Amoke Kubat

Amoké Kubat stages healing in racial divide between black and white women

“I’m at a point in my life where I have forged a place where I can write, and I’m writing things out that maybe I’m still trying to make sense of,” Amoké Kubat says as we spent an early autumn afternoon talking about her new piece, “Angry Black Woman and Well-Intentioned White Woman.” The work-in-progress debuts tonight at Intermedia Arts, 2822 Lyndale Ave South in Minneapolis, at 7 p.m. followed by a Q & A and reception. Continue Reading

Theater Review: There are other worlds

This past weekend, Free Black Dirt presented There Are Other Worlds a play written and directed by Junauda Petrus and produced by Erin Sharkey (these two form the core artistic team of Free Black Dirt). The work premiered as a work in progress at Open Eye Figure Theatre in 2013 and returns in 2015 as a fully realized play at Intermedia Arts in Minneapolis, MN.I have been carrying around this quote by Toni Morrison.  “So Ralph Ellison writes ‘Invisible Man’ and as good as that book is, I have to ask, invisible to whom?  Certainly not to me.”  She is talking so succinctly about gaze, the white gaze, the male gaze and what it means to make art and for whose gaze. Junauda Petrus’s play There Are Other Worlds is the flip side to this question.  The play is clearly written with a black female gaze in mind.  The entire cast are women of color and the power and beauty present in this play comes from that root and love of Black Women. That the rest of us are invited to witness and imbibe is a gift and we are all stronger for it.I saw the play on the closing night after six sold out, standing room only performances. Such a response speaks to the fact that there is an audience eager and willing for this kind of work.  On the political face of it we might merely say how important it is to support an emerging black woman playwright but this is art and what really matters is the actual work.  There are Other Worlds is good theater. The play uses movement, aerial arts, more traditional scenes of dialogue and a vast soundtrack that both grounds the play in the late 1990’s with hip-hop of the time and spans time with music from other eras as the two young women, Dreamah and Sarya explore current music and also discover Sun Ra, Ornette Colman and other jazz greats.  The original soundtrack created by Sarah White along with the use of aerial arts takes the play outside the day to day and into the universe/spirit realms. Joy Spika and Jordan Hamilton designed the set which is beautiful and layered.  Tree branches, paper lanterns and mask like wire sculptures hang from the ceiling.  One side of the stage is the bedroom of the teenage daughter Dreamah and is overflowing with rich color and vibrancy.  The other side of the stage is stark with a yoga mat and pile of books and serves as the jail cell for Ameri.  The stage also holds four location for the long white silks on which the women swing, climb, float, cocoon and spin doing aerial work.  The rest of the set design is beautiful, evoking stars and cosmos and quilts and mathematical calculations but was wisely abstract enough to open up the worlds that were being created.  The play centers on the frayed relationship between Ameri Akenyemi who has been in prison nine years and her two young daughters, the teenage Dreamah and the young adult Gospel.  It also revolves around the transformative relationship between Dreamah and the wildly openhearted, Sarya Rice.   Also present are ancestors, a group of talented dancers dressed in purple who appear and disappear; never speaking but evoking, dancing and at times literally holding up characters.  Although never on stage fathers are also a strong presence with Ameri’s husband who is trying to hold and protect his daughters and Sarya’s father who she is painfully separated from as he deals with mental illness.The cast is universally strong. Nisreen Dawan as the incarcerated mother Ameri Akenyemi was effortless as both a young revolutionary falling in love with a caring man in college and as a 45 year old woman in prison, taken from her husband and daughters and trying to stay whole as one can in those circumstances. ShaVunda Horsley as Dreamah Akenyemi carried a good deal of the play forward.  Her skill was apparent at being able to play Dreamah as young and innocent but not a caricature of youth.  The arc of her characters transformation and path back to her mother and new found strength was both believable and moving.Felicia Perry played Gospel Akenyemi the slightly older and angrier sister and had some of the most challenging scenes both in terms of aerial work and drama.  She is a riveting presence on stage and held the sense of anger and suffering without over acting it. Alissa Paris played Dreamah’s new found best friend Sarya Rice and had several scene stealing moments.  Her kinetic energy and joyfulness were an important part of the play both soothing some of the pain and leading Dreamah forward. All of these strong performances are in service to a beautiful script by Junuada Petrus that is multilayered and complex full of humor and a natural ear for dialogue especially between the two young women Dreamah and Sarya.  Without being preachy the script touches on a variety of intense issues around revolution and social change, white supremacy, living in a predominately white place, prison, rape, forgiveness, strength and love.  So much love.  The love of this mother for her children, the love of these young women for each other, family love, love of and love from ancestors, love of Blackness: as a people, as a source of beauty, creation and resistance. The use of aerial work was a perfect sister to the writing; the long silks were utilized by various characters and served as trees, wombs, and facilitated various journeys both physical and spiritual the characters embark on.   Junuada Petrus wrote in the program about wanting to see more women of color involved in aerial performance and also her inspiration to use aerial as a reclaiming of Black and Brown bodies suspended in space from the horror of lynching.  All but one of the actors were new to aerial work and the confidence and trust they had in their own bodies to climb essentially a long piece of cloth and wrap themselves in it and then unfurl often to the ground was beautiful to watch.There were two interconnected things I wanted that were not present.  More breath and silence and to see Ameri engaged in her yoga practice. 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A Powerful Voice from the Margins: We Rock Long Distance Explores Global Hip Hop

He Filmed Long Distance Filmmaker Justin Schell traveled halfway around the world and back.  He’s followed  Maria Isa through the streets of Puerto Rico. Trekked to Thailand with Tou SaiKo Lee. And finally, heard the poetry from M.anifest’s grandfather in Ghana. It’s all for his feature length film We Rock Long Distance, premiering at Intermedia Arts this weekend as part of their Catalyst Series. The film weaves together history, ethnicity, music and the meaning of home and place through Twin Cities hip hop artists Maria Isa, Tou SaiKo Lee and M.anifest The film, hot off the editing bench, explores the lives and connections of these three musicians here in the Twin Cities and in their home countries. Continue Reading