Working Title “Girls in White Dresses”
Director: Ronisa Wilkins Shoate
I believe that in a world where the lines between girl and woman are blurred, cotillions in the African-American community are a defining rite of passage into womanhood. My film will show this by following a group of young women as they prepare for their cotillion. The point of view of this film will focus on how the female participants of the cotillion view the experience. The structure of the film centers on the cotillion as the main event, following its participants from beginning preparations to the ball.
The documentary will be filmed in cinema-verite style to watch the development of the subjects and the events leading to the cotillion. This technique, commonly referred to as the “fly-on-the-wall” approach, will allow the events to unfold without intrusion from or interaction with the film crew. Ultimately, I want the audience to feel a connection with the subjects on their journey. I want to communicate the tradition, positivity, and beauty of this event.
African-Americans have a long tradition of cotillions. Breaking away from the outdated practice of introducing debutantes to society as candidates ripe for marriage, debutante balls in the African-American community usually promote well-rounded young ladies. Scholarship, community involvement, and etiquette are the points of interest in the social organizations that debut participants in African-American cotillions. I want to explore the history as well to compare the evolution of the celebration. I will include interviews from previous cotillion participants, African-American history professors, and cotillion organizers.
In order to evolve with the subjects I want to film the process from bud to blossom. For example, this would include the interview and selection process, the participant notification, rehearsals, and social events. This information provides perspective on who these debutantes are, what they get from the experience, and why they want to be debutantes. Filming the cotillion allows the audience to share in their joy of accomplishment and completion.
This film is socially significant because it is a contribution to the rich African-American culture. It goes beyond the segregation of race. Early African-American debutante balls were held in the 1850s and in the 1920s, many in the African-American middle class wanted to show their social positions. These balls established class boundaries and a way to recognize African-American women that were ignored in the dominant white society. In today’s cultural tradition of debutantes, wealth, social status, and marriage eligibility is not the focus. Particularly in the African-American community, educational achievement is praised and encouraged. Participation is based on if the high requirements are met, regardless of their social or family status. When the young ladies are presented, they are noteworthy because of their academics, community involvement, and their preparedness for higher education.
I believe that African-American culture is not recognized or celebrated enough in cinema. Hip-hop is the main aspect of our culture that mainstream America contributes as African-American. But even worse, many youth feel the same way. African-Americans have traditions, celebrations, and achievements that deserve to be highlighted as part of American history. Cotillions are a part of the culture that is not widely known. African-Americans are a multifaceted race and deserve to be seen as such.
I only learned a year ago of the existence of the grand galas of cotillions and even beautillions for African-American youth during a trip to Texas. In my research, it has come to my knowledge that Southern cotillions are grandiose and elaborate in their presentation of the young ladies. The pomp of these ceremonies, although impressive, does not inform the purpose of this documentary. But they will be mentioned in the course of the tradition.
I have spoken to beaus and debutantes whose balls were held in the Southern or Eastern United States and they all say that I have to go to the South to see how they are really done. But I find it more interesting that there is a history of debutante balls in Southern California. I live in San Diego for over 12 years and never knew these balls existed. I am interested in some of the regional distinction in the celebration, but mainly in the participants and the event itself.
My intended audience for this documentary would be those interested in history, feminists, students, and families. Many feminists believe that cotillions are insulting based on their history of segregation and the preparation of women for marriage. But the 20th Century Onyx Club’s cotillion is a shining example of how cotillions are rites of passage in the African-American community, presenting a wonderful counter-argument to prejudicial feelings towards the tradition. This documentary would be a great learning aide in African-American History and Women’s Studies courses on the college level. And families that have daughters or sons who participated in cotillions or beautillions will appreciate the experiences and history leading to the ball as the finale.
I can expect the audience to know that cotillions are generally for young women from rich families. But I think they will be surprised, as I was, that the debutante experience is positive in that it encourages academic accomplishments and community service from young ladies from different socioeconomic backgrounds. There are many preconceived notions about the snobbery of debutantes and the repressive nature of the ancient ritual. I think the film will present cotillions as an option of a rite of passage to usher young ladies into adulthood.
By the end of the film, I believe that the young ladies will be changed and affected by their experience. The cotillion offers a lifelong memory and bonds of friendship. But ultimately, the debutantes are included in a rich history and bound to sisterhood in preparation for a life of high achievement.