The Lost Bushmen

It is still okay to create the most objectionable stereotypes about certain Africans and for it to be considered fine. This time: India.

Stills from the four ads for Parle Agro campaign.

An Indian soft drink company, Parle Agro, is marketing a new soft drink, called LMN, with a series of  5 TV commercial series titled “Lost Bushmen” set “… in the [Bushmen’s] natural habitat of the Kalahari Dessert.” Serious. Just watch. Here’s another one.  And one more.

They were proud to announce that they got inspiration for these objectionable stereotypes about the Bushmen from the film, “The Gods Must Be Crazy,” first made for the entertainment of white South African audiences under Apartheid and which became an international hit franchise in the 1980s, confirming just how widely held racist views of the Bushmen are held, but masking South African colonialism in Namibia.

And for all the claims of the filmmakers of the Indian commercials that “the Bushmen” were “specially flown in,” some of the actors seen in the videos (above and below) are clearly in black face (with cork-like black make-up and or hair pieces). They’re playing “Bushmen.” It also turns out the commercials were shot in “… in a barren region in the interiors of Thailand.”

These racist stereotypes are praised by ad industry types (particularly in India) as “hilarious” and “edgy.”

You really can’t make these things up.

 

Further Reading

No one should be surprised we exist

The documentary film, ‘Rolé—Histórias dos Rolezinhos’ by Afro-Brazilian filmmaker Vladimir Seixas uses sharp commentary to expose social, political, and cultural inequalities within Brazilian society.

Reading List: Barbara Boswell

While editing a collection of the writings of South African feminist Lauretta Ngcobo, Barbara Boswell found inspiration in texts that reflected Ngcobo’s sense that writing is an exercise of freedom.

Kenya’s stalemate

A fundamental contest between two orders is taking place in Kenya. Will its progressives seize the moment to catalyze a vision for social, economic, and political change?

An annual awakening

In the 1980s, the South African arts collective Vakalisa Art Associates reclaimed time as a tool of social control through their subversive calendars.

More than a building

The film ‘No Place But Here’ uses VR or 360 media to immerse a viewer inside a housing occupation in Cape Town. In the process, it wants to challenge gentrification and the capitalist logic of home ownership.