Why the question of identity is still a common… | Little White Lies

Festivals

Why the ques­tion of iden­ti­ty is still a com­mon con­cern among African filmmakers

29 Nov 2016

Assortment of vintage photographs depicting various people and events, arranged on a wooden surface.
Assortment of vintage photographs depicting various people and events, arranged on a wooden surface.
This year’s Film Africa event showed that African peo­ple are still not free to define their own iden­ti­ty abroad.

After a recent pre­sen­ta­tion of her first fea­ture-length doc­u­men­tary, Asma­ri­na, direc­tor Med­hin Pao­los gave a heart­felt Q&A about her expe­ri­ences of being treat­ed like an out­sider in her native Italy. As a black woman she was con­stant­ly asked where she learned to speak Ital­ian (in Italy, where she was born) and repeat­ed­ly pressed about where she orig­i­nal­ly came from. Under­neath the polite ques­tions, it was clear to Med­hin that she was viewed as a for­eign­er in Italy, though she felt at home there.

Co-direct­ed by Alan Maglio, Asma­ri­na tells the sto­ries and con­flicts of iden­ti­ty in the Eritre­an and Ethiopi­an com­mu­ni­ties of Italy who feel like only par­tial nation­als. Their iden­ti­ty, born out of a hybrid of two nations, is pigeon­holed by white Ital­ians on the grounds of eth­nic­i­ty, a feel­ing which push­es these com­mu­ni­ties away. Far from being a localised issue, Med­hin insists she could have made her film in any African expa­tri­at­ed com­mu­ni­ty in Europe.

In a way, Asma­ri­na is the most direct and naked pre­sen­ta­tion of an impor­tant ques­tion that ran through many oth­er films at this year’s Film Africa, the Roy­al African Society’s annu­al film fes­ti­val: that of iden­ti­ty. As Med­hin under­lined, the prob­lems of iden­ti­ty fac­ing the African dias­po­ra are root­ed in social and psy­cho­log­i­cal bar­ri­ers that make her, and many oth­ers, feel like guests in their own coun­try, but the extrem­i­ty of that feel­ing has start­ed to dri­ve oth­ers even further.

In a mem­o­rable scene in Giu­lia Amati’s Shashamane, anoth­er doc­u­men­tary com­pet­ing in the fes­ti­val, an Amer­i­can woman talks about her deci­sion to move out of the her home in the US to Shashamane, 500 acres of land in Ethiopia donat­ed by Haile Selassie I for repa­tri­a­tion by Rasta­faris and oth­er set­tlers from the Caribbean. When asked what com­pelled her to move the woman responds that it was a move to redis­cov­er her own cul­ture and laments how it was stripped from pre­vi­ous gen­er­a­tions as West­ern cul­ture was imposed upon them dur­ing the slave trade. This process of destroy­ing and rebuild­ing a sense of iden­ti­ty is an afflic­tion unique to the African-Amer­i­can com­mu­ni­ty; oth­er groups of set­tlers in the USA import­ed their own cus­toms. Her sense is that her cul­ture was almost entire­ly ampu­tat­ed and, in sub­se­quent gen­er­a­tions, that issue has been swept under the rug.

A sim­i­lar sen­ti­ment is reflect­ed by a British-born man who is asked what his cul­ture had meant to him back home. He tells the inter­view­er how he used to sing God Save the Queen’ and tells of the sense of betray­al it one day awoke in him. The words he was singing were of praise for a woman whose ances­tors had enslaved his own. He goes on to say that his par­ents were indoc­tri­nat­ed to dis­tance them­selves from their African roots, see­ing them as a sign of prim­i­tive­ness. In Shashamane he found a place to call his own, where he can be proud of his her­itage and where Africans tak­en out of Africa were not for­got­ten, and giv­en a place we could call home.”

There is a yearn­ing in these state­ments. The inter­vie­wees feel cul­tur­al­ly and social­ly robbed and emi­gra­tion is a chance to start again and to recon­nect with their roots. Asma­ri­na, by con­trast, does not present the prob­lem of feel­ing cul­tur­al­ly uproot­ed, but improp­er­ly assim­i­lat­ed. The African dias­po­ra in Milan arrived in more recent decades and is pre­sent­ed as large­ly com­fort­able with its dual Ital­ian and Ethiopian/​Eritrean sides. Still, peo­ple of African her­itage are made to feel less at home in Italy. Though for very dif­fer­ent rea­sons, and from dif­fer­ent peri­ods of immi­gra­tion, the issues faced by both groups are the same: they are not free to define their own iden­ti­ty abroad.

It is per­haps because of this con­straint that there is a strong cur­rent of works that deal with recon­nect­ing to these roots. A recent suc­cess was 2011’s Niger­ian-made The Mir­ror Boy, direct­ed by Obi Emel­onye. The sto­ry con­cerns a young boy, Tijan, liv­ing in Lon­don who trav­els to the Gam­bia after he gets into trou­ble for fight­ing a boy who pro­voked him with racial slurs. Tijan embarks on a spir­i­tu­al jour­ney after get­ting lost and ends up learn­ing more about his father and his her­itage, aid­ed by a phan­tom boy only he can see. Joseph Adesunloye’s White Colour Black fol­lows a sim­i­lar line. In it, Leke, a young Sene­galese-British man liv­ing in Lon­don, must put his epi­cure­an lifestyle on hold and return to Sene­gal after the death of his father. Though ini­tial­ly uncom­fort­able with this change of pace, he soon comes to see the beau­ty of a sim­pler lifestyle and the joy of redis­cov­er­ing his fam­i­ly. Once again, we find the desire to rec­on­cile old and new, and to redis­cov­er a part of the character’s iden­ti­ty that they had start­ed to forget.

Watch­ing the movies screened at the fes­ti­val served as a wel­come reminder of the final scene in Djib­ril Diop Mambéty’s 1973 film Tou­ki Bou­ki. Mory and his girl­friend Anta are about to take the ship to France to make their for­tune when Mory has a change of heart. He’s not ready to give up his home, not even for a chance at a bet­ter life. Anta sails away and Mory stays behind. Their plight was to go or to stay but for a new gen­er­a­tion of film­mak­ers it is not so sim­ple. There is a cross­roads between the two that is dif­fi­cult to occu­py, but there are peo­ple who do so anyway.

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