The documentary short “Drummies” follows a group of tween and teen drum majorettes in Cape Town. “When I have that mace in my hand no one can hurt us,” one drummie says. “No one can touch us.”
It’s a work of nonfiction, but there’s an element of the fantastical to “Drummies”—less Ken Burns and more docu-dream.
In 2018, the South African director Jessie Zinn saw something she knew to tuck away in her mental archive, for later. It was a, on newyorker.com, featuring images by the photographer Alice Mann. The pictures were of young female drum majorettes in Cape Town who are bewitched, bedazzled, and bedecked—in glossy, shimmery jewel tones and towering, fuzzy busbies and the type of boots Nancy Sinatra could walk miles in. Some of the girls are carrying flags, others maces.
Despite the film’s feeling of reverie, there is no suspension of reality, no divorcing the beauty of girlhood from the tragedies of being a girl. “Drummies” is shaded with loss, generational trauma, and just the desire to get out, leave home, never look back. There’s also the irony inherent to being a teen: of being the protagonist of your own world while also being unsure of how to take up space in this world.
“In our country at this moment, a teen-age girl like me is actually living in fear right now,” a drummie later remarks. “But when I have that mace in my hand no one can hurt us. No one canus.” In the final scene—a series of shots most resembling Mann’s photography—the drummies, costumed in hot pink, silver, and black, toss their maces in choreographed unison. Some are smiling; others are defiant. All are firm in their power, in their truth.
France Dernières Nouvelles, France Actualités
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