Tropical Fish
Russell Shernoff
As we learned in Segu, traditional African cultures do not equally value men and women. Therefore, in the modern Uganda presented in Tropical Fish, as well as the modern Cameroon of Sisters-in-Law, comparing women and men is strongly linked to comparing tradition and modernity. The film documented the first time Cameroonian women flexed their legal muscle and demanded fair treatment. The defenses of the offending men were often flimsy and were based on suspicions stemming from traditional religion or culture. Tropical Fish, meanwhile, takes place in a country that does not seem to know what place women occupy. The country seems to want to think it is fully Westernized and progressive, but women are still not viewed as being on the same level as men.
Furthermore, if Africa has a history of repression, repression can be equated with tradition. As freedom is a fairly new concept to Africa, it can be associated with the new, modern Africa. Using the transitive property, we can thus equate women with freedom and men with repression; as inconsistent as it is to apply math to literature and theoretical politics, Sisters-in-Law certainly confirmed the idea that women represent freedom, liberty, justice, and the new, better African state. A Thank-You Note, from Tropical Fish, also seems to affirm this. Here, a woman is seeking to remedy society’s problems – to address Africa’s paralysis and unproductive shame in the face of the AIDS epidemic – where her boyfriend has been silent and missing.