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Is ‘Thor: Ragnarok’ A Subversive Takedown Of White Supremacy?
If the plot of the new Thor movie sounds familiar, perhaps it’s because you know the history of colonialism.
movies  racism  colonialism  thor:ragnarok  taikawaititi 
5 days ago by laurenipsum
On the Blackness of the Panther – Member Feature Stories – Medium
"At least once a day, I think: “another world is possible.” There’s life yet in our dreams. The pan-African political project is still alive. The memory of whatever was good in the Bandung Conference or the Organization of African Unity still makes the heart race. Flashes of common cause among the Darker Nations can be illuminating and sustaining. But “Africa” as trope and trap, backdrop and background, interests me ever less.

I am more fascinated by Nairobi than by Africa, just as I am more intrigued by Milan than by Europe. The general is where solidarity begins, but the specific is where our lives come into proper view. I don’t want to hear “Africa” unless it’s a context in which someone would also say “Asia” or “Europe.” Ever notice how real Paris is? That’s how real I need Lagos to be. Folks can talk about Paris all day without once generalizing about Europe. I want to talk about Lagos, I don’t want to talk about Africa. I want to hear someone speaking Yoruba, Ewe, Tiv, or Lingala. “African” is not a language. I want to know if a plane is going to the Félix-Houphouët-Boigny International Airport. You can’t go to “Africa,” fam. Africa is almost twelve million square miles. I want to be particular about being particular about what we are talking about when we talk about Africa.

* * *

I grew up with black presidents, black generals, black kings, black heroes, both invented and real, black thieves too, black fools. It was Nigeria, biggest black nation on earth. I shared a city with Fela Kuti for seventeen years. Everyone was black! I’ve seen so many black people my retina’s black.

But, against the high gloss white of anti-black America, blackness visible is a relief and a riot. That is something you learn when you learn black. Marvel? Disney? Please. I won’t belabor the obvious. But black visibility, black enthusiasm (in a time of death), black spectatorship, and black skepticism: where we meet is where we meet.

Going on twenty six years now. I learned African and am mostly over it. But what is that obdurate and versatile substance formed by tremendous pressure? What is “vibranium”? Too simple to think of it as a metal, and tie it to resource curses. Could it be something less palpable, could it be a stand-in for blackness itself, blackness as an embodied riposte to anti-blackness, a quintessence of mystery, resilience, self-containedness, and irreducibility?

Escape! I would rather be in the wild. I would rather be in a civilization of my own making, bizarre, contrary, as vain as the whites, exterior to their logic. I’m always scoping the exits. Drapetomania, they called it, in Diseases and Peculiarities of the Negro Race (1851), the irrepressible desire in certain slaves to run away.

* * *

Ten years pass and I still dream about that cat. The eyes slide open, an image enters. Where are you now, Mirabai? Euthanized years ago by the animal shelter? Or successfully adopted and now gracefully aging in some home in Brooklyn? With people, young or old, merciful and just? Dream cat, leaping up to meet me."
tejucole  2018  blackpanther  africa  culture  race  film  blackness  identity  cats  animals  knowledge  racism  zoos  capitalism  monarchism  rainermariarilke  switzerland  colonialism  tonimorrison  lagos  nigeria  immigration  edwardsnow  eusébiodasilvaferreira 
9 days ago by robertogreco
Shashi Tharoor: In Winston Churchill, Hollywood rewards a mass murderer - The Washington Post
-- Of course, I'll be called a race traitor and be accused of having internalized white cis-hetero partriarchy for saying this: Such hyperbolic click baits serve no purpose.
colonialism  history  20th_century  imperialism  britain  india  post-colonialism  WaPo 
10 days ago by rvenkat
A Twitter thread by Nanjala Nyabola, on “Eddy Kamuanga Ilunga, a 27 year old artist from the DRC”
> But another powerful note on the piece, all the figures in the series wear flip flops. Because Eddy's mom paid for his education by selling flip flops.
art  africa  DRC  consumerism  artist  colonialism  mangbetu  history  identity  culture 
11 days ago by beep
Why museum professionals need to talk about Black Panther – The Hopkins Exhibitionist
Clearly, this is referencing the British Museum, but uses the facade of the High Museum of Art in Atlanta for the exterior. A flustered white, female curator runs up to talk to him about the collection, describing the items in a patient and patronizing tone. They move through a few artifacts, him asking questions and her spouting off answers about their “discovery.” When she comes to one item, an axe, Killmonger corrects her assessment of where it is from and states that the item is Wakandan. He then tells her he is going to take it with him. She becomes flustered and tells him that the items are not for sale. Killmonger then becomes visibly angry with the curator, asking her if she thinks her ancestors bought them fairly. He then goes on to say that the guards had been watching him closely since he walked in, more concerned about his black body in the space of the museum than she was about the coffee in her hand that he had poisoned. The scene ends with the museum staff dead, and Killmonger leaving the scene with the vibramium weapon and a mask he dons in later scenes.

The scene takes no more than five minutes of the movie, and the tension between colonial history and race only escalates from that point on. However, we as museum professionals need to talk about the inclusion of this scene, especially regarding its function in a film that was cut from nearly four hours long in its first iteration to a solid two, a film that so many young people will see and one that is poised to become a cultural touchstone.
Black_Panther  movie  museum  colonialism  racism 
17 days ago by Quercki

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