#OscarsNotSoWhite? Really?

With The Oscars approaching, we are again confronted with an all too important question: can you separate art from the artist?

Is The Academy judging these actors based on who they are or, perhaps, what the color of their skin is?

We would be kidding ourselves if we said that racial discrimination no longer exists.

It is all around us, from small incidents or comments in our own communities, to a much larger scale where it has become a universal concern.

In the 89 years of its history, only 32 African American artists have won Academy Awards – Hattie McDaniel being the first for her performance in Gone With The Wind in 1940.

And so is it fair to say that The Oscars undermine the work of African Americans?

This phenomenon sparked a social media campaign called #OscarsSoWhite, which started last year after a two-year drought of no African American nominees.

This year, however, the narrative appears to be changing, or so it seems…

Six “African American films” are gaining the recognition they deserve by The Academy.

Among these is Fences, which follows the life of Troy, played by Denzel Washington, who has never really managed to face the many hurdles in his life.

From his failed baseball career attempt to his personal life, Troy blames his problems on racial segregation. Fences explores some of the issues African-Americans continue to face today because of the color of their skin.

Hidden Figures also made the cut with three nominations. Taraji Henderson gave a stellar performance, as did Katherine G. Johnson along with her two co-stars, Octavia Spence and Janelle Monáe.

These actresses brilliantly told the story of three African-American women who, against all odds, worked in NASA in the 1960s.

The film moved the audience and left a lasting impression, generating a much-needed conversation about the fact that achievements by African-American woman are never equal to those of white men, and are often overshadowed by the latter.

Taking this year by storm is Moonlight, with a whopping eight nominations including ‘Best Picture’.

The movie addresses the complex structures of oppression and intersectionality, particularly through insight into how African- Americans oppress one another within their own communities.

This is tackled through the story of Chiron, a black homosexual boy, abused by both his family and community.

The film is notable for its bold decision to completely remove white characters from its narrative; focusing on the dynamics within African-American communities.

Over the last few years, many black actors and actresses have demonstrated that they are more than capable of delivering performances that can shake us to our very core.

The film industry will always label African-American movies as such. It will never be just a romance movie, or a drama; movies made by African- Americans will always be ‘black romance’ or ‘black drama’.

However, I believe this is not Hollywood’s fault; it stems from a much deeper malaise.

So, what changed? Are “black movies” and “black artists” just better at their jobs this year more so than last?

I think not. I feel like Hollywood is trying to send a message to the world, after the victory of President Trump.

With his highly voiced racist views, perhaps this is the industry’s way of showing their own ‘liberal’ views and opposing his with the force of these black nominations.

Is this futile attempt yet another message to the world? And will future nominees only be there to fill a quota of black recognition?

Malak Abdelnabi

Arts and Culture Editor