On the invitation of Black Lives, Black Words, an arts organization that explores the question "Do black lives matter today?" For more info, visit them HERE:
We are in midst of some high-level foolishness, some platinum-status chaos, and still this is the best it’s been for us. A two-term, half black president, first time Emmy winners, more champions, more scholars, more entrepreneurs, teachers, and grassroots activists to add to our steady growing litany of ceiling and ground breakers.
Since the first of our ancestors were kidnapped and sold (or colonized) and segregated, our diasporic existence been about the hopeful push against a tidal wave. The wave keeps crashing, pushing us back some feet, but still our desire to live complex full lives keeps us in the fight, chucking message bottles beyond our sight, deeper into the ocean of future unknown.
And that push has been documented across page, stage, screen and song. And still, our gospel consumed but not fully heard, our activism misconstrued, our underserved communities scapegoated, fighting all type of socio economic waves. Or worse, the self-destructions imposed by our colonized minds keep us hidden in the shadows. Trauma is passed down in the DNA. Centuries of suppressed rage, silence and ravaged dreams, and unanswered prayers live inside. And still we gotta make moves. Can’t nobody improvise like us.
The question of “artist” or “black artist” has long been pondered by a lot of smart people. Me, myself, I have no illusions. I received my calling from a bottle thrown decades before. I am in a continuum. Yes, race is a construct, but not if you’re a racist. The nagging attempts by the modern-day gestapo to silence our drums reverb through me day and night.
I know my role. I am not the first or last. I am culture maker, story-teller, word-player, keeper of the tradition. I am organizer, educator committed to empower marginalized others, to claim and name their existence. Because we still aint fully free. Freer than some, yes, but still not as free as we could and should be. And that’s all it's ever been about. Freedom to take a knee, or to stand on our own two, to say a few words in our chosen lexicon, play our songs at high decibel, build our families, die remembered and counted, plant seeds for crops reaped by our descendants, long after we’ve wilted away. Because the future unknown is endless, but still the waves keep crashing.
An Open Letter to The Opera Theatre of the Rockies regarding their production of The Mikado
April 27, 2017
I am an Assistant Professor of Theatre and Dance at Colorado College. I am currently directing a group of our students in a production of David Henry Hwang’s Yellow Face. The play is a biting satirical comedy that explores questions of Asian American identity politics and representation on stage. It is a direct critique of a lengthy history of orientalism and stereotyping of the eastern Asian body. The title Yellow Face refers to the practice of white actors using makeup to appear Asian just as white performers did to appear African American (and basically any other group that wasn't white). Hwang’s play is about the legacy of cultural appropriation in western drama, one that continues on both stage and screen.
In a twist of irony, directly across from us you are rehearsing the Gilbert and Sullivan Opera The Mikado. And while I know there is a predominant school of thought that asserts that Gilbert had no ill intent and was actually attempting to poke fun at British society veiled as an imagined Japan, to me and my multi ethnic cast, the sights and sounds coming from your rehearsal room are having an unsettling impact.
I am familiar with The Mikado and know the wide range of interpretations. I am also familiar with the consistently dismissive refrain: “This is a play about Britain not Japan” “It doesn’t take itself serious” “He’s not trying to offend” “Its supposed to be silly” but it feels like a joke only one part of the cafeteria is in on. The show invites largely white casts, like yours, to pretend to be the Japanese people dreamed up in the brain of a Caucasian European who had never actually been to Japan. It invites a superficial engagement with Japanese aesthetics without having to truly engage with Japanese people. This will no longer fly.
This is not a plea for you to cancel your production. I do not believe in censorship.
However, I do believe in the validity of all voices within the space. Because both of our productions are currently sharing space, even as we rehearse, my cast and I feel an overwhelming need to speak.
Mostly I want you to be aware of that.
It has added new relevance and urgency to our production, which incidentally opens the same weekend as yours, right here on the same campus --two diametrically opposed works on the same campus, in May (Asian Pacific Islanders month no less.) I see this coincidental occurrence as an opportunity for us to have a conversation around the role and responsibility of we in the performing arts. I am inviting you to respond. Any company choosing to produce a show like The Mikado must directly address the racial and cultural politics of the show in a real and substanative way. And I of course extend this to my Colorado College Colleagues who are involved in the production.
I want to know if you and your team discussed the implications of mounting a show in which non-Asian performers are invited to perform as some diluted version of east Asian people?
I wonder if you spoke with any Asian or Asian American organizations? Are there any Asians involved in any significant production capacities? Since you are presenting your production on a college campus, are you at all concerned with the way in which students of color on campus especially the Asian students may respond to your presence?
Are you at all attune to the more recent critical discourse and protests of productions of The Mikado in cities like New York and San Francisco? I have attached a few articles written by some of your fellow artists of the theatre regarding these protests.
I look forward to the start of a thoughtful public discourse.
Idris Goodwin - Playwright, Director Assistant Professor of Theatre and Dance - Colorado College
Commissioned in the American Revolutions Series THE WAY THE MOUNTAIN MOVED is an ensemble drama set in the 1850s west. Click image for more details
CLICK IMAGE TO READ ARTICLE
Supported by The National New Play Network, Bars and Measures will be produced in three different cities in 2016. June at Prop Thtr in Chicago and July at Boston Court in Pasadena, CA and a yet to be announced city in August. Stay tuned!