Contemporary Plays by Women of Color · An Anthology by Perkins, Kathy A. -- Read -- Imperial Library of Trantor

Index

Book Cover Half-Title Title Copyright Dedication Contents Acknowledgments Introduction

Becoming woman of color in the theatre Looking back to find the present Reclaiming the hidden voice About the plays

The Plays Brenda Wong Aoki

Biography Artistic Statement Production history

1 The Queen’s Garden

Author’s notes Glossary Part 1: Growing Up

Prologue Dave’s Pharmacy Outrigger Regatta Bodysurfing The Rip Birthday Luau

Part 2: School Daze

Lit. 1 vs. Twelve o’Clock High Sherry Westside Warriors The Riot The Newcomb Dynasty Kali Fights Steven

Part 3: The Teacher

College The Demise of Dave’s Pharmacy Twelve o’Clock High Rosie’s Baby/Sherry’s Fine Rosie’s Story/Hai Survives Dinner with Father Rosie’s Dilemma Kali Returns Kali Comes Courting Bullet’s Death

Part 4: San Francisco

“If You’re Going to San Francisco” (musical transition) Kali in the Cage Domestic Difficulties The Cocktail Party Re-enter Sherry Re-enter Smoke Last Ride thru the Westside Goodbye Shoot-out

Breena Clarke Glenda Dickerson

Biographies Artistic statement by Breena Clarke Production history

2 Re/membering Aunt Jemima: A Menstrual Show Pearl Cleageb

Artistic statement Production history

3 Flyin’ West

Characters Time Place Setting Author’s program notes

Elvira and Hortensia Colorado

Biography Artistic statement Production history

4 1992: Blood Speaks Kia Corthron

Biography Production history Artistic statement

5 Come Down Burning

Characters

Migdalia Cruz

Biography Production history Artistic statment

6 The Have-Little

Characters Time: Place

Louella Dizon

Biography Artistic statement Production history

7 Till Voices Wake Us.

Characters

Minor characters

Time Place Background Set

Evelina Fernandez

Biography Artistic statement Production history

8 How Else Am I Supposed to Know I’m Still Alive

Characters

Diane Glancy

Biography Artistic Statement Production history

9 Weebjob

Characters

Minor characters who appear at the wedding Setting

Marga Gomez

Biography Artistic Statement Production History

10 Excerpts from Memory Tricks, Marga Gomez Is Pretty Witty & Gay and A Line Around the Block

Memory Tricks Marga Gomez is Pretty Witty & Gay A Line Around the Block

manche Nation of Oklahoma, Pena-tuka band, descendant of Comanche Chief Wild Horse. She attended public school in Oklahoma and attended the University of New Mexico for three years, majoring in Sociology. She gratuated from the Institute of American Indian Arts, in Santa Fe, New Mexico, where she majored in two-dimensional arts and creative writing. She is married to Donovan Gomez and they have two children, Autumn and Matthew. This is Terry’s first full-length play. She is currently living in Santa Fe, New Mexico.Artistic StatementIt is not possible to deal with all of the issues affecting Native Americans today within the boundaries of one play. The negative side to that is that everything needs to be addressed now. On the positive side, there is no lack of inspiration for future works. This play began in a workshop class at the Institute of American Indian Arts in Santa Fe, New Mexico. I was determined to state all the wrongs ever done to the Indian people. Fortunately, my peers were quick to let me know that too much anger, thrown too soon at someone, isn’t going to be very interesting.Although I do not want to make any generalizations, stereotyping of Native people is one problem that is still hounding our race. Inter-Tribal is not autobiographical and none of the characters are anyone that I’ve ever known; I took some experiences from the past and characteristics from certain people and combined them.There was also the decision of whether or not to bring alcoholism into the arena of the play. This issue is so delicate to Indian people because of the massive stereotype of the “drunk Indian.” This still affects us today. Actually, it is a simple distinction. There are many Indian families that don’t allow any alcohol in their families. Then there are those individuals that do drink and have a problem with it. Just as there are such in every culture. Economic disadvantage has made us more visible and vulnerable in some aspects. Yet, that doesn’t Photo: Donovan Gomezmean we are a helpless people. Struggling, yes; but not defeated.When someone puts his boot on your head to hold you down, fight like hell to get it off! That’s my philosophy and belief when describing the treatment of Native women. We’ve been treated as if we were of no significance to present-day society. Somehow we have survived this as well as women of other races have. I write about the present. This play is not a pageant, although it contains scenes from a powwow, and one actor is wearing his Indian clothes. This play is not mythology. It is more about symbolism and finding humor in tragedy. I’ve heard it said that this element of humor is what pulls Indian people through. It’s true from what I’ve seen in my family and others. Sometimes it’s the only way to cope when one realizes the absurd turn that life has given Indian people.Indian people have a wealth that no others can destroy. Our heritage and spirituality will pull us through if we let them. Going to the bottom and then coming back up again has convinced me that if I can believe in myself and pull myself up to where I want to be, anyone can.Discrimination has played a large role in my perception of what non-Indians think of Indians. In my first year in school in Oklahoma, only the Indian children (two of us) would get paddled every day. In junior high school, the Indian kids wanted to fight because I hung out with white friends. In high school, the effects of the American Indian Movement and Wounded Knee were still fresh in our minds; we had nothing to do with white students. There was such a small Indian population at the public school that we clung together in a small, tough group; proud of who we were but not really encouraged to pursue any type of academic career. There were few Indian students that the school seemed to look upon as “college material.” The rest of us were given directions to the vo-tech. This was how even the Native faculty handled the students at this time.After a reading, I was asked who this play was written for. It was written for my grandmother and great-aunts, my mother, sisters, nieces and daughter. Indian women are here, all over the country, right now. The past is important, we’ll never forget or let our children forget the wars, torture, disease, and murders. What I want to write and know about are the Indian people from the 1920s and into the future. This is our children’s history—the people who seemed invisible and obsolete but who held firmly to their way of life, those that tried and/or tried not to assimilate. Someone else asked me what “traditional” people would think of this play. I feel that most Indian people think of themselves as traditional. Love for your family, knowledge of your religion, ceremonies, history, dances and songs, love of the earth, your tribe and knowing your language (if you are fortunate) is tradition. Tradition is in your soul. Sexism and racism against me have made me a stronger person. I know that I can help my children accomplish their goals by teaching them to love who they are and to hold up their heads in any situation.This play, Inter-Tribal, is about tradition, generations and choices. When I go home to Oklahoma it seems that things have changed. There are now gangs roaming around at pow-wows and in the small towns that I grew up in. That just really blows my mind, that with all that we have, our younger generations are turning to gang activity. Through my writing and painting, I want to bring problems like this into the light and help find solutions.This is dedicated with love and hope to all the Native American women, my family and friends (past, present and future). “Uda” (Thank you) Bill Yellow Robe and Jon Davis.Production HistoryA staged reading of Inter-Tribal was given at the Institute of American Indian Arts Museum, Sante Fe, New Mexico, on 16 April, 1994. The reading was directed by William Yellow Robe and featured cast members Kathleen Gonzales, Edith Mora, Alan Emarthele, Bunky Echo-Hawk, Jack Sabon, and Terry Gomez. It subsequently was produced at the Institute of American Indian Arts Museum, Santa Fe, November 1994. It was read at The Public Theater, New York City, New York, May 1995. ...

Biography Artistic Statement Production History

11 Inter-Tribal

Characters

Lisa Jones

Biography Artistic Statement Production history

12 Combination Skin

Characters A note about casting Time Set

Cherrie Moraga

Biography Artistic statement Production history

13 Heroes and Saints

Characters Notes on CEREZITA Setting

Bina Sharif

Biography Artistic statement Production History

14 My Ancestor’s House

Characters Author’s production notes

Costumes Songs

Epilogue

Anna Deavere Smith

Biography Artistic Statement Production history

15 Excerpts from Twilight; Los Angeles, 1992

Indelible Substance To Look Like Girls from Little I Was Scared Ask Saddam Hussein Swallowing the Bitterness

Diana Son

Biography Artistic statement Production history

16 R.A.W. (‘Cause I’m a Woman)

Characters Slides Music

Spiderwoman Theater

Biographies Artistic statements Production history

17 Sun Moon and Feather

Characters Setting

Elizabeth Wong

Biography Artistic statement and Production history

18 China Doll

Characters Time Place Production Notes

Appendix

Published plays by American women of color

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