By Takura Zhangazha*
I would not have thought of it had it not been mentioned by
a young comrade in relation to new ways of ‘socializing’ for young urban
Zimbabweans. I had asked him how his weekend had been and he casually replied
that he had managed to do something called “Netflix and chill.”
Now I know and when I can, watch Netflix. I did not quite get how it would be all ‘chilled’
since it has so much content at a comparatively high cost in Zimbabwe.
It turns out that it is a fashionable or even a status symbol habit
among young urban Zimbabweans to have occasional access to the online streaming
platform Netflix and watch the content from the comfort of the home. All one needs is a laptop, Wi-Fi/data or even
a smart phone and you are good to go.
It would be a little different from my youth days where a small
stereo player, electricity (supplied directly or via batteries) to play
cassettes would have made the weekend fairly special.
With a key discussion point eventually being what did you
listen to the whole weekend? Or the
contemporary equivalent question would be, “So what did you watch?” All preferably in bi-lateral intimacy as opposed
to Solomon Skhuza or Leonard Dembo ‘with the boys and Chibuku scuds’.
Upon a little more reflection I have come to consider that
what entertains urban young Zimbabweans in audio visual mediated format is mostly
via new accessible streaming platforms such as Netflix.
Even if they do not have regular access to it, they actively
work toward and aspire to acquiring it in the present.
In all probability Netflix, Showmax and other online content
streaming platforms are probably ‘status’ symbols. Almost like having a video cassette recorder
(VCR) or access to satellite television and Music television (MTV) back in the
1990s. Together with World Wrestling Federation (WWF) choreographed for
television shows which at some point became bigger than even the international
religiosity around European broadcast football. As was the case for some of us comparative
oldies (no ageism intended)
And we could argue for a while about the class/social ramifications
implied by access to these new online platforms or the older analogue
ones. The more important matter would be
the content that the new digital content streaming platforms such as Netflix
and others convey in the contemporary.
What is interesting in the latter regard is the fact that a
majority of the content that we would access via these new internet based
platforms in made for television or movie theater formats is both old and
new. Old in the sense that it represents
the past about representations of the global south (juxtapose Black Panther
with Tarzan)
And new in relation to the reality that it represents the quantitative
expansion of a globalized understanding of how societies in the global south
and global north can come to regard each other. In what remains a largely
one-sided/lopsided manner.
In some instances, the latter point can be considered as a democratization
of perception. When we, in the global
south watch Netflix programmes as they are availed we often do so in as real
time as a person in the global north.
Especially if the content is new in the form of documentaries, new drama
series or movies.
Expectedly, based on the amount of content we consume as it
comes in the quantitative majority of cases from the global north, we in the
global south may not be in a position to say that platforms such as Netflix in
their global reach are balanced in relation to this democratization of
perception. In some cases, and in the
wake of the Black Lives Matter nascent movement, we have seen the removal of
some global north oriented content (even if it was produced in the global
south) that was deemed as promoting racist stereotypes.
What matters more however is the fact that because Netflix
and similar streaming platforms are not going to go away nor do they intend to, given
their huge profit margins, those of us in the global south need to come to a
more holistic understanding of how the content presented therein reflects how
we are potentially viewed in the global scheme of things. Especially in the age of Covid 19. While we may have addictions to specific
content about drugs in South America or glossed over political dramas on
political systems in Western Europe, we would still need to be grounded in our
own realities. Beyond the mediums.
This includes the fact that we need to be able to create content
that reflects on our own contextual realities and aspirations. From documentaries through to made for television
series’ and movies. Not only for our own contextual cultural appreciation but
also in order to occupy these new platforms as enabled by the internet and
access to it.
In this, a key question that emerges is always how do we capture
our own imaginations outside of the cultural grasp of the global north? It is a question that I do not have an answer
to. What I abstractly know is that the
mediums through which we seek entertainment come with a significant amount of
baggage (historical, economic, political and social). And one sided perceptions except in relatively
unique circumstances such as when these streaming platforms allow ground
breaking historical/political documentaries or made in the image of the global
north soap operas or television shows.
Harnessing these online and rapidly expanding in African
urban areas content streaming platforms may be a long way off. For now.
It may also controversially require state/government subsidies that we
are able to sustainably produce content for emerging online platforms such as
Netflix. And in the process learn to
truly ‘chill’.
*Takura Zhangazha writes here in his personal capacity
(takura-zhangazha.blogspot.com)