“This Is Not a Burial, It’s a Resurrection” intricately weaves its narrative with the history of colonization in Africa and the enduring legacy of imperialism within the region. The film serves as a poignant exploration of the struggles faced by African nations and their ongoing efforts to reclaim their cultural identity and sovereignty. The director, Lemohang Jeremiah Mosese, utilizes the stunning backdrop of Lesotho and careful pacing to set up this harrowing story of community struggle and colonial exploitation to carry the audience into a part of the world that has been rarely seen on film in this manner.
Throughout history, Africa has been subjected to various waves of imperialism, with European powers carving up the continent for their own economic and political gain. One notable example is the Scramble for Africa in the late 19th century, where European powers, including Britain, France, Germany, Belgium, and Portugal, colonized vast territories, often through force and coercion.
The film resonates with the historical context by highlighting the consequences of colonization. It portrays the village as a microcosm of resistance against external forces seeking to displace and erase indigenous cultures. Mantoa’s determination to protect her village parallels the real struggles of African communities in the face of displacement, cultural erasure, and the loss of autonomy during the colonial era.
Moreover, the film alludes to the disruptive effects of imperialism on African societies. It draws attention to the conflict between traditional values and encroaching modernization with a multinational company seeking an expansion of a reservoir through their village. Symbolizing the tension between preserving cultural heritage and the imposition of foreign influences.
“This Is Not a Burial, It’s a Resurrection” also shares a relationship to modern conflicts with North American indigenous groups. It is possible to draw some parallels between the film’s themes and the broader issues of land rights, cultural preservation, and indigenous resistance that are also present in the Oka Crisis.
Both the film and the Oka Crisis deal with the struggle to protect sacred lands and preserve cultural heritage in the face of encroachment and development. In the Oka Crisis, the Mohawk people were defending their ancestral burial grounds and sacred land from the expansion of a golf course. Similarly, in the film, Mantoa fights to protect her village, which holds deep cultural significance for her community.
The underlying themes of resistance, resilience, and the preservation of cultural identity are shared between the film and the Oka Crisis. Both narratives highlight the determination of communities to assert their rights and reclaim their autonomy, even in the face of adversity and external pressures.
By examining these common themes, viewers can draw connections between different struggles for indigenous rights and land sovereignty. While the specific historical and geographical contexts of the film and the Oka Crisis differ, they both contribute to a broader conversation about the ongoing challenges faced by indigenous communities worldwide.
“This Is Not a Burial, It’s a Resurrection” beautifully captures the spirit of resistance against colonization and the enduring struggle of African nations to reclaim their history and cultural identity. By relating the film to the broader context of imperialism in Africa, it invites viewers to reflect on the historical injustices faced by the continent while celebrating the resilience and determination of its people to overcome adversity.
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