Independent project, 15 credits
The intersections of Wakanda Aspects of intersectionality as presented in the Marvel blockbuster Black Panther
Author: Drilon Behrami Supervisor: Anna Thyberg Examiner: Anna Greek Term: VT19 Subject: English Level: GIII Course code: 2ENÄ2E Abstract
The following essay analyzes Marvel blockbuster Black Panther with an intersectional lens, discussing relations of power, oppression and discrimination through the fictive society of Wakanda. The findings present similar factors of intersectionality to that of most western societies, with gender, sexuality, aptitude and tribal affiliations as the main factors of identity. The essay argues for the inclusion of culturally loaded films in the EFL classroom, with the intention of introducing students to intersectionality through a fictive society, in an effort to promote better understanding of relations of power, oppression and discrimination, whilst also including education on different types of language usage
Key words Intersectionality; Black Panther; Relations of Power; Oppression; Discrimination; Upper Secondary School; English 7; EFL classroom
Acknowledgments My greatest appreciation goes to Anna Thyberg for the continuous guidance throughout the creation of this paper. Above all else, Anna should be recognized for her professional, yet empathetic nature. To John Borglin, thank you for your help and company during this process.
Table of contents 1. Introduction 1 1 Intersectionality, superheroes in film and the EFL classroom 3 1.1 Intersectionality 3 1.2 Gender studies 5 1.3 Literature regarding superheroes 6 1.4 Black Panther and Intersectionality in the EFL classroom 7 2 Intersectionality in Black Panther 10 2.1 Gender as a factor 11 2.2 Heteronormativity and Ableism – a lack of diversity 12 2.3 Tribal relations 14 2.4 Conclusive discussion 15 3 Pedagogical Implications 17 3.1 Gender equality shrouded in ambiguity 17 3.2 A distinct lack of representation 18 3.3 Trans-tribal migration and the lack thereof 19 3.4 Summary 20 4 Works cited 22
1. Introduction “Let me tell you this . . . I was born in Oakland. The first Black Panthers I ever heard about were the ones putting streetlights up and feeding the children” (Coogler)
Black Panther is a Marvel blockbuster from 2018 revolving around the soon-to-be king T’Challa, who is ruling over the fictive African society of Wakanda. To the rest of the world, Wakanda is the average third-world country with little to no political capital. However, Wakanda is actually a society which is highly advanced in regard to technology, medicine and economy.
Though the film celebrates African culture in many ways, it does not glorify it. The film was directed by Ryan Coogler who considers himself an African born in the United States, specifically highlighting his appreciation of his heritage. The cast largely involves actors of African descent and the film highlights various aspects of several cultures in Africa, exemplified by the various tribes, wearing clothing and trinkets inspired by African societies. Coogler himself mentions the inclusion of strong female characters in the film, of which he drew inspiration from his own life. This is exemplified by T’Challas mother as well as the tribe’s elders, as Coogler tried to frame the plot according to what he perceived to be the norm in the African-American household, i.e. the aunts and uncles providing the younger generation with guidance. With this in mind, Coogler provides the viewer with a platform for the dialogue of what it means to be African. This can be seen as a major narrative in the film, as T’Challa struggles with the question of sharing their advancements with the rest of the world. Furthermore, Coogler explains that the intent was to create a superhero with whom black children could better identify, making connections to the political organization “Black Panthers” which continues to be a polarizing topic of conversation in the U.S. Coogler, however, makes positive references to the organization, noting its protection and education of Black individuals in the United States of America.
In some ways the film follows the typical trends of superhero-movies, exemplified by the standard righteous protagonist trumping the irrational and hateful antagonist in the end, though it also offers opportunity for discourse on relevant subjects related to critical theory as well as gender studies. One specific theory which will be applied to this study is intersectionality which is best explained as a concept, coined by Kimberlé Crenshaw, in critical theories to describe the ways in which oppression of various kinds interact and multiply the degree of oppression (304). As they are interconnected, they should not, and cannot fully, be
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analyzed separately. As intersectionality involves societal relations, its incorporation in the classroom directly correlates with what the curriculum demands be a part of education. The following paragraph will provide clarity regarding said theory.
To understand the term intersectionality, one can consider the analogy of an intersection, with the roads leading up to the intersection representing sexism and racism. Consider a woman standing in the middle of the intersection. She is a Black woman being denied employment at a local car manufacturer. She claims to be discriminated against, but the court of law finds the car manufacturing company to be innocent, since they do in fact employ Black workers. The court of law also fails to find any gender discrimination, since the employer employs women workers. In the judicial sense, the Black woman is not being discriminated against. However, through the lens of intersectionality, we can understand that though the company employs Black workers, all of them are male. Whilst the company also employs female workers, all of them are White. It becomes clear that even though the company follows the existing laws, the Black woman in this example is indeed discriminated against. Even though the company employs black workers as well as female workers, it appears to not employ black female workers. As such, intersectionality can be seen as the relations between various aspects of oppression and discrimination and how they multiply the levels in which individuals face prejudice and hardship of various kinds.
With that theory in mind, the aim of this paper is to argue for the inclusion of culturally loaded films such as Black Panther in the English as a Foreign Language (EFL) classroom. Films in which relations of power, oppression and discrimination are intertwined with sensitive narratives such as peacekeeping contrasted to revenge on one’s oppressor offer students the platform to discuss identity and belonging related to the socioeconomic welfare state Sweden. One can study such relations presented in Black Panther through the lens of intersectionality, by analyzing aspects of intersectionality in the fictive world of Wakanda and providing examples in which such aspects directly correlate to oppression specifically related to the unique circumstances surrounding Wakanda. In a multicultural society consisting of people from all parts of the world, one can make use of this film in the EFL classroom to implicitly strengthen pride in students’ cultural heritage, whilst also promoting the general democratic notions of pragmatic peacekeeping and compromise at the same time. As these ideas are tacitly presented to the students through the plot of the film, one can actively work on discussing the relations of power in the western societies, and how such structures can be handled collectively to counter oppressive and discriminatory structures. This is something that aligns with the
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curriculum for upper secondary school in Sweden. It clearly states the need to incorporate subjects involving societal norms as well as cultural aspects of life. Furthermore, the curriculum demands that students be treated equally regardless of race, gender or sexual orientation, which again aligns with the general narrative of the film (Natl. Ag. f. Ed. 1).
This study will argue for gender, sexual orientation, ability and tribal affiliations as main factors of intersectionality in the fictive world of Wakanda. It will reveal how relations of power, oppression and discrimination are represented in regard to these aspects of identity. It will also present an analysis of how Black Panther could be used in the EFL classroom, providing an insight into how it could be implemented in the course of English 7 specifically.
1 Intersectionality, superheroes in film and the EFL classroom
The purpose of the following section is to make distinctions regarding what intersectionality refers to as well as provide an insight into how it will be implemented in this particular study. It will also detail aspects of gender studies, as it is highly relevant to intersectional studies. Furthermore, this section will deal with stereotyping in literature, literature regarding superheroes and potential problems involving teaching through literature in the EFL classroom. The purpose is to create a foundation for the upcoming analysis by creating a map of the relations between intersectionality, literature and the EFL classroom.
1.1 Intersectionality As mentioned in the peer-reviewed journal Du Bois Review: Social Science Research on Race, the term intersectionality first gained traction, rooted in Black feminism and Critical Race Theory, when used by professor Kimberlé Williams Crenshaw of Columbia Law School and UCLA School of Law (Crenshaw et.al 303). She was the first person to introduce intersectionality in the context of feminism, highlighting the fact that being a black woman cannot be understood in terms of being black as well as a woman independently, and that one must consider how these factors of identity interact (Crenshaw et al. 304). Crenshaw addressed these ideas in what is now considered a landmark essay “Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics” in 1989. Intersectionality was used to address the marginalization of Black women within antidiscrimination law as well as feminist and antiracist theory and politics. Crenshaw details six important themes when analyzing intersectionality and highlights the need for specific context in its use. As an example, the first theme of importance is the argument that
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the movement of intersectionality is never done, nor exhausted. One should always consider it an analysis-in-progress. Simply put, there will always be other structures of power which can be analyzed through its use. Thus, to understand what intersectionality is, is to understand what intersectionality does in any specific structure (Crenshaw 304).
To showcase the development and acknowledgment of intersectionality as a theory, one can look to The Politics & Gender journal, which presents findings on the presumption that gender, like race, class and ethnicity, are factors by which one can study politics and make valuable findings related to gender as well as race. In its second volume of 2006, Laurel S. Weldon contributed with an analysis of intersectionality, in which she echoes Crenshaw’s statement regarding intersectionality as an analysis-in-progress, and its need for specific context. In her conclusion, Weldon questions the relation between race, gender and class in social-democratic welfare states, compared to the U.S., and argues for the importance of understanding such relations in different parts of the world when making use of intersectionality as a research paradigm (246-7). It can be wise to consider the various societal structures in various parts of the world, as such context can be imperative if one is to successfully study a welfare country such as Sweden and its intersectional paradigms.
In the third volume from 2007, the journal continues the discussion of intersectionality by sharing the views of five scholars, all of whom have investigated the concept of intersectionality in academic research as well as in the political spectrum. One of the scholars, Ange-Marie Hancock, shows strong support for intersectionality as a research paradigm. Her main argument is based on its potential use as framework to articulate how not only African- American women, but all marginalized groups, face oppression (230). Lisa García Bedolla, a professor of social sciences and advocate for political activism amongst people of color, instead provides a concrete example of how intersectionality can be used as a tool in empirical studies to better understand inequality in contemporary U.S. policies. She argues that by understanding the positions of our identity-based groups relative to one another, our work will be truer to people’s actual experience, which in turn will lead to policy being more effective in achieving equality (230). The article goes on to mention three other scholars’ thoughts on the matter, though the main conclusion remains that context of various societies’ different relations of power, oppression and discrimination must be considered, should one aim to provide an insight into its effect on said countries citizens. As such, the analysis of a country, be it fictive or real, provides great insight into the fundamental structures which provide power to some, but subordination to others, based aspects of identity such as sex, sexuality, creed and ability.
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Robyn Lewis Brown and Mairead Eastin Moloney are the authors behind “Intersectionality, work and well-being”, which handles intersectionality in relation to work and employment-issues. They do so by collecting data from disabled individuals regarding their experiences in employment, crosschecking this with a survey involving both individuals with and without disabilities to provide a grander perspective on the matter. Amongst other things, their findings show that men with disabilities are offered employment at a higher rate than women with disabilities (93). They also present that individuals without disabilities are offered employment a significantly higher rate than those with disabilities (94).
Josefine Wälivaara, author of Marginalized bodies of Imagined Futurescapes: Ableism and Heteronormativity in Science Fiction continues the discussion regarding disability as a factor of intersectionality through representation of disabled characters as well as characters with varied sexual orientations in futuristic societies through film. In short, her findings entail that when film incorporates disabled characters in its plot, it is generally done so to indicate a failed society in which a dystopian world has emerged. In other instances, the inclusion of disabled characters in futuristic films can instead signify a society in which medicinal technology has failed to evolve adequately, thus adopting a strictly medical perspective on disabilities. In contrast, her findings provide a perspective on homosexuality which is instead indicative of a successful futuristic society. A society in which sexual orientations are varied is one which also correlates with a generally positive and evolved society (227-232).
1.2 Gender studies Harry Benshoff and Sean Griffin clarify gender studies with a simple, yet striking quote: “We get ideas about what it means to be a boy or a girl from ideological institutions such as the family, the schools, other children and the media” (21). Any society in general, as well as its individuals, further notions of how men and women are to behave. Thus, one’s perspective on femininity and masculinity are molded in accordance to the norm, which inherently promotes a rather absolute view on how boys and girls should be. By being aware of such norms, and subsequently challenging them, a society can grow more conscious of the narratives tacitly being presented. As a result, a more diverse and inclusive view can be nurtured, rather than alienating a larger portion of the populace.
Linda Fagerström and Maria Nilson are the authors behind “Genus, medier och masskultur”, a Swedish book discussing the effects of gender representation in media and mass culture. The authors make the argument that the term gender has its fundamental focus on the
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socially and culturally loaded ideas on femininity and masculinity, as well as what they should represent. However, they highlight that gender cannot be studied without properly adhering to the hierarchy of power, as such studies would be fruitless (12). R.W Connell, the author behind “Masculinities”, emphasizes the perspective of structures contrasted to social relations. She also mentions gender relations as a prominent one in modern day society. Thus, if a man adheres to the structure of men and women, he is prone to actions based on such structures, implicitly guiding him towards behavior that risks subjugating women around him (110). Simply put, a man unaware of his power in a patriarchal society, risks inadvertently contributing to a fundamentally unequal society. As such, awareness of gender relations and the structures that further inequality is paramount, if one aims to actively pursue the fight for equality in any given society.
Connell also discusses hegemonic masculinity as a phenomenon in which heterosexual men are placed at the top of the hierarchy, whilst homosexual men are furthest down. She continues by stating “femininity” as a main attribute by which a man is symbolically discredited and disenfranchised. Whilst few men live up to the norm regarding masculinity, the majority of them benefit from it through the subordinate positions given to women and homosexual men (116). This offers a clear example of power related to gender studies, as even the least masculine men are provided power, as a result of women being even less powerful. As such, gender studies can be viewed with a perspective similar to that of intersectionality, as societal context remains fundamental in its understanding. Benshoff and Griffin continue this discussion by stating that Hollywood mainstream media continues to propagate gender representation that upholds such relations of power, by continuously casting roles for men and women abiding by said norms (297). The discussion of representation in film will continue in the next section of the essay.
1.3 Literature regarding superheroes Liam Burke is the author behind The Comic Book Film Adaptation: Exploring Modern Hollywood’s Leading Genre, in which he seeks to counteract the fact that film adaptations of comic books have yet to be debated seriously by scholars. To start such debate, he made use of adaptation studies, a field which was recently revitalized by the upcoming interest in convergence culture and transmedia, which, to simplify, connects older media to the new. This is typified by the many newer films produced being based on earlier literature, exemplified by the filmization of comic books such as Spiderman, Superman and X-men. Burke studied the relation between films and comic books, as well as conducted industrial relays, audience
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research and interviews with creators, which essentially led him to the understanding that conglomerates, such as the Walt Disney Company, are making use of characters and stories which engage wider demographics, offer name recognition and amenability to various kinds of media, in order to continually be able to publish comic books, create podcasts or short stories, and standardize canonized lore with which the consumer can engage. Through this, the conglomerates can ensure a continuous growth in revenue. With such intentions in mind, the comic book characters were well suited, and have become the main genre of film in Hollywood (Burke 263-4). This gives us an insight into the western world, and poses the question: How do we tackle the narratives driven by Hollywood, and how can we better our awareness of its effect on us as viewers?
Authors Alex Romagnoli and Gian Pagnucci published Enter the superheroes: American Values, Culture, and the Canon of Superhero Literature in which they discuss how the portrayal of superheroes such as Superman promotes the values which Americans hold dear. In the book, the authors present their findings regarding superman and his representation in films. The most relevant finding in regard to this essay showcases his character and appearance as synonymous with all that is masculinity, generally associated with male perfection (7). Furthermore, studies made by Benshoff and Griffin provide insight into the portrayal and representation of gender, race, culture and religion in Hollywood, and how it often falls short in contrast to reality (21-22). Together, these two studies show the need for caution in relation to using Hollywood blockbusters in education. However, with the correct preparation and awareness, one can find ways to properly prepare students for the skewed perspective on various aspects of identity, furthering deeper analysis on such topics of discussion.
1.4 Black Panther and Intersectionality in the EFL classroom In Sweden, it is highly likely that one will interact with students from various ethnic, cultural and socioeconomic backgrounds. Furthermore, groups of students will involve individuals dealing with disabilities or various kinds, be it physical or cognitive. There will also be those who find themselves identifying with different communities, be it concerning sexuality or other aspects of identity, some of which will be a minority and, as such, a potential receptor of oppression and discrimination. With that in mind, one might argue there is a need for inclusive education regarding relations of power, oppression and discrimination in the world, which is in agreement with the guidelines regarding the subject of English (Natl. Ag. f. ED, 11). By educating students on the matters of intersectionality, they can be guided towards better understanding why and how individuals of various backgrounds are marginalized, furthering a
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general knowledge and appreciation for differences in their respective lives and how such differences affect everyday life.
Additionally, less motivated students may struggle to analyze literature in the typical sense, i.e. involving books. With such factors in mind, one might argue that the inclusion of film has the potential to pique the interest of students who will otherwise struggle to keep their focus. A factor which might prove helpful in including film is the general appreciation for the superhero genre, as it is the leading genre in Hollywood films. Some students will appreciate the inclusion of a blockbuster in their education, and through this potential excitement, students who may not usually appreciate the subject of English may be incentivized and further motivated to participate in the teaching activities. This is in accordance with the guidelines for English 7, as it specifically states that the following segments should be included in content of communication:
Theoretical and complex subject areas, also of a more scientific nature, related to students' education, chosen specialization area, societal issues and working life; thoughts, opinions, ideas, experiences and feelings; cultural expressions in modern times and historically, such as literary periods.
Societal issues, cultural, historical, political and social conditions, and also ethical and existential issues in different contexts and parts of the world where English is used
(Natl. Ag. f. Ed. 11)
The curriculum for upper secondary school highlights some essential values which should be present in all educational endeavors. Amongst these values, some relevant aspects are “the inviolability of human life, the freedom of individuals as well as their integrity and the equality between men and women” (Natl. Ag. f. Ed. 1). It highlights that schools should provide students with a platform on which to grow into their unique selves, leading to a life of inclusion in society. Furthermore, it specifically states that “no student should be discriminated against based on their sexual, ethnic or religious affiliation” (1). Similarly, they must not be discriminated against based on their aptitude or age. Schools must actively work to counter intolerance in relation to such aspects of identity, through active measures and open discussion (4). The argument can be made that a film like Black Panther is appropriate in such discussions. The film features people of different origins, religions and ways of life. One of the main
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narratives in the film revolves around hatred and vindictiveness contrasted to peace and tolerance, and its climax is based on the coming together of different minded people for the greater good.
The film provides a good example with which to delve deeper into the nature of oppression and discrimination. The fact that the plot evolves in a fictional society offers all participants of its discussion a sense of distance as one can discuss its features, be it positive or negative, without specifically celebrating or condemning an actual country. Thus, the learners are allowed to distance themselves from the discriminatory circumstances in the plot, allowing for a rather open discussion revolving the structures of power present in the film. The curriculum also argues that teachers should prepare students for the swift arrival of new information, technology and terminology (Natl. Ag. f. Ed. 7). With that in mind, it can be beneficial for students to be presented with various theories related to gender studies and or critical theory, of which intersectionality is one. By providing the students with an insight into the many ways of analyzing relations of power, one prepares them for how diverse the academic world is, as well as how quickly their reality might change in the future. The Curriculum also states that students should be taught and allowed to train their ability to think critically, to study information and relations with a critical lens, which again, can be done through the film (Natl. Ag. F. Ed. 8).
Robert Watson, author of “Film and Television in Education: An aesthetic Approach to the Moving Image” argues that a large amount of films exposes students to a perspective on success in which material gains, power as well as public recognition and adulation are paramount. As such, he makes the argument that film screenings in education serves the main purpose of teaching students to ignore representation of success in films (3). To clarify, one can make use of skewed representation in film to discuss and educate regarding its unfair and unrealistic depiction of characters based on societal norms regarding gender, class as well as cultural or ethnical heritage. Similarly, the argument can be made that gender representation in film could be used to further distance students from such monolithic representation, rather than to embrace it. Said argument is also supported by Benshoff and Griffin’s findings in regard to gender roles in film (21-22).
The characters from Wakanda often speak the South African language Xhosa, which invites the discussion of language usage in SA, where 11 official languages are spoken. In other instances, the characters from Wakanda speak with an accent similar to Afrikaans when speaking English, further inviting discussion regarding different variants of the English
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language. One of the aims of English as a subject in the EFL classroom, which validates the use of Black Panther, is to develop students’ knowledge of the English language in different parts of the world. The intention of this is to entice the desire and ability to make use of the English language in different situations and with different purposes in mind (Natl. Ag. f. Ed. 1). Simply put, there are many areas of learning, implicit as well as explicit, which can be targeted by educators.
There are some areas of concern which must be addressed. As previously stated, the depiction of race, gender, sexuality and other aspects of social identity in Hollywood films tends to not correlate with reality. One must be wary of such factors, as they stand to influence the viewers’ perception of identity. Thus, the educator at hand could include segments of film criticism before the screening of film in the classroom, preparing students regarding the sensitive topics of discussion such as gender and sexuality, as it could be useful to be prepared for heated discussions. Furthermore, regarding discussions about relations of power, oppression and discrimination, there might be a need for a greater sense of maturity, empathy and a strong relationship between the educator and the learners, as well as between the learners themselves. One could consider the relations of power in a group of students before presenting them with such topics of discussion, as differing opinions regarding identity could spark animosity amongst the students. Based on this presupposition, one might want to reserve the discussion of intersectionality in Black Panther for the course of English 7, in which the students might be older, wiser and more emotionally prepared for discussions regarding volatile subject matters such as oppression and discrimination.
2 Intersectionality in Black Panther
The following section will detail several aspects in which the marvel blockbuster Black Panther showcases the society of Wakanda and its various relations of power, oppression and discrimination as seen through the intersectional lens. Thus, the following will detail several moments in which the previously stated aspects of identity presents societal structures in the society of Wakanda. Such instances will be exemplified and further analyzed to present a roadmap of the intersections of Wakanda. A conscious decision has been made to exclude direct quotations, as the exact words of a particular dialogue fails to present a complete perspective of what is occurring. Instead, said moments will be presented in short, followed by an analysis of its relevance to the findings.
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One should note that many of these aspects are shrouded in ambiguity, and as such should not be interpreted as absolutes. One should also consider that the film is the first one which presents the fictive society of Wakanda, and as such, the material from which the analysis is derived is severely limited. Instead, consider this as an introduction to the general discussion of how various aspects of identity are represented in Black Panther, and as one of many interpretations in such regard.
2.1 Gender as a factor The argument can be made that the society of Wakanda promotes the idea of gender equality, as several aspects of its community showcase the opportunity for female actors to engage in the same roles of higher social and juridical importance as their male counterparts. However, one must also be wary of whose interest is most benefited by the female actors and their respective actions.
The notion of equality is exemplified by the council of leadership, which consists of four women and four men, including T’Challa. Though the monarch reserves the right to make executive decisions, the opinions of the various members of the council seem to carry equal weight regardless of gender. However, the actual leader remains T’Challa, a man. Though his character signals an honorable approach, the structure of the leadership enables the monarch to bypass the authority of the council and make executive decisions. This is evident by the way Killmonger approaches the council, taking little notice of those who oppose his militant intentions. As such, the argument can be made that though the Wakandan society allows for gender equality in its practice, the fundamental structure of the governing state remains patriarchal, as evidenced by Killmongers ability to autonomously direct its policy. This assessment would also correlate with R.W Connels findings regarding hegemonic masculinity and how the “more masculine” men in any society use their masculinity to subjugate the less masculine men as well as women (110). Killmonger, in his ignoring of the council as well as his general discrediting of T’Challa as a passive and unambitious leader, makes it clear to everyone that he considers himself at the top of such hegemonic hierarchy.
Another example of the perceived equality is the instance in which T’Challa makes his claim to the throne. Upon proclaiming his intention to take the throne, any and all characters with legitimate claim to it are allowed to challenge him to a physical dual in which the victor takes the throne. The ceremonial leader Zuri asks if there are any other member of royal blood who wishes to challenge for the throne, prompting T’Challas sister Shuri to jokingly exclaim
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her intention to challenge for the throne by raising her arm. Though her action is in jest, typical of her character, it is met with sincere reactions from the crowd, exposing the viewer to the notion that it is indeed acceptable for a woman to claim the throne, provided she is indeed entitled to it by blood. Other instances of seemingly equal right to the throne amongst men and women is presented in the scenes in which T’Challa enters the spirit realm. In those scenes, the previous rulers of Wakanda are present, of which three are female, though there appears to be a higher amount of previously male regents. Again, the viewer is forgiven for assuming that the genders are equal in this respect, though one must also consider the fact that Shuri makes no serious claim to the throne, and that there are significantly less women than men in regard to previous regents. Whilst the first impression is positive, further analysis presents a more difficult question to answer.
Finally, one could claim that Wakanda’s military hierarchy is another example of its gender equality, as the apparent leader, general Okoye is a woman at the peak of her profession. Wakanda finds itself in a civil war towards the end of the film, with both men and women involved. One noteworthy occurrence is when Okoye is forced to choose between her loyalty to Wakanda and that to her loyalty to her husband W’Kabi. Her loyalty to Wakanda is greater than that to her husband, which points to an air of agency and independence rather than submissiveness. It goes so far as to end in a stand-off between the two, in which he asks Okoye if she would kill him, to which she replies that she would indeed, were it for the sake of Wakanda. However, with a critical lens, one can connect to the findings of Fagerström and Nilson, as they point to gender norms as something which is expected of the various genders (12). As such, one could pose the argument that women in Wakanda are expected to show resolute and absolute loyalty to their superior, who in Okoyes case is either T’Challa or W’Kabi. Thus, she is forced to decide who her superior is, but both her options are men, again depicting a society in which women, though seemingly independent and active, are instead simply making distinctions between what men to support.
2.2 Heteronormativity and Ableism – a lack of diversity Though it also involves stereotypical characters such as the worrisome mother, the bantering siblings and the aspiring leader, Black Panther also showcases characters with a wide range of attributes. Some are big and strong, others small and agile. Whilst many characters are inherently respectable, others are better described as deplorable. Though the film exhibits diversity in many ways, it is perhaps most disappointing that the film makes no relevant representation of diversity in regard to sexual orientation or cognitive ability. However,
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according to Wälivaara, this is the norm for science fiction films and franchises. Whilst her work is exclusively focused on films depicting futuristic societies, be it a utopian or dystopian world, her findings remain relevant to Black Panther, as the society of Wakanda is a futuristic one.
Wälivaara argues that whilst homo/bisexuality in futuristic films is increasingly incorporated as an inclusive parameter by which a society is deemed to have evolved positively, the depiction of disability instead signals a failed future (227). She argues that this view of disability as something inherently negative is furthered by the purely medical perspective often applied. As such, ableist normativity, i.e. a perfectly able body & mind, is presented as superior and disability as inferior (232). Wälivaara also presents findings regarding the use of disabled characters in films as a metaphorical device, which can be seen in Black Panther as T’Challa enters the spirit realm to seek guidance from his father and previous monarchs. Many of the previous monarchs make use of walking sticks, echoing the argument of disability as a metaphorical device, with the walking sticks amongst the previous leaders signaling wisdom and hardship in their previous endeavors (229). Thus, even though the film incorporates individuals that are differently abled, their inclusion is used to aid the narrative rather than to include experiences of disabled individuals. In other instances, any physical disabilities have been treated medically because of scientific advancements, effectively curing any and all problems in that respect, which is in accordance with Wälivaaras findings (229). Black Panther bypasses the topic by curing agent Ross’ spinal injury with relative ease thus following the norm in regard to representation of disabilities. One can pose the question whether Agent Ross’ later actions would be possible even without being cured of his disability, and whether that would inherently enrich the representational aspects of the film. As it stands, the general narrative presented in the film is that one is only useful if perfectly abled. By allowing the character of agent Ross to be involved in the climax of the plot, despite his disability, the film would offer a grander, more inclusive representation of disability as more than just a medical matter.
The conclusion falls in the direction that Black Panther makes little notion of a controversial subject of discussion by omitting any and all representation of varied sexual orientations. By also dismissing the only instance in which the inclusion of disabled characters is relevant, the film again avoids controversial topics of discussion. One cannot make adequate assessments of director Ryan Coogler’s intent behind such decisions without further research,
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though the otherwise inclusive nature of the film promotes the notion that it was indeed a conscious decision.
Also, by omitting the inclusion of cognitively disabled characters in the film, the director excludes and risks alienating a large portion of viewers, promoting the notion of disabled individuals as less accepted members of all communities. When physical disability is presented in the film, it is only done so implicitly, as a potential result of a gunshot to the spine of agent Ross. Wakanda’s technological and medical advancements have made physical disabilities obsolete, thus no representation of such disabilities occurs in the film, which falls in accordance with Wälivaaras findings regarding what is presented as a successful future.
2.3 Tribal relations An important aspect of the relations of power, oppression and discrimination in the Wakandan society seems to be tribal affiliation and/or belonging. At first glance, the typical western viewer is forgiven for assuming the tribes carry only metaphorical weight, as their respective leaders adorn clothing or trinkets typical of certain African communities, as exemplified by the North-Eastern African turban worn by the merchant tribe, or the Ethiopian lip plate on the leader of the river tribe.
However, upon screening the film again, one finds various instances in which the tribal relations play a large part in the societal structure of the Wakandan society. This is most clearly exemplified by the exclusion of the Jabari tribe from the rest of the society. The Jabari live on their own in a cold and seemingly undesirable landscape with several inferences to previous problems between them and the rest of the tribes. In addition, they seem to adhere to different traditions and culture as well as religion. Thus, their arrival at the coronation ceremony is met with an air of negativity, and they appear to be the only tribe against the coronation of T’Challa. As the film begins to enter its climax, Jabari leader M’Baku makes reference to an alleged long-term dispute between the rest of Wakanda and the Jabari, highlighting that T’Challa is the first Wakandan king to visit them in over a hundred years. Though their differences are settled by the conclusion of the film, their previous exclusion points to societal structures in which belonging to a certain tribe will affect your social as well as political standing.
Similarly, belonging to the border tribe seems to inherently present one with the responsibility to protect the borders of Wakanda. The Merchant tribe predominantly seems to engage in trade, be it national or international. The assumption is that the mining tribe handles
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the mining and refining of Vibranium, though little additional mention is made of their tribe. Finally, the river tribe, to which Nakia belongs, seems to have control over the water resources of Wakanda. One should make note of the fact that T’Challa and his family belong to a sixth tribe, dubbed the panther tribe, which is never mentioned in the film. As previously stated, Crenshaw argues that intersectionality is what it does to a society (Crenshaw 304). In this particular society, Intersectionality, at least in respect to tribal belonging, seems to narrow your alternatives in regard to occupation as well as influence. This would also correlate with Bedollas analysis, echoing the sentiment that by expanding on our understanding of identity-based groups in co-existence, we can better tailor our assessment of societies in accordance to the experiences of its inhabitants, leading to a more correct analysis of its judicial practice (230).
The argument can be made that tribal affiliations limit social and political capital. Since the film fails to reference people switching tribes, one is led to speculate that individuals must adhere to the tribes they are born in. The tribe most negatively affected by this scenario would be the Jabari, as they are indeed secluded, and less appreciated compared to the other tribes, though they are eventually vindicated in their cooperation with T’Challa against Killmonger.
2.4 Conclusive discussion At first glance, the fictive society of Wakanda seemingly invites the viewer to regard it as one of equality in many ways. The fact that many higher-ranking officials in the leadership as well as the military of Wakanda are women shows an inherent acceptance of women climbing the hierarchal ladder. The fact that King T’Challa consistently makes use of general Okoye and his sister when on any dangerous endeavor again points to a general respect and incorporation of one’s talent regardless of gender. The council of leadership is equal in regard to representation of gender. Three of 7-8 visible previous monarchs are female. Half of the tribes’ elders are female. There are many factors and instances which, on the surface level, give an impression of an equal society. However, upon further analysis and multiple screenings of the film, one starts to question these factors and instances.
One clear, if not the clearest, example of such questionable perspective on equality is the sequence in which Killmonger has seized rightful control of Wakanda. Suddenly, what was previously an indicator of equality is revealed to be a personal trait in the previous king T’Challa. Though T’Challa had clearly valued the perspective and experience offered by the council, Killmonger instead invalidates their authority by distinctly ignoring any insight that
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fails to align with his intentions. Thus, what was first experienced as an equal representation of the tribes as well as representation of women in positions of power is instead made redundant.
Respective to women’s right to the throne, the film again insinuates gender equality, with Shuri jokingly making a claim to the throne. At first, one is pleasantly surprised at the seemingly norm-breaking representation, though one is loath to concede that it is merely a symbolic moment designed to promote the idea that women can indeed make legitimate claims to the throne, without creating a situation in which that actually occurs. When General Okoye chooses her loyalty to Wakanda over her loyalty to her husband W’Kabi, their interaction is presented as a dramatic one, in which W’Kabi is shocked to find that Okoye indeed prioritizes Wakanda over her husband, which could be seen as her acting out of the ordinary in doing so. To further problematize Okoye’s choice in this scene, one can again point to the fact that she is merely deciding which man to support, which points to a subordinate position of the female characters in relation to their male counterparts.
With these findings in mind, the argument can be made that gender is indeed a valid aspect of identity by which your life is directly affected. Another relevant finding is that the film lacks representation of variations in regard to sexual orientation. Thus, one can pose the argument that the society of Wakanda either is heteronormative in which there are no gay people, which stands to be criticized. Another potential reason for the lack of gay characters in the film could be a hypothetical scenario in which gay people are directly excluded from the Wakandan society. Regardless, the findings of this study conclude that sexuality could indeed be another aspect of identity by which your life is directly affected. Finally, tribal affiliations seem to directly steer individuals into specific paths of occupation. As the film fails to include any form of trans-tribal movement, one is left to make the claim that such movement is not acceptable. More importantly, the exclusion of the Jabari tribe from the day-to-day occurrences of Wakanda embodies the notion that some tribes are inherently less welcome than others.
As such, the three main factors of intersectionality found by this study are gender, sexuality, and tribal affiliations. As such, one can make the argument that intersectionality in Wakanda is similar to intersectionality in most Western societies. The argument can also be made that Wakanda is a society in which ableism is prevalent, with the argument being similar to that of the question of sexuality, more specifically highlighting the distinct lack of representation in that respect.
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3 Pedagogical Implications
This chapter will follow a structure similar to that of the Analysis, in which the main factors of intersectionality in Wakanda are discussed and problematized, though with a grander focus on pedagogical implications. The chapter will then conclude with a summary of the findings in relation to the curriculum, listing both positive and negative aspects of its inclusion in the EFL classroom.
The pedagogical implications are based on the intention to use the film in a structure in which the first step is based on informing, educating and sufficiently preparing the students in relation to the theory of intersectionality and how various aspects of identity directly affect your life. This would be followed by an introduction of the film and its key narratives. The second step would largely involve screening the film, with the students being instructed to document moments in which the characters’ aspects of identity have a grander influence on their actions. The third step of the hypothetical structure would then involve a seminar in which the students ventilate their reflections and share their perspectives.
3.1 Gender equality shrouded in ambiguity The problem in regard to the film, with its general gender relations as the focal point, can also be seen as a solution in regard to its inclusion in the EFL classroom. By providing students with adequate preparation before screening the film, one can prepare them for the seemingly equal representation regarding gender. Thus, by informing and educating students on the matters of intersectionality and how oppression and discrimination is directly connected to ones’ identity, one can prepare them for a grander scope of analysis in regard to the film and its representation of such factors of identity.
As such, students who know to search for inequality at a deeper level than superficial actions, are more likely to observe the underlying issues regarding the seemingly equal relation between men and women in the film.
A concrete example in which such awareness can be tested is in the scene in which Okoyes decides between her loyalty to T’Challa and her loyalty to W’Kabi. Without preparation in any fashion, one would understand the simple analysis that Okoye is a strong woman who decides for herself. However, by thoroughly preparing students and instructing them to focus on the representation of gender in the film, the discussion of Okoyes choice can take place in a constructive manner. The teacher in such situations can then ask leading questions which
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promote the discussion of general Okoyes actions, and whether they are actions which promote the idea of gender equality or instead provide the illusion of independence, in which Okoye is instead deciding on which male to support. Such discussion could also offer the platform for a general discussion of what appears to be the intersectional perspective on a Wakandan who is simultaneously a woman, a general, a wife and a friend, and delve into how these aspects of her identity stand to influence her decision, based on what is expected of her by the Wakandan society. As such, one would also be aligning the discussion in accordance with what Watson argues, more specifically using film to criticize representation in film (3).
This would also fall in line with what the curriculum asks to be incorporated into the English subject, as it would result in a discussion of living conditions, social issues as well as cultural features, whilst also allowing them to improve on their ability to adapt their language usage according to a more formal situation (Natl. Ag. f. Ed. 2).
3.2 A distinct lack of representation The fact that the film fails to include characters of a varied sexual orientation stands to be criticized Similarly, its lack of inclusion regarding disability, with the exception of Agent Ross, is problematic. Though, according to Wälivaara, the inclusion of physically disabled characters is often ascribed to failed future societies, the inclusion of characters of varied sexual orientation is instead indicative of a successful future society (227). In that sense, the society of Wakanda is both a failed and a successful one.
The lack of disabled characters is something which can be analyzed in the classroom and could indeed lead to fruitful discussion amongst students regarding the perception of differently abled individuals, as the strictly medical perspective views it as problematic, whereas a more humanitarian view on individuals with varied ability promotes a more accepting society. This would be in accordance with what the syllabus specifies regarding the aim of the subject of English, more specifically dealing with the living conditions (1). In addition, one could pose the same question regarding cognitive disabilities, whether one considers the “curing” of such conditions as a step forward or not. In regard to physical disabilities, the general idea is that a futuristic society of medical and technological advancement would eventually be able to cure any and all physical disabilities, which occurs in Black Panther.
The lack of characters with a varied sexual orientation can be observed as a disingenuous dodging of a relevant question in regard to representation. Whilst various types of characters are prominent, and many aspects of various African cultures are represented,
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director Ryan Coogler chose to omit the inclusion of gay characters. Why this was omitted could well be a question featured in the hypothetical post-screening seminar, as the US remains divided on its perception of sexual variation.
As such, the students could be asked to convey their reflections on disabilities being “cured”, and whether they consider that to be the best outcome in a future society. Similarly, they can be asked to speculate and reflect on why Coogler chose to not include any homosexual characters. Whilst some students might argue against the need to include gay characters for the sake of it, others might differ in their analysis, prompting a potentially healthy discussion regarding sexuality as an aspect of identity.
3.3 Trans-tribal migration and the lack thereof The discussion of inclusion and exclusion is in accordance with what the syllabus asks of teachers. Students should be presented with contents of communication in which living conditions, values, traditions as well as social and cultural conditions are involved (3). As such, one could pose the hypothetical question in regard to the Jabari tribe, to spark the debate of what constitutes a reason for exclusion from society. As the film ends with the Jabari once again being invited and incorporated in the Wakandan society, one can also attempt to promote a discussion regarding redemption and forgiveness.
One can also make use of the tribal relations, and the expectations seemingly put on people belonging to the various tribes, to promote discussion regarding what society expects of its inhabitants. This would also fall in order with the syllabus, as it specifies students must be presented with “subject areas related to students’ education, and societal and working life…” (3). On the one hand, one could tailor the discussion to general notions of what the students feel their society expects of them, prompting questions regarding their agreement or disagreement with such norms. On the other hand, one could attempt to structure such discussion according to the relevant aspects of identity which inherently affects everyone. One could question what is expected of the class clown, the ambitious student, the gay person or the feminist. Whilst such questions also pose a threat in regard to potential antagonism in the group of students, one can make the argument that young adults at the age of 18-19 are expected to me mature enough to handle such questions. The inclusion of a moderator in the form of a teacher would also aid in preventing discussions turning hostile.
Furthermore, the discussion revolving the Jabari people and their exclusion could be guided towards exclusion in the real world, i.e. questions regarding what groups are excluded
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from our society and why. Such discussions are in accordance with the aim of the subject of English. In the aim, the syllabus specifically states students should be helped in developing “…knowledge of language and the surrounding world so that they have the ability, desire and confidence to use English in a different situation and for different purposes”. Furthermore, the syllabus states “Students should be given the opportunity to develop knowledge of living conditions, social issues and cultural features in different contexts and parts of the world where English is used” (1).
3.4 Summary In regard to production and interaction, the syllabus specifies that students be offered the opportunity to improve on their “Strategies for using different types of sources, with source- critical awareness and established ways of citing sources within the chosen specialization area and other areas” (12) in the course of English 7. It also specifies that students are to make use of basic rhetorical concepts (12), which they are implored to do in a discussion-based seminar.
With their receptive skills in mind, the syllabus also notes that students must be allowed to improve on their reception of “Spoken language, also with different societal and dialectal features, and texts, including complex and formal texts which relate, discuss, argue, report, describe and investigate, also via film and other media (11). It specifies that students should be subjected to contemporary or older literature of various genres, of which Black Panther is one.
Finally, in regard to their communicative abilities, they should be exposed to societal, cultural, historical and political content, in which ethical and existential issues are present (11). Thus, the argument can be made for the inclusion of contemporary literature dealing with socially, culturally and politically loaded narratives in the EFL classroom. The inclusion of Black Panther is further validated by its representation of different types of English with a variety of accents. By also including theoretical perspectives such as intersectionality as well as gender studies, the students are also provided a platform in which to improve on their source- critical awareness, whilst also being tasked with the rather difficult aim of defragmenting an entire fictive society and its relations of power, oppression and discrimination. A seminar in which the film is later discussed, with intersectionality as a theoretical perspective, the students are allowed to practice their use of basic rhetorical concepts and devices in an effort to improve on their coherence.
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The potential problems related to the inclusion of such segments lie in the same category as its benefits. The fact that the film, as well as its analysis, include matters such as sexuality, gender and affiliation, which are closely related to identity, stand to offer students a platform in which to ventilate their reflections, leading to an improved understanding of each other’s difference. However, it can also prove problematic for younger adults to discuss. Statistically speaking, any given group of students is likely to include students with varied sexual orientations, cultural belongings and genders. The topics of discussion risk agitating students, as intolerant ideas and opinions could spark animosity amongst them. Furthermore, should the group of students include students of African descent, they stand the risk of being held responsible for ideas presented in Black Panther by their peers, which would be unfair to said student.
With these problematic aspects in mind, one could consider saving teaching segments involving intersectionality in general as well as specifically together with Black Panther for the later stages of upper secondary school. By this time, students are more mature and comfortable in themselves. In addition, the educator leading said segments would potentially be offered up to two years of experience with the group, allowing for better assessment of whether a group of students are ready for discussions regarding such fundamentally personal aspects of identity. Should the teacher in this hypothetical scenario lack earlier experience with a particular group of students, said teacher will at least be able to ask around with his/her peers, as some would most likely have interacted with the group at some point.
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4 Works cited Bedolla, Lisa García, and Hancock, Ange-Marie. “Intersectionality.” Politics Gender, vol. 3, no. 2, 2007, pp. 229–232.
Benshoff, Harry M., and Sean Griffin. America on Film: Representing Race, Class, Gender, and Sexuality at the Movies. 2nd ed., Wiley-Blackwell, 2009. Brown, Robyn Lewis, and Mairead Eastin Moloney. “Intersectionality, Work, and Well-Being: The Effects of Gender and Disability.” Gender & Society, vol. 33, no. 1, 2019, pp. 94–122. Burke, Liam. (2015). The comic book film adaptation: exploring modern Hollywood's leading genre. Jackson: University Press of Missippi Carbado, Devon W, et al. “INTERSECTIONALITY.” Vol. 10, no. 2, 2013, pp. 303–312. Fagerström, Linda, and Maria Nilson. Genus, Medier Och Masskultur. Gleerup, 2008 National Agency for Education. “Curriculum for the Upper Secondary School. https://www.skolverket.se/sitevision/proxy/publikationer/svid12_5dfee44715d35a5 cdfa2899/55935574/wtpub/ws/skolbok/wpubext/trycksak/Blob/pdf2975.pdf?k=297 5181125 National Agency for Education. “Syllabus for English 7.” https://www.skolverket.se/polopoly_fs/1.174542!/English%20120912.pdf Romagnoli, Alex S., and Gian S. Pagnucci. Enter the Superheroes American Values, Culture, and the Canon of Superhero Literature. Scarecrow Press, 2013. Ryan Coogler radio interview on HOT 97:https://www.youtube.com/watch?v=fRpunguFOq4 Wälivaara, Josefine “Marginalized Bodies of Imagined Futurescapes: Ableism and Heteronormativity in Science Fiction”, Culture Unbound, Volume 10, issue 2, 2018: 226–245. Published by Linköping University Electronic Press: http://www.cultureunbound.ep.liu.se Watson, R. Film and Television in Education: an Aesthetic Approach to the Moving Image. Falmer Press, 1990. Weldon, S. Laurel. “The Structure of Intersectionality: A Comparative Politics of Gender.” Politics Gender, vol. 2, no. 2, 2006, pp. 235–24
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