There’s always been something about Black people wrapped in the American flag that has made me uneasy. For me, it’s a symbolism indicative of the intimate bonds we have with our oppressor, and the way it results in a longing to be accepted by those whose survival is predicated on our destruction. So, when I heard of the 1619 Project, I had immediate reservations. I’m well aware that 1619 was the year that the first recorded enslaved Africans came to the shores of the British colony, which would later become the state of Virginia. I support the need for African . . .
To a certain extent, it is understandable why Black folks in the ADOS movement want something that caters specifically to African-Americans’ material conditions. However, to exclude non-American Africans from the fight for reparations is not only counter-productive but ahistorical. . . .
It now seems to be a ritual: when a new movie is announced with story, cast, and production crew primarily made up of Africans, a boisterous debate ricochets around the Blackest parts of social media: who made this, who’s in it, and is it for us? For many African people living in the US, the response is always a resounding “I’m rooting for everybody Black.” (Credit to Issa Rae) For as long as we’ve been captives on this territory the majority of our people have expressed some form of intrinsic nationalism – a kind of instinctual proto-African nationalist sentiment. Certainly . . .