It’s sad to think that while I was busy working and sleeping during the vast majority of films at the New Orleans Human Rights Film Festival, I easily could have missed Saturday night’s premier of Ya Heard Me?, a groundbreaking documentary on Bounce.
This movie blew my mind. It starts pretty much as one would expect— gratuitous booty dancing shots, interviews with various artists and producers. But during the course of the film, it slowly peels away the layers not only to reveal Bounce as a highly original and powerful artistic expression of a people, but also to delve into the sexual politics of Bounce— from artist Mia X’s straight-up feminist lyrics to the entire “Sissy” scene, with artists like Katey Red making Bounce that is an expression of homosexual, trans culture.
The exploration of dance in the movie also moves beyond simple booty shaking to show a highly sophisticated form of dance that looks remarkably similar to traditional African dances, expressed in a contemporary, urban context. One has to wonder if the filmmakers intentionally led the viewers from stereotyped scenes deeper in slowly, to emphasize the contradictions between mainstream (often white) perceptions of Bounce and the real thing.
But perhaps the most powerful thread to run through the movie is Bounce as music that came out of New Orleans’ public housing developments. Many of the scenes are shot in and around projects such the Magnolia (CJ Peete), Calliope (BW Cooper) and Melpomene developments (large sections of Calliope and all of Magnolia are now piles of rubble). The term “project music” is repeatedly used by musicians and producers to describe Bounce, and it is a powerful irony to see the celebration of this culture at the moment it is most threatened, which the film also explores, tracking the displacement of artists such as Cheeky Blakk.
Big shout out to Jordan Flaherty, an organizer of the New Orleans Human Rights Film Festival, for making this possible. Jordan struck a powerful chord in his introduction to the film, hinting at the importance of recognizing the range of cultural achievements of this city, particularly when they are left out by the self-appointed arbiters of New Orleans music culture such as (he did not mention them by name) WWOZ.
Incidentally, I’ve heard rumors that OZ has finally grudgingly acknowledged the cultural importance of New Orleans Hip-Hop and begun letting certain DJ’s play Hip-Hop and Bounce. I have yet to hear any of that on the station. Last thing I knew OZ had a strict no Hip-Hop policy. To quote DJ Davis “When they said community music, I didn’t realize they meant the community of white Yankees who listen to black music from forty years ago instead of the community of thirty-year old black people who actually live here and make music.”
So for the time being, Bounce, instead of having non-profit and foundation backing like Jazz and other “acceptable” forms of music, is sold out of trunks at gas stations.
Little changes. It’s important to remember that Jazz was originally as unacceptable to mainstream white culture as Hip-hop is, that white musicians were drawn to it (like Hip-hop), that in many ways it was co-opted, and that now that it is no longer considered a threat to mainstream white culture it is acceptable. I have to wonder if Hip-hop (and Bounce) will follow a similar trajectory.