Transforming Education through Black Diaspora Film and Filmmaking Practice

Our founder, Ashley Ellis, offers a thought-provoking exploration in her article, Transforming Education with Black Diaspora Film and Filmmaking Practice. This piece grapples with how diverse cinematic representations can foster “critical consciousness” and how “filmmaking practice can put emotional intelligence at the center of learning.” The central argument explores how Black diaspora film and filmmaking can act as a tool for deeper learning and social-emotional growth (SEL). I will walk you through some of my main learnings from the article, but be sure to read it yourself if you have time to get a deeper understanding and form your own opinion. 

Here’s a breakdown of some key concepts and terminologies to help you along:

Key Terms

• Cultural Hegemony: The dominance of one cultural narrative over others.
• Historical Others: Marginalized groups whose voices and experiences have often been ignored or suppressed.
• Critical Consciousness: The ability to understand and act against oppressive forces.
• Black Diaspora: Not limited to North America, this term includes diverse African identities, languages, and nations.
• Social-Emotional Learning (SEL): The development of skills to manage emotions, build empathy, maintain relationships, and make responsible decisions.
• Cultural-Historical Activity Theory (CHAT): A framework for analyzing the relationship between the human mind and activity 

Unreeling the Main Themes 

The Need for Educational Reform

Ellis highlights the educational challenges that future generations will face—inequality in access and resources, colonial legacies of cultural dominance, and a failure to address students’ mental and emotional well-being. She argues that education must not only teach students facts but also prepare them “to value humanity, manage their social and emotional well-being, embrace difference with empathy and inclusion, and solve problems with critical thinking and creativity.” To overcome these obstacles, Ellis suggests that “cultural hegemony must be deconstructed”, involving opening education up to more diverse voices and perspectives—particularly those of the “historical Other”. 

Cultural Hegemony: A concept developed by Italian Marxist philosopher Antonio Gramsci (1891–1937), referring to the dominance of one cultural group’s worldview, values, and norms over others, shaping what is considered “common sense” in society and maintaining power structures without overt force.Originating from the Enlightenment and early modern colonialism, European cultural hegemony spread as powers introduced their languages, religions, ideologies, and systems globally, embedding Eurocentric standards in governance, education, and culture. This influence persists in globalization, privileging European norms and marginalizing others.

Ellis connects this idea to film’s unique ability to empower the Other and tell stories that bring new understandings of memory and identity. 

To understand the concept of the “Other”, you can refer to influential thinkers like Gayatri Spivak, who coined the term “Othering” as a theoretical concept and Edward Said, who showed how the West (“Occident”) constructed the East (“Orient”) as the exotic, backward “Other” and used this to justify imperialism and maintain cultural hegemony.

Film as a Tool for Social Change

Ellis highlights the political nature of film as an art form. Black diaspora cinema, in particular, creates space for “communicative memory” (oral histories and lived experiences) and “cultural memory” (deeper, shared cultural knowledge passed down through generations). By making filmmaking truly participatory, Ellis argues that it becomes a powerful means for igniting “critical consciousness”—the ability to reflect on and act against oppressive forces in society. I think this is a particularly powerful observation as it moves from something more passive, to something very active, with even more potential for change.

Cultural-Historical Activity Theory (CHAT) as a Methodology

Cultural-Historical Activity Theory (CHAT) is used to study how people learn through practice, collective activity, and cultural tools. It’s a useful framework for analyzing complex learning environments. CHAT can also be used to help simulation educators understand and debrief social interactions. In the article, CHAT is applied to explore how collaborative storytelling fosters social-emotional learning (SEL) and critical consciousness. The study includes diverse participants from filmmaking projects such as Liyana and Social Justice Coalition’s Film Training Course, as well as interviews with Sunshine Cinema’s Sunbox Ambassadors.

Through CHAT, Ellis shows that these filmmaking projects are shaped by diverse participants, reflect lived experiences, and balance individual and collaborative efforts. The result is films that inspire social change, while participants gain a deeper understanding of their own capabilities. These insights provide a foundation for developing a practical framework or checklist to guide the application of filmmaking as a transformative tool in education. 

Be sure to read the article to grasp the methodology and these learnings a bit more.

Why is the article relevant??

The world is 9, it is never complete and it is never perfect… Life is unpredictable and imperfect – we must conquer these challenges with strength and endurance because the world within us and the world knocking on our door, bears the unknown future.

Ethiopian artist, Aïda Muluneh

How could we apply these complex theories?

1. Curriculum Development for Filmmaking Workshops: The CHAT framework could be integrated into filmmaking workshops such as the flagship programme Youth Filmmaking Workshop run by Liberating Cinema. This would help structure them in a way that fosters social-emotional learning and critical consciousness. 
2. Filmmaker Empowerment Programs can use Black diaspora cinema to uplift marginalized voices, focusing on storytelling as a means to reclaim history and challenge dominant narratives. Mentorship initiatives could teach both technical skills and the power of storytelling.
3. Interactive Educational Content can bring these ideas to life, allowing users to explore film, education, and activism. An online portal could offer resources like video lessons, film case studies, and interviews with filmmakers, helping educators and creators apply concepts like cultural hegemony and critical consciousness. Stay tuned—Liberating Cinema is always exploring new ways to engage and inspire!
4. Cross-Cultural Film Festivals can use Black diaspora filmmaking as an educational tool, showcasing the work of filmmakers of African descent. These festivals can spark important conversations on race, identity, and inclusion, reshaping global perspectives. It’s a great way to blend cinema and learning.
5. Collaborative Storytelling Initiatives can bring young people from diverse backgrounds together to create films. These initiatives promote critical consciousness, intercultural understanding, and empathy—advancing social change and cultural enrichment. 

About the Author

As the founder of Liberating Cinema, Ashley Ellis is committed to blending theory and practice in cinema, particularly in empowering youth and underrepresented groups. Her work emphasizes the importance of access and availability in filmmaking, using cinema as a tool for social change and personal growth. By focusing on the “Other,” Ellis’ vision centers on inclusive, participatory processes that democratize filmmaking. We are so excited to have Ashley as our mentor and guiding inspiration, and look forward to thinking, (un)learning and (re)imagining with her.

Contributor

Ryan de Villiers is an actor, writer, and researcher with a passion for people, plants, and politics. Guided by equality and justice, he explores the world as a curious generalist and jack of many trades — and almost has a master’s in one!

Cover Art  
Illustration by Diana Ejaita originates from The New Yorker’s The Messiness of Black Identity