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June 11, 2020

 
Queer author James Baldwin wrote, “Love takes off the masks we fear we cannot live without and know we cannot live within.” (Photograph of Baldwin at 22 by Richard Avedon. © Richard Avedon Foundation)
1.   A TERROR OF LIFE
 
On the Cineplex streaming service, movies by Black artists and about Black lives are now available free — for who knows how long. 
 
Cineplex movies that I’ve seen and recommend include the hits Get OutBoyz N the HoodSpiderman: Into the Spider-Verseand especially Moonlight, which I love. (Note: the Cineplex site doesn’t get along with Safari, but Chrome worked for me.)
 
My favourite new view is I Am Not Your Negro, Raoul Peck’s 2016 documentary, which focuses on novelist, playwright, and activist James Baldwin
 
The movie is based on Remember This House, an unfinished manuscript that Baldwin pitched to Spartan Literary Project. 
 
In June, 1979, Baldwin set out to tell the story of America through the lives of three of his murdered friends: Martin Luther King Jr.Malcolm X, and Medgar Evers. “I want these three lives to bang against and reveal each other,” Baldwin writes in a letter to Spartan.
 
Malcolm X describes MLK as “a religious Uncle Tom”, and King counters that there’s a difference between resistance and non-violent resistance. “By the time each died,” Baldwin writes, “their positions were virtually the same positions.”
 
Intimacy brings it home: “People forget how young everybody was … None of these three lived to be 40.” Baldwin describes the weariness that Evers “wore like a skin”.
 
At the same time, the movie is a capacious cultural critique. Baldwin points out that the fifties dream of white prosperity was built on the foundation of slavery. So, when we see white characters cavorting at a picnic in a clip from The Pyjama Game, we recognize them as the “moral monsters” Baldwin purports them to be. 
 
I Am Not Your Negro directly addresses our current moment. In a clip from The Dick Cavett Show, Baldwin tells the pretty blonde host, “All of your buried corpses, now they begin to speak.” Asked about the inevitable reckoning, he replies, “I know that, no matter how it comes about, it will be bloody, it will be hard.” 
 
He addresses the lies of race and racial purity. In America, he says, there is “a terror of life, of human touch … If Americans weren’t so terrified of their private selves, they wouldn’t be so terrified of what they call the Negro problem.”
 
And he adds, “The world is not white. It has never been white. White is just a metaphor for power. And that is simply a way of describing Chase Manhattan Bank.”
...


 
In 2014 and 2015, Claudia Rankine’s Citizen: An American Lyric won just about every poetry award going and became a New York Times bestseller
2.   POETIC JUSTICE
 
There are a lot of lists going around these days, cultural to-do lists for aspiring allies. 
 
The “anti-racist starter pack” in Parade checks off 40 TV series, documentaries, movies, and TED talks. 
 
CBC has a great looking inventory of books about being Black and Canadian as well as a roster of 20 Canadian books about Indigenous experience for kids and teens to read. 
 
As rich as this deluge is, it can be overwhelming. So, to others who want to stand — and understand — in solidarity, let me recommend one volume that changed me: Citizen: An American Lyric, by Claudia Rankine
 
It’s a book-length lyric poem about the everyday inescapability of racism.
 
The pattern is established early: “You are twelve and attending Sts. Philip and James School on White Plains Road and the girl sitting in the seat behind asks you to lean to the right during exams so she can copy what you have written. Sister Evelyn is in the habit of taping the 100s and the failing grades to the coat closet doors. The girl is Catholic with waist-length brown hair. You can’t remember her name: Mary? Catherine?
 
“You never really speak except for the time she makes her request and later when she tells you you smell good and have features more like a white person. You assume she thinks she is thanking you for letting her cheat and feels better cheating from an almost white person.
 
“Sister Evelyn never figures out your arrangement perhaps because you never turn around to copy Mary Catherine’s answers. Sister Evelyn must think these girls think a lot alike or maybe she cares less about cheating and more about humiliation or she never actually saw you sitting there.”
 
Stylistically, Citizen is an epic adventure: language breaks down before your eyes then reassembles itself.
 
And Citizen explodes into a galaxy of representations, including Danish tennis player Caroline Wozniacki’s mockery of Serena Williams’s Black body and David Hammons’s cover art, In the Hood, in which the decapitated dark head covering from a hoodie floats in white space. Thanks to John Lucas’s design, with its exquisite integration of text and images, Citizen is probably the most beautiful book I’ve seen. 
 
Quoted in the poem, writer, anthropologist, and filmmaker Zora Neale Hurston says, “I feel most colored when I am thrown up against a sharp white background.” 
...


 
Ashlee Ferral says that, on her first day with Vancouver TheatreSports League, she was told that she was only there to fill a diversity spot
3.   BLOCKING. WIMPING. 
 
“No blocking. No wimping”: so goes the credo of theatrical improvisation. But people of colour and women are accusing the Vancouver TheatreSports League of doing a lot of both. 
 
As Global News reports, comedian Ashlee Ferral called the company out when it posted a Facebook black tile on Blackout Tuesday (June 2). “I saw that post and I was just like ‘How dare you?’” Ferral told Global. She said that the older white men who run TheatreSports don’t want to give up stage time to women and people of colour, so there’s no way for folks to move up.
 
Vancouver TheatreSports League issued a statement saying that the company “is committed to creating an environment that is culturally diverse and inclusive of all ethnic backgrounds, race, gender, sexual orientation, and abilities.” But that doesn’t impress performer Tunji Taylor-Lewis, who also left TheatreSports because he felt that, given he’s Black, there was no room for advancement. 
 
Taylor-Lewis told Global that VTSL put a five-year diversity plan in place — four years ago — “And, at this point, their mainstage ensemble is overwhelmingly white.”

+ Then there’s Chicago. 

Vulture reports that, on June 5, Andrew Alexander stepped down as CEO of the improv company Second City, acknowledging that he failed to address the institution's racist culture. (What is it with improv?)

When Second City tweeted in support of Black Lives Matter on May 31, comedian and former Second City performer Dewayne Perkins was among the first to express surprise. 

The Brooklyn Nine-Nine writer tweeted. “You remember when the black actors wanted to put on a Black Lives Matter Benefit show and you said only if we gave half of the proceeds to the Chicago PD, because I will never forget. Remember when you would make black people audition for a job you simply just gave to white people? Remember when you sent a bunch of your black actors to speech therapy because you said white people didn’t understand us? Remember when you told me to my face I wasn’t getting hired for main stage because I wasn’t ‘nice’ enough and kept speaking out?”
...


 
The music for this five-minute dance was composed, arranged and performed by Dave Watson (bagpipes) and Tony Buck (drums)
4.   RISE
 
In Cooped, which Jamar Roberts choreographed, danced, and filmed, his inverted body rights itself. 

It's powerful.
 
Here’s the video link
...


 
Yvonne Emmanuel is one of the actors who called out Persephone Theatre’s black-tile post on Blackout Tuesday. (Photo by Daniel Nwabuko)
5.   OFF-THE-JOB TRAINING
 
On Tuesday, Del Surjik announced that he is stepping down from his position as artistic director of Saskatoon’s Persephone Theatre, a job that he’s held for almost 13 years. The move comes amidst a Black Lives Matters controversy.
 
As CBC reports, “Last week, Persephone replaced its regular avatar on its Facebook page with a black square, meant to show solidarity with the Black Lives Matter movement.

“Some actors began publicly criticizing the theatre for its lack of diversity.”

Yvonne Emmanuel, who worked as a performer and in other capacities at Persephone from 2016 to 2018, asked, “How are you as a company going silent for blackout Tuesday when you have not really been vocal about anything?”

Then Persphone’s post was deleted, which provoked even more anger in the community.

Emmanuel told FRESH SHEET, “Personally, I dealt with racist comments from both staff members and patrons while working there. I had kept quiet about it for years. So for them to publicly silence me was frustrating.”

On Facebook, Surjik and Persephone’s general manager Kristen Dion wrote, “At Persephone Theatre, we made mistakes this week with our social media posts. For this we deeply and sincerely apologize. It was not intended to be disrespectful, tone deaf, or meant to silence. But it was and it did and that is not acceptable. The post that was deleted was done so in error. We had meant to replace the image, not silence the comments. Nevertheless, that egregious error resulted in pain and harm was done.”
 
Logan Martin-Arcand, who is a Queer Indigenous theatre artist, worked in the box office at Persephone for two years. On Monday morning, Martin-Arcand and Emmanuel hosted a Zoom meeting with Persephone’s executive team and other community leaders. 
 
Martin-Arcand told FRESH SHEET that “There is a long history of gaslighting, intimidation, threats of blacklisting, and overall toxicity from the leadership of Persephone.” During the meeting, Martin-Arcand and Emmanuel called for changes at the top. Emmanuel adds, “Del's resignation was not a choice he made as he stated in his statement online. It was forced onto him by a community who needed change and respect.”
 
In that statement, Surjik wrote, “We know that our organization has much work to do in appropriately supporting, respecting, and amplifying the voices of our Indigenous artists, Black artists, and artists of colour. As the artistic leader I am responsible for these shortcomings. Now, given the urgency of this moment in our society, it’s clear that the best thing I can do to help Persephone move forward is to step aside and make room. I welcome the coming change, but I am not the right person to make it happen. I am doing my own work and self-assessment, and look forward to seeing how Persephone will evolve.” 
 
Surjik’s last day on the job will be June 22. 

 
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