A Study of the Representations of Ethnicity

in:
Beasts of No Nation (Fukanaga, 2015);
In order to understand the significance of the
representations of ethnicity in Beasts of No Nation
(Fukanaga, 2015), one must make light of the postcolonial ethnic conflict within and between West African
states, which in this case we will observe more
specifically in relation to the Ghanaian people, culture
and society and how Fukanagas film deals with
representing these elements on-screen, without
explicitly naming a specific nation, hence the films
title.
In a recent ethnological study into North Ghanaian
disputes, writer A. K. Awedoba found that there were
various common causes for aggressive conflicts
between different ethnic groups within the West African
State. One of which was the system of chieftaincy 1;
the hierarchical system of succession of a leader to a
group or tribe2. The image of the chieftain is captured
in Idris Elbas Commandant. In a study of the
Ghanaian demographic, A. Akansake writes that there
are up to forty different tribes, with each and every
tribe claiming superiority over the other, and a broad
array of diverse religious groups, such as Christians,
Muslims [and] Hindus3. Beasts of No Nation explores
the concept of the chieftaincy in a more poetic way, as
the formation of the Commandants Army essentially
becomes a tribe in itself.

1 Awedoba, 2010: 113

2 Akansake, 2013: 8
3 Akansake, 2013: IX

Beasts of No Nation is selective in terms of its

representation of certain ethnic groups. For example,
ethnically/tribally neutral groups of Ghanaians, are
represented as practicing Christians. Though, in relation
to m previous point, it does not reflect the full religious
demographic in Ghana. Therefore, Beasts of No Nation
may be lacking in terms of its representation of
Ghanaian diversity with a degree of exclusion with
regard to individual tribal cultures. However, it remains
neutral in terms of its on-screen representations of
ethnicity, as it is not established which ethnicity the
character of Agu, played by Abraham Atta, is. Judging
by the use of the Akan4 language in the opening
scenes of the film however, something that the film and
the novel of the same title by U. Iweala (2005) have in
common, it may be safe to suggest that the character
is in fact Ghanaian.
To elaborate further the role of Idris Elbas
Commandant, we must explore the adoption of the
chieftain role; he holds control over the young child
soldiers5 as well as more experienced fighters, leading
them against a military threat which seems to have
close similarities with the Nigerian military. Beasts of
No Nation never mentions where the key characters are
from originally, it is only circumstance and the use of
Asante Twi6, a dialect of the majority language of
Ghana, Akan7 which unconsciously links the narrative
with real-world issues in Ghana. Furthermore, the film
was shot in Ghana with a predominately West African
cast. However, the most obvious deviation from the use
of native West African actors is the appearance of a
British Actor, found in Idris Elba creates a sort of
disparity in terms of the films realism. This begs one to
4
5
6
7

Aye-Addo, 2013: 61
Rosen, 2015: 136
Dolphyne, 1996: XI
Aye-Addo, 2013: 61

question, if it was truly necessary to use an Englishspeaking actor to take up Elbas character, when so
many West African actors were used in the film.
One of the most interesting elements in the films
narrative, is the development of the character Agu. At
first, he is a middle/working class child, enjoying his
life, with great ambitions and desires. However, after
the meeting with the Commandant, Agu essentially
becomes a captive, doing the bidding of the chieftain.
The representation of youth here reflects the innocence
and weakness of youth as he is effectively
indoctrinated by an ideology which does not quite make
material sense. We see the child inside Agu fade away
and reform into that of a relentless killer, fuelled by
revenge and narcotics.
One thing that is certainly implied is the
uncompromising nature of the West African people in
the film. Though this does not apply to all of the
characters in this film, but from the point where Agu,
the young African boy in which the narrative follows is
adopted by Idris Elbas character as another of his
warriors we see a negative representation of West
Africans. The film intends to show the reality of issues
in West Africa, such as the warring factions, nations and
tribes. It intends to reflect the casual use of violence for
what serves essentially as sport to some individuals
within Beasts of No Nation.
This is the effect that Idris Elbas character has on his
warriors. He indoctrinates Agu, Strika and the rest of
his young soldiers. He instils fear into those whom
serve him in order to assume and maintain control over
their young minds. In terms of representations, this
reflects the significance and the role of the Chieftain as
a symbol of dominion and reign within West African

society. The clearest example of this type of control

within the film is when Agu makes his first kill; The
scene is of an unarmed man who kneels before Agu,
and the Commandant encourages/forces the child to
take the mans life. The scene is visceral, unrestrained
and effective, and conforms to the insider stereotype 8
of West Africans as barbaric9 along with a supposed
inferiority10 to the Westerner, commonly read in old
literary perceptions of West Africans as primitive,
harsh, and dangerous11.
Therefore, to conclude, I believe that there is an
underlying series of questions to the study of ethnicity,
in relation to Beasts of No Nation. That question being,
are the representations in this film accurate? Or are
they exaggerated for the purpose of the audience?
From a critical stand point, Fukanaga has presented a
realistic and clear representation of Ethnicity in Beasts
of No Nation. There are positive representations of West
Africans, as quiet, god-fearing people, which despite
the economic hardships. However, these images of a
people are reversed, and the representations are made
much more complicated through the use of character
and narrative.
Bibliography:
-

An Ethnographic Study of Northern Ghanaian Conflicts: Towards a

Sustainable Peace: Key Aspects of Past, Present and Impending
Conflicts in Northern Ghana and the Mechanisms for Their Address,
A. K. Awedoba, (2010)

8 Yenika-Agbaw, 2007: 8
9 Yenika-Agbaw, 2007: 8
10 Yenika-Agbaw, 2007: 8
11 Yenika-Agbaw, 2007: 8

Akan Christology: An Analysis of the Christologies of John Samuel

Pobee and Kwame Bediako in Conversation with the Theology of Karl
Barth, Charles Sarpong Aye-Addo, (2013)

Who Is the First-Class Ghanaian?: A Story of triabalism, Religion and

Sectioalism in Ghana and the Way Forward, Albin Akansake, (2013)

Article from The Guardian, Black Films Matter: Why Chi-Raq and
Beasts of No Nation are Game-changers, Lee, (2015)

Representing Africa in Childrens Literature: Old and New Ways of

Seeing, Vivian Yenika-Agbaw, (2007)

Child Soldiers in the Western Imagination: From Patriots to Victims,

David M Rosen, (2015)