television writer – Rumination Garden: Consulting | Creative Practice

Novelist Taiye Selasi Coins Dynamic Term “Afropolitan.”

Though the term “Afropolitan” is fairly controversial, arguments for and against it share similar qualities, espousing a mutual objective: an embrace of the cultural nuances and complexities of African culture and the individuals who define themselves as African.

In Bye-Bye Babar, Selasi emphasizes the ever-evolving landscape of African culture and the African experience while condemning generalizations.

Afropolitans are presented as a distinct group of individuals, a social class, differentiated from the rest of Africa by their eclectic cultural upbringing and relationship to the continent, education and wealth.

The narrative that surrounds Selasi’s notion of the Afropolitan is similar to that of many young professionals whose parents or grandparents emigrated from other countries and established themselves in America and Europe.

Taiye Selasi, http://www.mediadiversified.org

In reference to the term, she states:

“You’ll know us by our funny blend of London fashion, New York jargon, African ethics, and academic successes. Some of us are ethnic mixes, e.g. Ghanaian and Canadian, Nigerian and Swiss; others merely cultural mutts: American accent, European affect, African ethos. Most of us are multilingual: in addition to English and a Romantic or two, we understand some indigenous tongue and speak a few urban vernaculars. There is at least one place on The African Continent to which we tie our sense of self: be it a nation-state (Ethiopia), a city (Ibadan), or an auntie’s kitchen. Then there’s the G8 city or two (or three) that we know like the backs of our hands, and the various institutions that know us for our famed focus. We are Afropolitans: not citizens, but Africans of the world” (Selasi, “Bye-Bye Babar”).

This is indicative of a reimagining of, perhaps, the characteristics, behaviors, economic and social statuses society deems to be African. However, the term is often viewed as problematic On one hand, Africa is one of the most stereotyped, overgeneralized continents on earth. It is habitually portrayed with narratives of extreme poverty, hunger, war, lack of education and disease. There is also an intrinsic belief that it is in need or of being saved and this, rescuing of sort, can only be achieved through action taken by the west.

These narratives are portrayed in all forms of media and overshadow the cultural, political and societal nuances of Africa and its many countries.

In A Deep Humaness, a Deep Grace: Interview with Chris Abani by Yogita Goyal, the author introduces his readers to Abani’s stance on creative writing and the notion of the “African” writer. Abani is a noted Nigerian novelist, author of several books, most of which have achieved critical acclaim, as well as poetry, plays, screenplays and critical essays. In reference to his own work, he states that it is “post- national and global not in its reach, but in its attempts to locate a very specific African sensibility . . .” Abani refers to African writers as “curators of the continent’s humanity”.

This is a particularly poignant statement. It, inevitably, gives way to examination of whether or not African authors or authors who identify as such, should be deemed “curators” at all, or if a handful of writers, with varying relationships to the continent, should be given the task of curating its humanity, deciding what subjects, cultural and social aspects are relevant, worthy topics of literary exploration.

The central question becomes: should authors like Selasi be deemed as representative of the collective voice of Africa?

Given the vast, landscape of African culture, can a collective “African” voice exist? Abani goes on to state: “women dominate the new global placement of African literature” whereas “men dominated the first generation.” Thus, authors like Selasi, Chimamanda Ngozi Adichie and others are a part of this new generation of writers, shaping and expanding narratives related to Africa and the African experience but, also, a multicultural experience influenced by other parts of the world yet still, inherently, African.

In Selasi’s writing, positive and negative dimensions of the terms Afropolitan and Afropolitanism can be fully realized.

In Sex Life of African Girls, there exists a wonderful distillation of language and a rhythmic quality that is international but never deviates from African roots.

The inherent poetry of the language in Ghana Must Go and her approach, choosing not to treat the reader as though he or she is a stranger in a foreign environment, but rather an entity welcomed into a world full of familiar sentiments, characters, circumstances; all the workings of that which is universal, distinguishes Selasi from other novelists.

ABC ‘Grey’s Anatomy’ Creator, Shonda Rhimes, Says “Yes” to All Things Awesome.

Late last year, at the 92nd Street Y in New York City, Shonda Rhimes, creator of ABC mega-hits Scandal and Grey’s Anatomy, talked about her new book, Year of Yes: How to Dance It Out, Stand In the Sun, and Be Your Own Person. The interview was held with New York Times best-selling author and journalist, Jake Tapper.

Year of Yes, published by Simon & Schuster, documents a year in which Rhimes, a notorious introvert, decided to say ‘yes’ to people and activities she would normally say ‘no’ to—this included speaking engagements, parties, and other social events, which Rhimes says were out of her comfort zone.

She even went as far as to describe herself as a ‘wall hugger’ at social events, telling NPR, “I’ve always been an introverted person,” and that fame and success were, to her, “daunting.”

But for an entire year, whenever she wanted to decline an invitation or new experience, she made the choice to say ‘yes,’ and the results, she says, were phenomenal.
During the panel, Rhimes talked about her childhood growing up in a highly-intellectual home where her parents encouraged her to read and write and envision her own reality. She also talked about being the only African American girl in her school and being lonely because off this. Her imaginary world, ‘Shondaland,’ served as a creative refuge.

Rhimes discussed her disdain for the term “diversity” when describing her shows, she feels she’s simply normalizing television by creating roles for actors of color, women, the LGBTQ community, and other underrepresented groups; not revolutionizing it. She also rejects the notion that she alone is responsible for breaking “the glass ceiling” by being, arguably, the only black woman to definitively own an entire evening of network television. Instead, she stated, breaking the glass ceiling is a collective effort.

During the Q&A session audience members were invited to ask questions. To my delight, my question was the first one answered by Rhimes.

I asked her if, when she first started writing, she was ever afraid of her own voice—afraid of the depth of her talent and where it might lead. Her response: “As a writer, write as if you are the only person who will read your work.” In other words, create from honesty, not the need for approval or validation.

So what can we learn from this phenomenal African American pioneer?

Truthful representations can lead to success. Just like the saying goes, ‘sex sales,’ in today’s competitive entertainment arena, so does the truth.
Stay open to new things and allow yourself to be surprised. Sometimes not knowing is a gift.
Build a strong support system of people who respect and inspire you.

Although my question was specific to writing, Rhimes’s advice to create from a place of truth or, at the very least, adhere to your own standards of excellence, is invaluable.

Written by Rebecca Nichloson. Originally appeared in Black Enterprise.