Nonentity (Water III: Fan Black Dada)

Nonentity in the context of the experimental film Water III: Fan Black Dada (2016), by Martine Syms, functions as a complex thematic element exploring the erasure and invisibility of Black female identity within digital spaces and broader societal narratives.

The film, part of Syms' broader exploration of "Black Vernacular," uses the concept of the "nonentity" to critique the way Black women are often rendered invisible or inconsequential in online environments, despite their significant contributions and presence. This invisibility is not simply a passive absence, but a performative one, enacted through algorithmic biases, representational stereotypes, and the systemic marginalization of Black voices.

The "nonentity" within Water III: Fan Black Dada is presented as a state of being imposed upon Black women, rather than a chosen identity. It is a response to the constant pressure to conform to dominant (often white, male) standards of beauty, behavior, and self-presentation. By highlighting the inherent contradictions in striving for visibility within a system that actively works to erase them, Syms exposes the psychological and emotional toll of being rendered a "nonentity."

The film’s fragmented narrative, use of online imagery, and explorations of digital culture all contribute to understanding the "nonentity" as a multifaceted phenomenon. It highlights how social media, while ostensibly offering platforms for self-expression, can simultaneously reinforce existing power structures and contribute to the erasure of marginalized identities. In this context, the "nonentity" becomes a potent symbol of the ongoing struggle for recognition and representation in the digital age. The term emphasizes the societal forces that contribute to making someone feel unseen and unheard, despite their inherent value and lived experiences.