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The Color Purple, The Musical: What in the Misogynoir?!
TW: mentions of rape, child rape, racism, and misogynoir.
Alice Walker’s novel The Color Purple is a story loved around the world. So, when I saw that it was adapted to stage and touring the UK, my interest was peaked just enough to consider a visit to my local theatre the Royal & Derngate in Northampton. A Curve and Birmingham Hippodrome co-production, it came to Northampton in the first week of October. Largely, audiences that frequent my local theatre are overwhelmingly white – thus, watching The Color Purple it was a joy to my heart to hear Black people in my community engaging with the arts, because the last time I heard so many Black people attended, was for Our Lady of Kibeho as part of the R&D’s Made in Northampton season. This dates back to 2019, a production I reviewed for The Nenequirer showing that Northampton(shire) arts has work to do.
Social media platforms like Twitter and Instagram showed me the pretty unanimous positive praise for the Leicester-Birmingham co-production, while local critics also enjoyed it – including reviews from The Chronicle & Echo and The Nenequirer as well as further reviews by The Real Chris Sparkle and Northampton Town Centre BID. However, there were elements of the show that caused me great distress, no less than the perpetuation of misogynoir and racist stereotypes against Black men. It was deeply triggering, showing how historical trauma and vicarious trauma are ever present, including when white organisations have not done the work of protecting Black mental health when producing “Black-centred media.”
At the head of this cast, Me’sha Bryan gives a knockout performance as Celie (previous played by Whoopi Goldberg in the film) accompanied by Aaliya Zhané as Nettie, with Bree Smith as Shug Avery, and brilliant musical numbers grounded in the traditions of blues music that finds its origins in the trauma of enslaved Africans in the American South. They sang when “they got the blues” … and as far as performance and the commitment from the cast, I couldn’t ask for better.
However, whilst I have praised the musical numbers above, I did not believe it fitted with the tones of The Color Purple curating a rift between what the actors were saying and doing on stage, and the intonations of the music – as well as the lighting design. And despite the directorial position deciding the rape of a child wasn’t musical material (rightly so), the choice to have it as a passing detail with no further discussion, I found particularly off-key. This is one of the moments that highlights that The Color Purple may not have been musical material and better considered as a serious drama. I did not walk away feeling that bleak, much ado with contradictory lighting choices to character moods. The characters were feeling one away and lights did something else. By the by, rather than skip over the rape to maintain “the musicalness”, it may have been more effective to have done this story as a stage drama (with musical elements, if at all). The horrors depicted at the beginning of the novel are pretty nonexistent in musical.
So, this recent adaptation was a disappointment. Not from an acting point of view but behind-the-scenes pre-production elements like direction. The start of story includes a fourteen year-old who births two children after being raped by her father. So, the amount of trauma that exists around child sexual abuse and rape appear unconsidered when they glossed over these parts of the story. Furthermore, I do question if they consulted with any survivors when doing research for this adaptation. A ‘sensitivity consultant’ would not have gone amiss either, further to considerations of intersectionality and how cultural nuances in global, but still different Black communities, will be interpreted by white people, especially in provincial Little England.
Blown away by the musical abilities of the cast, stage productions (like much art) are often labelled as “escapist” so is not afforded the same criticality as for example – policing, education, sport and so on – we are all guilty of this and we can do better. This may be art; there were no redeeming Black characters, and Black men calling Black women “ugly” (written into the script) in full face of a white audience is cultural violence. In Northampton, the large white audience laughed at this example of ableist misogynoir, and in many ways this production felt to be played up for white audiences. Lots of white people are not used to seeing Black people as full human beings, and I do feel the play draws out our humanity. And by proxy centres white comfort with a Black aesthetic reinforced by white supremacy in media.
Disability justice activist Talia Lewis has released definitions of ableism every year since 2019. In January 2022, she discussed ableism as a violent social discourse that values people’s bodies and minds according to societally constructed ideas of “normalcy, productivity, desirability, intelligence, excellence and fitness …” Lewis (2022) states that these ideas are embedded in other violent discourses such as eugenics, capitalism, misogyny and white supremacy. The adaptation of these characters is only part of this debate, where another part may want to consider how this play has informed everpresent white superemacism pervasive across Northamptonnshire. It may impact how local white audiences may view Black people when they perceive that in this cultural text – ‘this is how Black people talk and act around each other.’
“This systemic oppression leads to people and society determining people’s value based on their culture, age, language, appearance, religion, birth or living place, “health/wellness”, and/or their ability to satisfactory re/produce, “excel” and “behave.” You do not have to be disabled to experience ableism.”Talia Lewis (2022)
In Homegrown (hooks and Mesa-Bains, 2017), bell hooks tell us “We have to constantly critique imperialist white supremacist patriarchal culture because it is so normalized by mass media and rendered unproblematic. The products of mass media offer the tools of the new pedagogy.” Theatre is no different to films, literature or television programmes. Watching the musical, it struck me how the numbers of people who haven’t done the work of unlearning their own white supremacy would be impacted by such an adaptation (yes, as we know all humans can reproduce these isms but in a global western context, however, white supremacy has put white people on the top of that racial hierarchy).
One instance of misogynoir and ableism was underpinned by the three Black women singers (their character names escape me) who were written as Sassy Black Women inherently “comedifying” Black womanhood. Brilliant singers, but were written lazily reinforcing a damaging cultural media narrative that diminishes the three-dimensional personhoods of Black women. This was offered with no alternative. The Hypersexual Jezebel (named after the “sinful” Biblical character) appears in numbers of characters while Sofia was written as the Strong Black Woman. Black men were then written as violent, comedic relief, illiterate, and other harmful stereotypes, and domestic abuser Mr Albert is redeemed to the sound of musical harmonies and joyful lighting.
At a Northampton level, the critics from local media revisited a culture of uncritically discussing art. Stories aren’t just stories but a product of the society that created them, and we are a society that finds it easier to challenge the criminal justice system than it does liberal arts institutions, in spite of both having a say in how Black people are viewed and treated. Despite “Black theatre” not being genre, we need more shows at the Derngate that centre Blackness in Britain. And whilst commissioning and hosting shows about ‘Black issues’ is not evidence of an anti-racist commitment, it would be nice to see more shows locally about Black people in the UK by Black people.
When we do get “Black stories”, they so often centre the US, most recently The Color Purple (Oct, 2022) and Two Trains Running (Sept, 2019) – denying local audiences a context for Blackness within the United Kingdom, while recentring American Blacknesses is gaslighting through art. In November, Dreamgirls centring American Blackness is coming to the Derngate. A co-production between The Curve and the Birmingham Hippodrome, this adaptation of The Color Purple was deeply problematic on many levels that local white critics may not have picked up on because of their whiteness – drawn in by a spectacle of a “Black show”, viewed through a white gaze that is unused to talking about white supremacy as a political structure.
The white audience for these misogynoir tropes specifically – largely one of laughter – reminded me of the white gaze, with white laughter as eased white supremacy. Whiteness continues to pervade through ‘acceptable racism’ where serious digs made at Black people in-text laughed at by white people may show how white people may think about Black people in designated white spaces. A Black man seriously calling a Black woman ugly and a white audience laughing at that is incredibly revealing – a comfortableness in spaces coded as white … and how white people may act when thinking and talking about Black people in private (i.e in spaces coded as culturally white and desgined to their comfort).
“I grew up in a culture of bantering and, ngl, I love a caustic riposte. And while in certain ways I resent the current policing of language, there is a distinction. I hate to break it to you, but a “joke” in which the gag is that the person is black isn’t a joke, it’s just racism disguised as humor. A joke told to a white audience where the punch line is a racist stereotype isn’t a joke, again it’s just racism; if there is only one black person present, it’s also cowardly and it’s bullying. Jokes of this nature probably aren’t funny for black people.”Emma Dabiri (2021: 98)
Art imitating life is one thing, but when life imitates art is another. White laughter at Black people in cultural media texts goes back to the days when blackface was on the BBC (until 1978). To see this platformed by a local arts institution then profiting from it, is revealing of how whiteness is performed and profited from, when white people think they’re not being watched. Creatives have a responsibility and so do those institutions that platform them.
Myself and fellow blogger @haleysread discuss this further in our prior entries about the scandal surrounding Jimmy Carr and Netflix. On that October evening, being one of the few Black people in the audience, it was incredibly uncomfortable. To consider art uncritically is to be entertained from a vantage point of privilege (or ignorance). Attending with my friend, to see unanimous positive feedback from the public made us feel a way, no less than from many Black people. We must always be critical; being critical is not the same as criticising, and those who are critical only take the time to be so because we care.
It is not about individual actors but about the lack of critique of institutional platforming in producing “art” that goes on to cause harm. Another fellow blogger Stephanie @svr2727 talked about misogynoir and the media in her recent webinar with the Criminology Team and Black Criminology Network. Violent mistakes in arts productions show a need not for more historical consultants, but sensitivity readers and empathy viewers. One cannot teach empathy, you either have it or you do not. Extending this gaze to screen media texts as well like Bridgerton and others, it is a further reminder that social scientists are needed at the very top of media … especially those of us that research about race, racism, and other forms of violence.
These cultural texts are rehearsed, edited, and considered by multiple hands before any public audience sees them. So, why are we still having to challenge? Simple: misogynoir, ableism, and whiteness are institutionalised and normalised socially and culturally into our day-to-day practice. No less than in “liberal” arts institutions.
“Nothing but a circus, with clowns and all.” – Malcolm X
Do You Remember the Time? At the Lynching Memorial
On September 11, 2021 I visited the Lynching Memorial, which is near the newly expanded Equal Justice Initiative Museum, From Enslavement to Mass Incarceration.
At the heart of the “National Memorial for Peace and Justice” (Lynching memorial) is a vast collection of giant, rusty metal, rectangular pillars, hanging tightly together like a neatly planned and well-looked-after orchard.
Etched in each are the names of (known) lynching victims by date.
We can see that, at times, entire families were lynched.
The pillars are hung so cleverly that one has to experience this artistic installation in person.
Nonetheless, the subject of white terrorism in the deep south is heavy,
Which is perhaps why Guests are invited to visit the nearby museum before the Memorial.
One needs time to prepare.
Naturally, sandwiched between enslavement and mass incarceration exhibits,
The museum also has an array of material on lynching.
This included a giant mural of jars surrounded by videos, infographic murals, maps and
An interactive register of every known lynching by county, date, state, and name.
I’m still stuck on the mural of snapshots of actual lynching advertisements, and
Pictures of actual news reports of victims’ final words.
These were the actual final words of folks etched forever in these hanging, rusty pillars.
Ostensibly, written by war correspondents.
Standing in awe of the museum’s wall of jars, I chatted with a tall Black man about my age.
He’d traveled here from a neighboring state with his teen son to, as he said,
“See how this stuff we go through today ain’t new.”
I recounted to him what a young man at the EJI memorial had showed me a few years ago:
A man’s name who’d been lynched early last century for selling loose cigarettes –
Just like Eric Garner!
Yet, even since then,
We’ve gotten the police murders of George Floyd and Breonna Taylor,
Or even Michael Brown, Walter Scott and Philando Castile.
Amadou Diallo was shot 19 times in 1999, standing on his own stoop
And while Jayland Walker got 46 bullets this year while fleeing on foot.
Tamir Rice was a little boy.
A little boy playing in the park. But his mere presence terrified a white man.
So he called 9-1-1 and the police showed up and shot Tamir within seconds!
We can watch the tape.
All of these martyrs are included in the museum’s growing timelines (sigh).
After their own legal work in representing the wrongfully imprisoned for damn near life,
EJI began collecting jars of dirt near every known lynching, and
If invited by local officials, EJI would offer a memorial plaque and ceremony commemorating that community’s recognition of historic injustice(s).
An open field sits next to the suspended pillars, filled with a duplicate of each pillar.
These duplicates sit, having yet to be collected and properly dedicated by each county.
These communities are denied healing, and we know wounds fester.
The field of lame duplicates effectively memorializes the festering denial in our body politic.
There are far too many unrecorded victims and versions of white mob violence, and intimidation, not just barbarous torture and heinous murder.
Outside of these few sorts of memorials,
We do have to wonder how else this rich history has stayed in our collective memories.
Too many Black families were too traumatized to talk and didn’t want to pass it to their kids.
We know many fled after any minor incursion,
Just as someone had advised Emmet Till to do,
And there’s no accounting for them and the victims’ families who fled and
Even hid or discarded any news clippings they’d seen of the events.
Yet, whites must have kept record.
Did whites collect the newspaper ads or reports of a lynching they’d attended or hoped to?
They made and sold lynching postcards, curios, and other odd lynching souvenirs.
Where are the avid collectors?
Plus, apparently, terrorists don’t just kidnap and hang someone to death,
So what did they do with all the ears, noses, fingers, and genitals they cut off?
Or eyes they plucked out?
Or scalps they shaved?
Many victims pass out from the immense pain of being tortured and burned alive, but still
I doubt all those pieces and parts got thrown in the fire, because, of course,
Plenty of pictures show entire white families there to celebrate the lynching like (a) V-day.
And in many ways, it was, and
The whites looked as if they would’ve wanted to remember.
Looks can be deceiving, but the ways whites were also bullied into compliance is real.
Still, my mother swears that some white families’ heirlooms must include
Prized, preserved pieces of Nat Turner.
Ooh, wouldn’t that be a treasure that would be.
Plus, given the spate and state of anti-Black policing and violence,
Our democracy, nay, our Constitution itself, is as rusty as these pillars.
The pillars resting in the field remind us not only the work left to do, but also, it’s urgency.
How many more pillars may we still need?
How many amendments
did will freedom take?
It goes to show how great thou art now!
Catalog of Negores, mules, carts and wagons to be sold
In September 2021, I visited the newly expanded Equal Justice Initiative’s Legacy Museum: From Enslavement to Mass Incarceration, in my maternal grandparents’ hometown, Montgomery, Alabama. I was struck by the range of artifacts used to chronicle each era. Consider these1854 slave market advertisements from the Montgomery Advertiser and Gazette – still the local newspaper!
Catalog of Negroes, mules, carts, wagons and Co., to be sold in Montgomery. Headlines included: Wenches and bucks, quality Negroes for sale.
Nancy – about 26, fieldhand, cannot recommend her particularly, complains of indisposition, but probably a proper master might cure her.
Ben – A strong and hearty man, about 30 years old, an excellent field hand, and a remarkably handy boy, in any use, being usually quick and intelligent; a No. 1 Negro.
Suckey, A remarkably intelligent Negro girl about 15 years of age, understands General house work well for her age; can sew tolerably, and is a most excellent nurse and attendant for children; has remarkable strength of constitution, and never known to have been complaining even for a moment; a pretty good field hand, and would make an excellent one.
Allison – about 15, fine body and house servant, carriage driver and Ostler, honest, steady, handy, healthy, smart, intelligent, and in all respects a choice and desirable boy.
Mary Jane – about 11.
Martha – about 10.
Louisa – about 7.
Old George – as faithful and honest an old African as ever lived.
His wife Judy, the same sort of character.
Henrietta – about 24… First-rate cotton picker.
One of the humans being trafficked recounted:
“To test the soundness of a male or female slave… They are handled in the grossest manner, and inspected with… disgusting minuteness… in the auction room where the dealer is left alone with the ‘chattels’ offered… God has recorded the wickedness that is done there, and punishment will assuredly fall upon the guilty.” -J. Brown.
The ebb and flow of freedom.
Each exhibit in the ‘Enslavement to Mass Incarceration’ museum takes visitors seamlessly through the Atlantic slave trade, past Jim and Jane Crow segregation, to a recorded face-to-face visit with a real-life, modern-day inmate. As you enter what seems like the final hall, you are confronted with an array of individual seats at a glass window/screen projecting an inmate calmly sitting, waiting. Like a real prison visit, there’s a telephone, which once lifted, the prisoner does the same, introduces themselves, and recounts their story. History confronts you in the present: The confederacy surrendered on April 9, 1865. By 1898, 73% of state revenue came from convict leasing. Now?
One explicit goal of the EJI project, reflected and reinscribed in the exhibits’ descriptions, is a shift in language from slavery and slaves to human trafficking and enslavement. Surely, one can feel the sublingual, subliminal shift from victimology to responsibility, and that implies accountability. To be clear, the entire economy centered around usurping land, driving-out or exterminating the indigenous people, human trafficking and slave labor, shredding the natural environment into farmland to produce cotton, cane and tobacco, manufacturing a range of commodities from these raw materials, trading around the world. Who got rich? Whose labor was exploited?
Who is accountable for giving birth to Jim Crow, if slavery died with ole Abe Lincoln’s Emancipation Proclamation? Who is accountable for cultivating chronic poverty and voter intimidation, if we’d exterminated white lynch mobs through the Civil Rights codes of the sixties? Who indeed is responsible for mass incarceration? The exhibits challenge language that focuses on the victim and remains hush about the status quo, masking the ensuing abuse of power needed for its maintenance, especially hidden from abusers who may themselves be exploited by the myth of meritocracy.
As a side note, perhaps people will not actually be able to reckon with this cognitive dissonance of heroic CONfederate generals and their cause to uphold each state’s right to let white men traffic and enslave Blacks. I’d truly like to see public statues of say, the valiant General Lee, standing next to two or three statues of enslaved people, and a few statues of the white people charged with the quotidian physical labor of enslavement, e.g., driving labor (whip crackers), capturing and punishing escapees (slave catchers, the original law-enforcement force), breaking in new arrivals (torture), breeding ((gang)rape), and general humiliation throughout these duties (sadomasochism). Perhaps the museum just needs to add another exhibit with busts of them.
With stark population stats posted big and bold as visitors transition from room to room, the exhibits chronologically shift through significant eras. Today in the prison industrial complex there are 8 million incarcerated. 10 million were segregated under Jim and Jane Crow until the Civil Rights movement. 9 million terrorized by lynching, accelerating the erosion of Reconstruction. The nation was born and raised with 12 million kidnapped and enslaved Africans. Dear reader, right now I ask, what precisely has our nation done to upend caste?
Days to mark on our calendar!
It is common practice to have a day in the year to commemorate something. In fact, we have months that seemed to be themed with specific events. I look at the diary at the days/months which are full of causes, some incredibly important, others commemorating and then there are those more trivial. Days in a year to make a mark to remind us of things. An anniversary of events that brings something back to a collective consciousness. Once the day/month is over, we busily prepare for the next event, month and somehow between the months and days, I cannot help but wonder; what is left after the day/month?
When International Women’s Day was originally established, at the beginning of the 20th century, socialism was a driving political movement and women’s suffrage was one of the main social issues; since then other issues have been added whilst the main issue of equality remains on the cards. Has women’s movement advanced through the commemoration of International Women’s Day? Debatable if it had an impact. Originally the day was a call for strikes and the mobilisation of women workers. Today it is a day in the calendar that allows politicians to utter platitudes about how important the day is, and of course how much we respect and love women these days! It is hardly a representation of what it was or set out to be. Like so many, numerous other events are marked on our calendar, but wehave lost sight of what they were originally set out to be.
Consider the importance of a day to commemorate the Nazi Holocaust. Never again! The promise that such a mass crime should never happen; the recognition that genocide has no place in our respective societies. Since that genocide, numerous others have taken place, not to mention the mass murder, violent relocations, and the massacres and ethnic cleanings that have happened since. Somehow the “never again”, to people in Biafra, East Timor, Rwanda, Darfur, former Yugoslavia, Afghanistan, Iraq, Syria, Libya, and many other places simply sounds ironic! We commemorate the day, but we do not honour the spirit of that day.
In this mixture of days and months we also have days for mothers, fathers, lovers, friends, hugs, happiness, and many other national and international events. To commemorate or to offer a moment of reflection. Somehow the reflection is lost and for some of these days, millions of people are required to purchase something to demonstrate that they care or worst still, to make something! How many mothers worldwide have had to admire badly made pottery or badly drawn cards from kids who wanted to say “I love you” on one specific day. Leaves me to wonder what they would want to say on all other days!
So, is it better to forget them? Get rid of these days and if anyone suggests the creation of another, we feed them to crocodiles? It would have been easy from one point to end them all. Social issues are never easily resolved so we can recognise that a day or a month does not resolve them! It raises awareness but it’s not the solution. In the old days when the Olympics started there was a call for truce. They did not allow for the games to take place whilst a war was happening. Tokenism? Perhaps, but also the recognition that for events to have any credibility they need to go beyond words; they must have actions associated with them. What if those actions go further than the day/month of the commemoration? Imagine if we respect and honour women, not only on IWD but every day, imagine if we treat people with the respect, they deserve beyond BHM, LGBTQ+ months? Maybe it is difficult but if we recognise it to be right, we ought to try. We know that the Holocaust was a bad thing so lets not just remember it…lets avoid it from happening …Never again!
Calling All Dads: Girls Girls Girls wanted. #SpokenWord
Calling all dads.
Reward for the first hundred daughters!
Calling all dads, Magic City Club is recruiting!
Magic city is the most elite strip joint in the world,
Any dad should be proud to have his daughter work for us!
We value our customers and want to give YOU the chance to shape Magic City Club’s future.
So we’re recruiting.
PLEASE send your daughters in right away.
We need your girls, girls, girls.
The most beautiful daughters in the world, we ask all dads to send them now.
You’re our valued-customers so you know MCC is about quality!
Send them in to Magic City Club, by express, in a rush, by plane or by bus!
Hurry, hurry, hurry we need girls – quick – these polls aren’t going to oil them selves.
We don’t care how you get these girls here we need strippers now!
Now we know this is a difficult task,
So we are offering a reward for the first hundred daughters!
The first hundred days to send in their daughters will get a lifetime ticket!
A lifetime supply of girls swinging on poles, every dad’s dream.
So send in your daughters, and the first hundred new donors receive a lifetime supply of free entry to any of our prestigious establishments around the world for you and a party of 10 men.
Imagine how your career will explore when you bring your colleagues on an annual, all-expense-paid trip to Magic city, and enjoy some other men’s daughters swinging from the polls. Swish. Slide. Spin, Twirl. And flap, flat on the ground, she’s in a split!
Dads, you will not be missed on any neighbor’s Christmas list when you invite the dads from your hood right on down to Magic City.
Don’t miss Father’s Day. Each year, Luxury Life Liquors sponsors our special Father’s Day event and fills pool on stage with whiskey. Watch these girls swim like mermaids. After the show, you know MC doesn’t waste good liquor.
And somebody’s daughter has got to do it, has got to swing from these polls!
Act now, send in yours! Send in your daughters right away.
As our valued customer, you know Magic City Club has a ‘don’t ask don’t tell’ policy for the backrooms, so: Employer shall be not liable for sexual harassment, STD’s, or in any way held responsible for unwanted pregnancies.
We provide the costumes; daughters must provide their own contraception.
*P.S. Magic City Club is not affiliated with that MC strip joint all the rappers rap about.