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Seeing Green – the ‘color-blind’ age

Films – our most powerful cultural vehicle – are, like our decisions about climate justice and immigration cruelty, only as good as the people who are making them. For a long time, the film industry hid behind a financial rationale behind the dearth of black, Latinx and Native American directors. Then it had to get even more sophisticated.

The NYT takes us back to the 1990’s, when supposedly everything was changing:

But as the decade wore on, a wall was re-erected, black filmmakers now say, and many of the same people who had been held up as the faces of a changing industry watched as their careers ground slowly to a halt.

“I was told that I was in director’s jail,” said Matty Rich, whose emotionally incendiary 1991 debut film, “Straight Out of Brooklyn,” won a special jury prize at the Sundance Film Festival that year. Major film studios hailed him as a prodigy. But he’s made only one other film since — in 1994.

Darnell Martin, whose vibrant 1994 romantic comedy “I Like It Like That” was the first studio-produced film to be directed by an African-American woman (it won the New York Film Critics Circle award for best first feature), said she was later blacklisted in the industry for speaking out against racism and misogyny.

“You think, ‘It’s O.K. — you’re like every other filmmaker,’ but then you realize, ‘No,’” she said. “It’s like they set us up to fail — all they wanted was to be able to pat themselves on the back like they did something.”

The New York Times recently convened a discussion with six directors who were part of a wave of young black talent that surged 30 years ago this month — beginning with the success of “Do the Right Thing” in July 1989 — only to come crashing down, as Hollywood in the 1990s and 2000s reconstituted itself around films with white directors and white casts.

It may sound obvious – it is – but the way filmmakers speak with a forward voice and vision is of course connected to those individual filmmakers. Our tender baby steps on diversity are quietly arriving after a very extended epoch of everything-else-has-been-tried-to-prove-we-aren’t-racist. Some remain convinced that everything hasn’t been tried, but still… teeny, baby steps. For more on the racial politics of the movie industry,  see this interview with the author of The Hollywood Jim Crow.

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Still away

A close up of a miniature model exhibit of the Green Corn Dance, at the American Museum of Natural History. What is the Green Corn Dance?

This is from the wikipedia entry on the Muskogee tradition of the Dance:

the Green Corn festival is called Posketv (Bus-get-uh) which means “to Fast”. This ceremony is celebrated as the new year of the Stomp dance society and takes place on the central ceremonial Square Ground which is an elevated square platform with the flat edges of the square facing the cardinal directions. Arbors are constructed upon the flat edges of the square in which the men sit facing one of the four directions. This is encircled by a ring-mound of earth outside of which are constructed the clan houses. In the center of this is the ceremonial fire, which is referred to by many names including ‘Grandfather’ fire. Ceremonially, this fire is the focus of the songs and prayers of the people and is considered to be a living sacred being who transmits our prayers to Ofvnkv (the One Above) and Hsakvtvmes (the Breathmaker). The whole general ceremony centers on the relighting of this ceremonial fire.

The Posketv is the Creek and Seminole New Year. At this time all offenses are forgiven save for rape and murder which were executable or banishable offenses. Historically nearly everything would be torn down and replaced within the tribal town. In modern tribal towns and Stomp Dance societies only the ceremonial fire, the cook fires and certain other ceremonial objects will be replaced. Everyone usually begins gathering by the weekend prior to the Posketv, working, praying, dancing and fasting off and on until the big day.

The first day of the Posketv is the Ribbon or “Ladies” Dance in which the women of the community perform a purifying dance to prepare the ceremonial ground for the renewal ceremony. Following this there is a family meal and by midnight all the men of the community begin fasting. The men sleep right outside the ceremonial square to guard it from intruders.

The men rise before dawn on the second day and remove the previous year’s fire and clean the ceremonial area from all coals and ash. There are numerous dances and rites that are performed throughout the day as the men continue to fast in the hot southern summer. During this time the women clean out their cook-fires as the central ceremonial fire is relit and nurtured with a special medicine made by the Hillis Hiya. Many Creeks still practice the sapi or ceremonial scratches, a type of bloodletting in the mid afternoon. Then the head woman of each family camp comes to the ceremonial circle where they are handed some hot coals from the newly established ceremonial fire, which they take back to their camp and start their cook fires.

During this time, men who have earned the right to a war-name are named and the Feather Dance is performed. This dance is a blessing of the area and a rite of passage for youths becoming men. It consists of 16 different performances including a display of war-party tactics and virility.

The fasting usually ends by supper-time after the word is given by the women that the food is prepared, at which time the men march in single-file formation down to a body of water, typically a flowing creek or river for a ceremonial dip in the water and private men’s meeting. They then return to the ceremonial square and perform a single Stomp Dance before retiring to their home camps for a feast. During this time, the participants in the medicine rites are not allowed to sleep, as part of their fast. At midnight a Stomp Dance ceremony is held, which includes fasting and continues on through the night. This ceremony usually ends shortly after dawn, part the participants in the previous day’s rites do not sleep till mid-day.

Posketv the “Ceremonial Fast,” commonly referred to as “Green Corn” in English is the central and most festive holiday of the traditional Muskogee people. It represents not only the renewal of the annual cycle, but of the community’s social and spiritual life as a whole. This is symbolically associated with the return of summer and the ripening of the new corn.

Just sayin’.

For more on the Green Corn Dance, see Mornings in Mexico by David Herbert Lawrence. Good luck finding it, however, interweb notwithstanding.

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Fun in the Hot House

Listening to the Stooges’ Fun House at the bar last night then biking home late, I was conscious of an extended moment amidst the swirl of information and goings-on. If you take so much in and do not take some time away to think and cavort, it can all be overwhelming. A sample of what’s around you:

Juan Cole on the UN call for a ceasefire and settler colonialism.

Well-chosen words on the aforementioned Obama stimulus package.

A fire burning for forty-six years?

The search for signs and meanings.

Astrophysicist/author discusses the implications of death by black hole.

DH Lawrence on Democracy (‘flip’ to page 63).

1997 Salon interview with Robert Hughes.

And finally, just a few things to look into.