By Audrey McCluskey
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Extra resources for The Devil You Dance With: Film Culture in the New South Africa
Example text
Now we are waiting to hear if the series is renewed. We decided that we are going to just go out there and get [young women] to explain why they wear so much makeup, why they wear weaves in their hair, where they go dancing, who their role models are—unapologetically from their point of view. True Life became the series that young women would watch and say, “That’s me! That show doesn’t ask me to be a feminist. ” We would find a group of friends, spend a few days with them, see their family relationships, their employment dilemmas, their love relationships, their goals, dreams, and disappointments.
BB: What I found was that it was much more difficult to do it there [in the United States]—to create a sense of equality and representation because blacks constitute a community that is really a minority in America. It is difficult to create a sense of belonging as easily. In terms of representation, there were far fewer segments for black and Hispanic children, whereas here we are in the majority. We can do a lot more to instill diversity in a natural way. We do songs and counting and live stories in different languages— English formed a very small segment.
We will have a new OAU [Organization of African Unity], which is trying to redefine relationships from one African country to another and remove colonial influences. It is about how we move forward and become participants in the twenty-first century. Film, sooner or later, is going to participate in that. It lags behind now because film is so expensive. A lot of Africa has come to see South Africa as being in the forefront of a lot of things, rightly or wrongly, but it’s something that we can use.