MASARYK UNIVERSITY BRNO Human Rights Expressed by Voices of the Characters in Ntozake Shange´S Plays

Total Page:16

File Type:pdf, Size:1020Kb

MASARYK UNIVERSITY BRNO Human Rights Expressed by Voices of the Characters in Ntozake Shange´S Plays MASARYK UNIVERSITY BRNO FACULTY OF EDUCATION Department of English Language and Literature Human Rights Expressed by Voices of the Characters in Ntozake Shange´s Plays Bachelor Thesis Brno 2018 Supervisor: Author: Mgr. Lucie Podroužková, Ph.D. Jana Veselá, DiS. Bibliografický záznam Veselá, Jana. Základní lidská práva vyjádřena hlasy postav v divadelních hrách Ntozake Shange: bakalářská práce. Brno: Masarykova univerzita, Fakulta pedagogická, Katedra anglického jazyka a literatury, 2018. 62 s. Vedoucí bakalářské práce Mgr. Lucie Podroužková, Ph.D. Bibliography Veselá, Jana. Human Rights Expressed by Voices of the Characters in Ntozake Shange´s Plays: bachelor thesis. Brno: Masaryk University, Faculty of Education, Department of English Language and Literature, 2018. 62 pages. The supervisor of the bachelor thesis Mgr. Lucie Podroužková, Ph.D. Anotace Bakalářská práce Základní lidská práva vyjádřena hlasy postav v divadelních hrách Ntozake Shange pojednává o divadelních hrách Ntozake Shange. Práce obsahuje informace o autorce, představuje typické znaky jejích her. Cílem práce je analýza myšlenkových postojů postav v hrách For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf, Spell #7, A Photograph: Lovers in Motion, Boogie Woogie Landscapes a ve hře From Okra to Greens. Součástí rozboru jsou i monology či básně, které slouží také k předvádění na jevišti. Jedná se o The Love Space Demands a I Heard Eric Dolphy in His Eyes. Práce porovnává ženské i mužské kvality postav či jejich charakterové nedostatky zasazené do černošského prostředí s ohledem na kulturní rozdíly mezi černou a bílou komunitou. Závěr práce tvoří zhodnocení oblastí lidských práv, jež jsou obsaženy v názorech postav. Abstract The bachelor thesis Human Rights Expressed by Voices of the Characters in Ntozake Shange´s Plays deals with stage plays by Ntozake Shange. The thesis contains information about the playwright, introduces typical features of her plays. The aim of the thesis is the analysis of character mental attitudes in the stage plays called For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf, Spell #7, A Photograph: Lovers in Motion, Boogie Woogie Landscapes and in the stage play From Okra to Greens. As the part of the analysis there are also some monologues or poems that are used for performing on the stage. Specifically, it is about The Love Space Demands and I Heard Eric Dolphy in His Eyes. The thesis compares female and male figure qualities or their character imperfections embedded in black surroundings with regard to cultural differences between the black and white community. The conclusion of the thesis forms the evaluation of the human right areas that are incorporated in the opinions of the characters. Klíčová slova černošská komunita, černošské ženy v literatuře, řeč těla, černošské bohémství, postavy v hrách Ntozake Shange, choreopoema, současné spisovatelky dramatu, diskriminace, rozmanitost, feminismus, lidové umění, role pohlaví, základní lidská práva, nesnášenlivost k ženám, fonetický pravopis, autorka divadelních her, rasismus, segregovaný Keywords all-black community, black American women in literature, black bohemianism, body language, characters in Ntozake Shange´s plays, choreopoem, contemporary dramatists, discrimination, diversity, feminism, folk art, gender roles, human rights, mysogyny, phonetic spelling, playwright, racism, segregated Prohlášení „Prohlašuji, že jsem závěrečnou bakalářskou práci vypracovala samostatně, s využitím pouze citovaných literárních pramenů, dalších informací a zdrojů v souladu s Disciplinárním řádem pro studenty Pedagogické fakulty Masarykovy univerzity a se zákonem č. 121/2000 Sb., o právu autorském, o právech souvisejících s právem autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů.“ ……………………………………... V Brně, 20. března 2018 Jana Veselá, DiS. Acknowledgement I would like to express my gratitude to Mgr. Lucie Podroužková, Ph.D., for her support, patience, constructive criticism and valuable advice she provided as my supervisor. “Women don't rape women,” she said. “And I began reading my poetry in women's bars. Not lesbian bars, necessarily, but women's bars, where they can go without being hassled or having someone try to pick them up. Anyhow those were the only places that would hire me, and when I was there I realized I was where I belonged.” “I won't ever write a part for a white person,” she said. “They already own the theaters, so let them do it. I'll do my writing for black actors; David Mamet will write a whole lot of pieces for working‐class whites.” “It was difficult and very unpleasant to do interviews, because they always were trying to paint me as a woman who hated black men, and I didn’t and don’t. But that was a difficult time for me.” “I thought I was being punished because I hadn’t kept doing the writing I wanted to do. Then I decided that it was just fate, and my aunt had Parkinson’s, so even though one side of the family was having heart attacks, the other side of the family was having nerve disease, so I got the worst of both sides, I guess.” Ntozake Shange Content 1 Introduction ............................................................................................................... 9 2 Ntozake Shange, her life and beliefs .................................................................... 111 3 Features of plays .................................................................................................. 166 4 Plays and opinion-significant characters ......... Chyba! Záložka není definována.3 4.1 For Colored Girls who Have Considered Suicide Chyba! Záložka není definována.3 4.1.1 The Lady in Brown, Yellow, Red, Blue, Green, Purple and Orange and their main ideas…………………………………………………… 24 4.2 Spell #7...................................................... Chyba! Záložka není definována.0 4.2.1 Lou………………………………………………………………………..30 4.3 The Love Space Demands…...………………………………………………..Chyba! Záložka není definována.4 4.4 I Heard Eric Dolphy in His Eyes ............... Chyba! Záložka není definována.6 4.5 A Photograph: Lovers in Motion .............. Chyba! Záložka není definována.8 4.5.1 Sean David and Earl…………………………………………………..39 4.5.2 Michael, Nevada and Claire……………………………………………39 4.5.3 Analysis of the main ideas as to human rights…………………………41 4.6 Boogie Woogie Landscapes ...................... Chyba! Záložka není definována.4 4.6.1 Layla and male and female night-life companions……………………..45 4.7 From Okra to Greens ........................................................................................ 50 4.7.1 Analysis of the main ideas as to human rights……………………………53 5 Summary of the main topics concerning human rights .......................................... 56 6 Conclusion ....................................................... Chyba! Záložka není definována.8 7 Works cited………………………………………………………………….……..61 1 Introduction This bachelor thesis deals with my own analysis of five plays of Ntozake Shange. There are many reasons why I have chosen her plays for the analysis. One of them is that I have watched the film For Colored Girls by Tylor Perry and I was charmed by it. So I bought the book For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf and read it even though I already knew all the plot twists. I was surprised with the way of Ntozake Shange´s style of writing. I wanted to discover more about her plays and especially to find out more about this author who identifies herself as a poet first and a playwright second. Although Shange´s books are not for everybody and for the white the texts are difficult to understand because the texts contains a lot of information from cultural background of the black community, the students of English could find the books interesting as to spelling at least. The next reason is that the book contains many strong ideas of the author that every reader should discover on their own. I thought it would be a good challenge for me to find the topics of the plays and find out the main ideas of the characters. The third one is connected to the language of the book, which is demanding to read, and you have to read the text aloud. Moreover, no one book is translated into Czech so the possibility of the translation and working with the text is another reason to do my best and to focus on my skills and knowledge of understanding of the text and looking for the meaning of the lines. Why lines? Ntozake Shange is not the author of traditional plays but her plays are in a form of poems that are read on the stage. She managed to create her own style of writing which she terms as a choreopoem. This bachelor thesis is divided into several parts. At the beginning, there is an introduction of the playwright. Then the thesis deals with the features of plays, explains the term “choreopoem” and works out some of the features into details. 10 The chapter four contains the plays and opinions of the characters. This part is the most important part of my analysis. The plays are introduced briefly. Each play contains examples of the ideas of the characters which are related to the human rights. The ideas are commented by me. The aim of my thesis is to give a proper view of Ntozake Shange´s work and focus on her way of presenting the black community and expressing her wishes for better life for the black. Ntozake Shange as the playwright aims her attention to all-black communities and is not frightened to name things that function or do not function for the black. She directs her attention to the issues that are not easy to be pronounced aloud and she manages to confront uncomfortable human conditions of black people. She focuses on the realities of black people and mainly on black women with the goal to change at least something. 11 2 Ntozake Shange, her life and beliefs In this chapter I will introduce Ntozake Shange. Firstly, I have to say that the author is reluctant to talk about her life and she does not like to comment her life at all. So the following pieces of information from her life are very scanty. Inspite of finding so little about her life, my research has revealed the following information.
Recommended publications
  • Ishmael Reed Interviewed
    Boxing on Paper: Ishmael Reed Interviewed by Don Starnes [email protected] http://www.donstarnes.com/dp/ Don Starnes is an award winning Director and Director of Photography with thirty years of experience shooting in amazing places with fascinating people. He has photographed a dozen features, innumerable documentaries, commercials, web series, TV shows, music and corporate videos. His work has been featured on National Geographic, Discovery Channel, Comedy Central, HBO, MTV, VH1, Speed Channel, Nerdist, and many theatrical and festival screens. Ishmael Reed [in the white shirt] in New Orleans, Louisiana, September 2016 (photo by Tennessee Reed). 284 Africology: The Journal of Pan African Studies, vol.10. no.1, March 2017 Editor’s note: Here author (novelist, essayist, poet, songwriter, editor), social activist, publisher and professor emeritus Ishmael Reed were interviewed by filmmaker Don Starnes during the 2014 University of California at Merced Black Arts Movement conference as part of an ongoing film project documenting powerful leaders of the Black Arts and Black Power Movements. Since 2014, Reed’s interview was expanded to take into account the presidency of Donald Trump. The title of this interview was supplied by this publication. Ishmael Reed (b. 1938) is the winner of the prestigious MacArthur Fellowship (genius award), the renowned L.A. Times Robert Kirsch Lifetime Achievement Award, the Lila Wallace-Reader's Digest Award, a Guggenheim Fellowship, and a Rosenthal Family Foundation Award from the National Institute for Arts and Letters. He has been nominated for a Pulitzer and finalist for two National Book Awards and is Professor Emeritus at the University of California at Berkeley (a thirty-five year presence); he has also taught at Harvard, Yale and Dartmouth.
    [Show full text]
  • NTOZAKE SHANGE, JAMILA WOODS, and NITTY SCOTT by Rachel O
    THEORIZING BLACK WOMANHOOD IN ART: NTOZAKE SHANGE, JAMILA WOODS, AND NITTY SCOTT by Rachel O. Smith A Thesis Submitted to the Faculty of Purdue University In Partial Fulfillment of the Requirements for the degree of Master of Arts Department of English West Lafayette, Indiana May 2020 THE PURDUE UNIVERSITY GRADUATE SCHOOL STATEMENT OF COMMITTEE APPROVAL Dr. Marlo David, Chair Department of English Dr. Aparajita Sagar Department of English Dr. Paul Ryan Schneider Department of English Approved by: Dr. Dorsey Armstrong 2 This thesis is dedicated to my mother, Carol Jirik, who may not always understand why I do this work, but who supports me and loves me unconditionally anyway. 3 ACKNOWLEDGMENTS I would like to first thank Dr. Marlo David for her guidance and validation throughout this process. Her feedback has pushed me to investigate these ideas with more clarity and direction than I initially thought possible, and her mentorship throughout this first step in my graduate career has been invaluable. I would also like to thank the other members of my committee, Dr. Aparajita Sagar and Dr. Ryan Schneider, for helping me polish this piece of writing and for supporting me throughout this two-year program as I prepared to write this by participating in their seminars and working with them to prepare conference materials. Without these three individuals I would not have the confidence that I now have to continue on in my academic career. Additionally, I would like to thank my friends in the English Department at Purdue University and my friends back home in Minnesota who listened to my jumbled thoughts about popular culture and Black womanhood and asked me challenging questions that helped me to shape the argument that appears in this document.
    [Show full text]
  • Ernie Mcclintock's 127Th Street Repertory Ensemble
    The Journal of American Drama and Theatre (JADT) https://jadtjournal.org Subversive Inclusion: Ernie McClintock’s 127th Street Repertory Ensemble by Elizabeth M. Cizmar The Journal of American Drama and Theatre Volume 33, Number 2 (Spring 2021) ISNN 2376-4236 ©2021 by Martin E. Segal Theatre Center Ernie McClintock (1937–2003), director, acting teacher, and producer, grounded his work in the Black Power concepts of self-determination and community, but in pursuing a more inclusive theatre company, he departed from common practices of the Black Arts Movement. This departure can be attributed to his queer positionality, which has left him on the fringes of Black Arts Movement scholarship. McClintock founded four institutions: in Harlem, the Afro-American Studio for Acting & Speech (est. 1966), the 127th Street Repertory Ensemble (est. 1973), and the Jazz Theatre of Harlem (est. 1986); and in Richmond, Virginia, the Jazz Actors Theatre (est. 1991). A landmark Black theatre institution, the 127th Street Repertory Ensemble ran from 1973 to 1986, demonstrating that the spirit and work of the Black Arts Movement extended well beyond 1975, the generally accepted end date of the movement. Over more than four decades in socially and politically charged environments, McClintock established actor training rooted in Afrocentricity,[1] teaching Jazz Acting in the classroom and the rehearsal hall, which he considered an important training ground for actors. In this article, I argue that McClintock’s theatre subverted two established norms: the English repertory model and the male-dominated, heteronormative representations of the Black Arts Movement. McClintock’s legacy challenges assumptions that the Black Arts Movement was broadly misogynist and homophobic.
    [Show full text]
  • Biographical Description for the Historymakers® Video Oral History with Ntozake Shange
    Biographical Description for The HistoryMakers® Video Oral History with Ntozake Shange PERSON Shange, Ntozake Alternative Names: Ntozake Shange; Paulette L. Williams Life Dates: October 18, 1948-October 27, 2018 Place of Birth: Trenton, New Jersey, USA Residence: Bowie, MD Work: New York, NY Occupations: Playwright; Author Biographical Note Playwright and author Ntozake Shange was born Paulette L. Williams on October 18, 1948 in Trenton, New Jersey to Paul T. Williams, an air force surgeon, and Eloise Williams, an educator and psychiatric social worker. Her family regularly hosted artists like Dizzy Gillespie, Paul Robeson, and W.E.B. DuBois at their home. Shange graduated cum laude with her B.S. degree in American Studies from Barnard College in New York City in 1970. While pursuing her M.A. degree in American Studies from the University of Southern California, Shange began to associate with feminist writers, poets and performers. In 1971, she adopted her new name, Ntozake, meaning “she who comes with her own things,” and Shange, meaning “she who walks like a lion,” from the Xhosa dialect of Zulu. She graduated from the University of Southern California in 1973. Upon joining Malifu Osumare’s dance company, Shange met Paula Moss, and their subsequent collaborations led to the invention of Shange’s work, the choreopoem for colored girls who have considered suicide / when the rainbow is enuf. The work was initially produced Off-Broadway in 1975 at the New Federal Theatre in New York City, moving to the Anspacher Public Theatre in 1976. After premiering on Broadway at the Booth Theatre later that same year, the play went on to win the Obie Award, the Outer Critics Circle Award, and the AUDELCO Award.
    [Show full text]
  • Here May Is Not Rap Be Music D in Almost Every Major Language,Excerpted Including Pages Mandarin
    ENCYCLOPEDIA OF THE BLACK ARTS MOVEMENT ed or printed. Edited by istribut Verner D. Mitchell Cynthia Davis an uncorrected page proof and may not be d Excerpted pages for advance review purposes only. All rights reserved. This is ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London 18_985_Mitchell.indb 3 2/25/19 2:34 PM ed or printed. Published by Rowman & Littlefield An imprint of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 istribut www.rowman.com 6 Tinworth Street, London, SE11 5AL, United Kingdom Copyright © 2019 by The Rowman & Littlefield Publishing Group Inc. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Names: Mitchell, Verner D., 1957– author. | Davis, Cynthia, 1946– author. Title: Encyclopedia of the Black Arts Movement / Verner D. Mitchell, Cynthia Davis. Description: Lanhaman : uncorrectedRowman & Littlefield, page proof [2019] and | Includes may not bibliographical be d references and index. Identifiers:Excerpted LCCN 2018053986pages for advance(print) | LCCN review 2018058007 purposes (ebook) only. | AllISBN rights reserved. 9781538101469This is (electronic) | ISBN 9781538101452 | ISBN 9781538101452 (cloth : alk. paper) Subjects: LCSH: Black Arts movement—Encyclopedias. Classification: LCC NX512.3.A35 (ebook) | LCC NX512.3.A35 M58 2019 (print) | DDC 700.89/96073—dc23 LC record available at https://lccn.loc.gov/2018053986 The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992.
    [Show full text]
  • A Bibliography of Contemporary North American Indians : Selected and Partially Annotated with Study Guides / William H
    A Catalog of the National Underground Railroad Freedom Center Library Materials On‐Loan to the Public Library of Cincinnati and Hamilton County Cataloged by the Staff of the Cataloging Services Department Public Library of Cincinnati and Hamilton County Edited by Roger M. Miller Cataloging Services Department Public Library of Cincinnati and Hamilton County September 2008 The Public Library of Cincinnati and Hamilton County 800 Vine Street Cincinnati, Ohio 45202‐2071 513‐369‐6900 www.cincinnatilibrary.org The National Underground Railroad Freedom Center, located on the banks of the Ohio River in downtown Cincinnati, Ohio, opened its doors on August 23, 2004. The Freedom Center facility initially included the John Rankin Library, but funding issues eventually lead to the elimination of the librarian position and closing the library to the public. In the fall of 2007, the Public Library of Cincinnati and Hamilton County and The National Underground Railroad Freedom Center entered into an agreement for their John Rankin Library to be housed at the Main Library in downtown Cincinnati as a long‐term loan. The initial loan period is 10 years. The items from the Freedom Center have been added to the Library’s catalog and have been incorporated into the Main Library’s Genealogy & Local History collection. These materials are available for the public to check out, if a circulating item, or to use at the Main Library, if a reference work. The unique nature of the Freedom Center’s collection enhances the Main Library’s reference and circulating collections while making the materials acquired by the Freedom Center again available to the public.
    [Show full text]
  • ABSTRACT by John Nyrere Frazier for Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf Is a Choreopoem Performa
    ABSTRACT FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE WHEN THE RAINBOW IS ENUF: LIVING IN THE WORD AN EXAMINATION OF THE TEXT AND TRADITIONAL PERFORMANCES OF FOR COLORED GIRLS… AS A STUDY FOR A MULTICULTURAL PRODUCTION by John Nyrere Frazier for colored girls who have considered suicide when the rainbow is enuf is a choreopoem performance play written and developed by Ntozake Shange. The piece grew out of an artistic collective which included Asians, Black Americans, Northern Continental Indigenes Peoples, European Americans, and Puerto Rican. The original west coast production included both Puerto Ricans and Asians. I believe that, that casting choice was as deliberate as Shange’s choices of language and content. Those multicultural women were bodied cultural references. In its move and further development, though, the casting changed to only include Black American women; narrowing the works physicalized cultural references. The major focus of my paper is to reconnect with Shange’s original casting choices as reasoning for re-widening casting and by extension, bodied cultural reference. My purpose is to lay the foundation for a return to the author’s original cultural intentions for the play which I assert were to write and perform a feminist piece that presented the lives and cultures of many “different kinds” (ethnicities/ cultures/ nationalities) of women. In addition, through the bodied references in the production, I intend to apply the work to the lives of more than just Black American and African American women; using the play as a feminist connective tissue between different women and differing feminisms that are all fighting again female oppression.
    [Show full text]
  • A Thematic Exploration of "For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf," by Ntozake Shange Jocelyn M
    The University of Maine DigitalCommons@UMaine Electronic Theses and Dissertations Fogler Library 2001 A Thematic Exploration of "For Colored Girls Who Have Considered Suicide/ When the Rainbow is Enuf," by Ntozake Shange Jocelyn M. Richard Follow this and additional works at: http://digitalcommons.library.umaine.edu/etd Part of the Dramatic Literature, Criticism and Theory Commons, and the Playwriting Commons Recommended Citation Richard, Jocelyn M., "A Thematic Exploration of "For Colored Girls Who Have Considered Suicide/ When the Rainbow is Enuf," by Ntozake Shange" (2001). Electronic Theses and Dissertations. 682. http://digitalcommons.library.umaine.edu/etd/682 This Open-Access Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of DigitalCommons@UMaine. A THEMATIC EXPLORATION OF uFOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE/ WHEN THE RAINBOW IS ENUF," BY NTOZAKE SHANGE ' BY Jocelyn M. Richard B.A. University of Maine, 1999 A THESIS Submitted in Partial Fulfilhnt of the Requirements for the Degree of Master of Arts (in Theatre) The Graduate School The University of Maine December, 2001 Advisory Committee: Jane Snider, Associate Professor of TheatreIDance, Advisor Marcia Douglas, Assistant Professor of TheatreDance Sandra Hardy, Associate Professor of TheatreDance A THEMATIC EXPLORATION OF "FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE1 WHEN THE RAINBOW IS ENUF"' BY NTOZAKE SHANGE By Jocelyn M. Richard Thesis Advisor: Jane Snider An Abstract of the Thesis Presented in Partial FuElhent of the Requirements for the Degree of Master of Arts (in Theatre) December, 200 1 White customs and values have traditionally monopolized commercial theatre.
    [Show full text]
  • Finding God in Oneself & for Colored Girls
    University of Pennsylvania ScholarlyCommons Undergraduate Humanities Forum 2014-2015: Penn Humanities Forum Undergraduate Color Research Fellows 5-2015 Finding God in Oneself & For Colored Girls: A Revolutionary Performance of Language, Naming, & Spacing Abrina Hyatt University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/uhf_2015 Part of the African American Studies Commons, and the Theatre and Performance Studies Commons Hyatt, Abrina, "Finding God in Oneself & For Colored Girls: A Revolutionary Performance of Language, Naming, & Spacing" (2015). Undergraduate Humanities Forum 2014-2015: Color. 4. https://repository.upenn.edu/uhf_2015/4 This paper was part of the 2014-2015 Penn Humanities Forum on Color. Find out more at http://www.phf.upenn.edu/annual-topics/color. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/uhf_2015/4 For more information, please contact [email protected]. Finding God in Oneself & For Colored Girls: A Revolutionary Performance of Language, Naming, & Spacing Abstract This project analyzes the powerful implications of Ntozake Shange’s For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf in terms of the language of “choreopoetry,” the identity politics present in the experiences of Black women, and the elements of spirituality that move Shange’s work forward. I argue that For Colored Girlsoffers Black women a space to celebrate the fullness and diversity of themselves, regardless of where they fall within the spectrum of characters represented. Shange’s work is groundbreaking in its usage of dance and poetry as joint storytelling language, and with Black women as the titular characters and target audience for this piece.
    [Show full text]
  • Ntozake Shange, 1948–2018 the Playwright Who Wrote for Colored Girls
    Ntozake Shange, 1948–2018 The playwright who wrote For Colored Girls In 1976, a play opened on Broadway that was utterly unlike anything seen there before. Ntozake Shange, a black feminist poet and playwright, described her new work, For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf, as a choreopoem, with spoken verse and dance set to a jazz soundtrack. Its characters, identified only by the colors they wore on stage, delivered searing monologues, written in the free style of contemporary poetry, on the abuse, racism, and struggles experienced by women of color. “i found god in myself,” the Lady in Red declares, “& i loved her/i loved her fiercely.” For Colored Girls ran for 742 performances and inspired a generation of black writers and activists. Shange spoke to “young women who didn’t feel invited into a theater space,” said Pulitzer Prize–winning playwright Lynn Nottage, “who suddenly saw representation of themselves in a very honest way.” Shange was born Paulette Williams in Trenton, N.J., and raised in St. Louis, “where she was one of the first black children to integrate into the city’s all-white public schools,” said The Washington Post. Her politically active parents, both medical professionals, “mixed with a crowd that included musicians Miles Davis and Dizzy Gillespie, as well as writer W.E.B. DuBois.” Shange began to hone her poetic voice at Barnard College in Manhattan, from which she graduated in 1970. Around this time, Shange adopted a Zulu name, said USA Today. Ntozake means “She who comes with her own things,” and Shange “She who walks like a lion.” Shange was 27 years old when For Colored Girls debuted on Broadway—only the second play by a black woman to appear there, following Lorraine Hansberry’s A Raisin in the Sun.
    [Show full text]
  • An Analysis of the Artistry of Black Women in the Black Arts Movement, 1960S-1980S Abney Louis Henderson University of South Florida, [email protected]
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 7-10-2014 Four Women: An Analysis of the Artistry of Black Women in the Black Arts Movement, 1960s-1980s Abney Louis Henderson University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the Race, Ethnicity and Post-Colonial Studies Commons Scholar Commons Citation Henderson, Abney Louis, "Four Women: An Analysis of the Artistry of Black Women in the Black Arts Movement, 1960s-1980s" (2014). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/5236 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Four Women: An Analysis of the Artistry and Activism of Black Women in the Black Arts Movement, 1960’s–1980’s by Abney L. Henderson A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts with a concentration in Africana Studies Department of Africana Studies College of Art and Sciences University of South Florida Major Professor: Cheryl Rodriquez, Ph.D. Kersuze Simeon-Jones, Ph.D. Navita Cummings James, Ph.D. Date of Approval: July 10, 2014 Keywords: Black Revolution, Cultural Identity, Creative Expression, Black Female Aesthetics Copyright © 2014, Abney L. Henderson DEDICATION “Listen to yourself and in that quietude you might hear the voice of God.” -Dr. Maya Angelou April 4,1928-May 28, 2014 For my mother, Germaine L.
    [Show full text]
  • Drama Or Performance Art? an Interview with Ntozake Shange
    FALL 1991 85 Drama or Performance Art? An Interview with Ntozake Shange Serena Anderlini Shange was born Paulette Williams and is the author of a number of performance pieces. Many were experimental and improvised, but all are poetic and literary. Some have been produced also in commercial theatres; for colored girls who have considered suicide/when the rainbow is enuf (1976); aphotograph: lovers in motion (1979); boogie woogie landscapes (1978); spell#7 (1979). Less commercially successful pieces are: negress (1977); where the mississippi meets the amazon (1977); from okra to greens: a different love story (1978). She is also the author of dramatic adaptations, including a Mother Courage in which a black woman lives in the American frontier during Indian wars; and an Educating Rita in which an Afro-American Rita speaks a black vernacular. In-progress performance pieces are: The Jazz Life; Black and Blue Valentines; Bosoms and Mares: Riding the Moon in East Texas; and Smoke Voices. Shange is the author of two novels: Sassafrass, Cypress and Indigo (1982); and Betsey Brown (1985); she wrote the libretto for the opera Betsey Brown; nappy edges, a collection of poems (1978); and See no Evil, a collection of essays (1983). Shange hardly ever uses capital letters. Shange was part of the first Afro-American generation educated in a de-segregated environment. She grew up in a professional middle-class family. During the Civil Rights Movement and the process of de-segregation of public life that accompanied it, her parents moved several times between the north and the south. She was in a position to attend a prestigious school, Barnard College, hitherto only for whites.
    [Show full text]