The title of the movie Sankofa, directed by Haile Gerima in 1993, has been carefully chosen. Sankofa is a word from the Akan people of Ghana for a special, mythological bird, which turns its head back to hold the egg upon its back. Thus, by taking care of its egg, the future generation is ensured. The Sankofa bird has become a symbol in Ghana and other parts of west Africa which stands for the concept that one has to look back, rediscover and reclaim the past in order to face the future and move forward.
Gerima variously integrated this concept in his movie both in the outer plot, i.e. Mona’s realization of her roots in the present, and the inner plot, i.e. within her spiritual journey to the past, especially by means of Mona’s alter ego Shola and the character of Joe, who both have to undergo intensive change until they finally find and realize their true self.
So, in this essay, I will first give some background information on Haile Gerima and his motives for making a movie like Sankofa, as far as it is germane to the further theses. Then, I will focus on the characters of Mona, which involves her alter ego Shola, and Joe. I will outline how the Sankofa concept applies to their realization of their true self by means of having an in-depth look at both reasons and development of their change. How and why did the White people try to prevent them from realizing their true self and how were they able to see it in the end despite all the manipulation? In a conclusion I will point out common and differing features of their change, as well as its effect upon themselves.
Table of Contents
1 Introduction
2 Haile Gerima and his Motives for Sankofa
3 Mona/Shola
3.1 Assimilated Mona
3.2 Mona becomes Shola
3.3 Assimilated Shola
3.4 Realization and Change
3.5 Reborn Mona
4 Joe
4.1 Assimilated Joe
4.2 Manipulated Christian
4.3 Discovering his Roots
5 Conclusion
Objectives & Research Themes
This essay explores how Haile Gerima’s film Sankofa depicts the process of reclaiming one’s cultural identity by examining the character arcs of Mona/Shola and Joe. The central research question investigates how the "Sankofa concept"—looking back at the past to move forward—facilitates their realization of their true selves despite systematic attempts at cultural erasure and manipulation through colonial frameworks.
- The metaphorical significance of the Sankofa bird in African diaspora cinema.
- The impact of historical amnesia and the "brick wall" of lost cultural heritage.
- Critique of Eurocentric frameworks and the use of corrupted Christianity as a tool for slave control.
- The transformative power of ancestral connection and the rejection of assimilationist mentalities.
Excerpt from the Book
3.1 Assimilated Mona
In the beginning of Sankofa, we are introduced to the main character of the American model Mona, who has come to Cape Coast Castle in Ghana, obviously as a part of a photo shooting. Thus, it was rather coincidence than own impetus or curiosity that brought her here and, consequently, she is quite unaware of how special this place is.
Cape Coast was one of the largest trading forts on the western coast of Africa. From the 15th to the 19th century people were caught inland and brought to these slave castles, where there were kept sometimes up to one year. When there were enough prisoners to fill a boat, they were traded for cowrie shells, iron bars, guns, knives, silk etc. and were then dispersed as slaves throughout the so-called new world.
Mona is first seen outside Cape Coast on the beach, posing for an American white photographer, she appears very assimilated, wearing a big blonde whig and a lascivious swimsuit, she is remarkably close to common European or white American standards. She does not think much about it, she laughs while she is posing and willingly obeys all orders of the photographer although one might well see it as a form of subjugation, when Mona is lying on the ground and gets orders like “more sex, Mona”. Mona identifies herself very much with the modern white world, so when Sankofa, the self-appointed guardian of Cape Coast Castle, appears and tells her (in his African mother tongue) to go back where she belongs, she is frightened by him and hides behind the photographer, where she thinks herself save. Mona acts like she lives in a different world and considers Sankofa a dangerous savage. Of course, Sankofa’s order does not mean that Mona is to leave the castle but clearly foreshadows Mona’s discovery of her African roots, he considers it a shocking profanation of this sacred ground, when Mona poses between the canons of the castle, completely ignorant of the horrible crimes that had been committed at this very place. Mona hears a guide explaining who Sankofa is and, slightly interested, follows the tour with some distance.
Summary of Chapters
1 Introduction: This chapter introduces the film Sankofa and defines its namesake concept, outlining the essay's focus on the characters' journeys toward self-discovery.
2 Haile Gerima and his Motives for Sankofa: This section provides biographical context on the director and explains his intention to use history as a "weapon" to combat historical amnesia among African Americans.
3 Mona/Shola: This chapter examines the spiritual journey of the protagonist, documenting her transition from an assimilated model to a woman who acknowledges and reclaims her African ancestry.
4 Joe: This section analyzes the internal struggle of the character Joe, who is deeply trapped by a corrupted version of Christianity until a traumatic epiphany leads him to accept his identity.
5 Conclusion: The concluding chapter synthesizes the experiences of the three main characters, highlighting the necessity of confronting the past to achieve true liberation.
Keywords
Sankofa, Haile Gerima, Black Diaspora, Cultural Identity, Assimilation, Historical Amnesia, Slave Resistance, Christianity, African Roots, Cape Coast Castle, Colonialism, Self-Realization, Mona, Shola, Joe.
Frequently Asked Questions
What is the core subject of this essay?
The essay examines the movie Sankofa and the psychological and spiritual processes through which its characters overcome cultural alienation to find their true selves.
What are the primary thematic fields addressed in the analysis?
The work focuses on the themes of the African diaspora, the critique of Eurocentric media representation, the manipulation of religion, and the reclaiming of ancestral history.
What is the primary research goal?
The goal is to demonstrate how the "Sankofa concept" functions as a catalyst for identity formation by analyzing the characters' development from a state of ignorance to self-awareness.
Which scientific methodology is applied?
The author uses a film-analytical and cultural-studies approach, integrating historical context and filmic analysis to interpret the narrative progression.
What topics are discussed in the main body?
The body covers the director's motives, the detailed character evolution of Mona and her alter-ego Shola, the manipulation of the character Joe through colonial Christianity, and the significance of their final confrontations with their past.
How would you characterize this work with keywords?
It is characterized by terms such as Sankofa, cultural identity, historical amnesia, African diaspora, and the critique of assimilation.
How does the movie differentiate its approach from mainstream Hollywood?
Unlike standard industry films, Sankofa rejects the need for white "savior" characters, allowing the Black protagonists to initiate their own freedom and self-realization from within.
What role does Christianity play in the film's portrayal of the characters?
Christianity is depicted as a tool of psychological manipulation used by slave owners to pacify slaves, though the characters eventually repurpose their spirituality to find individual strength and authenticity.
- Quote paper
- Rene Fassbender (Author), 2005, The Black Diaspora in Film. Finding Yourself in "Sankofa", Munich, GRIN Verlag, https://www.hausarbeiten.de/document/437373
