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Spring/Summer 2019

At the guts of my work is a priority with black women’s experiences, and important to that work are questions that unearth how African American women respond to processes of cultural commodification. To get at this concern, I'm guided by three associated questions: how are black women’s religious experiences practiced, how are these practices represented, and what are the implications of those representations? As I've explored these questions, I've been struck by three discoveries: 1) that students, like many of us, are significantly drawn to visible representations of black girls; 2) that, in many cases, viewers are drawing from a limited toolkit to grasp and interpret those representations; 3) that visible representations are inclined to obscure black women’s dynamic religious experiences.

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In my efforts to construct methods for these factors of discovery to intersect, my scholarship, my teaching, and now my own foray into the formal study of filmmaking, I analyze how religion influences how black women’s our bodies are “read” within popular varieties like movie. My co-edited anthology Womanist and Black Feminist Responses to Tyler Perry’s Productions (Palgrave Macmillan, 2014) takes up the concern that Tyler Perry has monopolized the structure and construction of black women’s religious narratives in well-liked tradition, and that the stakes of that monopoly are particularly excessive when his productions are seen as “the voice” for black girls. I also discover the artistic responses within black communities and the way black feminist/womanist discourse help us interpret these nuanced, fashionable depictions.

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There are numerous sources that study standard representations of the black female physique, that consider the implications of the fats body, and that discover the complicated relationship between race and film. I am developing a essential theory of the black feminine body in religious practice that concurrently emerges from film theory and the voices of viewers who devour these photographs. But, I have found that contemporary work not often addresses the advanced intersections among race, embodiment, gender, and religion in well-liked culture. That may be a void my work seeks to fill, and it's the driving power behind my present mission, “Pushing Weight: Religion, Fashionable Tradition, and the Implications of Picture.” In “Pushing Weight,” I look at representations of black ladies in fat suits worn by black males in widespread film (Tyler Perry, Eddie Murphy, and Martin Lawrence specifically) to indicate how stereotypes of black ladies are bolstered by the performance of religion and are used to copyright overly simplistic portrayals of black ladies in in style media.

This theory that I speak of is explicitly knowledgeable by the day-to-day lived experiences of black women, and can also be informed by two conceptual frameworks. This waffling between taciturnity and objectification is a contradiction that Dorothy Roberts captures beautifully.1 This paradox is due in massive part to histories of reading the black physique as other and to contemporary representations of the black physique in standard culture, and it has lasting implications for the ways in which the body is engaged (or suppressed) inside black religion. The first is the paradox of silence and show-the concept black bodies are continually negotiating a type of invisibility, on the one hand, where any emphasis on the physique is muted, downplayed, or ignored, and a type of excessive visibility, alternatively, the place the black body is displayed in such a method that it receives unique and predominant emphasis.

This paradox is particularly difficult for black of us. Within the religions of the African diaspora, the body performs a selected role within the lived adherence of faith, the place the literal enactment and expression of belief is encountered, enacted, and mediated by way of the physique. Relatedly, black folks struggle-like most religious groups-with a really deep contradiction, where the physique is an important location wherein to encounter the divine, yet the place corporeality is diminished with a view to make acceptable room for the divine.2

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This sacred type of “double consciousness” cannot be underestimated, and it is tied to the second conceptual framework that guides my work, and that's of the advanced relationship between body fictions and what Deborah Walker King calls the fictional double. Black ladies face explicit challenges when their externally defined identities (especially their religious identities) and representations as bodies-their body fictions-communicate louder than what they know to be their experiences. This collision exists between real our bodies and an unfriendly informant: a fictional double whose goal is to mask individuality and mute the voice of personal company.Three The relationship between physique fictions and the fictional double is very difficult because it creates a visible vacuum during which black girls are usually not interpreted as people, where exposure to experiential examples is restricted, and where opportunities to see oneself represented within the broadest ways possible are all too few.

Movie & Television

Queen Sugar, produced by Ava DuVernay and Oprah Winfrey, Forward Motion, Harpo Films, and Warner Horizon Scripted Television.
Being Serena, produced by Nelson and Rick Bernstein, HBO Sports activities and IMG Unique Content.

Black ladies are literally fighting, at each visual flip . . . to see and discover genuine, actual representations of themselves in what they see-we see-in standard media kinds similar to movie and television.

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Taken together, the paradox of silence and display, body fictions, and the fictional double imply that black girls are literally preventing, at every visual flip, to avoid being was or interpreted as a visible stereotype and to see and find real, real representations of themselves in what they see-we see-in common media forms similar to film and tv.

If I am painting a bleak image, it's purposefully so, but it's not a picture that's with out some hope. I am going to do one thing that I rarely do, which is to supply, in a really public venue, a claim that I've yet to totally substantiate, however for which I have a pretty sturdy hunch.

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If there may be any argument to be made it is this: the medium of documentary holds the best possibilities for providing positive, holistic, various, advanced, “fully fleshed out” representations of black women’s religious experiences.

Actually, all the mediums that I will talk about have their problems: the cinematic gaze they create, how they're funded and distributed, and who is making and viewing all of them have an impact on the meaning they make. I point out this quickly right here, not to dismiss these challenges, however to denote the additional layers of complexity they deliver to this enterprise of analyzing their impact on our contemporary religious literacy, particularly as it pertains to black women’s religious expression. And yet I nonetheless want to make a case for the documentary format, however not before I speak about characteristic movies and television sequence.

The Characteristic Film
The function film, which is notably brief (typically beneath three hours), fictional, and created for the purpose of leisure, is the least capable of finest representing black women’s religious experiences. I have already talked about this, but I've the great fortune of spending plenty of time watching Tyler Perry’s films. I focus on Tyler Perry partly because of his recognition, the sheer amount of films he makes, and his distinctive position as a black filmmaker, producer (director, and author) who has made almost a billion dollars on his varied films, who owns his personal studio, and whose films usually implicitly, and almost at all times explicitly, depict black women’s religiosity.

Teraji P. Henson in Acrimony. Tyler Perry Studios.

Tyler Perry’s explicit representations of black womanhood-like his representations of African American religion-are riddled with inconsistencies, contradictions, and downright problematic renderings. Is Perry a master showman or a glorified stagehand inside a broader symbolic church manufacturing? Is Perry’s gun-toting grandmother, Madea, a mediated conglomerate of historical black feminine tropes, or an insightful religious critic with an axe to grind with the historical black Protestant church? And may the author, producer, director, entrepreneur, actor Tyler Perry adequately depict the complexities of black women’s experiences and spiritual identities, and, even if he might, should he?

Serious about these questions makes the insertion of Tyler Perry, who adeptly gives his personal interpretation of black womanhood, black women’s sexuality, and black female spirituality, particularly intriguing. Whether within the drunken rage expressed by the primary character, April (Taraji P. Henson) in I Can Do Bad All by Myself (1999); the obsessive, “hell hath no fury” vitriol Melinda (Taraji P. Henson) spews upon her ex-husband in Acrimony (2018); or the sentiment expressed within the title of his first characteristic-length movie, Diary of a Mad Black Lady (2005), Tyler Perry has cultivated an especially problematic model of films that firmly find black ladies inside the indignant black woman trope. One of many masterful effects of Tyler Perry’s productions-and significantly movie-is that they articulate exactly what and who the fashionable, “good” black woman must be, even when she is angry.

Tv
I look more favorably upon the medium of television, and particularly the extended or collection format, which I imagine surpasses film within the potentialities it provides in representing black girls, their experiences, their bodies, their epistemologies, and their religions.

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Take, for instance, the series Queen Sugar, which Ava DuVernay produces and directs and for which Oprah Winfrey serves as government producer and that she distributes on the Own network. I can't say enough about how amazingly lovely this present is. The siblings’ relationships are nuanced, evolving, and estranged, and captured in ways that any of us who have households immediately resonate with. The story follows the Bordelone siblings, Ralph Angel (Kofi Siribo), Nova (Rutina Wesley), and Charley (Daybreak-Lyen Gardner) as they grapple with losing their father, who bequeathed a failing 800-acre sugar cane farm to them.

One still picture depicts one of the most powerful scenes in the primary season, where we witness the family come apart whereas coming together, and it is one thing to witness. It is powerful to behold such lovely blackness and dynamic black religious expression represented on the screen. Not solely will we get a beautifully shot scene of three siblings, with very completely different lives and viewpoints, coming together to bury their father, however we also get to see the sacred rituals of African American religion laid bare. Nova is the spiritual glue that holds the household collectively, and a conjure woman no much less. Nova, who's in the center, is an activist and writer, however she is also an avid believer in African-derived spiritualist practices and a folks healer who makes use of local, pure herbs and treatments to heal damaged black bodies. Christian rites, sure, but in addition, the last rites of the Prince Hall Freemasons supplied over Ernest’s body.

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That power shouldn't be something that must be taken calmly. She not solely described the importance of illustration on the screen, but she also famous: “Getting the prospect to play a gorgeous gorgeous black girl with dreads [who’s] sensible, funny, witty, chaotic . . . She’s every little thing. It’s a brown girl’s dream as a result of she’s a real human being.” To be a “fully-fleshed out,” proud, black woman makes her portrayal as Nova so particular. In an interview with HuffPost, Rutina Wesley actually teared up when requested about what enjoying Nova has meant to her. That this present is produced and directed by DuVernay, and that every episode is directed by a woman, says something about the ability of the narratives they'll create.4

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Documentary
Just like the scripted tv series, the documentary format is a nonfictional movie with the intent of showing facets of actual life. It is a powerful thing to decide on how to characterize yourself and to base that illustration on the way you see your self to be, versus how others see you. It is most powerful due to that reality, and since it allows women to tell their very own tales in their own words.

Being Serena. HBO.

One great example of this genre that has largely flown beneath the radar is Being Serena, a 5-part docuseries on Serena Williams (HBO). In the primary episode of the collection, Williams paperwork her pregnancy from the second she learns she is pregnant till her hospital supply. In numerous candid shots of Williams in her most intimate moments, we be taught that she is rather like most different first-time mother and father, and that she worries about her ability to “be one of the best mom she may be, but in addition to be the world’s best tennis player.” Williams is arguably the greatest athlete of all time, and she allows us-in her own phrases and in her personal method-access to her life, a life that we have no right to, but that she has chosen to share.

The mediated entry we're given, nonetheless, has confirmed to not be enough for some. In a scathing critique of the docuseries, Slate writer Christina Cauterucci characterizes Being Serena as “surprisingly missing in humanity,” which she attributes partly to Williams’s “stilted narration,” in massive half as a result of she discovered it to be too guarded. To Cauterucci, viewers profit from an all-entry view into Serena’s life, but they do not learn very much concerning the motives underlying her passions, pursuits, and drive as a result of she “provides no entry to her coronary heart or mind.”5

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And but, Cauterucci’s declare about Williams’s seeming guardedness speaks proper to the guts of religious illiteracy and to an important incontrovertible fact that we can not ignore: Serena Williams is a training Jehovah’s Witness. To convey pointless consideration to herself and her life outdoors of her sport is murky territory for her to navigate inside her faith, something that she has talked about in numerous interviews over the years.

I want to make the case that, no matter what writers, reporters, producers or shoppers would possibly assume, Serena Williams has each proper to depict and painting herself in the light she chooses-even when, and maybe particularly as a result of, we won't perceive it. There's one thing mighty highly effective about telling our own stories, in our own words and in our own method, and documentaries give us the opportunity to do just that. They provide us with the opportunity to tell our own stories-of our bodies and our faiths-and, in so doing, dismantle the bodily fictions that would diminish the positive ways we see ourselves while upholding that troubling paradox of silence and display.

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In any case, the want to be absolutely fleshed out-to have all that we see, experience, love, know, and believe visualized in a approach that reflects how we see ourselves as the complex human beings we know ourselves to be-is essential to being truly seen and understood. And so we fight to ensure that the genuine, the true, the genuine, and the factual supersede the stereotypical, the imposed, the manufactured, and the fictional. This is the visual goal toward which we try.6 And, no matter the restrictions that want could yield, we now have discovered by means of expertise that having someone else render our representations is a much less appealing various.

1. Dorothy Roberts, “The Paradox of Silence and Show: Sexual Violation of Enslaved Women and Contemporary Contradictions in Black Female Sexuality,” in Beyond Slavery: Overcoming Its Religious and Sexual Legacies, ed. Bernadette J. Brooten (Palgrave Macmillan, 2010), 41-60.
2. LeRhonda S. Manigault-Bryant, “African and African Diaspora Traditions: Religious Syncretism, Eroctic Encounter, and Sacred Transformation,” in Religion: Embodied Religion, ed. Deborah Walker King (Indiana University Press, 2000).
3. See the video interview, “Rutina Wesley on the great thing about Taking part in ‘Fully-Fleshed Out’ Black Feminine Character,” on www.huffpost.com. 4. Christina Cauterucci, “Show Every part, Reveal Nothing,” Slate, Could 2, 2018.
5. This is an edited version of a panel presentation I delivered at the “Religious Literacy and Business: Media Entertainment” symposium, sponsored by the Religious Literacy Project and held at Harvard Divinity Faculty on September 20-21, 2018. Kent L. Brintnall, Macmillan Interdisciplinary Handbooks (Macmillan Reference, USA, 2016), 183-201.
Physique Politics and the Fictional Double, ed.

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LeRhonda Manigault-Bryant is Affiliate Professor of Africana Studies at Williams School. She is the author of Speaking to the Dead: Religion, Music, and Lived Memory amongst Gullah/Geechee Women (Duke College Press, 2014) and co-editor, with Tamura A. Lomax and Carol B. Duncan, of Womanist and Black Feminist Responses to Tyler Perry’s Productions (Palgrave Macmillan, 2014). You could find her including colorful, crucial, commentary to the Twitter universe through @DoctorRMB.