Shalom

Everyone has something to say about what to do about the present state of black cinema. Some say don’t talk about it; do things. Some are tired of talking about it but don’t know what else to do. Some say we need our own studios, our own directors, our own producers and screenwriters, and production companies.  Some just don’t know what can be done to help black cinema. Undoubtedly, there are those who believe this is beyond help, for any number of reasons. Others are apathetic or just don’t care.

I don’t how the state of black cinema will improve. I am hopeful that it will, but I don’t know that it will. Maybe it will… if something drives us.

I should preface this article with the following:

I know nothing about the inner workings of the African Hebrew Israelites of Jerusalem (“Israelites”). I don’t know if they’re a religion, cult, sect, movement, or spiritual group. I’ll call them a spiritual group. This spiritual group has its critics but that is not under discussion here. My comments are neither an endorsement nor a condemnation of their practices. 

I’m talking about them to highlight an idea -- an ideal, really -- an ideal of cohesiveness. They are highlighted here merely to illustrate a point, the point being that with conviction and planning and cohesiveness, amazing things can be achieved –- insurmountable obstacles can be overcome.

Say what you want to say about them, the fact is this group has achieved something monumental -- something, that perhaps black Hollywood could look at. I am not foolish enough to imply that the Israelites operate in any way like the Hollywood machine or the black Hollywood machine.

Nevertheless, I think black Hollywood can look to them. Why?

They have managed to establish their own community in another land, a land that did not welcome them at first. Yet, they were determined and insistent on establishing their sanctuary in Israel. It is amazing to me that they have realized this. 

They have created their own little world.

A brief history

This spiritual group was founded by Ben Ammi Ben-Israel (formerly Ben Carter, of Chicago) in 1966. Ben Ammi and about 30 of his followers left the United States for Liberia, a land in which they felt they could prosper and practice their beliefs. Three years later, they were expelled from Liberia and began emigrating to Israel (which they consider The Promised Land). Currently, there are about 3,000 of them living in their own community in Dimona, Israel. They also reside in two other Southern Israeli towns -– Arad and Mitzpe Ramon. There are about 20,000 living in the U.S.

The Israelites first arrived in Israel in 1969 as new immigrants, but with their numbers increasing, over the next few years they became unwelcome. As a result, they had no legal protections in Israel and their status there was questionable for some time. They were under constant threat of deportation. They were unwelcome in the schools and health care system. They have fought for Israeli citizenship, since the Israeli government does not consider them Jews. Consequently, they do not enjoy full citizenship. But in August 2003, the Israeli Ministry of the Interior granted them permanent residency status. The Israelites persevered, and over time, did indeed establish their own community in Israel. They created their own schools, managed their own health care and built economic frameworks, which have enabled them to sustain themselves… and prosper.

A little bit about them

They live a communal lifestyle. And they live by a spiritual code which include abstinence from illegal and pharmaceutical drugs and alcohol (except for their own fermented wines they make themselves). They focus on wellness (particularly preventative wellness) and abide by a strict holistic lifestyle and vegan dietary code in line with their spiritual beliefs. As a result, they have low incidence of the physical ails that plague many black Americans such as diabetes, heart disease and obesity. In fact, they have minimal illness in their society. Theirs is a community free of drug abuse and violence. Their community is commonly referred to as The Village of Peace. 

They own their own businesses. They have built their own schools and health care systems. They founded their own childbirthing center called the House of Life. There, their children are birthed without the use of drugs.

All this –- in spite of significant adversity.

How they acquire income

They have many sources of income, including:

• Music (they have musical groups composed of singers who performs internationally)

They own and operate:

• a chain of vegan restaurants (including juice bars) in Israel, the Caribbean, Africa and several in the United States
• their own schools
• a tofu production factory
• a carob candy production factory
• bakeries
• a museum
• a childbirthing hospital
• their own stores
• hair braiding salons / barbershops
• book stores
• a center for Multimedia Education in Atlanta
• spas / retreats / holistic cleansing center
• dental center
• food co-ops

They produce and market a line of cultural clothing that they sell in boutiques abroad.

They produce:  books, CDs, DVDs and their own food via organic farming.

And how does this relate to black cinema?

The African Hebrew Israelites of Jerusalem envisioned a goal... an ideal... a society -- and they created it.

• they were focused on a goal -- a common goal which, upon execution, benefits many
• someone took control and led their effort
• they made their own way because in their minds, they had to
• they were determined to establish a community in Israel

Of course, the Israelites’ goal was not to make millions of dollars. They had other ideals. Maybe we need ideals beyond GINORMOUS revenue generation. Revenue generation; yes. Profit; yes. But… I dunno. I do not have the answers.

I just figure what they have done is quite remarkable.

It is possible that by looking at them, we can get a sense of what is required.  Deliberate, determined, focused effort is essential, I think.  I wish black Hollywood could copy their unifying power of community and cohesiveness.

Yes; Tyler Perry is building a studio in the ATL. That’s beautiful. It’s great. And I’m glad. But it’s his. And it belongs to him. Oh, I don’t know the particulars; maybe he has business partners and such but it belongs to him and to them... I assume (correct me if I’m wrong). Can a fledgling black filmmaker use his facility?  Can 100 fledgling black filmmakers use his facility? Who knows? I just use Tyler Perry as an example. I am making no statement about what should happen with his studio.

In a nutshell, I think that our situation will not improve if we are fragmented, envious of each other, divided and weak. We must be aligned with a single goal in mind...

... like the Israelites.

Comments

[Mes Deux Cents]

Hi TBA,

This is really interesting in a few different ways. First; I have read about the Black Israelites and find their self-sufficiency very interesting. I am very interested in intentional communities, minus the religion part.

Second; I agree that a more communal approach would be good for Black Hollywood. Unfortunately everyone seems to want to only use the White Hollywood model.

It would be great if a few of the more successful actors got together and built a studio for use by Black filmmakers in general.

I have been hoping that Black filmmakers would use the internet to build a community as well but as far as I know that has yet to happen.

This is a very, very interesting post. Thanks for writing it.

(P.S., I've heard that Tyler Perry is actually the devil.) Lmao

[theblackactor.com]

@ Mes Deux

First: I wanted to thank you for bearing with me. That post was a little long-winded. So, thank you for reading it. :)

And thank you for sharing your viewpoint. I think they are quite interesting in what they have achieved.

We need to look to and develop other models, perhaps.

As for Tyler Perry, girl, you know your wrong. LMAO. :):)

[the obenson report]

Collective power... movement power... that's what we're missing... the "it takes a village to raise a child" mentality (in this case, the child being "black cinema")... all ideas that I've preached ad nauseam on my podcast. And as you've heard/read me state previously, the real "problem" transcends cinema. We live in a capitalist society... profit, materialism, status, and individualism prevail... black people are very much a part of this society, so it should be no surprise that their general aspirations mirror the majority. What you're talking about requires a complete paradigm shift... essentially humans (not just blacks) would have to start thinking differently about values. DuBois introduced us to the talented tenth (an ideology he later abandoned)... essentially, developing what he called the best of the black race, so that they could lead the rest. Even though he abandoned the idea, I think it could be reshaped and refocused for the 21st century, although I'm not sure exactly how... I do think that it presents some possibilities, as I've already shown with the "capable tenth" black film fund... a collective, communal effort involving that small percentage of us who are determined enough to, borrowing your words, "focus on a common goal which, upon execution, benefits many"... essentially assuming control of the financing, production and distribution of our images, combating Hollywood's lackluster efforts.

But maybe it can't be so simplified. I believe that for black cinema to improve, so much else will have to evolve before it, from the inside out.

The "problem" certainly isn't that we lack the talent as artists. We (or at least most of us) just want to share in the proverbial American dream, and that means conformity and compromise... f**k a revolution! It's likely not going to put money in any bank accounts.

There's no profit to be made from revolution, so it's hard out there for revolutionaries... and they are the ones we really should seek out and support!

Alright, I'm done!

Oh, and welcome back, by the way :o) Where've you been?

[theblackactor.com]

@ Obenson

Yes. Yes.

Your comment is better than my post. Thank you for this. Yes; I agree. The idea of your comment is basically what I wanted to say in my article. You said it far better than I; and quite eloquently.

Thanks for your thoughts on this.

Sista needed a couple days off from blog-related activities; a timeout. LOL.

[johnny wishbone]

awesome post... i am speechless.. believe it or not.. lol.. and that comment was not better than your post.. lol

[Concerned Black Filmmaker]

"I believe that for black cinema to improve, so much else will have to evolve before it, from the inside out." -- The Obenson Report

I agree. This starts with telling great stories on screen that will captivate the world. You can't have success with just the black dollar. You can get to Tyler Perry's level but how many film artists want to tell his stories? Besides, his level of success also had limitations. No. One would have to find another way. So, in the end of the day, it starts with great stories helmed by great directors, not wannabes. This is starting from the inside out.

For the last five years, the best black films with a black cast were made by white filmmakers. They're muscling into our market and proving to do a better job.

The main problem with the black community involved with film is that everybody refuse to accept each other's input and work together. Most of the black cinema community thinks they know great movies after watching several dozen recent films. They know nothing about what it takes to motivate the moviegoing audience to see their film. Yet, they feel they know it all. This is from my experience working in black Hollywood since 98. I was ushered in with major stars just at an intern level.

It's just a reflection of our communities outside of Hollywood, where the cameras aren't rolling and regular people are out everyday, some taking risks while others allow their egos to suppress each other.

Also, we know nothing about friendly competition, like the relationships between Spielberg, Lucas, Scorcese and Coppola. They revolutionized filmmaking through their unity and desire to make great movies, but doing anything they can to help each other make great films. Black filmmakers refuse to team up in that way.

It runs deep with us.

[theblackactor.com]

@ Johnny

Thank you, Johnny {*** blushing ***} for those very kind words.

@ Concerned

Dammit. I love this blog. I get so much value from you guys.

Thank you for your most insightful comment.

And I agree. It's the F word. We are fragmented as a community.

[theblackactor.com]

@ Concerned

BTW - I trust things are going well with your present effort? And -- I have the Pianist -- and have had it for about two weeks. Ima try to watch it this weekend. I just saw Repulsion. Interesting. :)

[invisiblewoman]

This is off topic, but I also saw "Repulsion" and for the life of me could not figure out why it received so many accolades...

I think it may be the "St. Jolie syndrome" of a very pretty face makes for very good actress.

[theblackactor.com]

@ IW

Yeah; I agree. It was little more than Catherine Deneuve walkin' around lookin' crazy. LOL.

[Concerned Black Filmmaker]

I never saw "Repulsion." Was it good? I'm a Polanski fan so...

[theblackactor.com]

@ Concerned Black Filmmaker

I know you are. :) That's why I figured you might have seen it. It was "interesting." It kinda built, built but crescendo was kind of anticlimactic for me. There were some things done well. I liked the mood. But it was slow, I thought. It wasn't disastrous or bad, I didn't think. But it was no Rosemary's Baby. LOL.