Mixed Race Studies

All Tangled Up: Intersecting Stigmas of Race, Gender, and Sexuality in Mariana Rondón’s Bad Hair

Black Camera: An International Film Journal
Volume 9, Number 1, Fall 2017
pages 47-61

Reighan Gillam, Assistant Professor of Anthropology
University of Southern California

The film Pelo Malo / Bad Hair (dir. Mariana Rondón, 2013) depicts the story of Junior, a mixed-race young boy in Venezuela who wishes to straighten his curly hair. This essay shows that the stigmatization of black hair is part of Venezuela’s racial aesthetic regime and thus contextualizes the actions and desires of the main character. Moreover, while much of the literature on race and beauty in Latin America focuses on women’s experiences, this essay examines men’s and boys’ experiences of aesthetic regimes that value whiteness. Junior’s continual fussing with his hair, as well as his other actions, informs his mother’s fears that he is gay. I argue that the main character, Junior, is subject to shifting forms of stigma that inform his attempts to straighten his curly hair and in turn inform Junior’s mother’s perception that he is gay.

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‘Pelo Malo’ Is A Rare Look Into Latin American Race Relations

Morning Edition
National Public Radio
2014-12-10

Jasmine Garsd, Reporter and Host
NPR Music’s Alt.Latino

Actor Samuel Lange Zambrano plays Junior, a boy who becomes obsessed with relaxing his hair. Courtesy of the artist

“Pelo Malo” means “bad hair” in Spanish. It’s a term that is commonly used in Latin America, and it’s also the title of a new Venezuelan film that tackles racism and homophobia.

Junior is a 9-year-old living in a poor neighborhood in Caracas. School is about to start, and he has to have his picture taken. Junior, like many Venezuelans, has European, indigenous and African ancestry, which gives him thick, tightly curled hair. He becomes obsessed with straightening it, trying everything from blow-drying to applying gobs of mayonnaise. That last attempt drives his mother, a struggling widow, insane; she threatens to “cortarle el pelo,” just cut all his hair off.

Pelo Malo is a rare look into identity politics among Latin Americans, where racism is often a taboo topic. Despite the taboo, director Mariana Rondón says, the term “pelo malo” is common currency. “The origin of the term is very offensive. It’s very racist. But it’s also true that in Venezuela, we are so mixed, that in every single family there is someone with … ‘bad hair.’ We joke that the second most profitable industry, after oil, is hair straightening. Because everyone here wants to have straight hair.”…

…The film is very Venezuelan, but many Latin Americans can relate to it. Bianca Laureano is the founder of The LatiNegr@s Project, a virtual space that aims to discuss history and current events in the Afro-Latino community. She says the battles over hair are very much present in her own life: “I have family members who I have never even met. And I meet them, and part of the conversation will be, ‘I don’t like your hair the way that it is.’ ”

Laureano says while she wishes the movie had dealt with its issues in more depth, she thinks it’s representative of a sea change in the way Latinos discuss race. “What I definitely see an increase of is people who identify as Afro-Latino. This is who I am, this is my story. We take part in this as well.”…

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‘Pelo Malo’ Director Mariana Rondon: Why Her Movie Hits A Nerve

NBC News
2014-11-19

Sandra Guzman

For Latinos born with Afro-textured, curly hair or kinky hair – referred to as pelo malo or “bad hair” in Latin America and the Caribbean – their experiences can be quite intense and in many cases negative, as an Afro-Honduran recently told NBC News Latino contributor Raul A. Reyes.

Precisely because Afro-textured hair holds such a complex, racial history in our home countries, it can be tricky to explore as a topic. But in the skillful hands of Venezuelan director/writer Mariana Rondón, black hair is a window into Latin America’s soul.

The Venezuelan movie Pelo Malo, which opens Wednesday in selected theaters across the country, has generated controversy in Venezuela and grabbed audiences and juries alike. It has already won several awards, including top prize at the San Sebastian Film Festival.

The plot of the film seems simple enough: a nine-year old boy wants to straighten his afro-like hair to look like his favorite pop singer—a Justin Bieber type – for his school picture. His unemployed single mom, who is light skinned, will have none of it; she also worries he might be gay. As the battle between mother and son unfolds, with the backdrop of chaotic modern day Caracas and the child’s paternal black abuela, this brilliant film exposes every layer of modern day Venezuelan society—its negated racism, its beauty queen culture, its urban violence, poverty, its polarized politics, and its deeply rooted homophobia.

NBC News spoke to the Ms. Rondón who is visiting New York for today’s film’s premiere…

…Why black hair?

Black hair serves as a portal. In the beginning, the boy goes to the mirror; the mirror is a window into the most profound part of our identity. We all have that thing we don’t like about us, a nose, a body part. It’s where we begin to recognize ourselves.

In that sense, we all have pelo malo…

Read the entire interview here.

Pelo Malo (Bad Hair)

Sudaca Films
2013
Venezuela
93 minutes
color

Written and Directed by Mariana Rondón
Produced by Marité Ugás

Starring

Samuel Lange as Junior
Samantha Castillo as Marta

Junior is nine years old and has “bad hair.” He wants to have it straightened for his yearbook picture, like a fashionable pop singer. This puts him at odds with his mother Marta. The more Junior tries to look sharp and make his mother love him, the more she rejects him, until he is cornered, face to face with a painful decision.

Director’s Note

Bad Hair is the intimate story of a nine-year old child’s initiation to life and his difficult journey marked by intolerance.

One of the first images that came to me for this movie was a large multi-family building and the thousands of stories that take place behind those walls: heat, nudity, precariousness, fragility, sensuality, sex, violence, family, mother, child. The little, intimate stories I imagined grew more complex and so my characters were born.

They are helpless characters. Wounded and hurtful adults, and children who are learning how to hurt. Marta, the mother, focused on survival, teaches her son Junior to survive just like her, without resources, without freedom. But Junior is different, he fights with everything he’s got for his desire: to straighten his hair and to dress as a singer for a picture he wants to give his mother: a picture that would show him as he wishes to be seen.

Caracas is also hostile to them, a city of urban, political and family violence. Dreams encapsulated in multi-family buildings- the result of Le Corbusier’s “Utopian city” project in the 50s—now turned into massive vertical hells.

I want to talk about intolerance in a social context that is riddled with dogmas, which don’t embrace otherness, where public affairs extend to the private life of its’ inhabitants, highlighting their differences, be they social, political or sexual.

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