Okwui Okpokwasili takes viewers behind the scenes of her one-woman show in Bronx Gothic (photo courtesy of Grasshopper Film)
SMILE, IT’S YOUR CLOSE-UP — NEW YORK’S DOCUMENTARIES: BRONX GOTHIC (Andrew Rossi, 2017)
Museum of the City of New York
1220 Fifth Avenue at 103rd St.
Tuesday, June 19, $10 (includes museum admission), 8:00
212-534-1672
www.mcny.org/bronxgothic
www.maysles.org
grasshopperfilm.com
“Okwui’s job is to scare people, just to scare them to get them to kind of wake up,” dancer, choreographer, and conceptualist Ralph Lemon says of his frequent collaborator and protégée Okwui Okpokwasili in the powerful documentary Bronx Gothic, which is being shown on the terrace of the Museum of the City of New York on June 19, kicking off the uptown institution’s “Moonlight & Movies” outdoor program, part of the second annual “Smile, It’s Your Close Up: New York’s Documentaries” series, a joint venture with the Maysles Documentary Center. Directed by Okpokwasili’s longtime friend Andrew Rossi, who will introduce the screening, the film follows Okpokwasili during the last three months of her tour for her semiautobiographical one-woman show, Bronx Gothic, a fierce, confrontational, yet heart-wrenching production that hits audiences right in the gut. Rossi cuts between scenes from the show — he attached an extra microphone to Okpokwasili’s body to create a stronger, more immediate effect on film — to Parkchester native Okpokwasili giving backstage insight, visiting her Nigerian-born, Bronx-based parents, and spending time with her husband, Peter Born, who directed and designed the show, and their young daughter, Umechi. The performance itself begins with Okpokwasili already moving at the rear of the stage, shaking and vibrating relentlessly, facing away from people as they filter in and take their seats.
She continues those unnerving movements for nearly a half hour (onstage but not in the film) before finally turning around and approaching a mic stand, where she portrays a pair of eleven-year-old girls exchanging deeply personal notes, talking about dreams, sexuality, violence, and abuse as they seek their own identity. “Bronx Gothic is about two girls sharing secrets. . . . It is about the adolescent body going into a new body, inhabiting the body of a brown girl in a world that privileges whiteness,” Okpokwasili, whose other works include Poor People’s TV Room and the Bessie-winning Pent-Up: A Revenge Dance, explains in the film. National Medal of Arts recipient Lemon adds, “It’s about racism, gender politics — it’s not just about these two little black girls in the Bronx.” Rossi includes clips of Okpokwasili performing at MoMA in Lemon’s “On Line” in 2011, developing Bronx Gothic at residencies at Baryshnikov Arts Center and New York Live Arts, and participating in talkbacks at Alverno College in Milwaukee and the Bronx Academy of Arts and Dance, where the tour concluded, right next to her childhood church, which brings memories surging back to her.
Okwui Okpokwasili nuzzles her daughter, Umechi, in poignant and timely documentary (photo courtesy of Grasshopper Film)
Rossi is keenly aware of the potentially controversial territory he has entered. “As a white man, I was conscious of the complexity and implications of embarking on a project that revolves around the experience of African American females,” he points out in his director’s statement. “But fundamentally, I believe in an artist’s creative ability to explore topics that are foreign to the artist’s own background. I think this takes on even more resonance when the work itself has an explicit objective to ‘grow our empathic capacity,’ as Okwui says of Bronx Gothic, [seeking] an audience that is composed of ‘black women, black men, Asian women, Asian men, white women, white men, Latina women, Latina men. . . .’” Cinematographers Bryan Sarkinen and Rossi (Page One: Inside the New York Times, The First Monday in May) can’t get enough of Okpokwasili’s mesmerizing face, which commands attention, whether she’s smiling, singing, or crying, as well as her body, which is drenched with sweat in the show. “We have been acculturated to watching brown bodies in pain. I’m asking you to see the brown body. I’m going to be falling, hitting a hardwood floor, and hopefully there is a flood of feeling for a brown body in pain,” Okpokwasili says. Meanwhile, shots of the audience reveal some individuals aghast, some hypnotized, and others looking away.
Editor Andrew Coffman and coeditors Thomas Rivera Montes and Rossi shift from Okpokwasili performing to just being herself, but the film has occasional bumpy transitions; also, Okpokwasili, who wrote the show when she was pregnant, does the vast majority of the talking, echoing her one-woman show but also at times bordering on becoming self-indulgent. (Okpokwasili produced the film with Rossi, while Born serves as one of the executive producers.) But the documentary is a fine introduction to this unique and fearless creative force and a fascinating examination of the development of a timely, brave work. “Smile, It’s Your Close Up: New York’s Documentaries” concludes July 11 with “Under the Influence of the Maysles Brothers,” consisting of several shorts introduced by Sean Price Williams; “Moonlight & Movies” continues August 2 with The Naked City (Jules Dassin, 1948), introduced by James Sanders and screened in conjunction with the exhibition “Through a Different Lens: Stanley Kubrick Photographs.” Also on view at the museum are “Elegance in the Sky,” “Beyond Suffrage,” “Art in the Open,” and “New York at Its Core.”
Thomas Piper’s Five Seasons: The Gardens of Piet Oudolf is a beautifully composed documentary that unfolds much as flowers and plants grow, evolving over fall, winter, spring, summer, and then fall again. In 2014-15, Piper followed innovative Dutch landscape designer Piet Oudolf as he visited gardens around the world and developed a brand-new one, Durslade Farm, for the Hauser & Wirth Somerset gallery in Bruton, England, which will ultimately be home to fifty-seven thousand plants. For more than thirty years, Oudolf has taken a unique, radical approach to gardens, as demonstrated in the 1999 book Dreamplants: A New Generation of Garden Plants, which he cowrote with garden designer and writer Henk Gerritsen. “I wanted to go away from traditional planting, [using] plants that were not seen in gardens but were very good garden plants. The more difficult thing was to learn what plants do,” Oudolf tells Hermannshof Garden director Cassian Schmidt in the film. “Your work teaches people to see things they were unable to see,” designer and photographer Rick Darke says to Oudolf as they walk through White Clay Creek Preserve in Landenberg, Pennsylvania. In designing his gardens, Oudolf first creates a multicolored blueprint that is a work of art in itself, like abstract drawings and paintings. He combines plants that would never be together in the wild. “It may look wild, but it shouldn’t be wild. This is what you’d like to see in nature,” he explains in his home base, the lovely Oudolf Garden in Hummelo, where he’s lived with his wife, Anja and their children since 1982. For him, it’s not just about color or size but about character. “I put plants onstage and I let them perform,” he says.
