There's Alexandra Nuah's intrepid, affectionate, matriarchal Nunu Mutabaruka's Shango, strong-minded insurgent much-loved by the initially scared Shola, the slave woman Mona has turned out to be and Nick Medley's beleaguered Joe, the diverse race Christian tattered between his commitment to his Christian God and the other slaves, in their torment. Throughout the film, several characters come to glowing life. Less common but apt is Gerima's blunt reflection of the white man's employment of Christianity to take advantage of and be in charge of slaves. The overseer pushing the slaves to beat, sometimes to death their fellow slaves children and families brutally, randomly separated slaves getting dreadful punishments for attempting to run away. The slaves were also divided based on religion.
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One of the main themes of this movie was religion. He was a character with no past, but just his future. Just because his mother tried to claim him as her son, he killed her. That man was hypnotized to an extent that he did not join his people or his mother. He was also being taught that he was not like the other slaves, he was different and special. He was chosen by God and for that reason, he was given a lighter complexion by God. The white men brainwashed him to think that he was better than the other slave and he was special and different. He was offered extraordinary rights like being educated to read. A man was trained that he was superior to the other slaves even though his mother was raped by a white man on the slave ship. (Sankofa, 1993) There was even segregation between the slaves.
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In this movie skin color was a key issue. We must put this issue of the skin behind us and come together as a nation. Some natives believe that they are superior to others as they are lighter in competition. This matter of skin color is presently widespread in our social norms. The lighter natives started to believe that they were better than the dark ones. If a Black person was lighter than the rest of the people, he was better than the rest of the Black people were. This was one of the methods the whites separated African-Americans as a nation. The lighter your skin was the "superior" you were, the more fortunate you were. Skin color is categorized if you were a slave out in the countryside or the dwelling. The matter of skin color has been a perpetual issue in America. They were hoping to experience that blissful journey with Sankofa. They were anticipating their bird to arrive and take them back, take them somewhere else. This is a symbolic interpretation of people waiting for their Sankofa. Then, near the conclusion of the movie she, and other natives, just assemble on the stairs and linger while staring at the ocean. While they are escaping she feels being elevated up into the air, suspended. Near the conclusion of the movie the slave's revolt and escape.
During her voyage, she acquired a little bird from the man she treasured. She had to bear what her ancestors had to go through, from the labeling with a hot iron to the beatings with a whip. She recalls what her ancestors experienced and how she was dishonoring them, presently. It is at this point that she discovers her roots. As time passes, she, along with the tour group goes into the cave, and in an attempt to find her way out of the cave she is taken into another time.
As this scene takes place she hides behind the white photographer. A man called Sankofa is shouting at her in his local language. A white photographer is taking her "sexy" pictures. (Sankofa, 1993)Īt the beginning of the film, there is an African-American model taking pictures on a beach.
The film was appreciated is by Black folk everywhere, but just getting it shown in small theaters and unconventional venues required a struggle of heroic proportions. (Alim, 2-8) "Sankofa," is a moving, excellently produced, and thoroughly African-centered portrayal of slavery. By this dramatic re-enactment and Shola's rape and abuse, the travesty of slave society is rendered transparent, challenging African-Americans to confront the holocaust that was slavery and reconstitute them in recognition of a shared racial past. For Gerima, Sankofa is about the importance of remembering about most of us who deny the therapeutic aspect of the therapeutic power of history." The story's protagonist is Mona, an African-American model on a fashion shoot in Ghana who is possessed by ancestral spirits and reincarnated as Shola, a house slave on a sugar plantation. Sankofa, an Akan symbol, means that to understand the present and "move forward" one must reclaim the past. This film by Haile Gerima fuses concepts of time and space to transport the protagonist, Mona, and the viewers through the terrible torment that was the Maafa, the African Holocaust.
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