Black Anthology "Asifuye Mvua Imemnyeshea" 2022 Playbill

BLACK ANTHOLOGY PRESENTS

A Note from the Producer Dear Lovely Guests, I am honored to virtually welcome you all to the 31st production of Black Anthology.

The St. Louis American Foundation is proud to sponsor Black Anthology!

2021 St. Louis American Foundation and Webster University Scholar Awardees

2315 Pine St. • St. Louis, MO 63103 Phone 314.533.8000 • Fax 314.533.2332

stlamerican.com

In 1989, Marcia Hayes-Harris saw the need to have the experiences of Black students represented on the stage. This led to the creation of Black Anthology—Washington University’s first cultural production. Since its inception, Black Anthology has annually provided students with the opportunity to discuss, complicate, and celebrate Black life, history, and culture across the globe. Our organization has covered a myriad of topics and issues that affect the Black community and continues to represent Black life in innovative, refreshing ways.

Black Anthology has grown so much over the past three decades; in recent years the executive board has moved to include a different philanthropic initiative each year to help make a positive impact in the greater St. Louis community. This year we have partnered with The Center for Women in Transition. This organization was created to advocate for and assist women in the criminal justice system to support their successful transition to family and community.​The Center has expanded to now offer supportive housing, case management, life skills education, behavioral health services, peer support services, provision of necessities including food, transportation, & clothing, and vocational services. Since 1997, the agency has served over 2,300 women.

This is my third year of working with Black Anthology. When I joined during my first year as an intern, I never imagined that I would serve as producer in my junior year. Through Black Anthology, I have found community, passion, artistic expression, and creative leadership. This year, I have grown a lot – learning to lead executive board meetings, work and meet with all members on the executive board, and constantly improve my leadership style.

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Producer’s Note, continued

Black Anthology’s Purpose

Last year, Black Anthology’s “essential(s)” was a virtual production, and last year was a type of show unforeseen by everyone due to the COVID-19 pandemic. However, Black Anthology still pulled it off, and I am still amazed.

As a first year, I interned for an in-person production, and as a sophomore, I publicized the creation of a virtual show. Now as a junior, I am producing the hybridity of both an in-person/virtual screening. As always, my main objective is to center Black Anthology’s mission–to foster diverse perspectives and displays of the African Diaspora–despite also navigating a difficult and grueling pandemic.

In 1989, Black Anthology was created as a part of the “Quest for Success” minority programming series at Washington University. Envisioned by Marcia Hayes-Harris, Black Anthology served as a means of educating both students and the great St. Louis community about the rich history of Black people and culture. As the production developed, it provided students with an opportunity to explore and celebrate the immense literary and artistic contributions of Black people through the performance of poetry, prose, music, and dance.

Since its foundation, Black Anthology has become an important event in the celebration of Black History Month at Washington University and the greater St. Louis community. The production provides its participants with not only experience in performing arts, but also, a place to hone skills in research, program planning, implementation, set design, and many more as it is student-led and run.

I know that transitioning back to a fully-in person school year was hard on many of my peers – especially those in the Black Anthology community. I want to thank my dear executive board, talented actors, and expressive dancers for executing a wonderful production – ”Asifuye Mvua Imemnyeshea.” I will also remember our cultural and thought-provoking events and masked rehearsals at the 560. You all are the ones who made this production possible, amidst being the intelligent and involved WashU students you already are.

As a completely student-operated production, students are involved with every step in the process of creating the final product, including writing the script, directing the scenes, creating the visual artwork, etc. Their faculty advisor provides guidance, support, and advocacy for the students during the process.

2021 was an interesting year to say the least. Globally, we have dealt with new and more contagious COVID variants, while also leaving the most vulnerable communities and countries without proper care or vaccinations.

We still have also lost people close to us, as well as been affected by COVID itself. Through all this trauma, I hope that this production challenges you to think both locally and globally.

Black Anthology functions as a platform for students to showcase their talents while also exploring issues that affect the Black community and prominent historical eras. Over the past 33 years, Black Anthology has explored a range of topics from police brutality to the relationships between Africans and African-Americans to the impact of musical eras like Motown. Although the show’s focus changes from one production to another, the overall goal remains the same: create a dialogue. Black Anthology strives to inform its audience and to challenge previously conceived notions. We encourage audience members to continue the conversation after the show ends and begin their own dialogue in new spaces.

I have loved my experience with Black Anthology so much these past three years, and I am elated to rejoin next school year–when I will be a senior.

Thank you for your continued support for Black Anthology!

Cheers, Marc Ridgell, Producer Black Anthology 2022 4

Black Anthology is an important part of the community at Washington University and in St. Louis and appreciates your continued support. Thank you for coming to our 31st production and enjoy the show!

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Dramaturgy

Philanthrophy The Center for Women in Transition (CWIT) The Center for Women in Transition (CWIT) was founded in 1997 after four women volunteering in the prison ministry noticed a cycle of recidivism.

The volunteers met with incarcerated women to identify root causes of their returns to incarceration and discovered the following challenges: lack of safe, affordable housing; lack of access to services such as substance use treatment, job placement, food, and transportation assistance; and lack of positive social support. The system was structured for failure. With this in mind, The CWIT was created, and their mission is to advocate for and assist women in the criminal justice system to support their successful transition to family and community.​Initially only mentorships were available, but The Center has expanded and now also offers supportive housing, case management, life skills education, behavioral health services, peer support services, provision of necessities including food, transportation, & clothing, and vocational services.

Since 1997, the agency has served over 2,300 women.

Black Anthology is proud to be partnering with The Center for Women in Transition to bring awareness to their organization and help keep their clothing and personal care products stocked for the women in their program.

Black Anthology understands the importance of having a safe space for women to transition from life in prison back to life in the community. We are thrilled to partner with an organization like The CWIT who aims to do the same. We will be collecting monetary donations that will go towards providing clothing and personal care products for the women who go through their program. To learn more about The Center for Women in Transition and how to support its mission, please visit www.cwitstl.org Kamryn Haynes, Philanthropy Chair

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Let us set the scene: it is Nashville in the late 2010s, and the prisoner population for women, particularly Black women, is rising. In fact, Tennessee is joining North Carolina, Ohio, and Virginia as yet another state in which more women are being added to state populations than men. The process of being incarcerated and then transitioning out of prison has left many of these women at the mercy of stigmas that manifest themselves in systems of violence, poverty, and carcerality that are near-impossible to escape.

Also at this time, the Tennessee Office of Refugees has seen a dramatic increase in the number of refugees of African origin within the previous decade, those from the Democratic Republic of the Congo (DRC) being among them. In fact, by 2014, United States refugee programs will have resettled over 10,000 Congolese refugees across America. With this influx comes an exchange of cultures, systems, and biases that reflects the broader history of tension between Black people globally—sometimes referred to as the diaspora divide.

Understanding these refugees’ movement to Nashville from the DRC requires a better tracing of the DRC’s history of conflict and mass migration. Following independence from Belgium’s ruthless, exploitative colonial system in 1960, the Democratic Republic of Congo emerged led by visionary and first elected prime minister Patrice Lumumba. His popularity was representative of a hope that the DRC’s newfound independence would result in true Congolese self-determination. However, global powers like Belgium and the United States’ interest in the wealth of raw resources in the DRC meant that this hope was short-lived. Only three months after the DRC gained independence, Lumumba was ousted by Mobuto Soso Seke in a coup sponsored by the US and Belgium.

The resulting corruption and political unrest would lead to a decade of war— between the First Congo War (1996-1997) and the Second Congo War (19982003). Conflict minerals—raw resources extracted from these civil wars and sold to finance more fighting—have caused the consumer market in America to thrive. The very phone you’re using is proof: heterogenite, a mineral that can be refined into cobalt and that is likely in every electronic you own, is commonly mined in the DRC. The cost? Continued violence has displaced more than 3 million Congolese people and caused many to begin to flee to refugee camps and settlement areas in surrounding countries, such as Uganda, Rwanda, Tanzania, and Burundi. From these camps, refugees play the waiting game, and some— often with special consideration to those who are young and/or educated—are resettled to America. When they reach Nashville, they carry with them the 7

Dramaturgy, continued

Dramaturgy, continued

informed experiences of being exploited by their very country of refuge. There, they find opportunity, but also opposition as expectations of assimilation clash with the preservation of tradition.

Assimilation & Cultural Tradition A 2018 report by the Pew Research Center found that 69 percent of sub-Saharan African immigrants in the US have obtained some level of college education. This number is higher than the college education level even of native-born Americans. This is partly due to familial obligation that is rooted at the very heart of interaction between younger and older generations. In a 2020 account to KERA News, David Kapuku—a Congolese migrant who had moved with his parents and four siblings to Dallas, Texas seven years prior—discusses his newly earned college degree. He notes that his drive to attend and finish college did not come simply from a hope of making his parents proud, but from an innate desire to support them financially so that they no longer had to work themselves.

Surely, Kapuku and many other young African immigrants’ transition into the US is not as simply put as just showing up and getting handed a degree. With any movement to a new or foreign environment there is a great possibility of change. There are a host of obstacles for African immigrants picking up and settling down in the US to navigate—from language barriers, unfamiliar social norms, and cultural differences. Beneath the hope and expectation for children to pursue education and assist their parents, comes a very real worry from migrant parents and older family members that while navigating those obstacles they will inevitably leave their culture behind. While overcoming the issue of a language barrier, will a child stop speaking their native language? While acclimating to the ways of other American children, will they turn away from their religious practices and beliefs?

Another large part of the assimilation process is the confrontation of one’s Blackness—something that is so unique to and oftentimes enforced in the western world—as well as one’s place within society. These navigated experiences of assimilation are felt to different degrees by both young and old alike.

Incarceration A paper published by the WashU Law School tells the story of Beverly Harrison, a Black woman with a 28-year-long career in public service. After deciding to retire, Harrison accepted a job as a crossing guard—and was fired eight days later. Because her background check turned up an assault conviction from when she was eighteen—almost forty years prior—she was terminated.

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A 2018 report by the Prison Policy Initiative found that over 40 years, women’s state prison population numbers grew 834%, more than double that of men.

This number reflects a litany of systemic biases: particularly, that sex work, women’s responses to gender-motivated abuse, and the “misbehavior” of school-aged Black girls continue to be criminalized. Cultural misunderstandings do not occur in a vacuum—stigmas around Black Americans being violent, for example, or Black girls being victims of adultification, both manifest in real harm, in corralling Black people into the carceral system and keeping them there.

With so little access to vocational, educational, and transition programs, campaigns like Ban the Box—which strives to eliminate the requirement to check “yes” in a box for previous criminal history—aim to give women like Harrison a fighting chance, but stories like hers remain common. As Piper Kerman said, “every sentence becomes a life sentence”—many are forced to relive and recount their mistakes long after they do their time. This was our motivation behind leaving Navea’s charge unspecified; in telling a story about a formerly incarcerated woman straining to move forward, forcing her to rehash her charge felt punitive and counterintuitive.

What is my place within the systems, and cultures, that I am a part of ?

One major concern we had while writing was being faithful to the experiences of African immigrants—as well as Black women and men who have been previously incarcerated. As two young Black women never having been incarcerated ourselves and both born and raised in the US, our frustrations with telling stories from a severed perspective were incessant. We spent more time researching and consulting with different sources and sites than actually writing. And even while writing, we were constantly editing, changing, and questioning the validity of the characters’ stories. We did not want to speak for or over a group and hope to instead tell a story of how misconceptions and biases are something we all deal with and must recognize within ourselves. We began to confront our own misconceptions of African migration and the state of the carceral system in America. Did you know that 70% of African migration actually occurs within the African continent, not abroad in America or European countries? We did not. In fact, there was much that we did not know and still may not be aware of, but there is one thing for certain: With our many differences of experience and cultural values, we tend to be quite similar in more ways than one. After coming to this realization what then do we make of the ways in which we are inevitably shaped by the systems and spaces that govern our daily lives?

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Black Anthology Executive Board 2021-2022

Director’s Note Dear Friends and Family: I am thrilled to welcome you to Black Anthology’s 31st annual production!

Producer Marc Ridgell

Publicity Chair Olivia Kerr

Treasurer Ryan Wilson

First-Year Publicity Intern Marc Ridgell

Co-Playwrights Jamila Dakwins A’Daja Harris

Set Design Risako Nozaki

Director Maya Phelps

Make-up Artist/ Philanthropy- Chair Kamyrn Haynes

Assistant Director

Kaitlyn McGary

Costume Designer/ Prop Manager Jewel Evans

Co-Choreographers Show Artist Hannah Stevens Desmond Young Ella Henning

First Year Intern Stage Manager Temi Akinwutan Sabrina Spence

Faculty Advisor

Dean Wilmetta Toliver-Diallo 10

Black Anthology has been a special space for me these past two years. During an isolating first year of college, Black Anthology supported me as a space of expression and community. Assisting the director inspired me to take on directing my first production. I came into this year moved by ideas that shaped the show into what you will see tonight, but I could have never predicted the ways this show would shape me, as a creative and as a person.

I feel so grateful to have been given the opportunity to bring to life the intricacies of this show; blending the beauty of Black love, the devastating impacts of mass incarceration on Black women, the value and importance of upholding culture, and diasporic differences was a goal I could not have achieved without the dedication the actors gave to the show. Their talent and drive have inspired me to continue to create. I hope they move you as they have moved me: to tears, laughter, anger, joy, and love.

I hope this production grounds you in a way that reminds you to not stray too far from your roots. But to never let them hold you back from a life defined by you. I hope it pushes you to use your mvua (rain) as an opportunity to grow. I hope you see that your mvua cannot stop you from reaching happiness and love.

And if someone offers you an umbrella for support, I hope that you take it. My ultimate wish for you all is to turn your love for family, friends, partners, and life into an action.

Enjoy the show.

Maya Phelps PS. I would also like to thank my Assistant Director, Kaitie McGary, and Stage Manager, Sabrina Spence. Their support has been deeply appreciated, and it has been an honor to work with them both throughout this process.

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Choreography’s Note Hello and welcome! We are delighted to present the 31st annual Black Anthology production! Our dancers, cast, and executive board have been working very hard to put on a beautiful, thought-provoking show for you this year.

A Word from Ella - This year marks my last year at WashU and my last year in Black Anthology. Though I haven’t had the privilege to participate in Black Anthology for four consecutive years, I’m always grateful to experience the family that is “BA” for the time I was able. To spend so much time with other creatives is a great gift, and to put on an entire show (during a pandemic) is not a small feat! I am very honored to be a part of that in any way I can. Hannah and I were blessed with willing and capable dancers that helped our visions come to life. I can’t wait to return to future productions and see Black Anthology continuing to thrive and flower, even in nonoptimal circumstances. I’m proud to see us pushing much-needed conversations to and proving the necessity of art to our survival and growth.

A Word from Hannah - For myself, I joined the Black Anthology family my first year as a dance member, excited to take the stage again. Nearly five semesters and one global pandemic later, I have grown as an individual, an artist, a student, a leader, and above all as a friend in ways I never imagined I would. I have been given the opportunity to work alongside our previous choreographer Julia Stewart as an assistant choreographer, and now as a co-choreographer with Ella. Almost all of the moments I have shared, the emotions that I have felt, and the connections I have made throughout my involvement in Black Anthology have made up the core of my college experience, and my time in college would not be the same without it. Black Anthology has undoubtedly been a second home for not only myself, but all of the members involved in creating and executing the show.

A Word from Us - It has been quite an experience beginning to transition back to an in-person (safe!) semester, with its own new benefits and challenges. We are extremely grateful to have been able to return to our dance studios for rehearsals, where we were afforded the space —though somehow never quite enough time— to collaborate together. It’s in these spaces we sometimes got caught up in the dance and lost track of time! Themes we hoped to showcase followed the play’s themes of tension and growth, and the experience of Black women through a positive, though diverse lens. The show gets serious in its discourse of incarceration of Black women, and cross-cultural relationships, and we wanted to offer the bit of airiness and light that love (self, relational, & familial) provides through troublesome times. We are so glad you came, and we hope you enjoy the show.

Hannah Stevens and Ella Henning Co-Choreographers Black Anthology 2021-2022

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Asifuye Mvua Imemnyeshea.

Show Music

Intro Song: “Tell Him” - Lauryn Hill

ACT ONE:

x“Zonga” - Lokua Kanza

“Heavy” - Kiana Lede ft Jennifer Lewis

“Maman” - Papa Wemba

“Long Run” - Smino

INTERMISSION:

Love is Back - Celeste “That’s The Way of the World” - Earth, Wind, and Fire

“Sweet Mother” - Prince Nico Mbarga

“Why iii Love the Moon” - Phony Ppl

“Woman” - Little Simz

“Grounded” - Ari Lennox

ACT TWO: “Fair Chance” - Thundercat (ft. Lil B and Ty Dolla Sign)

“It Gets Better” (With Time) - The Internet

“Friends” - Whodini

“Let’s Stay Together” - Al Green

BOW + POST SHOW: “Never Too Much” - Luther Vandross “Stressin’” - Arin Ray

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Cast (in order of appearance)

Cast, Crew, Dancers, and Executive Board

Auni.....................................................................................................Joseph Navea..................................................................................................Raevyn Astride................................................................................................Therese Harmony............................................................................................Tiangelique Major..................................................................................................Amariyon Muambe.............................................................................................M.J. Mercy..................................................................................................Jordan Miles...................................................................................................Desmond Lance..................................................................................................Damon Joy........................................................................................................Idia

Dancers Jebron Kamyrn Nafkot Ella

Ayana Zee Zee Kamila Courtney

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Jamila Dawkins (Co-Playwright) is a junior from New York and she is majoring in English and Sociology . This being her third year on the Executive Board, she is proud to be part of the creativity that Black Anthology inspires. As co-playwright, she hopes you will leave with more questions than answers.

Marc Ridgell (Producer) is a junior from Chicago, IL who is mjoring in African and African-American Studies and Women, Gender, and Sexuality Studies. They love Black Anthology because they are passionate about highlighting diverse Black narratives in their academics and extracurriculars.

Marc is excited to produce their first show ever!

Olivia Kerr (Publicity Chair) is a junior from Oak Park, IL. They are majoring in African and African-American Studies.

They joined Black Anthology’s Executive Board to connect with their Black peers in an artistic sphere that gives space for multidimensional ways of imagining and creating.

Hannah Stevens (Co-Choreographer) is from Houston, TX. She is majoring in Film and Media Studies: Production Concentration. This is her third year at Washington University and third year in Black Anthology. I am really excited about this year’s show!

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Maya Phelps (Director) Maya is from Mingo, IA and is majoring in African and African-American Studies. This is her second year in Black Anthology. She joined this show to experience creativity and expression with Black voices, especially by bringing to life such a beautiful script.

A’Daja Harris (Co-Playwright) is a senior from Minden, LA, and she is majoring in English and African an African-American Studies. This is her first year in Black Anthology. As co-playwright she is excited to see the characters come to life on stage.

Dean Diallo (Advisor) has advised Black Anthology for 15 years and it gives her great joy to work with such a talented and committed executive board and cast. After all we have been through in the recent years, the late great Sidney Portier bests sums up her mantra, « To simply wake up every morning a better person than when I went to bed. » Sabrina Spence (Stage Manager) is a senior from Memphis, TN. Sabrina is majoring in English with a concentration in creative writing. She has been Black Anthology’s stage manager since her freshman year, making her the first-ever four-year stage manager. She is incredibly proud of everyone and their hard work.

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Kaitlyn McGary (Assistant Director) is from Crete, IL and is majoring in Psychology. She joined Black Anthology this year because of her strong passion for theater and her commitment to ensuring that Black artistry can be expressed to its fullest extent.

Ella Henning (Co-Choreographer) is a senior from St. Louis, MO who is majoring in Dance. This is her third year with Black Anthology and her first year as co-choreographer. She is grateful to have been a part of the family that is Black Anthology.

Ryan Wilson (Treasurer) from Atlanta, GA is a sophomore, and this is her second year in Black Anthology. She is majoring in Anthropology. Last year as a freshman, she served as one of Black Anthology’s first year interns. She decided to join Black Anthology to meet others and is grateful for the connections she made.

Risako Nozaki (Set Designer) is a senior from Redwood Shores, CA who is majoring in Architecture (B.S.). This is Risako’s first year joining Black Anthology and she is so excited and honored to be a part of the production!

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Damon Latchison (Lance), from St. Louis, MO, is a senior at Washington University in St. Louis who is majoring in African and African-American Studies. They are very excited to take part in Black Anthology this year as this will be their first theatre production!

Seth Kleinberg (Lighting Designer), from Los Angeles, CA, is majoring in Mechanical Engineering (B.A.). He became involved with Black Anthology last year and feels honored to help bring the stories told in the show to life, and equally excited to continue his connection with Black Anthology.

Zee Zee Covington (Dancer) is from Florissant, MO and is majoring in Environmental Biology. This is her first year in Black Anthology, as a dancer, and she is very excited about the show!

Therese Miantsoko (Astride) is a senior from The Bronx, NY. She is majoring in Marketing. This is her first time being involved with Black Anthology! She was super excited to join this production during her last year here because she missed being onstage and loved Black Anthology’s mission statement; what better way to get back

Raevyn Ferguson (Navea) is from St. Louis, MO and is majoring in African and African-American Studies and Film and Media Studies. Raevyn has been acting in Black Anthology for two years. She joined because she loves acting and appreciates being able to tell Black stories. Raevyn is so excited for you all to see the show!

Temi Akinwutan (First-Year Intern) is from Overland Park, Kansas, and recently joined the BA family this year. She is planning on majoring in Anthropology on a Global Health and Environment track. Temi joined Black Anthology because she wanted to integrate herself in a welcoming and encouraging environment.

Amariyon Green (Major) is a first year student (Undecided) from Omaha, Nebraska.

He is so excited about his first year in Black Anthology! He loves music, poetry, and cooking and he is so excited for the show and hopes you all enjoy it!

Idia Ogbomoh (Joy) is from Chicago, IL and is majoring in Anthropology. She has been involved with Black Anthology for three years and joined to find a creative outlet from her academics.

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Joseph Mosby (Auni) is a first-year student (Undecided) from Nashville, TN playing Auni in this year’s production. He’s very proud of this production and is happy to have this amazing opportunity with other talented individuals!

Courtney Fenderson (Dancer) is a sophomore dancer from Cleveland, OH and is majoring in Computer Science and Marketing. She has been involved in Black Anthology for two years and has been dancing for 9 years!

Tiangelique Dunigan (Harmony) was born in Milwaukee, WI, and is a sophomore at WashU. She is majoring in Political Science and African and African-American Studies.

Her passion for theatre, and for telling the stories of people in her community, is why she joined Black Anthology!

M.J. Brown (Muamba) is a first year student (Undecided) from Nashville, TN. This is his first performance in Black Anthology and he couldn’t be more excited for you all to see the show.

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Ayana Loyd (Dancer) is a sophomore from Chicago, IL and is majoring in African and African-American Studies and History. She is excited to be dancing in her first show with Black Anthology.

Jebron Perkins (Dancer) is from Indianapolis, IN and is studying Computer Science and Korean. This is his second year in Black Anthology and he is super excited to dance in his first in-person show.

Nafkot Seife (Dancer), from Kansas City, MO, is majoring in Urban Studies at WashU. She would like to dedicate her bibliography to shed a light on the current Tigray Genocide occurring in Ethiopia for the past year. If you have not heard about this, please research it and spread awareness!

Kamila Redd (Dancer) is a sophomore from Baltimore, MD studying psychology with a minor in math. She joined Black Anthology as a dancer this year and is excited to witness everyone’s hard work culminate in an amazing show!

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Desmond Young (Show Artist, Miles/Kamili) is a sophomore from Jackson, MS and is majoring in Architecture (B.S.) This is his second year in Black Anthology. As show artist and an actor, he is excited to see the show come alive.

Previous Black Anthology Productions We would like to thank Marcia Hayes-Harris for her vision, as well as the current, and past, Black anthology executive board, cast, and dancers for the extensive amount of hard work and diligence put into continuing the legacy and traditions of Black Anthology. Without these wonderful people, Black Anthology would not exist, and we are deeply appreciative of the love, support, and effort!

We would also like to pay homage to previous productions as well as the past directors, coordinators, and/or producers.

Jordan Mackie (Mercy) is a first-year student (Undecided) from Austin, TX and passionate about Black Anthology and storytelling.

Outside of classes and rehearsal, she enjoys sewing and exploring the outdoors!

1990: Black Anthology Coordinator: Francine Stowe 1991: Black Anthology Director: Carlos Sneed 1992: Resistance Director: Mo Barbosa 1994: The Harlem Renaissance: A Montage Reclaimed

Kamryn Haynes (Makeup and Philanthropy Chair, Dancer) is a senior from St. Louis, MO, double majoring in African and African-American Studies and Psychology. She has been part of BA her entire college career and is sad for it to end, but grateful for the experiences she’s had.

Jewel Evans (Costume Designer) is a junior majoring in Global Health and the Environment from Orchard Lake, MI. This is her third year with Black Anthology, and she is very proud of her BA family for their dedication to putting on another fantastic show.

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1995: Celebrating the Black Family Director: Aaron Greer Coordinator: Michele Hanshow Holton 1996: Black Identity: Reflections Blackness Director: Brent Gilmore Coordinator: Kristy McDowell 1997: Black Comedy: Laughing to Keep from Crying Director: Corey Jones Coordinator: Courtney Collier 1998: A Black Love Song Director: June Christian Coordinator: Lori Crawford

1999: The Black Continuum Director: LaMonica Carpenter-Okrah 23

2013: Metro Director: Kris Campa

2000: Flip the Script: Dreams, Escapes, Revolutions Director: Miles Grier

2014: PostDirector: Chelsea Whitaker Producer: Kendall Maxwell

Special Thanks to Andrea Urice with PAD 2002: Reflections: Standing Behind the Mirror Director: Imani Cheers

2015: The Six Director: Dana Robertson Producer: Lemoine Joseph

2003: Shattered Lens: Reconstructing the American Montage Director: Linda Esah

2016: woke Director: Schuyler Atkins Producer: Alexandra Mitchell

2004: Linked Fate Director: Derrick A. Everett 2005: The Ties that Bind Director: Andrea Lee

2017: Black & Blue Director: Ebby Offord Producer: Destinee Shipley

2006: Lest We Forget Director: Andrea Newsome

2018: 1:05 Director: Ebby Offord Producer: Taylor L. Bailey

2007: Refrain: A Cautionary Tale Director: LaMar Moore

2019: The Creation.

Director: Ebby Offord Producer: Taylor L. Bailey

2008: Syncopated: Can YOU Keep the Beat?

Director: Valerie Wade 2009: Midnight Chronicles Director: Heather Skanes

2020: Masquerade Director: Ali Elganzouri Producer: Sophia Kamanzi

2010: Intersection Director: Nadia Mann

2021: essential(s) Director: Courtney Robertson Producer: Sophia Kamanzi

2011: Double Consciousness Director: DeMarco Mitchener

2022: Asifuyve Mvua Imemnyeshea Director: Maya Phelps Producer: Marc Ridgell

2012: Lest We Forget Director: Diamond Skinner 24

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Tiangelique, WE ARE SO PROUD OF YOU! YOU AMAZE US EVERY DAY WITH EVERYTHING YOU MANAGE TO ACCOMPLISH. WE ARE SO EXCITED TO SEE YOU BACK ON A MAIN STAGE! YOU TRULY ARE OUR SHINING STAR! LOVE YOU TO PIECES, MOM AND DAD

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RYAN, WE LOVE YOU AND ARE SO PROUD OF ALL YOUR HARD WORK! WITH LOVE, MOM, DAD, AND ROSS

Tiangelique, WE ARE SO PROUD OF YOU! YOU AMAZE US EVERY DAY WITH EVERYTHING YOU MANAGE TO ACCOMPLISH. WE ARE SO EXCITED TO SEE YOU BACK ON A MAIN STAGE! YOU TRULY ARE OUR SHINING STAR! LOVE YOU TO PIECES, MOM AND DAD

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The Program in Film & Media Studies is proud to sponsor

Black Anthology for another Great Event!

EXPLORE OUR SUMMER SESSIONS

Session one: May 23 - June 10, 2022 Making Movies III In this course students advance their skills in filmmaking through a series of exercises and individual short films.

Session Two: June 13 - July 15, 2022 Making Movies I This course introduces the core concepts and skills for producing dramatic narrative film and video.

Writing Episodic Television This class will focus on all the factors that go into preparing and writing an episode for a network TV series.

Visit fms.wustl.edu for more information

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THE FIRST-YEAR SUMMER ACADEMIC PROGRAM CONGRATULATES:

A’DAJA HARRIS IDIA OGBOMOH ZEE ZEE COVINGTON TEMI AKINWUNTAN RAEVYN FERGUSON

CONGRATS ON YOUR 2022 SHOW 36

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Congratula*ons and best wishes – Jordan and Courtney Your NSBE family supports you in your endeavor

Kris Campa & Danielle Lacey, NSBE Advisors

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The Performing Arts Department congratulates and thanks

Special Thanks

Black Anthology

Arris Harris

Bernard Cummings

Best Talent Center

Cathy Winters

Catherine Winter

Emily Frei Jameel Spann Jae Shepherd Jeff Allen Jorge Delgado

JJ Taylor Judy Best

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ST. LouiS AmericAn Section C

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Serving, empowering and advocating for equity in St. Louis since 1928

COMPLIMENTARY

Shooting of Black man justified, coroner’s inquest finds

White neighbor not charged in death

Patton, officer is Inc. Valerie inclusionater St. Lou , was ed ty, and the Gre Foundation appoint e dent for recentlyHarris-Stow to the University .

State of Regents The erly St. Louis American staff Board form Patton with the l ked ionaMissouri residents on Tuesday found the wor is RegSix St. Lou r, serving -death of a 28-year-old Black man by his shooting Chambeor vice presc neighbor in November justified, disappointing as seniofwhite economi work- activists working with his family. ident civil n andrights t inclusio Themen residents were selected as a jury for a corodevelop execforce ner’s Valerie es and inquest into the killing of Justin King on Nov. strategi ber’s St.e.

Patton 3 outside cham ativof his neighbor’s house in a trailer park in of the ty Initi r at Steelville. esso director Diversi utive Business adjunct prof wn Broruled They the shooting was an act of self-defense Louis a current University previand thus erie is justifiable under Missouri’s “castle docnce She is hington Wo rk, with exp , trine,” residents to use force against the Was of Social esso legeallows rship which Col School nct prof ris-Stowe College Har ous adju munity former at the Louis Com and St. Park.

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Justin King’s mother, Eva Bruns, pleads for justice for her son in Spanish Lake Thursday, Nov. 11, 2021. King’s family appeared before his visitation

By Ken ya to demand Dan answers ielle Vaughn Brown and and justiceThe in St. theLou 28-year-old man’s is Americ an Before shooting Awa death inhe mad rds, Sidn e hist Bourbon,sifie Missouri, d as the ey Poit ory at the Academ film’s ier could about 70 miles The spec was the ial pow first Blac already be y southwest of St. k supe ability er clasdign to slay he demonst rhero.

Louis. hum ity, nobility ster rate

intruders, without the duty to retreat, based on the notion their home is their “castle.”

At the time of King’s death, his family demanded the police arrest the neighbor who shot and killed King. The Crawford County Sheriff’s Department took the neighbor into custody briefly after the shooting before releasing him the same day, writing on Facebook all the evidence they collected corroborated the neighbor’s account of self-defense.

Several online comments from neighbors indicated King was well liked and also cast doubt on the

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Police Chief John Hayden postpones retirement

ident the fine n “W Joe Bid said. en st “Hi many e all play perform s iconic rol films ances in our car es in Defiantlike ‘The Sidne eers, bu Raisin Ones,’ ‘A t y Sun,’ in the had to also ‘Guess Coming play Who’s role the to and Dinner, of ‘In pione social of the the Heat ’ er.” a mirr Night’ held or

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Americ up to titudes a’s racial - Pau l New and 196in the 195 atman unflinch 0s. With 0s deur and ing gran poise — his Presid Artisti warmthsingular ney Poient Bar the hear Nailah c Caucus stature , depth, and on, Aug tier durack Obama Americ ts of mill on-scree Regina Harper memb ions andSidney help a ers transfo . 12, 200ing cerem presen The saw itsel at eac Victor -Malveaux Marie changed ed ope n — actor rmed how9. Poitier onies in ts the 200 Cisco, for the re were a f.” the way n St. Louh theate will assist , Adil Man to win few first Black , the gro the Eas 9 Presid box-offi scattere the repr five Mam is, Bal r; the Rep the arti soor and Phot ce draan Academ people undbre t Room ential Med o cour tim stic tea came esentatio decades of d exceptio tesy Wharfmoth The ore Cen ertory The at the wer aki w. He y of the nator courtesy of n of Black cinematic ns, but Wh al of Theatre atre Com ter Sta died Award for e portrayng actor AP atre ms of whi history people Thursd and ite Hou Freedo ed bes . Picture pany, ge, Wo of tion. And te peo the lowest ay, Jan t lead on screenendurin se in Wam to Sid com in film ple’s d: Adi and Lon olly uninform mon den s “We then ther . 6, 202perform , bec g inspira shingt By Dan l Man g e was am anc on omi but Sidnall play 2, at tion ed ima soor e and e the Sidn The St. ielle Bro many 94. the firs first Blawho pioneer, ey also than he ue roles ey Poitier. ginawn Louis n Leag t to be ck Americ co-star ” fellow had to play in our care changed did. He the Urba of hl not a an film ers, the A esy top new Wo and legaPaul New icon and role of court Play the face only mad sibilitie year mea 8, at Photo “Paris social Jan. event.

Kenned cy was man said o joins film couwright Marof film itsel e films, s. ns new held but he 2022 iah Rich f.” rses at Arroy Teasdale opp not seek y Center celebrated when Poit Blues” was es at the said ann has o ortu tion betw ounces she St. ardson, nities Exp ativ , but no Honors. during the ier’s life where had on teaches Louis Com trong the and poswho Baltimo een The the arriv ermentrepresent one cou “It was 199 to ounced Arms show he felt mos tors andbreaking about Poit munity teaches ld hav a role he 5 Empowseveral Compan re Center Repertory al of a new e ann sa Arroyo ed you ier Col t the com sdal Blac and e and the lege did filled Stage, The that collabo fort thin k ente glass ceil “He the , ng Tea nsel Tere erty

By Dana Rieck ch had ilding it bett The y, and Lon Woo atre of rathink gs that whiyou don’t able,” she a kid had been rtainers ing for impact he er Armstro of Cou tual Propgroup alth-BuBank, whi organizafour prem g Wharf lly Mam St. Louis, said.

Black that was able The St. Louis American on my that was the te people have to keep “He then cam to tranin Hollyw nal We ions addition ’s Intellec practice an hed Caucus tions unitier longstanTheatre. moth The ood acsform porate atre e to Hol dishes neratiowere Reg levels. work. His greatest expect of doing the UrbMoney the firm himself. velopmewith the ed to form ding perf impact and Cor practice you. I o was lywood into an acto ng Inter-ge tners Black When he impact was St. Louis Police Chief John Hayden will that the expthe upcomi ists. And nt team help of thei a year-lonorming arts and took r on from ServicesArroyo is Louis ’s par s and set the men finallycame on the major on he had r resp g an St. League oore said t for rew for on role stage postpone his February retirement date as the Duke group. pendent a ective Artistic preceden got a so ropolit Urban Cha W. Mel group off even s Carey-M ilies up yer chancescene dark many artistic an inde tor in t.” search for his replacement continues. of Metong the ’s kick April.

“The ritable Fou lon Foundaof hired free ebu ed fam skin to do four of LeagueMonth in ing unbank giving homses/workndation Am formally al tion and lance decontrac ng film. ned League St. Louis Mayor Tishaura Jones’ adminisus He financi the Dor artUrban al Center.

Smart are sign accounts, up for clas informabut we’ in thes have been support Armstro e’s The sent e tion “We /saving tration confirmed this postponement Tuesday ncial them at are careers, ve been positions working the initiativ is Teasdal tual ple will Recrea d to pre king , signing it and fina elves, ‘wh h Go informa for just together e. llec practice. peo ” nte Arti and noted the search for his replacement is chec y See tory Inte tion cred wa ours Poitier, muc e wa Theatre stic Dire lly collabo a few year informaproviding asked see too Property an her ing. We.” n “W tion in a ctor D8 still underway. of St. ratin s, League Louis), s Hana Sha g our enti day lendaccounts shops, she said. “Weh of?’ We She begas a systems informa h pay While Jones does not Urban rif Jacob re tion,” ng too muc too muc checkingGroup ore, career r for a Photo by Wiley Price / St. Louis American Padron (Repertrust.” have unilateral authority ey-Mo we seeiMe. We see ple without Realty A Hold (Long enginee aviation Teresa . Car t Reid to restart the police chief Fund many peo Clay, Clay la E.W d the federale than 20 Arroyo erican of “Ge in A. ropolitan – Pau the

By Dan author she attende s in the and see too bie Grovesof Met and

By Alv Louis Am See Rep search herself, she told has mor king for r and said office Rub 27 year k with League lic safety , and The St. ielle Bro , D8 The St. tor, and nce wor rk Office er/broke nces,” than] surer’s boo pub e director Urban wn The St. Louis American Louis iner its 30th candle light service Jan. 7, without its founder Jeanette Culpepper who passed ema exam contracof experie is Trea LC ownr Darn Finamy [more share her Mothers Advocating Safe Streets held regionClark, ident of Trad Americ last week she wants to s rnt nt St. Lou .

James vice pres ance executiv League with nt and of You“because of ” and to an Kah a pate l, the board. away in 2021.year Praise dancer Aliyainer Marcano performed in her honor during the event at Williams Temple C.O.G.I.C. St. Louis first Inte owerme is fall B2 Urban ness U.S. Pate) as bothpatent exam creates lil Robert scrap the current search expo Financiacame on lted in theing and Emp 8, 2022.

GUE, Mayor Tishaura St. Lou orhood Alli oore, , met last te busi PTO Irvi LEA Jones noted the 2021 drop in shootings while calling for further improvements. ey-M den esta Jan. ory rs ghb resu sing stre ng, (US tion tura uild AN Car rt als rvis ter real othe Nei E.W. et-le a mul and start over after facing rma l repl se asse es. of hou timedia individu es The effo l Wealth-B ional Cenncial info said. he call vel spac See URB and supe his exh icas of mblages attende Paula or directorminds. reat iona to get everyda ofdifficulties it scor artiscreated by expaeries “an ever e and digital ent fina ey-Moore on disp ibition “Pro urces generatat Wohl Rec al seni on their ‘We’ve got their cred to take a ynes y objeimages and t who lasting Car l reso nce.” to pres scro lay at leader, personcts, currcityscul Expo wanted will trust,” c financia how to money es said, ity to get “So feedback ll join decided h.”

His Sam Bo yco The jects: Kah former pentl “We people “Jam commun said. “We od approac and ran grap me aspects street-lework will Museum lil Rob nel department g basi Cla people loop ofin what ert Irvi y has directorhical, of the be feat to brin and teach iving.” orho erbial ball signed joins refusal my experie while of my exh through vel gallerie tion ng” in a way from Carey-Moore ured Mod RickernFrank. ds rece -neighb goal was Art. k had larifica Move mind. to make s from at the States,” nce in comothers are ibition are “Our neighborhoo s they are up,’” rhood-by took the prov A presMay 1, mus Department everythi ection/c on the a part Dec. The ions Ban auto mun he thatof 18, 202 eum’s collecti s release2022.

“Th to the the resource neighboey-Moore ks, Reg ng exp is a corr People use techsaid. “Th ities arou of my greabios, Louis ed wee 1 Personnel and therelaSt. describe licitly ways e work allo Car (This a previous of wor 2021, on St. utilize Stephenor, sugting to nology ere are wor nd the Uni ter Within Black legible welcom s the Louis Civil Service with Police k crea mara Chief from complic as have ks ted peoplews there operatin in his insp with it.assist.

Clayco nes as ted betw exh originatCountry ibition taken, social med the starting for the wal said Sha licposting) and spacated natu live . . to be spac irati Hayden death, g asJohn een and the ia, pho as a aremid on to ey-Moore tgage loan event.

Sam Boy of pub -off on Commission in charge l a st livin 201 bein of togr es,” he re of our . for mor e for the 8 and Car Bank mor outreach tive obje the spac news. aph point, It also remembranc g archive g theofinte managerinitiatives existenc e of the said. ity determining final cancts that e relate The scul s that I scul larger-thstates the e, celebrat of Black rnet Regionsa commun privateChicago e in plac pturthe imagery life,and Danthem didates for theion, position, Isom, es use tell a conto historic ptures in the an-life es gested at its s Unit. st and al very dyn tempora , centerin deco site-spec survival e scul city’s director would then over tensom Busines will assi of the ry stor raami ific walofgpublic around safety, . bers about layers onptures wer c processe y. The Boynesdesign and es lpaperfrom athat pool. choose a candidate Mem Housing e s spee adju to them ativ whe See the crea A. Reid Human Dignity [NCHD], said. “I’m concerned with his d and sted and in re male candidates n “I don’t . Rea STL By He ART, te of initi e Alvin “I only had two white to D8 hav for the said his fusireflection.” lly, the exh gath- American launch lerate record and his leadership role with [Senate Minority Leader] DefensSt. iveLouis work choose from, and St. Louis is more diverse know the on of ibitione wn that acce -owned nto Collect was mat 1 is Mitch McConnell in blocking debate on bills that protect the dow 2, 202 than white males. Our police department is intentionallerials and minority siness ered rationale for ust ter Roy Blunt, who continues to side refe U.S. Sen. with will fellow fundamental voting rights for all Americans.” y don small-bu more diverse—there were a lot of diverse on Aug and betnce. e with rences th. He hegiving him this Portrai GOP senators in oppositionSam to a vote on the John R. The award Blunt will receive carries the name of Henry the grow on-tLewis to dem candidates within the police department who assista t of Kah in also lead Voting Rights AdvancementBoy Actnes and For The People Givens, Jr., the iconic, late former long-term president of rental award.” effortsAct lil Rob were kicked out of the first round, so I want of ground during ert Irvi ution will receive the Henry Givens, Jr. Legacy Award Harris-Stowe State University. Dr. Givens passed away last to start over to find the right candidate,” ng and exec s. Boynes Phot Courtesy ment program the 36th Dr. Martin Luther King, Jr.elop Celebration Kickoff July. o by – Walle Amusa, rts for Jones said last week.

Attili of the artis o D’Ag t. the dev c impact rsity effo Jacobs Program on Jan. 15.

This also is being done to the chagrin of Amusa and co-chair of ostin dive HIRE360, or Sources in Jones’ administration told o insonin economiafter ly ledRepublicans’ maj The bills are critically important NCHD members. es at tions The National en Rob erican The St. Louis American in December the previousction trad ships with unions. tial evic rcement

By Kar Louis Am national assault on voting rightsconatstru the gstate level targets In a statement to The St. Louis American, the Dr. Martin and Campaign for residen law enfo the relation personnel department rejected the majority tors in The St. trac as agin in ieve Democratic voters. Blunt, who is retiring after this term, Luther King, Jr. State Celebration Commission of Missouri man Human Dignity ended, homes officials. ers, con of 30 people nationwide who applied for the day repr t, new said the late Givens nominated Blunt for the recognition.

A holi is area hasat multiple county could cast a vote that determinesdev a elop positive fate of bothmen bills.

[NCHD] and position and administered a written test to Lou ed up and oint your St. city city .4 app the “I don’t know the rationale for giving him this it rd award,” g to as the ng $12 s show ng ion, boaplease subm official , accordincome even channeli dents in See BLUNT, A6 See HAYDEN, A6 Walle Amusa, co-chair of The National for (includi . on Promot Campaign rd... e item ican.com new yearevictions new help in funds to resi down awa Reilly Mov , rd cut mer s hire ce r that The stla on the

by Richa look for assistan se ove attorney during Photo People to kjones@ a pau spirit, ests filed county in rental d photo) nty took holiday evicmillion tion requ in the er. governe and cou proved HEALTH SPORTS BUSINESS . or just ber of evic need. h the city least on pap nty was ium over court-ap an said S, B2 at Bot is Cous morator and Jan. the num O’Sulliv ived 35 days, CTION 22 St. Lou ty, period, county rece the holihnically, ked evictioneen Dec. t 44 evice emp See EVI The Tec ncil-bac so, betw at leas ady wer n on s alre frequent . by a coudays. Eve iff acted the courts. which peo propertiesaid is a ed with he said the holicounty sherroved by cases in r homes, utes,” 30 cases the expert are threaten six thei In ctor housing dents 5, the ests apps at least from atorium ch one when resi mor oved ications dire ude tion requ whi nty ton. rem ce The first Inter-generational Wealth-Building incl Tony Yancy credits his and Sherrell’s Kevin Coleman made his announcement That physically commun rts in Clay duty to the cou occurren. an, e and Empowerment Expo took place at Wohl dful of vaccinations as the reason their sympduring the nationally televised Army Allnty Cou cise his ple wer O’Sulliv evictionether min is Cou ed to exer nts and do John Recreational Center Jan. 8, 2022. toms weren’t that severe.

Wh American Bowl on Jan. 10, 2022.

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