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<p dir="ltr">Colonialism and colonial understandings and portrayals of formerly colonised people continue to shape how they are perceived and represented. <a href="https://www.cairn.info/revue-politique-africaine-2008-4-page-119.htm">Finnström (2008)</a> highlights how contents of 19th Century travelogue mythology created by the colonialists, continue to inform and influence images of Africa in the 21st century.</p>
<p dir="ltr">Consider this excerpt from <a href="https://doi.org/10.1080/03056244.2019.1660155">Lansen & Jensen (2019)</a> on the colonial image of Africa and reflect on how this ‘imagination’ continues to define the people and continent of Africa.</p>
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<p>One way Western discourse depicts Africa is as a romanticised ‘primitive’ entity bound to a past of harmonious engagements with ‘nature’ (Mudimbe 1988; Wainaina 2006). This is in opposition to the Western self-imagination as a collection of ‘Modern’ societies that ‘differentiate absolutely between Nature and Culture, between Science and Society’ (Latour 1993, 99). However, this romanticised image of a primitive Africa is that of a ‘jewel’ of primitive and imagined naturalness that turns ‘excremental’ when it comes close (Žižek 2001, 63–69).3</p>
<p>This leads to a contrary but still problematic, simplistic and one-sided image of Africa being a disastrous place ravaged by interethnic warfare, natural disasters and disease epi- demics (Wainaina 2006). While one cannot neglect the real aspects of this depiction, over- emphasising the disastrous nature of the African continent, and neglecting the global influences evoking this state, lead to a false idea of Africans being passive subjects deprived of agency, without the capabilities of and/or interests in addressing their own problems, who therefore can be acted upon freely by external forces. These Eurocentric imageries of Africa reassemble what Mudimbe (1988) terms ‘colonising structures’ (5) that through manipulative ideological and theoretical efforts legitimise Western dominance in the African continent.</p>
<p>When discourses of Africa as an absolute entity deprived of agency emerge, the imagined characteristics of Africa also manifest into reality. However, the realness of the imaginary is completely distinct from the realness of a physical reality. Africa as an imagination of the West must therefore be understood as an ‘irreality’ (Sartre 2004),4 which is characterised solely by its imagined qualities. This renders it distinct from Africa as a cultural and geographic space. Pg. 1-2</p>
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<p dir="ltr" style="line-height: 1.7999999999999998; text-align: justify; margin-top: 0pt; margin-bottom: 0pt;"><span style="font-size: 12pt; font-family: 'Open Sans', Verdana, Arial, Helvetica, sans-serif; color: #222222; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><strong>Recommended Reflection Exercise Part 1</strong></span></p>
<p dir="ltr" style="line-height: 1.7999999999999998; text-align: justify; margin-top: 0pt; margin-bottom: 0pt;"><span style="font-size: 12pt; font-family: 'Open Sans', Verdana, Arial, Helvetica, sans-serif; color: #222222; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><strong></strong>Take a quick look through your contact list, your acquaintances, classmates, colleagues at work, members in a social group, game, sports, etc. Select one individual who is very different from you – in terms of race, gender, sexuality, religion, colonial experience. Note down any persisting ideas which have about them (their backgrounds, their community), which have been procuded by colonialism and been extensively shared in the media. Make a mental note to engage this person in a discussion to truly understand the genesis of such image and how it has or could be countered.</span></p>
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<p dir="ltr" style="line-height: 1.7999999999999998; text-align: justify; margin-top: 0pt; margin-bottom: 0pt;"><span style="font-family: 'Open Sans', Verdana, Arial, Helvetica, sans-serif;"><span style="font-size: 12pt; color: #222222; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Countering colonial image production is an active step towards decolonization. Examples abound and include the Rhodes Must Fall Movement in South Africa and Oxford (</span><a href="https://harvardpolitics.com/rhodes-must-fall/" style="text-decoration: none;"><span style="font-size: 12pt; color: #0000ff; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">https://harvardpolitics.com/rhodes-must-fall/</span></a><span style="font-size: 12pt; color: #222222; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">). </span></span></p>
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<p dir="ltr" style="line-height: 1.7999999999999998; text-align: justify; margin-top: 0pt; margin-bottom: 0pt;"><span style="font-size: 12pt; font-family: 'Open Sans', Verdana, Arial, Helvetica, sans-serif; color: #222222; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Larsen and Jensen further offer suggestive ways to counter colonial gaze or image production. </span></p>
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<p style="margin-left: 36.0pt; text-align: justify;"><span style="font-family: 'Open Sans', Verdana, Arial, Helvetica, sans-serif;"><span style="font-size: 11pt;" lang="EN-GB">According to Mbembe and Nuttall (<span style="color: #000082;">2004</span>) there are two ways of countering it. One way is to emphasise Africa</span><span style="font-size: 11pt;" lang="EN-GB">’</span><span style="font-size: 11pt;" lang="EN-GB">s interconnectedness with the world. A second way </span><span style="font-size: 11pt;" lang="EN-GB">‘</span><span style="font-size: 11pt;" lang="EN-GB">is to take seriously the fact that Africa like, everywhere else, has its heres, its elsewheres, and its interstices (emplacement and displacement)</span><span style="font-size: 11pt;" lang="EN-GB">’ </span><span style="font-size: 11pt;" lang="EN-GB">(</span><span style="font-size: 11pt;" lang="EN-GB">Ibid.</span><span style="font-size: 11pt;" lang="EN-GB">, 351). These two strategies seem reasonable and aim to draw attention away from exceptionalised images of Africa, by placing Africa within the broader world. However, one feels compelled to ask: how are we to achieve this when nuanced perspectives challenging the West and its relations with the broader world, seem to be silenced for the reproduction of exeptionalised images? Garvey (<span style="color: #000082;">1986</span>) presents a radical suggestion: </span><span lang="EN-GB"></span></span></p>
<p style="margin-left: 36.0pt; text-align: justify;"><span style="font-family: 'Open Sans', Verdana, Arial, Helvetica, sans-serif;"><span style="font-size: 10pt;" lang="EN-GB">Things that may not be true can be made so if you repeat them long and often enough. Therefore, always repeat statements that will give your race status and an advantage. That is how the white man has built up his system of superiority. He is always telling you he is superior and he has written history and literature to prove it. You must do the same. (</span><span style="font-size: 10pt;" lang="EN-GB">Ibid.</span><span style="font-size: 10pt;" lang="EN-GB">, 14) – pg.7</span><span lang="EN-GB"></span></span></p>
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<p dir="ltr" style="line-height: 1.7999999999999998; text-align: justify; margin-top: 0pt; margin-bottom: 0pt;"><span style="font-size: 12pt; font-family: 'Open Sans', Verdana, Arial, Helvetica, sans-serif; color: #222222; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Garvey offers here a vital step to directing and decolonising the colonial gaze. </span></p>
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<p dir="ltr" style="line-height: 1.7999999999999998; text-align: justify; margin-top: 0pt; margin-bottom: 0pt;"><span style="font-size: 12pt; font-family: 'Open Sans', Verdana, Arial, Helvetica, sans-serif; color: #222222; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span></p>
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<p><span style="font-family: 'Open Sans', Verdana, Arial, Helvetica, sans-serif;"><strong><span style="font-size: 12pt; color: #222222; background-color: transparent; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Recommended Reflection Exercise Part 2</span></strong></span></p>
<p><span style="font-size: 12pt; font-family: 'Open Sans', Verdana, Arial, Helvetica, sans-serif; color: #222222; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">After speaking to the person you have chosen above and learnt of their realities, determine how these realities differ from the images you saw previously about them. Then engage the person on possible ways to actively decolonise the ‘colonial’ image existing about them. Draw inspirations from Garvey’s radical suggestions above.</span></p>
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Diversity in Film & Media
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Diversity in Film & Media