ôTongues Untiedö is RiggsÆ attempt to critique the silencing of Black gay men in American, Black and gay culture, encouraging the venting of frustration in order to make oneself visible. Just as the ôgazeö makes on visible, ôTongues Untiedö demonstrates that voguing and SNAP communication are distinctly Black gay forms of expression. In showing performances of each, the filmmaker is not only validating their authenticity but also making visible expression which remains largely obscured in cinema and the general public through racism and prejudice. The lack of inclusion of Black gay men occurs even in classrooms, publications, and conferences that focus on white lesbians and gay men. In showing various aspects of Black gay culture Riggs demonstrates the difficulty for such individuals to forge an identity that can be categorized as an either-or or ôusö vs. ôotherö schema. The hardships endured by the Black homosexuals shown in the film demonstrates the individual dilemma of trying to label oneÆs self as Black or homosexual. It is this pressure that is alleviated by snapping and voguing but also the one that can lead to self-implosion. Nonetheless, snapping and voguing as forms of discourse, empowerment and identity formation evolve as power relations shift. As Munoz explains: ôParis is Burningö from Jennie Livingston features a documentary of drag competitions and competitors that occur among gays and Black gays in Harlem. Appearing in drag is one form of expression wherein Hooks (145) maintains, ôthe notion of subjectivity is challenged, where identity is always perceived as capable of construction, invention, change.ö Harlem house feature drag balls where Black gay and Hispanic men participate in competitions to see who could get by in worlds that are virtually closed off to gays and Blacks, especially Black homosexuals. The categories of dress that are created by the organizers of the balls go a long way toward expresses some of the longings and chal |
