Memo to America: Defending White Privilege

Hi America! 

I'm a blogger and a black person. I have some concerns, to say the least, about your continuous defence of white privilege. A defence that translates into the blatant disregard for and refusal to acknowledge the fact that black people are human beings worthy of time, effort, justice, understanding, and other things of that nature. It bothers me - again, to say the least - that people who are considered "white" have the privilege of being above the law. I'm not even sure if that is the correct way to describe what black people are living. When a white man can shoot a 17-year old black boy in the chest because he found that he "looked suspicious" and there be no repercussions, do we call that being above the law? Or is that just evidence that the white man is the law, period? 

Women's History Month: Esperanza Spalding

Last year, Esperanza Spalding made history by being the first jazz artist to win the Best New Artist Award at the Grammy’s. This was just one of many accomplishments for the multi-talented, multi-instrumentalist, composer and singer besides her to-die-for afro and quirky, elegant style.

If you didn't know, March is Women's History Month in the US. In honor of her great female achievement you should check out NPR's First Listen of her new album, Radio Music Society. This is of course, before you purchase it on March 20. 

One of the most refreshing things about Mizz Spalding is that she hasn't stopped playing instruments even with her rising popularity. There's a tendency in the music world for women to be associated only with song and dance. Instruments seem to have this male identity and they tend to symbolize power and agency as well. Look at Alica Keys; over the years since her debut she's gradually moved further from the piano and closer to the mic and choreography. And you can see the transition in the type of  music she's singing as well. When I see Esperanza, I'm always reminded of some my friends who are female musicians and have had to face the "You're good for a girl" on that drum-set or that steel-pan or guitar or whatever it was that did not include them being the stereotypical singer. I wonder if she had to face similar attitudes. Even if she did, it obviously has not had an effect on the way she produces music and commitment to being an instrumentalist. I guess that is what women making history is all about: being yourself. 

A picture says a thousand words

I am not a photographer (though I know some great ones). But I took a photo that I'd like to share.

Friends. Relatives. Similar aesthetics. African aesthetics. Simple beauty. Clothing with intricate details. Not full regalia, but full of pride. Duke Street, Port of Spain, Trinidad. 

On Black Theatre: Interview with Ava Wilson, Soul Children's Theatre Company

                      

Ava Wilson. Photo Credit Melyssah Colerangle

The South Dallas Cultural Center (SDCC), Dallas, Texas, is home to numerous burgeoning arts programs. Soul Children’s Theatre Company is one such entity with a mission to revive Black theatre in Dallas. According to the program’s Artistic, Education and Managing Director, Ava Wilson, Soul Children’s is a unique organization. Wilson, who is also an actress, playwright and poet, received her BA and MA in Africana Studies from Howard University and Temple University respectively. In December 2011, Soul Children’s staged successful productions celebrating both Christmas and Kwanzaa including The Brown King (written by Wilson and Soul Children’s founder, Harold Stewart) reviewed HERE in the Dallas Weekly. Soul Children’s upcoming production is “Angela’s Mixtape” by Eisa Davis. “Angela’s Mixtape” will be staged at the SDCC from March 8^th-11^th. For more information visit the Soul Children’s Theatre Company on FACEBOOK or email them at soulchildrenstheatre@gmail.com. Below, Wilson discusses the company, its upcoming projects, the state of black theatre, and her writing.  

Please tell readers what the Soul Children's Theatre Company is, how long it’s been in existence, how long you've been involved, what your role is as part of the organization and how it is funded.

Soul Children's Theatre Company is the only theatre in Dallas, Texas of its kind that caters to young African Americans (as well as their families) and provides them with quality theatre programming, theatrical training, and knowledge of theatre in the African Diaspora.  Soul Children's Theatre was founded by my long time friend Harold Steward in 2008 at the South Dallas Cultural Center.  Soul Children's is one of the Cultural Center's many artistic partners who use the space there to get their companies and work off of the ground.  At this moment, my title is Artistic Director; however, I am also the Managing Director and the Educational Director.

We are funded through the support of the City of Dallas and the South Dallas Cultural Center through Big Thought/Thriving Minds (a local organization that employs and funds artists from all genres) through a generous grant from Chase Bank.  However, we are not a registered non-profit at this moment, but we are in the works of completing that task in the near future. We also get additional funding from revenue from shows as well as tuition from theatre classes that we facilitate.