Sara Gómez aka Sarita Gómez (November 8, 1942 – June 2, 1974) was a
Cuba
Cuba ( , ), officially the Republic of Cuba ( es, República de Cuba, links=no ), is an island country comprising the island of Cuba, as well as Isla de la Juventud and several minor archipelagos. Cuba is located where the northern Caribbea ...
n filmmaker. As a member of ICAIC (Instituto Cubano del Arte e Industria Cinematográficos, in English: Cuban Institute of Cinematographic Art and Industry'')'' during her early years, she was one of only two black filmmakers in attendance. She was the institute's first and for her lifetime, Cuba's only, woman director. Gómez is known for her first and final feature-length film '' De Cierta Manera'' (One Way or Another) (1974) y Perros no ladraron. Gómez was a revolutionary filmmaker, concerned with representing the Afro-Cuban community, women's issues, and the treatment of the marginalized sectors of society. Sara Gómez's filmmaking identifies the problems of colonialism, specifically experienced by previously marginalized communities (black people, women, poor, religious, and young people) who were unaware of the possibilities of a better future. "Exposing the roots of the world that had to be left behind and demanding the arrival of the future: her mission was to allow these communities to understand the process of what was happening in their lives, their needs, and possible departures." Gómez's work highlighted inequalities of social class, as well as racial and gender discrimination. She used the lens of her camera and ethnographic knowledge to narrate histories about everyday lives in revolutionary Cuba.
Early life and education
Trained as a musician and ethnographer, Sara Gómez came from the folkloric Havana neighborhood of
Guanabacoa
Guanabacoa is a colonial township in eastern Havana, Cuba, and one of the 15 municipalities (or boroughs) of the city. It is famous for its historical Santería and is home to the first African Cabildo in Havana. Guanabacoa was briefly the capital ...
– traditionally viewed as one of the epicenters of Afro-Cuban popular culture, as well as a marginal sector of Cuba that has many issues such as racism and gender inequality which was depicted later on in her films. She studied music (piano), literature, and Afro-Cuban ethnography. "Raised by her paternal grandmother and four aunts, she grew up surrounded by Afro-Cuban professionals, including family members who played in the Havana Philharmonic Orchestra, and attended dances at black recreational societies like the ''Porvenir'' and ''El Club Progreso'' (The Progressive Club), which inspired her studies at the Conservatory of Music in Havana." Gómez was not poor or uneducated. Being brought up around scholars and art that shaped the culture around her, she used her voice to represent those who do not like those seen in her work. Gómez explored journalism by writing for the youth magazine ''Mella'' and for the Communist Party newspaper ''Noticias de Hoy'' (News of Today) – before taking a position at the newly formed Instituto Cubano Del Arte e Industria Cinematográficos (ICAIC). At the ICAIC she served as assistant director to Jorge Fraga,
Tomás Gutiérrez Alea
Tomás Gutiérrez Alea (; December 11, 1928 – April 16, 1996) was a Cuban film director and screenwriter. He wrote and directed more than twenty features, documentaries, and short films, which are known for his sharp insight into post-Revolu ...
, and Agnès Varda. She became the first female film director in Cuba. Gómez made a series of documentary shorts on assigned topics before directing her first feature-length film. Cuban directors see documentaries as an important training ground because it forces them to focus on the material reality of Cuba, consequently, emphasizing filmmaking as an expression or tool of the culture. Gómez directed multiple short documentaries which emphasized and criticized the Cuban revolutionary society. Her short films explored the positions of women and Afro-Cubans within society.
Personal life
She married fellow director Hector Veitia and had daughter Iddia. In 1967 on set of ''Y tenemos sabor'' she met Germinal Hernandez. They met working together, she was the director and he was a sound technician. They started an affair and later married and had two children, Ibis and Alfredo.
Career – contribution to Cuban cinema
''De Cierta Manera (One Way or Another)''
Sara Gómez's last film, the hybrid narrative/documentary ''De cierta manera'', (translated for US audiences as ''One Way or Another)'' has been hailed as the "first movie to truly explore conflicting threads of racial and gender identity within a revolutionary context." This revolutionary film was produced by the ICAIC in 1974. This film takes place in Miraflores, a lower-class neighborhood in Havana, Cuba. This film addresses issues of class, race, and gender after the 1959
Cuban Revolution
The Cuban Revolution ( es, Revolución Cubana) was carried out after the 1952 Cuban coup d'état which placed Fulgencio Batista as head of state and the failed mass strike in opposition that followed. After failing to contest Batista in co ...
. This film shifts between a documentary style that analyzes the revolution and a fictitious love story that challenges the attitudes around race, social class and gender in Cuban culture.Sara Gomez chooses both professional actors and nonprofessional actors to represent the issues of story and in real life: the conflict between Cuba marginal population's life and the Revolution. At the beginning of the film Gomez Says it is "a film about real people, and some fictitious ones.” Noted Cuban film schola Michael Chanan observes that the film is "an aesthetically radical film...mix ng..fiction and documentary, in the most original way...by using real people to play themselves alongside professional actors." Haseenah Ebrahim writes about how Gómez's work brings attention to religious groups such as the
Abakuá
Abakuá, also sometimes known as Ñañiguismo, is an Afro-Cuban men's initiatory fraternity or secret society, which originated from fraternal associations in the Cross River region of southeastern Nigeria and southwestern Cameroon.
Abakuá ...
, "Afrocuban religions make an appearance in the films and videos of almost all Afrocuban filmmakers, and feature prominently in the work of Gómez..." and highlights the importance of Sara Gómez's background as a black Cuban woman in cinema by noting, "In the case of both Gómez and
Rolando
Rolando may refer to:
Entertainment
*'' Rolando'', a 2008 puzzle-adventure video game
*'' Rolando 2: Quest for the Golden Orchid'', a 2009 puzzle-adventure video game
*"Rolando", a song by Roland Kirk from the album ''Domino''
People
*Rolando (gi ...
, race has functioned to provide a perspective that is not mirrored in the work of non-black Cuban filmmakers. Significantly, both women self-identified themselves as black Cubans: Sara Gómez has been quoted as saying she did not want to be 'just another middle-class black woman who plays the piano'". Essayist Roberto Zurbano Torres states, "it is also essential to mark her commitment to popular culture and her critical and self-critical passion through which she expressed the complexity of a world under construction: contributing a cinema of conscience, pointing out the virtues and defects of a social process that tried to change the world from an island in the Caribbean." Gómez died before the film could be completed and so
Tomás Gutiérrez Alea
Tomás Gutiérrez Alea (; December 11, 1928 – April 16, 1996) was a Cuban film director and screenwriter. He wrote and directed more than twenty features, documentaries, and short films, which are known for his sharp insight into post-Revolu ...
At the end of Agnès Varda's short documentary ''Salut les Cubains'' (1963), Sara Gómez is featured as a young filmmaker dancing Cha-cha-cha with her fellow ICAIC filmmakers (illustrated through photographic animation.) Agnès Varda describes Gómez in the documentary as one who, "directs didactic films." Throughout the production of this film, "She ómezhad the opportunity to accompany the prestigious gala director Agnès Varda in her tour of our country and collaborate with her in the documentary" Varda and Gomez became friends throughout the making of this film.
''Sara Gómez: An Afro-Cuban Filmmaker''
In 2004, the Swiss filmmaker Alessandra Muller directed the documentary film: ''Sara Gómez: An Afro-Cuban Filmmaker'' (2004), supported both by ICAIC and Agnès Varda. This film which looks back on her life and revisits Gómez's family and friends. In the documentary, they describe her
film set
A set is artificially constructed scenery used in theatre, film and TV. In the latter two cases there are many reasons to build or use a set instead of travelling to a real location, such as budget, time, the need to control the environment, or ...
s as social events and emphasize that Sara would listen to everyone's input, of professionals and those who were not. Actor Mario Balmaseda notes "We spent a lot of time with people from this area, almost three, four months living with them sometimes sleeping and eating in their home, and this made it a lot easier. We slipped from a professional level into friendship." In the documentary, Sara Gómez is praised by her family as a woman who refused to choose between family and normal life.Alessandra Muller. Sara Gomez: An Afro-Cuban Filmmaker. (2004) However, as she becomes increasingly involved in her job, her husband started to rebel against her work. In the end, she got divorced with her husband.
Death
Gómez died after editing her feature, at the age of 31, due to an asthma attack. She had chronic asthma and overall poor health due to birthing complications while giving birth to her son.
Filmography
Short films
*''Plaza Vieja''; ''El solar''; ''Historia de la piratería''; ''Solar habanero'' (1962)
*''Iré a Santiago'' (1964)
**The title was taken from a poem by Federico García Lorca. The film is photographed by Mario Garcia Joya. It portraits Santiago de Cuba and its people gently and yet its informal voice-over commentary also makes this film striking at that time.
*''Excursión a Vueltabajo'' (1965)
**Translated for US audiences as Trip to Vuelta Abajo. The film depicts the tobacco culture and its changes caused by the Revolution in one of Rinar del Rio's villages.
*''Guanabacoa: Crónica de mi familia'' (1966)
*''... Y tenemos sabor'' (1967)
**This is the third film of Sara Gomez. It is a Cuban music documentary.
*''En la otra isla(1967'')
**Translated for US audiences as On the other Island. The film is a 40-minute collection of interviews of people on the island. The interviewees includes a seventeen-year-old girl who wants to be a hairdresser; a man who works as a cowboy during the day and runs a theater group at night; a farmer who used to be a tenor in Havana; an ex-seminarian; a girl at reformatory and a woman responsible for her. The interviews show the subjects as both complete human beings and representation of certain social identity at that time.
*''Una isla para Miguel'' (1968)
**Translated for US audiences as An island for Miguel. The film starts with a case study of boy being disciplined. Then to the Interviews with the boy's mother, poor homes and countless children abandoned by her husband who leave with his boyfriend. Interviews like this are rare in Cuba.
*''Isla del tesoro'' (1969)
**Translated for US audiences as Treasure Island. It is a short and happy film essay. It cuts between shots of the Model Penitentiary, where Fidel was prisoned by Batista in the pseudo republic years and citrus fruit production that was packed and named “Treasure Island Grapefruit Produce of Cuba”.
*''Poder local, poder popular'' (1970)
**Translated for US audiences as Local power, Popular power. The film talks about political issues.
*''Un documental a propósito del tránsito''; ''De bateyes'' (1971)
**Translated for US audiences as A documentary about traffic. In the film, Sara investigates the technical problem of city traffic.
*''Atención prenatal''(1972)
**Translated for US audiences as Prenatal attention. It is a 10 minutes short film.
*''Año uno''; ''Mi aporte'' (1972)
**Translated for US audiences as First year. It is a 10 minutes short film.
*''Sobre horas extras y trabajo voluntario'' (1973)
**Translated for US audiences as On overtime and voluntary work.