For a small city, Kingston is quite cosmopolitan. And this has nothing to do with our deceitful national motto. That’s a whole other story about large-scale self-deception. Out of which many? Jamaica is a nation of African people with a minority of other racial groups.
And as for those black Jamaicans who don’t want to be African, Peter Tosh sets them straight:
“Don’t care where you come from,
As long as you’re a black man
You’re an African.”
So what’s cosmopolitan about Kingston? It’s all those cultural events every single week. And many are free. Our colleges and universities offer so much: public forums, film screenings, book launches, concerts, theatrical productions. And foreign embassies provide regular opportunities to explore other cultures.
The Alliance Francaise recently screened a brilliant documentary, Trop Noir Pour Etre Francaise?/Too Black To Be French? It’s framed as a question. But the implied answer is definitely affirmative. The filmmaker, Isabelle Boni-Claverie, was at the screening and generously answered questions.
Isabelle was born in Ivory Coast and at four months went to live in France. She returned at eight and had a hard time fitting in. Her classmates mocked her accent and decided that she was stuck up. She was too French to be Ivorian and too black to be French.
Isabelle’s 2015 documentary starts with her privileged family. She’s the granddaughter of Alphonse Boni, a distinguished jurist from Ivory Coast who became the first French magistrate of African origin. When Ivory Coast became independent, Boni was appointed as minister of justice and then president of the Supreme Court.
Isabelle’s grandmother, Rose Marie Frederique Galou, was a white law student from rural France. Her grandparents’ marriage in 1931 took place at midnight in complete privacy. In racist societies like France, class privilege cannot protect black people (and their white companions) from constant abuse.
WORKING LIKE A NIGGER
Too Black To Be French? widens its perspective to include other voices reflecting on what it means to be black in France. The documentary was provoked by a rather stink remark made on national television in 2010 by the perfume maker Jean-Paul Guerlain. Talking about a new product, Guerlain casually said, “I worked like a nigger. I don’t know if niggers have always worked like that, but anyway.”
Talk about adding insult to injury! Isabelle was enraged. She launched an Internet-based campaign against Guerlain and, along with other protestors, organised demonstrations outside Guerlain’s flagship store in Paris. But many nice and decent French people couldn’t see what the fuss was about. Working like a nigger was just a common expression. All the same, Guerlain was convicted in court for his racist insult and fined €6,000. Small change!
Two other films by Isabelle were screened in Kingston last weekend, thanks to David Morrison. Her 1998 short film, Le Genie d’Abou/Abu’s Genie, explores the issues of race and sexuality in a murderously disturbing way. Her 2004 film, Pour La Nuit /For The Night, beautifully shows how Muriel and Sam, total strangers, comfort each other the night before her mother’s funeral and his wedding.
Speaking of being cosmopolitan, for the last 15 years, David has been showcasing foreign films on Friday and Saturday nights, first at Redbones, then at the Liguanea Club. He’s now at an intimate venue, 3 Stanton Terrace. There’s no admission charge. David welcomes contributions to offset costs.
Last month, the Africa World Documentary Film Festival was held at the University of the West Indies, Mona. Twenty films were screened over three days. Admission was free. I was surprised that Ota Benga was not included. The curator of the festival, Professor Adeniyi Coker of the University of Missouri-St Louis, explained that since he co-directed the film with Jean Bodon, he didn’t think it appropriate to select his own work.
I understood his reservations, but I persuaded him that we needed to see the film. It was screened as a brawta to the festival. The film sensitively tells the traumatic story of Ota Benga, a man from the Congo, who was put on display at the 1904 World’s Fair in St Louis. Things got rather worse for him.
On Sunday, September 9, 1906, The New York Times published a story with the headline, “Bushman Shares a Cage With Bronx Park Apes”. The article did admit that “some Laugh Over His Antics, but Many Are Not Pleased’. It added, “‘Something about it I don’t like,’ was the way one man put it.” We don’t know who this man was. But he did have a conscience.
The next day, black clergymen met at Harlem’s Mount Olivet Baptist Church to strategise. That afternoon, they went to the zoo to see for themselves. They confronted the zoo’s founding director and curator, William Hornaday, who insisted that the exhibition was all in the interest of science! By the end of September, more than 220,000 visitors had viewed Ota Benga. The zoo had never made so much money so quickly.
Provocatively billed as “From Ota Benga to President Obama”, the film had its world premiere on November 1 at the National Museum of African Art in Washington, DC. How much has changed over the last century? Just think of those demeaning cartoons of Michelle and Barack Obama as apes. The White House is certainly not the preferred cage in which diehard racists would like to see them.