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At the center of my work is a priority with black women’s experiences, and critical to that work are questions that unearth how African American ladies reply to processes of cultural commodification. To get at this concern, I am guided by three related questions: how are black women’s religious experiences practiced, how are those practices represented, and what are the implications of these representations? As I have explored these questions, I've been struck by three discoveries: 1) that college students, like many people, are significantly drawn to visual representations of black women; 2) that, in many instances, viewers are drawing from a restricted toolkit to grasp and interpret those representations; 3) that visible representations are likely to obscure black women’s dynamic religious experiences.

In my efforts to construct ways for these points of discovery to intersect, my scholarship, my instructing, and now my own foray into the formal study of filmmaking, I analyze how religion influences how black women’s bodies are “read” within fashionable types like film. 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 development of black women’s religious narratives in standard culture, and that the stakes of that monopoly are particularly excessive when his productions are seen as “the voice” for black ladies. I additionally discover the creative responses inside black communities and the way black feminist/womanist discourse help us interpret these nuanced, common depictions.

There are a variety of sources that study in style representations of the black female physique, that consider the implications of the fats body, and that discover the complicated relationship between race and movie. I'm developing a vital idea of the black female physique in religious follow that simultaneously emerges from film theory and the voices of viewers who eat those pictures. But, I have discovered that contemporary work hardly ever addresses the complex intersections amongst race, embodiment, gender, and religion in popular culture. That is a void my work seeks to fill, and it's the driving drive behind my current undertaking, “Pushing Weight: Religion, In style Culture, and the Implications of Picture.” In “Pushing Weight,” I take a look at representations of black women in fats fits worn by black men in widespread film (Tyler Perry, Eddie Murphy, and Martin Lawrence in particular) to point out how stereotypes of black girls are bolstered by the efficiency of religion and are used to copyright overly simplistic portrayals of black girls in popular media.

This principle that I communicate of is explicitly informed by the day-to-day lived experiences of black girls, 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 large part to histories of studying the black body as other and to contemporary representations of the black physique in fashionable tradition, and it has lasting implications for the ways in which the physique is engaged (or suppressed) inside black religion. The first is the paradox of silence and display-the concept black bodies are continuously negotiating a kind of invisibility, on the one hand, the place any emphasis on the physique is muted, downplayed, or ignored, and a sort of excessive visibility, however, where the black physique is displayed in such a manner that it receives exclusive and predominant emphasis.

This paradox is especially complicated for black people. Throughout the religions of the African diaspora, the body performs a particular position in the lived adherence of religion, where the literal enactment and expression of perception is encountered, enacted, and mediated by way of the body. Relatedly, black of us struggle-like most religious teams-with a very deep contradiction, the place the body is a vital location during which to encounter the divine, yet where corporeality is diminished in an effort to make applicable room for the divine.2

This sacred form of “double consciousness” can't be underestimated, and it is tied to the second conceptual framework that guides my work, and that's of the advanced relationship between physique fictions and what Deborah Walker King calls the fictional double. Black ladies face particular challenges when their externally outlined identities (especially their religious identities) and representations as our 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 intention is to mask individuality and mute the voice of non-public company.3 The connection between body fictions and the fictional double is particularly complicated as a result of it creates a visible vacuum during which black girls should not interpreted as individuals, the place exposure to experiential examples is proscribed, and where alternatives to see oneself represented within the broadest methods attainable are all too few.

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Film & Tv

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

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Black girls are actually fighting, at each visual flip . . . to see and discover genuine, real representations of themselves in what they see-we see-in well-liked media types corresponding to movie and television.

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Taken together, the paradox of silence and show, body fictions, and the fictional double imply that black ladies are literally combating, at each visual flip, to avoid being become or interpreted as a visual stereotype and to see and find genuine, actual representations of themselves in what they see-we see-in well-liked media kinds resembling film and tv.

If I'm painting a bleak picture, it's purposefully so, but it is not a picture that is with out some hope. I am going to do one thing that I not often do, which is to offer, in a really public venue, a claim that I've but to fully substantiate, however for which I've a fairly sturdy hunch.

If there is any argument to be made it is this: the medium of documentary holds the greatest prospects for providing positive, holistic, numerous, complicated, “fully fleshed out” representations of black women’s religious experiences.

Certainly, all the mediums that I'll discuss have their issues: the cinematic gaze they create, how they are funded and distributed, and who is making and viewing all of them have an impact on the that means they make. I point out this quickly right here, to not dismiss these challenges, but to indicate the extra layers of complexity they carry to this enterprise of analyzing their impression on our contemporary religious literacy, especially as it pertains to black women’s religious expression. And but I still wish to make a case for the documentary format, but not before I speak about feature films and tv series.

The Characteristic Movie
The feature movie, which is notably quick (typically below three hours), fictional, and created for the aim of leisure, is the least capable of finest representing black women’s religious experiences. I've already mentioned this, however I've the great fortune of spending lots of time watching Tyler Perry’s movies. I focus on Tyler Perry partially due to his popularity, the sheer quantity of movies he makes, and his unique position as a black filmmaker, producer (director, and author) who has made practically a billion dollars on his various films, who owns his personal studio, and whose movies often implicitly, and virtually always explicitly, depict black women’s religiosity.

Teraji P. Henson in Acrimony. Tyler Perry Studios.

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Tyler Perry’s particular 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 female tropes, or an insightful religious critic with an axe to grind with the historic black Protestant church? And might the writer, producer, director, entrepreneur, actor Tyler Perry adequately depict the complexities of black women’s experiences and spiritual identities, and, even when he might, should he?

Fascinated by these questions makes the insertion of Tyler Perry, who adeptly provides his own interpretation of black womanhood, black women’s sexuality, and black female spirituality, particularly intriguing. Whether or not in 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-size film, Diary of a Mad Black Woman (2005), Tyler Perry has cultivated an especially problematic model of movies that firmly locate black women inside the offended black lady trope. One of the masterful effects of Tyler Perry’s productions-and notably movie-is that they articulate exactly what and who the fashionable, “good” black girl needs to be, even when she is offended.

Television
I look more favorably upon the medium of television, and particularly the prolonged or collection format, which I consider surpasses movie within the prospects it offers in representing black girls, their experiences, their our bodies, their epistemologies, and their religions.

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

One still picture depicts probably the most highly effective scenes in the primary season, where we witness the family come apart whereas coming collectively, and it's something to witness. It's highly effective to behold such stunning blackness and dynamic black religious expression represented on the display screen. Not only do we get a beautifully shot scene of three siblings, with very completely different lives and viewpoints, coming collectively to bury their father, however we additionally get to see the sacred rituals of African American religion laid naked. Nova is the spiritual glue that holds the family together, and a conjure woman no less. Nova, who is in the middle, is an activist and writer, but she is also an avid believer in African-derived spiritualist practices and a folk healer who uses local, pure herbs and cures to heal damaged black our bodies. Christian rites, yes, but additionally, the last rites of the Prince Hall Freemasons provided over Ernest’s body.

That energy shouldn't be one thing that ought to be taken lightly. She not only described the significance of representation on the display, however she additionally famous: “Getting the prospect to play a fantastic gorgeous black woman with dreads [who’s] good, humorous, witty, chaotic . . . She’s every little thing. It’s a brown girl’s dream as a result of she’s an actual human being.” To be a “fully-fleshed out,” proud, black girl 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 girl, says something about the power of the narratives they can create.4

Documentary
Like the scripted television collection, the documentary format is a nonfictional movie with the intent of displaying facets of real life. It is a robust thing to choose the best way to signify your self and to base that illustration on how you see your self to be, versus how others see you. It's most highly effective due to that actuality, and since it permits girls to inform their very own tales in their very own phrases.

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Being Serena. HBO.

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One nice instance of this style that has largely flown beneath the radar is Being Serena, a five-half docuseries on Serena Williams (HBO). In the primary episode of the collection, Williams documents her pregnancy from the moment she learns she is pregnant until her hospital delivery. In numerous candid shots of Williams in her most intimate moments, we learn that she is just like most other first-time dad and mom, and that she worries about her potential to “be the very best mom she might be, but additionally to be the world’s finest tennis player.” Williams is arguably the greatest athlete of all time, and she allows us-in her personal words and in her own way-entry to her life, a life that we haven't any proper to, however that she has chosen to share.

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The mediated entry we are given, nevertheless, has proven not to be enough for some. In a scathing critique of the docuseries, Slate author Christina Cauterucci characterizes Being Serena as “surprisingly lacking in humanity,” which she attributes partly to Williams’s “stilted narration,” in large half as a result of she discovered it to be too guarded. To Cauterucci, viewers benefit from an all-access view into Serena’s life, but they do not learn very a lot about the motives underlying her passions, interests, and drive as a result of she “provides no entry to her coronary heart or brain.”5

And yet, Cauterucci’s claim about Williams’s seeming guardedness speaks right to the guts of religious illiteracy and to an vital incontrovertible fact that we can't ignore: Serena Williams is a training Jehovah’s Witness. To convey unnecessary attention to herself and her life outside of her sport is murky territory for her to navigate within her religion, one thing that she has talked about in quite a few interviews through the years.

I wish to make the case that, regardless of what writers, reporters, producers or consumers may suppose, Serena Williams has each right to depict and portray herself in the sunshine she chooses-even when, and maybe especially as a result of, we might not perceive it. There is something mighty highly effective about telling our personal tales, in our own words and in our personal method, and documentaries give us the opportunity to do just that. They provide us with the chance to inform our own stories-of our bodies and our faiths-and, in so doing, dismantle the bodily fictions that might diminish the optimistic ways we see ourselves while upholding that troubling paradox of silence and show.

In any case, the want to be totally fleshed out-to have all that we see, experience, love, know, and believe visualized in a manner that displays how we see ourselves because the complex human beings we know ourselves to be-is crucial to being actually seen and understood. And so we struggle to make sure that the genuine, the real, the authentic, and the factual supersede the stereotypical, the imposed, the manufactured, and the fictional. That is the visible goal toward which we attempt.6 And, no matter the constraints that want might yield, we have discovered by means of expertise that having another person render our representations is a a lot less appealing alternative.

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1. Dorothy Roberts, “The Paradox of Silence and Display: Sexual Violation of Enslaved Girls and Contemporary Contradictions in Black Feminine Sexuality,” in Past 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 beauty of Playing ‘Fully-Fleshed Out’ Black Female Character,” on www.huffpost.com. 4. Christina Cauterucci, “Show All the things, Reveal Nothing,” Slate, Could 2, 2018.
5. That is an edited model of a panel presentation I delivered on the “Religious Literacy and Enterprise: Media Entertainment” symposium, sponsored by the Religious Literacy Venture and held at Harvard Divinity School on September 20-21, 2018. Kent L. Brintnall, Macmillan Interdisciplinary Handbooks (Macmillan Reference, USA, 2016), 183-201.
Body Politics and the Fictional Double, ed.

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LeRhonda Manigault-Bryant is Associate Professor of Africana Studies at Williams School. She is the creator of Speaking to the Dead: Religion, Music, and Lived Reminiscence among Gullah/Geechee Girls (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 will discover her including colorful, crucial, commentary to the Twitter universe through @DoctorRMB.