Isis, who has every right to be pissed, does not conform to the racist “angry black woman” archetype, but rather remains calm and cool in her captainship-continually exhibiting far better leadership than Torrance, whose judgement is questionable at best. The Clovers, who go on to earn a deserved championship title, are not the film’s antagonists, but rather its heroes, as the film continues to subvert cinematic cliches and challenges the audience’s expectations.
While appropriation is an age-old and regularly occurring phenomena in fashion, music, dance and art, our willingness to identify and discuss the epidemic is more recent-which makes placing this lesson at the heart of a high school Blockbuster in the year 2000 feel all the more radical. The Torros whitewashed routines are evocative of the the hip thrusting phenomenon that was Elvis Presley, as well as more recent examples, like Miley Cyrus, Katy Perry, Taylor Swift -not to mention the prolonged car crash that was Iggy Azalea’s musical career. It calls to mind the countless white performers who have been applauded for borrowing elements of culture that reinforce racist stereotypes in their originators, but when presented by privileged bodies, become fashionable, cool or edgy. Union explained her interest in the script’s vital and relevant message to Complex in 2015: “That is what appealed to me-the appropriation of our culture and winning awards and championships, using routines created and cultivated by black women who never got acknowledged, and couldn’t afford to get on that national stage to get recognised.” ‘Bring It On’ (2000), Universal Pictures When a Clovers squad member confronts Torrance and Missy after a game, she asks: “Were the ethnic festivities to your liking today?” Union’s character, Isis, articulates centuries of injustice with candour: “Every time we get some, here y’all come trying to steal it, put some blonde hair on it and call it something different”. It quickly transpires that the robotic, white and affluent Torros have been robbing a predominantly Black team of its creative capital and labour, to their tremendous benefit. Though disguised as a fluffy teen flick, Bring It On is actually a pressing commentary on race, class and privilege, and perfectly illustrates the harm done by cultural appropriation and colonialist practices. The Torros must scramble to find a new routine to beat the Clovers, who have every intention of attending nationals and earning the trophy they deserve. When a new recruit, badass gymnast Missy (played by Eliza Dushku) joins the team, Torrance learns that their previous captain has been stealing their cheers from another squad: the East Compton Clovers-led by Gabrielle Union’s character, Isis. Dunst plays Torrance Shipman, the newly elected captain of the Rancho Carne Torros cheerleading team, who are chasing their sixth national championship trophy. Released exactly 20 years ago today, the cult classic not only capitalised on the American cultural fascination with cheerleaders, and launched lead actresses Kirsten Dunst and Gabrielle Union to certain fame, but its deeper message of appreciation and appropriation is one that seems only more profound with time.įirst envisaged as a three-hour-long MTV documentary called Cheer Fever by screenwriter Jessica Bendinger, it was only after director Peyton Reed signed onto the project that it became a feature film with a straightforward but meaningful plot line.
Earlier this year, Netflix released its gripping docuseries Cheer -an illuminating and at times distressing glimpse into the lives of Navarro College’s competitive cheer squad-two decades after Peyton Reed’s Bring It On won its way into our teen-age hearts.