Day 2: TFF2016: 'Intersection of I,' Frank Talk About What Whiteness Means to Me

In "Intersection of I," Hadley and other millennials discuss the impact that identifying as white has on their lives. Photo by V.W.

BY V.W.

VERY casually, Connor discloses that he has been arrested more than 20 times. Selling drugs, is one of his offenses. "I did what I wanted to do knowing there would be no consequences," he confesses without a trace of shame.

Welcome to the engaging and provocative “Intersection of I," a multimedia installation in which 23 part-white and white millennials speak candidly about the impact of "whiteness" on their lives.

"There have been plenty of times where I have taken advantage of it," Connor says of his white privilege.

“Intersection of I” is making its world debut today through 17 April in the virtual reality and installation space, Storyscapes, at the 15th annual Tribeca Film Festival.

From Whitney Dow, it is the second series in his “The Whiteness Project.” During a brief chat at a press preview yesterday, the award-winning filmmaker says he conceived the work as he became aware that as a white person he was bringing the racial experiences of others to the fore without having examined his own, specifically his white male privilege.

Of “The Whiteness Project,” WD says wanted to present work in which white participants could have a “transformational experience.” It was not his desire, however, to present an “argumental thesis” in defense of whiteness. Further, he had in mind an interactive experience.

“Intersection of I” is situated in what’s called the 5th Floor Hub at Spring Street Studios, command central of Tribeca. Before visitors enter the space, they are asked to allow a photo of a part of their skin to be taken. It will be immediately added to a digital skin color storyboard within the exhibit that looks like a collection of fabric swatches.

In addition to the storyboard, the installation includes a world map that shows in real-time where people are watching. Their comments appear on a screen above the world map. On a huge projected screen, across from visitor bleacher-style seating, are photos and names of the 23 people featured in “Intersection of I.”

The questions they have been asked about whiteness have been recorded. Visitors can hear their remarks by speaking their names into a microphone. The mic acts as a mouse.

Say “Lena” and her image fills the screen; she explains why she alters her appearance to appear less Arab and more white.

Alfredo is Hispanic, too, and proud of it. But when he identifies as white, “I have more freedom to be who I am.”

Carson wonders how much he has actually accomplished on true merit. He is discomfited because he doesn’t know what he has earned by hard work and what has been handed to him because he is white.

No black males appear in "Intersection of I," an obvious oversight. Nor is there anyone who is part black, but who can pass for white yet does not do so. Moreover, no Native Americans.

Though forthright, WD's explanation to the effect that it was not possible, owing to the constraints of time and budget, is tepid. He is contrite, however, which mitigates these omissions.

"I am eventually hoping to have 1,000 interviews altogether. And once I do that, then you will be able to go into it and pick from a greater number of interviews," he explains. "...The project is in pilot stage. It is absolutely not fully representational of the way I'd like to have this conversation."

For “Intersection of I,” WD chose millennials aged 15-27 in part because “they have much stronger language skills around talking about identity” than Gen Xers and Baby Boomers.

"Intersection of I" participants live in Greater Dallas. In part one of "The Whiteness Project," "Inside the White/Caucasian Box," WD spoke about their whiteness with residents of Buffalo, NY between the ages of 24 and 75.

Of millennials, he continues, their perspective is that ‘the world has to take me on my terms.’

“I also thought it would be interesting to talk to people who are also in this place of forming their own identities, that they’re still in the process of not being like this codified thing.”

Other films/events on today's TFF2016 schedule: “Kicks,” “30 for 30: The Magic Moment,” “Nerdland,” “As I Open My Eyes,” “Dreamland,” “Keep Quiet,” “After Spring,” “Haveababy,” “Holidays,” “Madly,” “Tickling Giants,” “Win!,” “All this Panic,” “Do Not Resist,” “Mother,” “First Monday in May,” “Shorts: New York Then,” “The Devil and the Deep Blue Sea.”

Visit http://www.tribecafilm.com/festival to learn more about it and the 2016 Tribeca Film Festival, including tickets and schedule.

TFF: Discordant 'When the Drum Is Beating'

The trumpet section of Septentrional during a concert in Plain du Nord, Haiti. Photo by Daniel Morel.

“WHEN the Drum Is Beating” does a competent job of recalling the devastating effects that colonial rule, neo-colonial rule, corrupt dictators, poor fiscal policies, outside meddling and so forth have had on Haiti, the so-called poorest country in the Western Hemisphere.

Indeed, “When the Drum Is Beating” is a handy cliffnotes version of Haitian history. The footage of the acute poverty and squalor of this once beautiful country is affecting.

The documentary, making its world premiere at the 10th Annual Tribeca Film Festival, also tells a story of the country’s beloved 20-piece band, Septentrional, famous for its Haitian Voodoo beats and Cuban big band rhythms. Various members who have joined this institution since its founding in 1948 recount what it means to be a part of it. They express their hopes, dreams; they bellyache. Some have ambivalence about changes in the band; others express the necessity of it.

“When the Drum Is Beating” tells the story of the country and the band. Why then does it not resonate. Why is it not gripping?

For one, it fails to live up to its basic premise of explaining how the band has survived amid the country’s travails. Rather than interweaving these events, it tells them in a parallel fashion. It’s akin to watching tennis players trade volleys. On this side, a little piece of the country’s history. On the other, a few words from a band member or a rehearsal scene.

Ulick Pierre-Louis has been a member of Septentrional since its founding. Photo by Daniel Morel.

“When the Drum Is Beating” almost feels like two, separate documentaries. Events in the country and the band’s evolution against this backdrop are twain that rarely meet. On one rare occasion when they do – something about a song paying tribute to François "Papa Doc" Duvalier – it’s a passing mention that deserves a much fuller explanation. Here was an opportunity for director Whitney Dow to reveal something with real substance.

Speaking of revelations, the Haitian history in this film does not advance beyond anything one might learn from a Haitian schoolgirl or Wikipedia. The two biggest failures, however, of “When the Drum Is Beating” are its tendency to tell a lot more than it shows. On too many occasions someone is jawing about doing something, rather than being shown to be doing the thing.

Septentrional circa 1955. The band was formed in 1948. Photo courtesy of Orchestre Septentrional.

The film also falls short in its treatment of Septentrional. Too much time is spent on showing the band in rehearsals. Alas, the rehearsals do not hint at the great musicianship of these talented musicians. Further, Septentrional is reportedly beloved in Haiti, particularly in the north, yet one does not get this impression. Two pieces of concert footage don’t advance this notion either. Lacking more concert footage – and why is there not more? – this sense could have been conveyed through conversations with fans. Inexplicably, WD neglects to do this.

While well-intentioned and reverent, “When the Drum Is Beating” is ultimately unsatisfactory.

Additional screenings of “When the Drum Is Beating”:
Saturday, 30 April at 3 p.m. at Clearview Chelsea Cinemas

Visit http://http://www.tribecafilm.com/ to learn more about the 10th Annual Tribeca Film Festival.