Starring Columbus Short, Brian J. White, Darrin Dewitt Henson, Ne-Yo, Chris Brown, and Megan Good.
More than one named female character of color? Yes
Who spoke to one another? Yes
About something other than a man? Yes
Summary: From the opening scene to the closing credits, Stomp the Yard takes the viewer on a turbulent joy ride. The film centers around DJ Williams (Columbus Short), a young black man from inner-city Los Angeles who excels in underground dance battles. After serving a stint in jail for assault, DJ is sent to Atlanta to stay with his aunt and uncle and attend Truth University, a historically black university. At Truth, DJ decides to pledge Theta Nu Theta fraternity. The film then follows him and his Theta Nu Theta brothers on their journey to win National Greek Stepping Competition. Along the way, DJ learns important life lessons about selflessness, reconciliation, and teamwork. Think School Dazemeets You Got Served meets Drumline.
Admittedly, this film does a pretty good job of portraying the exhilarating sport of stepping, the positive effects of attending a HBCU and the rich history of these institutions. And let’s not forget the gratuitous shots of these fine men in action, the shameless sights of glistening undergraduates that have us ready to become honorary Thetas. All that, plus phenomenal choreography that takes stepping and hip-hop dancing to an entirely new level. At the end of the day, if you’re looking for an urban film featuring a young, all-black cast, then this movie has go you covered.
If you were like me the first time around, then you probably got a feel-good buzz from the happy ending for DJ and his fellow Thetas. However, now three years later, after realizing that April and Aunt Jackie, the only two female characters of color in the film, exist only to serve as trophy wives, I felt cheap and used. Boy was I easy! Scrutinizing Stomp the Yard for Black Bechdel purposes ultimately reveals that the only dialogue had between the two female characters was a brief, perfunctory observation made about a pretty vase of tulips. Neither April nor Jackie have any agency outside of their relationships.
April’s domineering, overprotective father and her disrespectful, chauvinistic ex-boyfriend both use her for social and professional advancement. And although DJ respects April, even he subconsciously objectifies her in his relentless pursuit of her affection. In April’s father’s past relationship with Aunt Jackie, we see the film’s blatant objectification of women on a generational level. Despite being superior both academically and socially to their partners, April and Aunt Jackie ultimately serve as a kind of booty (pun intended.)
Final Verdict: While this film did (technically) pass the Black Bechdel Test, Stomp the Yard successfully buys both the film’s female characters and the film’s female viewers alike with a cheap flash of muscle and athleticism. Women should be rewarded for their accomplishments, but they should not serve as objectified rewards for their counterparts.
Feeling dirty? A long, hot shower and a viewing of Our Song, next week’s film, should do the trick.
