Isn't it funny that the film student gets to blog about a movie?
"I say I'm proud to be black, I'm labelled a racist/
I can't be proud of who I am/
I am black woman, black woman I am/
I've been abused through history/
so how dare you say I can't be me/
I've quieted my spirit taking care of your kids/
fed my family and shed no tears/
I am black woman/
To have you tell me what I can and cannot do/
after all the shit you done put me through/
honey quiet down, cause I'm about to read you/
All you see when you look at me/
is tits, color and ass/
Then preach to me about how I should be/
and that I showered in arrogance/
You tell me its not my fault/
for being who I am/
but I am black woman, black woman yes"
"I say I'm proud to be black, I'm labelled a racist/
I can't be proud of who I am/
I am black woman, black woman I am/
I've been abused through history/
so how dare you say I can't be me/
I've quieted my spirit taking care of your kids/
fed my family and shed no tears/
I am black woman/
To have you tell me what I can and cannot do/
after all the shit you done put me through/
honey quiet down, cause I'm about to read you/
All you see when you look at me/
is tits, color and ass/
Then preach to me about how I should be/
and that I showered in arrogance/
You tell me its not my fault/
for being who I am/
but I am black woman, black woman yes"
The Watermelon Woman, a hybrid documentary-narrative drama, serves as our little window into a niche culture in the not-so-distant past. The film is very distinctly time-marked by its standard definition resolution, full aspect ratio and its use of 'hip hop' music to enhance the tone of the scenes. The viewer was thrown back and forth between uncut shots of interviews and 'behind the scenes' footage of Cheryl Dunye's filmmaking journey, as well as her struggle to find balance in her personal life. Dunye seeks to prove, using the 'Watermelon Woman,' that 'compound' minorities such as black lesbian women were relevant to US culture even back in a time period that did not care to document their existence.
As shown in "Looking for Langston," blacks and other racial minorities in the queer community faced an amalgamation of different types of discrimination during the 1920's. This battle on multiple fronts of race, sexual orientation and gender is still an issue today. Dunye's relationship with Diana in the film arguably parallels that of Fae Richards, the Watermelon Woman herself, and Martha Page, a white film director. Just as Page and Richards faced scrutiny for their relationship, Cheryl and Diana receive criticism from Cheryl's friend Tamara who does not like white women. Diana is the 'Beauty' to Cheryl's 'Alex,' and after providing inspiration Diana parts with Cheryl during the film just as Beauty did from Alex upon uttering "I'll wait." The motif of secrecy is strongly present, as Dunye works almost as a detective, finding clues to Page and Richards' past. Secrecy of identity has long been a relevant issue for most of the queer community, many of whom are still 'in the closet' in attempt to avoid complete ostracism.
The 'I Am Black Woman' song (lyrics above) from 51 minutes into the film seems at first to be merely background noise for a scene that illustrates the developing between Cheryl and Tamara. With closer observation, the spoken poetry proves to be an honest embodiment the frustration that those discriminated against feel. The poet is speaking bluntly to her audience about her dissatisfaction with being objectified and mistreated. But rather than blame a specific target, the poet chooses to focus on the development of her own identity. While the argument in this poem is easy to sympathize with, one would not expect to hear any sort of song titled 'I am straight white man.' In some form or another, hetero white males are already largely represented in modern society's culture, as they have been for centuries. However, many minorities such as blacks, queers and women feel they need to speak out in order to have a presence in society. The very fact that Cheryl Dunye had to search so hard to find legitimate documentation of just one lesbian biracial couple in the 1920's is proof of the lack of representation that is faced by historians today.
On another note, I look forward to hearing "Part II: I am Queer Human"
On another note, I look forward to hearing "Part II: I am Queer Human"
I totally saw that parallel between Diana and Cheryl's relationship throughout the movie as well. I also thought the tension between Tamara and Annie was also indicative of those racial tensions still being there as well.
ReplyDeleteWhat I also drew from the song, (which I now feel bad for glancing over during the screening), was how greatly it paralleled another great piece of spoken text. Sojourner Truth's "Ain't I A Woman?" is what came to my mind. I definitely couldn't help but put these right next to each other in comparison. Even though they are in two distinct time periods, they both speak to the discrimination and suffering African American women go through on a daily basis, and you're right, majorities don't need to speak out in society because their views are already heard and followed by the masses.
People like Cheryl and Sojourner had to go out and tell their own stories and fight for their rights in ways that maybe the society in charge wasn't comfortable with, and the way they both did it stick with us in very poignant and beautiful ways.
I love Sojourner Truth's "Ain't I a Woman?" And the parallel you draw between the two are fantastic, but also sort of funny as well because there is rampant controversy about whether Sojourner Truth's speech was actually recorded verbatim, or whether is was embellished post-facto. The sort of semi-realism strikes me now that I know that "The Watermelon Woman" was a mockumentary Still, I stand by the point I made in class that, not matter the level of truth or untruth, the message conveyed is still powerful, moving, and pulls us, as views, in a more positive and progressive direction.
DeleteI had never heard of Sojurner Truth's "Aint I a Woman" or "I am a Black Woman" but after reading them both, I think they greatly parallel this story. All of these women, including the characters of the movie, speak of the discrimination and suffering they faced, but there is also a sense of yearning for acceptance and understanding from the community around them. The reason Cheryl originally wanted to tell Fae Richards story is because Faes accomplishments and work had basically been ignored by the wider community, and in some ways I think this is how Cheryl felt about her larger community in regards to her sexuality, race, and attempts at being a film maker.
ReplyDeleteAlthough I wasn't crazy about the film itself (primarily because of the lackluster acting), I did enjoy how Cheryl's life began to parallel that of Fae Richards, as her film journey progressed. In the 1940s, racial tensions were high and homosexuality was locked away in little gay/lesbian clubs. There was a general prejudice towards both Black people and homosexuals. Richards and Page were not only allegedly entering a scandalous bi-racial relationship, but they topped it off by engaging in lesbian activity.
ReplyDeleteTalk about drama.
For Cheryl, although she could openly partake in a lesbian, biracial relationship with Diane, she experienced a certain level of prejudice by those around her. Her own friend, Tamara (and Tamara's girlfriend), express prejudice towards Cheryl's relationship because of Diane's skin color.
I think the parallels were intended to shape Cheryl's perspective on her own interracial relationship as compared to that of Richards'. This experience offers her the opportunity to face similar societal obstacles that Fae and Martha probably faced on a daily basis. Cheryl's relationship with Diane might have had a strong effect on her relationship with her film project. Now, she would've been more invested than ever.
I still can't believe that this wasn't real. I'm sorely disappointed. I mean, I know the movie was a little lackluster, as you say, because of the acting, but I really thought there was some sort of feminist underground that I could now go to, research, and learn about. I feel like I've been robbed of something that never really existed in the first place. I'm so sad.
DeleteJust because there isn't any there there doesn't mean you can't create it. There is so much GLBT history available to us just for the asking. It's up to us to record it though. If you are still interested in this history seek it out and make it permanent with video or audio recordings.
DeleteGreat job relating this film back to Looking for Langston. Now that you point it out, I see how the two films can tie into each other, which is something I missed when I initially watched it.
ReplyDeleteI too found it interesting that Cheryl's life began to parallel that of Fae as she starts to delve deeper in her journey to get more information on Fae's life.
Despite the acting, I must say I was thoroughly captivated with this film. It was very enjoyable, and informational simultaneously. I was immersed in the personal storyline of Cheryl’s daily life and relationships, and also consumed in the search for the watermelon woman. At times I felt disappointed that Cheryl had such difficulty obtaining information regarding Black women in film and wanted desperately for her to succeed in her search and completion of her film. At other times, I felt disppointed in the way interracial relationships were portrayed through Fae/Martha, Cheryl/Diana, and even with Tamara/Annie.
I found this movie very interesting and unique. The director Cheryl's quote at the end, "Sometimes you have to create your own history", caught my attention. The history of Fae and Martha was fiction, but the movie really opened my eyes to how hard it must have been for black actors--especially black lesbians--to be represented and acknowledged fairly. I admired Cheryl's dedication to finding out Fae and Marth's life together. And not only were they a lesbian couple, they were a bi-racial couple as well. It made me sad when even Martha's own sister said Martha was "not that kind of woman." There was so much judgment placed on the characters in the movie. The frowned upon relationship of Martha and Fae, the criticism Cheryl got from her friend, and the snide remarks Diana got from Tamara's girlfriend, it was overwhelming. Being a heterosexual, white female, this really opened my eyes to the things lesbian women (of any race) have to go through every day, just to have a relationship with the person that they love. 5 stars for Watermelon Woman.
ReplyDeleteJeremy, it's a rare treat to see you so in your element. I don't think there could be a better person to write on this particular piece than our resident RTF major. Not even a sentence into your analysis, you're making me appreciate aspects of the film I could never realize on my own. Kudos.
ReplyDeleteThe struggles of "compound minorities," as you so aptly phrased it, are in sore need of exploration even in today's more progressive culture. As a white, lesbian woman, who can choose to look stereotypical or not, I don't face nearly half the opposition and hardship that I know my family members of color face. I am so blessed, and I know it, and this feeling of privilege, and perhaps even a brand of survivor's guilt, makes "The Watermelon Woman" all the more moving in my eyes. I watched the film with two other lesbians, both of them of color, though not black, and neither seemed to be particularly inspired by it. Sure, the acting would rate a B at best, but the acting really wasn't the main point of the film. For me, it was so eye opening to be made to see the points that Cheryl highlights in her "project," from the nature of the black lesbian culture and how it differs from the other lesbian subcultures, as illustrated by the friction between Cheryl's best friends and Diana, as well as the caucasian goth/punk girl hired at the video store, to the long history of taboo interracial relationships, which is portrayed as an issue persistent even in modern culture.
Again, I'll admit that there were moments when the sub-par acting jarred me out of the avant-garde zen put over me by the film, but by the end, I was sitting quiet and contemplative while my friends complained of not understanding the film. Maybe it's because I've been studying the trials and tribulations of minorities in the USA-from blacks, native americans, immigrants, jews, women, gays-that I remain so ensnared by this subject, but I honestly believe that it has more to do with a newfound sense of responsibility to my fellow woman, my fellow lesbian, fellow human being to be more educated on the issues of queer people of color, and other "compound minorities." I am one, after all. But I am wholly aware of my ignorance.
Well I have to say watermelon woman movie was very interesting in that it mixed lesbian sexuality with racism in America (I suppose). As i was watching the movie, I somehow could relate the relationship between Cheryl and Diana with that of Fae, who is found to be the watermelon woman, and Martha Page. I am not sure if the relationship between Fae and Martha can be associated with sexual but I could get the picture that Martha Page and Fae had something going on. It is very clear that the bond between Cheryl and Diana created after having dinner and sleeping together at Diana's place signifies the gender and racial sexuality. Obviously, Cherly is an African American woman and Diana is completely opposite. However, race can't prevent the racial barrier between two geniune lovers.
ReplyDeletei think this is where Cherly draws some parallel similarities with Fae. Eventhough two people are separated by many centuries, both of them find and face exact difficulties of being lesbian and african american women. I also think that cherly who actually was a director and starred in the film aimed for mockery and cynicism. The cynicism was especially portrayed by Tamara, who furiously oppose cherly being together with diana. This was more of racial issue than lesbian but it still reflects the same reaction of straight people thinking of gay people. Tamara think the relationship between Cherly and Diana can not and will not go on just as when straight people talk about gay and lesbian relationship because it is simply out of norm.
The film "Watermelon Woman" is one, that as an African American woman myself, I can appreciate. Cheryl's experience in finding out if the watermelon woman is gay, is one that I feel as though many African Americans go through. Its a constant "mystery" or "shock" to others to find out that other races are gay or lesbian if it is not visually apparent or otherwise stated. The lack of queer African American film, photos and other archives only begins to touch on the culture itself, which is shown by Cheryl's constant enthusiasm into trying to determine if indeed Faye Richards and better yet, involved in an interracial relationship with Martha Page; who in my opinion, represents the white hegemony or power we still see today. Although Cheryl simply asks the question, "Who is the Watermelon Woman?", the undertones and sly remarks throughout the film continue to push the limits of contemplating what questions are the correct ones to ask and what answers could the world truly be waiting for.
ReplyDeleteI very much appreciate the decision to focus a segment on the nature of Diana and Cheryl's relationship because it plays so deeply on the basis of the film. It ultimately came down to not only the search for acceptance in an interracial relationship, but the notable differences between the "white" and the "black" respectively. At one point in the film Tamara specifically states that Cheryl is dating "a white woman who thinks she's black". Which poses the question, how exactly does one think they're black? How can one be black? Is it more than skin deep? Which circles all the way back around to the I Am Black Woman poetry, which highlights the african-american race as a lifestyle. A culture. That's much more than skin deep.
ReplyDeleteWhat Kelsea brings up is further explored in Dunye's early film, "The Potluck and the Passion." This short about a mix of friends and lovers at Cheryl's anniversary potluck looks into how one learns to negotiate the conventions of several cultures: African American, academic, lesbian, and feminist. It also centers around a potluck and explores the erotics of and resistances to cultural and intellectual exchange. Highly recommended!
ReplyDeletehttp://www.cheryldunye.com/films-creative/early-work/
Ooh honey, you don't know a thing about watermelon women until you've been to Toronto! This class has sass and you'll all pass as long as your work ain't crass. MEOW <3
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