Ghosts of the Future: A Conversation with Larry Achiampong | The Current | The Criterio... - 0 views
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film race empire colonialism UK Britain Ghana Brexit sci-fi sciencefiction


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Relic Traveller is set in a moment in the future where the global West is coming to a point of decline because of nationalism, while the African Union has come into prosperity, harmony, and independence. And it’s quite important that I say this: the project isn’t about a utopia. This point in time brings with it responsibility. During this shift, the African Union creates a range of initiatives, one of which is the Relic Travellers’ Alliance. Relic Travellers are people who are sent around the planet to pick up clues and, in particular, vocal testimonies from people who have been oppressed by the ghosts of colonization. These are stories and experiences of people who have not yet been allowed to be healed or learned from. These stories help to govern the future and create a space for healing, from a bottom-up rather than a top-down perspective.
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in the past few years, particularly in the UK, there’s been a real resurgence of empire fetishism, and seemingly more reluctance than ever among the media and ruling classes to address the reality of this history
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the films represent a warning to the West about its negligence, ignorance, mythical approach to history, omission of the histories and legacies of empire, slavery and colonization, and how those things affect the way that we live today: the way that Black people are still disenfranchised. They’re a stark warning that the West will undo itself as a result of the lies it has celebrated, taught, and disseminated for a while
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Something like Brexit is only possible because the UK, the powers that be, and the media have propagated myths for so long regarding the idea of the “other,” the foreigner, and the so-called independence and strength of the United Kingdom or the West, without recognizing the resources and contributions [of colonized and oppressed people]—voluntary and otherwise—that make these nations so apparently great.
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I have my own terminology for my work: “Sanko-Time.” It brings together two words. “Sankofa” is a Twi word from Ghana, meaning to go back and retrieve something that may have been lost or forgotten, or something that is known but needs to be revisited in order to make sense of the present or pave the way for the future. The future does not become possible without the past. The word “time” represents my interest in ideas of science fiction and time travel.
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For the Relic Traveller films, I was thinking about creating heroes who looked like myself—our heroes, who are African and Black, are exploring these mostly Western environments, where the West becomes exotic.
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I’ve created a film that connects with the main quadrilogy, called Reliquary 2, which was commissioned by John Hansard Gallery and released online last year. It utilizes film footage from my own archive as well as new animation, and illustrations by Wumi “Wumzum” Olaosebikan, who has worked with me on creating the vectors on the Pan-African flags. What’s different this time is that the voice-over—the vocal testimony—is my own. It’s set during the pandemic, and it’s something of a letter to my children, talking about my hopes, my concerns and fears about the future and their place in it, and how the world—in particular the Western world—has viewed and may continue to treat them. It’s in a similar vein as Ta-Nehisi Coates’s Between the World and Me, which he wrote for and to his son.