Film review - Joseph

MAWULI GAVOR ALISON HINDS CHRISTOPHER MCFARLANE

SHONTELLE LAYNE

ALSO STRARRING GLEN CAMPBELL STOGIE KENYATTA SHANTOL JACKSON SIKA OSEI MIRIAM OWUSU-POKU A STEP BY STEP PRODUCTION SCREENPLAY BY MARCIA WEEKES AND DELPHINE ITAMBI DIRECTED BY MARCIA WEEKES

Synopsis ‘J oseph’ is a narrative of race and identity set in the Caribbean Islands of Jamaica and Barbados and also in Ghana, West Africa. It traces the roots of an affluent Jamaican family of doctors, the Kings, back to Ghana. Joseph King, heir to the King’s medical empire, develops a brotherhood with Kweku, a Ghanaian medical student studying in Jamaica. This friendship provides the bridge for him to flee from a family conflict, fulfil his grandfather’s dream of repatriation and to also validate his belief in bush medicine. It provides social commentary on class, status, gender and PanAfricanism.

The Ashanti Heritage 2019, was Ghana’s ‘Year Of Return’, promoting the return of its diaspora to their motherland. Joseph’s release complemented this auspicious milestone and engendered discussion around the narrative of repatriation and reconciliation.

Historical records show that the enslaved West Africans brought to Jamaica were predominantly from the Ghanian Ashanti Kingdom, a tribe of warriors. I have to say that having grown up in Jamaica and subsequently residing in the UK for the past 18 years, I have experienced the uncanny feeling of ‘familiarity’ every time I have had the opportunity to relate to a Ghanaian.

Diasporic Re-Connection

The Black Peoples of The Americas

struggle with identity and feelings of displacement. They express their need to reconnect with their African ancestry in various ways. Joseph King, the protagonist, experiences this through his years of close relationship with his best friend Kweku. His grandfather expressed the same feelings of displacement through his preservation of the African retention handed down to him in the Accompong Maroon Village and also through his longing to return to the homeland of his ancestors.

The film places that need for ‘connection’ within a sociohistorical context. It shows us that there is a genetic and psychological connection that can’t be erased with time or space. We are given a lens through which we can acquaint ourselves with Ghana and make comparisons from which we can derive an

understanding of our place in the world.

African stereotypes were debunked as Joseph’s journey unveiled Ghana as a thriving nation and Accra, a metropolis with all the degrees of prosperity found in the world, from the state of the art Kotoka International Airport to bustling market places, commercial and corporate spaces. The manner and energy of the people, the food, dress, music and dance, provided the impetus for the diaspora to make the journey where we lacked either information or courage.

The Kings’ exploration and immersion in the Ghanaian culture created opportunities for the viewer to make a comparative analysis of ‘there and here’ and ‘them and us’; slowly the distance and indifference of ignorance crumbled with the realisation of how much we have in common. This ignorance and subsequent prejudice was a recurrent theme in the film and the Kings were ironically clueless. Though well ‘educated’ they had no window to the world outside of their medical ‘Ivory Tower’.

Didactic Elements Historical information was creatively interspersed throughout the film.The conversations between grandfather King and Joseph and also between Joseph and Kweku provided enough information to stimulate enquiry and the opportunity for reflective learning.

We see moral lessons played out as Joseph battles with the conflicting values of ‘medicine as healing’ and ‘medicine as money.’ Dr King Snr decries everything grandfather taught Joseph as backwardness and mediocrity. As far as ‘bush medicine’ is concerned it will never happen in his hospital and as for philanthropy, Joseph is chagrined to realise that as heir to their hospital he must learn that, ”Preserving the family legacy entails preserving its wealth.”

Investing in people rather than in things was portrayed as the moral high ground. Joseph sacrifices his kidney to save a patient in need of a transplant who cannot pay his fees. Sadly, his ‘Noblesse Oblige’ is seen as foolhardy and passe` by his family.

However, two worlds collide when ‘bush medicine’ faces off with modern medicine. Joseph is up against it in a foreign country with no licence to practice medicine. He rushes in to save a very poorly child using a medical procedure but has to rely on the anaesthetic properties of ‘bush medicine’ to ease the child’s pain. In a clash with the ‘Bush Doctor’ a resolution

is reached that both approaches to healing can coexist. Joseph finds his life’s mission at last - the use of herbal remedies as medicine.

Makes a Good Family Film The film encourages family values and hope. Love and forgiveness triumphed over infidelity and malice as Dahlia’s paternity was revealed. It was honest about the pain of familial challenges seen in the sibling rivalry and the rift Dahlia created between herself and Joseph. It was resolved with forgiveness on Joseph’s part and with humility and vulnerability on Dahlia’s part; they both needed each other.

The role of the mother in the home was balanced as she read the pulse of the family accurately and called a truce to all hostilities. The Kings’ emotional struggle and handling of these issues provided enough points for the audience to become emotionally invested in the characters’ personal development and for the story to be believable and entertaining.

Sadly, the undercurrent gender bias that created Dahlia’s insecurity, competitiveness and later her fall from grace remains a challenge for the modern woman. No matter how capable or qualified, she is not ‘good enough’. Conversely, the King men enjoyed the lion’s share but were not necessarily the stronger characters. Dr.King Snr. fell apart during Joseph’s hiatus but the women carried on.

The high point for me was the scene of the bones of grandfather King being carried through the ‘Door of No Return’ on Ghana’s’ historical Slave Coast, with his progeny in tow, followed by the ancestral celebrations. What a tear-jerker! They had all come to terms with themselves.

Overall, I enjoyed ‘Joseph’ and caught myself wearing a silly grin as I saw Joseph’s elated expression; knowing that he had fulfilled his grandfather’s dream, resolved the rift with his sister, reconciled with His father and established his respectability on his own terms.

The shallow values of ‘keeping up appearances’ were challenged as saving lives, living with and learning about people and ourselves was portrayed as being a much more sustainable value than pride and arrogance.

I felt a surge of empathy fill my heart and a beckoning to make the journey of return to Ghana soon; to be greeted with the word, Akwaaba! p

Angela B. Slack educator, curriculum/ literacy specialist, technical author, editor and publisher.

CONTROVERSIAL HARDCORE AGGRESSIVE

NO-NONSENSE GOSPEL EXPRESSION

In 1985, CHANGE emerged on which has been ‘Covidized’. the scene, a reggae gospel band bringing a major challenge to The founding members of the churched and unchurched in CHANGE were Patrick Kitson Jamaica. Twenty-five years later (Founder and Leader, vocals and the KW Magazine has a chat with guitar), Rohan Reid (Bass Guitar & Founding Director Patrick Kitson, vocals), Mark James (Keyboards when they are in the middle of & vocals), LLoyd Geddes (drums) preparing for a RETURN Concert and Henry Morrison (vocals and

percussion). On lead vocals was the only female member ever of the Band, Merle Gayle.

The name CHANGE was chosen because the male founding members were members of another Gospel Group - INSIGHTS GOSPEL GROUP - so this was a change. Patrick Kitson suggested the name CHANGE and it was accepted. Later on they developed an acronym for the word CHANGE: C-controversial H-hardcore A- aggressive N-no nonsense G- Gospel E-expression. Their delivery was just as their name suggested.

When asked about his earliest musical influences, Kitson replied: “I can mention the Groups of the 70s with some wicked harmony arrangements. The grooves of the Disco era with those groovy basslines and rhythm guitars of Nile Rodgers of Chic and Earth Wind and Fire. Reggae influences are many and strong. Out front though is the King, Bob Marley, Third World, Steel Pulse and Native.”

The response of the Jamaican Church to CHANGE was varied, pretty much as it is today; some liked it and some didn’t. But as the words of one of Patrick’s songs titled Ain’t Giving Up says: “I’ve been discouraged so many times, but all these discouragements I left behind. I don’t care what the people they say.” Kitson affirms: “This song was definitely influenced by the negative responses.”

KW asked: Why did you choose reggae music?

Patrick’s simple response: Reggae was chosen as our music of choice simply, because as Jamaican Christian Band it wasn’t up for a debate. July 2020 KW Magazine | 21

KW: Which song had the greatest impact on the group?

Kitson: I believe the songs ‘Take the Lord in your life’ and ‘We have a Message’ had the greatest impact on the Band.

KW: And on the public?

Kitson: ‘Take the Lord in Your Life’ was very popular with the public as it was the closing song of a Popular Afternoon Radio Show on IRIE FM, and was also played on a Midday Show on the same Station.

KW: Is there a particular age group that responded to your music?

Kitson: Oh yes ..there were High School, College and University students then, who are still sharing their journey with CHANGE even today. Many folks still talk about their parents taking them to see CHANGE in Concert.

KW: Do you think that same age group will respond now? What is your expectation?

Kitson: I am expecting to see a wide cross section of today’s musicians who only heard of CHANGE but have never seen or heard them in performance. Not to mention those committed supporters over the years at home and abroad.

KW: What was your most memorable performance and why?

Kitson: Many performances were memorable. Of course, the CD / Album Launch at Holy Childhood’s Stephanie Hall in 1996. The

audience stood from the word go and never sat. White River Reggae Bash alongside Inner Circle, who recently celebrated 50 years. This was an awesome ministry. I have to mention a performance we did at Mandeville’s Cecil Charlton Hall. The audience was small but very appreciative. We sang all the songs in our catalogue and they were still asking for more. We managed to perform the last song and then wi done! No more! The audience stayed behind and just talked to us...OMG...awesome!

KW: Did you use the Jamaican language in any of your songs? Why or why not? Would you use it now?

Kitson: Oh yes, we will, or should I say, I will continue to use the Jamaican Language ina di sang dem we mi write. More so the new ones.

KW: What would you like to see in the Jamaican Music Community or in the Church musically?

Kitson: I would love to hear more of the songs being sung in Jamaican Churches being done with some serious Reggae rhythms backa dem.

KW: Tell us about your upcoming return to the stage. Why are you doing it? Are the same artists going to be there or has there been some ‘change’?

Kitson: The last time CHANGE performed was in 1999 (20yrs ago) and demand for a performance has been coming at us from all angles. A RETURN not a REUNION was planned for 12th October 2020 but it has been COVID-19ed. This Concert would feature New and Old personnel performing New and Old songs. All I can promise is that, it’s gonna be really good. “Memba me told yuh!”

KW: WE! CAN’T! WAIT!!

p