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The Poem
Images of Africa at Century’s End
BY AMA ATA AIDOO
—in memoriam Cheikh Anta Diop, and for John Henrik Clarke, Ivan van Sertima, Adotey Bing, Aida Brako, Vincent Odamtten, and by special request, Esi Doughan and Kinna Likimani.
Who was it said
the reason why
you never see
Black Folks properly
e-v-e-r on film or TV
is ’cause White Folks
“find them threatening”?
Whopei! Abae-o-o-o!
We always thought
our beautiful black skin
was
the Problem.
So
Afia and Ola
Eye-leen, Lola, and Tapu
bleached and blotched
their skins ugly
to please our masters and our masters’ servants.
Now
don’t come telling me
flat noses,
thick lips, and
small ears
must also disappear
to put the world at ease?
That must explain
why the Princess Nefertiti
and the youthful King Tut
were dragged to
Michael Jackson’s beauty doctor
long before
Young Michael was born,
and also why
the Sphinx
who looked like
Great Ancestor King Khafre
is being redone!
We should have known
we were in trouble
the day we heard
a Corsican general traveled to Giza
by way of Paris and a crown
to shoot
the Sphinx’s nose off
for not-at-all-looking like
his.
Enfin! Helas!! Mon Dieu!!!
Ebusuafo,
for years
the Sphinx stood
massive eternal
riddled with wisdom and all
very thick-lipped
very flat-nosed.
We never saw him photographed head-on.
But in the year 2020
the New Sphinx will be unveiled
full visage on view
straight nose raised
thin lips tight
and even, maybe, blue-eyed:
a perfect image of the men
who vested so much interest
in his changing face.
You see, Wekumei,
when folks figure
you are their slave
your past belongs to them.
And mind you, the Man will try
to grab our future too.
Shall we let him?
General Introduction
"Images of Africa at Century’s End" by Ama Ata Aidoo is a profound reflection on the African identity and the historical erasure and distortion perpetrated by colonial and post-colonial narratives. The poem pays homage to significant African and African-American scholars who dedicated their lives to uncovering and celebrating African heritage. Through a blend of satire and lament, Aidoo confronts the cultural and physical alterations imposed on Black people to fit Western ideals, using potent imagery and historical references.
Title
The title, "Images of Africa at Century’s End," suggests a retrospective view of Africa as the 20th century closes. It implies a contemplation of how African identity and history have been portrayed and manipulated over time, particularly by external forces. The use of "Images" denotes both visual representation and metaphorical depictions of Africa.
Themes
1. Racial Identity and Alteration
The poem addresses the forced alteration of Black identity to conform to white standards. Aidoo highlights the bleaching of skin and the desire to change physical features to appease "our masters and our masters’ servants":
"Afia and Ola / Eye-leen, Lola, and Tapu / bleached and blotched / their skins ugly / to please our masters and our masters’ servants."
2. Historical Erasure and Distortion
Aidoo points to the deliberate destruction and alteration of African historical symbols, such as the Sphinx:
"a Corsican general traveled to Giza / by way of Paris and a crown / to shoot / the Sphinx’s nose off / for not-at-all-looking like / his."
3. Cultural Appropriation and Reclamation
The poem underscores the ongoing struggle for control over African heritage, exemplified by the hypothetical future Sphinx transformed to fit Western aesthetics:
"in the year 2020 / the New Sphinx will be unveiled / full visage on view / straight nose raised / thin lips tight / and even, maybe, blue-eyed."
4. Resilience and Resistance
Despite the attempts to erase and distort, the poem emphasizes the resilience of African identity and wisdom, symbolized by the enduring presence of the Sphinx:
"for years / the Sphinx stood / massive eternal / riddled with wisdom and all / very thick-lipped / very flat-nosed."
5. Colonial Legacy and Future Struggle
Aidoo warns of the continuing struggle against the legacy of colonialism and the importance of guarding the future from similar appropriations:
"when folks figure / you are their slave / your past belongs to them. / And mind you, the Man will try / to grab our future too. / Shall we let him?"
Literary Devices
1. Irony
Aidoo uses irony to highlight the absurdity of altering African features to fit Western standards:
"Princess Nefertiti / and the youthful King Tut / were dragged to / Michael Jackson’s beauty doctor / long before / Young Michael was born."
2. Allusion
The poem alludes to historical figures and events, such as the Corsican general (Napoleon) and the alteration of the Sphinx:
"a Corsican general traveled to Giza / by way of Paris and a crown / to shoot / the Sphinx’s nose off."
3. Imagery
Vivid imagery paints a clear picture of the physical and cultural alterations imposed on Africans:
"the New Sphinx will be unveiled / full visage on view / straight nose raised / thin lips tight / and even, maybe, blue-eyed."
4. Satire
Aidoo employs satire to criticize the Western obsession with altering African features:
"We always thought / our beautiful black skin / was / the Problem."
5. Symbolism
The Sphinx symbolizes the enduring wisdom and cultural heritage of Africa:
"the Sphinx stood / massive eternal / riddled with wisdom and all."
6. Repetition
Repetition emphasizes key points, such as the historical distortion of African features and identity:
"very thick-lipped / very flat-nosed."
Language and Mood
The language of the poem is both conversational and reflective, using colloquial expressions alongside historical references. The mood shifts from satirical and critical to somber and reflective, underscoring the gravity of cultural distortion and the resilience of African identity.
Context
Ama Ata Aidoo, a prominent Ghanaian writer and academic, is known for her works that address the complexities of post-colonial African identity. This poem pays tribute to African scholars like Cheikh Anta Diop and John Henrik Clarke, who challenged historical distortions and advocated for the recognition of African contributions to world history.
Conclusion
"Images of Africa at Century’s End" is a powerful commentary on the persistent cultural and physical distortions imposed on Africans. Through rich imagery, historical allusions, and poignant satire, Aidoo highlights the resilience of African identity and the ongoing struggle to reclaim and preserve it against colonial and post-colonial appropriations. The poem serves as a reminder of the importance of historical accuracy and cultural pride in the face of external pressures.
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