Have we learned nothing?

Representing Africans as helpless and without dignity while showing ourselves as knowledgeable problem-solvers is the problem and not part of the solution.

Bob Geldof, top middle, surrounded by British pop artists who contributed to the revival of "Do they known it's Christmas."

Have we learned nothing?! Thirty years ago, the Band-Aid video showed us pop stars with 1980s hair raising funds for “Africa.”  But it wasn’t for Africa, even though the resulting record featured a guitar in the shape of a continent.  It was Ethiopia, and the resulting “documentary” began with BBC clips of starving people lined up for food in a camp, with the usual flies swarming, hollowed eyes, and white doctors being interviewed regarding their plight.  The songs, the recordings, the video — all identified all of Africa with these images of helplessness, sounding the call of the  “white savior industrial complex”for a new generation.  Despite the feel-good super sales of the song, controversy continues around the question of whether the effort did more material harm than good.

Fast forward to today:  the just-released remix of the principal song of the 1984 Band-Aid concerts — Do they know it’s Christmas — plays to the same sentiments with many of the same stars (and some new ones, like One Direction) — and has all of the same problems.  Again, have we really learned nothing???  The video opens with what was known in the 1990s as “aid pornography” (a term and debate which unfortunately has dropped from the radar screen )– [see my post on the film “When the Night Comes” and Ayesha Nibbe’spost on #KONY2012]– shots of dying people — shots that these stars would never allow of themselves.  Then we see them filing into the studio one-by-one in the requisite shades, every move (but looking good, not in the throes of death) captured by paparazzi, then emotionally singing, then holding each other, giggling and smiling after they have done their good deed.

Yes, funds are needed to fight Ebola; yes, people are suffering; yes, it can be good to “do good.”  But it is never good to show others’ suffering without their consent, especially when showing them stripped of dignity.  And as many of our posts and those of others insist, over and over again, what we need is to target the neoliberal austerity policies that have led to the breakdown of health systems in West Africa as well as other areas of the world (including many parts of the U.S.) — see our recent post by China Scherz as well as others in our ongoing series on Ebola.  Representing Africans — yet again — as helpless and without dignity while representing ourselves as knowledgeable problem-solvers (who give up nothing in our attempts to do good) IS part of the problem and NOT part of the solution.  We Westerners really should have learned something by now.

Further Reading

Rebuilding Algeria’s oceans

Grassroots activists and marine scientists in Algeria are building artificial reefs to restore biodiversity and sustain fishing communities, but scaling up requires more than passion—it needs institutional support and political will.

Ibaaku’s space race

Through Afro-futurist soundscapes blending tradition and innovation, Ibaaku’s new album, ‘Joola Jazz,’ reshapes Dakar’s cultural rhythm and challenges the legacy of Négritude.

An allegiance to abusers

This weekend, Chris Brown will perform two sold-out concerts in South Africa. His relationship to the country reveals the twisted dynamic between a black American artist with a track record of violence and a country happy to receive him.

Shell’s exit scam

Shell’s so-called divestment from Nigeria’s Niger Delta is a calculated move to evade accountability, leaving behind both environmental and economic devastation.

Africa’s sibling rivalry

Nigeria and South Africa have a fraught relationship marked by xenophobia, economic competition, and cultural exchange. The Nigerian Scam are joined by Khanya Mtshali to discuss the dynamics shaping these tensions on the AIAC podcast.

The price of power

Ghana’s election has brought another handover between the country’s two main parties. Yet behind the scenes lies a flawed system where wealth can buy political office.

Beats of defiance

From the streets of Khartoum to exile abroad, Sudanese hip-hop artists have turned music into a powerful tool for protest, resilience, and the preservation of collective memory.