then turns dramatically in a perfect male model pose only to kick the asses of the villains on the submarine is more than enough to leave a double dose of awe.
The cinematography of Aquaman together with all the dramatic elements that combine to make this great movie will leave viewers with that intense satisfaction of having seen unknotted ties resolve. However, just like most superhero movies, the ending where the assassin (whose dad was murdered) demonstrates a relentless need to continue pursuing Aquaman leaves the possibility of a sequel. Aquaman’s brother the ( Oceanmaster ) is also alive which equally leaves a huge possibility of a sequel.
More importantly, this post aims to comment on the many parts of the movie that are hugely reminiscent of the Black Panther movie.
Consanguineous Struggle, a legitimate premise or a basic appeal of human emotion?
The resurfacing of an illegitimate relation who threatens the so-called legitimate son and heir to the throne is no new development on our screens; Lion King follows this pattern, Tchalla’s kingship is threatened by Killmonger who surfaces out of nowhere. Unlike Killmonger, Aquaman does not exactly want the throne because he does not even believe himself a king yet the conflict of interests and the potential demise of the kingdom based off of two different approaches to saving the seas from earth’s pollution force Aquaman to man up and take his rightful place as king of the Ocean. Another scene that makes the Aquaman movie hugely evocative of the Black Panther movie is that the protagonist and villain battle it out in or around water. Tchalla and Killmonger’s fight like Aquaman and Oceanmaster’s fights are in or around water. In both movies, the fights leave viewers at the edges of their seats as audiences struggle with which side to be on while remaining transfixed because of the implications of the fight. Because how do deal with the pain of seeing two brothers or closely related kin fight?
Love as a Tool to Reveal the Other Side of the Protagonist
Aquaman’s built, tattooed and cut body together with his eyebrow slit and piercing gaze make him look everything but weak. The use of the word weak here is in no way implicit of love equalling weakness, yet love often brings with it a level of vulnerability and uncertainty that is not the least synonymous to the superheroes often depicted with it. This lumberjack character comes with a blend of sexy and sultry that keeps eyes glued on the protagonist throughout the movie. Aquaman rocks blond highlights in his hair which seem to blend in perfectly with his bronze skin and eyes. This sharp copper tone together with shoulder length tousled hair makes him visually pleasing whether in underwater scenes or on land. Like Tchalla, the strong and constantly valiant personality is often overtaken by emotion. Aquaman allows himself to show viewers that he is unsure of his capacity as a king regardless of his unshakable nature. He also has moments where he is completely open and unrestrained in his display of interest and attention received from Mera. To see heroes bare their human sides once in a while is realistic and refreshing. Equally interesting is the way Aquaman and Tchalla decide to give their vanquished opponents the chance to live, though these proud opponents ironically demand to be served their death. While Killmonger decides to join his ancestors fearlessly through death, the queen of Atlantis comes through as a deus ex machina for her Ocean Master son who is on the verge of death. Even the queen’s look and the look of the Black Panther queen are similar, whitish-blond lace frontals seem to be the queenish go to look these days.
Other Interesting Parts of the Aquaman Movie
Why is the Half Bred Colored?
The half-bred grows from a brown baby to a Brown man who is considered bastard and unworthy by his underwater family. His mom who is fully Caucasian defies the norm and lays with an ordinary brown man. His brother who is Caucasian fits what is expected of a legitimate heir and a full son of the underwater world. The bastard son, on the other hand, feels culpable for the mother’s excommunication and feels a sense of defeat already since he is often reminded of his hand in the mother’s death. To the dwellers of Atlantis, this half-bred son of the queen may be the legitimate heir to the throne by virtue of being first born yet the mere fact that he is not fully Atlantean ( if that’s a word ) makes him questionable.
Is the making of this other coincidental or intentional?
The Aquaman Movie and the Athenian/Futuristic Divide
Atlantis and its scepter bearing lords together with its lifelike statues and busts of past lords combine an Athenian feel that takes us back to ancient Rome. The round underwater courtyard that some of the scenes capture and the fighting ring remind of the large roman amphitheaters that hosted athletics, gladiator combats, and circuses. At the same time, parts of the movie feature ultra-modern technology, robotics and futuristic scenes that are sometimes good to look at and sometimes flat out mechanical and a bit much. Some of the underwater agents sent out by the ocean master to arrest or cause havoc on land reminded me vaguely of newer makes of the power rangers. I hated them to be honest.
Parallel Struggles and Techniques that made the Movie so Badass
Anyone who watched the movie carefully would have noticed that Aquaman’s eyes are a larger reflection of his intuitive power and charm. His eyes not only illuminate underwater to guide his path, his eyes seem to be the pathway into this strong yet peaceful character. The final scenes where his eyes almost reflect and actually match the golden hue of the scepter and his costume actually remind us of the fact that he is truly king. His former scruffy, laid-back local town dwelling self in average clothes do not do enough justice to the glow in his eyes and his soul. The glory and grandeur of kingship suit him better than his former ordinary self. Aquaman is truly made for the throne and that is exactly what those glowy set of eyes and mysterious air is made for. Kingship brings out his full character and the Khal Drogo we sort of want back on our screens.
The cinematographic technique of making Mera and Aquaman face their own unique pursuants in the hills of Italy helps audiences realize the unique power that the duo has and the even greater force they will be once their love joins forces.
The exaggeration presents itself when the fight is taken into the living space of an extraordinarily calm senior who watches two metahumans fight as if fighters at each others’ throats breaking through her roof on a sunny afternoon is an entirely normal occurrence. Needless to say, I hate how superheroes fight with a plain disregard for the destruction they leave in their wake.
Women Women Women!
What would Aquaman do without the women in his life egging him on to, first of all, believe in himself and act in the interest of his people?…. Women play key roles in this movie and their direct influence and help cannot be underestimated in this movie or in the Black Panther movie where women warriors, intimate lady friends, and mothers join hands to nurture, protect and enamor the men protagonists.
The scene where Aquaman and Mera go through dangerous lengths just to journey through a middle passage to rescue Queen Atlanna feels similar to the scene from the Ant man movie where the characters went through great lengths only to retrieve the mother. Mother is supreme! Chinua Achebe did not lie!
Aquaman releases all the knots from a pent-up climax. The movie is satisfying and I would watch the sequel any day any time. The final scene with the reconnection of the father and the mother wraps up the movie with a perfectly satisfying resolution. On a more thematic level, the love of Aquaman’s parents surviving despite all odds renews hope for the general belief in enduring love and also a more reverberating statement that interracial dating can survive despite all the odds in a racially and stereotypically charged environment which is the US.
When Taiye Selasie‘s Ted heralding the need to ask questions about where one is a local and not necessarily where one is from played over and over on my phone, one thing stuck with me; the fact that certain places scream positive connotations while other places project only negatives. Duh! We all know this, don’t we? Scarier still, is the effortless prejudice, deep seated and often indelible impressions that remain in our minds due to the aforementioned connotations. These specific thought processes have become as natural and as normalized as a white cloud in a blue sky. The fact that France for example, represents opulence and sophistication while an African country or the whole of Africa represents depravity is accepted with no challenge. The fact is, Africa represents depravity. The other fact is that, outside the continent’s poverty, it is also celebrated for its topography, its foliage, its resources, its animals, aka the wonders of Africa, which by the way are disporportionately emphasized over conversations surrounding the continent’s diverse peoples, its languages, its cultures and traditions, its amazing rich history, its food, its music and indeed all the positives of Africa’s humanity.
Joseph Conrad’s Heart of Darkness, a colonial story set in Congo, portrays one of the many examples of why Westerners or non-Africans have a geographical rather than an anthropological interest in Africa. Marlow, the story’s protagonist is British and has a palpable obsession with the Congo river. He describes the Congo river as a sinuous snake that he could simply not take his mind off of.
“The snake had charmed me” – Marlow
The story essentially holds a plot that features silent Congolese characters. While the pervading atmosphere in the narrative (outside of course its pejorative title) remains solidly tied to darkness, barbarity, and chaos, this story is a representation of the colonial truth that the world is more interested in Africa’s non-human wonders than its human wonders. Animals and landscape are given a larger platform than its peoples. Marlow’s obsession with the river and the amount of time dedicated to the description of it versus the blatant silencing of the African characters in the novel speaks to this fact. Today, that overarching geographical rather than anthropological interest remains.
Spring was still in the air, yet the heat and its staleness made me hasten plans to a water park and resort in northern Ohio. The water park had the tagline; America’s Largest Indoor Water Park. It seemed exciting and very welcoming. The Kalahari water park in Sandusky Ohio bears the name of a desert in Africa that touches three Southern African countries, – Namibia, Botswana and South Africa. I wondered how many of the patrons of the water park knew that. I was not too sure if the water park was supposed to be a representation of the whole of Africa or if the entire park was actually representative of just Kalahari; the Southern African desert . Hopefully, the president, if he were to ever visit, would probably know that this water park shared the same name as a desert in Namibia and not Nambia. I decided to go to the company’s website to try to understand the real intent behind the questions I had. A cursory glance at the basic info about the park showed me these lines;
Kalahari Resort & Conventions are full service vacation destinations including meeting & convention facilities that combine America’s largest indoor Waterparks with the magic of Africa.
The whole of the entire African continent’s magic was small enough to fit into a building full of impressions of the animal kingdom. That was impressive. Wooden giraffes lined the hallway to the elevator, wooden elephant head masks covered lighting, the front desk people were dressed in game reserve guide outfits (tan/khaki shirts and pants), and my favorite, the gorilla and leopard paintings that hung right across from my bed and right on top of my head in our hotel room. The resort’s mantra was Authentically African. The resort was supposed to be the representation of Africa to the average American patron.
This post was tucked safely in my drafts because honestly, I imagined myself too busy or too full of many reasons why I could put it off until a better day. Sitting chin in hand staring at a million open tabs on my pc was a better deal. One of those open tabs was coincidentally on the New York Times website.
This article looked like a good read so I dug in, however, I’d gone ahead far too quickly. In the introduction was these two lines.
I read the article to the end and decided it was meaningful yet remained undecided over the weight of the double ‘m’ alliteration. I repeated the words ‘mystical mountains’ to myself. Was I being too critical or was there really nothing else that distinguishes Cape Town, its people or culture or anything else short of its ‘mystical mountains’? and later its ‘flimsy democracy’?
I sat through an undergraduate class and listened to their final presentations. They, (mostly Non-Africans ) had been in an overworked three-month long geography of Africa class ( which though hosted by the geography department did not typically treat geography per se, but topical issues such as Slum Tourism, Poverty Porn, Security, History and finally, Health and Development)
I was amazed that out of the wealth of subjects presented, not one of the presentations had an anthropological theme. They were all either about Animals or the topography of the continent.
Here are some of the topics presented –
Deforestation (in Africa)
Participatory Mapping ( Drawing of accurate maps for Africa)
Ngugi Wa Thiong’o has advocated for writing in African languages because how relevant is African literature if we write not in our native tongues but in the language of the White man? While I have my own opinion on this line of thought, the other subjects of discussion that come up after the former are conversations surrounding which audience African writers cater to? Is immigrant literature African and how much of Africa is projected in these stories that are told predominantly from the West? Even bigger is how an African writer gets published and who decides what goes into their story so that if publishers wield so much influence and power, then it goes to say that if an African writer publishes in the West, then the Western publisher more or less owns and determines what or how certain parts of the African story gets put across, that is if they do get put across in the very first place. As we all know, the West has written Africa’s story in multiple ways and continues to impose suggest ways they deem fit on Africa. By extension, I remain curious about how influential Africans push certain messages and how such messages, in turn, get interpreted by other African minds.
Chimamanda Adichie questions on her Twitter about why Hillary Clinton decides to place ‘Wife‘ before her other titles on her Twitter bio. I stare at this screenshot and I edit thought after thought after thought. First of all, why can’t she self-describe as a Wife? Wouldn’t that be her sole prerogative? Second, I want to know more about why Chimamanda is engaging with Hillary. Not that she can’t, but really, what is this about and if it is about what I suspect it is, then how many more African women are waiting or wanting to engage with Chimamanda who haven’t yet had the chance? (Refer to previous thought about who the new African writer’s target audience really is) What I believe though, from listening to Chimamanda speak countlessly is that she is suggesting that Hilary’s self-description as a Wife negates her other accomplishments. That, it is almost as if her other accomplishments come second to she being a Wife so that in a more overt sense, being a Wife is the main calling of a woman. In addition is Bill Clinton self-describing as husband above other things online?
Outside an African writer engaging with a non-African which I am in no way saying is wrong because of course everyone is entitled to their choices, I am more concerned about this concept of feminism and how individuals feel the deep-seated need to impose views on others. I keep maintaining that this concept is not a one size fits all and neither is it a term that Africans should embrace while thinking oh my God, I just discovered something surreal. Good news is that before precolonial times, while Europe’s women were still disenfranchised, African women were leaders in their communities, serving as heads of state, queen mothers, queen sisters, chiefs, female husbands, warriors, and contributing to their economies, through substantial work. Your mom is probably the best example of what feminism means to you. Yet, the West had to once again come tell us that hey, this tag is what you need to make all your outdated attempts official. It sounds almost as if someone would walk to my grandma and tell her ‘hey mama, this Vibranium in my hand is the key that will make you a better woman’.
By all means, Feminism is a great concept, however, let us not be quick to jump on it while implying that before it, we had no understanding of it in our societies. Doing this only reinforces the idea that the West civilized and saved us from our primitive ways and set us straight on the path of life after rescuing us from murky waters. In addition, if a human deems it fit to self-describe as Wife above other achievements, so be it, who said because I am feminist I can’t be a Wife? Or that being a Wife makes me any less a feminist? In any case, Wife, as defined in the African socio-cultural context, can either be a female who is married to the family of her husband, in that sense, she is a Wife,theirWife, and she can be called thus by either male or female member of her husband’s family without it being language that is in anyway derogatory or implicitly suggestive of possession or ownership, it may simply even in most cases be a term or endearment or a demonstration that the family accepts her totally as a member of their family. In the West though, where concepts are generally more legally than socially interpreted, a Wife is simply and more narrowly, the woman a man legally lives with as a lifelong partner. From these two definitions, we see that different spaces have different conceptions of ideas. Western feminists have different motivations that characterize their fight than African feminists. Even in a western society such as America, a white feminists motivations and concerns will hardly be the same as a a black or Hispanic feminist, why then do we simply assume that Western feminism with its highly nuanced points of concern will be the same antidote for African women’s issues?
While progressive movementsare helpful, let us as Africans be critical of how and why we adapt concepts. After we do that, let us subjectively interpret it for ourselves according to our specific contexts. Then after that, let us endeavor not to impose what we believe is right on others.
If the issue is with Hillary placing Wife first, this can be looked at differently. From a position of strength, this fore mention of Wife can be interpreted to mean that as a woman, you can achieve it all without having to deal with the all-or-nothing mentality that society often drums in our heads. Women can be ambitious and career driven and still be Wives or succeed in their romantic ventures if they meet supportive humans (being that heterosexual relationships do not necessarily define our times) who share the same values as they do. Maybe listen to Alicia Keys’ SuperWoman again.
Barack placed dad on his bio above everything else. While his and Michelle’s has been a presidency that has humanized the White House the most largely by its depiction of the intimacy of its family set up, his use of dad, I believe has more to do with the contradiction of the usual perception of Black fathers’ absence in the lives of their children in America. Ultimately, there is always a reason, and our concepts aren’t the primus inter pares of what the world needs to do, a word to the West and influential Africans.
When I saw Christiane Amanpour outdoor her new show Sex and Lovearound the world, I wondered what grand plan lay behind the production of this show…
9:40 something pm, my phone is buzzing with messages. The girls are upset over Moesha’s comments about Ghanaian women and their having to live off transactional relationships often with older men. Moesha is a Ghanaian socialite whose real profession is unknown. We either think she lives off her men or is employed in a day job that can not technically pay for her lifestyle so the sugar daddy or better put, the sponsor, fills in the paycheck gap. Chimamanda Adichie in her novel Americanah paints avivid depiction of the complex socio-economic landscape in Nigeria while specifying the ambiguousness surrounding the economic life of one of her lady characters. The other co-protagonist of the novel, the man who is in love with the main character ends up marrying into a family mainly for financial reasons. Right from the middle ages until the twenty-first century, financial gain has remained a motivator of unions and relationships, Moesha’s declarations seem no different thematically from the allusions this paragraph has developed from.
My friend just returned from Nigeria and literally remained without female ‘company’ while away because he was unwilling to go along with the transactional reality that relationships are in that part of the world. Another friend recently returned from Cameroon and while asking him how his trip was, his words were that basic prostitution is out of hand. What in the world is basic prostitution? Casual relationships that dwell on economic gain was his answer. Wow, I said. Weeks ago, my eyes widened as I read this article about the blesser syndrome in South Africa. (Blessers are older men that literally bless younger women with HIV AIDS and money and condomless sex) As I drew comparisons between the facts the article presented and Ghana, I arrived at the conclusion that while the article portrayed Southern Africans as being more overt about their search for blessees and blessers, (because adverts were/are made on social media in search of younger girls to bless and older men who bless) Ghanaians are a bit more discreet in their ways I daresay mostly because of our religious hypocrisy but moving on, songs such as Ebony’s Sponsor among a host of other products of popular culture such as this episode on An African City shows us that the dynamic of sexual-economic relationships aren’t a new thing under the Ghanaian sky.
While I am not interested in determining whether Moesha was wrong to have said what she said or not, my focus rests on what Ghanaians are doing to empower women and renew mindsets so that people do have the need to rely on sugar moms or dads out of economic need. Logically, there is no way to dictate the lifestyle of humans but the more important thing is to realize the urgency that needs to come from issues like this. Our society is morally decadent and sexual episodes such as these are not the only things that we should be alarmed about. Being a Ghanaian has taught me that we are people that easily forget and make fun of every possible thing on earth. In addition, Ghanaians literally live with crocodiles yet scream in fright when we see lizards outside.
In a country where a minor can flash her naked body on camera while flies dance around her vagina and receive acclaim through viral shares and much laughter, in a country where preachers go to bed with members of their churches, hold entire services to demand the body counts of their members with much focus on how much members are bringing to the church coffers rather than a focus on the salvation of members, in a country where female singers get shamed over their choice of dress, in a country where full grown parlimentarian women get shamed over wearing body jewelery such as anklets, in a country where women sometimes often fall prey to sexual requirements to secure or keep a job, ( well this happens in our schools too ) in such a country, a country where if you’re a woman in a top position, people wonder if you slept your way up, paying little heed to your credentials, a country where self-acclaimed relationship experts and mariage counsellors hide behind morality and push severe and unrestrained sexism and remain justified, this is our country where scandals blow over quickly just to be replaced by other ones while we laugh and laugh, maybe it is time to ask what exactly we are doing besides laughing or hurling angry words at people such as Moesha while the truth stares us in the face. Ghanaians love to circumvent and address everything else but the truth and possible solutions. Maybe it is high time we brainstorm real solutions.
Comments like this are refreshing because it is very much like that community with the dusty, bumpy, eroded road. One of the community members decides to tar only the portion of the road that is in front of their house while the dust from the rest of the road blows up and touches the same house that sits in front of the little stretch of tarred road.
Looking on social media and hearing people speak/write, I’ve questioned the meaning of trends such as #drippingmelanin, #doitfortheculture, #feminist. Needless to say that somehow #teamlightskin has gradually faded out, with #drippingmelanin gradually taking its place and hitherto weird looking Sudanese models suddenly taking center stage with their lean bodies, sharp jawlines and dark skins; Lupita’s unapologetic hairstyle (cropped hair with the line that we’re all suddenly rocking), direct gaze, dark skin and Wakanda prowess will simply not allow any millennial think that this is the age where we cower to whispers that remind us that we aren’t worthy enough. However, while developments such as these make me question hashtags such as#drippingmelanin, I wonder if such hashtags serve as a reflection of real mindsets or are they basic trends we jump on for the simple reason that they’re trends? Are we feminist because we think it is cool to say we are or do we actually embody and understand what we claim ? Are we doing it for the culture because we have a deep appreciation of culture or just because we want to rock that Dashiki or do the Gwaragwara for the gram?
Anyway so while we #Sugardem (hard to say what they stand for because they have no website and their Facebook does not so much as have a basic one line about what they stand for ... however they are a Ghanaian group that seem to sympathize with the patriarchal society that Ghana is) or #Pepperthem, I’d like to remind us all that feminism is not a simplistic battle of the sexes, which is why I regard Cardi B’s latest album as a work of art that is not necessarily feminist (the #Pepperthem type of feminsim) even though her songs have become official diatribes directed at men, but an album that everyone regardless of identity can take something out of. ( Timely reason why you probably should watch this TedTalk)
Cardi is a blast of freshness, and for all who know how much I adore all things cultural, I love the fact that she gives Latina/o/x and other minorities something to hold onto especially in a country where being in the minority is a huge privilege (insert sarcastic emoji). Though I find the cover of the album insanely cliche; (because of course who doesn’t take a photo without sticking out their tongue these days), her lyrics hit you and make you wonder if you heard right. This post will analyze Cardi’s shocking and yet endearing and highly relatable lines as a call to action especially for the relentless pursuit of excellence, assertiveness and an acceptance of self-worth that hopefully transcends a basic interpretation of her songs as a divisive wedge between the sexes or a girl tribute to worthless men.
|Looking like a money bag|- These are famously synonymous lines to Cardi’s own life, a girl whose journey is a literal backdrop against the famous motif of rags to riches. Lines like this reinforce acknowledgment of hard work and success, (whatever that is). Cardi’s lines demonstrate a willingness to strive for dreams so they don’t remain abstract and unreachable and while she does it, she shows that she pursues success at an individual and subjective pace,|I’m my own competition| remaining unwavered by whatever ‘progress’ the people around her are making.
|Sex so good I mention my own name while at it |- Take it whatever way you want, this line bears undertones of conceit yet demonstrates confidence and a deep-seated understanding of her sense of worth as a person, complimenting herself fiercely and not waiting for validation from others, while taking time to acknowledge other strong females (humans) around her, she sings about taking pictures with Beyoncé and asks women (men) to demand higher standards from respective partners.
|If I fall ten times I rise nine times; I’m not asking you to do it the way I did; I’m just telling my story.| While these lines are pretty self-explanatory and a motivation of sorts for everyone, emotional baggage can drive singers to subjectively interpret |I waited my whole life just to shit on niggas|as a vindictive comeback line over the people and more specifically niggas that have done them bad in their lives. No hun, |I waited my whole life just to shit on niggas|means that your feminism shouldn’t be all about men. This line could possibly be interpreted as your having waited all your life to show the world what you have talent wise or professional wise.
|Good girls do what they told; a bad bitch does what she wants|- best line so far that has caused or may cause a stir among friends who constantly want to argue out things as trivial as the meaning of words such as good or bad. Essentially Cardi just defined what it means to be a bad girl, a girl that defies conventions and independently does whatever she wants because she wants to and not because she only feels like somehow being a bad bitch is only about dope lace frontals that lie slickly against hairlines with the help of cheap pharmacy edge control gels. This time, I somewhat agree with Urban dictionary . A girl can be a bad bitch without it somehow being tied to how she relates to men.
I won’t write a concluding paragraph because this is an ongoing conversation but while I think about this wonderful album which has surprisingly held my attention and received no skips ( something I do fairly often) my favorite so far on it is I Like-it because of its latino influenced beats.