Below are two articles on the subject of American views of Africa that I found very interesting. Enjoy . . .
The Misrepresentation of Africa (http://www.pambazuka.org/en/category/comment/39756)How to Write About Africa (http://www.granta.com/extracts/2615)The Misrepresentation of Africaby Selome Araya (2007-02-14)
Ask anyone what they think of “Africa” and you may receive a response related to poverty, AIDS, hunger, ‘tribalism’ or animals. Trails of pity might linger in their words as a hint of disgust shimmers in their eyes. They may give an example of how they helped to “Save Darfur” or dreamed of adopting an “African orphan”. Most likely the view of the continent is that it is not a continent at all, but one large country, where everyone speaks the same language, eats the same food, wears the same type of clothing, and creates the same type of art. Yes, in their eyes, “Africa” is a homogeneous place of simple people with simple activities.
But, for someone who has never been to the continent, can they be blamed for this ignorance? The media and “humanitarian” agencies do an incredible job of misrepresenting the birth of civilization and projecting it as a down-trodden place of mishaps and has-beens. A place of disease, poverty, and chaos, and a place devoid of any history or future. Even today, it is still depicted as “The Dark Continent”, with dark tales of gore and war. And it’s not just the media. So-called “experts”, practitioners, and scholars perpetuate these stereotypes to no end, continually feeding the misrepresentation engine.
This cynicism is not to be taken lightly. “Africa” has been placed at the bottom of every pole on the international scale. It is deemed as possibly one of the worst regions on earth, and this notion is perpetuated continually with images and language, misinformation and racism, and media blitz and negative attention. Very few media outlets provide their viewers and readers with positive information about the plethora of countries and events occurring on the continent. For that would be mundane and not “sexy”. Yes, it seems that “Africa” is sexy these days. A crisis in “Africa” gets more response, more money, and more attention than a positive occurrence.
Granted, there are many issues affecting numerous countries in Africa. But I’m appalled at the fact that every time I hear of this place my family and ancestors call home, it is in a negative light, in a pitiful light, in a savagery light, in a deadly light. What I fail to understand is how all other elements of life are negated for the sake of a “good story” and a dramatic plea for funds. I have seen with my own eyes many elements of life that are beautiful beyond explanation, and I beg someone to explain to me why these elements aren’t projected.
Recently I was skimming Elle Magazine (yes, clearly not a place to be reporting on affairs of an international nature) and was deeply disturbed by the only two pages dedicated to “Africa”. The article disturbed me so much that I had to write a letter to the Editor expressing my utter disgust at their depiction. Africa was [mis] represented as a place where everyone is dying, has AIDS, or who is thirsty and hungry. There was no context provided, nor was there any balance that spoke of the positive elements of the continent. There was no mention of how people are responding to their own needs. All that was discussed were ways in which Europeans are “saving” this dreadful place from falling further into its cave of darkness. I couldn’t help but wonder how many readers of this pretentious high-fashion magazine walked away with a haunting perception of a place that they have never been to. If I were reading about “Africa” for the first time, I surely would think of it as a place that is just a hot mess of hell.
As a graduate student at Columbia University, where so-called “experts” teach aspiring public health students about “Africa”, I experience the same generalizations and stereotypes being perpetuated. These “experts” have dedicated their lives to joining the “saviour” movement that’s happening in certain circles of humanitarian assistance. And so, “women” are all victims and need outsiders to help them do everything. “Child soldiers” need to be rehabilitated by people from European countries. “Women and children” need outsiders to intervene and “save” them from the heathens that are the men in their lives. Everyone is dying of some disease. Every home seems to be in a dilapidated state with no food, water, or electricity. Almost everybody is in need of a program designed from abroad. People don’t know (or remember how) to grow their own food, so they need continual food aid packets dropped in their “communities”. And everyone belongs to a “culture” and has traditional ways that they live their lives, in their villages.
“Health” must be shaped from a Western point of view. It sickens me to hear how excited they become as they talk about the next country they are travelling to, to implement their pre-designed projects on people. They are the Lords of Poverty and aren’t even conscious of the stereotypes they carry with them as they lecture. And they’re producing an entire pedigree. Many of the students make drastic generalizations and proclamations about the countries they have lived in (for three months) and become self-proclaimed spokespersons for this region of the world.
There are also many campaigns today that continue to project negative perceptions of Africa onto the world. For people who have no exposure, direct contact, or knowledge of Africa, these campaigns are down right dangerous and counter-productive. Instead of “raising awareness” about important causes, they invoke pity for “the other” and perpetuate the concept that Africa is backwards and in need of saving. The campaigns I am referring to are the “I am African” campaign, the “Red” campaign from The Gap clothing company, and the numerous “Save Darfur” campaigns occurring in the world. As I walked down the streets of Manhattan today, I retained some of the advertisement for the “Red” campaign at the Gap. It pleads for people to help end AIDS in Africa and to save women and children from dying. Again, another universal representation of Africa for all of the Gap Corporation consumers. The millions of Gap Corporation consumers.
The “I am African” campaign is one that may have good intentions, but is grossly offensive and appalling. Appalling because an African woman is behind it, offensive because of the feathers, face paint, and European superstars posing as “Africans”. So now we have Gwyneth Paltrow with striped paint on her cheek, a plethora of jewellery on her neck, with the phrase “I am African” across her chest. I understand the point is to educate people on the AIDS crisis on the continent, but could it not have been done in a more respectful, tactful, and tasteful manner? But more importantly, what these campaigns do is make “AIDS in Africa” a commodity, something that is fashionable and marketable, and makes the only reference people have to the continent one that is linked to death and poor health. To have celebrities (who are not of African descent) say that they are “African” is to imply that since they are now “African” they also somehow have AIDS. It’s sending a message that being African is synonymous with AIDS.
International Non-Governmental Organizations who do business in “Africa” are no better. They spend much of their time and resources depicting the continent as a place that only they can “fix”, and spew out endless facts to justify their own causes. Yes, they are there to save the lowly Africans, and the more dramatic the picture or story, the more support they receive. And more importantly, the longer they stay in business. What people fail to understand is that, while it is imperative to raise awareness about the global poverty that is the reality for billions of people around the world, it is not helpful in the least to project an entire continent through a one-dimensional lens that is lined with despair and imbalance.
If people are going to campaign and discuss such despair, they need to provide context and background information, and underlying root causes of issues like AIDS and other poverty-related concerns. To simply present them independent of any other information is to represent people as helpless, hopeless victims who need saving. It is time for a change. It is time for “Africa” to be uplifted more often in the media. We need to hear more about the other dimensions of life for “Africans”; those that are not living in abject poverty and dying every second from whichever health concern is “hot” at the moment.
There’s music, there’s movement, there’s knowledge, there’s progress, there’s love, there’s tradition, there’s strength, there’s beauty, there’s nature, there’s power, there’s wealth, there’s health, there’s humanity, there’s history, there’s unity, there’s peace, there‘s LIFE. Sometimes, wouldn’t it be great to hear about these elements too? Because the “Africa” that I know is much more than death.
How to write about Africa (some tips: sunsets and starvation are good)By Binyavanga Wainaina
Always use the word 'Africa' or 'Darkness' or 'Safari' in your title. Subtitles may include the words 'Zanzibar', 'Masai', 'Zulu', 'Zambezi', 'Congo', 'Nile', 'Big', 'Sky', 'Shadow', 'Drum', 'Sun' or 'Bygone'. Also useful are words such as 'Guerrillas', 'Timeless', 'Primordial' and 'Tribal'. Note that 'People' means Africans who are not black, while 'The People' means black Africans.
Never have a picture of a well-adjusted African on the cover of your book, or in it, unless that African has won the Nobel Prize. An AK-47, prominent ribs, naked breasts: use these. If you must include an African, make sure you get one in Masai or Zulu or Dogon dress.
In your text, treat Africa as if it were one country. It is hot and dusty with rolling grasslands and huge herds of animals and tall, thin people who are starving. Or it is hot and steamy with very short people who eat primates. Don't get bogged down with precise descriptions. Africa is big: fifty-four countries, 900 million people who are too busy starving and dying and warring and emigrating to read your book. The continent is full of deserts, jungles, highlands, savannahs and many other things, but your reader doesn't care about all that, so keep your descriptions romantic and evocative and unparticular.
Make sure you show how Africans have music and rhythm deep in their souls, and eat things no other humans eat. Do not mention rice and beef and wheat; monkey-brain is an African's cuisine of choice, along with goat, snake, worms and grubs and all manner of game meat. Make sure you show that you are able to eat such food without flinching, and describe how you learn to enjoy it—because you care.
Taboo subjects: ordinary domestic scenes, love between Africans (unless a death is involved), references to African writers or intellectuals, mention of school-going children who are not suffering from yaws or Ebola fever or female genital mutilation.
Throughout the book, adopt a sotto voice, in conspiracy with the reader, and a sad I-expected-so-much tone. Establish early on that your liberalism is impeccable, and mention near the beginning how much you love Africa, how you fell in love with the place and can't live without her. Africa is the only continent you can love—take advantage of this. If you are a man, thrust yourself into her warm virgin forests. If you are a woman, treat Africa as a man who wears a bush jacket and disappears off into the sunset. Africa is to be pitied, worshipped or dominated. Whichever angle you take, be sure to leave the strong impression that without your intervention and your important book, Africa is doomed.
Your African characters may include naked warriors, loyal servants, diviners and seers, ancient wise men living in hermitic splendour. Or corrupt politicians, inept polygamous travel-guides, and prostitutes you have slept with. The Loyal Servant always behaves like a seven-year-old and needs a firm hand; he is scared of snakes, good with children, and always involving you in his complex domestic dramas. The Ancient Wise Man always comes from a noble tribe (not the money-grubbing tribes like the Gikuyu, the Igbo or the Shona). He has rheumy eyes and is close to the Earth. The Modern African is a fat man who steals and works in the visa office, refusing to give work permits to qualified Westerners who really care about Africa. He is an enemy of development, always using his government job to make it difficult for pragmatic and good-hearted expats to set up NGOs or Legal Conservation Areas. Or he is an Oxford-educated intellectual turned serial-killing politician in a Savile Row suit. He is a cannibal who likes Cristal champagne, and his mother is a rich witch-doctor who really runs the country.
Among your characters you must always include The Starving African, who wanders the refugee camp nearly naked, and waits for the benevolence of the West. Her children have flies on their eyelids and pot bellies, and her breasts are flat and empty. She must look utterly helpless. She can have no past, no history; such diversions ruin the dramatic moment. Moans are good. She must never say anything about herself in the dialogue except to speak of her (unspeakable) suffering. Also be sure to include a warm and motherly woman who has a rolling laugh and who is concerned for your well-being. Just call her Mama. Her children are all delinquent. These characters should buzz around your main hero, making him look good. Your hero can teach them, bathe them, feed them; he carries lots of babies and has seen Death. Your hero is you (if reportage), or a beautiful, tragic international celebrity/aristocrat who now cares for animals (if fiction).
Bad Western characters may include children of Tory cabinet ministers, Afrikaners, employees of the World Bank. When talking about exploitation by foreigners mention the Chinese and Indian traders. Blame the West for Africa's situation. But do not be too specific.
Broad brushstrokes throughout are good. Avoid having the African characters laugh, or struggle to educate their kids, or just make do in mundane circumstances. Have them illuminate something about Europe or America in Africa. African characters should be colourful, exotic, larger than life—but empty inside, with no dialogue, no conflicts or resolutions in their stories, no depth or quirks to confuse the cause.
Describe, in detail, naked breasts (young, old, conservative, recently raped, big, small) or mutilated genitals, or enhanced genitals. Or any kind of genitals. And dead bodies. Or, better, naked dead bodies. And especially rotting naked dead bodies. Remember, any work you submit in which people look filthy and miserable will be referred to as the 'real Africa', and you want that on your dust jacket. Do not feel queasy about this: you are trying to help them to get aid from the West. The biggest taboo in writing about Africa is to describe or show dead or suffering white people.
Animals, on the other hand, must be treated as well rounded, complex characters. They speak (or grunt while tossing their manes proudly) and have names, ambitions and desires. They also have family values: see how lions teach their children? Elephants are caring, and are good feminists or dignified patriarchs. So are gorillas. Never, ever say anything negative about an elephant or a gorilla. Elephants may attack people's property, destroy their crops, and even kill them. Always take the side of the elephant. Big cats have public-school accents. Hyenas are fair game and have vaguely Middle Eastern accents. Any short Africans who live in the jungle or desert may be portrayed with good humour (unless they are in conflict with an elephant or chimpanzee or gorilla, in which case they are pure evil).
After celebrity activists and aid workers, conservationists are Africa's most important people. Do not offend them. You need them to invite you to their 30,000-acre game ranch or 'conservation area', and this is the only way you will get to interview the celebrity activist. Often a book cover with a heroic-looking conservationist on it works magic for sales. Anybody white, tanned and wearing khaki who once had a pet antelope or a farm is a conservationist, one who is preserving Africa's rich heritage. When interviewing him or her, do not ask how much funding they have; do not ask how much money they make off their game. Never ask how much they pay their employees.
Readers will be put off if you don't mention the light in Africa. And sunsets, the African sunset is a must. It is always big and red. There is always a big sky. Wide empty spaces and game are critical—Africa is the Land of Wide Empty Spaces. When writing about the plight of flora and fauna, make sure you mention that Africa is overpopulated. When your main character is in a desert or jungle living with indigenous peoples (anybody short) it is okay to mention that Africa has been severely depopulated by Aids and War (use caps).
You'll also need a nightclub called Tropicana, where mercenaries, evil nouveau riche Africans and prostitutes and guerrillas and expats hang out.
Always end your book with Nelson Mandela saying something about rainbows or renaissances. Because you care.
