Instead of uploading all these videos, I have provided a link for viewing them. Please email me at pearkle@gmail.com if they give you any trouble.
https://www.dropbox.com/sh/iapclsvvgg7v2ce/Dh-AGWu8HF
Monday, February 24, 2014
Sunday, February 23, 2014
Thursday, February 20, 2014
Brother Deonard
Here is video of Emmett Till's Great-Uncle named MOSES WRIGHT:
And here is your Biblical name - SIMON -
So, in our story you are a farmer/sharecropper - Great Uncle Simon of Mississippi.
You are forced by the local authorities to help carry Christ's cross. You bear witness to the authorities giving Christ over to the Klu Klux Klan and then the cross being lit aflame to illuminate the crucifixion/lynching of Christ. - THIS SECTION IS ALL TOLD THROUGH MOVEMEANT PIECE
You live to tell the story and ultimately come back to a place of sanctuary to "tell it" to the disciples and his followers. - THIS IS SECTION IS YOUR ACTUAL MONOLOGUE.
Wednesday, February 19, 2014
Quilted Armband
Those of you who ultimately become disciples will at some point create your own Quilted Armband that signifies your brother/sisterhood and tells your characters individual stories.
The Master and Margarita
I mentioned the book, "The Master and Margarita". Its just another take on things; splits and mixes the story of Jesus and the Devil, with its own interesting interpretation of these stories. The book is better, kind of hilarious, but the realities it touches on are not. So there's this very flat objective take on things, rather non-religion, more "municipal", but I've added a clip below. The point is that Jesus is portrayed not necessarily as divine, but a charismatic street preacher who causes a riot, a community leader who is busted and legally punished. In fact, only outsiders, criminals, and dark-skinned foreigners were hung on the cross. That it is a symbol of Christianity is merely incidental and based on perceived class status, along with many others before Him. In parts of Africa, it is the storm that ensued immediately during/after that is the symbol for his divinitybecause of its timing, not the structure he was killed on, which was commonly used and seen at their public trials. I find that interesting, as the storm is caused by nature and space and the elements, but the cross is merely man-made...a symbol imbued with a power that the environment actually had a the moment of Jesus' death.
In the end, it came down in this interpretation to a jockeying for mind control over the masses, covered as a crime against the state. Pilot actually admired "Ha Nozri" in the book because he admired smart people, but was bound by law and custom to follow the rules ... but yet the Devil was there, because he's the one recounting the story to a band of atheist Russians who didn't believe in Jesus. Geesh, this doesn't help, and I don't know if the movie adaptations will. Sometimes (and there is no time), you just have to read the book. https://www.youtube.com/watch?
India Untouched
It’s no coincidence that Dalits are dark and Brahmins are "fair", as they call it, and that white invasions into the country long before Caesar had influences on this ancient system and changed it, like Christianity, into a belief system extolling whiteness. This was not the case before white invasion, but has been the case sense, to the point of color casting become "normalized" in their religion. The women you constantly hear of being gang-raped, for example, are almost always from the Dalit caste, and below them (which is already rock bottom) is the Siddi caste (former African slaves, who were brought to India for unpaid labor, and left by the Europeans and Arabs centuries ago). They have their own Emmit Till, their own Medgar Evers, etc.
Negro Folk Symphony
The Negro Folk Symphony by William Levi Dawson is the soundtrack to our 10th Station of the Cross, known as the MoveMeant section.
Lift Ev'ry Voice and Sing
All members of the ensemble need to practice and memorize this song. Humming along won't work.
Rehearsal Report 2/10/14
Monday, February 10, 2014
Student Center Building / OMA 322
6:00 – 8:15pm
BLACK NATIONAL ANTHEM
- asked that everyone practice singing the song at least once every day - https://www.youtube.com/
watch?v=ya7Bn7kPkLo - Lucia (music director) will be with us on Thursday night
Sister Pearl (Assistant Director) went over OUR DEVISING PROCESS:
- bring all your skills to the table
- intention to collaborate, network, and creators as performers
- it is an invitation to obsession
- it originates from “hunch” of a the last days of Christ in relation to the Civil Rights Movement
- pay attention to your ideas and observations, and bring into the process
- there are containers = creative limitations
- endeavor to have devisers and material in room every time
- the five stages of our devising process - research, creation, development, rehearsal, and performance
Our devising process will also include the ideas of:
- being under exquisite pressure
- being violently decisive
- shooting for the stars (exploring what is actually possible)
Members SHARED ALL THEIR SKILLS which ranged from acting, tap dance, and speaking Italian to baking, playing guitar, and public speaking. Sister Veronica shared her “research” of the STATIONS OF THE CROSS:
- traditionally 14 stations
- painting, sculpture, and re-enactments
Brother Tyrone shared the 13 STATIONS (scenes) of THE NEGRO PASSION PLAY:
- Mary sitting in front pew of an all-white church
- Jesus of Nazareth and his twelve disciples holding a press conference
- Pontius Pilot (Mayor/Sheriff “Bull” Connor-type)
- The movement to integrate “the church”
- Sermon on the Mount and Miracles
- The Last Supper
- Breakfast Table (our Garden of Gethsemane)
- The Arrest
- King Herod (Governor Wallace-type)
- Journey to the cross
- Strange Fruit (the crucifixion as told by a witness)
- The Woman
- Resurrection
Overview of COSTUME DESIGN with Seattle University students - Sister Brynne McKeen, Costume Designer and Sister Ariana Chriest, Assistant Costume Designer - who shared images (see PowerPoint attached) and the "symbolic" use of colors. Measurements were taken.
We explored some RITUAL, SOCIAL INTERCATION, and JIM CROW
- Sister Karen and Sister Pearl shared essay by Dr. David Pilgrim, Professor Sociology, Ferris State University, on Jim Crow law in the south
- Brother Tyrone shared the idea that the act of defying Jim Crow was a spiritual exercise in relation to the brutal system of racism
- Did a “segregation through silence” exercise to begin to understand the more difficult and emotional parts of our process. Needed to “hug it out “by the end of the exercise.
We are in the RESEARCH PHASE of our devising process. Sister Diane will be bringing a book called The Master and the Margarita, by Mikhail Bulgakov. Those of you who took home material to “research” be prepared to be under “exquisite pressure” to do the following on Thursday and/or Saturday:
- Three minutes to explain what you learned
- Three minutes to take and answer questions
- Three minutes to emphasize the three main point from your research
Here's the library list of research material borrowed and by whom:
- Gospel of Freedom – Sister Aline
- Last Temptation of Christ – Sister Swan
- Partners to History – Brother Marlon
- At the Hands of Persons Unknown – Sister Diane
- Time-Life Jesus – Sister Pearl
Feel free to bring a prayer, poem, quote, etc. to share at rehearsal. We ended the evening with these WORDS OF WISDOM:
I have walked that long road to freedom. I have tried not to falter; I have made missteps along the way. But I have discovered the secret that after climbing a great hill, one only finds that there are many more hills to climb. I have taken a moment here to rest, to steal a view of the glorious vista that surrounds me, to look back on the distance I have come. But I can rest only for a moment, for with freedom comes responsibilities, and I dare not linger, for my long walk is not yet ended. - Nelson Mandela Long Walk to Freedom
I am PLEASE TO ANNOUNCE that Sister Diane Beall and Sister Michelle Edwards have joined out little creative family. Please note that from here on out everyone is to address one another as Brother or Sister in relation to their first name.
Sister Diane
Whoo, I'm in over my head, but hopefully the team will keep me from drowning in stage fright. :-) I'm apparently a masochist, so thanks for the opportunity?! Gets me out of my head (where I usu. am with my work), and into my outer self, which I don't willingly do very often and the idea just makes me self-conscious, which an actor cannot be, or at least show. So, I write, and a direct, and I plan and teach, but I usu. do that for those who will go act it out or present it. Its not shy, its just not me, or I'm trying to figure out if its at least a part of me to be "external" or "public" with my expression. Don't know yet. Acting and stage stuff is sort of antithetical for me. Okay, moving on, already uncomfy :-)... See brainstorm below if interested:
Already have some rather visceral examples of lynchings, and some more subtle ones. Will list over email so it won't take up too much space in rehearsals? The variety of lynching styles ... makes it harder to choose, ironically.
I couldn't resist, after last night, passing this on: The reality of extreme Jim Crow is veiled but still present in "expectations" in the U.S., yes, but is active and out in the open today--in India--in ways that completely parallel what my own parents and grand parents went through under "JC" (a loaded acronym). Search:"Dalit" caste: https://www.youtube.com/watch?
It’s no coincidence that Dalits are dark and Brahmins are "fair", as they call it, and that white invasions into the country long before Caesar had influences on this ancient system and changed it, like Christianity, into a belief system extolling whiteness. This was not the case before white invasion, but has been the case sense, to the point of color casting become "normalized" in their religion. The women you constantly hear of being gang-raped, for example, are almost always from the Dalit caste, and below them (which is already rock bottom) is the Siddi caste (former African slaves, who were brought to India for unpaid labor, and left by the Europeans and Arabs centuries ago). They have their own Emmit Till, their own Medgar Evers, etc.
Jim Crow came out of the "Black Codes" phenomenon of slavery, of course (ex.: so's not to confuse the white folk, mixed black slaves had to wear head scarves, for example--so their hair texture and length wouldn't remind whites of their likely parentage. Head scarves, unlike the wearing of them now by Africanist or Muslim women, were about oppressing one's hair, making it unseen, to deny reality and keep up the charade. There are so many parallels betwen the Dalit and Jim Crow reality, that now there is a civil rights movement IN INDIA, met with the same kinds of violence in this necessary fight. Dalit farmers quoting MLK, NOT Ghandi (who was okay with the caste system against his own country's people and didn't respect Africans, either ...). It grates on me that his statue is placed at the MLK memorial in Atlanta--NOT a statue of King?!? It would be amazing to have dark-skinned Indians in this play ... talk about adding another dimension ... those who, like some black Americans, can recognize their positionality and resist, not live in fear and acceptance of what is. It's also interesting to note that Krishna, the main Hindu god--whom Dalits in particular worship with an extra, almost gospel-like fervent--is their Jesus redemption figure in India and is dark blue/black or green in color, but the further into Brahmin spaces you go, the whiter he looks ... much like earlier depictions of Jesus in Ethiopia and Yemen prior to white invasions. Lot of overlap and room to play here, in my opinion. Okay, I used to date a Dalit guy, who thought I was Dalit (in fact, I have some E. Indian ancestry in the way-way back machine; genetics, probably through the Carribbean slave trade which had Indian and Blacks in the same situation around Barbados/Trinidad/Tobago, where my slave ancestors are from). Just as blacks can "see" into the faces with veiled African features, Dalits can see who's got Dalit ancestry. Amazing. Whole new/old world going to those family gatherings ...
I'm not keen or particular on any type of interpretation of the Passion, btw, but if its open to interpretation, as I mentioned, I tend to throw everything up and see what sticks or fits, so consider whatever I suggest a noodle thrown against the wall. :-)
That said, I mentioned the book, "The Master and Margarita". Its just another take on things; splits and mixes the story of Jesus and the Devil, with its own interesting interpretation of these stories. The book is better, kind of hilarious, but the realities it touches on are not. So there's this very flat objective take on things, rather non-religion, more "municipal", but I've added a clip below. The point is that Jesus is portrayed not necessarily as divine, but a charismatic street preacher who causes a riot, a community leader who is busted and legally punished. In fact, only outsiders, criminals, and dark-skinned foreigners were hung on the cross. That it is a symbol of Christianity is merely incidental and based on perceived class status, along with many others before Him. In parts of Africa, it is the storm that ensued immediately during/after that is the symbol for his divinitybecause of its timing, not the structure he was killed on, which was commonly used and seen at their public trials. I find that interesting, as the storm is caused by nature and space and the elements, but the cross is merely man-made...a symbol imbued with a power that the environment actually had a the moment of Jesus' death.
In the end, it came down in this interpretation to a jockeying for mind control over the masses, covered as a crime against the state. Pilot actually admired "Ha Nozri" in the book because he admired smart people, but was bound by law and custom to follow the rules ... but yet the Devil was there, because he's the one recounting the story to a band of atheist Russians who didn't believe in Jesus. Geesh, this doesn't help, and I don't know if the movie adaptations will. Sometimes (and there is no time), you just have to read the book. https://www.youtube.com/watch?
[Sister Veronica asks: For the sake of throwing everything in the air and seeing what sticks... What if the Christ character was a woman?]
I with you Veronica, but here's my take (haven't seen emails from others on this, so I tend to respond in a vacuum lol): Women have been so blocked in as secondary figures of both religious and political movements (from Mary Magdeline, who seemed to be Jesus' muse (at the very LEAST), actually, to Rosa Parks--Parks being the person who actually sparked the Civil Rights movement, to be honest, with MLK a mere passenger on her activism train; her bus ride was like, LATER ON lol). And what usually happens happend: King recognized her power, got a clue; she was told in so many ways to "let the men take the wheel now), then they took over. Nowadays her name is thrown in for good measure, but all the cred goes to the men in almost every case, despite none of them topping Harriet, Fannie, or Rosa.
Its a risk I'm open to supporting, but its a risk maybe we shouldn't take here because already a lot of layers for the audience to cut through. That's no excuse for a take-no-prisoners type like me about feminism but sexism is "complete" in that most people would tune that out like they tune out the WNBA lol, despite the team's stellar record. Its already a "cause"-based play, and should stay focused if this wasn't in the original semination of the work. I actually think superimposing womanist theology or feminist messages on top of an already stacked cake would do feminism an injustice, actually, as it could get lost in the other messages, weakening them all. That is to say, I think its a big enough issue that it needs its OWN passion play, or the process would need more time...For me, race and gender, then class, are the 3 factors that have made my life a very challenging one, and I ... just don't want to do the work of tackling two of the 3 in one play. Call me lazy, call me traumatized, or call me practical. I don't know. Because we could also make the argument. Why not a gay Jesus? Why NOT a white Jesus? etc. All this and in the back of my head ... there is Mary. Its a Catholic church (decoded: cult of Mary, more than her son), so there IS wiggle room for this idea I think, Veronica. I just think it has to be introduced somewhat formed already if so.
Noodle thrown with exquisite decisiveness lol,
-Diane
PS: Will bring my African Heritage Bible in tomorrow. The pictures are a combo of hilarious and priceless ...
PPS: I'm into alternative depictions or representations of Jesus and Mary, by the way. I collect art, photos, posters, films, whatever. I just never really focused on the final day of Jesus much; more the teachings. Maybe these will inspire something for someone, though, the way they have me? That is, on several levels--artistic, visual, cultural, spiritual, and actually a few more. Of course these are "other era" and "inner space" images to consider, none related to the 60s ...
1. Ethiopian Mary and Son
2. Taoist Mary
3. Buddhist Jesus (ie. Dalit caste's idealization of Buddha who was often depicted early on as dark in color as Krishna)
4. Basquiat's "Mater" (or, Original Mother, or Mary, described as both, not to be confused with some primal "Eve" figure--forming a sort of cross of her own making, naked with a halo, instead of her male son. Basquiat, ah ...) I think it captures the incomparable pain, necessary other-worldness, divinity, and courage of black women of the Diaspora and in the far reaches of time, who know what crucifixion really means ...
5. Ethiopian Jesus (the 'fro is always a dead giveaway its old-world Ethiopian/Byzantine-inspired).
6. A movie poster from artist Chisholm Larsson, for the Italian passion play film "Lotr Po Pravici" which, ironically, DIDN'T have a black Jesus in the film as the poster would suggest, but was better than most films at depicting the reality of most of Jesus' early, ardent followers were people of color and women, not just a few Roman disciples Hollywood focuses on. The use of a black Jesus here is mainly because of the Ethiopian Orthdox Christian influence on Southern Europe since there was a Southern Europe. Ethiopia and Sudan were a seminal part of bringing Christianity to Southern Europe, as much as the "blackamoors" brought Islam to Portugal and Spain. Its an implicit thing now (my best analogy for how Italians see Jesus, if they're honest, is like how Americans ignore Native Americans, but there's no desputing how they are related American nature and wild spaces), So, the Larrson image was controversial but no one thought it unrealistic ... Here's a clip of the long walk to the Cross:http://www.youtube.com/watch?
7. The Black Madonna being prayed to by the Pope. Just search "The Black Madonna" and be prepared to have your mind implode on where these shrines and alters are located--none of which are in Africa ...
"I freed thousands of slaves. I could have freed thousands more
if they had known they were slaves." - Harriet Tubman
Already have some rather visceral examples of lynchings, and some more subtle ones. Will list over email so it won't take up too much space in rehearsals? The variety of lynching styles ... makes it harder to choose, ironically.
I couldn't resist, after last night, passing this on: The reality of extreme Jim Crow is veiled but still present in "expectations" in the U.S., yes, but is active and out in the open today--in India--in ways that completely parallel what my own parents and grand parents went through under "JC" (a loaded acronym). Search:"Dalit" caste: https://www.youtube.com/watch?
It’s no coincidence that Dalits are dark and Brahmins are "fair", as they call it, and that white invasions into the country long before Caesar had influences on this ancient system and changed it, like Christianity, into a belief system extolling whiteness. This was not the case before white invasion, but has been the case sense, to the point of color casting become "normalized" in their religion. The women you constantly hear of being gang-raped, for example, are almost always from the Dalit caste, and below them (which is already rock bottom) is the Siddi caste (former African slaves, who were brought to India for unpaid labor, and left by the Europeans and Arabs centuries ago). They have their own Emmit Till, their own Medgar Evers, etc.
Jim Crow came out of the "Black Codes" phenomenon of slavery, of course (ex.: so's not to confuse the white folk, mixed black slaves had to wear head scarves, for example--so their hair texture and length wouldn't remind whites of their likely parentage. Head scarves, unlike the wearing of them now by Africanist or Muslim women, were about oppressing one's hair, making it unseen, to deny reality and keep up the charade. There are so many parallels betwen the Dalit and Jim Crow reality, that now there is a civil rights movement IN INDIA, met with the same kinds of violence in this necessary fight. Dalit farmers quoting MLK, NOT Ghandi (who was okay with the caste system against his own country's people and didn't respect Africans, either ...). It grates on me that his statue is placed at the MLK memorial in Atlanta--NOT a statue of King?!? It would be amazing to have dark-skinned Indians in this play ... talk about adding another dimension ... those who, like some black Americans, can recognize their positionality and resist, not live in fear and acceptance of what is. It's also interesting to note that Krishna, the main Hindu god--whom Dalits in particular worship with an extra, almost gospel-like fervent--is their Jesus redemption figure in India and is dark blue/black or green in color, but the further into Brahmin spaces you go, the whiter he looks ... much like earlier depictions of Jesus in Ethiopia and Yemen prior to white invasions. Lot of overlap and room to play here, in my opinion. Okay, I used to date a Dalit guy, who thought I was Dalit (in fact, I have some E. Indian ancestry in the way-way back machine; genetics, probably through the Carribbean slave trade which had Indian and Blacks in the same situation around Barbados/Trinidad/Tobago, where my slave ancestors are from). Just as blacks can "see" into the faces with veiled African features, Dalits can see who's got Dalit ancestry. Amazing. Whole new/old world going to those family gatherings ...
I'm not keen or particular on any type of interpretation of the Passion, btw, but if its open to interpretation, as I mentioned, I tend to throw everything up and see what sticks or fits, so consider whatever I suggest a noodle thrown against the wall. :-)
That said, I mentioned the book, "The Master and Margarita". Its just another take on things; splits and mixes the story of Jesus and the Devil, with its own interesting interpretation of these stories. The book is better, kind of hilarious, but the realities it touches on are not. So there's this very flat objective take on things, rather non-religion, more "municipal", but I've added a clip below. The point is that Jesus is portrayed not necessarily as divine, but a charismatic street preacher who causes a riot, a community leader who is busted and legally punished. In fact, only outsiders, criminals, and dark-skinned foreigners were hung on the cross. That it is a symbol of Christianity is merely incidental and based on perceived class status, along with many others before Him. In parts of Africa, it is the storm that ensued immediately during/after that is the symbol for his divinitybecause of its timing, not the structure he was killed on, which was commonly used and seen at their public trials. I find that interesting, as the storm is caused by nature and space and the elements, but the cross is merely man-made...a symbol imbued with a power that the environment actually had a the moment of Jesus' death.
In the end, it came down in this interpretation to a jockeying for mind control over the masses, covered as a crime against the state. Pilot actually admired "Ha Nozri" in the book because he admired smart people, but was bound by law and custom to follow the rules ... but yet the Devil was there, because he's the one recounting the story to a band of atheist Russians who didn't believe in Jesus. Geesh, this doesn't help, and I don't know if the movie adaptations will. Sometimes (and there is no time), you just have to read the book. https://www.youtube.com/watch?
[Sister Veronica asks: For the sake of throwing everything in the air and seeing what sticks... What if the Christ character was a woman?]
I with you Veronica, but here's my take (haven't seen emails from others on this, so I tend to respond in a vacuum lol): Women have been so blocked in as secondary figures of both religious and political movements (from Mary Magdeline, who seemed to be Jesus' muse (at the very LEAST), actually, to Rosa Parks--Parks being the person who actually sparked the Civil Rights movement, to be honest, with MLK a mere passenger on her activism train; her bus ride was like, LATER ON lol). And what usually happens happend: King recognized her power, got a clue; she was told in so many ways to "let the men take the wheel now), then they took over. Nowadays her name is thrown in for good measure, but all the cred goes to the men in almost every case, despite none of them topping Harriet, Fannie, or Rosa.
Its a risk I'm open to supporting, but its a risk maybe we shouldn't take here because already a lot of layers for the audience to cut through. That's no excuse for a take-no-prisoners type like me about feminism but sexism is "complete" in that most people would tune that out like they tune out the WNBA lol, despite the team's stellar record. Its already a "cause"-based play, and should stay focused if this wasn't in the original semination of the work. I actually think superimposing womanist theology or feminist messages on top of an already stacked cake would do feminism an injustice, actually, as it could get lost in the other messages, weakening them all. That is to say, I think its a big enough issue that it needs its OWN passion play, or the process would need more time...For me, race and gender, then class, are the 3 factors that have made my life a very challenging one, and I ... just don't want to do the work of tackling two of the 3 in one play. Call me lazy, call me traumatized, or call me practical. I don't know. Because we could also make the argument. Why not a gay Jesus? Why NOT a white Jesus? etc. All this and in the back of my head ... there is Mary. Its a Catholic church (decoded: cult of Mary, more than her son), so there IS wiggle room for this idea I think, Veronica. I just think it has to be introduced somewhat formed already if so.
Noodle thrown with exquisite decisiveness lol,
-Diane
PS: Will bring my African Heritage Bible in tomorrow. The pictures are a combo of hilarious and priceless ...
PPS: I'm into alternative depictions or representations of Jesus and Mary, by the way. I collect art, photos, posters, films, whatever. I just never really focused on the final day of Jesus much; more the teachings. Maybe these will inspire something for someone, though, the way they have me? That is, on several levels--artistic, visual, cultural, spiritual, and actually a few more. Of course these are "other era" and "inner space" images to consider, none related to the 60s ...
1. Ethiopian Mary and Son
2. Taoist Mary
3. Buddhist Jesus (ie. Dalit caste's idealization of Buddha who was often depicted early on as dark in color as Krishna)
4. Basquiat's "Mater" (or, Original Mother, or Mary, described as both, not to be confused with some primal "Eve" figure--forming a sort of cross of her own making, naked with a halo, instead of her male son. Basquiat, ah ...) I think it captures the incomparable pain, necessary other-worldness, divinity, and courage of black women of the Diaspora and in the far reaches of time, who know what crucifixion really means ...
5. Ethiopian Jesus (the 'fro is always a dead giveaway its old-world Ethiopian/Byzantine-inspired).
6. A movie poster from artist Chisholm Larsson, for the Italian passion play film "Lotr Po Pravici" which, ironically, DIDN'T have a black Jesus in the film as the poster would suggest, but was better than most films at depicting the reality of most of Jesus' early, ardent followers were people of color and women, not just a few Roman disciples Hollywood focuses on. The use of a black Jesus here is mainly because of the Ethiopian Orthdox Christian influence on Southern Europe since there was a Southern Europe. Ethiopia and Sudan were a seminal part of bringing Christianity to Southern Europe, as much as the "blackamoors" brought Islam to Portugal and Spain. Its an implicit thing now (my best analogy for how Italians see Jesus, if they're honest, is like how Americans ignore Native Americans, but there's no desputing how they are related American nature and wild spaces), So, the Larrson image was controversial but no one thought it unrealistic ... Here's a clip of the long walk to the Cross:http://www.youtube.com/watch?
7. The Black Madonna being prayed to by the Pope. Just search "The Black Madonna" and be prepared to have your mind implode on where these shrines and alters are located--none of which are in Africa ...
"I freed thousands of slaves. I could have freed thousands more
if they had known they were slaves." - Harriet Tubman
Judas / Ernest Withers
Thought I would share some of my "research" for a Civil Rights Era inspired Judas.
The surprising candidate would be of all people, a photographer, named ERNEST WITHERS.
See a few articles on this close associate of Martin Luther King Jr. and as it turns out FBI informant:
The Guardian
New York Times
CNN
Sister Karen
I have been formulating my thoughts on a female Jesus, and I have to agree that I feel it is too much too ask of the audience. I feel equally as strongly about feminism however I think the best way to bring that across is through a more progressive male Jesus. Perhaps MLK was not fair to our gender, but Jesus was very progressive for his time. He treated women as equals, holding intelligent discussions with them, including allowing Mary to sit at His feet and learn rather than spending all her time in the kitchen. It was, in fact a women who He first revealed himself to as the Messiah - the woman at the well. He also first revealed His resurrection to a woman - Mary of Magdala. And when the Pharisees wanted to punish a woman for a sin that the man also needed blame for....he bent and wrote on the ground (I have a few guesses what was written there). THe only woman he ever said anything degrading to was when he said "Why should I give the children's food to the dogs?" What many don't know, though, is the word used there translates as puppies. He was making fun of the attitudes about foreigners. In fact, the early church was generous to women, allowing the many ministry opportunities until the Council of Niceaea when the men took over and left the women out. All this to say I think the best way to broach the feminist ideals is to show a Jesus who welcomes women as equals and more. That said, I am attaching some info I picked up about women of the time period, as I was trying to prepare for a role in this production. http://www.biography.com/
Sister Heidi
Dear All,
This has been a very interesting discussion. I am eagerly anticipating joining the devising process starting Saturday!
Since I haven’t really begun to take part, I hesitate to join in here, and yet reading these e-mails has sparked a few thoughts. In somewhat chronological order:
1) I thought it was very brave of Diane to express her trepidation – and thank you! I often feel uncomfortable and self-conscious during the creating process. Usually that’s lessened by people being (previously) comfortable with at least each other. Maybe some of you there now, but since I won’t be joining the group until Saturday, I haven’t even started! Getting comfortable with each other and being creative at the same time is a tall order. Just acknowledging that is sometimes helpful, at least for me.
2) The point of civil rights/racism/caste in India also resonated with me. Last summer I taught in an English language program (that’s what I do at SU) and the theme was “The Dream at 50” - 2013 being the 50th anniversary of the “I have a dream.” speech. I taught English, but I learned a ton about civil rights, and materials about the issues in the U.S. and South Asia were intertwined. I didn’t know the influence Ghandi had on King, and vice versa (maybe that explains the statue) but it could be one path to explore while devising. If this is an interesting direction for anybody, check out Denzel Washington in Mississippi Masala.
As a matter of fact, Katherine Boo, one of the authors presenting at the Book Fair, wrote one of our required reading texts for last summer: Behind the Beautiful Forevers which relates to some of the points of the Dalit part of Diane’s e-mail. In fact, I am going to go hear the first part of her talk before joining the Devising Group, and see if it generates any ideas I can bring in. If anyone is interested in this, remember tickets are free. She speaks at 10:30.
3) Finally as much as the feminism aspect of this intrigues me (remembering that black men got the vote before white women did), I agree with Tyrone that if we bring in too many different angles of injustice, we risk losing the focus. The performance is already going to be non-traditional (and hard enough for some people to grasp), and I think if what we’re doing doesn’t seem to fall clearly into the category of “Negro” or “Passion”, it could be very hard to conceptualize – and not just for the audience, but for us too!
O.K. That is my two bits. Three bits I guess. See you all Saturday!
Heidi
Breakthrough
I have been reflecting on the process this week and the "richness" on conversations via email, pre-rehearsal, and with individuals. That said, I am "refining" the huncgh idea so that it shifts away from well known individuals from the period and focusses more on the unsung heroes and heroines of the American Civil Rights Movement. For example:
- less Rosa Parks and more Claudette Colvin - http://en.wikipedia.org/wiki/
Claudette_Colvin(Sister Diane this means having you in a different role, and casting a teenager in the part I asked you to consider)
- less Andrew Young and more Bayard Rustin - http://www.huffingtonpost.com/
peter-dreier/bayard-rustin- presidential-medal-of-freedom_ b_3731304.html
- and by the time we have our production in front of an audience, our Christ-like character should stands on its own versus being a quasi-imitation of Martin Luther King Jr.
This also fits with the decision to have 6 women and 6 men as the Twelve Disciples.
This is the direction we need to go. Exciting!
Video Links for MoveMeant Inspiration
Brother Danny (Choreographer),
Here is the music for the MoveMeant section of THE NEGRO PASSION PLAY:
The Negro Folk Symphony by William Levi Dawson.
- the MoveMeant is Christ's journey to the cross (starting at the end of the trial and ending right before the crucifixion)
- we will be creating a "live" storyboard for you to see at a future rehearsal
- I have begun to break down the music into sections / themes
- we will juxtepose the "journey" with history/ritual of lynching as it related to being a after-church picnic/event
Here is a link - Oklahoma Dream Ballet
- too "dance-oriented" for our needs, but still worth viewing
- note some of the groupings and how a story, the psychology of the characters, is told through movement
- it is almost the same length as our music for The Negro Folk Symphony
And one more link - Martha Graham's Appalachian Spring
- like the stylized movement
- the symbolism used
- very Americana
Press Release
Press
Contact: Tau Usutu
brownbox@gmail.com
/ (206) 327-2776
For
Immediate Release
End
Date: April 17, 2014
Brownbox
Theatre in association with the Office of Multicultural Affairs (OMA)
at Seattle University proudly presents
THE NEGRO PASSION PLAY
SEATTLE,
WA – January 20, 2014 – Brownbox
Theatre in association with the Office of Multicultural Affairs (OMA)
proudly presents THE NEGRO PASSION PLAY, a dramatic presentation
depicting the Passion of Jesus Christ, his trial, suffering, and
death, within the context of the American Civil Rights Movement, for
four performances only, April 8, 10, 15, and 17, 2014 in the Campion
Ballroom at Seattle University. Imagine:
It
is a Sunday, nineteen-hundred-and-fifty-five. A young woman, Mary,
enters a church in the midst of morning service. She is a Black woman
and this is an all-white congregation nestled deep in the segregated
South. His sermon interrupted, the Reverend Blake, kindly asks the
“negress to move to the back of the sanctuary” and she
respectfully declines. Soon the local authorities are called and she
is arrested. Jesus of Nazareth Baptist Church and “the Twelve”
hear tell of the arrest and quickly move to intervene, soon finding
themselves thrust into the movement to integrate “The Church” and
the fulfillment of prophesy.
THE
NEGRO PASSION PLAY is directed by Tyrone Brown, founder and artistic
director of Brownbox Theatre, a company dedicated to the creation,
development, and production of re-imagined Black theatre. The
creative team includes Kathya Alexander (script), Michelle Charity
(music), John Clark (lighting), Brynne McKeen (costumes), Zorn B.
Taylor (multimedia), and Dani Long (choreography).
“!
am excited to present this very American, contemporary and
provocative take on the Passion of the Christ, inspired by the unsung
heroes of the Civil Rights Movement.”
– Tyrone Brown
THE
NEGRO PASSION PLAY is co-sponsored by
the Office of Multicultural Affairs (OMA) – www.seattleu.edu/oma/ -
and is made possible by a grant from the Endowed Mission Fund for
Advancing the Jesuit and Catholic Mission at Seattle University -
www.seattleu.edu/missionministry/.
THE
NEGRO PASSION PLAY
Date: Four performances only. Tuesday and Thursdays, April 8, 10, 15, and 17, 2014 at 7:30 pm
Venue:
Campion Ballroom at Seattle University, 914 East Jefferson Street,
Seattle, WA 98122
Tickets: thenegropassionplay.brownpapertickets.com / $15:00 (General Public), $12.00 (SU alumni, Faculty, and Staff), $10.00 (SU Students), $5.00 (Children/Teens ages 8 -17)
Tickets: thenegropassionplay.brownpapertickets.com / $15:00 (General Public), $12.00 (SU alumni, Faculty, and Staff), $10.00 (SU Students), $5.00 (Children/Teens ages 8 -17)
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