GREAT CANADIAN THEATRE COMPANY

blood.claat one oomaan story

STUDY GUIDE

A play written and performed by Directed by d’bi.young anitafrika Weyni Mengesha

mudgu sankofa, a 15 year-old girl in Kingston, , is bridging the gap between innocence and maturity. As blood – both life blood and death blood – cycles through her coming of age story, mudgu encounters her cleanliness- obsessed granny, a machete-wielding stranger, her -loving boyfriend and her church-going aunty. Helping her traverse her past, present and future lies mudgu's mother, who left her in search of a better life for herself and mudgu in Canada. Fusing theatre and dub poetry, the extraordinary artist d'bi.young anitafrika portrays mudgu with wit, charisma and power.

Student Matinees Welcome to the Great Canadian Special thank you to Mar. 10 Theatre Company! GCTC’s Student Matinée 12:00pm Noon Partners

Study Guide researched and written by Jim McNabb GCTC’s Education Program

GCTC STUDY GUIDE blood.claat

Page 1 The Play

Contents The Place and Time: The Play ………………………… 1 East Africa in the beginning d’bi.young anitafrika Toronto Airport immigration desk actor/playwright/dub artist About the Play ………. 2 - 3 three years earlier Set and Costumes………… 4 Nanny Town, Jamaica 1730-1732

Excerpt from the Kingston, Jamaica present day

Script ………………… 5 - 6 The Plot (in brief): In her formative sixteenth year, Jamaica: Facts, History, mudgu is caught between the Features .………… 7 - 11 expectations of her granny and blood, a dub poem ……. 12 auntie and her boyfriend, is Traditional African emotionally wounded by the violence and incest in the Religion …………………. 13 community, but is strength-

Plot in Detail ……… 14 - 15 ened by the presence of her

Additional Resources …16 mother and her ancestors. The blood of her menses Activities ……………. 17 - 18 contrasts with the blood shed Curriculum References 19 violently but links her with the anitafrika is one of Canada’s blood of her strong female most celebrated young artists, What’s On in the Lorraine foremothers who carried the winning the ‘07 Toronto Arts Fritzi Yale Gallery …… traditions of Africa to America. Council Foundation Emerging ..………………………… 20 - 21 Artist award. She has performed, published, and Theatre Etiquette ……. 22 The Creative Team lectured internationally. As a dub poet, anitafrika has Written and Performed by: headlined numerous festivals in d’bi.young anitafrika Calgary, Vancouver, Havana, Director: Weyni Mengesha and Toronto. She has self- Set and Lighting Designer: produced five dub albums. Steve Lucas Her stage work include: da kink in my hair which garnered Upcoming Plays Costume Designer: An exciting 2009 -2010 her a Dora nomination for Erika Connor season of plays outstanding performance, the Composition and Sound South African play Have You ♦ Apr. 13 – May 2 –- Facts Designer: Seen Zandile and mudgu in her Thomas Ryder-Payne very own blood.claat; for which ♦ June 8 – June 27 – Heroes she received a Dora award for Stage Manager: Samira Rose outstanding performance ‘06. Visit us at www.gctc.ca Apprentice Stage Manager: blood.claat is the first piece Adrienne McGrath in anitafrika’s biomyth-trilogy three faces of mudgu sankofa. WARNING She is currently completing the Some teachers may feel second and third plays: that some of the material in this Study Guide is androgyne – a poetic two-hander inappropriate for their and word!sound!powah – a dub students. Please read it opera carefully beforehand.

GCTC STUDY GUIDE blood.claat

Page 2 About the Play Page 1 of 2

How it Came to Be d’bi.young anitafrika is a dub poet, playwright and actor who lives in Kingston, Jamaica and Toronto, Canada. In 2002, in response to a poem 5 nights of bleeding by dub poet dealing with violence, d’bi.young was inspired to write a feminist version dealing with attitudes to women’s blood, aptly named blood. (A copy of that poem is included in this Study Guide. A caution should be noted because some may find the language offensive.) d’bi.young was attempting to dispel the stigma against menstrual blood with the view that it is life blood as compared to death blood resulting from violence. Furthering this theme, ms young set out to write a play about the women in her family, the violence in Jamaica and the strength drawn from understanding blood. As Klive Walker states in his introduction to the published version of the play:

In blood.claat, young takes this idea, the connection to blood – particularly women’s blood – to birth, puberty, menopause and death, and roots it in an African-Jamaican experience so that it provides a complex understanding of how slavery informs the present day condition of African- Jamaicans. Then very skillfully, she extends this metaphor to include life-blood as a transformed weapon of women’s liberation. Even the Jamaican curse word adopted as the title of the play is drained of its profane character. ‘Blood.claat’ [menstrual cloth] is no longer simply an exclamatory term of derision or anger that carries within it a negative connotation of blood. The womb of the play morphs that expression into a symbol that is positive and life affirming. young also examines the violence endemic in Jamaica in the light of its past colonial rule based on slavery. The play is semi-autobiographical.

Structure and Language blood.claat is written and performed in Jamaican Patois (see page 9), the colloquial language of the people descended from the slaves brought from Africa. Only in the recent past has Patois been recognized and honoured as a distinct language on the Island and abroad. Dub poetry plays a large part in the magic of the language of this play, the rhythms and images evoking strong emotions which are enhanced by the percussion and vocal background. The play is essentially a narrative, the story of a girl’s coming of age. It begins with a ritualistic libation to the ancestors and the future generations by Yamoja, the goddess of motherhood. The play has an episodic structure with scenes moving in and out of the past prompted by a stream of consciousness. mudgu is buffeted in the series of scenes between the shame and scorn of her menstrual blood by some people in her life and the pride in womanhood shown by her absent mother and ancestors. The conflict comes to a resolution with the blessing by her granny as she becomes the mother of a new life, one which will continue the legacy of the great heroine Queen Nanny.

Themes and Issues The various themes and issues examined in the play include the deeply ingrained shame of woman’s blood, prejudices based on gender and class, the confusion of adolescence, the curse of incest, the roots of violence lying in a history of slavery, the importance of pride of history and race, the strength of motherhood and the value of traditional African religion.

GCT STUDY GUIDE blood.claat

Page 3 About the Play Page 2 of 2

Characters

yemoja: deity of the West African Yoruba religion, the goddess of the ocean, the

essence of motherhood and the protector of children; Mama Afrika; the symbol

of blood.

granny: a fifty-year-old oomaan (woman) living in Kingston, Jamaica who loves her

granddaughter mudgu. She is ashamed of blood.

Canadian Immigration officer: believes and practices blood hierarchy.

stamma: a young bus conductor who stutters. He fears the loss of his power and draws

blood to maintain it.

queen nanny: a chieftainess/priestess/healer and military leader of the Maroons in the

18th century. She knows the power and magic of blood and fights to protect her

children’s children.

ogun: the deity of metal, warfare and hunting in the Yoruba religion. (Similar to Ares in

Greek mythology and Visvakarma in Hindu mythology.) His arrogance and temper

cause blood to be spilled wrongfully.

njoni: mudgu’s boyfriend who lives on her street and runs a DJ business which he

dreams will bring him fame. He is repulsed by and afraid of menstrual blood.

auntie: mudgu’s thirty-five-year-old aunt experiencing early menopause. She is a

Christian fundamentalist who uses her faith as a blindfold. She lives in denial of

blood.

uncle: auntie’s husband. He is a blood-killer.

pearl johnson: village gossiper. She is excited by blood stories.

mother: mudgu’s thirty-five-year-old mother now living in Toronto with plans to bring mudgu to a new life. She understands and respects life blood.

mudgu sankofa: a fifteen-year-old schoolgirl on the verge of becoming a womban (woman), learning about blood, both life blood (her menstrual power) and death blood (violent bloodshed). She learns from her community, her immediate relatives and her ancestors, and in doing so connects her roots with her future.

3 percussionists/vocalists who beat drums, sound the abeng (an animal horn which was an instrument used by slave masters to call their slaves as well as by Queen Nanny to communicate with her Maroons). They also tell the story of blood.

GCTC STUDY GUIDE blood.claat

Designs Page 4

The costumes for this one-oomaan show, designed by Erika Connor consist first of all for the goddess Yemoja of a long flowing red skirt representing a river of blood, a girdle of finely embroidered cloth studded with cowrie shells and a headdress. This is then changed for a simple, neutral, beige dress easily adaptable for the multiple characters played by the single performer. The set, designed by Steve Lucas, consists of a neutral, pentagonal playing space backed by a scrim through which the silhouette of a large iroko tree towering over a small altar is seen at times. To the right and left are roughly painted corrugated metal walls with doorways to be used for various scenes.

Down left is a metal wash tub and several cement Costume Design by Erika Connor blocks and overhead is a washing line with clothes pegs and several props and costume pieces for use in later scenes.

Set Design by Steve Lucas

Claudia GCTC STUDY GUIDE blood.claat

Page 5 GCTC Excerpt from the Script Page 1 of 2

Scene 1 mudgu, a 15 year old girl living with her grandmother in Kingston, Jamaica, is washing out a bloody sheet in a wash tub behind the house early in the morning. She has started her period during the night and her granny is angry that she soiled the sheet. (The spelling suggests her Jamaican dialect.) mudgu: I wish I was a bwoy. I don’t know why greedy Eve did have to disobey Father God and listen to that wicked snake and eat the apple and now all of we must suffer because of her, including me. Now look pon that. It deh pon the bed, and mi clothes, and everywhere nasty like somebody get shot or cut up. And what you all looking at? You never see somebody wash before? (Hisses her teeth) (pause) Now mi definitely gwine be late for netball practice again. No practice no gold trophy. And team captain must be at every practice. That’s what miss osborne seh. And guess who is team captain, miss latey latey. (Hisses her teeth) I can’t tell miss osborne why I am late. Then everybody pon di team going to know. Anyways it’s not as if it don’t happen to them. Although you would nevah know. When auntie’s flow come is one big secret. (pause) Well me play better than the whole a team anyways. That’s why I am team captain. Not even inna basketball di bwoy dem can’t touch me. Although sometimes when it come, my belly hurts so bad that I can’t play ball, and the boys dem get 5 or 6 or 7 days extra practice time, because they don’t have it. I still play better than them. If yuh don’t believe mi ask mi boyfr… (She remembers granny and whispers) ask my boyfriend njoni. Him is the best baller pon the street. (pause) Him run black bird . Every morning dem wake up the neighbourhood wid one loud piece of music. njoni seh people should pay him because he is conducting a neighbourhood service helping everybody get up early for work. Even people who don’t have no work, haffi get up too. (She laughs) granny can’t stand him. Seh his eyes always look lazy, because him smoke dat corruption and listen to pure music. All di girls dem seh him have dreamy eye. When yuh look inside dem yuh get lost like yuh inna one deep black bush. Where anything can happen. When mi look pon him, him always tell mi to stop because me looking right through him soul. (pause) Well when me have my period I play better than even njoni. True they don’t know it give me powah. (She makes muscles with her two fists) Whatever. (pause) This can’t clean. (She inspects the sheet) maybe I should mek it soak likkle bit. (She hears granny yelling for her to leave for school) Yes granny I wash out everyting clean, I’m going to put the sheet to soak a little. (She puts on her knapsack) No granny mi not going to be late for school. (To audience) Mi definitely late. (To granny) granny, school finish at 3:30 and I have netball practice until five… until 7 o’clock (Crosses her fingers) … Mi not coming home when it dark granny … Mi nah walk road side at nighttime like leggobeast … yes granny … granny I not bringing any belly with baby in here for you to mind. granny you know I have practice before and after school. Please … mi going to come home right after.

GCTC STUDY GUIDE blood.claat Page 6 Excerpt from the Script Page 2 of 2

Scene 2

mudgu didn’t go to school because a fight broke out on the bus and her school uniform became spattered with blood. Instead she is visiting with her boyfriend njoni. In an effort to get her to relax, njoni has offered mudgu a joint to smoke.

njoni: (Takes spliff back from mudgu and tokes) Suh, my girl, why the change of heart? What yuh afraid something is going to happen to yuh? mudgu, yuh know already dat is me and you fi a lifetime. Me will tek care of my princess. My girl cyan breed and I don’t rise to di occasion like a big black stallion … Your stallion, mudgu. Suh don’t worry bout nothing zeen. (njoni tries to seduce mudgu. He speaks softly under his breath) Sweet blacky face mudgu. Come nuh my girl. How yuh a gwaan suh. Just mek mi … (He feels her pad and realizes she is bleeding. He pulls away quickly) Yow! What’s that? Pad?... What yuh have your tings today? … but yuh nevah have it yesterday? … So why you didn’t tell me star. And made man a put their hand inna , inna inna … How yuh mean, inna DAT! And yuh know your something is here and you touching my microphone and my stereo, and my 45 dub plate record dem and my ganga star. Oomaan not suppose to touch up dem tings when she have her business, rasta. Cho. mudgu you know mi real check fi yuh but you should know better than dat, man. Although my brethren maaga man always tell me seh when woman have dem tings deh is like dem get a, dem a funny brain like. Yuh feel alright? And watch dere now man, it deh pon mi hand dem … wash my hands? Man and man not even suppose to be in contact with them impurities, man. Yuh suppose to keep to yourself to yourself during dem times. Rasta. Cho.

mudgu: (In anger and confusion she searches for the words.) Yuh going on as if is the first time that catch pon yuh hands. So so so you can touch up mi soil up uniform but you can’t touch me. And and and last month when you and steve get into dat fight it was all over you. And which part you think you come from anyways? Out of your moddah … Mi nevah seh anything bad bout yuh moddah. Anyways did first time we do it you never did have a problem with it being on you. (Hisses her teeth.) Hypocrite. (She leaves for home.) Dyam idiot. Him suh fool fool some time. If he think he is going to be my boyfriend for long with that attitude him better think again. It’s not like I have to have a boyfriend. I have netball and my mother is in Canada. I won’t even be here for that much longer. Anyways.

GCTC STUDY GUIDE blood.claat GCTC STUDY GUIDE Page 7 Jamaica Page 1 of 5

Flag of Jamaica

Facts About Jamaica • Jamaica is situated in the Caribbean Sea, south of Cuba and West of Haiti. It is the third largest island in the Caribbean. • Its capital is Kingston on the south coast which boasts one of the largest natural harbours in the world. • Jamaica has a diverse population with about 90% Afro‐Jamaican and the rest being of European, Chinese, East Indian and Middle

Eastern origin. This results in a large variety of physical

appearances, cultures and customs. The motto is “Out of Many, One People”. • Subtle racism and colour discrimination still exist as a result of more than three centuries of slavery, even though slaves were freed in 1838. Percival Patterson became prime minister in 1992, the first black man to hold that position. However, economic power still seems to elude the black

majority.

• The climate varies from tropical to humid. The wet season falls between May and October, which coincides with the hurricane season that extends from June to November. The temperature averages about 24⁰C in the winter and 27⁰C in the summer. • Jamaica has a mixed economy based on agriculture (fruits, vegetables, coffee for export), mining (bauxite), manufacturing, tourism and insurance. • The official language is English but the common dialect spoken amongst the people is Jamaican Patois. (see Patois section)

• Education is currently free from the early childhood to secondary levels with the exception of the

privately‐owned schools.

• Christianity is the main religion in Jamaica and has many denominations. The others include Islam,

Judaism and Hinduism. The practice of Obeah traditions is common, however. (see Obeah section)

• Jamaica has contributed greatly to the world of music, with some of the most celebrated artists being Bob Marley, jimmy Cliff and Sean Paul. (see Reggae section) • The Jamaican cuisine incorporates tastes from all over the world brought by its immigrants. The

unique jerk seasoning and various cassava preparations are inherited from the indigenous Taino

people. • Sports are highly popular in Jamaica: soccer, track and field, cricket, netball (very similar to basketball). By the way, the Women’s National Netball team ranks third in the world after New Zealand and Australia. Jamaica even entered a bobsled team into the 1988 Calgary Winter Olympics. GCTC STUDY GUIDE blood.claat Page 8 Jamaica Page 2 of 5

History of Jamaica

• Jamaica’s indigenous people were the Tainos, an Arawak‐speaking people, who probably migrated there from South America between 4000 and 1000BC. The Tainos called the island "Xaymaca" meaning "land of wood and water". • Christopher Columbus arrived in 1494 and claimed the island for Spain. He described is as “the fairest isle”, and that the people were primitive, peaceful and friendly. “They would make fine servants... With fifty men we could subjugate them all and make them do whatever we want." • The Taino population was rapidly reduced by smallpox and other

diseases and by the European policy of enslavement, many of the Arawak woman with bird Amerindians being sent to Spain as slaves. • Large numbers of slaves were imported from Africa to run the plantations and to be distributed to other American settlements. Jamaica became an important centre of the slave trade. • Between 1645 and 1670, Britain and Spain struggled for possession of the island with Britain finally gaining full possession in 1670. During this period, the famous Henry Morgan became the Admiral of the British fleet in Jamaica and ruled the Caribbean as a greatly feared pirate. • Spain had freed and armed many of its slaves in the hope they would help defend the island from the invading British, but instead they fled to the forested mountains at the eastern and western parts of the island becoming known as Maroons. • Under the British, Jamaica remained a chief centre of the slave trade but the rebellious Maroons fought off the British – the only army ever to defeat the British ‐ until finally their right to freedom and ownership of property was recognized. It was during the First Maroon War of 1731 that Queen Nanny successfully led the former slaves against the British. Maroons still exist in modern‐day Jamaica. (see Queen Nanny section)

Queen Nanny • British settlers, using slave labour, developed sugar, cocoa, indigo and coffee estates making the island very prosperous by the beginning of the 19th century. • As a result of the oppressive slavery system, Jamaica had more revolts and slave uprisings than other West Indian islands, which, coupled with brutal militia reprisals, caused great concern in Europe. • Slave trade was finally abolished in 1807 and the existing slaves were emancipated in 1838. Former slaves eagerly left their European masters to settle around the island, the work on the plantations now being done by indentured Chinese and Indian labourers. GCTC STUDY GUIDE blood.claat Page 9

Jamaica Page 3 of 5

History of Jamaica (cont.)

• Banana plantations were introduced in the middle of the 19th century, and later, when banana

were also introduced into Cuba and Central America, Jamaicans emigrated to tend those plantations. • In 1866 Jamaica became a crown colony of Britain with a British governor and a legislature made up of some British appointed members and some locally elected members. • Under the urging of two new political parties, Jamaica gained partial independence from Britain and became a province of the Federation of West Indies in 1958. It gained full independence in 1962 but still remains part of the British Commonwealth.

• Despite promises of better education, health care and other social reforms, Jamaica lags

economically, the results felt most by the urban poor. Jamaican Patois

blood.claat is written and performed in the Jamaican Patois, which may at first be difficult to decipher.

This Jamaican language is a creole language, one which is an amalgamation of English and West African

languages with some words of French, Spanish and Portuguese, as well as others. It developed during th the 17 century when African slaves adapted and modified the language of their European masters. It is mostly a spoken language used at home and in everyday situations and is the language of popular music. Standard Jamaican English (which is English with a Jamaican dialect) is the language of education, high culture, government, the media and formal situations. It is usually the print version of the language. In actual usage there is a continuum or gradation of language from Standard English in formal situations to modified English in semi‐formal business to a strong Patois in rural settings. Patios is rarely written and has no standardized spelling so Jamaicans would have difficulty reading material which represents the

Patois. Even private correspondence is done in English. It has only recently been taught in schools.

Jamaicans readily understand spoken Jamaican English but usually prefer to speak Patios. Literature in Jamaican Patois expresses folk poems and stories and therefore is normally used in reggae and other local music. Some basic Patois sayings and their English meanings are: Patois English • What a gwaan? What’s going on? • Go sih dung. Go and sit down. • Likkle more. See you later. • Mek wi dweet. Let us do it. • Hop affa mi. Leave me alone. • Ah wha dat yuh ah luok pon? What’s that you’re looking at?

GCTC STUDY GUIDE blood.claat

Page 10

Jamaica Page 4of 5

Obeah

Obeah is a term used in the West Indies to refer to folk magic, sorcery, and religious practices

derived from a blend of Central and West African folk religions and European myths. Obeah is practiced in a number of Caribbean islands and countries in Central and northern South America. It is associated with charms, rituals, luck and mysticism, and is related to Voodoo and other similar folk cultures. Tia Dalma, a character in two of the Pirates of the Caribbean movies, was an Obeah priestess and sorceress and a friend of the lead character, Jack Sparrow. She speaks a Jamaican Patois.

Reggae Reggae rose out of the slums of Kingston, Jamaica in the early 1960s, developing from a Jamaican style called mixed with American R&B and African music. Although there were others before him and many following him, Bob Marley and The Wailers made Reggae’s distinctive beat known to the world. Reggae is characterized by the rhythm guitar and bass drum emphasizing the 2nd and 4th beats in 4/4 time. This backbeat is found in African‐based music but not in European or Asiatic music. Harmonically, the music is often very simple, and sometimes a whole song will have no more than one or two chords. These simple repetitive chord structures add to reggae's sometimes hypnotic effects. Reggae is noted for its tradition of social criticism, although many reggae songs discuss lighter, more personal subjects, such as love, sex and socializing. Some reggae Bob Marley lyrics attempt to raise the political consciousness of the audience, such as by criticizing materialism, racism or colonialism while other reggae songs promote the use of cannabis (also known as ganja) considered a sacrament in the movement. , a style grown out of Reggae, was criticized for the homophobia expressed by some artists but a coalition of the music industry agreed to stop releasing music promoting hatred and violence. As well as Dancehall, the legacy of Reggae includes and poetry, Hip Hop, Rap, and even Punk, House and Techno. Listen to Bob Marley and the Wailers at http://www.youtube.com/watch?v=pDvdBgJdEzU and http://www.youtube.com/watch?v=n6U‐ TGahwvs&feature=related . For a Dancehall Reggae mix listen to http://www.youtube.com/watch?v=TGrcKoUbrfs .

GGCTCCTC STUDYSTUDY G GUIDEUIDE blood.claaI, CLAUDIAt Page 11 Jamaica Page 5 of 5

Queen Nanny Queen Nanny is credited with being the single figure who united the Maroons across Jamaica and played a major role in the preservation of African culture and knowledge. She was the spiritual, cultural and military leader of the Windward Maroons and her importance stems from the fact that she guided the Maroons through the most intense period of their resistance against the British, between 1725 and 1740. Queen Nanny is presumed to have been born around the 1680s in Africa’s Gold Coast (now known as Ghana). She was reported to belong to either the Ashanti or Akan tribe and came to Jamaica as a free woman, perhaps even owning slaves of her own. Slaves from the Gold Coast were referred to as Koromantee in Jamaica. They were fierce and ferocious fighters intent on resistance, survival and above all freedom and they refused to become slaves. Between 1655 until the 1830s they led most of the slave rebellions in Jamaica.

Portrait of Queen Nanny on the Jamaican $500 bill.

Spiritual life was of the utmost importance to the Maroons and was incorporated into every aspect of life, from child rearing to military strategies. Almost every slave rebellion involved African spiritual practices. As a leader, Queen Nanny who practiced Obeah which had evolved from Africa was able to instill confidence in their followers. Queen Nanny employed clever strategies which led to the Maroon’s repeated success in battles with the British. She was a master of guerilla warfare and trained Maroon troops in the art of camouflage. Oral history recounts that Nanny herself would cover her soldiers with branches and leaves, instructing them to stand as still as possible so that they would resemble trees. Maroon settlements were situated high up in the mountains with only a narrow path leading to their town. In this way, the British soldiers could clearly be seen on approach as they advanced in single file, allowing them to be picked off one by one. Legends about Queen Nanny abound, one being how she miraculously fed her starving people with some pumpkin seeds she found in her pocket and which rapidly grew and produced many pumpkins. Another tells of how she could catch bullets with her hands. Still another tells of how she was able to set up a large stew pot in the forest which boiled without fuel and into which British soldiers fell never to return.

GCTC STUDY GUIDE blood.claat

Page 12 blood, a dub poem by d’bi.young.anitafrika

blood blood blood blood.claat blood fi wash di pain away/blood fi wash di slate blood blood blood blood.claat clean On 9 May 1994, the day before Mandela'sblood inauguration gwine guh tek as yuh/blood President gwine of guhSouth tek yuh living innaAfrica, time/where Time di bloodran in-depth is marketable features on the 'miracle' of the country's like di rest of my body/everyting is democraticsellable transformationI bleed toxic shock syndrome/proctor gamble why wi teach young amazons/to hide di fact dat chlorine bleach pad/suck blood mi nuh have aunt flow come once a month/and she’s a setback? don’t talk about har too loud inna public lurking culture vultures/a siddung pon di shelf be careful not to get CREASHUN pon di toilet legalized pimping a mi cunt and mi blood watch out yuh might get some CELEBRASHUN pon di wid or widout applicators/wid or widout wings chair brands a b c and d/don’t give a blood.claat don’t stain di sheets wid yuh LIBARASHUN bout me nor di streets wid yuh REVOLUSHUN young black bush oomaan/nuh birth a nation yuh evah motice/see dem pon tv kotex tampax always or maxi young black bush oomaan walking around dem nuh use red/a blue dem use instead no-one know har name and I’m wondering from where di she’s feeling demonized/dehumanized/ shame/around my cunt came from disempoweredized like a covert operashun/more than half di she needs to deprogrammize populashun bleed close har eyes/and feel inna di darkness di deepness/di wetness/di redness a blood we used to have nuff nuff nuff nuff blood ritual I bleed where oomaan come togeddah/and bleed inna di land and when she comes to me once every month but now di blood naw flow/where did the she brings positive vibrashun wid har ciphah rituals go no doc mi nuh waan nuh tylenol/no midol/no advil manufactured shame/designed to keep me no spirit killers to numb dis healing inna chains jus gimme red raspberry tea and I’ll be tranquil I bleed right now she universe is communicating five nights of bleeding/blood inna mi eye I am elevating five nights of bleeding/bood inna mi head surrendering myself to she gawdess within five nights of bleeding/blood inna mi womb five nights of bleeding/blood inna mi cunt ancient moddah spirit is calling five nights of bleeding/blood deh pon di if I were in di bush/I would be bleeding ground in di earth and when war come/whose blood run watering har body wid mi healing but mi live inna di shitty brixton/railton road/rainbow/blues- no pad no tampon no liner no towel dance/telegraph no oppreshun/sheets well bloody like rivah blood just a flow/wid blood bleeding pon di bed instead liberashun have a chance grenada joburg Haiti I bleed cuz I’m a warrior slavery ban mi belly and bleed/ban mi belly an amazon dawtah of yemoja bleed I bleed becuz di blood of di moon one century two century three century di blood of di earth/di blood of di wind four/five century overboard di blood of di rain/di blood of di sun captivity no more for she a come makes me mawu: ancient afrikan gawdess divine blood fi wash yuh hate away/blood fi wash yuh who creates all life rape black bush oomaan

GCTC I, CLAUDIA GCTC STUDY GUIDE blood.claat

Page 13 Traditional African Religion

Traditional African religions differ from Christianity, Judaism and Islam and resemble Indian and ancient Greek religions, in that God, the Supreme Being and Creator is worshipped through consultation or communion with lesser deities or ancestral spirits. These lesser deities and spirits are honoured through libation (the pouring on of a liquid such as wine or oil) or sacrifice of animals,

vegetables or precious metals. The will of God is sometimes sought through oracular deities. There is

usually a belief in the cyclical nature of reality. The living stand between their ancestors and the unborn. African traditional religions embrace rhythmic natural phenomena – waxing and waning moon, rain and drought, the woman’s cycle, the rhythmic pattern of agriculture. There is no written

scripture, the holy texts being oral, and there is a devout connection with their ancestors. There is a dualistic concept of the person which is made up of a body and a soul. Virtue in traditional African religions is often connected with the communal aspect of life. Examples include social behaviors such

as the respect for parents and elders, appropriately raising children, providing hospitality, and being

honest, trustworthy and courageous.

Yemoja (also Yamaya) is an orisha or spirit goddess created by the Supreme Being. She is the water goddess of the Yoruba people of Nigeria in West Africa and is sometimes depicted as having the upper body of a human and the lower body of a fish, so is also known as a mermaid goddess. She is the mother goddess, patron deity of women, especially pregnant women. She is associated with the moon, the ocean and its fishes, female mysteries and ancient wisdom. She governs the household and intervenes in women’s affairs. She is a merciful goddess called on by women for aid in childbirth, love and healing. From her body came most of the other orishas including Odun, and also the first man and woman who became the parents of all mortal beings on the earth. The cowrie shell is Yemoja’s symbol. When West African slaves came to America they brought the worship of Yemoja and other orishas with them, her persona often being connected with the Virgin Mary. As such she has festivals in her honour in Brazil, Cuba, Trinidad and New Orleans.

Ogun is the powerful orisha who presides over fire, iron, hunting, politics and war and might be compared to Ares in Greek mythology or Saint George. He is the traditional warrior and patron of metal smiths and is usually depicted with his machete, rum and tobacco. Ogun is mighty, powerful, and triumphal, but also exhibits the rage and destructiveness of the warrior whose strength and violence can turn against the community he serves. He gives strength through prophecy and magic. GCTC STUDY GUIDE blood.claat Page 14 Plot Summary in Detail Page 1 of 2

Some students may be challenged to follow the story because of the Jamaican Patois in which the play is performed. For those, the plot is summarized here in more detail.

Spoiler Alert!

• Old Jamaican folk songs are performed as the audience enters. • We first see yemoja, mama afrika, entering with a flowing red skirt, making a libation to the ancestors and invoking the spirits of her children to tell us their story. • In darkness, granny scolds mudgu for soiling her sheets with menstrual blood. mudgu hurries to wash the sheet so she won’t be late for netball practice before school. She boasts of being a skilled player and confides how she loves her boyfriend njoni, who granny hates. • While waiting for her bus, mudgu explains how proud she is to be able to attend Campion College on a scholarship. She is living with her granny because her mother immigrated to Canada to prepare for a better life. • We see the Immigration Officer at Pearson International Airport rudely questioning mudgu’s mother when she enters Canada. • As mudgu’s bus arrives there is a crush to get on. The conductor, who has a bad stammer, tries to get control and collect all the fares but loses his temper and slashes out with a machete, wounding several other passengers. • The attack with the machete prompts queen nanny (of several centuries ago) to tell the tale of the legendary orisha (African god) ogun to her village of Maroons. ogun, the great warrior, came upon a village and asked repeatedly for food and drink but no one answered. In a rage he killed everyone with his machete. He then learned that they were silent because they were celebrating a festival in his honour during which they were forbidden to speak. In remorse he fell upon his own blade. • queen nanny has used this story to point out that those joined in blood (kinship) must not fight among themselves but resolve not to give in to the British army and the bakra massa (slave masters), and remain free people rather than slaves. • mudgu realizes that she has not been injured by the crazed bus conductor but her school uniform has been badly soaked in blood. She is sick of the violence in her community but takes up the discarded machete to protect herself in the future. Because of her soiled uniform she cannot go on to school. • Instead she drops in for a visit with her boyfriend njoni. At first he is startled by her bloody appearance but then when he realizes she is fine, he tries to seduce her. mudgu doesn’t fall for his sweet talk and doesn’t feel like having sex. When njoni touches between her legs he is shocked to feel her menstrual pad. njoni believes that woman’s blood is unclean and will contaminate his music equipment. mudgu leaves in disgust at his ignorance. • When mudgu arrives home, her granny knows she has been to njoni’s instead of school. She decides to send her to her auntie’s so she won’t have contact with njoni.

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Plot Summary in Detail Page 2 of 2

• Because of her period, mudgu’s belly is hurting. She remembers how three years earlier when

she had her first period, her mother rubbed her stomach to ease the pain. Her mother appears in her memory and teaches her to celebrate her woman’s blood and tells of the traditional use of the blood‐claat, the menstrual pad. She gives her an old piece of “majestic cloth” symbolic of the blood‐claat handed down since God was a woman. • At auntie’s house, mudgu is told that Jesus’ blood will wash away her sins if she prays. Her auntie tells her to be ladylike about cleaning up her menses. She tells her to stay in the house while she goes off to a prayer meeting and that her uncle will be home soon. • In the darkness, her uncle enters and we learn that he has been sexually abusing mudgu for some time. This time, however, mudgu fights back with her machete and chops off his hand. • auntie believes that her husband was injured at work but sends mudgu home while she prays for his recovery. • When mudgu arrives home she hears shots from next door and a neighbour, pearl johnson, tells that two men shot njoni over a drug deal. • Three months later, mudgu fears she is pregnant. In despair, she calls upon her mother who tells her the story of how she came to be called mudgu. When queen nanny escaped to the forest, her sister sekesu failed in her attempt to escape because she was carrying a newborn baby. The child grew up to poison her cruel masters and escape to the forest to join her relatives. That child’s name was mudgu. Her mother reminds mudgu that she has the strength of her ancestors to help her through the difficulties in life. • When granny learns that mudgu is pregnant she threatens to send her back to her auntie’s to have the baby. It is then that mudgu reveals that her uncle raped her and that she cut off his hand in defense. granny is heartsick and confesses that she too, as well as many others, had been sexually abused. • queen nanny inspires her koromante soldiers when Nanny Town is captured and things look very grim. She tells them that they must sacrifice their blood for their children, as will their children for the next generation in turn. Only in this way will they eventually have freedom and a good life for their offspring. • granny tends to mudgu and in time helps her deliver her baby. mudgu lovingly calls her baby sekesu after her ancestor. • As the audience leaves we hear d’bi.young.anitafrika’s poem blood.

GCTC STUDY GUIDE blood.claat Page 16

Additional Resources

Movies: Amistad – 1997 – Dir. Steven Spielberg, starring Morgan Freeman, Djimon Hounsou. True story of a 1839 mutiny aboard a slave ship bound for North America and the trial of the their leader when they reach land. Cool Runnings - 1993 – a comedy starring John Candy loosely based on the true story of the Jamaican national bobsled team’s debut at the 1988 Winter Olympics in Calgary, Alberta. The Harder They Come – 1972 (the first feature film made in Jamaica) – A poor Jamaican comes to the city to make it big singing Reggae. However, he finds life in the city to be harder than he thought, and is taken advantage of by both the record producer and the marijuana boss he later starts dealing for. This is based on a true story. Life and Debt – 2001 Documentary covering the political reasons for many of Jamaica's economic hardships in the 20th century and offering a scathing look at the United States and its international policies.

Websites:

http://www.hartford-hwp.com/archives/43/282.html The Mother of Us All: A History of Queen Nanny Chapter 1: Introduction by Karla Gottlieb. Africa World Press, 2000. http://www.hartford-hwp.com/archives/43/130.html Jamaica by Veront Satchell, Africana.com, 1999. A brief history of Jamaica covering from the late 15th century to the end of the 20th century. http://www.dbiyoung.net/ Website of d’bi.young.anitafrika http://www.youtube.com/watch?v=XaICpqjXzNY d’bi.young performs her dub poem “blood” and is interviewed along with her mother anita. http://www.youtube.com/watch?v=E13tjTk4O-Q d’bi.young is interviewed on how her art developed. http://www.youtube.com/watch?v=pDvdBgJdEzU Bob Marley and the Wailers sing “Roots Rock Reggae”. http://www.youtube.com/watch?v=n6U-TGahwvs&feature=related Bob Marley and the Wailers sing “Stir It Up”.

GCTC STUDY GUIDE blood.claaTHE NEt T Page 17

Activities Before and After Seeing the Play - page 1 of 2

Before Seeing the Play 3. What to Watch for in the Production: a) Since all the characters are portrayed by a single 1. Activity involving the Script Excerpt: (pp.5 – 6) actor watch carefully how she distinguishes In teams of two or three explore the two short between each one through costume, mannerisms or scenes involving monologues for mudgu and njoni. If voice. the students lack familiarity with the Jamaican b) Study how the set which is used for all the dialect try listening to some Youtube videos such as different locations identifies where we are in each http://www.youtube.com/watch?v=meJEjXhVnrk&f scene. Watch how panels in the walls open in eature=related to hear the cadence and various scenes to provide a special feature. Decide pronunciation. Discuss and list what qualities of why the materials used to construct the set and the each of the characters is revealed in the few props are carefully chosen to tell us something monologues. What makes us like or dislike each about the location. Analyze the emotional effect character? What makes us want to know more achieved by lighting behind the scrim in certain about each one? Why do you think the second scenes. Note which scenes use this lighting effect. scene is made up of two monologues rather than a Notice how lighting helps us focus during each set of dialogue? Try reading the scenes aloud scene. adding personality traits and physical mannerisms. Try adding in speeches for granny in the first scene 4. Creative Writing Project: Students who are familiar and replies from the other character during the with English spoken with an accent or dialect should monologues of the second scene. How does this try to write a monologue or short scene in that effect the quality of the scene? Add in actions for dialect. Be very careful not to mock the accent. Try mudgu and try to stage scene 1. Using two actors spelling the words so that the reader/actor can try to stage scene 2. Using only one actor, try to reproduce the authentic way of speaking. stage scene 2, being careful to distinguish clearly between the characters of mugdu and njoni. 5. Viewing a Film: One of the films mentioned on page 16, Additional Resources, might be interesting 2. Reading and Discussion Activity Have the class to view at home. Any of these will give students an read the five page section on Jamaica (pages 7 – 11) added appreciation and understanding of the as well as the section on Traditional African Religion background of this play. (p. 13) to gain a familiarity with the culture and background of the play. Perhaps members of the 6. Art Viewing: Teachers should encourage students class have a family background traced to the to read pages 20 and 21 and to examine the paintings Caribbean and can talk of their experiences, or by young Ottawa artist Eric Chan on display in the others may have vacationed on one of the Islands. Lorraine Fritzi Yale Gallery in the upper lobby. His Discuss how the vacation experience would differ works are chosen to complement this play. Visit his from actually living there. Discuss how the website at http://eepmon.com/ to see more of his hardships of the people of the Caribbean – the work. Have a discussion following the visit to GCTC on poverty, hurricanes, earthquakes, violence – have exactly how the art works comment on blood.claat.

either made them strong or broken their will. 7. Behaviour at a Play: Distribute copies of the page Discuss how religion has played a role in helping the on Theatre Etiquette found on page 22 of this Study people through hardships. Discuss what immigrants Guide. Remind students that polite and respectful from the Caribbean have brought to Canada to behaviour is expected for all to enjoy the play. enrich its culture. Remind them that anyone who disrupts the performance by inappropriate behaviour may be asked to wait in the lobby along with his/her teacher. GCTC STUDY GUIDE blood.claat

Page 18 Activities Before and After Seeing the Play - page 2 of 2

After Seeing the Play ‐ Production aspects: (continued) 8. Analytical Activities After seeing the play the Lighting – Did the lighting effects also teacher could conduct a class discussion on the designed by Steve Lucas help to define the following topics: various locations and incidents? What moods - Style of writing; effectiveness of the language or atmospheres were evoked? Were there to suggest characters. any special moment that stood out? - Style of acting chosen for this show; the arc or Sound – did the musical and vocal accompany‐ changes that occur in each character as the iment complement the themes and mood of play progresses; the use of movement, the play? music and singing; the effectiveness of having one actor portray all the characters. 9. After seeing the play, and while it is still fresh in - Themes explored in the play – what was the their minds, give students the assignment of writing play about? What do we learn from it? What a review of the production of blood.claat. Have symbols are used? What is the importance them read reviews of other plays in The Ottawa of the visual theme of corrugated metal and Citizen or Ottawa (X)press to give them an idea of the cloth? What is the significance of the the standard approach to theatrical criticism. red cloth and how it was used? What Another excellent guide to writing a review can be examples of devotion were found in the found on the Theatre Ontario website play? http://theatreontario.org/content/play_reviews.htm. - Structure of the script – The story is told in Students should refer to the program distributed at short scenes in various locations which allow the matinée, or may refer to page 1 of this Study us to glimpse the characters over a period of Guide for the names of the various artists who put time. Discuss whether this structure is the production together to write their reviews. The effective in telling the story rather than areas the review should cover are, in general ‐ and having long scenes, each of which tells a more specifically when merited ‐ all design elements portion of the story. Pick a short scene that (lighting, sound, set and costumes), the actors’ you remember and explain what its purpose performances, the direction, the basic narrative, the was and what you learned about the story dialogue, and the central theme(s) of the script. during it. - Production aspects: 10. Senior students may be encouraged to read the Costumes – Describe the effect of the dub poem by d’bi.young called blood found on page costumes chosen by designer Erika Connor. 12. The poem (and the title of the play) is meant to How did each costume help to define or not be controversial and cause discussion. What define the individual character? emotions are evoked upon reading it? Do students Set – What did the set suggest before the feel that this topic should be focused upon or play started? Did it provide the necessary discussed, or remain private? Is this topic important acting areas for the different scenes? What in gender equality and women’s liberation? mood did the shape and colour of the set convey; what effect does its somewhat non‐ realistic style have on the viewer’s understanding of the story? Examine the photograph of the set designed by Steve Lucas on page 4. Why is it suitable for a touring show? GCTC STUDY GUIDE blood.claat Page 19 Curriculum References The Ontario Curriculum: The Arts

A visit to see a live stage production helps fulfill the following High School curriculum expectations:

Drama and Dance, Grade 8 Specific Expectations: - demonstrate understanding of the appropriate use of voice, gestures, and the level of language in different dramatic situations. - write in role in various forms, showing understanding of a dramatic situation and using appropriate vocabulary, tone, and voice for the character portrayed. Critical Thinking - review drama and dance performances, orally or in writing, critiquing the use of elements and techniques in the particular genre of the piece.

Dramatic Arts, Grade 9 Theory: Overall Expectations - demonstrate an understanding of the conventions of role playing. - demonstrate an understanding of the elements and principles of dramatic expression. Theory: Specific Expectations (Role) - identify the skills necessary to remain engaged in role and the drama (e.g. concentration, listening, interpreting, questioning). Analysis: Specific Expectations (Evaluation) - identify the characteristics of a receptive, discriminating audience (e.g. engagement, listening, focus). - use specialized vocabulary in discussing and writing about drama (e.g. production value, role development, stagecraft, comic relief, satire, irony). - identify the main aspects of a production (e.g. acting, set design, lighting, costume).

Dramatic Arts, Grade 10 Theory: Specific Expectations (Role) - demonstrate an understanding of techniques used to re-create roles (e.g. observation, research, improvisation). Analysis: Overall Expectations - use the vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community.

Dramatic Arts, Grade 11 (University/College Preparation) Analysis: Overall Expectations - evaluate dramatic performances presented in the school and the community. - explain how dramatic arts represent, influence and contribute to culture and society.

Dramatic Arts, Grade 11 (Open) Theory: Specific Expectations (Role/Character) - describe the process of portraying a character in a script through voice, gesture, props, and the character’s relationships with other characters.

Dramatic Arts, Grade 12 (University/College Preparation) Analysis and Evaluation: Specific Expectations - explain how theatre can reflect issues, societal concerns, and the culture of the community, the country and other countries.

Dramatic Arts, Grade 12 (Open) Theory: Specific Expectations (Role/Character) - describe how dramatic elements (e.g. costumes, make-up, props, lighting, set design) are used to develop character and theme. - describe how acting techniques are used to develop characters that are in keeping with the themes in the script.

http://www.edu.gov.on.ca/eng/curriculum/elementary/arts.html http://www.edu.gov.on.ca/eng/curriculum/secondary/arts.html GCTC STUDY GUIDE blood.claat Page 20 GCTC STUDY GUIDE What’s On in the Lorraine Fritzi Yale Gallery

Each month a different local artist is featured in the Gallery in the upper lobby of the Irving Greenberg Theatre Centre. Artists are chosen by Cube Gallery’s curator Don Monet to complement the GCTC current production by creating original works on the themes of the play. This year GCTC’s season, called “Viewpoints”, presents plays which examine the human situation through the eyes of unique individuals. Monet’s featured artist during the run of blood.claat is Eric Sze-Lang Chan. Eric is an Ottawa- based artist, born and raised here, and a graduate of Canterbury High School. He calls himself an artist/technologist; his medium explores the intersection between art and technology. The limited edition prints at GCTC in the Lorraine Fritzi Yale Gallery are hand drawn illustrations that have been composed digitally. His work follows a creation process that is constantly switching between analogue and digital. For example, the hand drawings go through a series of random permutations with an application that he developed. The output is a total transformation yielding new and unexpected results creating a dense and complex imagery. The art plays on a series of dichotomies which characterize the relation between the logical/illogical, rational/irrational, inanimate/ living and order/chaos, a dichotomy that Eric feels represents his own background and personality. Eric feels there is a definite parallel between his work and that of d’bi.young.anitafrika. Both are reflecting on the complex and sometimes chaotic cultural identification and sense of belonging in a multicultural world. Both result from introspection, rejuvenation and, in a way, coming-of-age.

The Inner Utopia Circus

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What’s On in the Lorraine Fritzi Yale Gallery Page 2

Eric is a recipient of the Canada Council's Art Bank Purchase (2009), a resident artist at the Banff Centre (2009), Computer Arts ‚ Excellence Award for Illustration in the International Graduate Showcase (2008) and FITC 2006 Best Canadian Student. Having worked on projects with Microsoft XBox 360 (Europe), MINI Cooper (Canada), Dentsu Canada, Yahoo! (Singapore) and Tiger Beer (China), Eric's work has made international headway and recognition in both the art and design spaces. He is currently preparing for his collaborative new media and music performance in Tokyo, Japan at Yamaha Ginza. In May 2010 he will be back in Ottawa for his major solo show at the Ottawa Contemporary Art Gallery. Eric feels that a piece of his which particularly works well in relation to blood.claat is his work entitled “Revival of the Ancient Sect Pt. 1” which is a visual exploration of introspection. Although there is clearly an Asian motif behind the work, it nonetheless parallels with anitafrika’s play involving the exploration of identity and introspection. Be sure to visit Eric Sze-Lang Chan’s website at http://eepmon.com/ to examine more of his very exciting work.

Twisted Mind Revival of the Ancient Sect (Pt. 1) GCTC STUDY GUIDE blood.claat

Page 22

Great Canadian Please take a moment to prepare the students for their visit to the Great

Theatre Company: Canadian Theatre Company by explaining good Theatre Etiquette which The I rving Greenberg Theatre Centre will enhance the enjoyment of the play by all audience members:

Ottawa, corner of Holland and Wellington 1. blood.claat will be performed in the Theatre of the new Irving Greenberg Centre. Admin. Office: • It is important for everyone to be quiet (no talking or rustling of (613) 236-5192 materials) during the performance so others do not lose their

Box Office: immersion in the “world of the play”. Unlike movies, the actors in (613) 236-5196 live theatre can hear disturbances in the audience and will give their best performances when they feel the positive involvement of the Fax: (613) 232-2075 audience members. The appropriate way of showing approval for the actors’ performances in this play is through laughter and Box Office E-mail: applause. It is not appropriate to whistle or cheer during the [email protected] performance or during scene changes but this may be used during Educa tion Coordinator the curtain call at the end of the show for particularly good Laurie Koensgen performances. For the enjoyment of all, people who disturb others (613)236 -5192 x226 during the play may be asked to leave the Theatre. education@ gctc.ca • Please remove your hat while in the Theatre and keep your feet off the seats. • It is also important to remember that no food or drink is allowed in the Theatre. Remember to deposit all garbage and recyclables in We’re on the Web! www.gctc.ca the containers in the Upper and Lower Lobbys before entering the theatre.

• Remember to recycle the House Program if you do not take it home

Get involved with you.

with your local 2. It is important that there be no electronic devices used in the Theatre so Theatre. GCTC - that the atmosphere of the play is not interrupted and others are not Your City, Your disturbed. Cell phones, pagers and anything that beeps or glows must be Theatre turned off and put away. Cameras and all other recording devices are not

9 Student Matinees permitted in the Theatre.

9 Rush Hour tickets $10. 3. If you plan to make notes on the play for the purposes of writing a With valid student ID review, please do not try to write them during the play. This can be (ava ilability limited). distracting for the actor as well as those around you. Wait until intermission or after the performance is finished to write your reflections. 9 Student Discount Tickets: $23 + $2s/c 4. blood.claat will have a running time of approximately 1 hr, 20 min. and

plays with no intermission. It’s always a good idea to use the washroom 9 Student before the play starts. Anyone leaving the theatre during the play may not Apprent iceships, Internships & Co-ops be readmitted.

9 Volunteering To volunteer call 613- This Study Guide was written and researched by Jim McNabb for the Great Canadian 236-5196 or email Theatre Company in February 2010. It may be used solely for educational purposes. [email protected] Any feedback on the Study Guide would be much appreciated. Contact the writer at [email protected]