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The Real Failure of "Always a Witch" (Siempre Bruja)

by Odette Casamayor- Cisneros


Entertainment is the conditio sine qua non of telenovelas; and this is all that accomplishes Always a Witch (Siempre Bruja), the Colombian production on Netflix since February 1st. What is the trouble with the series, then?

Great expectations preceded its première, arisen by the trailer shown months before, in which the mere appearance of its protagonist was a rare occurrence: the splendid Afro-Colombian Angely Gaviria would play the role of Carmen Eguiluz, a slave accused of witchcraft and burnt alive by the Inquisition in 1646, miraculously reappearing on the beach of Cartagena in 2019. Weary of the invisibility of blacks and blackness in most Latin American TV productions, we hoped that Always a Witch would at least start quenching the thirst to watch our stories receiving global recognition. We’ve been anxiously waiting for the series, which proves the capitalization of Gaviria’s dark body and face as a promotional lure to be an effective marketing strategy. However, the team behind this idea appears to be ignorant of one incontestable, basic truth: nowhere in the Americas it is possible to resort to a Black enslaved character while avoiding all discussion on race.

Through ten episodes, Carmen Eguiluz is taken back and forth from slavery to the present, without evoking her blackness. Watching her knocking at the doors of a colonial mansion where she easily finds a place to live and being received with openness and kindness everywhere she goes, one could assume that contemporary Colombia has become a post-racial paradise. Anti-black discrimination seems to be buried in the past, along with slavery. Yet, it is difficult to believe that anti-racist Colombian activists would actually agree with the series’ writers. Equally suspicious is the absence of black characters in the spaces frequented by Carmen.

 Except for her friend Daniel (Dubán Andrés Prado), none of the university students and professors, neither the police inspectors or the owners of the colonial mansion are black. They haven’t been completely erased, however. Carmen encounters black Colombians when she visits the neighborhood where she was born. There, 21-century blacks remain confined; dancing, drinking and celebrating a dark-faced saint (Virgen de la Candelaria). Out of this enclave, the only black characters are magical Carmen and the always-smiling Daniel.


Immediately after being launched, Always a Witch has been slammed through social media for its failure to accurately depict the black experience in Latin America -a fact aggravated by the coincidence of the première with the beginning of the Black History Month. Read the rest at Cite Black Women

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