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The Diaspora Wars of 'She's Gotta Have It'

In this op-ed, OkayAfrica contributor Shamira Ibrahim analyzes the heated debate that ensued around the "#SuperFunkyCaliFragiSexy' episode on Spike Lee's 'She's Gotta Have It.'

British actors are "taking all of our roles" says Nola Darling to Olu, her British-Nigerian love interest in the latest season of She's Gotta Have It (#SuperFunkyCaliFragiSexy). "We have dope, talented, trained, qualified, black actors right here in the States—and at the end of the day, Black Brits just come cheaper," she continues, echoing Samuel L. Jackson's real-life commentary on the subject.

In response, Olu argues that Black Brits are "free of the psychological burden" of slavery and Jim Crow, prompting Nola to inform him that he "just [has] Stockholm Syndrome and fell in love with your captors"—but not before explaining the basic facts of British involvement in the Transatlantic slave trade.

The backlash from the Black Diaspora in the United Kingdom was swift: Nola Darling's sentiments were an insult to the experience of Black Brits. While a fictional character's problematic views don't necessarily reflect their creator's feelings, when taken to task for the clip on Instagram, Spike Lee responded with a brusque "Truth Hurts?".

The scene frames the British character as the villain in the interaction—"how can someone so gorgeous be so ignorant?" Nola asks. It's an odd premise considering recent political history in the UK. Events like the fire at the Grenfell Towers, the Windrush generation scandal, and the ongoing Brexit debacle are all clear indicators that the modern Britain, like the US, has not shaken free of its white supremacist foundations. And why would Black Brits be "unburdened" by slavery when a large proportion also descended from chattel slavery? Given this clear misrepresentation, it's understandable why someone like John Boyega would push back. In the exchange between Nola and Olu who is truly the ignorant one?


In a review for the initial season of She's Gotta Have It, writer Zoe Samudzi criticized the show's inauthentic feel and stilted dialogue, noting that "the result is an inorganic character constantly uttering strained, overly witty Gilmore Girls-esque banter…who feels detached from actual experience and conversation, living in a purgatory between 1986 and now." In a series that strove to recapture the boldness of the original film's perspective of modern Black women's sexuality and life in Brooklyn, it fell short in both accords, settling instead for a paint-by-numbers plot update tethered to a facsimile of the original story, anchored with overwrought vocabulary that lacks the cadence of a genuine conversation between peers.

Season 2 continues on that note, unbound by the parameters of the original source material—resulting in a chaotic string of episodes composed of curious extended asides and plot contrivances used to make unwieldy points on gentrification, queer relationships, artistic expression and exploitation, self love, classism, and Black diaspora relations. With the latter, Lee tackles the subject with the precision of a sledgehammer.

Unfortunately Nola and Olu's tête-à-tête derails any opportunity to properly examine the ability of Black British actors to take on and do justice to roles for Black Americans. The controversy flared recently with the backlash to Cynthia Erivo's casting as Harriet Tubman and Samuel L. Jackson's comments on casting patterns in which he inaccurately described Britain's relationship with interracial dating. These nuances should be explored—but without projecting other groups' experiences, or using language akin to xenophobic tropes.

There are multiple threads at play. Hollywood remains the West's largest film industry with significantly more roles available for Black actors, prompting more Black Brits to cross the pond; and with the United Kingdom education system investing in arts training at a rate that far exceeds the scope of the States, casting agents are known to openly fetishize the "pedigree" of the British imports. This tends to come at a higher cost to Black Americans due to the more limited availability of top-billing roles intended specifically for Black actors.

All of this manufactured scarcity is, of course, due largely to white production companies and various other gatekeepers. As we work to build our own platforms and tell our own stories, it's prudent to explore what equity in representation looks like in race-based casting and how we can work to expand the pool of available significant positions for Black people in the film industry on either side of the Atlantic and on either side of the camera.

It was especially jarring that Nola and Olu's argument was further undercut by choosing to mispronounce the names of Chiwetel Ejiofor and John Boyega, an anti-black trope, and turning Olu into an incoherent mishmash of West African identities—a British Nigerian with a Yoruba name claiming the Fulani tribe while casually donning Ghanaian Kente regalia.

In an ironic twist, Nola's character searches for clarity by tapping into Yoruba spirituality during a trip to Puerto Rico, failing to acknowledge the sources that she was previously so dismissive of. She is identified as a daughter of Oshun (an orisha made globally infamous after Beyoncé's interpolation of Yoruba iconography in Lemonade).

The present-day African diaspora is more connected than ever, and nowhere is that more evident than modern-day Brooklyn, home to a large Caribbean population, the West Indian Day Parade, the Museum of Contemporary African Diasporan Arts (MoCADA) and other Black cultural institutions. This past Memorial Day Weekend, the streets of Spike Lee's beloved Fort Greene were littered with BAM's annual celebration of African Identity, creative expression, and performance, DanceAfrica, as well as newly established diaspora traditions like Everyday Afrique. By failing to recognize the rhythms of the borough, Lee reveals just how removed he is from the particulars of the experiences of day-to-day Black Brooklyn life, and he is only doing himself and the show a disservice by allowing the show to be dominated by his voice and direction.

As Black creatives continue to tell the stories that we find important, their impacts and themes tend to resonate broadly. It's why Roots was a phenomenon that aired not just in the US but in Europe, and the story of the Haitian Revolution is universally recalled as one of Black self-determination and insurrection. That extends to marketing: BlacKkKlansman, for example, was an American story that Lee made efforts to connect with Black British audiences, similar in logic to the targeted global campaign that Marvel engaged in for Black Panther.

Engaging in the labor of storytelling is not a tradition of exclusivity; it's one of exchange and collaboration, as long as all parties arriving at the table have entered into a safe space of mutual respect and understanding. It's a loss for us all when a new piece of Black work fails to understand that framework.

Shamira Ibrahim is a Brooklyn-based writer by way of Harlem, Canada, and East Africa who comments on culture, identity, and politics. Keep up with her on Twitter.

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Photo by Abena Boamah.

Photos: Here's What Happened at Daily Paper & Free the Youth's Design Talk for Accra's Young Creatives

Founders of the popular brands discussed all things African streetwear in a conversation facilitated by OkayAfrica and moderator Amarachi Nwosu.

Last week, Amsterdam-based, African-owned streetwear brand Daily Paper and Ghanaian streetwear label Free the Youth held a talk for young creatives at the Mhoseenu design studio in Accra, Ghana.

Moderated by Melanin Unscripted creator Amarachi Nwosu and presented in partnership with OkayAfrica, the design-based conversation explored everything from sustainable practices in manufacturing, to the overall evolution of streetwear globally. The founders of Free the Youth, which was been called Ghana's number one streetwear brand, expanded on how they've been able to build their audience, and shared details about their community-based initiatives.

They event, which took place at the Daily Paper Pop-up Store in Accra last Friday, drew a fashionable and creative-minded crowd ready to partake in a design discussion between West Africa and Europe.

Check out some of the action that took place at the Daily Paper x FYT event below, with photos by Abena Boamah.

Find more upcoming OkayAfrica events here.

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#JusticeForGiovani, Cape Verde Demands Answers in the 'Barbaric' Death of 21-Year-Old Student In Portugal

Luis Giovani dos Santos Rodrigues, a Cape Verdean student living in Portugal, died on New Year's Eve after succumbing to injuries from an attack ten days earlier, which many believe was racially motivated.

Cape Verdeans are demanding answers in the "barbaric killing" of 21-year-old student and musician Luis Giovani dos Santos Rodrigues in Portugal last month.

According to various Portuguese reports, Rodrigues was allegedly attacked by a group of men while leaving a party at a local bar on December 21. According to the Portuguese newspaper Contacto, witnesses say a group of about 15 men approached Rodrigues and two of his friends armed with belts, sticks and other weapons. The report goes on to say that Rodrigues was beaten and left unconscious with bruises to his head. He spent 10 days in the hospital before succumbing to his injuries on December 31.

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University lecturer and activist Doctor Stella Nyanzi (L) reacts in court as she attends a trial to face charges for cyber-harassment and offensives communication, in Kampala, on April 10, 2017. (Photo by GAEL GRILHOT/AFP via Getty Images)

Jailed Ugandan Activist, Stella Nyanzi, Wins PEN Prize for Freedom of Expression

The outspoken activist, who is currently serving a prison sentence for a poem she wrote about the president's mother's vagina, won for her resistance "in front of a regime that is trying to suppress her."

Stella Nyanzi, the Ugandan academic, activist, and vocal critic of President Yoweri Museveni has been awarded the 2020 Oxfam Novib/PEN International award for freedom of expression, given to writers who "continue to work for freedom of expression in the face of persecution."

Nyanzi is currently serving a 15 month sentence for "cyber harassment" after she published a poem in which she wrote that she wished "the acidic pus flooding Esiteri's (the president's mother) vaginal canal had burn up your unborn fetus. Burn you up as badly as you have corroded all morality and professionalism out of our public institutions in Uganda."

According to the director of PEN International, Carles Torner, her unfiltered outspokenness around the issues facing her country is what earned her the award. "For her, writing is a permanent form of resistance in front of a regime that is trying to suppress her," said Torner at the award ceremony.

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Photo: Ben Depp.

Watch Yilian Canizares & Paul Beaubrun's Beautiful Video For 'Noyé'

"Cuba and Haiti come together to share the love and heritage of our deep rooted culture and spirituality."

Yilian Canizares and Paul Beaubrun connect for the serene "Noyé," one of the highlights from Canizares' latest album, Erzulie.

The Cuban singer and Haitian artist are now sharing the new Arnaud Robert-directed music video for the single, which we're premiering here today.

"Noyé is a song that comes from our roots," Yilian Canizares tells OkayAfrica. "Inspired by the energy of love. The same love that kept Africa's legacy alive in the hearts of Haiti and Cuba. We wanted to do a stripped down version of only the essential pieces from a musical point of view. Something raw and beautiful where our souls would be naked."

The striking music video follows Canizares and Beaubrun to the waters of New Orleans, the universal Creole capital, where they sing and float until meeting on the Mississippi River.

"Noyé is a cry of love from children of African descent," says Paul Beaubrun. "Cuba and Haiti come together to share the love and heritage of our deep rooted culture and spirituality."

Watch the new music video for "Noyé" below.

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