REPRESENTING RACE It's not so black
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REPRESENTING RACE It’s not so black and white
19 years after the smash hit teen
novel ‘Noughts and Crosses’ was
So, with this challenge in mind, how
do content creators approach
content where representation is
For example, for Noughts and Crosses,
we can look at the ways alternative
history has been used in fictional
published, it has finally been adapted vital to success? Moreover, how do content before and learn from these
for the small screen. As an alternative we as researchers best feed into the successes and mistakes in terms of
history, where Africa has colonised the content development process to help misrepresentation. We can consider
world, the plot flips racial discrimination creators shape, refine and evaluate its the 1995 movie ‘White Man’s Burden’,
on its head. The power firmly lies performance? There are no hard and which explores a similar racial power
with the black-skinned ‘Crosses’, fast rules for success, but by viewing the flip, in what many have argued was an
while white-skinned ‘Noughts’ are content and audience reactions through over-simplistic device of replacing one
descendants of slaves, without political, a range of lenses we can give content skin colour with another. The film failed
social or economic capital. creators a set of tools and guidelines for to inspire empathy and discussions on
handling this complexity. racial discrimination. Presenting a world
The novel was read by thousands of where black people in power commit
teenagers who are now young adults, Step 1: Scoping the cultural landscape the same mistakes as white colonialists
highly invested in its success or failure. might be perceived as justifying the
Its creators will be hoping that they can Firstly, it is vital to understand the atrocities committed by whoever is in
translate the profound effect it had on cultural and social landscape at the power, communicating very different
the likes of Stormzy (who calls the show point of launch, i.e. what has come messages from the ones desired.
a ‘gamechanger’) to new audiences. before and what is relevant now, so that
we can contextualise interpretations. On the other hand, the 2019 remake
There is the potential for this adaptation to We particularly need to consider the of ‘Watchmen’ has fed discussions on
tap into contemporary social discourses timeliness of the concept, treatment some dark parts of US history through its
about race and power dynamics, from and characters within emerging references to the KKK, but has also been
#BlackLivesMatter to reverse racism. conversations about representation. Here accused of serving political agendas and
However, creating such an alternative our cultural analysts use case studies misrepresenting white audiences.
scenario is incredibly ambitious and as springboards to illustrate the best
there’s a real risk of misinterpretation from and worst-case examples, to provide Furthermore, we need to consider the
a range of different audiences. recommendations for content creators. importance of rich and authenticworld building. Imagining a world where ensure content feels culturally authentic.
African culture is dominant, not only This requires in-depth qualitative
There is the requires a consideration of how western
society would have been different (from
conversations through interviewing or
sensitively handled group sessions,
potential for this fashion and language to politics and moderated by empathic and culturally
adaptation to tap social structures), but also definitions
of what ‘African culture’ is. The African
attuned researchers.
into contemporary continent is extremely culturally diverse When testing with relevant audiences,
social discourses and talking about ‘African colonisation’
risks downplaying this complexity.
content creators and show runners
will be able to pick up on the detail
about race and and nuance of character portrayals
power dynamics 2018’s ‘Black Panther’ demonstrates
how to avoid such issues. It succeeded
and authentic, culturally attuned
behaviours that make a difference
in creating an inspiring vision of in relaying an accurate portrayal. For
‘Africanness’ that resonated widely example, the way food is prepared
while dodging issues related to national and eaten, family hierarchies, levels
identity. The Marvel movie did so by of strictness, and the pronunciation of
creating the fictional nation of Wakanda, names (highlighted as an emotionally
a sort of African Atlantis able to impactful microaggression in the first
condense some of the strongest features episode of Noughts and Crosses). This
of several African cultures without does not always have to be manifested
directly referencing any of them. through the lead characters, but subtle
references can go a long way to delight
Step 2: Test and deep dive into audiences while also educating and
nuances directly with relevant exposing newer audiences to cultural
audiences practices unfamiliar to them.
Sharing your concept, narrative and Some of the most successful content in
depiction with relevant audiences will this space comes from a diverse andrepresentative workforce (both in front has the potential to evoke emotive, premise, with concerns around the
Noughts + Crosses and behind the camera). We see from thought-provoking and powerful cultural content being anti-white and a feeling
Sentiment Analysis:
Noughts and Crosses and other content
that it is important to ensure the creative
and societal conversations if done well.
In an age where the rules of digital
of being personally attacked. Capturing
the sentiment analysis is particularly
Feeling annoyed,
team represents the group they are trying communication and real or virtual filter interesting when we compare pre- and I was looking
Pre vs. post show to depict – they’ll be able to pick up on bubbles intensify outrage, we also need post-waves – particularly, while positive
forward to new
and advise on the subtleties of cultural to consider the potential amplification sentiment grows slightly, negative
Unassigned Positive Neutral Negative
nuance which audiences will expect you to of different interpretations of the show. sentiment does not. This suggests that drama on @bbc,
get right. On-screen talent must represent
the breadth of ethnicities and cultures that
Here we can make the most of social
intelligence through using the best of
while the concept was not for everyone,
the adaptation itself did not seem to
looking forward to
exist; it’s not enough for all characters artificial intelligence and human thinking evoke negative reaction beyond that. something new, yet
Pre show: based on automated sentiment analysis of 2,181 posts to be ‘black’ or ‘African’. Content must
reflect different races within that utilising
to answer questions using social media
data, i.e. capturing sentiment towards
While perceptions are not changed for
this audience type, the reception to the
now I feel like I am
specificity to engender authenticity. the show pre, during and post the first first episode suggests that the backlash being told off for
Featuring talent that audiences are already
engaging with and trust to represent their
episode launch. can be minimised.
being born white.
I thought we were
1% 27% 63% 9%
views accurately and fairly on topics such For example, we see through social We also see through qualitative analysis
as diversity, class, politics, etc. can help
to further foster a sense of connection
intelligence that #NoughtsandCrosses
captured audiences’ attention – the first
of social intelligence data how powerful
good representation can be. We
moving forward.
During/post show: based on automated sentiment analysis of 5,880 posts and relatability. The rise of hashtags episode was trending on Twitter in the see many examples of celebrations of I will not apologise
such as #representationmatters and
#firsttimeisawme demonstrate how vital it
UK as it aired. This data also helps us
pull out different interpretations, receive
the issues it highlights. References to
microaggressions dominated online
for attitudes that
is for audiences to see true reflections of pointers on how to play to different conversations as they are seen to be are not mine.
2% 38% 52% 8% themselves. audiences and, if possible, identify
where perceptions can be shifted. As
highly relatable. For example, a significant
micro moment within the first episode was
#victimhooddoes
Step 3: Use social intelligence for expected, social intelligence suggests a ‘Nought’ having to use a dark-toned nothelpanybody
amplification of interpretations to us that before the first episode plaster which contrasted significantly with
was broadcast, there was a minority his skin, is relatable to black audiences.
Content such as Noughts and Crosses who rejected the show based on the Highlighting subtle experiences of racismforces audiences to confront these with depth is vital. Individuals have
tensions – even if they create unease. This many facets that make up their identity,
I feel things guys, #NoughtsAnd is felt to be integral to educate, inform and therefore, representing just one element
i really do— Crosses is so good.
broaden cultural perspectives (as well as
having emotional impact on invested
of this (focusing only on ‘blackness’
for example) can feel limiting and
LOOK AT OUR The tone is set just audiences) from diverse audiences who stereotypical. Narratives that highlight the
sephy and callum right. A negative
may see their experiences validated (e.g.
Black Twitter), through to passionate book
depth and complexities of what makes
up an individual is important, e.g. gender,
#NoughtsAnd of the Britain we readers who may be ‘waking up’ to their class, location, religion, sexuality, as well
Crosses thought we had
white privilege (e.g. typically white, female
readers of the book).
as ethnicity. We have seen with Noughts
and Crosses a conscious effort to
left behind but are Good representation is one part
address diversity by ensuring characters
are authentic. Not just showing faces of
fast heading back of the puzzle colour, but insights into people’s culture,
towards. Should Finally, we need to be mindful that
homes, lifestyles, passions, and struggles.
This is probably make some stop and representing cultural difference is only We look forward to seeing how Noughts
the first time this think but probably one part of the ‘compelling content’
formula. A representative cast and the
and Crosses contributes to creating
evolving conversation and helps open
much blackness not enough. Sadly portrayal of characters is integral, but so is new avenues, creating more authentic
has been on bbc too many are hard of delivering entertaining content, based on
needs and interests. Enthralling, emotive
and exciting storytelling with diverse
audiences.
without it relating thought. and timeless stories alongside thrilling
to gangs or drugs entertainment is what makes content
memorable, creates ‘talk-ability’ and
#NoughtsAnd ultimately keeps audiences coming back.
Crosses We also hear time and time again that
depicting multifaceted charactersFOR MORE
INFORMATION
CONTACT
YAS ASARE ANDERSON
Associate Director
Yas.AsareAnderson@ipsos.com
+44 (0)20 3059 5275
ABOUT THE TEAM
Yas’ qualitative career has seen her focus on harnessing
culture to drive change and inform strategy for media,
technology and youth brands. Yas has a particular interest in
championing diversity and has won a Virginia Valentine Award
for her work within this space. LAMBERTO FERRARA
Research Manager
Lamberto Ferrara is a trained semiotician, cultural analyst and Lamberto.Ferrara@ipsos.com
qualitative researcher. He applies his expertise in semiotics +44 (0)20 3059 5134
and cultural analysis to media and technology brands,
uncovering how they can leverage cultural context to create
compelling products and content.
Joe is an experienced qualitative practitioner with a
background in media and tech research. Joe has a passion for
understanding people and their behaviours and motivations. JOE ROBERTS-WALKER
Joe has a keen interest in how cultures are represented and Research Manager
specialises in helping his clients deliver this with authenticity, Joe.Roberts-Walker@ipsos.com
sensitivity, and accuracy. +44 (0) 7583 0503 29ABOUT IPSOS Ipsos, one of the world’s largest and most innovative research agencies, works for a widerange of global businesses and many government departments and public bodies. We specialise in solving a range of challenges for our clients, whether related to business, consumers, brands or society. Our areas of expertise range from brand, communication, media, innovation and healthcare research through to customer experience, corporate reputation and social and political research. At Ipsos we are passionately curious about people, markets, brands and society. We deliver information and analysis that make our complex world easier and faster to navigate and inspire our clients to make smarter decisions.
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