conversations | Leslye Joy Allen

Adinkra symbol of transformation.

The first time I met theatre expert Paul Carter Harrison, he distinguished “theatre” from “drama” as theatre being the story that always contained some form of ritual and symbolism whereas drama simply told a story. It was a bit more complicated than that, but I still remember that discussion. It made me think of essays I read about how theatre began among us humans as rituals and performances designed to appease the gods or God. Theatre was birthed in belief, in belief in something higher and more potent than ourselves, and that we all had a responsibility to this entity or entities higher than ourselves. This thought has popped in my head off and on for the last two weeks…and today I think I discovered why this notion of ritual as theatre and theatre as ritual all designed to bring favor from the gods or God is so potent and timely…

Today I met a fiftyish White woman from Minnesota who told me that several cities in Minnesota solved their transportation problems by “building freeways through Black neighborhoods and business districts.” Then she said, “they destroyed those neighborhoods. There is a documentary about this but I can’t remember the name of it.” I then mentioned a former classmate who was writing his thesis about such a topic. She was genuinely angry about it and talked about how unethical it all was. “I’ll take Atlanta’s traffic to that kind of destruction any day of the week,” she said.

After she and I exchanged a few mutual comments about the late Minneapolis-born Prince, she asked me what was my discipline and I told her “History” and that my dissertation topic was about theatre. Then she mentioned the Penumbra Theatre in Saint Paul, Minnesota and our conversation was off to the races. I also had a conversation with a young man from South Africa that had moved here and lived on my side of town. “I love it, here!” he said. He and I had a conversation that ranged from the problems of the old South African government to recent politics to the status of women. He also mentioned that he had a hard time with sexism since everyone came from the body of a woman. I reiterated that I always meet talented, respectful young Black people every single day. So what does this have to do with theatre and rituals?

Here is something I would like you to think about, and it ties in with theatre as ritual, and the rituals found in theatre and everyday life. When one attends the theatre, one typically leaves with a different perspective. No one leaves a theatre the same way that they came in. Sitting in the dark of that theatre and watching performers suspend reality and portray characters other than themselves is in and of itself a ritual for performer and audience member alike. One is literally transformed by witnessing what is done on stage. One can get into the habit of going to the theatre, but a ritual is not a habit. A habit is something you do almost by reflex, almost involuntarily, and it may or may not have any particular benefit to you. You just do it because, well, you’re in the habit of doing it; and that might not be a bad thing, but a habit does not originate from the same source as a ritual.

A ritual is deliberately done; it follows a deliberate pattern in order to produce specific results. Rituals create order, or at least make us feel that there is some order to the universe and the world we inhabit even in the midst of chaos, which is why human beings created rituals in the first place; and also why human beings can become so alarmed when certain rituals are not followed to the letter.

Today I discovered my own ritual. Someone asked me how I end up having these stimulating conversations with people who are often complete strangers like the woman from Minnesota and the young man from South Africa. Well, maybe it is because I don’t really meet strangers. Yet, it is also due to my determination to not become a news junkie that feeds on bad news and controversy. And to avoid bad news and controversy these days, one must deliberately turn off the television and internet and smart phone, and look for the truth, or at least find some balance between the real truth and the truth that is often manufactured for us. So consider this…

The word “theatre” comes from a Greek word meaning “the seeing place.” The seeing place was where you went to witness performers deliver the truth and wisdom. Well, the truth is that, in spite of what you see in the media, there are so many nice, thoughtful people out there. Most of these people will never be on the news. You have to look for them where you are; and you often find what you deliberately look for. Make that a ritual. Àṣé.

This blog was written by Leslye Joy Allen and is protected by U. S. Copyright Law and licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. Any partial or total reference to this or any blog authored by Leslye Joy Allen, or any total or partial excerpt of this or any blog by Leslye Joy Allen must contain a direct reference to this hyperlink: https://leslyejoyallen.com with Leslye Joy Allen clearly stated as the author. All Rights Reserved.

By Leslye Joy Allen

“Self Portrait” by Copyright © 2015 Leslye Joy Allen. All Rights Reserved.

I am writing this tribute now, because I have to mentally recalibrate, take a brief break over the holidays and get back to work on writing my dissertation. Dr. Kuhn would not want anything less than that. Dr. Clifford Matthew Kuhn, Associate Professor of History at Georgia State University and the first Executive Director of the Oral History Association joined the ancestors the second week of November. He was 63-years-old…he was also my Dissertation Advisor…

He was…there is that word: was. You would think that as a historian I would be accustomed to the past tense. Yet, referring to him as anything other than vibrantly and intellectually alive is difficult. Preparing for the Georgia State University Memorial for Dr. Clifford Matthew Kuhn on December 13, 2015 is harder than I ever could imagine. I first met him when he was preparing the centennial of the 1906 Atlanta Race Riot back in early 2006…

Dr. Glenn T. Eskew introduced us because he recalled my telling him that my late maternal grandmother, born in 1886, was a 20-year-old student at then Clark Normal School (later Clark College, now Clark Atlanta University) when the campuses of Atlanta’s Historically Black Colleges became the refuge for so many of the Black victims of the Atlanta Race Riot. Dr. Kuhn was delighted to find a graduate student such as myself that had a personal story that I could tell about this particularly painful moment in Atlanta’s history. Dr. Clarissa Myrick Harris, who partnered with Dr. Kuhn, interviewed me while filmmaker Ms. Bailey Barash filmed it for posterity. I was proud and humbled to contribute my grandmother’s story.

Nearly everything I know about Oral History, I learned from Dr. Kuhn: how to get people to talk about their lives; how to make sure they know that they are not obligated to tell their stories; how to make sure that I, the historian and interviewer, did not and will not ever exploit their memories; how to truly listen. I remember everything he taught me.

One of the last things he said to me was that he was so proud of a brief and recent assignment I had in the Georgia State University Library’s Digital Collections where I conducted four interviews for the Planning Atlanta Project. He recommended me for that position and I was glad that I did well and did not let him down…

As I prepare myself, as best I can, to attend Georgia State University’s Memorial Celebration for Dr. Kuhn, I fondly recall a conversation where we discovered that both of us loved Jazz. Not long after that conversation, there were a few times when we were supposed to be doing something academic, but we drifted into a deep discussion about everyone from Duke Ellington to Nina Simone to Wayne Shorter to Ahmad Jamal. Yet, that is natural for us historians. WE have to be aware of everything, so we often look at and listen to everything. Our conversations were often mixtures of him talking lovingly about his wife Kathie Klein and his two sons Josh and Gabe Klein-Kuhn and History and Jazz. I will miss that…

So, below is one for the late, great historian and scholar Dr. Clifford Matthew Kuhn: a video of the great Jazz pianist Ahmad Jamal playing the classic “Poinciana.” When the percussionists in Jamal’s quartet go into full swing around the time 4:53, I found myself ferociously patting my foot to the infectious rhythms and crying at the same time. Àṣé.

This Blog was written by Leslye Joy Allen and is protected by U. S. Copyright Law and licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. Any partial or total reference to this blog or any total or partial excerpt of this blog must contain a direct reference to this hyperlink: http://leslyejoyallen.com with Leslye Joy Allen clearly and visibly stated as the author. All Rights Reserved.

Leslye Joy Allen

Social Commentary, History, Theatre, Jazz, and the Environment

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