A few weeks ago, director Barry Avrich sparked a storm by declaring that you don’t need to be black to write black stories.
The director, who had just won a Screen Award for his documentary Oscar Peterson: Black + White, but he wanted there to be more films and series about blacks. “There are so many black stories,” she said, “no matter who tells them, they need to be made known!” ”
The reaction was not long in coming. All that swarms and scribbles in the Anglophone audiovisual world, whose wokism is visibly growing, has condemned the unfortunate one-voice director. Where was this crazy head to make such a light statement?
Did he not know that the “cultural appropriation” “officially” ended in Canada on Wednesday 4 July 2018, the day the Montreal International Jazz Festival abruptly interrupted the SLĀV show by Robert Lepage and Betty Bonifassi, following the demonstration of a small group of exalted ones? In this era of extreme political correctness, the Academy of Canadian Cinema and Television was quick to suppress Avrich.
Even Céline Peterson, the daughter of the famous jazz player, said the strong response to Avrich’s insulting remarks comforted her. In the days that followed, the director had to publicly blame him. He promised that now he would be dedicated to wholeheartedly supporting black creators and all other underrepresented creators.
END TO WHITE PRIVILEGES!
In the current state of affairs, there is no longer any possibility that a white director or artist could imagine a scenario or show about blacks and, by extension, aborigines. Our creators who exhibit physical characteristics historically linked to peoples originating in Europe now know that the doors of art councils, Telefilm, the NFB, Radio-Canada and all humanitarian organizations are doubly closed to them, regardless of whether the their projects involve blacks or aborigines.
But that is not all. Their chances of being supported in stories that involve whites only improve greatly if they have the intelligence to integrate some black or indigenous people, a disabled person or an LGBTQUIA + into their teams or cast. They can thus earn valuable points from humanitarian organizations.
LIKE A CRIMINAL RECORD
Be careful, you don’t have to play your best. Because she couldn’t prove beyond doubt her Algonquian ancestry from Kitigan Zibi to Maniwaki, director Michelle Latimer was forced to resign from the show. cheater which had managed to produce pain and misery. The series was immediately canceled by CBC despite the success of the first season. The director’s fault was unforgivable and “the sea would have crossed it without washing away the stain”, to paraphrase Alfred de Musset. For more than two years the unfortunate, as far as I know, she has not worked anymore, because she drags her mistake about her as if it were a criminal record.
Our authors and our artists now walk on eggshells, be they white or black. Humanitarian organizations without which they could not express themselves gradually weave a web around them that will eventually suffocate them. Despite all their good intentions, the rules they impose on our creators will end up being as sterilizing as those suffered by creators in totalitarian regimes.