While Zandria Robinson’s This Ain’t Chicago has done the job of
educating us on the multiple souths and the many black identities present in
the northern and southern regions of America, I have taken some time this week
to think about the multitude of black identities in general. This week I was
able to attend a Rhodes conversation hosted by the African and Black Student
Associations on campus entitled, “The Complicated Relationship Between Africans
and African Americans.” It opened my mind to the fact that black identity is not limited to northern and southern blacks, but blacks outside the
country as well- specifically Africans.
Before the conversation, I knew only
a little about Africans’ contempt for blacks in America. I had heard that
Africans thought lesser of African Americans because we are disconnected from
the ‘motherland’ of Africa, ‘the cradle of civilization.’ That sentiment always
bothered me because it is not African American’s fault that our ancestors were
kidnapped and transported to America against their will. It is not our fault
that many of us can not trace our ancestry because of the slave trade. I also
think that sentiment is ridiculous because as we have read in Homegoing, Africans took part in the
slave trade as well. Some of us could very well be here because of an African
king who paired with European slave companies for capital gain. At the end of
the day, if allotted the proper tools and resources, all blacks could trace
their roots back to Africa so I didn’t really understand why Africans thought
of African Americans so differently just because we now inhabit a different
land.
Much like Mrs. Pinkston in Homegoing, I believed that here in
America, “black is black is black” (Gyasi, 273) regardless of where you were
born or where you call your homeland, you are still more likely to get pulled
over or arrested, still having to work twice as hard to get half as much. After
the talk, I realized that the complicated relationship has less to do with
regional ties than it does with a lack of effort to acknowledge and
appreciate African and African American culture. Ignorance is a factor that
stifles Africans and African Americans from fully accepting each other as we
fail to acknowledge the different cultures and identities that lie in African
and African American blackness. This in turn makes the one group feel un-welcomed in
the presence of the opposing group. This was depicted in the cafeteria scene
where Marjorie was made fun of “for talking like a white girl” as one of her
classmates mocked her with a British accent (Gyasi, 268). The classmate
was obviously uninformed on the fact that Marjorie’s seemingly British accent
is a part of her black African culture as the British colonized parts of
Africa. Black Americans are even at fault for similar shaming within our own
community, as it is common for African Americans to proclaim proper speech or
certain music as a means of ‘acting white.’ This only makes it harder for black
people to embrace their identity within their own communities on top of the
fact that it is already a struggle to do so in our society as a whole.
We also spoke a bit on cultural
appropriation and how African Americans are now turning sacred and traditional
African tribal dashiki into a fashion trend, almost a costume that completely
devalues the African history and culture with which it originates. Many African
Americans justify this act by claiming to celebrate their roots while
simultaneously perpetuating the same toxic practices such as colorism and
shaming others who don’t fit the mold of the ‘typical black person,’ taking part in divisive practices that only stifle the black community. These practices diminish space for Africans as well as African Americans to express themselves. We need to
start acknowledging and embracing all identities and customs that come with the
variety of blackness present in and outside our country. We have to uplift one
another as a community before we can even begin the revolution needed to turn
this country away from the hate and bigotry that has plagued us for too long.
I was unfortunately unable to attend this event but read a student's newspaper article about it and am glad to read this recap as well! I was especially intrigued by the question of whether African Americans can appropriate African culture. I hadn't heard this discussed before, and am not qualified to weigh in, but I can tell that it's a complicated issue. On one hand, I can see it being a way of honoring your African roots to engage more with African culture, but, on the other, I can also see how "turning sacred and traditional African tribal dashiki into a fashion trend, almost a costume" could be deeply upsetting to certain people. Perhaps it depends on which parts of the "mother culture" are used and engaged with.
ReplyDeleteThis makes me think of an indigenous group in Ecuador in which a particular multicolored mask represents "el Diablo Huma," an extremely important figure that appears during "La Fiesta del Sol" each year. One man is chosen each year based on his contributions and dedication to his community to wear the mask and represent this character. When our Maymester group was in a small indigenous town one day, I saw these masks for sale. I was confused, as I had seen them in Cuenca exalted in a museum. It turns out, the masks belong to an indigenous group a few hundred miles away, but here, they were replicated and sold casually. The whole situation was confusing, because native Ecuadorians, some likely having Indigenous blood, perhaps buy these masks on excursions from larger Ecuadorian cities. Though they may see it as getting back to their roots, I wonder how the tribe a few hundred miles north feels about the mask of their divine figurehead of La Fiesta del Sol being sold for a few dollars, especially when the wearing of the mask is a privilege that is earned. Though, maybe they've had to resort to selling these masks due to economic hardships; this would be equally upsetting.
It seems as if careful investigation is necessary to make sure sacred items aren't turned into decorations or fashion statements, even if one's intentions are good.