For several years the Black Panther has become a symbol among the African-American community, and among Africans around the world in general. After the release of the movie “Black Panther” in 2018, we heard the words “Wakanda forever” everywhere, but it’s a little hard not to wonder at the irony that, after all, this is a comic book character created in the sixties by two white writers: Stan Lee and Jack Kirby. The Black Panther is not only a superhero, he is also the king of Wakanda, a fictional and futuristic African country, since it is the only country in the world that possesses vibranium, an alien metallic ore.
The comics have indeed done a good service to the African community around the world, and the fact that a film has finally been created centered on a black superhero is a positive development for Marvel – but in the end the creators of this character are white people, so the character relies on a history of cultural appropriation. Well, you know – the same thing that also gave birth to Salah Shabti, a film from an Ashkenazi perspective that shows barbaric Africans who come to the crossings and discover the wonders of the modern world. Do you remember that during the movie Salah Shabti is enthusiastic about the innovation of a water faucet, or the fact that everyone has a separate room?
>> We weren’t enthusiastic about the second “Black Panther” movie anyway
Does the fact that “Black Panther” was created out of cultural appropriation mean that we should stop consuming Marvel content? unequivocally not. Although Black Panther gives an American perspective on African culture, it also gives an interesting perspective on the African-American community. And just as the Israelis can still enjoy “Salah Shabbati”, so it is also possible to enjoy the plots of the Black Panther in Wakanda. But at the same time, it is desirable to be exposed to more representations of black characters in the superhero genre.
Recently, a wave of African comics written, created and illustrated by African artists began to wash over the world of comics. For example, the Ethiopian comic company ETAN Comics tells African stories against the background of historical events through graphic novels. The company’s best-known book is Jember, the first Ethiopian superhero. Emmanuel Tillahon has finished his academic studies, and goes out into the world with confusion and anxiety but without a job. He receives mysterious powers that change his life and now he must choose: leave the city, or help the city residents who see him as a threat. This is the only graphic novel that has been released in its entirety, but there are also other ongoing series that have not yet released all of their issues.
The Nigerian company Youneek Studios is trying to create a movement that aims to promote African stories through different mediums, including comics. The company was founded by Roy Okupe, and one of its prominent books is EXO: The legend of Wale Williams, also written by Okupe himself. Wale Williams is a young man who lives in Lagos and is separated from his scientist father, who is researching an alien energy source. After a tragic accident the energy source falls into the wrong hands, and Vale must forgive his father to save the day. The purpose of the company is to present African history through superhero stories which, as you know, are very common today in the world.
The Kugali company is an African comic company, founded by three friends from across Africa, and commits to three principles: 1. To provide quality stories with an emphasis on giving a platform to unheard African voices. 2. Supporting African artists with fair wages, supplies of equipment and an ever-expanding distribution network. 3. Innovation beyond the printed page through computer simulations, augmented reality and more. Along with these principles they also offer free comics on their site, and you can read them really Here.
The African works are beginning to gain more resonance, but the situation is still not alarming. Americans will always present Africa from their limited perspective, and even in the advanced culture of Wakanda still succumb to prejudices such as a duel for the crown or pagan beliefs (the sacredness of the panther, similar to the sacredness of the cow in India). If there is a continent that has suffered from the influences of the West, it is Africa.
The theft of the African voice is a common phenomenon all over the world, and it is hard to say that it is new. Here is just one small example of the horrors of capitalism – in 1897, during Britain’s punitive campaign in the Kingdom of Benin, the work “Bronzes of Benin” was looted. It is about 1000 bronze plates showing scenes from the royal court, in a historical record of the people that was arranged in a narrative manner, but now most of it is scattered among art collections around the world. The British Museum in London, for example, owns about 200 of them. Not only was the work looted, but the British mixed up the history of an entire people. For years Africa has been the West’s punching bag, so why would you expect an American interpretation of African culture instead of directly supporting African artists who are still fighting for their voice?