The Evolution of the African Booty Scratcher
Damilare Sonoiki, through his new sitcom African Booty Scratcher, does exactly what African Americans have accomplished with the term "nigger". He flips the label on its head. He takes a term that was once used to ostracize first generation Americans of African descent, and smears it on the wall--laughs in its face.
Those kids at the lunch table who once pointed their fingers and screamed "African Booty Scratcher!" to that boy in elementary school with a wierd name and strange accent are all grown up. They have done a bit of soul-searching. This is why you will find Ankara print clothing and "dashikis" in almost every city vintage shop. This is why you will find a plethora of "African" dance groups, and hear from one guy who is in search of his roots: "I discovered I am 1/32nd Zimbabwean. " This is also why some Americans have joined the Jollof rice bandwagon. In fact, thanks to Chimamanda Adichie's Americanah, which discusses race and class issues through the eyes of Nigerian immigrants, Jollof rice, in a sense, has become a literary motif.
Africa has cast its net everywhere in the western world-- from film to academia to literary discourse to corporate America.
When Dr. Adesanya is a dentist running his own clinic. His employees will learn to pronounce his name correctly.
When you are "Classic Man" Jidenna, Lupita N'yongo, Uzo "Crazy Eyes" Aduba, Chiwetel Ejiofor, or David Oyewolo, Hollywood will learn to pronounce your name correctly--even if it's a little nasal.
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Where you have a single story in which a groveling Africa is in need of socialization from pale skinned-superiors, there are other more layered narratives clashing against it.
The African American narrative deals with slavery and racial uplift--healing post-Jim crow wounds, and the contemporary "Black Lives Matter Movement". The African story talks about breaking the bonds of colonialism, social justice, and exposing corruption. Or what is more common of contemporary African Literature: mental health issues, family dynamics, and life as it is. A third story is wedged in between: the first generation narrative. Though light-hearted, it is ultimately a tale of duality. Much like W.E.B Dubois' theory of double consciousness, there is a clash of two worlds--two perspectives--two histories and the quest to achieve the American Dream. It's most common platform is media: sitcom pilots, hilarious vine compilations, parodies, blog posts, and comedy sets.
Exhibit A:
Nigerian-American Novelist Nnedi Okorafor describes her own sense of duality in a speech she gave at Yale's Nigerian Independence Day Gala:
"I found myself taking on the role of the explainer. When I was in Nigeria, they would ask: "is it true that black women only walk around in their panties?" When I was in America, they would ask me: "do people in Africa wear clothes?"
These stories, though filled with their own nuances, are somewhat intertwined. Here's a loose example:
At a press conference, British-Nigerian actor Chiwetel Ejiofor notes that when asked about his hometown, he couldn't say "Enugu", he felt obliged to reply "Forest Gate, London." Some felt he was denying his heritage. Nonetheless, as he was preparing for the role of Solomon Northup in 12 Years a Slave he visited the Badagry slave port in Nigeria. When they reached one particular cell, the tour guide paused and said--"this is where they kept the Igbos." Ejiofor realized that the western slave trade was actually tied to his own Nigerian history. He later played the role of Odenigbo in the film adaptation of Half of a Yellow Sun chronicling the Nigeria-Biafra war.
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It becomes even clearer that Africa is finding its place on the social map when two seniors from Elmont High school in New York, are admitted to all eight Ivy Leagues and are coincidentally of Nigerian descent, and when the President of the United States praises Saheela Ibrahim for entering Harvard at sixteen.
It is safe to say that Africa is shrugging off the label of "the dark continent", and is in fact, letting its light flourish in many spheres.
Those kids at the lunch table who once pointed their fingers and screamed "African Booty Scratcher!" to that boy in elementary school with a wierd name and strange accent are all grown up. They have done a bit of soul-searching. This is why you will find Ankara print clothing and "dashikis" in almost every city vintage shop. This is why you will find a plethora of "African" dance groups, and hear from one guy who is in search of his roots: "I discovered I am 1/32nd Zimbabwean. " This is also why some Americans have joined the Jollof rice bandwagon. In fact, thanks to Chimamanda Adichie's Americanah, which discusses race and class issues through the eyes of Nigerian immigrants, Jollof rice, in a sense, has become a literary motif.
Africa has cast its net everywhere in the western world-- from film to academia to literary discourse to corporate America.
When Dr. Adesanya is a dentist running his own clinic. His employees will learn to pronounce his name correctly.
When you are "Classic Man" Jidenna, Lupita N'yongo, Uzo "Crazy Eyes" Aduba, Chiwetel Ejiofor, or David Oyewolo, Hollywood will learn to pronounce your name correctly--even if it's a little nasal.
---------------------------------------------------------------------------------------------------------
Where you have a single story in which a groveling Africa is in need of socialization from pale skinned-superiors, there are other more layered narratives clashing against it.
The African American narrative deals with slavery and racial uplift--healing post-Jim crow wounds, and the contemporary "Black Lives Matter Movement". The African story talks about breaking the bonds of colonialism, social justice, and exposing corruption. Or what is more common of contemporary African Literature: mental health issues, family dynamics, and life as it is. A third story is wedged in between: the first generation narrative. Though light-hearted, it is ultimately a tale of duality. Much like W.E.B Dubois' theory of double consciousness, there is a clash of two worlds--two perspectives--two histories and the quest to achieve the American Dream. It's most common platform is media: sitcom pilots, hilarious vine compilations, parodies, blog posts, and comedy sets.
Exhibit A:
"First Gen" by Comedian Yvonne Orji
Exhibit B:
" African Booty Scratcher" by screenwriter Damilare Sonoiki
Exhibit C:
"Growing Up With An African Mom" by Buzzfeed Internet Media Company
"I found myself taking on the role of the explainer. When I was in Nigeria, they would ask: "is it true that black women only walk around in their panties?" When I was in America, they would ask me: "do people in Africa wear clothes?"
These stories, though filled with their own nuances, are somewhat intertwined. Here's a loose example:
At a press conference, British-Nigerian actor Chiwetel Ejiofor notes that when asked about his hometown, he couldn't say "Enugu", he felt obliged to reply "Forest Gate, London." Some felt he was denying his heritage. Nonetheless, as he was preparing for the role of Solomon Northup in 12 Years a Slave he visited the Badagry slave port in Nigeria. When they reached one particular cell, the tour guide paused and said--"this is where they kept the Igbos." Ejiofor realized that the western slave trade was actually tied to his own Nigerian history. He later played the role of Odenigbo in the film adaptation of Half of a Yellow Sun chronicling the Nigeria-Biafra war.
-----------------------------------------------------------------------------------------------------------------------------
It becomes even clearer that Africa is finding its place on the social map when two seniors from Elmont High school in New York, are admitted to all eight Ivy Leagues and are coincidentally of Nigerian descent, and when the President of the United States praises Saheela Ibrahim for entering Harvard at sixteen.
It is safe to say that Africa is shrugging off the label of "the dark continent", and is in fact, letting its light flourish in many spheres.
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