NeoBlackCinema

There have been many pioneers that have contributed to the evolution of Blacks in cinema. Starting from Lena Horne, the first African-American to sign a long term contract in Hollywood, all the way to Spike Lee, who has directed critically acclaimed motion pictures since the 1980s. But the most significant trailblazer of the 20^th Century to date is Oscar Micheaux, who produced and directed the very first African-American film,” The Homesteader” in 1919, and the first feature length sound film, “The Exile” in 1931.

Micheaux was born Jan. 2, 1884, in Metropolis, Ill., one of 13 children whose parents were former slaves. When he was 17 he left home for Chicago, where he found a job as a pull-man porter, one of the best jobs a Black man get under Jim Crow Laws. He assimilated the teachings of Booker T. Washington and Horace Greely and acquired land in South Dakota where he learned to be a farmer. He wrote his first novel, “The Conquest: The Story of a Negro Pioneer,” in 1913 and rewrote the book in 1917 renaming it “The Homesteader,” which he sold himself as a door-to-door salesman. George and Noble Johnson, “The Johnson Brothers,” who ran The Lincoln Motion Picture Company, wanted to buy the rights to his book and make it into a film, but Oscar refused after being denied as director to his own story. He took the opportunity to organize his own company called Micheaux Film and Book Company of Sioux City and Chicago where he raised enough money to produce and direct his own films.

“The Homesteader,” which premiered in Chicago on February 20, 1919 received reviews from newspaper critics coining his film as a stepping stone African American integration into American culture. His next film, “Within Our Gates,” in 1920, was a response to D.W.Griffith’s, “Birth of a Nation,” a film that glorified the Ku Klux Klan and justified violence against Black people. Micheaux’s film rebutted Griffith’s by revealing the reality of ongoing racism in the United States and hatred of the dominant white society could be challenged. Micheaux finally injected an African-American perspective that was sorely needed, and he did it in the most powerful medium in his eyes to communicate his point of view – through cinema.

Working out of Chicago, Micheaux made over 30 films over the next three decades. These films included musicals, comedies, Westerns, romances, and even gangster films. He used actors from the N.Y. Lafayette Players, and always type-cast actors according to complexion, light-skinned African-Americans playing leads, and dark-skinned playing heavies.

This played part of the consciousness in the black community and mirrored the racism that he so despised. His story needed to be told no matter the pressure from the mainstream critics and no critic could deny the importance of Micheaux’s films, which were a departure from Hollywood’s racist portrayals of blacks as Uncle Toms and mammies. Micheaux’s films were vital to the American experience by providing a diverse perspective of black characters, as well as images and stories of African-American life. His pioneering spirit in undeniable.

Micheaux passed in 1951, but his contributions to the world of Black film will never be forgotten.

Robert Notar

By Tina P. Harper

Toni Seawright: amiable actress, singer, songwriter and multi-tasking mother of two boys with budding entertainment careers, is now setting a new trend in parental guidance.  While parents of children in the business have been summoning stardom for years by grooming their children for success in the world, Seawright and her kids shine by working together to groom the world for their success.

Seawright’s eldest son, Qaasim Middleton, is a tenth-grader already well-known for his roles in the HBO documentary The Music in Me, and Nikelodeon’s Naked Brothers Band. His latest role features him as a cast member in the upcoming high school musical on ABC’s One Life To Live.  His passion for music keeps him as dedicated to dancing and singing as he is to acting.  His younger brother, Khalil, has appeared on Nickelodeon’s Jack’s Big Music Show and is up for the young lead in Ray, The Musical.  Their mother credits much of their success to their own interest and commitment to their gifts.    However, despite their obvious talent and tenacity at such young ages, both have already been confronted with the burden of breaking through the all too common brand of being “too specific” for television, or limited to certain roles by their appearances.

Both Seawright’s boys wear their hair in dreadlocks.  Big brother, Qaasim, has worn locks since the age of two and has not changed his hairstyle to accommodate roles, even when asked.  Although Seawright says the style can be limiting on a role-by-role basis, she and his Google bio agree, dreadlocks have in no way stopped his success.  In fact, it was the growing number prospective roles in television and film that prompted the experienced entertainer to attain a professional to help manage her boys’ careers.  However, when she inquired about actually expanding role opportunities for her boys and the professional candidly droned, “Toni, what can I do with them? They’re too specific…” Seawright realized she had both an opportunity, and responsibility, to find roles for her boys that represented the breadth of their talent.

Crowned the first ever African American Miss Mississippi in 1987, Seawright is no stranger to paving the way for others’ success.  Now an entrepreneur, in addition to her many other titles, Seawright is acting as an advocate for all youth as head of “Too Specific,” a casting agency for kids with specific attributes.  Her own experience in the business reminded her that the entertainment industry is often short on roles for kids with freckles and red hair, who are overweight and of African, Latin or Asian American descent.  “If we force every child to appear traditionally all-American, then kids of all minorities will begin to feel very un-American,” says Seawright.  The epiphany inspired her to launch her own casting agency for children between the ages of two and 11 seeking to break through the limitations of their appearance with genuine talent and drive.  Today, “Too Specific” is breaking through by researching and writing roles that represent the diversity of American youth.

While her dedication to the new business demonstrates her passion for family and fairness, the undertaking adds obvious strain to Seawright’s already very busy schedule.  In addition to balancing audition schedules, tapings and shoots, Seawright makes time to read every script before it is given to either one of her sons, so she can review the role before deciding whether or not the boys can be seen for the audition.  She also works faithfully with Qaasim and Khalil to develop all of their gifts, “…so they can always work,” states the wise mom. “The more you can do, the more you will do.”

Seawright facilitates her kids’ commitments through genuine interest and support in their work and by being a stellar example to follow in her own passion for the profession.  Although juggling schedules and setting a pace that she can keep up with is a challenge, her dynamic drive is motivated by an awe-inspiring goal. “My ultimate goal is keeping us all together through continued success,” Seawright says.

Modeling self-confidence, a strong work ethic and the sway of a smile for her children, Seawright’s most noble quality is how much she adores her kids.  She describes them as her musician and her artist.  Instead of refereeing sibling rivalries, she finds herself more often enjoying the sweet melodies of their band, Me and Baby Brother.  “They’re both channeling negative energy through their dedication to craft,” notes Seawright.

That dedication is the inspiration that is sure to make “Too Specific” a booming brand name so that all children considered by some to be too specific for TV, can be confident that they are just right for real life.

The first word that comes to my mind when I think about Black To Our Roots is achievement. Directed by Jacqueline Olive and Tre Whitlow, this documentary follows a group of teenagers and their leaders as they traveled to Ghana, West Africa to connect with their roots. The whole documentary is about achievement; every single person achieved something. At a minimum, they all succeeded in raising enough money to travel to Ghana.

Honestly, there are not enough words in Webster’s dictionary to describe how great this documentary is. I learned that we, as African-Americans, need to connect with our people in Africa and continue the legacy our ancestors left for us. This film has made a huge impact in my life. All the characters are positive beyond belief. Common in all of them is a faith in themselves and a hope that they can make a positive change in this world. That is something you need to have if you want to make it anywhere in this life and they already have it as teenagers.

Before I watched Black To Our Roots, I did not know that there are African-Americans that did not consider themselves as African or descendants of Africans. As the film interviewed random people on the street, this misstatement repeated itself. In their ignorance, they are disowning their legacy, their family, and their culture; essentially, cutting off their own root. Thankfully, the teenagers who traveled to Ghana knew the truth of who they are and where they came from.

I would definitely recommend this film to other African-American youths like myself. They need to know that their history does not begin with slavery and that it is important to know all about your culture, past and present, to truly know yourself. As Dr. Carl Sagan, an astronomer, once said, “You have to know the past to understand the present.”

-Enobong Umondak, 9th Grade

Marie Curie High School Medicine, Nursing, and Health Professions, NYC