If you’re like me, you didn’t know what the words “coonery” and “baffonery” meant when they were first uttered, but we all knew it was nothing good.
When I decided to Google the phrase, I hadn’t expected to find anything other than reports on the current feud between movie writer, director, producer and actor Spike Lee and the equally-talented Tyler Perry. As expected my search produced several links detailing Lee’s accusation as well as Perry’s rebuttal, but to my surprise there is actually a site, Urban Dictionary, that offers a coherent definition of the term used by Lee.
Call me a skeptic, but I’m not too sure what to make of this site just yet. On the other hand, “antics and behaviors displayed by certain underclass individuals in the black culture, with the end result being the embarrassment of the rest of the upstanding black community” does seem to be a pretty accurate definition of what one might consider to be coonery and baffonery given the context of Lee’s comments.
Let me back up a bit and explain exactly what we’re talking about. During an interview with Ed Gordon, Lee referred to work done by Perry as “coonery and baffonery.” Simply put, Lee believes Perry is displaying the black community in a negative light by showcasing of some of his most famous characters.
I personally enjoy the work of both men. Lee’s “Crooklyn” and “Do the Right Thing” are two of my favorites. His documentary “When the Levees Broke” is a must see for anyone interested in the circumstances surrounding the tragedy of Hurricane Katrina. Perry’s “Diary of a Mad Black Woman” is an all-time favorite, and “Daddy’s Little Girls” is without a doubt one of the most touching films he’s brought to the big screen.
Clearly both men have gained respect and recognition in the film industry, but despite the many similarities that exist between the movie makers, it’s clear Lee wouldn’t consider his comparison to Perry a compliment.
Initially, the chosen term might seem to accurately describe some of the characters seen in Perry’s productions. There is Mr. Brown, who is ridiculously ignorant and colorfully dressed, and Uncle Curtis, who is selfish and obnoxiously loud. I agree with Lee; I don’t want to be portrayed as something I’m not any more than the next person, but after viewing Perry’s films and listening to his response, I can only wonder how Lee has missed the message.
Whether you’re a fan of the work that flows from the walls of Tyler Perry Studios, even if you’ve only seen one film, you know they convey explicit messages. True, Mr. Brown is not someone I’d choose as a father, but when I think about it, I can’t honestly deny knowing or having met someone who reminds me a bit of Mr. Brown. Even Perry stated Madea is nothing more than a Hollywood version of “Big Mama.”
In other words, though certain details may be exaggerated, Madea and Mr. Brown are modeled after real individuals.
I’ll confess I do enjoy some of Perry’s characters more than others, but I still struggle to agree with Lee’s evaluation. If anything, I believe Perry’s films are able to show the variety that exists within the black community while attracting diverse crowds.
For years the deadbeat dad stigma has plagued black men more than others, but in “Daddy’s Little Girls,” Idris Elba portrays a strong black father willing to take any measures to be with and secure the safety of his daughters.
In “Diary of a Mad Black Woman,” Kimberly Elise showed the strength of a woman as she found life and love once again following a devastating divorce. Perry has even provided audiences with a glimpse of the real life struggles women often face when trying to flee abusive relationships.
No, I don’t watch “Meet the Browns” weekly, but this has nothing to do with any personal offense I take to the characters seen throughout the sitcom. However, I enjoy many of Perry’s films and find them to be encouraging and uplifting, anything but degrading and humiliating.
Lee is entitled to his opinion, but I can’t help but wonder if they may have been made out of something other than concern for how a particular culture is being depicted on screen.
Perry refuses to apologize for Madea and those like her because he believes these types of people really exist and he won’t ignore them simply because they aren’t who we’d like them to be.
If this is true, shouldn’t Lee be more concerned with condemning the everyday representations of coonery and baffonery found within society than those we pay $6.50 to view for entertainment purposes?
