Debunking Myths: 'Africa Is Not a Country' and the Diversity of a Continent
I recently completed the captivating book titled "Africa is not a country" by Dipo Faloyin. Although I knew this book was not specifically written for someone like me, being from the Caribbean, I felt compelled to read it.
I have met Dipo Faloyin during a conference titled “Breaking Black Stereotypes” in Tropenmuseum and was intrigued by his perspective and as an African descendant, there are still historical events and knowledge about this vast continent and its 55 beautiful countries that I have yet to explore.
The author's book aims to challenge stereotypes about Africa and change how people think about its identity, its people, and where it is. When I say "people," I mean everyone, including those who have unwarranted fears or misguided beliefs about Africa due to white supremacist or saviorist ideas.
During our early years, we were exposed to campaigns that showed Africa as a land of suffering, with pictures of babies covered in flies, women dressed poorly, and malnourished children. This story was repeated constantly, and unfortunately, we internalized it. But as we grow older, we begin to understand that we have been brainwashed, and it becomes funny when we see Western countries struggling with democracy while thrying to dictate how African countries should governed.
Challenging Western Narratives About Africa
Here two quotes :
“In a final twist, the colonial powers responsible for Berlin would later return, determined to save Africa again. This time they brought a new brand of paternalism, replacing fake treaties and rifles with a modern, potentially
more dangerous weapon:
A camera crew.”
Dipo Faloyin criticizes the portrayal of Africa as constantly needy and reinforces stereotypes. The mention of colonial powers "saving" Africa highlights the critique of paternalistic intervention. The use of media, like television and film, is seen as a way to manipulate the narrative about Africa.
He highlights the utilization of renowned songs such as "We Are the World" and "Do They Know It's Christmas?" during charity campaigns. These endeavors were aimed at generating funds for famine relief efforts. However, Faloyin expresses his critique towards the lackluster and disrespectful nature of the lyrics in particular, focusing on the lyrics of "Do They Know It's Christmas?" :
"For the record: it does snow in parts of Africa; water runs in streams and rivers and emerges from kitchen taps as needed; crops grow, flourish and are exported to help feed the rest of the world; and people exchange gifts at Christmas that range far beyond staying alive."
“The objects are magnificent and of exceptional value, and their presence in any country makes that country richer. ”
I vividly recall the day when our 2007 president, Sarkozy, audaciously stated in an infamous speech in the Senegalese capital of Dakar “The African man has not yet entered history”. Though we can deem this statement disrespectful, what struck me as ironic was that while claiming we have yet to enter history, Western museums brim with our art. It's a contradiction that begs for an explanation, for it simply does not make sense.
Throughout the book, I have gained knowledge about the work of Felwinn Sarr and Berenice Savoy and their in-depth report concerning the repatriation of African and Asian art back to their countries of origin. I recently purchased Berenice Savoy's book, "Le long combat de l’Afrique pour son Art," which marks the first time in years that I have bought a book authored by a white individual. I plan to provide a review of the book soon.
It is truly bewildering to observe how people overtly critique Africa and Africans while simultaneously possessing their art, culture, and heritage. This situation brings to mind the historical context of slavery, where a white person's worth was determined by the number of slaves they owned, and in today's age, by the amount of African art they possess. The value and allure of European museums are often enhanced by the volume of artworks they possess from overseascountries.
It is essential to deeply reflect on the implications of these observations and question the complex dynamics at play concerning the ownership, appreciation, and misrepresentation of African and Asian art.
In a world where opinions are often shaped by external influences, "Africa is not a Country" encourages readers to challenge assumptions, value diverse perspectives, and develop a deeper awareness of Africa's diverse cultures.