I am not a witch in school. In various cultures and societies throughout history, witches have been regarded with fear and suspicion. The idea of someone possessing supernatural powers and using them for nefarious purposes has captivated the human imagination for centuries. However, it is essential to separate the boundaries of reality and fiction. One place where the concept of witches may persist is in educational institutions. Students are often quick to label their peers, particularly those who stand out for being different, as witches.
My article paints a very bleak picture of the film, but I laughed quite a few times during my first viewing of I Am Not a Witch. Most of the jokes come from the clashes between ancient traditions and the slow advance of globalization; for example, Shula’s trial gets interrupted many times by the “Old MacDonald Had a Farm” ringtone the elderly owner of the phone didn’t know how to mute. At one point, the witches received wigs labeled with the misspelled names of celebrities like “Beyancey.”
In theory, the official recognition of the authorities sanctioned by tradition seems like a good step toward decentralization in post-colonial reality. That most of the women at the camp are elderly exposes the reality of a global society where, in many places, the elderly, particularly elderly women, are considered at best an inconvenience and at worst a problem which must be eradicated.
Students are often quick to label their peers, particularly those who stand out for being different, as witches. This label can be incredibly harmful, leading to isolation, bullying, or even violence. It is crucial to understand that these accusations are baseless and harmful.
I Am Not a Witch review – magical surrealism
I n a remote Zambian village, a nine-year-old girl (Margaret Mulubwa) is accused of being a witch and given a stark choice: to accept her supernatural branding and live a tethered life as a sorceress, or to cut her ties with local tradition and be transformed into a goat that may be killed and eaten for supper. Thus begins this bewilderingly strange yet terrifically sure-footed feature debut from writer-director Rungano Nyoni. Born in Zambia and part-raised in Wales, Nyoni first made international waves with such award-winning shorts as Mwansa the Great (2011) and Listen (2014). Now, this daringly satirical parable of magic and misogyny, superstition and social strictures confirms her promise as a film-maker of fiercely independent vision, with a bright future ahead.
Unsurprisingly opting to embrace her supernatural status, the young heroine of I Am Not a Witch is sent to the local “witch camp”, an enslaved tourist attraction. Here, the women offer a sense of community and protection to the all-but-silent newcomer, whom they name Shula (“it means ‘to be uprooted’”). But when government official Mr Banda (Henry BJ Phiri) declares that “you are my little witch now”, a strange form of celebrity looms. Soon, Shula is being paraded around local courts and TV stations, dispensing divine justice and hawking magical eggs – all for the profit of her garrulous keeper. “What if she’s actually just a child?” asks the presenter of the Smooth Talk chatshow, a question that is met with stony silence from her “state guardian”.
Nyoni was apparently inspired by real-life reports of witchcraft accusations in Zambia, and her research took her to Ghana, where she became the first foreigner to sleep in one of the world’s oldest “witch camps”. Here, she observed first hand the daily rituals of these women whose fates have been sealed by “nothing more than hearsay”. Yet for all its factual grounding, I Am Not a Witch is also a work of fairytale invention, unravelling the threads of its quasi-mythical narrative with anarchic aplomb. In particular, the motif of women restrained from flight by vast lengths of white ribbon has a touch of Charles Perrault or the brothers Grimm – a magical-realist conceit that brilliantly dramatises the down-to-earth reality of the ties that bind.
Margaret Mulubwa is a mesmerising presence, her stoical countenance broken occasionally by a radiant smile
There’s a hint of the absurdist tragicomedy of Yorgos Lanthimos’s The Lobster too, as Shula faces a Kafkaesque choice between enforced conformity and metamorphosis. Brilliantly, Nyoni keeps her audience wondering whether they’re meant (or allowed?) to laugh or cry at this insane predicament, juxtaposing scenes of poignant despair with sociopolitical existential slapstick. Early accusations of witchcraft have an almost Pythonesque quality, while a sequence in which a show trial is interrupted by a mobile phone is pure farce. Fans of Chilean surrealist Alejandro Jodorowsky will warm to a streak of deadpan humour that is drier than the arid plains upon which Shula dances to summon the rain.
Having worked monochrome miracles on Ciro Guerra’s Amazon odyssey Embrace of the Serpent, cinematographer David Gallego here conjures a kaleidoscope of arresting tableaux: lonely Shula listening through a blue horn to the distant laughter of schoolchildren carried on the wind; a huge orange truck with women tied to outstretched reels, like some mobile fairground ride; the open mouth of a giant head looming towards us, while a frightened child huddles within. These images are hauntingly composed and dreamily sustained, the length of the shots heightening comedy and tragedy alike, with heartbreaking results. Meanwhile, music cues swerve from Vivaldi to Estelle, keeping the audience on edge and uneasy.
At the centre of it all is a group of nonprofessional players, led by young Margaret Mulubwa, who was discovered during a location recce in Luapula Province. And what a discovery she is! With a face that can transform from innocence to defiance in an instant, Mulubwa is a mesmerising screen presence, her stoical countenance broken occasionally by a radiant smile that lights up the landscape.
As for Nyoni, her ability to blend cruel humour, pointed satire and empathetic anger to produce something touched by tragic transcendence is astonishing. In interviews, she has described watching Michael Haneke movies as “my film school” (perhaps those white ribbons are a homage?). Yet she has also talked enthusiastically about her love of the witchy 1996 teen fantasy The Craft. With such wide-ranging influences, who knows what this remarkable film-maker will do next? Having been spellbound by her audacious first feature, I can’t wait to find out.
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The film’s main character is a nine-year-old Zambian girl named Shula who gets dragged into the police station of a new town because she frightened a woman and made her drop a bucket of water. We never learn what made her wander into a place she’s never been before. More importantly, no one seems concerned about any trauma that could have led her there. As someone who worked in the education sector, my first intuition would be to ask an oddly-behaving child where his or her parents are and if everything is all right. We gather that every stranger in the village was automatically labeled as a witch, especially when they are too afraid to speak out and explain themselves. Shula never said, “I am not a witch”—and the consequences are fatal.
No one, including students, has the power to perform witchcraft or possess supernatural abilities. Such beliefs perpetuate stereotypes, discrimination, and an atmosphere of fear and paranoia. Unfortunately, being labeled as a witch in school can have serious consequences. The victim may experience social withdrawal, academic difficulties, mental health issues, and even physical harm. It is the responsibility of teachers, administrators, and parents to create a safe and inclusive environment where all students feel accepted and protected. Schools must implement comprehensive anti-bullying programs to address and prevent such issues. It is essential to educate students about the dangers of stereotypes, the importance of diversity, and the harmful impact of bullying. By fostering empathy, understanding, and respect, schools can counteract the stigmatization of those labeled as "witches" and create a sense of belonging for all students. It is essential for students who are victims of witch accusations to seek support from trusted adults, teachers, or counselors. By speaking up, they can receive the necessary assistance and find allies who will help change the harmful narrative. We must remember that no one deserves to be discriminated against or treated unfairly based on baseless claims. In conclusion, the notion of being a witch in school is an unfounded stereotype that can lead to harmful consequences for students. It is important to dispel these myths, educate students about the dangers of discrimination, and create safe and inclusive learning environments where all students can thrive. No one should be labeled as a witch or subjected to bullying and discrimination based on baseless assumptions. Our schools should be places of acceptance, understanding, and growth, rather than breeding grounds for fear and prejudice..
Reviews for "Beyond the surface: Looking beyond appearances in a school setting"
1. John Smith - 1 star
I am not a fan of "I am not a witch in school". I found the story to be quite dull and the characters lacked depth. The plot felt disjointed and I struggled to stay engaged throughout. Additionally, the writing style was not to my liking, as it lacked the necessary descriptive details to bring the story to life. Overall, I was disappointed with this book and would not recommend it.
2. Sarah Johnson - 2 stars
"I am not a witch in school" was a letdown for me. The pacing was incredibly slow, making it difficult for me to get invested in the story. The protagonist, who is supposed to be a witch, lacked any sort of intrigue or interesting powers, which made it hard for me to connect with her. The conflicts presented were predictable and lacked complexity. Overall, this book fell short of my expectations and I would not read it again.
3. Michael Thompson - 1 star
I really did not enjoy "I am not a witch in school". The writing style was very basic and the dialogue felt forced. The storyline was repetitive and lacked depth. I found it hard to care about the characters or their struggles. The world-building was underdeveloped, leaving me with more questions than answers. Unfortunately, I found this book to be a waste of my time and would not recommend it to others.
4. Emily Davis - 2 stars
"I am not a witch in school" was a disappointment for me. The plot felt cliché and unoriginal, with predictable twists. The characters were one-dimensional and lacked any real growth or depth. The writing style was lackluster and failed to create a captivating atmosphere. Overall, I was not impressed with this book and would not recommend it to fellow readers.